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Upcoming - 𝗝𝗼𝘀𝗲 𝗗à𝘃𝗶𝗹𝗮 Open Ground - 𝗨𝗹𝗿𝗶𝗰𝗵 𝗘𝗿𝗯𝗲𝗻 Interplay - Opening Nov 13th, 6–9 pm - › ᴘʀᴏᴊᴇᴄᴛ ꜱᴘᴀᴄᴇ @caprii__room
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#sieshoeke#exhibition#marceldzama#peppibottrop#josedavila#sculpture#ulricherben#painting#claudiawieser#oldenburgerkunstverein
Recent posts
| Opening Soon
𝗝𝗼𝘀𝗲 𝗗á𝘃𝗶𝗹𝗮
𝘖𝘱𝘦𝘯 𝘎𝘳𝘰𝘶𝘯𝘥
Nov 13th – Dec 18th, 2026
𝗢𝗽𝗲𝗻𝗶𝗻𝗴
Nov 13th, 2026
6 – 9 pm
An object is never entirely what it appears to be. Its identity is shaped not only by its material composition, but by the relationships it enters into: with other objects, with space, with gravity, and with the histories projected onto it. In José Dávila’s practice, form emerges through these relationships. Concrete, stone, glass, and metal retain their familiar identities even as their arrangements produce new structural and poetic possibilities. Rather than transforming materials into something unrecognisable, Dávila reveals how their meaning and function can change through the act of bringing them together.
In 𝘖𝘱𝘦𝘯 𝘎𝘳𝘰𝘶𝘯𝘥, Dávila presents two interconnected bodies of work developed over the past two years: paintings investigating the circle throughout art history, and sculptures built from the precarious conjunction of everyday and industrial materials. Both explore how existing elements acquire new significance when removed from their original contexts and placed into unfamiliar relationships.[…]
Excerpt from a text by Claire Koron Elat
Discover more at
sieshoeke.com
——————
Poster Detail
Design @l.catania
Courtesy the artist; VG Bild-Kunst, Bonn 2026; Sies + Höke, Düsseldorf
Photography: Tino Kukulies
#Josedavila #sculpture #exhibition #sieshoeke
11 Nov 2026
| Opening Soon
𝗨𝗹𝗿𝗶𝗰𝗵 𝗘𝗿𝗯𝗲𝗻
𝘐𝘯𝘵𝘦𝘳𝘱𝘭𝘢𝘺
Nov 13th – Dec 18th, 2026
𝗢𝗽𝗲𝗻𝗶𝗻𝗴
Nov 13th, 2026
6 – 9 pm
[…] In the late 1960s, Ulrich Erben began his series of White Paintings, rethinking perspective and geometry in favour of the picture plane, developed through numerous layers of colour, and transforming it into a dimension of chromatic depth. The interplay between space and surface, achieved through the translucency of colour, also led Erben to an expanded understanding of the very notion of the image. Thus, in the 1970s, the concept of the ‘picture within the picture’ became a tangible subject in his painting, as Erben began to incorporate what he termed marginal zones into his works. These zones form frames around the inner picture plane and, through subtle gradations of colour, for instance, draw attention to the painting’s own pictorial nature. […]
Excerpt from a text by Dr. Christina Irrgang
Discover more at
sieshoeke.com
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Poster Detail
Design @l.catania
Courtesy the artist; Sies + Höke, Düsseldorf
Photography: Tino Kukulies
#Ulricherben #painting #exhibition #sieshoeke
11 Nov 2026
Zeiten Zeichen Zusammenhänge
04 09 2026 – 15 11 2026
Fliesen werden zur Oberfläche einer Bar – und ein alltäglicher Gegenstand zum Kunstwerk.
Claudia Wieser verbindet geometrische Formen, Farbe und Material zu einer eigens für unsere Ausstellung gestalteten Arbeit.
Claudia Wieser
Bar, 2026
Glasierte Keramikfliesen auf MDF und Tischlerplatten, 2 tgl.
111 x 44,5 x 76,5 cm
179,5 x 44,5 x 51,5 cm
Courtesy die Künstlerin und Sies + Höke, Düsseldorf
Claudia Wieser
Ohne Titel, 2013
Blattgold, Buntstift auf Tonpapier
33 x 33 cm
Courtesy die Künstlerin
(s. Slide 3)
Ausstellungsansicht Zeiten Zeichen Zusammenhänge. Oldenburger Kunstverein, 2026. Foto: Roman März, 2026.
@claudia__wieser
@sieshoeke
@oldenburgerkunstverein
Veranstaltungen diese Woche:
Sa. 07.11. 11 Uhr
Sprachsensible Führung mit Vanessa Reis
So. 08.11. 13 Uhr
Öffentliche Führung mit Geraldine Dudek
#claudiawieser #oldenburgerkunstverein #bar #exhibition
04 Nov 2026
| @artissimafair
Hall Purple – Booth 1
Oct 30th – Nov 1st, 2026
Installation views | With works by
Talia Chetrit
Daniel Gustav Cramer
Justin de Verteuil
Marcel Dzama
Ulrich Erben
Magdalena Frauenberg
Hedda Roman
Paul Hutchinson
Laurent Le Deunff
Julius von Bismarck
Claudia Wieser
Xie Lei
__________
Courtesy the artists; VG Bild-Kunst, Bonn; Sies + Höke, Düsseldorf.
📸 | Maurizio Esposito
#torino #artissima #sieshoeke #contemporaryart
30 Oct 2026
HOUSE OF BALAGAN – JUBILÄUM!
10 Jahre Sammlung Philara 27.06.2026 - 14.02.2027
SPOT ON: MARCEL DZAMA
On the banks of the Red River (2006) ist eine der größten Arbeiten von Marcel Dzama. Sie besteht aus fast 300 handbemalten Keramikskulpturen, die in Aufbau und Anordnung an ein Diorama erinnern. Die theatrale Szene zeigt eine Gruppe Jäger bei Nacht, die ihre Gewehre wahllos in den Himmel, auf Fledermäuse, Vögel oder schwebende Köpfe richten. Um sie herum liegen bereits erlegte Tiere und Fabelwesen. Dzama erzeugt innerhalb dieser eingefrorenen Szene einen hohen Kontrast zwischen Niedlichkeit und Brutalität. Ähnlich wie eine Fabel oder ein Mythos verwischt die Installation die Grenzen zwischen Realität und Fiktion. So lädt die Arbeit u.a. ein, losgelöst von Kontexten und konkreten Einordnungen, über menschliche Gewalt oder den Umgang mit der Natur zu reflektieren.
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On the Banks of the Red River (2006) is one of Marcel Dzama’s largest works. It consists of almost 300 hand-painted ceramic sculptures, whose structure and arrangement are similar to a diorama. The theatrical scene depicts a group of hunters at night, aiming their rifles randomly into the sky at bats, birds, or floating heads. Around them lie animals and mythical creatures that have already been succumbed. Within this frozen scene, Dzama creates a sharp contrast between innocence and violence. Like a fable or a myth, the installation blurs the boundaries between reality and fiction. In this way, i.e., the work invites viewers to reflect on human cruelty and our relationship with nature, detached from specific contexts and concrete classifications.
Foto: Kai Werner Schmidt
#sammlungphilara #10yearsphilaracollection #houseofbalagan #marceldzama
28 Oct 2026
Premiere: SIEGFRIED✨
The mythical hero Siegfried was not born as a hero. At first, he was a young boy who grew up without parents and was raised by the stranger Mime. This is precisely what can be seen in the painting by contemporary artist @andi___fischer . His painting “Obacht! THE SOUND OF THE SECOND TRUMPET” was transferred in the workshops of the Bayerische Staatsoper in Poing onto a stage backdrop that serves as the curtain for the premiere of Tobias Kratzer’s production of SIEGFRIED.
How did the director come up with this idea, and how was the painting created on such a large scale? You’ll find out in this video.👆
📅Premiere: October 29, 2026
Additional performances: November 1, 4, 7, and 10, 2026
Munich Opera Festival: July 22 and 29, 2027
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Premiere: SIEGFRIED
Der mythische Held Siegfried ist nicht von Anfang an ein Held gewesen. Zunächst war er ein kleiner Junge, der ohne Eltern aufwuchs und von dem fremden Mime erzogen wurde. Genau das lässt sich in dem Bild des zeitgenössischen Künstlers @andi___fischer erkennen. Sein Bild „Obacht! THE SOUND OF THE SECOND TRUMPET“ wurde in unseren Werkstätten in Poing auf ein Bühnenprospekt übertragen, das bei der Premiere von Kratzers Inszenierung von SIEGFRIED als Vorhang dient.
Wie kam der Regisseur auf diese Idee, und wie entstand das Bild in diesen Dimensionen? Das erfahrt ihr in diesem Video.👆
*Andi Fischer, Sammlung Hildebrand / G2 Kunsthalle Leipzig. Andi Fischer wird vertreten von der Galerie Sies + Höke, Düsseldorf. @sieshoeke
📅Premiere 29. Oktober 2026
Weitere Vorstellungen 1., 4., 7. und 10. November 2026
Münchner Opernfestspiele: 22. und 29. Juli 2027
🎥 @petro.armstrong @denys_markijan
🎬 @denys_markijan
📸 @jelkavonlangen & @roman_goebel
#BSOsiegfried
28 Oct 2026
| On View
Peppi Bottrop
𝘌𝘮𝘪𝘵 𝘙𝘦𝘮𝘮𝘶𝘴. 𝘍𝘪𝘳𝘦 𝘞𝘢𝘭𝘬 𝘸𝘪𝘵𝘩 𝘔𝘦
Oct 15th – Nov 6th, 2026
𝘌𝘮𝘪𝘵 𝘙𝘦𝘮𝘮𝘶𝘴. 𝘍𝘪𝘳𝘦 𝘞𝘢𝘭𝘬 𝘸𝘪𝘵𝘩 𝘔𝘦 carries different landscapes within it. Bottrop’s roots in the Ruhr region, Germany’s historic center of coal mining and heavy industry, surface in the industrial materials and rusty metal. But these materials now point elsewhere. What once recalled coal, steel, and the crisis of industrial society shifts toward American imagery: Los Angeles, a city of oil, automobiles, and the promise of movement and freedom. […]
His sculptures resemble bizarre readymades from the iconography of the Wild West: glowing cattle skulls, wilted flowers, and rusty shovels—relics of an American mythology. Somewhere between totem pole and darkly humorous memento mori, they conjure a world in which nature, myth, and decay overlap.[…]
Bottrop counters this imagery of decay with the visceral energy of his canvases and copper plates. A sense of physical strain runs through their dynamic forms. At times, figures seem to emerge from the depths, driven by some invisible spark. The drawings scratched into the copper resemble memories etched deep into a life. They keep gathering and intensifying, only to break free and reform. Elsewhere, they dissolve into softer, painterly gestures that stretch across the surfaces like a long exhale. The tension begins to ease—a calm born not of control, but of letting go.
Here, 𝘍𝘪𝘳𝘦 𝘞𝘢𝘭𝘬 𝘸𝘪𝘵𝘩 𝘔𝘦 feels less like a call to overcome something than an invitation to accept it. And then there is Emit Remmus—“Summer Time” spelled backward. A touch of nostalgia, turned on its head. The path is no straighter than the form or content of Bottrop’s output. Detours welcome, the works seem to say. Not straight ahead, then, but backward, forward, around in circles, and starting over, again and again.
Excerpt from a text by Anneli Botz
Translation by Amy Patton
Discover the full text
sieshoeke.com
——————
Courtesy the artist; Sies + Höke, Düsseldorf
Photo: @studiokukulies
#peppibottrop #sieshoeke #exhibition
20 Oct 2026
| Opening Soon
𝗣𝗲𝗽𝗽𝗶 𝗕𝗼𝘁𝘁𝗿𝗼𝗽
𝘌𝘮𝘪𝘵 𝘙𝘦𝘮𝘮𝘶𝘴. 𝘍𝘪𝘳𝘦 𝘞𝘢𝘭𝘬 𝘸𝘪𝘵𝘩 𝘔𝘦
Oct 15th – Nov 6th, 2026
𝗢𝗽𝗲𝗻𝗶𝗻𝗴
Opening Oct 15th, 2026
6 – 9 pm
Peppi Bottrop’s work rarely sits still. Circles, arcs, and gestural marks cut, scored, and scratched into the copper gather into movements charged with physical intensity. Each line seems to record the force of its making. Alongside these are sculptures incorporating skulls—a quiet counterpoint.
𝘌𝘮𝘪𝘵 𝘙𝘦𝘮𝘮𝘶𝘴. 𝘍𝘪𝘳𝘦 𝘞𝘢𝘭𝘬 𝘸𝘪𝘵𝘩 𝘔𝘦 carries different landscapes within it. Bottrop’s roots in the Ruhr region, Germany’s historic center of coal mining and heavy industry, surface in the industrial materials and rusty metal. But these materials now point elsewhere. What once recalled coal, steel, and the crisis of industrial society shifts toward American imagery: Los Angeles, a city of oil, automobiles, and the promise of movement and freedom. The gleaming copper looks both precious and worn. You can almost smell the greasy motor oil beneath its surface and on the yellow-tinted canvases. Wires, rusty screws, oil, and fire bring an urban DIY aesthetic that could have come straight from a California backyard together with the material legacy of industrial labor.
The series title directly references David Lynch’s cult film 𝘛𝘸𝘪𝘯 𝘗𝘦𝘢𝘬𝘴: 𝘍𝘪𝘳𝘦 𝘞𝘢𝘭𝘬 𝘸𝘪𝘵𝘩 𝘔𝘦. Lynch’s enigmatic small-town world has something uncanny and hidden lurking beneath the American idyll. Bottrop’s works share this sense of the familiar turning strange, though often with a pull toward the absurd. His sculptures resemble bizarre readymades from the iconography of the Wild West: glowing cattle skulls, wilted flowers, and rusty shovels—relics of an American mythology. Somewhere between totem pole and darkly humorous memento mori, they conjure a world in which nature, myth, and decay overlap. The American dream and its material remnants sit side by side. […]
Excerpt from a text by Anneli Botz
Translation by Amy Patton
Discover more at
sieshoeke.com
——————
Poster Detail
Courtesy the artist; Sies + Höke, Düsseldorf
Photography: Tino Kukulies
#peppibottrop
09 Oct 2026
| @joaomariagusmao
João Maria Gusmão
𝘍𝘰𝘭𝘭𝘰𝘸𝘪𝘯𝘨 𝘵𝘩𝘦 𝘞𝘩𝘪𝘵𝘦 𝘛𝘪𝘨𝘦𝘳
Aug 28th – Oct 31st, 2026
Zachęta – National Gallery of Art, Warsaw
@galeria_zacheta
The exhibition’s title refers to the artist’s recent film The School of the White Tiger (2024), as well as to the metaphor of the “paper tiger”, popularised by Mao Zedong during the Cold War. The Chinese leader used the term to describe the atomic bomb and imperialism – phenomena that inspired fear and appeared all-powerful, but which, in his view, concealed an inherent weakness. For Gusmão, this motif becomes a point of departure for reflecting on illusion – both the illusion inherent in the nature of cinema, which creates the impression of movement from still images, and the illusions involved in our perception of the world. Through his films, the artist encourages us to look closely at how images are made, how they shape our experience of reality, and how easily we can succumb to their suggestive power.
As the artist João Maria Gusmão explains:
“There are regular tigers, striped ones, spotted ones, and those that are just plain paper tigers. Yet, these paper beasts possess all the stealth and cunning—perhaps even more so—than the real predators. Lurking in the forest, they crouch and pounce, flashing their tiger fangs to terrify us common folk working in the rice fields with our Bolexes.” […]
The exhibition presents more than a dozen analogue film works arranged across Zachęta’s lower galleries. Projected using modified 16 mm projectors, the films form a spatial installation in which moving images unfold at different scales and rhythms. Reimagined as an abstracted martial arts dojo, the gallery becomes a place of observation and training, where viewers are encouraged to move freely between works and discover unexpected connections between them.
Discover more at
sieshoeke.com
—————
Installation Views
Courtesy the artist; Zachęta – National Gallery of Art, Warsaw; Sies + Höke, Düsseldorf
Photography | Kuba Celej
#joaomariagusmao #zachęta #followingthewhitetiger
22 Sep 2026
FOCUS | @xxdgcxx
Daniel Gustav Cramer in conversation with Zeno Hölscher.
Spanning more than two decades, Daniel Gustav Cramer’s practice unfolds as an extended meditation on transience, perception, and the fragile threshold between presence and disappearance.
“[…] I think that’s what moves me most in your work – this awareness that everything is transient, and yet there is the insistence on looking, on paying attention anyway. When I look at your photographs or installations, I don’t get the sense that they try to hold on to time, but rather that they accompany it. They move alongside it, quietly, without trying to resist its flow. There’s a certain honesty in that – a form of acceptance, maybe even affection.[…]”
Zeno Hölscher, 2026
FOCUS is a format devoted to sustained attention: an ongoing series of long-form conversations and features exploring the practice of a single artist in depth.
Read the full conversation — link in bio.
————
Pictured:
𝘛𝘢𝘭𝘦𝘴 (𝘈𝘳𝘬𝘢𝘥𝘢 𝘉𝘦𝘢𝘤𝘩, 𝘚𝘵𝘢𝘳𝘪 𝘎𝘳𝘢𝘥, 𝘊𝘳𝘰𝘢𝘵𝘪𝘢, 𝘑𝘶𝘭𝘺 2019), 2026
4 C-prints
25,5 x 20,5 cm
28 x 22 x 2 cm (framed)
Edition of 5 + 2 AP
Courtesy: The artist; Sies + Höke, Düsseldorf
#FOCUS #danielgustavcramer #sieshoeke
16 Sep 2026
| @emilijaskarnulyte
𝗘𝗺𝗶𝗹𝗶𝗷𝗮 Š𝗸𝗮𝗿𝗻𝘂𝗹𝘆𝘁ė
Aug 21st – Nov 8th, 2026
Kunstmuseum St. Gallen, St. Gallen
@kunstmuseumsg
Emilija Škarnulytė transforms the Lokremise into an immersive, otherworldly landscape using film, light, and sculpture. The exhibition creates an experiential space in which science, fiction, and art intertwine against a vast cosmic backdrop, locating viewers somewhere between the technological present and a future that appears both promising and unsettling.
The artist turns her attention to places where technological utopias, political histories, and planetary timescales overlap. A central point of reference for the exhibition, one of the locations where Škarnulytė filmed, is the decommissioned Ignalina Nuclear Power Plant in Lithuania, a sister plant to Chernobyl. In its abandoned control room, a python glides across the buttons and switches of the control panel—an image of haunting beauty in which nature, technology, and the afterlife of the nuclear age converge.
The work leads viewers into a world where the human being is no longer centred but seen instead as only a small part of a much larger cosmic and geological system. The installation asks questions about radioactivity, control, technological promises, and the long-term traces of human intervention on Earth. In doing so, it does not formulate a clear vision of the future. Rather, it maintains a state of suspension, remaining open to wonder and fear, confidence and the loss of control, and dreams as well as precise diagnoses of the present.
Discover more at
sieshoeke.com
——————
Installation Views
Courtesy the artist; Kunstmuseum St. Gallen, St. Gallen; Sies + Höke, Düsseldorf
Photography | Stefan Altenburger
#emilijaskarnulyte #kunstmuseumstgallen #sieshoeke
11 Sep 2026
| @marceldzama
Marcel Dzama
𝘐𝘯𝘵𝘰 𝘵𝘩𝘦 𝘉𝘭𝘶𝘦
Sep 4th – Oct 9th, 2026
With 𝘐𝘯𝘵𝘰 𝘵𝘩𝘦 𝘉𝘭𝘶𝘦, Marcel Dzama invites, perhaps even implores, viewers to look at the world differently. In the artist’s work, blue and water are not merely elements of the landscape; rather, they become a way of apprehending the world, a “gaze of water,” to borrow Gaston Bachelard’s words: a way of seeing, dreaming, and thinking. If blue water flows throughout this exhibition and, more broadly, through much of Dzama’s work, it is also because it is profoundly connected to dreams, the imagination, and contemplation. For Gaston Bachelard, who wrote that „a single drop of water is enough to create a world,“2 water does not merely reflect the world; it is also a source of invention, creation, and transformation. Water dissolves the certainties of reality, opening up the realm of dreams. It is precisely this movement that seems to animate Marcel Dzama’s drawings. Through his drawings and paintings, he creates small theatrical scenes in which our familiar world is subtly distorted and gently unsettled, transformed into a nocturnal universe oscillating between comfort and unease. […]
Excerpt from a text by Jérôme Sans
Discover the full text
sieshoeke.com
——————
Installation Views Entrance, Empore and Souterrain
Courtesy the artist; Sies + Höke, Düsseldorf
Photography | @studiokukulies
#marceldzama #intotheblue #sieshoeke #exhibition
07 Sep 2026
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