TALKING HATS

TALKING HATS

Installation with ceramic hats by Beatrice Jugert

17 / 08 / 23 to 15 / 10 / 23

 

The exhibition Talking Hats presents a series of ceramic sculptures in the form of different headgear. The hat itself is a simple bowl shape and seems to reflect a skullcap, a space for thought or an empty vessel.

In each case, the hat takes on a representative function for a social group, a profession or different religions. The question of status is negotiated: can one’s own identity and group membership be chosen? How does the I find itself in the We?

Individual pieces from the collection are references to iconic personalities, others inspired by works of art in which hats are depicted.

 

 

The hat protects and warms; it conceals and reveals.
It is eaten out of the hats.
Let the meal begin …

 

To accompany the exhibition TALKING HATS we serve the following menu HAT MENU

 

For the aperitif: Vino Frizzante (Pet Nat) Codello

Stracciatella
With vegetable stock, egg, parmesan and breadcrumbs
2021 Furztrocken Riesling, Reis Winery, Mosel

– Dhal: Yellow lentil and pumpkin curry
– White beans with tomato, fennel and salsiccia
– Kritharaki (Greek rice noodles) with cooked corn poulard, lemon and rosemary
2020 Chardonnay Lösskindel, Demeter, Hubert Lay, Ihringen/Kaiserstuhl

Dumplings
– Pike-perch dumplings with sauce Nantua from Langostinos
– Arabian lamb meatballs with cumin and harissa sauce
– Baked cauliflower with lemon sauce
2021 “Orcio Più” Granaccia, Daniele Parma, Liguria, biodynamic

In a cylinder
Crème brûlée with tonka bean, caramelised walnuts
and berry confit with red currant sauce

 

LAYERS / FOLDS

LAYERS / FOLDS

Ceramics by Gabriele Künne

15 / 02 / 23 bis 15 / 04 / 23

Gabriele Künne has developed a tableware landscape for Zagreus Projekte that moves between utility ceramics and artistic ceramic objects. Ceramics as one of the oldest cultural techniques is repeatedly questioned by the artist in many ways. Traditionally and historically located in the practical, decorative and cultic spheres, artistic ceramics developed away from the vessel, the bowl, the cult figure at the beginning of the 20th century. It is no coincidence that the term ceramics comes from the ancient Greek:

keramos (κέραμος) – durable forms made of clay by firing, which were produced in the Athenian district of Kerameikos. Hollow moulds have always been the basis of utilitarian ceramics – but also of artistic ceramics, which must be treated similarly for processing reasons.

Gabriele Künne also works with hollow forms, but vases and vessels are quoted, satirised, the mechanisms of perception questioned. In addition to various hollow forms, she also works with surfaces that are rolled out evenly and then layered, folded, thrown and beaten. Traces of work remain visible and reveal the genesis, which moves between precise planning, processual articulation and so-called chance. A deep concentration on the possible result and a quick action determine the folding, the shaping, the object.

For the menu, the artist has made two sets:

Phiale (from the ancient Greek φιάλη phiálē, German ‘bowl’ is a flat sacrificial bowl without handles or feet in ancient Greece).
Patera (an equally shallow bowl used as a cultic vessel by the Romans in antiquity).

These sets are now topped and basted with a sequence of dishes in the Zagreus project.

Also on view is an artistic work, LAGER, which shows a repertoire of ceramic objects. For Gabriele Künne, abstract objects and object systems whose indeterminate and indeterminable forms develop out of urban experience play an essential role.

www.gabrielekuenne.de

MENU

To accompany the exhibition LAYERS / FOLDS the ceramic – sets “Phiale” and “Patera” are topped and poured with a sequence of dishes in the menu “Layering / Folding”.

Set Phiale

Lobster
Tomato
Pepper
Treviso
Aioli with Piment d’Espelette
Red wine

Set Patera

Aubergine
Miso

Sepia noodle
Lemon sauce

Gnocchi
Ragù

Polenta
Red onion

Desert

Sponge Pear Quince

Meerschaum-Gewoge

Meerschaum-Gewoge
Installations and sculptures by Miriam Lenk

25 / 02 / 22 to 25 / 04 / 22

Installations and sculptures by Miriam Lenk Opening on Friday, February 25 from 6:00 pm The gallery transforms into a mixture of coral reef and baroque cave. The front wall of the room is dominated by an altar-like installation and octopussy floats from the ceiling above the panel. There it continues to sway in the form of baroque plates and chalices, which seem to have freed themselves from Lenk’s sculptures. Guests can escape the cold Berlin February for an evening and recharge themselves aesthetically and culinarily in Meerschaum-Gewoge.

www.miriamlenk.de

Read also the article published in DEEDS.NEWS with a 3D presentation.
 

 

To accompany the exhibition we serve the menu

flow – pour – lay

The menu served in Miriam Lenk’s ceramics is a succession of dishes of different consistencies and colours that are placed or poured into the baroque-looking plates and goblets.

The waiter comes to the place and waters, pours or dusts the plate with another element of the menu, so that there is always eating up and renewing, and always different combinations and additions. A relay race of seafood and floral dishes.

Menu

Seaweed
Roe
Mussels
Fish
Fennel
Tarragon
Wild herbs
Yoghurt
Pepper
Aubergine
Walnut
Sweet potato
Onion

Ice cream
Pears
Cream
Puff pastry

 

ONE MORE TIME

ONE MORE TIME

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.

 

BENTO BOX IN THE SUPERMARKET

Bentobox Zagreus Koch Kunst Galerie Berlin

BENTO BOX IN THE SUPERMARKET

room drawing Werner Degreif
objects Uwe Sennert

07 / 10 / 15 until 21 / 11 / 15

The exhibition BENTO BOX IN THE SUPERMARKET is the second collaboration of Uwe Sennert (Berlin) and Werner Degreif (Mannheim). It is about food and goods display. Uwe Sennert creates objects made of expanding foam, plaster, cloth and colors, describing Bento Boxes and waffles.
The all over drawings of Werner Degreif are reduced on a black line, background for the objects of Uwe Sennert. Two and three dimensional objects appear are side by side.

Zagreus Koch Kunst Galerie

Menu

NACH DEM ESSEN INS HEIM
Home cooking at its best

Semolina dumplings in a chicken stock with vegetables and herbs
Baked pikeperch in a brew of white wine and lemon, potato salad, green salad with egg, red beet with honey
Beef roulade with mustard, pickled cucumbers and bacon, red wine sauce with cépe, potato dumplings and red cabbage with apples
Waffle Senn Cake with pumpkin seed parfait, cream and cassis

 

JAGD AG

Ein Panorama von Bruno Nagel und Ulrich Krauss

10 / 03 / 12 bis 14 / 14 / 03

Brett-anrichten-Kopie

Unter dem Titel JAGD AG zeigen wir eine Installation aus eigenem Anbau. Bruno Nagel und Ulrich Krauss haben aus eigenen Beständen Objekte zusammengetragen und in einer Arbeitsgemeinschaft (AG) ein Wandfries ausgearbeitet, daß unterstützt durch Textzeilen eine sehr freie Geschichte des Jagens und Nagens erzählt. Mit eingebaut sind auch Objekte aus vergangenen Ausstellungen des Zagreus-Projektes. Es wurden für das Menü in bildhauerischer Manier Landschaften aus Vollbretthölzern gefräst auf und in denen das Menü aufgetragen wird.

WO BACCHUS DAS FEUER SCHÜRT SITZT VENUS AM OFEN

www.sprachbehausung.de/

Jagd-AG-JPG-Kopie

Wildbret vom Holzbrett

1. Zander – Qitte – Apfel – hausgemachte Nudeln – Consommée

2. Reh – Wildschwein – Wildente – Steinpilz – Gemüse – zwei Saucen

3. Beeren – Joghurt – Honig

ERDUNG

22 / 06 / 01 bis 28 / 07 / 01

Ausstellung und Erzählung von Sibylle Ritter

Der Ausstellung liegt eine fantastische Kurzgeschichte („Blind Date mit einem Falter“*) zugrunde, die sich auf unterschiedliche Weise in den Raum einfügt. Die aus der Geschichte herausgelösten, in Bilder und Skulpturen übersetzten Momente, rahmen das kulinarische Geschehen, welches in den Augen der Künstlerin weit mehr ist als nur die Stillung von Hunger oder sinnlicher Genuss. Essen ist Erdung.

Erdung940

An Tischen, die nicht nur schweigend Aufserviertes tragen, sondern sich mit Worten in den Verzehr einmischen, wird der speisende Gast zum Zuhörer, dem sich der Text dezent mitteilt.