Contact
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hello@LenaKeller.com 
+49 176 201 998 14

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Education
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2016 – 2022 Fine Arts (Diploma)
Akademie der Bildenden Künste München

2021 Meisterschülerin, class Prof. Karin Kneffel
Akademie der Bildenden Künste München

2005 Mediadesign (Bachelor)
DHBW Ravensburg and Open University London 


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


Grants
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Kester-Haeusler-Stiftung “Karl Trautmann Preis 2022”
Stipendium d. Freistaat Bayern “Junge Kunst und neue Wege”


Soloshows
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2022
Galerie Sabine Bayasli, Paris

2020
Everland, Galerie Heckenhauer, München 


Groupshows / fairs
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2022
Karl Trautmann Preis, Haus 10, Fürstenfeldbruck
Fading Sights, ADBK München 


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
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Karl Trautmann Preis, Catalogue, Kester-Haeusler Stiftung
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
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[...] “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
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Galerie Sabine Bayasli
99 Rue du Temple, 75003 Paris, France
︎GalerieSabineBayasli.com

68projects
Fasanenstr. 68 | 10719 Berlin, Germany
︎68projects.com

Galerie Heckenhauer
Marktstr. 13, 80802 München, Germany
︎Heckenhauer.net






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