Installation by Marco P. Schäfer

The collages reaching from wall to wall, floor to ceiling, or knife cuts of colorful paper strips of varying length, width, color and shape seem to set the walls vibrating, sometimes louder, sometimes quieter. There is no top, no bottom, no beginning, no end, but only the concentrated or more fragile power of form and color paired with the ephemeral lightness of the paper.

Whether sketch-sized or room-filling, Schaefer creates his works according to the same principle: the carrier is a white paper frame reinforced by basic forms. From sheets of high-quality paper previously coloured with acrylic, Schaefer cuts various strips and shapes with a cutter knife, which are initially rather spontaneously intuitive, later arranged in precise steps and fixed with glue. In this working phase Schaefer transforms into a Pollock of paper: concentrated, in constant movement and following his inner music he creates his large formats.

For Schaefer is actually a draughtsman, inspired by the common visual language of advertising and comics. But he is also influenced by the baroque style of churches, with their overflowing forms, as he knows them from his old South German homeland. In his work, this overflowing, almost psychedelic-looking, meets the strictly formalistic. Thus his works often seem almost “loose and light” despite their severity.

“The compositions can be read from left to right, from right to left, from top to bottom, reversed or mirrored, even negatively, as letters, runes, notes, ornaments, codes, numbers, stencils, shadow theatre or speculative abstraction, empathy (Grominger), magic message (McLuhan), partisans (Mao) or pirates (Conrad). The compositions are very spontaneous and contain the complexity of my being”.




Sculptures Gabrielle Rossmer
Film Luther Price
Painting Sonya Gropman

05 / 03 / 20 until 14 / 04 / 20

This exhibition is about the object – specifically related to cooking and eating – as it embodies time, place, and meaning. Time (both present and past), place (here, in Germany – and there, in the U.S.), and meaning (the human experience including nourishment, loss, connection to the land, emigration, re-connection, creation, recreation). This exhibit is about today, as it has been informed by the past; about welcoming our own history as part of a living present.
When the Rossmer (nee Rossheimer) family (Gabrielle, a one-year old baby, along with her parents Erna and Stefan) fled Nazism in 1939, all of the objects from their home – from furniture, to linens to kitchenware — travelled in a lift van (a large, wooden moving crate) to New York City. Most of these objects survive today, and have been in continual daily use since then. There is an irony to the Nazi law which required Jews to pack their household items and then pay a tax on them (their own belongings!), as a way to create a discontinuation of Jewish life in Germany; this actually led, in our family at least, to a sense of continued connection to our family’s former life in Germany.
All three artists explore the same objects from different perspectives and in different media –sculpture, film and paint. Gropman’s work is brand new, Price’s is archival and Rossmer’s is new work that reflects its own history.

Rossmer and Gropman are mother and daughter. They are the co-authors of “The German Jewish Cookbook: Recipes & History of a Cuisine”, (2017, Brandeis University Press). They wrote it to preserve a food tradition that has largely faded, along with the culture of German Jews. Those who survived the 1930’s have almost entirely merged with the cultures of the lands to which they immigrated. The kitchen is the place where German-Jewish culture has been most clearly preserved, with families often maintaining some of the recipes of their mothers, grandmothers, and great-grandmothers (and sometimes, as in our family, grandfathers). That might include dishes for Passover (Pesach), the eight-day holiday that celebrates liberation and prohibits leavened food; Chanukah, when fried foods are eaten; Berches, the bread eaten for the weekly Sabbath, or other holidays.

Gabrielle Rossmer is a sculptor. In 1991 she created a multi-media installation entitled “In Search of the Lost Object” that was about her family’s history in Germany and subsequent emigration to the U.S. This work was exhibited in the city of her birth, Bamberg, Germany as well as at the Cathedral of St. John the Divine in New York City in 1994-5, and as part of the exhibition, “Witness and Legacy, Contemporary Art about the Holocaust” which travelled to many venues in the USA from 1995 to 2002. (Elements of this show are on permanent display in the Bamberg Historical Museum.) Rossmer’s work here is a continuation of where she left off 18 years ago. These sculptures are composed of colorless stiffened cloth. They refer to household objects, and are largely recognizable, yet have a fugitive, evasive quality which evokes past time. Rossmer lives in Massachusetts, USA

Luther Price is an experimental filmmaker whose work has been widely screened at museums and galleries in the U.S. and Europe, including the Museum of Modern Art and the 2012 Whitney Biennial, both in NYC. In Europe, his films are distributed by Light Cone in Paris. In 1991 he shot super 8 footage related to Rossmer’s “In Search of the Lost Object”, which included both household objects, and several members of the family. He created a 15-minute film from the footage, which is also titled “In Search of the Lost Object”. Price said “The objects were speaking to me when I filmed them. It knocked me over to know all these objects made it here (the U.S.). Objects hold so much meaning…in a way they are living.” Price’s film is screened in the gallery on a 15-minute loop. He lives in Boston, MA, USA

Sonya Gropman is a visual artist and writer. She has exhibited her work in the U.S. and published her writing in food-related publications in the U.S. Her work here focuses on the cooking utensils and foods that represent her family’s history, yet also reflect her daily activities in her own kitchen. She is interested in the connection to a place via food. Her images, painted directly onto the gallery wall, are silhouettes rendered in bright colours. The images are repeated, to create a stylized pattern that teeters between vintage and contemporary. Gropman lives in New York City.


La Grande Bouffe

La Grande Bouffe

A staged space about man, animal, lust and death
by Margret Eicher

The inspiration and starting point for Margret Eicher’s spatial production is the French-Italian feature La Grande Bouffe (The Big Eat) from 1973, directed by Marco Ferrera and starring Marcello Mastroianni, Michel Piccoli, Philippe Noiret, Ugo Tognazzi and Andréa Ferréol. In the film plot an almost solemn collective suicide is staged with excessive eating and sexual excess.

The Zagreus project shows a media tapestry, and a wall-filling ornament that also covers the surface of the dining table. The main motif of the tapestry shows shot red and wild boar citing Dutch still life painting in correspondence to female porcelain figures. The result is an erotic fluid in which the animal appears as a multi-layered projection surface of human desires. The alliance of sexuality and death is shown here in a surprising impression.


With friendly support


The staging of the dishes picks up elements from the present work of art as well as dishes from the film and combines them to a sumptuous menu with Italian and French influences from classical high cuisine.

1st gear
Egg as a symbol of death and resurrection
Brine eggs with herbs and liquorice
Baroque salad “chiaroscuro” with truffle vinaigrette

2nd gear
Italian stratification
tomato sugo
Tagliatelle all heirs
Salsa di Parmigiano

3rd gear
“You don’t die if you don’t eat”
Selle de Sanglier Prince Orloff
Sauce Soubise
Sauce Mornay
Puree of chips from the terre et des châtaignes

Casserole of lègumes à la provencale
Sauce Soubise
Sauce Mornay
Puree of chips from the terre et des châtaignes

4th gear
Dessert Andréa
Crème Bavaroise
crêpes suzettes
Crème Chantilly


Kochen bis der ARzT kommt

by Bodo Niggemann

06 / 11 / 19 to 28/ 11 / 19

Prof. Dr. Bodo Niggemann, who after a successful medical career (children’s and youth medicine with a focus on allergology and pneumology) and his retirement in 2017, is now presenting his artistic work, which he has pursued throughout his life in parallel.

In the Zagreus project, current works are exhibited, all of which consist of medical materials.


Bodo Niggemann’s profession as an allergologist is a steep one in order to illuminate the handling of allergens in food in the gastronomic field.

With a little humour we serve all allergens that have to be declared in a menu “for hyposensitisation”, where the guest has the free choice to eat the food that suits him well.


Fennel and tomato

All allergens:
Cereals containing gluten
Crustacean/soft animals
sesame seed
Sulphur dioxide/sulphites

medicinal herbs
Lemon verbena, bearroot, rosemary, tarragon, lemon balm, mint


Von Armen und Beinen

Von Armen und Beinen

Installation by Christina Paetsch

04 / 09 / 19 bis 02 / 11 / 19

For the exhibition we serve the menu “alles mit allem”

“Soljanka” mit Sepia, Oktopus und Basilikumsahne

Mangold und Spinatsalat mit gesulzter Spätlese,
Austern, Muscheln und Champignons mit Limonenvinaigrette

Kalbshaxe, Blumenkohl, Kopfsalatherzen, Spitzkohl und Zander
(Alles im Ganzen serviert und auf dem Tisch tranchiert)

Früchte in Bitterschokolade, karamellisierte Mandeln und Tonka Bohne



zagreus galerie koch kunst catering


An Installation by Ulrike Mohr

28 / 02 / 19 until 04 / 05 / 19

Knochenkohle Ulrike Mohr zagreus galerie koch kunst catering


Black Tempura with vegetables and leaves, pesto and vinaigrette

Fish with polenta, herbs, fennel and fermented walnut

Lamb: sausage, essence and fat
with beetroot and Port

Lakritz, coffee, chocolate and prunes



zagreus galerie koch kunst catering

Installation by Pierre Granoux
Plus works by Astrid Köppe and Aaron Rahe

29 / 09 / 18 until 25 / 11 / 18

zagreus galerie koch kunst catering

zagreus galerie koch kunst catering


The black bile

Lamb with red wine, molasses, sepia ink and horn of plenty,
Crèpinette with minced pork and marjoram,
Mussels with saffron vinaigrette,
Vegetarian: Beluga lentils with fried red cabbage


Roasted spelt soup with shallots and nutmeg,
Spelt milk with honey

Chicken breast and smoked chicken leg with thyme essence,
Fennel with licorice and galangal, white wine and coriander,
Dumplings with chestnuts and marjoram
Vegetarian: Fennel, Jerusalem artischocks, and la ratte potatoes with thyme essence,
dumplings with chestnuts and marjoram

Pears with honey and bärwurz, sweet fruits in white wine and caramelized almonds

zagreus galerie koch kunst catering

Alles immer wieder

zagreus galerie koch kunst catering

Alles immer wieder

Installation by Dorothee Berkenheger

15 / 02 / 18 until 28 / 04 / 18

zagreus galerie koch kunst catering



Some elements are taken out from former menus. The titels of these
exhibitions are in brackets. Every second element corresponds to the
first element of the following course

(sweet nothings)
1. Celery essence with celery powder 2. Poultry dumplings with truffle oil

2. Fish dumplings 3. Hay soupe with cream and champagne

(where the wild things are)
Beurre blanc with horseradish 4. Wine makers salad with potato and egg

(Zum Brunnenwirt)
Octopus with fennel and capers 5. Mousse with violet potatoes and walnut

Guinea-fowl with pumpkin seed oil, olive and rosemary 7. Zicorie with grapefruit

(Muschelmädchen und Amorettenschmelze)
Salsify root with black trumpet mushrooms 8. Risotto rosso with tomato, paprika and chili

Le Teurgoule Normande 1. Pear essence with rose water