Kronenboden
Karen Stuke @ kronenboden
TOUCHÉ by Ute Lindner and Patrick Huber 
TOPFSCHLAGZEUG & SEQUENZER by Stan Pete
ERSATZ – ORIGINALE by Billy Cowie
WITHOUT by Marta Michalowska Contact
Karen Stuke
Schwedenstraße 16
13357 Berlin
+49 (0)152 09 42 51 00
info[at]kronenboden.de
www.kronenboden.de
About us
Past events
28.04. - 30.04.2023 touché
Ute Lindner and Patrick Huber.
touché is linked by the proximity in terms of location and content of the operators of both exhibition venues, which have been showing international art side by side for 15 years. The theme of touch is taken up in two ways: On the one hand, through the exchange between each other and, on the other hand, through the technique that connects the exhibits, for they are photograms in the extended sense.
Kronenboden shows Ute Lindner’s long-term exposures of museum walls on which paintings have left their shadows over 30 years. These are combined with Patrick Huber’s shamelessly impudent photograms of lingerie on granny’s damask fabrics using the cyanotype process. The used fabrics, of which one’s own dreams are symbolically made, are humorously reinterpreted here.
COPYRIGHTberlin shows Karen Stuke’s “Handygramme” from the 1990s, in which the light of the displays exposed the photographic paper. They are complemented by works from the lockdown period, the “Italogrammes” from the series Finding Italy in My Kitchen, an attempt to escape the prescribed prison via the kitchen.
28.04. - 30.04.2023 touché
Ute Lindner and Patrick Huber.
touché is linked by the proximity in terms of location and content of the operators of both exhibition venues, which have been showing international art side by side for 15 years. The theme of touch is taken up in two ways: On the one hand, through the exchange between each other and, on the other hand, through the technique that connects the exhibits, for they are photograms in the extended sense.
Kronenboden shows Ute Lindner’s long-term exposures of museum walls on which paintings have left their shadows over 30 years. These are combined with Patrick Huber’s shamelessly impudent photograms of lingerie on granny’s damask fabrics using the cyanotype process. The used fabrics, of which one’s own dreams are symbolically made, are humorously reinterpreted here.
COPYRIGHTberlin shows Karen Stuke’s “Handygramme” from the 1990s, in which the light of the displays exposed the photographic paper. They are complemented by works from the lockdown period, the “Italogrammes” from the series Finding Italy in My Kitchen, an attempt to escape the prescribed prison via the kitchen.
