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Lena Keller is an artist based in South Germany

2016 Painting studies with Prof. Karin Kneffel, Akademie der Bildenden Künste München DE (ongoing)

2005 BA, Graphic & Media Design studies
DHBW Ravensburg DE / OU London UK


Staatliche Graphische Sammlung, München DE
Sammlung des Deutschen Bundestages, Berlin DE

Solo shows

2022 Galerie Bayasli, Paris FR
2020 Everland, Galerie Heckenhauer, München DE

Group shows

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

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

Wandlungen, Altes Gefängnis, Kulturverein Freising
Kreiskulturtage, Künstlervereinigung Fürstenfeldbruck
Jahresausstellung Akademie, ADBK München
Open End, Kath. Akademie in Bayern, München

Beste Aussichten, Kloster Schlehdorf Kochelsee
EndeNeu, Optimolwerke München
Jahresausstellung Akademie, ADBK München

WandTafel A57, Kunsthaus Marthashofen, Grafrath
Jahresausstellung Akademie, ADBK München


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


Galerie Heckenhauer
Marktstr. 13, 80802 München, Germany

Galerie Sabine Bayasli
99 Rue du Temple, 75003 Paris, France

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