Margarete Adler

Beauty on a large scale; radical breaks on a small scale; my art in the middle. I illuminate the inner effects of interpersonal relationships on the outside.
I would like to describe my sculpture work as a mixture between baroque and pop art. My artistic background clearly roots in the classical tradition of 18th and 19th century portrait art, being deeply immersed in the skills and traditional knowledge of materials. At the same time, my work includes aspects that refer to the 21st century – namely in the use of color, materials and objects. The titles I give to my works are of eminent importance because they open up a perspective to the different layers of meaning.

I want to provoke emotions with my work. I love humorous narrative techniques equally like cryptic stories and explore sculptural transitions from morbidity to classical beauty, as well as the confrontation between decay and fun.

The titles I give to my works are of eminent importance because they open up a perspective to the different layers of meaning.



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Vita
Margarete Adler is a highly innovative, extremely unconventional and surprising artist who explores sculptural transitions from baroque to pop and from morbidity to classical beauty, as well as the confrontation between decay and fun.

After earning a degree in Fine Arts in Dresden, she spent several intense years working as a multitalented freelancer for film productions and founded the Atelier Niesler company, which very successfully designs, constructs and develops decorations, props, film sets, models and visual special effects. Margarete Adler is a fetishist when it comes to techniques and the range of possibilities that materials can offer. She unites traditional handwork with an alchemistic mission and works with specialists from different fields and faculties. Her experimentation with all kinds of synthetics has enabled her to enhance the digital world of video games with haptic experiences, investigating the limits of re-translating the digital into the real.

Margarete Adler is an experienced lecturer, who has taught Fine Arts in Braunschweig and Frankfurt am Main and is currently teaching at the Games Academy in Berlin.
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Exhibitions
Ausstellungen (Auswahl)
2018La Galeria Pall Mall, London, UK
“Face 2018” , Society of Portrait sculpture
2017Proud Collector 4, Berlin, DE
Kunst aus privaten Sammlungen, The Grand
2016Gallery2, Berlin, DE
„Hieronymus Bosch’s Töchter“, Skulpturen Portaits
La Galeria Pall Mall, London, UK
“Face 2016”, Society of Portrait sculpture
Berliner Liste, Berlin, DE
Kunstmesse
2015Proud Collector 3, Berlin, DE
Kunst aus privaten Sammlungen, The Grand
2014Christie`s Auction, Schloß Bellevue, Berlin, DE
Ausstellung und Auktion, In Zusammenarbeit mit dem Bundespräsidenten und Christies Deutschland
Woeske Gallery, Berlin, DE
„Anniversary show“
2013Art.Fair, Köln, DE
Kunstmesse
Woeske Gallery, Berlin, DE
„Grand Opening“
2012Blooom Art Fair, Köln, DE
Kunstmesse
Kunsthalle Detroit, Detroit, USA
KAB, Tokyo, JP
„Keep a breast“ Foundation
2011Christie`s Auction, Schloß Bellevue, Berlin, DE
Ausstellung und Auktion, In Zusammenarbeit mit dem Bundespräsidenten und Christies Deutschland
Blooom Art Fair, Köln, DE
Kunstmesse
UF6 Projects Gallery, Berlin, DE
„stARTup“, In eine strahlende Zukunft

2010Galerie Michael Schultz, UF6 Projects, Berlin, DE
„Silly gees live in the dark“
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Publications
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Group Exhibitions
2018 - Exibition „FACE 2018" Application
2017 - Exibition "Hieronymus Bosch's Töchter" at Gallery2, Berlin-Mitte, 01/2017
2016 - Exibition Berliner Liste, Kraftwerk Berlin, 09/2016 
2016 - Exibition „FACE 2016“ at the Society of Portrait Sculptors at La Galleria Pall Mall, 30 Royal Opera Acrcade, London SW 1Y 4UY, 05/2016
Winterholla
The figure descends from fairy tales, myths and transcendental spheres of fairy tales, myths. She appears white, almost transparent, but with fine speckles of rouge, modelled as an Elizabethan ideal of late Renaissance beauty. Her feathery hair is like a snow flurry crown. The purity is nevertheless disturbed by the uncanny illumination of the eyes, which – in a reaction to tender strokes – begin to cold glow.
Margarete Adler, Holz, Gips
The big tread or The Evolution of the Diva
Portrait of hut designer Fiona Bennett The melodramatic and baroque swirl crowns fashion designer Fiona Bennett, indulging in overflowing and sophisticated hat finery. It is a hybrid staging. The wonderful purity of the bleached ostrich feathers meets the ostrich foot as an unembellished reminder of repressed phases of evolution.
Margarete Adler, Kunststoff
Wenn Eine einen Vogel hat
r, as we say in German „Someone has a bird“ Portrait of my mother and the fabolous budgie Manfred. In this sculpture my mother has "a bird", but in fact it is my bird, the magnificent budgie called "Manfred". In fact our whole family has "a bird"- and not just one. Manfred has his own bird - Günther. My mother mimicken Manfred and Manfred imitates my mother.
Margarete Adler, Keramik, Beton
Mother love
A mother's love can be painful. The transfigured romantic projections of a good and loving mother and the contemplation of the real person do not create a homogeneous picture. The different projections do not add up to a homogeneous picture but instead create a lot of cracks and fractures.but rather cracks and breaks:  Sewing the parts together with a golden thread is both a material operation and a way of depicting the ambiguity of motherly love.
Margarete Adler, Kunststoff
Alice and the Cheshire Cat or Farewell to Wonderland
Alice, pale, innocent and distanced, has not only assigned her grin to the cat. She handed over her vitality exhaustively to the little cat-mummy, thereby creating an uncanny and Pygmalion-like inversion of what is dead and what is alive. A human and the beastly mode of existence. Fading away, her Victorian beauty reanimates the shrunken creature. As a cheshire cat it rises forever.
Margarete Adler, Kunststoff
A Moment in a Glance 1917-2017
A young man, bald shaven, holding a skull in his hands. We don't know what he thinks, what he feels, who he is. His eyes are closed and he seems lost in concentration, his fingers rest firmly on the skull of another soldier. Was it a young man who died a century ago in France, perhaps? One stares at us, the other looks inside.
Margarete Adler, Kunststoff
Silent Maids or a Kimono for the dead
One of the most important Japanese virtues of women is quiet humility and modesty. Wives today still silently serve the family and the husband. Shinin awase translates to "wrong side" and signifies winding the kimono to the left. Only the deceased are dressed with the kimono on the "wrong side". The colour white is worn at funerals AND weddings.
Margarete Adler, Kunststoff, Kunstharz


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