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Interview with WOWwart Magazine London
Exploring the Universe Through Painting That Combines Tradition, Digital Culture, And Endless Imagination
Anne Wölk’s art merges Romanticism, digital aesthetics, and scientific curiosity, creating captivating cosmic narratives that reflect humanity’s longing for connection, existence, and the imaginative futures projected beyond Earth’s boundaries.
A nne Wölk’s artistic journey is nothing short of extraordinary, a testament to her boundless imagination and intellectual rigor. A Berlin-based painter with a cosmological vision, Wölk bridges the gap between the tactile traditions of classical painting and the futuristic complexity of digital aesthetics. Her work transcends the canvas, creating immersive landscapes that invite viewers to contemplate humanity’s place within the vast expanse of the universe.
With an academic foundation built at the prestigious Chelsea College of Art and Design in London and The School of Art and Design Berlin, Wölk’s practice reflects a deep integration of philosophy, astronomy, and media theory. Yet, what truly sets her apart is her ability to weave the sublime beauty of Romanticism with the pixelated textures of the digital age. Her cosmic landscapes are not merely representations; they are coded environments where light becomes data, color becomes emotion, and the boundaries between the real and the speculative dissolve.
Wölk’s dedication to her craft has led her to remarkable feats, from institutional solo exhibitions that explore celestial inquiry to the historic achievement of sending her artwork, Churyumov Gerasimenko, to the lunar surface. Her paintings are as scientifically curious as they are philosophically profound, offering a poetic meditation on existence, interconnectivity, and collective responsibility.
Anne Wölk’s visionary art redefines cosmic landscapes, combining masterful technique with groundbreaking concepts, bridging tradition with the infinite possibilities of innovation.
Through this conversation, we delve into Anne Wölk’s visionary approach, her exploration of humanity’s longing for cosmic connection, and her ability to translate complex digital phenomena into timeless, luminous art. Her perspective is as inspiring as her creations, a vibrant reminder of how art continues to shape our understanding of the universe.
Your work incorporates techniques of old masters but also references modern technologies and digital culture. How do you navigate the balance between tradition and innovation in your creative process?
I see tradition and innovation as two parallel systems of knowledge. Classical oil techniques give me a tactile grounding—an embodied sense of time, materiality, and continuity. Digital culture, by contrast, shapes how we process images today: through screens, algorithms, and unstable resolutions. My process merges these frameworks by treating painting as a hybrid visual language. I use traditional glazing and layered luminosity while absorbing the chromattic logic of digital artifacts and spectral gradients. The result is a dialogue between historical craftsmanship and contemporary modes of perception.
Many of your paintings explore themes of interstellar dust, starscapes, and planetary systems. What inspired your fascination with the cosmos, and how has it shaped your artistic vision?
My fascination began with childhood nights under rural skies, where the absence of artificial light created an almost mythic sense of scale. Later, scientific imagery from observatories and space missions revealed the cosmos as both data and poetry. This duality shaped my vision: the universe becomes a metaphor for longing and a structure for contemplating the fragile systems that sustain us. Painting the cosmos allows me to approach questions of orientation, existence, and the imaginative futures we project into the void.
Your compositions are influenced by Romanticism and Photorealism, yet you subvert traditional methods through conceptual depictions of light and color. Could you elaborate on this approach and how it defines your unique style?
Romanticism informs the emotive atmosphere of my work—the sublime, the ungraspable, the desire to transcend the visible. Photorealism provides formal precision and an attention to the photographic moment. I subvert these traditions by treating light as encoded information rather than natural illumination. Colors often mimic sensor-based readings, digital glitches, or wavelength data. This shifts the meaning of the landscape: instead of representing reality, it becomes a coded environment where perception, technology, and imagination intersect.
How has your time studying at Chelsea College of Art and Design in London and The School of Art and Design Berlin influenced your artistic journey and professional career?
Chelsea encouraged an intellectually rigorous, research-driven approach to practice. London’s cultural density exposed me to critical debates that challenged my assumptions about image-making. Berlin, with its raw immediacy and layered history, grounded my commitment to painting as both a conceptual and emotional medium. These two contexts shaped how I navigate institutional structures, articulate my ideas, and situate my work within global conversations in contemporary art.
Your art often references digital photographic mediums, capturing elements like aberrations, digital gaps, and compression artifacts. Can you explain the conceptual significance of these visual elements in your work?
These artifacts reveal the hidden structure of digital images—the glitches, losses, and algorithmic decisions that shape contemporary vision. They function as ruptures in the illusion of seamless perception. By translating these disruptions into analogue painting, I question how images assert truth or authority. Conceptually, they speak to the instability of knowledge in an era shaped by surveillance, data compression, and infinite reproduction. They also underscore the tension between human touch and technological mediation.
In both your institutional solo shows, “Questions for Heaven” and “The Island of Stars We Call Home,” what were the key messages or themes you hoped to convey to viewers?
Questions for Heaven explored the sky as a space of inquiry—spiritual, scientific, and existential. It positioned celestial observation as a human attempt to negotiate uncertainty. The Island of Stars We Call Home centered on cosmic ecology, inviting viewers to consider Earth as one temporary node within vast stellar processes. Together, the exhibitions examined how we construct meaning when confronted with the magnitude of the universe, and how cosmic thinking can reshape our sense of responsibility toward our planet.
You’ve exhibited your work globally, from Seoul to Miami. How has the exposure to such diverse art communities and cultures influenced your creative process or the reception of your work?
Working internationally revealed how images resonate differently across cultural contexts. In Seoul, viewers connected strongly to the technological and speculative elements. In Miami, the atmospheric and emotional dimensions became more prominent. These variations expanded my understanding of how cosmological themes intersect with local perspectives. They also broadened my visual vocabulary, influencing color choices, compositional strategies, and conceptual questions in subsequent works.
You recently mentioned your drawing “Churyumov Gerasimenko” being sent to the moon as part of a space program. How does it feel to have your art play a role in such a groundbreaking initiative?
It is profoundly moving to imagine a drawing created through human touch traveling beyond Earth. The project symbolizes the continuity of cultural memory and our shared desire to leave traces of ourselves in the cosmos. It reaffirms the interconnectedness of artistic and scientific exploration—both are attempts to understand our place within a much larger narrative.
Can you discuss your experience of exhibiting alongside influential artists like Robert Rauschenberg, Cindy Sherman, and Stephan Balkenhol? What impact, if any, has this had on your career?
Exhibiting alongside such influential figures situates my work within a lineage of experimentation across media, photography, and postmodern critique. These experiences strengthened institutional recognition and opened new professional opportunities. More personally, they affirmed the relevance of painting as a medium capable of engaging contemporary dialogues shaped by technology, identity, and global culture.
With subjects like LED light beams, terraforming colonies, and space stations appearing in your paintings, how do you see your work contributing to the dialogue around humanity’s search for a connection with the universe and speculative futures?
These motifs operate as visual hypotheses—imaginative structures for future human environments. They ask what forms of belonging, ethics, and identity might emerge beyond Earth. By blending scientific speculation with poetic narrative, my work suggests that our search for cosmic connection is simultaneously a search for self-understanding. I hope the paintings encourage viewers to think critically about the futures we envision and the responsibilities embedded within them.
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In It Together at W139 Amsterdam
Twentieth Anniversary Edition — In It Together
28 November – 13 December 2025
W139
Warmoesstraat 139
Amsterdam, The Netherlands
Installation view, In It Together, W139, Amsterdam W139 is pleased to announce In It Together, a two-week exhibition marking the twentieth anniversary of the artist-run space. Opening on Friday, 28 November 2025, the exhibition celebrates two decades of collective practice, artistic commitment, and sustained community engagement.
Installation view, In It Together, W139, Amsterdam Conceived as both a retrospective and a forward-looking statement, In It Together brings together over eighty artworks alongside happenings, extensive archival material, and an expanded auction format. The exhibition reflects twenty years of experimentation, collaboration, and resilience—highlighting the shared efforts that have shaped W139 as a platform for artistic production beyond conventional institutional and market-driven frameworks.
Installation view, In It Together, W139, Amsterdam The exhibition title functions as theme, philosophy, and reminder of W139’s origins. In It Together underscores the importance of collective support, shared experience, and mutual responsibility within an artist-led context. In a deliberate gesture that challenges prevailing notions of market value, all proceeds from the auction will be divided equally among the participating artists, regardless of individual sales results—affirming a commitment to shared value over competitive economics.
Installation view, In It Together, W139, Amsterdam Grand Opening
Friday, 28 November 2025
19:00–22:00
Installation view, In It Together, W139, Amsterdam Participating Artists
Ad de Jong, Adriana Joëlle Jochems, Ahmad Mallah, Andrea Imwiehe, André van Bergen, Anika Schwarzlose & Elena Khurtova, Anna Hoetjes, Annaleen Louwes, Anne Wölk, Anni Ruffin, Antoinette Nausikaä, Anuschka Blommers / Niels Schumm, Aurélien Lepetit, Barbara Rink, Charlott Markus, Coralie Vogelaar, Danielle Vorthuys, Dasha Afanaseva, Delta van Melle, Diana Al-Halabi, Emmanuelle Wilhelm, Erik Alkema, Eva Schippers, Floor Meijers, George Korsmit, Gijs Assmann, Giorgos Gripeos, Hanna Mattes, Ine Lamers, Jacopo Calonaci, James Beckett, Jan Timmers, Janneke Raaphorst, Jean-Philippe Paumier, Jessie Yingying Gong, Joep Neefjes / LPI, Johannes Schwartz, Joseph Miceli, Kai Reichert, Kandido Filgueiras, Klara Hobza, Kristine Hymøller, Leyla Sünnenwold, Lieve Hakkers, Lina Ozerkina, Lisa Sudhibhasilp, Lo Yuen Ming, Lotte Reimann, Lotte van Geijn, Manshee Zheng, Marek van de Watering, Mariana Oliveira, Marianne Vierø, Marie Ilse Bourlanges, Marlies Neugebauer, Masaki Komoto, Maud van der Werf, Max van Meeuwen, Mayra Sérgio, Miklos Gaál, Noam Holdengreber, Pantelis Makkas, Paulien Barbas, Peter de Boer, Popel Coumou, Rebecca Sakoun & Florian Göttke, Rob van der Nol, Roman Tkachenko, Ruth van Beek, Sema Bekirovic & Xu XueQin, Seán O’Riordan, Simon Marsiglia, Sofija Lī Virta, Soji Shimizu, Sophie Schreurs, Stéphanie Baechler, Susan Kooi, Susanna Brenner, T Y Gutter, Tania Theodorou, Thomas Monses, Vita Buivid and Anna Buyvid, Yann Vissers, Yiannis Vellis.
Installation view, In It Together, W139, Amsterdam De la Terre à la Lune, 2022, 51,5 × 27 cm, Pencil and crayon on paper -
20 Years of Kunstverein Plettenberg
20 Years of Artistic Development
Group exhibition at WERKSTATT PLETTENBERG
Installation view Ratsaal, Plettenberg Town Hall Ratsaal, Plettenberg Town Hall, Grünestraße 12
August 4–24, 2025
Opening: Friday, August 8 at 7:00 PM
Introductory remarks by Hartmut Engelkemeier & Isabel Vila-Crummenerl
Opening of Ausblick ins Gestern 2.0 at Ratsaal, Plettenberg Town Hall 2025 In 2008, I received a residency scholarship at WERKSTATT PLETTENBERG –
a formative time that helped shape my artistic direction.
Now, almost two decades later, I return as part of Ausblick ins Gestern 2.0,
a group exhibition featuring 15 former fellows (2005–2024).
„Blaue Lichter/ Blue Lights“, 2008, 100 x 140 cm, oil on canvas The show offers a look back at the evolution of our practices while celebrating
the lasting influence of artist residencies. My featured work continues to explore atmospheric phenomena, imagined landscapes, and the poetic geometry of light
and space.A printed exhibition catalogue has been published
to accompany the show.
download ↗
Installation view Ratsaal, Plettenberg Town Hall Participating artists:
Uli Haller, Vicky Ritter, Anne Wölk, Daecheon Lee, Slava Seidel, Silke Wobst,
Carolin Israel, Carina Schüring, Marcel Happich, Heinrich Mauersberger,
Lukas Weiß, Parimah Avani, Karla Neumeyer
„Adlernebel, Eagle nebula“, 2020 , 80 × 80cm, oil on canvas 
„Pferdekopfnebel/ Horsehead Nebula“, 2021, 80 × 60cm, oil on canvas -
Herbstsalon of Kunstverein Erlangen at Kunstpalais
Exhibition period
12 October – 9 November 2025Opening hours, Kunstpalais
Tue–Sun 10 am–6 pm
First Thursday of the month 10 am–8 pm
Closed on Mondays
Opening remarks
Dr. Florian Janik, Mayor of the City of Erlangen
Amely Deiss, Director of Kunstpalais and Municipal Collection Erlangen
Jutta Keller, Chairwoman, Kunstverein Erlangen e.V.
artist list:
Gudrun Hanna Amer, Annalena Arndt, Ulrich Backmerhoff, Irmingard Beirle, Marlise Bernsdorf, Thomas Binz, Johannes Birzer, Anita Blagoi, Wolfgang Böhm, Bruno Maria Bradt, Jutta Brück, Jutta Cuntze, Karin Döhler, Karin Drechsler-Ruhman, Michael Engelhardt, Klaus D. Engelke, Tanja Engelke, Chris Engels, Ilse Feiner, Heike Flügel, Henrike Franz, Sigrid Frey, Pavlina Görner-Löw, Bettina Graber-Reckziegel, Roland Hanusch, Jennifer Hauch, Gabriella Héjja, Thomas Hoess, Gerald Hofman, Manfred Hönig, Gerhard Hotter, Eva Jacobi, Bettina Jaenicke, Ursula Jüngst, Reinhold Knapp, Irene Kress-Schmidt, Petra Krischke, Ralf Kunstmann, Younghun Lee, Jürgen Lietzmann, Louise Lutz, Christian R. Manhart, Susanne Martin, Erich-Herbert Mondon, Carmen Alexandra Nastasa, Dagmar Ohrndorf, Mathias Otto, Stephan Pfeiffer, Wali Popp, Oliver Rennen, Ingrid Riedl, Monika Roth, René Rusovat, Wolf Sakowski, Christian Scharvogel, Petra Annemarie Schleifenheimer, Maria del Pilar Schnake, Ulla Schoedel, Susanne Schreyer, Sabine Schricker-Müller, Margit Schuler, Galina Schwaiger, Farah Singer, Bettina Specht, Ute Vauk- Ogawa, Christian Vittinghoff, Uta von Stengel, Matthias Walter, Ute Wältring, Herbert Weixler, Anne Wölk, Jürgen Zeller
contact address
Kunstverein Erlangen e. V.
Hauptstraße 72 | 91054 ErlangenTelefon: +49 (0)9131 26867
E-Mail: mail@kunstverein-erlangen.de
Website: www.kunstverein-erlangen.de -
Rosalux Gallery Berlin
The pill that cured everything
Group Show curated by Debsaysyes
Installation view The pill that cured everything, Rosalux Gallery, Berlin Press:
more info: Jacq: info@debsaysyes.org
The pill that cured everything is looking for answers. We want answers and we want them now.
Two blue check marks in whatsapp don’t mean that you saw the message. No! It means you have to answer right away. We want it all and we want it now. Patience seems distinct. We see no harm in ordering plastic shit and ultra fast fashion from Chinese webshops and have it shipped across the world, only to discard of it, because, well, who needs inferior quality? A populist politician promises to have a war decennia and longer in the making ended in just one day. If the doctor we don’t trust to begin with doesn’t cure us right away, we burst with aggression.
See, incompetence and big pharma are out to get us. The only good fix is a quick fix. An easy way out that will cost us nothing. In this black and white world we luckily still have artists. The ones dedicated to depict the world they live in or the one they’d rather live in. The ones adding beauty and meaning. The ones that provoke thoughts or stir up emotions. The ones providing real solace. New meanings. New solutions. Maybe even answers.
A pill that cures everything. For all to have and take. Twice a day with some water. If only we were listening and looking.Text about the artworks included in the show:
Is astronomy imagery merely escapism, or does it provide deeper social commentary that challenges our perceptions? Science fiction encourages us to envision hopeful futures in an uncertain world while reflecting the current conflicts and challenges humanity faces.Anne Wölk employs astronomical imagery as a powerful medium to explore societal utopias. Her work intertwines scientific research with vivid imagination, creating pathways toward inspiration.
Wölk captures the beauty of the universe using vibrant colors and dreamlike scenes that resonate with the aspirations of her generation. By blending celestial imagery with influences from German Romanticism and photorealism, she explores emotional depth while remaining grounded in reality. The theme of a universal cure highlights the collective yearning for quick solutions to the complex challenges of today’s fast-paced society.
In the exhibition, the artist presents a range of drawings, including a lunar landscape, the galaxy Centaurus A, and dramatic cloud formations against starry skies. One standout piece features a black canvas with two glowing neon tubes arranged in a triangle, set against a stunning starry backdrop. This artwork invites viewers to reflect on the interplay between light and darkness.
Installation view The pill that cured everything, Rosalux Gallery, Berlin 
Installation view The pill that cured everything, Rosalux Gallery, Berlin 
Installation view The pill that cured everything, Rosalux Gallery, Berlin -
**My Artwork is Going to the Moon with BitBasel**
**More Info:**
*Art for Impact: A Space Program to Send Purpose-Driven Artwork to the Moon*
**Event Details:**
*Date:* *November 30, 2025*
*Time:* *16:00 – 00:00*
Screenshot I am excited to share that my piece titled “Churyumov Gerasimenko” has been officially selected for the BitBasel Space: Art for Impact initiative. It will be launched to the Moon this November aboard the Griffin-1 lunar lander as part of NASA’s CLPS program. This is a monumental moment for me, and I am honored that my artwork is included in this historic cultural preservation mission. This unique program is part of the GLPH (Galactic Library Preserve Humanity) archival payload, set to launch on the upcoming Astrobotic Griffin-1 lunar mission under NASA’s Commercial Lunar Payload Services (CLPS) program. Using Nanofiche, a space-grade technology designed to withstand the extreme conditions of space, the selected artworks will be preserved for billions of years on the Moon as a testament to human creativity, purpose, and legacy.
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THE YELLOW PAGES, Gallery Weekend Berlin
I’m excited to announce that my drawing will be featured in the Yellow Pages artist book project during this year’s Gallery Weekend Berlin. This project was created by Johannes Mundiger and Daniel Hahn and includes contributions from 130 artists.
**THE YELLOW PAGES**
It’s 1995. You arrive at the Wildenbruchstraße stop on the 104 bus. You need to make a phone call, so you look around and see a light ahead, glowing white and magenta. You’ve found the phone booth.
You quickly step inside and open the Yellow Pages; the number must be in there somewhere.
**Opening:** May 2, 4-8 p.m.
**Exhibition:** Saturday, May 3, and Sunday, May 4, 2025, from 2-6 p.m.
**Location:** Phone booth at the corner of Wildenbruchstraße and Harzer Straße, Berlin-Neukölln
*(Note: Today, the bus stop is served by the M43)*
artist list: Emma Adler, Anisia Affek, Eva Alter, Neda Aydin, Gin Bahc, Solweig de Barry, Olya Bazilevich, Christian Bär, Romain Blanck, Ella Becker, Christiane Behr, Coco Bergholm, Hannah Bohnen, Susanne Bonowicz, Birte Bosse, Anina Brisolla, Sascha Brylla, Xavi Ceerre, Jérôme Chazeix, Albert Coers, Johannes Daniel , Luc Demissy, Marta Djourina, Ursula Döbereiner, Kevin Driscoll, Arrtist Duo, Elias Errerd, Catherine Rose Evans, Ute Faber, Friederike Feldmann, 44 Flavours, Anna Fiegen, Jakob Francisco, Witalij Frese, Max Freund, Isabella Fürnkäs, Kathrin Ganser, Jane Garbert, Dagmara Genda, Eva Gentner, Marco Goldenstein, Elfi Greb, Dave Grossmann, Sebastian Haas, Daniel Hahn, Sebastian Haslauer, Lenia Hauser, Franz Helffenstein, Gabriele Herzog, Olga Hohmann, Verena Issel, Olga Jakob & Hannah Gottschalk, Justyna Janetzek, Stephan Jäschke, Marie Jeschke, Stefanie Kägi, Annelies Kamen, Tobias Kappel, Daniel Karrer, Dennis Kauzner, Leonid Keller, Manuel Kirsch, Kitra, Fee Kleiß, Johannes Klever, Martin Knigge, Beate Köhne, Georgia Krawiec, Constanze Kreiser, Tom Król, Hannes Krüger, Nina Maria Küchler, Sidsel Ladegaard, Ida Lawrence, Marie Fleur Lefebvre, Julie Legouez, Nils Leimkühler, Darja Linder, Timur Lukas, Maria Lunetto, Kevin Lüdicke, Barbara Lüdde, Antoanetta Marinov, Antonia Mauersberg, Jana Mertens, Judith Milz, Anna Mirkin, Sascha Missfeldt , Alice Morey, Tomoko Mori, Johannes Mundinger, Helena Münch, Nina Neumaier, Max Neumann, Shira Orion, Duncan Passmore, Magdalena Paz, Katya Quel, Hannah Rath, Linus Rauch, Oskar Rink, Antonia Rodrian, Yağmur Ruzgar & Ozan Akkoyun, Finja Sander, Fette Sans, Michel Santos, Aaron Scheer, Solveig Schmid, Lisa Marie Schmitt, Susanne Schmitt, Sissy Schneider, Avery Gia Sophie Schramm, Carolin Seeliger, Gal Sherizly, Anica Seidel, Charlie Stein, Anna Steinert, Antonia Stoyke, Tomislav Topic, Juliane Tübke, Sophia Uckmann, Olivia Malena Vidal, Georg Vierbuchen, Iakovos Volkov, Fabian Warnsing, Tobias Wenzel, Marlon Wobst, Anne Wölk, Kay Yoon und Martina Zelenika.
Text in deutscher Sprache:
Es ist 1995, Du kommst mit der 104* an der Haltestelle Wildenbruchstraße an. Du musst telefonieren und schaust Dich um – da vorne leuchtet es, Weiß und Magentafarben, Du hast die Telefonzelle gefunden.Schnell rein und die Gelben Seiten aufgeschlagen, irgendwo muss doch die Nummer stehen.
„Die Gelben Seiten“ ist ein Buch aus Originalzeichnungen von 130 Künstler:innen, dass in der Telefonzelle Wildenbruchstraße/ Ecke Harzer Straße, in Berlin-Neukölln ausliegt. Zusammengestellt haben es @danielhhan und Johannes Mundinger von Raum www, anlässlich des Sellerie-Weekend, dem Offspace Programm während des Gallery Weekend Berlin 2025.
Die Gelben Seiten
Eröffnung Freitag, 2. Mai, 16 – 20 Uhr
Ausstellung Samstag 3. Mai und Sonntag 4. Mai, jeweils von 14 – 18 Uhr
Telefonzelle
Wildenbruch/ Ecke Harzer Straße
Berlin-Neukölln
*heute die M43
Weitere Informationen:
https://raumwww.de/pages/die-gelben-seiten.htmlTeil des Sellerie Weekend, Berlin, dem Off Space Programm während des Gallery Weekend, Berlin
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Group Show Kunsthaus Erfurt
Space Velocity, 2025, 29,5 x 43,5 cm Pencil and Crayon on Paper February 8 – March 28, 2025
ANONYMOUS ARTISTS
Opening:Friday, February 7, 2025, at 8 p.m.
Kunsthaus Erfurt
Michaelisstraße 34, D-99084 Erfurt
Opening Hours: Tuesday to Friday, 12 p.m. – 6 p.m. / Free EntryFrom February 8 to March 28, 2025, Kunsthaus Erfurt will host a project focused on the medium of drawing: ANONYMOUS DRAWINGS, curated by artist Anke Becker.
installation view Kunsthaus Erfurt, copyright Anonyme Zeichner 2025 ANONYMOUS ARTISTS
How does one’s judgment change when the names and backgrounds of the artists are unknown? How does one define value when all prices are the same? Where is the line drawn between art and non-art?
photo by Philipp Hort, Installation view Kunsthaus Erfurt In the exhibition ANONYMOUS DRAWINGS 2024/25 at Kunsthaus Erfurt, approximately 400 drawings by 400 international artists will be displayed. The works will be exhibited anonymously and offered for sale at a uniform symbolic price of €250. An artist’s name and place of origin will only be revealed upon the sale of a drawing, marking the remaining blank space. The fixed price is intended not as an actual market price but as a conceptual placeholder for any potential sales amount in the art market.
installation view Kunsthaus Erfurt, copyright Anonyme Zeichner 2025 An international call for participation preceded this exhibition, allowing anyone to participate. There were no specific requirements regarding content or form, except that drawings should not exceed A3 size. Biographical information was not requested and did not factor into the selection process, which was conducted anonymously. The drawings on display were chosen from over 4,400 submissions by Anke Becker, in collaboration with artists Inken Reinert and Veronike Hinsberg, and compiled into a large installation.
installation view Kunsthaus Erfurt, copyright Anonyme Zeichner 2025 ANONYMOUS ZEICHNER*INNEN is both a conceptual art project and an exhibition, where individual works contribute to a collective piece without hierarchies. The first exhibition of the current selection of Anonymous Zeichner’s work was held from November 16, 2024, to January 12, 2025, at Kunstraum Kreuzberg, Berlin, featuring all 1,000 selected works from the Open Call 2024. Due to the smaller space at Kunsthaus Erfurt, around 400 drawings will be presented there. The remaining works will be available for viewing and purchase online starting February 10.
photo by Philipp Hort, Installation view Kunsthaus Erfurt SALE OF DRAWINGS AT KUNSTHAUS ERFURT
During the opening on Friday, February 7, 2025, at 9 p.m.
During the finissage on Friday, March 28, 2025.
installation view Kunsthaus Erfurt, copyright Anonyme Zeichner 2025 
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Retrospetiva 2024 – Coleção de Arte Municipal, Ericeira, Portugal
February 8 – March 16, 2025
**Group Show in Ericeira, Portugal:**CASA DE CULTURA JAIME LOBO E SILVA –
GALERIA MUNICIPAL ORLANDO MORAIS
Last year, I exhibited at the Museum Casa da Cultura Ericeira, and one of my paintings was selected for the Municipal Art Collection of Mafra. As a result, this artwork will now be featured in an exhibition showcasing pieces from the Municipal Art Collection. The exhibition will take place at the Gallery Orlando Morais, located within the Jaime Lobo e Silva House of Culture in Ericeira, from February 8 to March 16.
Artist list: Alfredo Martins, Alves Piloto, Anne Wölk, Antonio da Silva, Fernando Pina, Filomena Parra, Fonzi, Francisco Bartus, Ildebranda Martin, João c. Gomes, Ketam, Leonardo Quinterla, Marco Estrella, Matilde Costa, Miguel Horta, Nogueira de Barros, Nor, Paula Quintas, Pedro Carreno, Pissarro, Ricardo Paula, Ricardo Tota, Rita Conde, Tiago Hesp e Xorimo
A moment in time, 2021, 30 x 40 cm, oil on canvas,
collection Museum Casa de Cultura Ericeira, câmara municipal de Mafra, PortugalThe “Retrospective 2024” exhibition will showcase various works by artists who exhibited in city galleries throughout 2024. The opening is scheduled for February 8 at 6 p.m., and the works will be displayed in the atrium of the municipal library within the cultural center until March 16, 2025.
No passado sábado a Casa de Cultura Jaime Lobo e Silva, na Ericeira, acolheu a inauguração de duas exposições de arte municipal.
A primeira, intitulada “Retrospetiva 2024 – Coleção de Arte Municipal“, apresenta uma seleção de obras de artistas de diversas áreas que expuseram nas galerias da vila ao longo de 2024. A exposição está patente na Galeria Municipal Orlando Morais, localizada no interior da Casa de Cultura, e poderá ser visitada até 16 de março.
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Out Now: AQ Quarterly Volume 4
Out Now: AQ Volume 4
(AQ Quarterly)
Quarterly Catalog For Extraordinary Women ArtistsAmazon Link!
https://a.co/d/0ie6wIpI am pleased to announce that my work has been selected for inclusion in the AQ Volume IV catalog, which highlights the achievements of remarkable women and non-binary artists. The publication is scheduled for release at the end of November 2024. It is a significant honor to have my work chosen from nearly 300 applicants, and I regard this opportunity as an exceptional platform for showcasing my paintings in a beautifully designed, collectible format.
Create! Magazine is a proudly independent, women-owned, artist-run platform committed to amplifying the voices and works of emerging and mid-career creatives worldwide. The mission of Create! Magazine is to offer an inclusive, supportive, and transparent space for artists of diverse backgrounds, identities, and experiences to share their stories and artworks with a wider audience.
#artpublishing #artpublishers #artpublication
