RHYTHM SECTION IM KÖŞK

RHYTHM
SECTION
IM KÖŞK

3. – 13.
Juli
2025

Die Ausstellung wird von Dr. Ezgi Bakçay (Istanbul) und
Katrin Savvulidi (München) kuratiert

3. Juli
18:00
Eröffnung

4. Juli
19:00
THE BEAUTIFUL FORMULA COLLECTIVE
Live Painting Performance
Daniel Geiger, Oleksiy Koval, Thomas Rieger, Veronika Wenger, Michael Wright

5. Juli
12:00
Artist Talk mit Kuratorinnen, Künstlerinnen und Künstler
14:00
„Rhythmus in der digitalen Malerei“
Workshop für Kinder und Jugendlichen
18:00
Performance und Ausstellung

„Nicht begrenzt werden vom Größten und dennoch eingeschlossen sein vom Geringsten“, ist eine Definition, die das Vorhaben der Künstlergruppe RHYTHM SECTION erklärt.

Der klare Umgang mit dem Rhythmus erlaubt eine unendliche Vielfalt an individuellen Variationen.

RHYTHM SECTION ist eine Plattform für Künstlerinnen und Künstler, die an einem Austausch zum Thema Rhythmus in der bildenden Kunst interessiert sind.

RHYTHM SECTION besteht nicht nur aus bildenden Künstlerinnen und Künstlern, die Installation, Zeichnung, Video, Skulptur, Malerei und digitale Kunst, um nur einige zu nennen, vertreten, sondern auch aus Kunstkritikern, Theoretikern, Philosophen und Lehrern für Rhythmus und Bewegung.

Parallel zu den Gruppenausstellungen organisiert RHYTHM SECTION Künstlergespräche, Vorträge und Symposien zum Thema Rhythmus in der bildenden Kunst.

www.rhythmsection.de

An der Ausstellung RHYTHM SECTION IM KÖŞK nehmen Künstlerinnen und Künstler aus der Ukraine, dem Iran, Armenien, der Türkei, den Niederlanden, Großbritannien und Deutschland teil.

Anet Sandra Açıkgöz
Anneke Bosma
Mehmet Çeper
Concernists
Daniel Geiger
Iemke van Dijk
Henriette van’t Hoog
Özkan Işık
Oleksiy Koval
Thomas Rieger
Riwar Collective
Veronika Wenger
Guido Winkler
Michael Wright

www.koesk-muenchen.de

The Rhythm of the Collectivities

Today, public spaces are shrinking under the pressure of neoliberal urban policies, security discourses, and commercialization. This reduction signifies not only the disappearance of physical spaces but also the limitation of freedom of expression, encounters, and shared experiences. It is at this juncture that independent cultural and artistic spaces emerge as vital breathing spaces. While attempting to sustain their existence outside the state and market forces, these spaces create the foundation for individuals and communities to think, produce, and act together. By opening space for untold stories, invisible bodies, and suppressed voices, they contribute to redefining the public sphere.

Independent spaces are not just places where art is displayed; they are also spaces where the collective rehearsal of an alternative life imagination takes place. In these spaces, communities gradually develop a shared rhythm, stretching the patterns of everyday life, establishing new relationships with urban space, and enabling new ways of experiencing time. These structures, based on solidarity, pluralism, and encounter, create a form of resistance against established norms, while also heralding the possibilities that will transform the city and social life. Therefore, independent cultural and artistic spaces are indispensable not only for artistic production but also for keeping our collective imaginative power alive.

This exhibition seeks to closely examine the community-building potential of
creative productions flourishing in independent art spaces, the transformative power of aesthetic experiences, and the possibilities for collective emancipation. By reminding us that art is not only an individual form of expression but also a practice capable of creating shared fields of perception, it invites the audience to question the ways of thinking and feeling together. In this context, the exhibition focuses on both the methods of production and the spaces where these productions emerge — independent spaces — while engaging with concepts such as visibility, voice, movement, and solidarity, tracing the path of an alternative understanding of the public sphere.

Dr. Ezgi Bakçay (Istanbul)

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THE BEAUTIFUL FORMULA COLLECTIVE – STEVE COLEMAN – ALINA SOKULSKA – VÍCTOR AICUA | MÜNCHNER KAMMERSPIELE VIDEO

THE
BEAUTIFUL
FORMULA
COLLECTIVE

STEVE
COLEMAN

ALINA
SOKULSKA

VÍCTOR
AICUA

Münchner
Kammerspiele
Werkraum
May 14
2025

Daniel Geiger (painting)
Oleksiy Koval (painting)
Thomas Rieger (painting)
Veronika Wenger (drawing)

Steve Coleman (alto saxophone)

Alina Sokulska (dance)
Víctor Aicua (dance)

Live Painting-Music-Dance-Performance

Daniel Geiger (painting)Oleksiy Koval (painting) Thomas Rieger (painting) Veronika Wenger (drawing) Steve Coleman (alto saxophone) Alina Sokulska (dance) Víctor Aicua (dance) Münchner Kammerspiele
Steve Coleman, Alina Sokulska, Víctor Aicua, Daniel Geiger, Oleksiy Koval, Thomas Rieger, Veronika Wenger
Münchner Kammerspiele, Werkraum 2025
Photo: rhythmsection.de
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THE BEAUTIFUL FORMULA COLLECTIVE – STEVE COLEMAN – ALINA SOKULSKA – VÍCTOR AICUA

THE BEAUTIFUL FORMULA COLLECTIVE – STEVE COLEMAN – ALINA SOKULSKA – VÍCTOR AICUA

THE
BEAUTIFUL
FORMULA
COLLECTIVE

STEVE
COLEMAN

ALINA
SOKULSKA

VÍCTOR
AICUA

Münchner
Kammerspiele
Werkraum
May 14
2025
20:00

Daniel Geiger (painting)
Oleksiy Koval (painting)
Thomas Rieger (painting)
Veronika Wenger (drawing)

Steve Coleman (alto saxophone)

Alina Sokulska (dance)
Víctor Aicua (dance)

Live Painting-Music-Dance-Performance

Tickets under www.muenchner-kammerspiele.de
Werkraum Münchner Kammerspiele, Hildegardstraße 1, 80539 München

the book of sand alina sokulska, Víctor Aicua The Beautiful Formula Collective (Daniel Geiger, Oleksiy Koval, Thomas Rieger, Veronika Wenger) Photo: Certamen Coreográfico De Madrid 2024
the book of sand
alina sokulska, Víctor Aicua
The Beautiful Formula Collective
(Daniel Geiger, Oleksiy Koval, Thomas Rieger, Veronika Wenger)
Photo: Certamen Coreográfico De Madrid 2024
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THE BEAUTIFUL FORMULA COLLECTIVE – STEVE COLEMAN AND FIVE ELEMENTS | SCHWERE REITER

THE
BEAUTIFUL
FORMULA
COLLECTIVE

STEVE
COLEMAN
AND
FIVE
ELEMENTS

SCHWERE
REITER
MUNICH
MAY 6
2025
20:00

Daniel Geiger (painting)
Oleksiy Koval (painting)
Thomas Rieger (painting)
Veronika Wenger (drawing)

Steve Coleman (alto saxophone)
Jonathan Finlayson (trumpet)
Rich Brown (electric bass)
Sean Rickman (drums)

Live Painting-Music-Performance

Tickets under www.schwerereiter.de
schwere reiter, Dachauer Str. 114a, 80636 München

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VERONIKA WENGER | UPON A LINE

Upon a Line Veronika Wenger

UPON
A
LINE

VERONIKA
WENGER

Curated by
SELIMA
NIGGL
BOXES
ART
MUSEUM
2024.12.21 –
2025.03.16
The exhibition has been extended through March 26, 2025
Veronika WengerUpon A Line Photo: Boxes Art Museum
Veronika Wenger
Upon a line
Photo: Boxes Art Museum
A DRAWING IS A DRAWING IS A QUESTION IS AN ENCOURAGEMENT
On the work of Veronika Wenger
Selima Niggl

A drawing is said to be the shortest, the most direct way between the artistic intention and its realization on the surface. I don’t have to mix paint, I don’t have to stretch a canvas, I don‘t have to wait for a layer of paint to dry. I don’t have to carve a stone either. I have no complex technical device between my perception and my pictorial decision. Regardless of time and place, a drawing can be created on the smallest piece of paper.

A drawing is said to be the closest thing to conception, to the formulation of thoughts, to thinking itself and, last but not least, to writing, which is nothing more than drawing meaning on white paper. The Greek word Graphein, from which words such as graphics or calligraphy are derived, makes no distinction here. It means both drawing and writing.

Horst Bredekamp brings these two aspects of drawing together – the free, the improvised and the conceptual, the thinking – when he writes: “It is drawings and diagrammatic lines that develop their own suggestive power on the border between thought and materialization, which is not due to any other form of expression. Independent of any artistic talent, the drawing as the first trace of the body on paper embodies thinking in its highest possible immediacy.” (Horst Bredekamp 2007)

It is also the greatest possible immediacy when the drawing line – as Wenger describes it – resists the artist and her claim to represent reality: “Since I gave in to the lines, to free myself from the tensions, the direction, the form, they jump around on the sheet.” On the other hand, she repeatedly contrasts the shimmering line, groping for objects, with the hard-contoured, non-representational surface, the clear format and the often explicit color of the adhesive tape. Tension arises between these poles.

Tension also arises from Wenger’s unusual placement of the motif in the pictorial space, from her offensive juxtaposition of fullness and emptiness. She rarely works entirely on the surface available to her. On the contrary, there is no work in which the picture support is not visible. This gives it a special role, and it becomes relevant to the work whether she chooses ‘elegant’ paper, slippery, shiny PVC panels or plastic canvas. The latter – found in an Italian fabric warehouse – seduces with its strange haptics as much as it abruptly repels, recalling the plastic tablecloths of yesteryear.

For Wenger, however, the question of pictorial space is not only a question of the surface of the drawing, but always also of its end. The edge of the picture is consciously included in the creative process. The lines often ‘sit’, as Wenger herself puts it, as traces of a drawing action, seemingly detached and isolated on the surface. They are only protected by the space that the drawing itself offers. But then there are also works in which the end of the pictorial space is almost painfully palpable, as parallel lines seek the minimum distance from the ‘edge’. This reveals Wenger’s desire to explode the pictorial space, to transfer the ‘artificial’ artistic drawing into the real environment and thus into life. However, in contrast to the dominant assertion of a Pollockian allover, Wenger approaches it prudently. She cautiously explores boundaries and is aware of the at least partly utopian nature of her undertaking.

It is this openness, this courage to take risks, to be unfinished, to try out the unfamiliar, the unestablished, this balancing “upon a line” with the greatest possible restraint and modesty that makes Veronika Wenger’s drawings so special. They communicate at eye level with those of us standing in front of them, or as Ezgi Bakçai aptly describes it: “[The artist] takes you by the hand and invites you to keep playing.”

By allowing her lines to break free, by asking questions rather than providing ready-made answers, Wenger liberates not only herself but also her counterpart. Her drawings whisper to us: “Overcome yourself, go out, take action, don’t be afraid of imperfection, of the tentative search, of the limits that you will inevitably encounter. You will leave a trace, even if it as delicate as a pencil stroke!”

 

Veronika WengerUpon a line Photo: Boxes Art Museum
Veronika Wenger
Upon a line
Photo: Boxes Art Museum

 

Veronika WengerUpon a line Photo: Boxes Art Museum
Rockaway
Veronika Wenger, 2023
Photo: Boxes Art Museum

 

Veronika WengerUpon a line Photo: Boxes Art Museum
Veronika Wenger
Upon a line
Photo: Boxes Art Museum

 

Veronika WengerUpon a line Photo: Boxes Art Museum
Veronika Wenger
Upon a line
Photo: Boxes Art Museum

 

Amour fouVeronika Wenger, 2022 Photo: Boxes Art Museum
Amour fou
Veronika Wenger, 2022
Photo: Boxes Art Museum

 

Veronika WengerUpon a line Photo: Boxes Art Museum
Veronika Wenger
Upon a line
Photo: Boxes Art Museum

 

Veronika WengerUpon a line Photo: Boxes Art Museum
Veronika Wenger
Upon a line
Photo: Boxes Art Museum

 

LipstickVeronika Wenger, 2023 Photo: Boxes Art Museum
Lipstick
Veronika Wenger, 2023
Photo: Boxes Art Museum

 

Veronika WengerUpon a line Photo: Boxes Art Museum
Veronika Wenger
Upon a line
Photo: Boxes Art Museum

 

Veronika WengerUpon a line Photo: Boxes Art Museum
Veronika Wenger
Upon a line
Photo: Boxes Art Museum

 

Veronika WengerUpon a line Photo: Boxes Art Museum
Veronika Wenger
Upon a line
Photo: Boxes Art Museum

 

Veronika WengerUpon a line Photo: Boxes Art Museum
Veronika Wenger
Upon a line
Photo: Boxes Art Museum

 

Veronika WengerUpon a line Photo: Boxes Art Museum
Veronika Wenger
Upon a line
Photo: Boxes Art Museum

 

AprikoseVeronika Wenger, 2024 Photo: Boxes Art Museum
Aprikose
Veronika Wenger, 2024
Photo: Boxes Art Museum

 

CrostataVeronika Wenger, 2022 Photo: Boxes Art Museum
Crostata
Veronika Wenger, 2022
Photo: Boxes Art Museum

 

Veronika WengerUpon a line Photo: Boxes Art Museum
Veronika Wenger
Upon a line
Photo: Boxes Art Museum

 

Veronika WengerUpon a line Photo: Boxes Art Museum
Veronika Wenger
Upon a line
Photo: Boxes Art Museum

 

Veronika WengerUpon a line Photo: Boxes Art Museum
Veronika Wenger
Upon a line
Photo: Boxes Art Museum

 

Rumaroma, Großvaterzeichnung, Linea NeraVeronika Wenger, 2024 Photo: Boxes Art Museum
Rumaroma, Großvaterzeichnung, Linea Nera
Veronika Wenger, 2024
Photo: Boxes Art Museum

 

MedusaVeronika Wenger, 2024 Photo: Boxes Art Museum
Medusa
Veronika Wenger, 2024
Photo: Boxes Art Museum

 

Veronika WengerUpon a line Photo: Boxes Art Museum
Veronika Wenger
Upon a line
Photo: Boxes Art Museum

 

Veronika WengerUpon a line Photo: Boxes Art Museum
Veronika Wenger
Upon a line
Photo: Boxes Art Museum

 

Veronika WengerUpon a line Photo: Boxes Art Museum
Veronika Wenger
Upon a line
Photo: Boxes Art Museum

 

Veronika WengerUpon a line Photo: Boxes Art Museum
Veronika Wenger
Upon a line
Photo: Boxes Art Museum

 

Veronika WengerUpon a line Photo: Boxes Art Museum
Platzhirsch
Veronika Wenger, 2023
Photo: Boxes Art Museum

 

Veronika WengerUpon a line Photo: Boxes Art Museum
Veronika Wenger
Upon a line
Photo: Boxes Art Museum

 

Dschinni, Carte BlancheVeronika Wenger, 2022-2023 Photo: Boxes Art Museum
Dschinni, Carte Blanche
Veronika Wenger, 2022-2023
Photo: Boxes Art Museum

 

Veronika WengerUpon a line Photo: Boxes Art Museum
Veronika Wenger
Upon a line
Photo: Boxes Art Museum

 

Veronika WengerUpon a line Photo: Boxes Art Museum
Lost in Heaven
Veronika Wenger, 2019
Photo: Boxes Art Museum

 

Veronika WengerUpon a line Photo: Boxes Art Museum
Veronika Wenger
Upon a line
Photo: Boxes Art Museum

 

Kopf oder Zahl, Tratschen, Hässliches EntleinVeronika Wenger, 2024 Photo: Boxes Art Museum
Kopf oder Zahl, Tratschen, Hässliches Entlein
Veronika Wenger, 2024
Photo: Boxes Art Museum

 

HexenVeronika Wenger, 2024 Photo: Boxes Art Museum
Hexen
Veronika Wenger, 2024
Photo: Boxes Art Museum

 

Veronika WengerUpon a line Photo: Boxes Art Museum
Veronika Wenger
Upon a line
Photo: Boxes Art Museum

 

Organizer: Boxes Art Museum

Support: OCT (Shenzhen) Commercial Management Co., Ltd., Boxes Art Museum (Foshan) Co., Ltd.

Coordinator: Oil Painting Department Curatorial Group of Guangzhou Academy of Fine Arts

Exhibition Director: Zhou Li, Liu Ke

Team: You Guoqiang, Deng Zhiting, Deng Zijun, Ji Ran, Guo Yan, Deng Dong Yan, Yuan Zeqiang, Chen Sijia, Zeng Yun, Shi Jiaqi

Exhibition Graphics: Lin Wanting

www.boxesart.com

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