Press
Pierre Molinier
Angélique Aubrit & Ludovic Beillard
24.04. – 12.07.2026
Downloads:
>Press Release
>Image 1
Pierre Molinier, La poupée, 1956-57. Copyright the artist, Courtesy of Galerie Christophe Gaillard, Paris.
>Image 2
Angélique Aubrit & Ludovic Beillard, Une solitude vraiment terrible (Clod), 2025. Courtesy of the artists and Galerie Wouters, Brussels.
>Image 3
Pierre Molinier, Autoportrait au loup, Copyright the artist, Courtesy of Galerie Christophe Gaillard, Paris.
>Image 4
Angélique Aubrit & Ludovic Beillard, une solitude vraiment terrible, installation view, 2024, MeetFactory, Prague, Czech Republic. Courtesy of the artists and Galerie Wouters, Brussels.
>Image 1
Pierre Molinier, La poupée, 1956-57. Copyright the artist, Courtesy of Galerie Christophe Gaillard, Paris.
>Image 2
Angélique Aubrit & Ludovic Beillard, Une solitude vraiment terrible (Clod), 2025. Courtesy of the artists and Galerie Wouters, Brussels.
>Image 3
Pierre Molinier, Autoportrait au loup, Copyright the artist, Courtesy of Galerie Christophe Gaillard, Paris.
>Image 4
Angélique Aubrit & Ludovic Beillard, une solitude vraiment terrible, installation view, 2024, MeetFactory, Prague, Czech Republic. Courtesy of the artists and Galerie Wouters, Brussels.
Sophia süßmilch
28.03.2026
Downloads:
>Press release
>Image 1
Sophia Süßmilch, Rhythm 6-7, 2026. Courtesy of the artist and MARTINETZ, Cologne.
>Image 2
Sophia Süßmilch, Orgy and Ecstasy, 2026. Courtesy of the artist and MARTINETZ, Cologne.
>Image 1
Sophia Süßmilch, Rhythm 6-7, 2026. Courtesy of the artist and MARTINETZ, Cologne.
>Image 2
Sophia Süßmilch, Orgy and Ecstasy, 2026. Courtesy of the artist and MARTINETZ, Cologne.
Ökologie der geister
2026 – 2027
Annual Programme
2026
Downloads:
> Annual Programme
>Booklet
>Image 1
Roméo Mivekannin, La scène du régime nazi : Hitler en visite à la Maison de l‘art allemand, temple de l’art officiel nazi à Munich (Scene from the Nazi regime: Hitler visiting the House of German Art, the center of official Nazi art in Munich), acrylic paint and elixir bath on canvas, 1939, 2025, 207 x 258 cm, Courtesy of the artist and Galerie Barbara Thumm, Berlin.
>Image 2
Pierre Molinier, La poupée (The Doll), 1956–57, 12 x 9 cm, silver gelatin print. Copyright the artist, Courtesy of Galerie Christophe Gaillard.
>Image 3
Mukenge Schellhammer, Beyond Pity, 2021, Video collage, Film still. Courtesy of the artist and Galerie Barbara Thumm.
>Image 4
Jürgen Klauke, Schlachtfelder (Battlefields), 2009 – 2010, 144 pieces, each 49 x 68 cm, total 2940 x 1630 cm, C-Print. Courtesy of the artist.
>Image 5
Sophia Süßmilch, Grüße aus dem Jenseits (Greetings from the beyond), 2022. Courtesy of the artist und MARTINETZ
>Booklet
>Image 1
Roméo Mivekannin, La scène du régime nazi : Hitler en visite à la Maison de l‘art allemand, temple de l’art officiel nazi à Munich (Scene from the Nazi regime: Hitler visiting the House of German Art, the center of official Nazi art in Munich), acrylic paint and elixir bath on canvas, 1939, 2025, 207 x 258 cm, Courtesy of the artist and Galerie Barbara Thumm, Berlin.
>Image 2
Pierre Molinier, La poupée (The Doll), 1956–57, 12 x 9 cm, silver gelatin print. Copyright the artist, Courtesy of Galerie Christophe Gaillard.
>Image 3
Mukenge Schellhammer, Beyond Pity, 2021, Video collage, Film still. Courtesy of the artist and Galerie Barbara Thumm.
>Image 4
Jürgen Klauke, Schlachtfelder (Battlefields), 2009 – 2010, 144 pieces, each 49 x 68 cm, total 2940 x 1630 cm, C-Print. Courtesy of the artist.
>Image 5
Sophia Süßmilch, Grüße aus dem Jenseits (Greetings from the beyond), 2022. Courtesy of the artist und MARTINETZ
Roméo Mivekannin
29.11.2025 – 01.03.2026
Downloads:
>Press release
>Image 1
Roméo Mivekannin, La femme à la pancarte : femme allemande confrontée à une humiliation publique à cause d’une liaison amoureuse avec un Polonais (The Woman with the Sign: German woman publicly humiliated for a romantic relationship with a Polish man), 1942, 2025, acrylics and elixir bath on canvas. Courtesy of the artist and Galerie Barbara Thumm, Berlin.
>Image 2
Roméo Mivekannin, La scène des Monuments Men: After Rembrandt‘s Self-Portrait (Scene of the Monuments Men: After Rembrandt‘s Self-Portrait), 1946, 2025, acrylics and elixir bath on canvas. Courtesy of the artist and Galerie Barbara Thumm, Berlin.
>Image 3
Roméo Mivekannin, La scène du régime nazi : Hitler en visite à la Maison de l‘art allemand, temple de l’art officiel nazi à Munich (Scene of the Nazi-Regime: Hitler visiting the Haus der Deutschen Kunst, the center of official Nazi art in Munich), 1942, 2025, acrylics and elixir bath on canvas. Courtesy of the artist and Galerie Barbara Thumm, Berlin.
>Image 1
Roméo Mivekannin, La femme à la pancarte : femme allemande confrontée à une humiliation publique à cause d’une liaison amoureuse avec un Polonais (The Woman with the Sign: German woman publicly humiliated for a romantic relationship with a Polish man), 1942, 2025, acrylics and elixir bath on canvas. Courtesy of the artist and Galerie Barbara Thumm, Berlin.
>Image 2
Roméo Mivekannin, La scène des Monuments Men: After Rembrandt‘s Self-Portrait (Scene of the Monuments Men: After Rembrandt‘s Self-Portrait), 1946, 2025, acrylics and elixir bath on canvas. Courtesy of the artist and Galerie Barbara Thumm, Berlin.
>Image 3
Roméo Mivekannin, La scène du régime nazi : Hitler en visite à la Maison de l‘art allemand, temple de l’art officiel nazi à Munich (Scene of the Nazi-Regime: Hitler visiting the Haus der Deutschen Kunst, the center of official Nazi art in Munich), 1942, 2025, acrylics and elixir bath on canvas. Courtesy of the artist and Galerie Barbara Thumm, Berlin.
(In)visibility of violence
22.08.- 02.11.2025
Downloads:
>Press release
>Image 1
Kresiah Mukwazhi, the high priests, 2024, Bra straps on canvas, 120×140 cm, Photo: Simon Vogel.
>Image 2
Lucinda Devlin, The Omega Suits, Virginia Electric Chair, 1991, Courtesy of Galerie m, Duisburg and the artist.
>Image 3
Lucinda Devlin, The Omega Suits, Mississippi Witness Room, 1998, Courtesy of Galerie m, Duisburg and the artist.
>Image 4
Thomson&Craighead, A Short Film About War, 2009/2010, Filmstill, Courtesy of the artists.
>Image 5
Johanna Maria Fritz, Butscha, Ukraine, 2022, Courtesy of ARTCO Berlin und the artist.
>Image 6
Johannah Herr, American War Rug XVII (Hawaii, 1893), 2022, Courtesy of the artist and Gaa, New York + Cologne
>Image 7
Jonas Höschl, 80 Portraits: 73 Männer, 7 Frauen, 2023, Courtesy of the Artist
>Image 1
Kresiah Mukwazhi, the high priests, 2024, Bra straps on canvas, 120×140 cm, Photo: Simon Vogel.
>Image 2
Lucinda Devlin, The Omega Suits, Virginia Electric Chair, 1991, Courtesy of Galerie m, Duisburg and the artist.
>Image 3
Lucinda Devlin, The Omega Suits, Mississippi Witness Room, 1998, Courtesy of Galerie m, Duisburg and the artist.
>Image 4
Thomson&Craighead, A Short Film About War, 2009/2010, Filmstill, Courtesy of the artists.
>Image 5
Johanna Maria Fritz, Butscha, Ukraine, 2022, Courtesy of ARTCO Berlin und the artist.
>Image 6
Johannah Herr, American War Rug XVII (Hawaii, 1893), 2022, Courtesy of the artist and Gaa, New York + Cologne
>Image 7
Jonas Höschl, 80 Portraits: 73 Männer, 7 Frauen, 2023, Courtesy of the Artist
Céline ducrot + Cathrin Hoffmann
11.04.2025 – 20.07.2025
Downloads:
>Pressinformation
>Booklet
>Image 1
Céline Ducrot, Walk a while, 2024, Acrylic on MDF board, 170 × 120 cm
>Image 2
Céline Ducrot, Filaments, 2024, Arcylic ink on MDF board, 280 x 190 cm
>Image 3
Céline Ducrot, Right through you, 2023, Arcylic ink on MDF board, 100 × 70 cm
>Imag 4
Céline Ducrot, No ordinary machine, 2024, Acrylic on MDF board, 190 × 280 cm
>Image 1
Cathrin Hoffmann, The Kneeling, 2022, Synthetic polymer, epoxy resin, lacquer, 170 × 100 × 175 cm
>Image 2
Cathrin Hoffmann, Soft Slide on Gravel Paths, 2025, oil and quartz sand on canvas, 160 x 120 cm
>Image 3
Cathrin Hoffmann, Our bodies know, 2025, oil on linen, 90 x 180 cm
Exhibition View
Céline Ducrot + Cathrin Hoffmann. Hardest Kinds of Soft, 2025, Photo: Jens Gerber
Exhibition View
Céline Ducrot + Cathrin Hoffmann. Hardest Kinds of Soft, 2025, Photo: Jens Gerber
Exhibition View
Céline Ducrot + Cathrin Hoffmann. Hardest Kinds of Soft, 2025, Photo: Jens Gerber
Exhibition View
Céline Ducrot + Cathrin Hoffmann. Hardest Kinds of Soft, 2025, Photo: Jens Gerber
Exhibition View
Céline Ducrot + Cathrin Hoffmann. Hardest Kinds of Soft, 2025, Photo: Jens Gerber
>Booklet
>Image 1
Céline Ducrot, Walk a while, 2024, Acrylic on MDF board, 170 × 120 cm
>Image 2
Céline Ducrot, Filaments, 2024, Arcylic ink on MDF board, 280 x 190 cm
>Image 3
Céline Ducrot, Right through you, 2023, Arcylic ink on MDF board, 100 × 70 cm
>Imag 4
Céline Ducrot, No ordinary machine, 2024, Acrylic on MDF board, 190 × 280 cm
>Image 1
Cathrin Hoffmann, The Kneeling, 2022, Synthetic polymer, epoxy resin, lacquer, 170 × 100 × 175 cm
>Image 2
Cathrin Hoffmann, Soft Slide on Gravel Paths, 2025, oil and quartz sand on canvas, 160 x 120 cm
>Image 3
Cathrin Hoffmann, Our bodies know, 2025, oil on linen, 90 x 180 cm
Exhibition View
Céline Ducrot + Cathrin Hoffmann. Hardest Kinds of Soft, 2025, Photo: Jens Gerber
Exhibition View
Céline Ducrot + Cathrin Hoffmann. Hardest Kinds of Soft, 2025, Photo: Jens Gerber
Exhibition View
Céline Ducrot + Cathrin Hoffmann. Hardest Kinds of Soft, 2025, Photo: Jens Gerber
Exhibition View
Céline Ducrot + Cathrin Hoffmann. Hardest Kinds of Soft, 2025, Photo: Jens Gerber
Exhibition View
Céline Ducrot + Cathrin Hoffmann. Hardest Kinds of Soft, 2025, Photo: Jens Gerber
Raphaela Vogel
29.11.2024 – 02.03.2025
Downloads:
> Press Release
> Booklet
> Image 1
Raphaela Vogel, The Dressage of Space, 2024, Film Still. Courtesy of the artist.
> Image 2
Raphaela Vogel, The Dressage of Space, 2024, Film Still. Courtesy of the artist.
> Image 3
Raphaela Vogel, The Dressage of Space, 2024. Courtesy of the artist.
> Image 4
Raphaela Vogel, Die Geschichte vom Oberägypter und seinem fränkischen Weibe, 2023, Polyurethane elastomer, goat leather, oil lacquer. Courtesy of the artist.
> Booklet
> Image 1
Raphaela Vogel, The Dressage of Space, 2024, Film Still. Courtesy of the artist.
> Image 2
Raphaela Vogel, The Dressage of Space, 2024, Film Still. Courtesy of the artist.
> Image 3
Raphaela Vogel, The Dressage of Space, 2024. Courtesy of the artist.
> Image 4
Raphaela Vogel, Die Geschichte vom Oberägypter und seinem fränkischen Weibe, 2023, Polyurethane elastomer, goat leather, oil lacquer. Courtesy of the artist.
Annual Programme
2025
Downloads:
> Upcoming Programme
> Press Release
> Image 1
Raphaela Vogel, The Dressage pf Space: Ziggurat of Dead Zones, installation view kunsthalle Giessen, 2024, Photo: Jens Gerber.
> Image 2
Left: Cathrin Hoffmann, It’s Too Soon To Cry, 2022; Right: Céline Ducrot, Soft Spots, 2024. Courtesy of the artists.
> Image 3
Thomson&Craighead (2009/2010), A Short Film About War, Filmstill, Courtesy of the artists.
> Image 4
Sybille Ruppert, o.T., o.J, Collage. Courtesy Privatsammlung Giessen. Photo: Lena Fries.
>Image 5
Roméo Mivekannin, Young woman with peonies, after Frédéric Bazille, 2023, acrylic and elixir bath on canvas, 134x167cm. Courtesy of the Artist & Galerie Barbara Thumm, Berlin.
>Image 6
(Re)Spacing, Mama Made Me Do It, in cooperation with Stadttheater Giessen, dance performance by and with Emma Jane Howley, Gustavo de Oliveira Leite, Maja Mirek & Omar Torrico Real, 2024. Photo: Jacob Boll.
> Press Release
> Image 1
Raphaela Vogel, The Dressage pf Space: Ziggurat of Dead Zones, installation view kunsthalle Giessen, 2024, Photo: Jens Gerber.
> Image 2
Left: Cathrin Hoffmann, It’s Too Soon To Cry, 2022; Right: Céline Ducrot, Soft Spots, 2024. Courtesy of the artists.
> Image 3
Thomson&Craighead (2009/2010), A Short Film About War, Filmstill, Courtesy of the artists.
> Image 4
Sybille Ruppert, o.T., o.J, Collage. Courtesy Privatsammlung Giessen. Photo: Lena Fries.
>Image 5
Roméo Mivekannin, Young woman with peonies, after Frédéric Bazille, 2023, acrylic and elixir bath on canvas, 134x167cm. Courtesy of the Artist & Galerie Barbara Thumm, Berlin.
>Image 6
(Re)Spacing, Mama Made Me Do It, in cooperation with Stadttheater Giessen, dance performance by and with Emma Jane Howley, Gustavo de Oliveira Leite, Maja Mirek & Omar Torrico Real, 2024. Photo: Jacob Boll.
Raphaela Vogel
29.11.2024 – 02.03.2025
Downloads:
> Press Release
> Booklet
> Image 1
Raphaela Vogel, The Dressage of Space, 2024, Film Still. Courtesy of the artist.
> Image 2
Raphaela Vogel, The Dressage of Space, 2024, Film Still. Courtesy of the artist.
> Image 3
Raphaela Vogel, The Dressage of Space, 2024. Courtesy of the artist.
> Image 4
Raphaela Vogel, Die Geschichte vom Oberägypter und seinem fränkischen Weibe, 2023, Polyurethane elastomer, goat leather, oil lacquer. Courtesy of the artist.
> Booklet
> Image 1
Raphaela Vogel, The Dressage of Space, 2024, Film Still. Courtesy of the artist.
> Image 2
Raphaela Vogel, The Dressage of Space, 2024, Film Still. Courtesy of the artist.
> Image 3
Raphaela Vogel, The Dressage of Space, 2024. Courtesy of the artist.
> Image 4
Raphaela Vogel, Die Geschichte vom Oberägypter und seinem fränkischen Weibe, 2023, Polyurethane elastomer, goat leather, oil lacquer. Courtesy of the artist.
(Re)Spacing – Mama made me do it
Dance performance by and with Emma Jane Howley, Gustavo de Oliveira Leite, Maja Mirek & Omar Torrico Real
Wednesday, 23.10.24, 7 pm, Kunsthalle Giessen
A cooperation with the Stadttheater Gießen
Depictions of Excessive Force – Between Destruction and Attraction
Dialogpanel
Wednesday, 30.10.2024, 6 pm
Downloads:
> Press Release
> Image 1
Vincent Haiges, The corpse of a dead Russian soldier in the car of a search team. The collected bodies are
brought to the local morgue. Ukrainian officials estimate that around 100 Russian soldiers were killed in the attack. Voznesenk, 15 March 2022.
> Image 2
Kubra Khademi, Armor, 2015. Courtesy of the Artist& Galerie Eric Mouchet © Naim Karimi
> Image 1
Vincent Haiges, The corpse of a dead Russian soldier in the car of a search team. The collected bodies are
brought to the local morgue. Ukrainian officials estimate that around 100 Russian soldiers were killed in the attack. Voznesenk, 15 March 2022.
> Image 2
Kubra Khademi, Armor, 2015. Courtesy of the Artist& Galerie Eric Mouchet © Naim Karimi
