BERLIN.- Due to the opening of the new gallery space at the former Crematorium Berlin Wedding Galerie Patrick Ebensperger will present works by Zhivago Duncan, William Engelen, Philip Grözinger, Stefan Guggisberg, Benjamin Heisenberg, Benjamin Heisenberg/Clemens Krauss, Locust Jones, Clemens Krauss, Antje Majewski, Bjørn Melhus, David Moises, Hajnal Németh, Thomas Rentmeister, Isa Schmidlehner and Kei Takemura from September 21st to November 16th, 2013.

The opening takes place on Friday, the 20th of September 2013 at Plantagenstraße X in 13347 Berlin-Wedding, from 6 – 9 pm. The 14 artists show works that in part have been conceived especially for the new gallery rooms and that make a reference to its particular architecture.

The district of Wedding has a new art campus. New artists´ studios, galleries, companies in the creative field and project rooms are currently being set up on the premises of a former crematory. The Patrick Ebensperger gallery is one of the first to move into the new rooms in the former mortuary chapel - a sacral building of the 1930ies, influenced by expressionist architecture. The Patrick Ebensperger gallery thus enlarges its exhibition site to 1.000 qm and is able to present a large variety of artistic dimensions on several levels and in areas of different sizes - ranging from the cabinet to the hall.

In regard to its contents, the Patrick Ebensperger gallery focuses on young emerging contemporary art of different genres and formats and with no limitation to a specific medium - ranging from painting and sculpture to performance art, installation, video and film. Another focus of the gallery is on interdisciplinary projects that are not limited exclusively to the traditional artistic field. Moreover, the gallery cooperates with international curators, galleries and cultural institutions in order to conceive exhibitions and events. The new gallery rooms also create a unique atmosphere, in which artists, art lovers and collectors can not only engage in dialogue with each other but also on the exceptional characteristics of the surrounding architecture.

In 2005, Patrick Ebensperger founded his gallery in Graz. He focused on works of already established artists like Siegfried Anzinger, Franz Graf, Hauenschild Ritter and Walter Vopava as well as Austrian artists like Isa Schmidlehner and David Moises. He belonged to a new generation of Austrian gallerists that opened their spaces to discursive exchange and new experiences from different working methods. In 2010, Patrick Ebersperger moved his gallery to Berlin and continues to develop his program. The gallery takes part in international art fairs.

Artists featured in the opening exhibition
Zhivago Duncan, born in Terre Haute, USA, in 1980, is a painter, sculptor and installation artist. In his works that are often of large format, he tackles questions of classical philosophy and current socio-economic aspects. In a rough, colourful aesthetic, he combines past and contemporary genres - letters, pop art, graffitti, trash and street art.

William Engelen, born in Weert, Netherlands, in 1968, is an artist and composer. Through his experimental, performative working method he creates artworks on the border between music, architecture and visual art, installation and sculpture. With his multimedia-artworks he fathoms social spaces and observes the interplay between highly complex and simple every day events.

Philip Grözinger, born in in Braunschweig in 1972, creates surreal paintings with visual worlds and strange universes of their own. Through his expressive ductus, the delicate application of colour and an ironic stance, he composes bizarre sceneries and fantastic figures, both abstract and figurative. It is truly a mixture of styles, with an ambiguous, grotesque iconography that is open to free association and interpretation.

Stefan Guggisberg, born in Thun, Switzerland, in 1980, does not represent reality in his paintings, but rather the artistic process of image creation. Abstract colour structures as well as tangible objects and spaces create a silence, in which the human body begins to dissolve: a diffused world in constant transformation. The use of colour and structure are a fundamental part of the process and the act of creation and convey energy and liveliness to his paintings.

Benjamin Heisenberg, born in Tübingen, Germany, in 1974, is director, author and visual artist. In his feature and artistic films, screenplays and collages he takes a close look - at the individual, the formation of his character and his responsibility in the modern society. What kind of fears within the hierarchies and dependencies of private and professional relationships are being reinforced by requirements such as flexibility, the readiness to assume a risk and learning aptitude?

Locust Jones, born in Christchurch, New Zealand, in 1963, draws from different media such as internet, photo-journalism, films and newspapers for his expressive, monumental drawings and paper balls and reflects their topics and practices in a chaotic and striking way. One image flows into another, letters are assembled as headlines of a constant flow of consciousness and as a political commentary of the global every day life.

Clemens Krauss, born in Graz, Austria, in1979, works on the idea of man as a performative incarnation of social and medial experience. In his works that ranges from painting to performance, the human body becomes a metaphor for society, religion, politics and sexuality, in this sense being a mere projection screen. Through a pastose colour application, physicalness is transposed from the traditional genre of the two-dimensional image into a three-dimensional space.

Antje Majewski, born in Marl, Germany, in 1968, reflects on the individual in relation to society and history as well as socially fixed rules and specifications in her paintings, installations and videos. She deals with existential topics like friendship, love, masquerade, play, gender, death and mystery in her work. At the same time, she questions the essence of objects presented in museums through new classifications, systematizations and symbolic orders.

Bjørn Melhus, born in Kirchheim unter Teck, Germany, in 1966, deals with the critical reception of mass media in his short films and installations. He makes excessive use of footage from film and television and deconstructs stereotyped themes, figures and perception schemes by means of exaggeration. At the same time he splits up apparently fixedly defined relations between the medium and the spectator.

David Moises, born in Innsbruck, Austria, in 1973, masters the complex task to make things appear simple and plays with the importation and exportation of functions and contents. His work is characterized by the fact that it can be experienced very easily. The kinetic objects mostly have a mechanic function that reveals a satirized enthusiasm for technology. Thus they line up in a tradition of machine art ranging from futurism, Dada, Jean Tinguely to Roman Signer.

In her installations with video, audio and objects that work as a metaphor for economic and social crisis and their cultural consequences, Hajnal Németh, born in Szőny, Hungary, in 1972, deals with catastrophic events in the lives of individuals. Thus, her compositions prove to be deconstructions of existing systems and behaviour patterns.

Thomas Rentmeister, born in Reken, Germany, in 1964, composes his sculptures out of unusual materials - sugar, refrigerators, coffee, underpants, Nutella. Content and aspect of the summed up elements collide and create strong tensions of individual experience and memories of certain things. His minimalistic sculptures break up any kind of purism in a playful and ironic way.

Isa Schmidlehner, born in Vienna, Austria, in 1971, merges figures and landscape, elements of the art system and pictorial elements in her paintings, turning them into a playfully chaotic texture of colours. Even if they are airy, like a mirage, her paintings are not created out of an emotional act but are the result of a rational process.

In large-format-works and installations, Kei Takemura, born in Tokio, Japan, in 1975, addresses the act of remembering and conserving personal encounters and experience, places and objects as a transformal, performative process. She collocates her fragmentary images of memory on different levels and with various materials such as tracing paper, gauze and silk thread, putting them into a new order.