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PRISKA PASQUER GALLERY - BOOTH B-308 - HALL11.2 

ART COLOGNE 2022

ALJOSCHA 
BANZ & BOWINKEL 
JANE BENSON  
ORNELLA FIERES  
ZOHAR FRAIMAN  
FABIAN HERKENHOENER 
PIETER HUGO  
RADENKO MILAK  
JOHANNA REICH   
CHARLIE STEIN   
GENARO STROBEL  
& ARTNFTS BY KIM ASENDORF

16 - 20.11.2022  
Koelnmesse GmbH, Messeplatz 1, 50679 Cologne 
PRISKA PASQUER GALLERY - BOOTH B-308 - HALL11.2 

ART COLOGNE 2022

Wednesday, November 16, 2022, from 12 pm to 8 pm (by invitation)
Vernissage Thursday, November 17, 2022, from 11 am to 7 pm
Friday,
November 18 and Saturday, November 19, 2022, from 11 am to 7 pm
Sunday, 20 November 2022, from 11 am to 6 pm 

  
Koelnmesse GmbH, Messeplatz 1, 50679 Cologne 
Since its foundation in 2000, PRISKA PASQUER has focused on artists from Germany and abroad known for their groundbreaking approaches in the way they depict the radical changes taking place in our era. Starting with photography, its program has been steadily expanded to include intermedial positions in painting, sculpture, performance, installation, virtual and augmented reality, and audio and video works. Since the start of the pandemic, its analog exhibition program has been supplemented by digital exhibitions in its virtual gallery space, and PRISKA PASQUER now has a steadily growing archive of NFTs (non-fungible tokens reflecting this current trend in digital images. In connection with Art Cologne 2023, PRISKA PASQUER is presenting a selection of artists whose works address technical developments related to digital processes, examine the formation of identity in the digital age and prompt discussions about the dramatically changing world.

Aljoscha
Aljoscha‘s fantastical objects, sculptures, and drawings appear strangely weightless and sublime. They set the scene for the unknown, the indescribable that Aljoscha tries to fathom. Driven by the question of how we see our biological future, he incorporates philosophical, ethical, and scientific questions into his artistic exploration. Against this backdrop, he’s developed an anticipatory theory of evolution called “bioism” – a manifesto under which Aljoscha subsumes his artistic work.
Aljoscha was born in the east Ukrainian town of Lozova in 1974. For over twenty years he’s lived and worked in Düsseldorf, where he studied under Konrad Klapheck at Kunstakademie. In 2006, he attended Shirin Neshat’s class at the International Summer Academy of Fine Arts in Salzburg. He was awarded first prize in sculpture at the XXXV Premio Bancaja in Valencia in 2008, and the Schlosspark 2009 sculpture prize in Cologne in 2009. In 2010, he executed the installation project “bioism uprooting populus” with funding from the Karin Abt-Straubinger Foundation in Stuttgart. In November 2018, Aljosha represented Ukraine in the exhibition “1914/1918 – Not Then, Not Now, Not Ever” at the German Bundestag commemorating the centenary of the end of the First World War. His works are contained in many private collections and museums, including the Getty Center in Los Angeles, the Museum of Prints and Drawings in Berlin, and the State Museum of Contemporary Art in Thessaloniki.
Aljoscha, Installation‘’Distant Posterity“ (Transparent, in 5 parts), 2022polymethylmethacrylat; one of the objects with pigmented ‘’inner life’’, dimensions variable, courtesy PRISKA PASQUER GALLERY
Banz und Bowinkel
The Primitives by Giulia Bowinkel and Friedamnn Banz are simple graphic objects that ultimately form complex 3D structures and thus make up the basic building blocks of the virtual world. Detached from their function, these images appear especially realistic due to their gleaming surfaces and fluorescent colors, and in formal terms are evocative of minimalism.
The series of carpets called Bots, on the other hand, is based on the automated computer programs of the same name that collect our data online every day and control our behavior. Using an app, visitors can take these augmented beings for a walk around the booth in a very lifelike manner.
Giulia Bowinkel and Friedemann Banz live in Berlin and have been working together under the name Banz & Bowinkel since 2009. In 2007 they graduated from the Art Academy with Albert Oehlen and started making art with computers. Their work includes computer-generated imagery, animation, augmented imagery, virtual realities, and installations. The award-winning works of Giulia Bowinkel and Friedemann Banz have been exhibited among others in the Museum Abteiberg in Mönchengladbach, in the Haus Esters/Haus Lange, at the Kaiser Wilhelm Museum in Krefeld, at the Haus of the electronic arts in Basel, in the Halle für Kunst & Medien in Graz, at the Zeppelin Museum in Friedrichshafen and at the NRW-Kunstforum Düsseldorf. Her works are in the collections of the Kaiser Wilhelm Museum in Krefeld, the Museum Kunstpalast and the Kunsthaus NRW.
Banz & Bowinkel, Primitives I 27 , 2018, CGI Fine Art Print, 175 x 140 cm, courtesy PRISKA PASQUER GALLERY
Jane Benson
In the series Faux Faux the artist explores a prevalent illusionist trend.: artificial plants are in vogue. Benson cancels the unification of reality and fiction that the artificial flora perfectly suggests by cutting the leaves into geometric, unnatural shapes such as triangles or squares. The process of transformation becomes visible, giving the mass-produced flora each its own individuality. Just as in nature, every detail becomes unique. No element is congruent anymore, creating a more “authentic” rendering of illusory nature by the artist. 
A series of black and white prints complements the sculptural ensemble. The photographs document the silhouettes of the unabashedly fake flora. The images are reminiscent of photograms and Victorian silhouettes, which were created out of a desire for an economical, true-to-life image. Unlike photography, a photogram does not involve a camera, the light-sensitive paper is exposed directly, causing the uncovered areas of the paper to darken, thus, each image is unique.
Jane Benson works in various media such as installation, sculpture, drawing, video, music and literature, which she often interweaves in very idiosyncratic ways. Her works deal with destruction and loss, but also discover hidden (aesthetic) potential and possibilities of healing in the damage. This principle affects physical materials as well as aesthetic identities. She has exhibited at national and internationally venues, including MoMA PS1 Sculpture Center, Long Island City, New York;Socrates Sculpture Park, Long Island City, New York; the Institute of Contemporary Art, Philadelphia or Kunsthalle Emden. Recent solo exhibitions have taken place at Paula Cooper Gallery, Palm Beach Florida; Kunstmuseum Bonn, Germany; and Contemporary Arts Center, Cincinnati.


Ornella Fieres
Ornella FIeres presents yesterday’s world through the eyes of algorithms. The work displayed here is based on a flower postcard from the 1960s that she bought at an online flea market. The motif was studied by a GAN (a generative adversarial network – a form of self-learning artificial intelligence), which then created its own picture based on what it had learned.
The artist Ornella Fieres lives and works in Berlin. She studied at Macquarie University in Sydney and at the HfG Offenbach, where she is currently working on her PhD in media studies. Her resume includes international exhibitions at the School of the Art Institute of Chicago, the Goethe Institut Toronto, the Literaturhaus Berlin and galleries in New York and Berlin.


Zohar Fraiman
Zohar Fraiman questions the strategies of self-representation and the formation of fixed attributions.  Thereby, she concentrates on the machinery of presentation encountered in social media such as Instagram, Facebook, Snapchat, and Tinder. Fraiman addresses processes of digital mass culture, such as the phenomenon of the modern-day selfie and also the effect of swiping as a form of modern self- thematization and an expression of increasing interchangeability on the social web. In doing so, she calls for a more reflective consideration of the subject.
Born in Jerusalem, Israel, in 1987, artist Zohar Fraiman has lived and worked in Berlin for more than ten years. She studied at the Jerusalem Studio School, Israel (2005-09) and graduated as a master student from the Universität der Künste, Berlin (2011-15). Fraiman regularly exhibits internationally in group and solo shows, including Han Pin Art Museum, Hangzhou, China (2015), Museion Atelierhaus Bolzano (2016, Italy), Künsthalle Lüneburg (2017, Germany), Schloss Achberg (2017, Germany), Turps Gallery London (2018, UK), Museum der bildenden Künste Leipzig (2019, Germany), and Petach Tikva Museum of Art (2019, Israel). She is a member of the Saloon network for women in the Berlin art scene.
Fabian Herkenhoener
Fabian Herkenhoener’s word-pictures read like thoughtful, sometimes ironic comments on the status quo. Using the power of language, he imagines alternative images of reality. He himself describes his work as an anthropological evaluation of an unhinged world. The way he deals with language is reminiscent of the Dadaists’ experiments with words, in which language was used as symbols to devise new dimensions of perception and communication far removed from narrative logic.

(born in 1984) lives and works in Cologne, 2006 - 2014 Academy of Fine Arts Düsseldorf (class of Tal R), 2014 Master Student of Tal R lives and works in Cologne.
Fabian Herkenhoener paints text images. As compact blocks or small groups, the letters structure the surface, not always keeping the last word in the image. Some letters are also painted over by the artist, more precisely: sprayed over, Herkenhoener paints his works with the spray can. This technique corresponds to his fast, immediate and direct working method, which transfers the rapid flow of the drawing pen to the processing of large formats in the room.
In this spontaneous process, a random language emerges that rejects any rational or semantic hierarchy, but opens the way to new horizons of meaning. Fabian Herkenhoener speaks in this context of "processing text". He admits to the words and sentences in his pictures an autonomy that goes beyond the literal meaning. In his paintings, he examines how the appropriate visual context can be created so that these illogical words can be fully experienced in their emotional and spiritual potential.
„I want to keep my writings hidden, behind the paintings, I only offer an evolving, fragmented and cryptic visual narrative. "I became more and more interested in the broken, the raw, the unfinished and the mythical and mysterious," comments Fabian Herkenhoener on his text images.
Fabian Herkenhoener, Machine God, 2022, acrylics, spray paint on canvas, 210 x 190 cm, courtesy PRISKA PASQUER GALLERY
Pieter Hugo
Pieter Hugo‘s photos of “hyena men,” the Gadawan Kura, bring home the merciless reality of the sprawling big cities in the Global South. Within the space of two years, Hugo visited Hausa medicine men twice and accompanied them during their work. They lived in a small apartment in a slum-like suburb of the Nigerian capital Abuja along with three hyenas, a number of pythons, and four baboons. They roamed the towns and cities together, displaying their animals on the streets and selling traditional powders, potions, and amulets. Instead of depicting the spectacle they created, Hugo captured the dynamics between the young men and their animals. In these impressive images, traditional beliefs in natural religions are combined with a form of business acumen that seems highly precarious and gives onlookers a persistent feeling of unease.
The intimate photographs oft he series SOLUS VOL. show youthful models from the New York agency Midland, which specializes in models from the street who don’t conform to the standards of beauty applied by the perfectionist fashion industry. The subjects’ unique, idiosyncratic qualities are presented with no regard for ideals of beauty or clear gender categories.
Born in Johannesburg in 1976, Pieter Hugo lives and works in Cape Town, South Africa. The major individual exhibitions of his work in museums around the world include the Berardo Collection Museum in Lisbon, Kunstmuseum Wolfsburg, The Hague Museum of Photography, Musée de l’Elysée in Lausanne, the Ludwig Museum in Budapest, Fotografiska in Stockholm and MAXXI in Rome. He has published a number of photo books to great critical acclaim. Hugo was nominated for the Deutsche Börse Photography Prize in 2012. In 2015, he was the “Artist in Focus” for the Taylor Wessing Photographic Portrait Prize in London’s National Portrait Gallery and was nominated for the sixth cycle of the Prix Pictet.
Pieter Hugo, Jatto with Mainasara, Ogere-Remo, Nigeria, 2007, C-print, 172.7 x 172.7 cm, ©Pieter Hugo, courtesy PRISKA PASQUER GALLERY
Radenko Milak
The Bosnien artist Radenko Milak combines the photographic image with the painterly narrative. His paintings are always based on photos. He finds them in magazines, newspapers, and on the internet, and then transfers them to the medium of painting. In his new series of images. Milak focuses on the first color images taken with the James Webb space telescope, which were recently published by Nasa. The images give fascinating insights into the universe and provide a completely new view into its depths. The outer space is a cosmos, which lies entirely beyond the realm of natural perception and has been a projection surface for mythology and utopians since time immemorial. The infinite expanse of the universe is per se – for us human beings – incomprehensible and thus a place between fact and fiction. Milak once again inverts this inexplicability by transferring these sharp images, which finally make the invisible visible, into painting. By transferring the physical, digital process back into a handmade medium, Milak blurs the boundary between reality and imagination once again.
Radenko Milak studied at University of Banja Luka Academy of Arts as well as Belgrade University of Art in Serbia. His first major solo exhibition in Germany was hosted in 2014 by Kunsthalle Darmstadt. In 2017, Milak developed the multidisciplinary project University of Disaster for his solo exhibition at the Bosnia and Herzegovina Pavilion at the 57th Venice Biennale. The centerpiece comprised four large-format, complex watercolors depicting various disasters caused by humans; they are now in the collection of Museum Folkwang in Essen. In 2019, works by Milak were included in the large show HYPER! A Journey into Art and Music at Deichtorhallen Hamburg. In 2020, Radenko Milak held a solo exhibition entitled Disaster of the Unseen (October 15 – November 29, 2020) at the Museum of Contemporary Art in Zagreb. A selection of his works was also included in the exhibition Deceptive Images – Playing with Painting and Photography at Marta Herford (October 30, 2020 – August 15, 2021). Just recently, Albertina Museum in Vienna acquired a series of works by Radenko Milak.
Radenko Milak, Untitled, 2022, Watercolor on paper, 100 x 70 cm, courtesy PRISKA PASQUER GALLERY
Johanna Reich
In her video work Resurface I Johanna Reich restores women’s rightful place in the art of the 19th and 20th centuries after they were forgotten (despite their success) owing to the prevalence of male-dominated structures.
Works by the media artist Johanna Reich have been displayed in museum exhibitions, biennials and festivals and recognised with, among other honours, the Nam June Paik Award (2006), the Konrad von Soest Award (2011) and the Cultural Prize of the Rhineland Regional Council (2017).

Charlie Stein
Charlie Stein questions the compatibility of the rising importance of robots and common notions of femininity in the digital age. Based on various selfies from her Instagram feed, she creates female robots that appear both exceptionally humanoid and unnatural. Will the increasing digitalization of everyday life plunge us into an identity crisis  or are we already in the midst of it?
Charlie Stein holds a postgraduate degree in fine art from the State Academy of Fine Art where she studied at the classes of Christian Jankowski and Rainer Ganahl in Stuttgart, as well as the class of Gerhard Merz in Munich. She was a recipient of a DAAD scholarship in 2010 to reside in Beijing, China. Recent exhibitions include Manifesta11, Villa Merkel, the Songjiang Art Museum in Shanghai, Museum Villa Rot and the 2017 edition of the Istanbul Biennial. Stein lives and works in Berlin.

Genaro Strobel
Genaro Strobel has continuously developed his technique referred to here as “wood engraving.” He begins the process by familiarizing himself with a place, observing and returning to it. Having conceived of a picture, he then starts taking more specific photographs. Once he’s decided on its format, he uses graphics software to continue editing his images before cutting – or rather burning – entire images onto a series of wood veneer panels with a laser. He then applies ink to these printing blocks with brush and roller. The resulting prints are merely assembled; no brushstrokes are added, no corrections made. Each of Strobel’s works is unique, for the combination of photographic image, impression (grain), and expressive painting always gives rise to a new work that’s more than the sum of the sequence of interrelated steps in its creation.
Genaro Strobel studied at the Johann Wolfgang Goethe University in Frankfurt, at the University of the Arts in Berlin, at the Weißensee Academy of Art in Berlin and at the Hochschule für Grafik und Buchkunst in Leipzig. From 2018 to 2020, he was the Charlotte Prinz Fellow of the Science City of Darmstadt.Publications: León Krempel (ed.), "Size. Genaro Strobel, "Ostfildern: Hatje Cantz, 2021. ISBN 978-3-7757-4877-3.

Kim Asendorf
Kim Asendorf studied visual communication at the Kunsthochschule Kassel and later taught creative coding at the same place. His works experiment with technological developments or rather explore the limits of their possibilities. Most recently, he created generative NFTs and with them a completely new style of animation that challenges the viewer's gaze as real-time animation.
Each „Monogrid“-artwork gets initialized with a start up algorithm that builds up a set of rectangles and fills them with pixels. The style of the initial filling depends on the position in the main grid. The first row (#00-0F) starts with a low density pixel grid. The density increases up to the middle row (#70-7F), where the pixel grid converts into a line grid. From the middle (#80-8F) to the bottom (#F0-FF) the density decreases again. The color balance fades from white on the left column (#00-F0) to black on the right column (#0F-FF). The complexity of the initial setup is highest in the middle (#77, #78, #87, #88) and gradually reduces to the outside. The dynamic of the animation works in the opposite direction. The simpler the structure, the higher the dynamic of the movement. There is a set of 16 animations at work. 4 noise based animations, 4 shifting animations, 4 modulo based animation and 4 reset animations, all run in parallel. Each animation selects a rectangle from the initial setup and edits the pixels in this area. The selection process runs independently and animations can overlap which results in a new style of animation.
Kim Asendorf is a conceptual and visual artist from Germany. His work ranges from online projects and performances to visual art and installations and is highly inspired by Internet culture and technology. He is widely know for the creation of Pixel Sorting, an image altering algorithm he made Open Source, the creation of file formats as work of art or The First Animated GIF Send Into Deep Space. Kim's works has been shown at festivals and institutions like Transmediale, ZKM Karlsruhe, Edith-Russ-Haus für Medienkunst, NCCA Yekaterinburg, Eyebeam, NIMK, LEAP or the Overlapping Biennial Bucharest and at galleries and fairs like Unpainted (Munich), Moving Image Contemporary Art Fair (London), Creation Gallery G8 (Tokyo), Carroll / Fletcher (London), KM Temporaer (Berlin), XPO Gallery (Paris) or The Photographers' Gallery (London)
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Kim Asendorf, monogrid 1.1 CE, 2022, NFT, courtesy PRISKA PASQUER GALLERY
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