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Marie Birkedal
Mark
Marie Birkedal
Mark


Edition 1
OVERVIEW2026 ++

  1. Don’t Play Cards with Satan (for Daniel Johnston)
  2. Blueprints Inside
  3. Broken Glass and Kindness
  4. Nobility Game in Pink
  5. Winstons and violet dawns
  6. That day at the playground (for Lucia Berlin)
  7. Black Dahlia for Carolee Schneemann
  8. Blue Chalk Tenderness
  9. Dry Formalism Infused with Otherworldly Interdimensional Portals (for John McCracken)
  10. American Poem (For John Wieners)
  11. Lichtenberg
  12. Monochrome for W
  13. Artist Statement 
  14. Cv
  15. Contact
  16. Studio 
  17. You & me / Volume 02
  18. Pure Abstraction
  19. Ist
  20. unterm Lederhimmel


Edition 2
ARCHIVE/INDEX202X ++

  1. Index
  2. Stranger Things
  3. Hard Earned Innocence
  4. ︎2010
  5. ︎2021
  6. Shefolk 2016
  7. Floor Presents
  8. Photo credits


Notes —
Info
  1. Utilizing Expendable Materials to Create Works of Formal Pristine Beauty
  2. alchemist noun
    al·che·mist |  ˈal-kə-mist
    Alchemist: Someone Who Transforms Things for the Better
    The long route to English for alchemist began with the Greek word chēmeia, which probably came from the word chyma (“fluid”), derived from the verb chein, meaning “to pour.” It then passed to Arabic, which added its definite article al- (“the”) to the Greek root. The word then passed from Latin to French before coming to English. Some other words derived from Arabic also retain the al- in English, such as algebra, algorithm, and alcohol; in fact, the transformative liquid that was constantly being sought through experimentation by alchemists is another word with the Arabic al- prefix elixir.
Mark

Feldbusch Wiesner Rudolph






Courtesy of Feldbusch Wiesner Rudolph



Galleri Anne Aarsland 


Marie Birkedal, Malte Fisker, Bibi Katholm, Ole Folmer Hansen,Hans Jørgen Hvid, Albert Mertz, Frode Steinicke, Erik Øckenholt



Malte Fisker presents a carefully curated selection of non-figurative works from a number of younger and older contemporary artists. Common for the works is a search for the basic principle of abstraction and the independence of form. Here, the artwork is not seen as a representation, but as an autonomous object that exists on its own terms. In Pure Abstraction we encounter works that stand in their own presence. They do not point outwards towards a world outside, but instead open up a space where forms, colours and composition speak for themselves.

Exhibition text by Frode Steinicke
When I say pure abstraction, the meaning is that the form of the abstraction is objectless. When I say that it is objectless, it means that it does not reproduce anything from the visible world. It is a realization of an inner image and idea. The form stands alone. It only imagines itself and isonly about itself and its own form. It is purely physically, its own object and thus expresses itself only as being pure form. This gives it a free space where it does not need explanations and justifications. It is thus open to all kinds of interpretations and leaves itself freely to the viewer's own imagination. It offers the neutral pleasure of seeing

Exhibition text by Malte Fisker
The works in the exhibition are completely non-figurative and do not symbolize or refer to anything other than themselves. All elements operate on an equal footing with each other. The positive and negative forms are exactly equally important and function 100% on their own terms. The works do not refer to anything from our external reality but are an opening for contemplation and our perception. Everything depends on the viewer's own experience and presence in front of the works.



GLUE @ DAG

Marie Birkedal, DAG, Harriet Groß, Max Kreis, Johannes Regin, Klaus-Martin Trede, Theresa Tuffner / Robert Czolkoss



Alte Feuerwache Project Space





MARIE BIRKEDAL and GLORIA ZEIN


Exhibition from 16.3 to 12.5, 2024
Opening: Friday 15.3 19:00
Wednesday, 20.3 19:00 artist talk with Marie Birkedal and Gloria Zein moderated by Rahel Schrohe
Sunday 12.5, 17:00 Finissage

MARIE BIRKEDAL
I dilute my paints so much that the binder breaks down and only the pigment remains, so that the color develops through evaporation and leaves behind dust-like traces, making the paintings seem evoked rather than made. My paintings embody time as a material just as much as paint and canvas. Each layer must be completely dry before the next and there are long phases of emptiness in which seemingly nothing happens, but really everything happens. To me, the tactile haptic experience is just as valid a way of understanding the world and being in it as words and language. I believe that there is a code of communication and understanding that is visual and beyond language.

GLORIA ZEIN
My hands do the work, but that is meaningless for the sculpture. Something finds expression through them; I only make myself available. When the intellect wants to control the result, banality lurks around the next corner and the experience is destroyed.

The challenge is to think NOTHING and to be completely in the moment.
Organisms store experiences in the strangest places.
A life's journey shapes posture, gait, facial features - and the shine
of the hair.

Alte Feuerwache Project Space
Marchlewskistr. 6, 10243 Berlin, Tel. 030 293479426
www.alte-feuerwache-friedrichshain.de
Friedrichshain-Kreuzberg district office of Berlin
Sun-Wed 12:00-19:00
Thu-Sat 12:00-20:00

https://bpigs.com/openings/unterm-lederhimm





installation views Bernd Borchardt



STRANGER THINGS


Marie Birkedal, DAG, Ulrike Mundt, Holger Pohl, Wieland Payer, Heinz Schmöller

Stranger Things ist ein internationales Ausstellungsprojekt mit KünstlerInnen aus Kopenhagen, Berlin und Dresden. Zu sehen sind Werke, die zwischen Subjekt und Objekt changieren und die Interaktion zwischen Ding und Lebenswelt betrachten. In unterschiedlichen Medien, Materialien und Konzeptionen untersuchen hier Künstler die vielfältigen Perspektiven und Ansätze in unserer Betrachtung von Dingen.


Photo: Material Matters, Victoria Gentsch


Eröffnung: Freitag 15.09. 19 Uhr
Einführung: Dr. Michael Wächter
Dauer der Ausstellung: 16.09. - 15.10. 2023
Runde Ecke Dresden, Wachsbleichstraße 4a, 01067 Dresden
Öffnungszeiten
täglich 16-19 Uhr und Mo+Do 10-13 Uhr
auch Sa und Sonntag geöffnet

Die Ausstellung wird gefördert durch: die Kulturstiftung Sachsen und das Amt für Kultur und Denkmalschutz
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