Elizaveta Porodina is the photographer of the moment. She drives the  avant garde fashion photography with tremendous force through space and time. The psychologist from Moscow is a master of black iconography. Her portraiture work is unrivaled. Although capturing the visual essence of our time, her work is reminiscent of the oevre of Richard Avedon, Horst P. Horst, Irving Penn and Sarah moon. This comparison refers more to the visual lure, that draws the viewer like a maelstrom into the tableau.


Despite her young age, the artists legion of fans and followers comprise the most influential drivers in the world of fashion and arts. At the moment, the reclusive artist works on renaissance-inspired compositions imbued with indexial wealth and secrecy. Whatever Porodina is capturing, the artist creates a breathtaking presence.








The Hamburg-­‐born artist is something like the enfant terrible of the European fine art scene. Swinging between America and Germany, his early works are known for gripping theatrical lighting and a great lavishment of stage scenery and costume. His mind bubbles with plan and schemes, once he comes up with an idea, he removes all obstacles out of the way. He is the brain behind many heart-­‐stopping scenarios: he dips iconic hall-­‐of-­‐fame Champions League players in milk, infiltrates his protagonists into the main peleton of the legendary Tour de France or surprises entertainment giants like Lady Gaga or Linkin Park with a photoset in their own backstage area.


Stuht von Neupauer is allways ambigious, often awkward, rarely soft‐footed, but truly never petty. In his recent works he gives emphasis to more minimalistic compositons, creating unmatched pictorial silhouettes in beautifully scouted postmodern surroundings.





Working in a vast range of techniques and mediums spanning from paintings to wooden sculptures to visuals, Mela Feigenbaum conceived her self-reflected Oxymoron - a playground of black romance - long enough far away from the watchful eye of the media. In the light of her first movie premiere starring as herself and new screen roles brought to the table, this might change in the near future. 


Her works are a reflection of her obsessive nature, collaged  experiences of a life on the fast lane, a multisensory, yet heady glimpse in a tantalising  mindset. Her explosive use of candy-coloured pigments paired with electric lettering appear enigmatic and duplicitous.suggesting a hidden structure, wiping off  the distinction of surface and reality. Multiple layers stacked in psycholgical depth, mostly covered, sometimes obvious translate in sheer phisicallity.  



The latest series is filled with tantalising parallel existences: A flipbook full of magic tricks, a multifacettet Theatre of the Absurd. Feigenbaum generates a volley of connotations: mystic creatures, comic-like characters, soothsayers and shamanspuppets, geometrical shapes, cubes and balloons, recognizable human elements, distorted,  partly covered and partly exposed. Overloaded , surreal - an intoxicated never-never land, miniatures of a subconscious , non-linear Genesis of acrylic paint, pastel sticks and copper pigments.  




Lehmann investigates the whitespace between painting and objects, consistently reevaluating her approach to techniques and material. With her self-invented Thread-Drip-Painting, the Russian artist cracks every dogma of established frameworks within the  abstract circle. Using kilometers of acryl-soaked yarn or even copper wire, she builds up an abstract galaxie of network hubs, establishing  a dichotomous grid square reference with enough room for interpretation. Throughout the process, she stays open, stringing together a staccato set of lucid moments. Her series draw the substance and the energy of the relentless workload she undertakes while she is in her studio. Her exhibition themes unfold a  dichromatic colour scheme, everything stripped to its essentials. 


Malevich's Suprematism is fundamentally opposed to the postrevolutionary positions of Constructivism and materialism. Constructivism, with its cult of the object, is concerned with utilitarian strategies of adapting art to the principles of functional organization. Under Constructivism, the traditional easel painter is transformed into the artist-as-engineer in charge of organizing life in all of its aspects.


Lehmann wendet für die Erschaffung ihrer skulpturalen Werke die einmalige Technik des Thread-Drip Paintings an. Unzählige Fäden (Nähgarn) kreuzen und vernetzen sich, bilden eine organische Welt, die trotz der Monochromie und in Acryl erstarrter Dinglichkeit mit beweglichem Leben durchtränkt ist. Die eigenwilligen Kunstobjekte transzendieren die leinwandhafte Zweidimensionalität; das chaotische Farbfadengewirr wird wesenhaft, es formt sich gleichsam zu einem einzigartigen Kunstwesen aus, das in einem magischen Raum zwischen Objekt und Malerei eine Eigenexistenz zu führen beginnt. Nachdem Phantasie und handwerkliches Können das „Wesen“ geformt haben, wird es frei für jegliche Auslegung und Deutung, frei auch für jede mögliche Betrachtungsweise und –perspektive, kurz: Frei für spontanes Kunsterleben. Vielleicht ist das, was da zu sehen ist, eine schattige Hügellandschaft, vielleicht auch ein zerknittertes Tuch oder einfach nur ein geschickt geknüpftes Netz – genau diese ständige Wandelbarkeit macht den Zauber von Katharina Lehmanns Kunstobjekten aus. Indem sie dem Betrachter die Eindeutigkeit verweigern, weisen sie auf das Faszinosum Leben hin