Contact
︎
hello@LenaKeller.com
+49 176 201 998 14
︎ Instagram
Education
︎
Lena Keller is a painter based in South Germany
2021 Meisterschülerin, class Prof. Karin Kneffel
since 2016 Fine Arts (Painting) studies
Akademie der Bildenden Künste München
2005 Mediadesign studies (Bachelor)
DHBW Ravensburg and Open University London
Collections
︎
Staatliche Graphische Sammlung, München
Sammlung des Deutschen Bundestages, Berlin
Solo shows
︎
2022 Galerie Bayasli, Paris
2020 Everland, Galerie Heckenhauer, München
Group shows
︎
2021
cling together swing together, Galerie Noah Augsburg
Positions, Art fair Berlin with Galerie Heckenhauer
The call of the wild, Galerie Bayasli, Paris
Bei geöffnetem Fenster, ADBK München
In Bewegung, Haus 10, Fürstenfeldbruck
Postponed, Neue Galerie Landshut
2020
Boxenstop2, Museum Pinakothek der Moderne, München
PaperPositions, Art fair, Berlin
auf Sicht, Kunstraum Harbeck, Puchheim
Debütanten, Künstlervereinigung Fürstenfeldbruck
pale blue dot, Weltraum, München
pale blue dot, Schaufenster Münchner Stadtmuseum
off the cuff, Kunst66, München
Winter, Kulturraum Grafrath
2019
Wandlungen, Altes Gefängnis, Kulturverein Freising
Kreiskulturtage, Künstlervereinigung Fürstenfeldbruck
Jahresausstellung Akademie, ADBK München
Open End, Kath. Akademie in Bayern, München
2018
Beste Aussichten, Kloster Schlehdorf Kochelsee
EndeNeu, Optimolwerke München
Jahresausstellung Akademie, ADBK München
2017
WandTafel A57, Kunsthaus Marthashofen, Grafrath
Jahresausstellung Akademie, ADBK München
Bibliography
︎
Everland, Catalogue, Galerie Heckenhauer
Paperpositions Berlin, Catalogue, Positions Berlin GmbH
Open End, Catalogue, Kath. Akademie in Bayern
Boxenstop2, Catalogue, Staatl. Graphische Sammlung München
Excerpt from exhibition catalogue
︎
[...] “Slightly irritated, one realizes that the artist intends to pin our gaze to the explicit surface of her atmospheric images. Seduced by a translucent, blurry appearance we look into the image suddenly noticing that it is not possible to virtually dive inside the scenery completely, as spatial dept is only defined to a certain point. This generates a kind of sublime flatness which is captivating on the one hand and somehow refusing the eye of the beholder on other hand.
[...] The resulting aesthetics strongly refer to our medialized viewing habits. Although working with brushes, the artists concious renunciation of visible brush marks underlines this artificiality. A restrained palette and the absence of any narrative content makes the painting appear to have fallen out of time. By evoking a timeless archaic universality and familiarity at the same moment the image reflects the viewers own position in the cosmos. However, the analogy of the ambivalent relationship between man and nature in the era of Anthropocene, is not intended to be read as a moral message here.
The artists interest is rather located in the conflict of longing for – and alienation from nature, as well as the feedback effect of our digitally shaped surroundings and our own perspective on nature. [...]
Anne Simone Krüger, Art Historian (MA)
from: Everland (Catalogue) published by Galerie Heckenhauer 2020, ︎ISBN 978-3-9821851-4-9
![]()
Galleries
︎
Galerie Heckenhauer
Marktstr. 13, 80802 München, Germany
︎Heckenhauer.net
Galerie Sabine Bayasli
99 Rue du Temple, 75003 Paris, France
︎GalerieSabineBayasli.com
Legal notice
︎
Copyright © 2005 – 2021, Lena Keller + VG Bildkunst. All rights reserved. No part of this website (including texts, images or videos) may be reproduced, distributed, published or transmitted in any form and media, without prior written consent.
Responsible for content: Lena Keller
USt-IDNr: DE 293764452
︎
[...] “Slightly irritated, one realizes that the artist intends to pin our gaze to the explicit surface of her atmospheric images. Seduced by a translucent, blurry appearance we look into the image suddenly noticing that it is not possible to virtually dive inside the scenery completely, as spatial dept is only defined to a certain point. This generates a kind of sublime flatness which is captivating on the one hand and somehow refusing the eye of the beholder on other hand.
[...] The resulting aesthetics strongly refer to our medialized viewing habits. Although working with brushes, the artists concious renunciation of visible brush marks underlines this artificiality. A restrained palette and the absence of any narrative content makes the painting appear to have fallen out of time. By evoking a timeless archaic universality and familiarity at the same moment the image reflects the viewers own position in the cosmos. However, the analogy of the ambivalent relationship between man and nature in the era of Anthropocene, is not intended to be read as a moral message here.
The artists interest is rather located in the conflict of longing for – and alienation from nature, as well as the feedback effect of our digitally shaped surroundings and our own perspective on nature. [...]
Anne Simone Krüger, Art Historian (MA)
from: Everland (Catalogue) published by Galerie Heckenhauer 2020, ︎ISBN 978-3-9821851-4-9
Galleries
︎
Galerie Heckenhauer
Marktstr. 13, 80802 München, Germany
︎Heckenhauer.net
Galerie Sabine Bayasli
99 Rue du Temple, 75003 Paris, France
︎GalerieSabineBayasli.com
Legal notice
︎
Copyright © 2005 – 2021, Lena Keller + VG Bildkunst. All rights reserved. No part of this website (including texts, images or videos) may be reproduced, distributed, published or transmitted in any form and media, without prior written consent.
Responsible for content: Lena Keller
USt-IDNr: DE 293764452
Rundgang Abschlussjahrgang 2022, ADBK
︎
Positions Art Fair, Berlin
represented by Galerie Heckenhauer 09/2021 ︎Link
(left to right:
1-5 Lara Eckert, 6-8 Sergeii Chaika, 9-12 Lena Keller, Photo: © Joe Clark)
︎
︎
The call of the wild, Groupshow 06/2021 ︎Link
(left to right: 1-5 Lena Keller, Jerome Combe, Paul Iratzoquy, Florian Viel)
︎
Everland, Soloshow 11/2020 ︎Link
︎
Boxenstop 2, Groupshow 09/2020 ︎Link
︎
TAPED, Debütanten, Groupshow 01/2020
︎
represented by Galerie Heckenhauer 09/2020 ︎Link
(works pictured here: Mauren Brodbeck, Lena Keller)
︎
Untitled, 2021, oil on canvas, 50x40 cm
Untitled, 2021, oil on canvas, 100x80 cm
Untitled, 2021, oil on canvas, 50x40 cm
Untitled, 2021, oil on canvas, 50x40 cm
Untitled, 2021, oil on canvas, 50x40 cm
Untitled, 2021, oil on canvas, 50x40 cm
Untitled, 2021, oil on canvas, 100x80 cm
Untitled, 2020, oil on canvas, 40x33 cm
Untitled, 2020, oil on canvas, 40x33 cm
Untitled, 2020, oil on canvas, 140x180 cm
Untitled, 2020, oil on canvas, 40x33 cm
Untitled, 2020, oil on canvas, 40x33 cm
Untitled, 2020, oil on canvas, 100x80 cm
Untitled, 2020, oil on canvas, 40x33 cm
Untitled, 2020, oil on canvas, 40x33 cm
Untitled, 2019, oil on canvas, 40x33 cm
Untitled, 2020, oil on canvas, 140x120 cm
Untitled, 2019, oil on canvas, 40x33 cm
Untitled, 2020, oil on canvas, 100x80 cm
Untitled, 2019, oil on canvas, 140x120 cm
Untitled, 2020, oil on canvas, 40x33 cm
Untitled, 2019, oil on canvas, 40x33 cm
Untitled, 2019, oil on canvas, 140x120 cm(Collection: Sammlung des Deutschen Bundestags, Berlin DE)
Untitled, 2019, oil on canvas, 40x33 cm
Grünanlagen, 2019, graphite on paper, 135x115 cm
Terrain 1, 2018, ink on paper, 30x20 cm
Terrain 2, 2018, ink on paper, 30x20 cm
Terrain 3, 2018, ink on paper, 30x20 cm
Untitled, 2017, ink on paper, 80x100 cm
Untitled (off the cuff), 2020, Lithographie, 3-farbiger Handruck von CtP,
auf BFK Rives 270 g, 45x45 cm, Auflage: 24, Drucker Joe Holzner / Planparallel
auf BFK Rives 270 g, 45x45 cm, Auflage: 24, Drucker Joe Holzner / Planparallel
Shifts (Diptychon), 2020, zwei Lithographien, 3-farbiger Handruck von CtP,
auf BFK Rives 270 g, je 90x60 cm, Auflage: 6, Drucker Joe Holzner / Planparallel (Collection: Staatliche Grafische Sammlung München, DE)
auf BFK Rives 270 g, je 90x60 cm, Auflage: 6, Drucker Joe Holzner / Planparallel (Collection: Staatliche Grafische Sammlung München, DE)
︎
Contact
︎
hello@LenaKeller.com
+49 176 201 998 14
︎ Instagram
Education
︎
Lena Keller is a painter based in South Germany
2021 Meisterschülerin, class Prof. Karin Kneffel
since 2016 Fine Arts (Painting) studies
Akademie der Bildenden Künste München
2005 Mediadesign studies (Bachelor)
DHBW Ravensburg and Open University London
Collections
︎
Staatliche Graphische Sammlung, München
Sammlung des Deutschen Bundestages, Berlin
Solo shows
︎
2022 Galerie Bayasli, Paris
2020 Everland, Galerie Heckenhauer, München
Group shows
︎
2021
cling together swing together, Galerie Noah Augsburg
Positions, Art fair Berlin with Galerie Heckenhauer
The call of the wild, Galerie Bayasli, Paris
Bei geöffnetem Fenster, ADBK München
In Bewegung, Haus 10, Fürstenfeldbruck
Postponed, Neue Galerie Landshut
2020
Boxenstop2, Museum Pinakothek der Moderne, München
PaperPositions, Art fair, Berlin
auf Sicht, Kunstraum Harbeck, Puchheim
Debütanten, Künstlervereinigung Fürstenfeldbruck
pale blue dot, Weltraum, München
pale blue dot, Schaufenster Münchner Stadtmuseum
off the cuff, Kunst66, München
Winter, Kulturraum Grafrath
2019
Wandlungen, Altes Gefängnis, Kulturverein Freising
Kreiskulturtage, Künstlervereinigung Fürstenfeldbruck
Jahresausstellung Akademie, ADBK München
Open End, Kath. Akademie in Bayern, München
2018
Beste Aussichten, Kloster Schlehdorf Kochelsee
EndeNeu, Optimolwerke München
Jahresausstellung Akademie, ADBK München
2017
WandTafel A57, Kunsthaus Marthashofen, Grafrath
Jahresausstellung Akademie, ADBK München
Bibliography
︎
Everland, Catalogue, Galerie Heckenhauer
Paperpositions Berlin, Catalogue, Positions Berlin GmbH
Open End, Catalogue, Kath. Akademie in Bayern
Boxenstop2, Catalogue, Staatl. Graphische Sammlung München
Excerpt from exhibition catalogue
︎
[...] “Slightly irritated, one realizes that the artist intends to pin our gaze to the explicit surface of her atmospheric images. Seduced by a translucent, blurry appearance we look into the image suddenly noticing that it is not possible to virtually dive inside the scenery completely, as spatial dept is only defined to a certain point. This generates a kind of sublime flatness which is captivating on the one hand and somehow refusing the eye of the beholder on other hand.
[...] The resulting aesthetics strongly refer to our medialized viewing habits. Although working with brushes, the artists concious renunciation of visible brush marks underlines this artificiality. A restrained palette and the absence of any narrative content makes the painting appear to have fallen out of time. By evoking a timeless archaic universality and familiarity at the same moment the image reflects the viewers own position in the cosmos. However, the analogy of the ambivalent relationship between man and nature in the era of Anthropocene, is not intended to be read as a moral message here.
The artists interest is rather located in the conflict of longing for – and alienation from nature, as well as the feedback effect of our digitally shaped surroundings and our own perspective on nature. [...]
Anne Simone Krüger, Art Historian (MA)
from: Everland (Catalogue) published by Galerie Heckenhauer 2020, ︎ISBN 978-3-9821851-4-9
![]()
Galleries
︎
Galerie Heckenhauer
Marktstr. 13, 80802 München, Germany
︎Heckenhauer.net
Galerie Sabine Bayasli
99 Rue du Temple, 75003 Paris, France
︎GalerieSabineBayasli.com
Legal notice
︎
Copyright © 2005 – 2021, Lena Keller + VG Bildkunst. All rights reserved. No part of this website (including texts, images or videos) may be reproduced, distributed, published or transmitted in any form and media, without prior written consent.
Responsible for content: Lena Keller
USt-IDNr: DE 293764452
︎
[...] “Slightly irritated, one realizes that the artist intends to pin our gaze to the explicit surface of her atmospheric images. Seduced by a translucent, blurry appearance we look into the image suddenly noticing that it is not possible to virtually dive inside the scenery completely, as spatial dept is only defined to a certain point. This generates a kind of sublime flatness which is captivating on the one hand and somehow refusing the eye of the beholder on other hand.
[...] The resulting aesthetics strongly refer to our medialized viewing habits. Although working with brushes, the artists concious renunciation of visible brush marks underlines this artificiality. A restrained palette and the absence of any narrative content makes the painting appear to have fallen out of time. By evoking a timeless archaic universality and familiarity at the same moment the image reflects the viewers own position in the cosmos. However, the analogy of the ambivalent relationship between man and nature in the era of Anthropocene, is not intended to be read as a moral message here.
The artists interest is rather located in the conflict of longing for – and alienation from nature, as well as the feedback effect of our digitally shaped surroundings and our own perspective on nature. [...]
Anne Simone Krüger, Art Historian (MA)
from: Everland (Catalogue) published by Galerie Heckenhauer 2020, ︎ISBN 978-3-9821851-4-9
Galleries
︎
Galerie Heckenhauer
Marktstr. 13, 80802 München, Germany
︎Heckenhauer.net
Galerie Sabine Bayasli
99 Rue du Temple, 75003 Paris, France
︎GalerieSabineBayasli.com
Legal notice
︎
Copyright © 2005 – 2021, Lena Keller + VG Bildkunst. All rights reserved. No part of this website (including texts, images or videos) may be reproduced, distributed, published or transmitted in any form and media, without prior written consent.
Responsible for content: Lena Keller
USt-IDNr: DE 293764452