Margarete Adler

Vision
My vision is to expose the equality of every human being and to empower the emotional self-healing process.

Mission
By studying emotional states and manifesting them to a sculpture I create a conscious mirror which reflects the observer’s feelings.
Baroque pop art meets morbid beauty.
Margarete Adler combines contrasting concepts and forms of expression. She confronts stylistic elements of Impressionism with statements of pop art, mixes Baroque beauty with contemporary realism, and coordinates abstract ideas into expressionist manifestations.

At first glance, the beauty of the sculptures catches the eye. Handcrafted down to the smallest detail. Shapes and colours combined with traditional craftsmanship, modern techniques and materials.

On the second glance you can see the cracks. Not only by sudden differences in the use of materials, but also by the integrity of the sculptures. Conflicts in the outer beauty point to unnoticed emotional worlds inside and lead the viewer into a previously unrecognizable depth. In doing so, the artist investigates social rules and juxtaposes them with the personal longings of the protagonists. The search for love meets norms; the desire for closeness and security meets doctrines; mother love meets educational absolutism and the desire for unity meets egoism.

The discovery? The lover’s love can mean prison for the beloved. The norms of the normative can become the freedom of the ungrounded. The inner conflict can turn into outer beauty.

In Margarete Adler’s art, it is not the smooth perfection of our advertising society that is the index of grace, but rather the meeting of inner conflicts with the outer form. For her it is not about a body that makes a spiritual experience, but about the spiritual that may experience a physical experience. She is sensitive to her surroundings, observes interpersonal relationships and feeds her sculptures with everyday events.

Driven by depth in every detail, by solutions to complex questions and the provocative urge to defy all authority, Margarete Adler is an indispensable artist who fulfils an important destiny in our society:

The fight against irrelevance!

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Vita
1967 Born in Greifswald

1992 – 1998 University of Fine Arts in Dresden, study of Fine Arts

1998 Diploma for painting / graphics

1994 Study visit, India, Nepal

1995 – 1996 Study visit, New York, USA

2002 – 2003 Lecturer, University of Applied Sciences for Design Best-Sabel-Design, Berlin

2008 – 2014 Lecturer, University of Fine Arts Braunschweig

2013 – 2014 Des. Professor an der GAH Universität der Digitalen Gesellschaft, Berlin

2008 – 2020 Faculty Manager Art & Animation, Lecturer, Games Academy, Berlin

Margarete Adler lives and works in Berlin.
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Exhibitions
2021 CONTEXT Art Miami, USA, – Representation by Gallery AOA;87

2021 Gallery AOA;87, Bamberg, DE – , “The mute and the screaming”, Duoexibition sculptures portraits and painting by Cornelia Schleime

2021 Gallery Brennecke Fine Art, Berlin, DE – „Unlocked!“, Groupexibition Skulpturen, Malerei

2019 Hotel Mond fine Arts, Berlin, DE

2018 La Galeria Pall Mall, London, UK – “Face 2018”, Society of Portrait sculpture

2017 Proud Collector 4, Berlin, DE – Art from private collections, The Grand

2016 Gallery2, Berlin, DE – “Hieronymus Bosch’s Daughters”, sculptures portraits

2016 La Galeria Pall Mall, London, UK – “Face 2016”, Society of Portrait sculpture

2016 Berliner Liste, Berlin, DE – Art fair

2015 Proud Collector 3, Berlin, DE – Art from private collections, The Grand

2014 Christie`s Auction, Schloß Bellevue, Berlin, DE – Exhibition and auction in cooperation with the Federal President and Christies Germany

2014 Woeske Gallery, Berlin, DE – “Anniversary show”

2013 Art.Fair, Cologne, DE – Art fair

2013 Woeske Gallery, Berlin, DE – “Grand Opening

2012 Blooom Art Fair, Cologne, DE – Art fair

2012 Detroit Art Gallery, Detroit, USA

2012 KAB, Tokyo, JP – “Keep a breast” Foundation

2011 Christie`s Auction, Schloß Bellevue, Berlin, DE – Exhibition and auction in cooperation with the Federal President and Christies Germany

2011 Blooom Art Fair, Cologne, DE – Art fair

2011 UF6 Projects Gallery, Berlin, DE – “stARTup”, Into a bright future

2010 Gallery Michael Schultz, UF6 Projects, Berlin, DE – “Silly Gooses live in the dark

MUSEUM EXHIBITIONS / BIENNIALS
2012 Detroit, USA

2000 Pommersches Landesmuseum, Greifswald, DE – “Days of Water” Photography

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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
Or, 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
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
Loves me, loves me not
The loss of love, the withdrawal of love? From whom? The boyfriend, the girlfriend, the mother? Not feeling loved or not being loved is one of the deepest and most painful experiences in our lives, threatening our existence and self-understanding. In a casual and playful gesture, the girl plucks the petals off the flowers. What if the last leaf shows “loves me not”?
Margarete Adler, Kunststoff, Kunstharz
Mirror, Mirror
“Mirror, mirror on the wall, who is the fairest of them all?” We know what happens next, and who is good and who is evil. The identification of women has been strongly influenced by their appearance since time immemorial. Women have absorbed beauty thoughts and role behaviour already with “mother’s milk”. Society is playing judge in the process of youth and beauty, the loser is already determined. The ageing diva accepts the verdict and breaks. And well, the fairytale of the magic mirror does not end well for the queen- not even today.
Margarete Adler, Kunststoff, Kunstharz
Fly bird, fly
A bird must fly! Everyday stories: An overbearing mother. A pre-planned life. A marriage according to class. Daughters have no participation in the narrow cage of tradition, paternalism and stereotypical role models. The bird escapes the cage and fulfills her dream as a dancer, but the price of freedom is high, because it means the loss of the African family.
Margarete Adler, Kunststoff, Kunstharz


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