© 2016 Galerie KUNSTKOMPLEX
KIM DEMUTH EXODUS
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EXODUS “What's this war in the heart of nature? Why does nature vie with itself? The land contend with the sea? Is there an avenging power in nature?“ The 1998 film The Thin Red Line's opening scenes are almost of a world as close to an Eden we could imagine. But in that tropical garden the camera glides past a tree being strangled by a vine, accompanied by the protagonist's poetic soliloquy. We come to realise we too are that 'nature'. Exodus works are about humans' ability to mimic this paradox of nature, to both create and destroy, to bear life and take it, to build and to bomb. Much of my previous works are born out of the beauty found in internal abandoned or absent spaces, so these new works are from the 'outer' rather than the 'inner'. They peruse the surfaces of buildings held within ravaged landscapes, caused not by the nature that surrounds us, but by the nature that is found within us. We have had much chaos in our world, much pain and suffering, but I think inside all that, there is also tremendous beauty. We cannot know one without the other, or so nature teaches us. Out of war comes peace, for a time at least. We travel the world as tourists and visit the relics of the past, half standing castles, eroded churches and such, and look in awe at the beauty we both built and destroyed in our past. It is a kind of ad infinitum we are destined to repeat. We build our world only to take it down again, and in that chaos vast populations of people are forced to move, to leave their homes, empty towns and cities abandoned of the life that once was. There is a romance held in the fallen, but it is one of tragedy, a poetry of tears and memories that drift away in time. Out of the rubble, they return and build again. Nature giveth, Nature taketh away... Kim Demuth, 2016
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EXODUS “Warum herrscht dieser Krieg im Herzen der Natur? Warum bekriegt die Natur sich selbst? Kämpft das Land gegen die See... Gibt es eine rächende Kraft in der Natur?“ So beginnt der Film „Der schmale Grat“ (1998), begleitet von Bildern einer Welt, die so nah an einem Garten Eden ist, wie wir ihn uns nur vorstellen können. Aber in diesem tropischen Garten wird ein Baum von Ranken erdrosselt, und wir realisieren, dass auch wir diese „Natur“ sind. Die Exodus Arbeiten handeln von der Fähigkeit des Menschen dieses Paradox der Natur zu imitieren, zu erschaffen und zu zerstören, Leben zu geben und zu nehmen, zu erbauen und zu zerbomben. Viele meiner vorherigen Arbeiten entstanden aus der Schönheit, die ich in verlassenen Orten gefunden habe. Diese neuen Arbeiten kommen mehr vom „Äusseren“ als vom „Inneren“. Sie durchstossen die Oberfläche von Gebäuden inmitten verwüsteter Landschaften, und zwar nicht von der Natur verwüstet, die uns umgibt, sondern der Natur, die wir in uns haben. Wir hatten eine Menge Chaos in unserer Welt, viel Schmerz und Leid, aber für mich steckt in all dem auch eine entsetzliche Schönheit. Wir können das eine ohne das andere nicht kennen, so lehrt es uns die Natur. Aus Krieg entsteht Frieden, zumindest für eine Zeit. Wir reisen als Touristen durch die Welt und besichtigen die Reliquien der Vergangenheit, Schlossruinen, verfallene Kirchen und so weiter und sehen voll Ehrfurcht auf diese Schönheit, die wir sowohl erschaffen als auch zerstört haben. Es ist eine Art ad infinitum, zu deren Wiederholung wir bestimmt sind. Wir erbauen unsere Welt, um sie wieder abzureissen, und in diesem Chaos sind ganze Völker gezwungen umzuziehen, ihre Heimat zu verlassen, leere Dörfer und Städte zu hinterlassen, verlassen von dem Leben, das es dort einst gab. Dennoch ist da eine Romantik, aber es ist eine tragische Romantik, eine Poesie der Tränen und Erinnerungen, die von der Zeit verweht werden. Aus den Trümmern kommen sie zurück und erbauen Neues. Natur gibt – Natur nimmt... Kim Demuth, 2016
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At first glance, Kim Demuth’s new series Exodus presents abstracted shapes in subtle shades of grey and muted tones of colour. Only on closer inspection is the viewer able to clearly discern buildings, streetscapes and people. The images depict scenes from war zones from Europe's past and more current images particularly from the Middle East, displaying destroyed urban architecture and at times a handful of people fleeing from, or moving within these spaces. Exodus is a clear departure from Demuth’s previous works. Series such as Industrial Zen or Camino were mostly describing the beauty the artist found and photographed in internal abandoned spaces, thus responding to an ‘inner’ rather than an ‘outer’ world. Exodus visibly centres on the latter, perusing the surfaces of buildings held within ravaged war torn landscapes and implicitly focusing our attention on the absence of its inhabitants.
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In 2015, the UNHCR reported 15,1 million refugees worldwide. More than a million migrants and refugees crossed into Europe by sea or land, often under horrifying and traumatic circumstances. Demuth speaks of his ‘moral obligation as an artist’ to respond to this crisis, and through his artistic interpretation initiate and deepen the dialogue about these events. It is not surprising that the issue of forced migration strikes a particular cord with the artist, being the son of a WWII child himself. Demuth’s father, who was removed from his French home during the war, subsequently led an itinerant lifestyle and, as an avionic engineer moved around with his own family for most of his life.
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Growing up in different countries and changing schools multiple times, the artist himself never felt comfortable to put down roots or forge long-term relationships until well into his adulthood; circumstances which have undoubtedly influenced his professional choice, his way of working and – last but not least – his visual language. Demuth is a trained sculptor, but maintains that he is no photographer despite having worked around the photographic medium for the last decade. The fact that within today’s artistic practice the boundaries between painting, sculpture, photography, video and installation are becoming increasingly fluid and dissolving, undeniably works in Demuth’s favour. With Exodus he once again demonstrates his aptitude to successfully experiment between these spaces.
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In this new series, the artist constructs his imagery via an elaborate work process. He sources visual material from the Internet through countless hours of watching amateur video footage from mobile phones and cameras, sometimes even placed upon tanks. Employing Photoshop, he then strips the images back, redraws and digitally paints them. Finally, he places the resulting archival inkjet prints behind acrylic. This unusual and unique working process produces a subtle optical effect that encourages the illusion of a visual space, oscillating between 2D and 3D points of view. The deliberate distortion of the original images in terms of form and visibility leaves the viewer being drawn in and blocked at the same time. As a result our perception is forced to slow down, offering a new perspective of a world where nothing is certain anymore.
Maren Gรถtzmann Visual Artist and Arts Project Manager 13
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before EXODUS
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NOCTURNES
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Much of my practice has focused upon the notion of escape, as in a way out off where we find ourselves. I often reflect upon Plato's allegory “The Cave”, in that it is a way of explaining our perpetual state of entrapment wherever we exist upon this planet. The lure of the unknown, ambivalently coupled with the fear of what it may hold, seems ever-relevant with the pace of technology and our extending ability to shift beyond our earthbound past. I never saw visual art as a way out, but more a means to build or create a perceptual route. In 2013, the Nocturne works begun. These are simple sculptural works made of paper and image, moulded to offer an escape route via a portal, towards a promise of something bigger than we can know. Nocturnes also reflect upon the origins of photography, a black and white beginning. As a child born into a world of colour photography, I saw black and white images from somewhere else – kind of here but not really. One of the greatest visual impacts upon my small child's mind was when black and white peeled into colour in 'The Wizard of OZ”. In Nocturnes, the hints of colour are a way of bridging to the outer world - I utilise photographic imagery to mirror this world and warp or tweak it to suggest a passage to another.
Kim Demuth
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Hotels, motels, pensions and so forth offer a place to rest for a price. We pay for this how we can, but whatever the comforts may be, the adorning artworks are mainly decorative features to fill negative space. However, when enclosed in these rooms with few windows, our attentions are drawn towards these works in a kind of futile attempt to penetrate the walls that contains us. In our age of money, the artworks within these spaces often determine their prestige and for that honour we pay a hefty price. Fine furniture and comfort surely must be accompanied by sufficient visual treats. Even the most modest of temporary accomodation provides visual stimuli such as cheap prints, ikea paintings and general knick-knacks, all aiding the perception that we are actually cared for by the staff and its management. Hotels in particular are much like a transient human hive creating temporary, generic spaces with little evidence of the thousands of lives that haved passed through them. In many ways it is only the artwork within that in some meager attempt, personalizes them. And for that matter, artworks become essential components within these depersonalized rooms, creating a sense of the human mark and gesture upon them. The television or radio may provide a temporary distraction from the loneliness held in these spaces, but they leave us – pictures don’t – we leave them.
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HIVE
Each image has been sourced from various guest’s personal pictures of hotel rooms. To emphasize the cell-like nature of these spaces, each image has been manipulated to create a monochromatic surveillance camera aesthetic. An artwork in each room remains in colour, eluding to a window or connection to the outer world. The perceptual illusion of depth in these works stimulates the viewer’s sense of physical space, encouraging the experience of an unknown memory.
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SECOND HAND POSE
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PERSONS UNKNOWN
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Kim Demuth utilises images of both his own but also found, often resourced from old albums that bare little to no trace of their origins. He became interested in vernacular photography from early on, as a means of exploring the space, the worlds of others, but from a distance. Because there is little other than what we see in an unknown image, we have to contribute our own imagination to it. He has developped an optical device to drive his imaginary into the realm of illusion, oscillating between 2D and 3D points of perception – creating an interspace; neither here or there, an ’in between world’ of sorts. The illusionary photographic image is mainly a way of examining and portraying a reflection of the outer world. Like a distorted mirror, his photographic images stare back and query our own skewed perceptions, not to provide answers, but to encourage questions. Most of his practice has been focused upon the notion of escape, as in a way out off where we find ourselves. He never saw visual art as a way out, but more a means to build or create a perceptual route – and to finally realize that we are trapped within an illusion.
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영국에서 출생한 킴 데무스는 10대때 그의 가족과 함께 호주에 정착하기 전까지 전세계를 누비며 유년시절을 보냈다. 1999년에 그는 호주의 퀸즐랜드공과대학에서 Visual Art(학사)를 전공하여 졸업하였다. 데무스의 작품 대다수는 탈출이란 화두에 근원을 두고 자기 자신을 찾는 곳으로부터 벗어나려 한다. 그는 예술을 탈출구가 아닌 지각적 경로를 쌓는 도구로 보았으며, 그 환상은 그의 예술적 관습에 지속적으로 영향을 미친다. 그의 작품들은 마치 우리가 아는 것보다 더 거대하고, 위대한 것이 있다는 약속과도 같다. 작품 내에는 memento mori (죽음을 기억하라) 라는 자의식이 자리잡고 있어, 불가피한 우리의 ‘출발‘은 우리의 ‘시작‘을 하고자 하는 욕망과 함께 영원히 혼란스럽게 공존하고 있다는 것을 그려낸다. 그는 그가 직접 제작한 이미지와 찾은 이미지를 사용하지만, 공통점이 있다면 결과물이 본래의 모습과는 판이하게 다르다는 것이다. 작가는 이미지들을 능란하게 조작하여, 완성품이 디지털 회화라고 보일 수 있을 정도로 바꾸지만, 그의 작품의 중요성은 기법도 원산지도 아닌, 결실이다. 데무스가 어떤 재료나 기법을 사용했던지 간에, 관객 안에 ‘타자‘의 존재의 믿음을 심어주는 것이 관건이다. 작가는 관객이 자신이 시각적으로 속았다는 것을 이해하면 그 이해가 외부 세계에도 작용을 한다고 믿는다. 이로써 우리는 모두 환상의 세계에 갇혀있는 것이다.
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KIM DEMUTH 킴 데무스 Geboren in UK. Studium an der Queensland University of Technology (Australien). 1999 Abschluss (BA Honours) in Bildender Kunst. Born in the UK. Graduated from Queensland University of Technology (Australia) in 1999 with a BA (Honours) in Visual Arts. 영국에서 출생한 킴 데무스는 10대때 그의 가족과 함께 호주에 정착하기 전까지 전세계를 누비며 유년시절을 보냈다. 1999년에 그는 호주의 퀸즐랜드공과대학에서 Visual Art(학사)를 전공하여 졸업하였다.
Stipendien – Preise – Förderungen | Grants & Awards | 수상 2015 THE SOVEREIGN ASIA ART PRIZE (Nominated by Gael Newton) 2014 GRACEVILLE SUBURBAN PROJECT (Short listed For Public Artwork-TBA) 2011 ROYAL BRISBANE & WOMENS HOSPITAL BUSWAY STATION (Platform: Public Art Installation) 2010 ARTS QUEENSLAND GRANT (Career Development) 2009 METRO ARTS (Permanent artwork commission) 2009 CLAYTON UTZ TRAVELLING ART PRIZE (Short-listed) 2008 SYDNEY THEATRE COMPANY Artistic imagery for the theatre production of Manna 2008 QUEENSLAND STATE ARCHIVES (Public Artwork for building extension, Brisbane) 2007 DURACK FIRE STATION (Public Artwork for new building) 2006 OLD MUSEUM OF BRISBANE (Public Artwork) 2005 AUSTRALIA COUNCIL GRANT (Barcelona Residency) 2004 CHURCHIE CERTIFICATE OF COMMENDATION 2004 QLD MUSEUM'S NEW ENTRANCE (Short listed For Public Artwork) 2003 ARTS QUEENSLAND GRANT (New Work) 2001 AUSTRALIA COUNCIL GRANT, Collaborative Project for Apostrophe Ess Project 2001 ARTS QUEENSLAND GRANT (Professional Development) 2000 CHURCHIE CERTIFICATE OF COMMENDATION 1998 OBJECT MAGAZINE AWARD
Veröffentlichungen | Publications | 출판 2014 THE SYDNEY MORNING HERALD, (entertainment), Review for View from a Window 2014 GROUP CATALOGUE, View from a Window 2014 GROUP BOOK, Dusk to Dark 2014 L'OEIL DE LA PHOTOGRAPHIE, Photo LA; The changing nature of photography 2012 THE MELBOURNE ARTS CLUB (online), Artist Profile – Kim Demuth 2012 THE SATURDAY AGE (In the Galleries) Review for Industrial Zen 2012 TIME OUT MELBOURNE (critics choice) Industrial Zen Article 2012 ARTWEEK LA, Review for Flipside: Australian Photography 2012 ART IN AUSTRALIA, QLD Centre for Photography/Photo LA 2012 THE SATURDAY AGE (In the Galleries) Review for Orientation 2011 GROUP CATALOGUE, Open Sky 2011 EYELINE, Review for Second Hand Pose: Portraits of the Unknown 2010-11 INDIVIDUAL CATALOGUE, Camino 2010 M.S.S.R Exposure DVD, Volume 2 (Documentary and interview) 2010 LUCIDA, Review for Second Hand Pose: Portraits of the Unknown 2010 ART AND AUSTRALIA, Beam Contemporary 2010 GROUP CATALOGUE, Brave New World 2009 GROUP CATALOGUE, She's a Tough Old Broad – A Social History of Metro Arts 2008 SYDNEY MORNING HERALD, Manna 2008 ART MONTHLY AUSTRALIA, Preview for Time Date Space 2008 ART AND AUSTRALIA, QLD Centre for Photography at the 17th Photo LA 2007 ARTLINK, Review for Topsy 2006 EYELINE, Feature article Into the Abyss: The mirror works of Kim Demuth 2006 ARTLINK, Review for Signs of Life 2006 ART COLLECTOR, Preview for Signs of Life 2005 MACHINE, Blood, Beauty and the Black Period, Interview by Kris Carlon
Sammlungen | Collections | 작품소장 Artbank Artspace Mackay, Daryl Hewson Photographic Collection Metro Arts, Brisbane Old Museum of Brisbane Paul Greenway Gallery, Adelaide Queensland Centre for Photography Queensland State Archives Ryan Renshaw Gallery, Brisbane Van Halen Family Collection, USA
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Einzelausstellungen | Soloexhibitions | 개인전 2016 EXODUS, Galerie Kunstkomplex, Wuppertal, Germany 2015 INDUSTRIAL ZEN, Ipswich Art Gallery, Brisbane, Australia 2013 CAMINO, Queensland Centre for Photography, Brisbane, Australia 2012 INDUSTRIAL ZEN, Beam Contemporary, Melbourne, Australia 2011-12 CAMINO, Art Space, Mackay, Australia 2010 CAMINO, Beam Contemporary, Melbourne, Australia 2010 SECOND HAND POSE: Portraits of the Unknown, Jan Manton Art, Brisbane, Australia 2008 TIME DATE SPACE, Jan Manton Art, Brisbane, Australia 2006 SIGNS OF LIFE, Jan Manton Art, Brisbane, Australia 2004 4D, Esa Jaske Gallery, Sydney, Australia 2004 OVER AND OUT, The Farm, Brisbane, Australia 2003 PERCEPTION DECEPTION, GALLERY 482, Brisbane, Australia 2003 SEEING YOU SEEING ME SEEING YOU, IMA, Brisbane, Australia
Gruppenausstellungen | Groupexhibitions | 그룹전 2016 SCENES, Keumsan Gallery, Seoul, Korea 2016 SCOPE BASEL, Basel, Switzerland 2016 SOAF, Seoul, Korea 2016 KOELNER LISTE, Cologne, Germany 2016 SELEKTION, Galerie Kunstkomplex, Wuppertal, Germany 2015 SPOON artfair, Seoul, Korea 2015 SCOPE Miami Beach, Miami, USA 2015 ART EDITION, Hongik University, Museum of Art, Seoul, Korea 2015 P/REVIEW, Galerie Kunstkomplex, Wuppertal, Germany 2015 KIAF, Seoul, Korea 2015 INCIDENCE, Limited Space Gallery, Gold Coast, Australia 2015 CHEONGJU artshow, CHEONGJU, Korea 2015 AHAF, Seoul, Korea 2015 COLLECT AND CONSTRUCT, Gatakers Artspace, Maryborough, Australia 2015 SCOPE BASEL, Basel, Switzerland 2015 PHOTO CONTEMORARY (with QCP), Los Angeles, USA 2015 PHOTO LA (with QCP), Los Angeles, USA 2014 PART ONE, Galerie Kunstkomplex, Wuppertal, Germany 2014 VIEW FROM THE WINDOW, Wallflower Photomedia Gallery, Mildura, Australia 2014 VIEW FROM THE WINDOW, Edmund Pearce Gallery, Melbourne, Australia 2014 DUSK TO DARK, Queensland Centre for Photography, Brisbane, Australia 2014 DUSK TO DARK, Toowoomba Regional Gallery, Queensland, Australia 2014 PHOTO LA (with QCP), Los Angeles, USA 2013 WORKS ON PAPER, Dirty Linen Gallery, Bundaberg, Queensland, Australia 2013 TREASURES: the art of collecting, Queensland Centre for Photography, Brisbane, Australia 2013 PHOTO LA (with QCP), Los Angeles, USA 2012 NORTH BY NORTHEAST, Depot Gallery,Sydney, Australia 2012 FLIPSIDE: Australian Photography, Project A7 Gallery, Santa Monica, USA 2012 ORIENTATION, Beam Contemporary, Melbourne, Australia 2012 PHOTO LA (with QCP), Los Angeles, USA 2011-12 SYNCHRONICITY, Grafton Regional Gallery, New South Wales, Australia 2011 JUST IDEAS, Dirty Linen Gallery, Bundaberg, Queensland, Australia 2011 TURN AROUND, Schwartz Gallery, London, UK 2011 FAST FRIENDS (Pace Project), Brisbane Institute of Art, Brisbane, Australia 2011 OPEN SKY, Metro Arts, Brisbane, Australia 2011 PHOTO LA (with QCP), Los Angeles, USA 2010 PUBLIC SALE Kunst Pavilion, Munich, Germany 2010 INTERACTIVE REACTIONS, Glow Gallery/City Studios, Brisbane, Australia 2010 BRAVE NEW WORLD, Queensland Centre for Photography, Brisbane, Australia 2010 TRANSFUSION, PS Gallery, Brisbane, Australia 2010 PHOTO LA (with QCP), Los Angeles, USA 2009 SYNCHRONICITY, Toowoomba Regional Gallery, Queensland, Australia 2009 SHE'S A TOUGH OLD BROAD – A Social History of Metro Arts, Brisbane, Australia 2009 SECOND SKIN, Queensland Centre for Photography, Brisbane, Australia 2009 PHOTO LA (with QCP), Los Angeles, USA 2008 NETZWORK’S CHANGED CONDITIONS AHEAD, Jugglers Gallery, Brisbane, Australia 2008 PHOTO LA (with QCP), Los Angeles, USA 2007 TOPSY, Metro Arts, Brisbane, Australia 2006 TOP TEN, Gadens Law Firm, Brisbane, Australia 2006 HIGH LIGHT, Blindside Gallery, Melbourne, Ipswich Art Gallery, Metro Arts, Brisbane 2005 ART, DESIGN & CRAFT Biennial, Brisbane City Hall, Brisbane, Australia 2005 JOURNEY, the block, QUT, Brisbane, Australia
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BILDNACHWEIS
Seite 4 Seite 7 Seite 8 Seite 9 Seite 10 Seite 11 Seite 12 Seite 13 Seite 14 Seite 15 Seite 16 Seite 17 Seite 18 Seite 19 Seite 20 Seite 21 Seite 22 Seite 26 Seite 27 Seite 28 Seite 29 Seite 32 Seite 33 Seite 34 Seite 36 Seite 37 Seite 38 Seite 39 Seite 40 Seite 41
Exodus 1, 2016, 40x96x3 cm (15.7x37.8x1.2“) Exodus 2, 2016, 96x84x3 cm (37.8x33.1x1.2“) Exodus 3, 2016, 96x60x3 cm (37.8x23.6x1.2“) Exodus 4 (Triptychon), 2016, 151x96x3 cm (59.4x37.8x1.2“) Exodus 5, 2016, 97x40x3 cm (38.2x15.7x1.2“) Exodus 6, 2016, 97x62x3 cm (38.2x24.4x1.2“) Exodus 7, 2016, 97x47x3 cm (38.2x18.5x1.2“) Exodus 8, 2016, 56x36x3 cm (20.9x14.2x1.2“) Exodus 9, 2016, 61x36x3 cm (24x14.2x2“) Exodus 10, 2016, 46x35x3 cm (18.1x13.8x1.2“) Exodus 11, 2016, 48x35x3 cm (18.9x13.8x1.2“) Exodus 12, 2016, 24x50x3 cm (9.4x19.7x1.2“) Exodus 13, 2016, 49x35x3 cm (19.3x13.8x1.2“) Exodus 14, 2016, 47x35x3 cm (18.5x13.8x1.2“) Exodus 15, 2016, 35x35x3 cm (13.8x13.8x1.2“) Exodus 16, 2016, 66x35x3 cm (26x13.8x1.2“) Exodus 17, 2016, 35x35x3 cm (13.8x13.8x1.2“) Nocturnes 3 (sideview), 34x26x5 cm (13.4x10x2x2“) Nocturnes 6 (sideview), 37x24x5 cm (14.6x9.4x2“) Nocturnes 1, 2013-2016, 35x23x5 cm (13.8x9.1x2“) Nocturnes 2, 2013-2016, 30x28x5 cm (11.8x11x2“) Nocturnes 11, 2013-2016, 38x40x6 cm (15x15.7x2.4“) Hive (Detail), 2010 , 80x224x1 cm (31.5x88.1x0.4“) Hive, 2010, 80x224x1 cm (31.5x88.1x0.4“) Francis, 2010, 49x49x3 cm (19.3x19.3x1.2“) Miranda, 2010, 49x70x3 cm (19.3x27.6x1,2“) Ruth, 2010, 83x53x3 cm (32.7x20.9x1.2“) Roberto, 2013, 50x83x4 cm (19.7x32.7x1.6“) Sonya, 2015, 39x95x4 cm (15.4x37.4x1.6“) Her, 2015, 31x40x2,5 cm (12.2x15.7x1“) Him, 2015, 31x40x2,5 cm (12.2x15.7x1“) Cathy, 2015, 70x58x4 cm (27.6x22.8x1.6“) Mother Moon, 2015, 50x93x4 cm (19.7x36.6x1.6“) Maria Amour, 2014, 40x95x4 cm (15.7x37.4x1.6“) Connie Quakes, 2014, 40x95x4 cm (15.7x37.4x1.6“)
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IMPRESSUM
Herausgeber: Galerie Kunstkomplex Fotos: Kim Demuth Texte: Kim Demuth Text (Seite 10-13): Maren Götzmann Übersetzung (Seite 41): Joorhee Kwon Auflage: 500 Exemplare
Veröffentlicht anlässlich der Ausstellung: KIM DEMUTH - Exodus 02. September – 20. Oktober 2016 Wuppertal
Umschlag: Kim Demuth, Exodus 13 2016, skulpturale Fotografie, 49x35 cm
© Galerie KUNSTKOMPLEX / Nicole Bardohl Wuppertal, 2016
GALERIE KUNSTKOMPLEX tel: +49 202 39 31 24 94
Hofaue 54 D-42103 Wuppertal Germany info@kunstkomplex.net www.kunstkomplex.net Gallery Director&Owner: Nicole Bardohl