Happy to announce that „Transgender in Hoyerswerda“, a group of eight dioramas by KLOZIN (Wilhelm Klotzek & David Polzin) from 2015, will be on view as part of the exhibition „Requiem for a Failed State“ at Halle 14, Leipzig, opening Saturday, April 14. Image: „Rohwedder on the phone (Important call!), Berlin 1991“, 2015 https://www.facebook.com/events/898563626969937/ http://www.halle14.org/aktuelle-ausstellungen.html

DJs: Justus Köhncke International Bauer ab 22 Uhr 5 €

Happy to announce gallery artists Eva Grubinger and Sophie Reinhold received the scholarship for visual arts by the federal state Berlin. Congrats!

'Innenleben' Inauguration of our new location at Spinnerei, Leipzig Ronny Bulik, Sebastian Burger, Melanie Ebenhoch, Eva Grubinger, Nadira Husain, Wilhelm Klotzek, Malte Masemann, Sophie Reinhold, Thomas Rentmeister, Oskar Schmidt, Timo Seber Opening reception: April 13, 6 – 8 pm Exhibition: April 14 – June 16, 2018 Galerie Tobias Naehring Spinnereistraße 7 D-04179 Leipzig info@tobiasnaehring.de www.tobiasnaehring.de

Oskar Schmidt's solo exhibition featured on Daily Lazy

Oskar Schmidt‘s current solo exhibition featured on KubaParis

Save the date! April 14 we will open a new location at Spinnerei, Leipzig. Our inaugural exhibition is called ‚Innenleben‘ and will feature all artists of the gallery: Ronny Bulik, Sebastian Burger, Melanie Ebenhoch, Eva Grubinger, Nadira Husain, Wilhelm Klotzek, Malte Masemann, Sophie Reinhold, Thomas Rentmeister, Oskar Schmidt, Timo Seber. Stay tuned!

Installation view, Oskar Schmidt, March 2018, Photo: dotgain.info

Oskar Schmidt March 10 – April 21, 2018 Opening reception: Friday, March 9, 6 – 9 pm A single stream of water bisects two photographic works included in Oskar Schmidt’s first solo exhibition at Galerie Tobias Naehring, tracing identical lithe arcs with the gentleness of a sine-wave. Suspended improbably aloft in mid-air, the liquid flows without clear directionality, lacking gravitational coordinates. It jumps frames in one diptych, repeating itself across two photographs like a graceful stutter. Liquidity suggests exchange, flexibility, and adaptability. To be liquid is to change state casually, to skip borders, to live free of friction, of footprint, of dead weight—to embody that which lacks body. Liquidity is the utopia of a dematerialized, option-rich world in practice. And yet, liquid is the most stubbornly corporeal of materials, too. (“What does water do for you?” suggests Google, piping in with a question that leads, as always, to another question. “Water Helps Maintain the Balance of Body Fluids,” it answers itself.) The human body occupies two other works in this exhibition. A youthful face seen in three-quarter profile, eyes redacted by a close cropping, floats against a corporate baby blue background. In another diptych, two identical hands reach towards each other across their respective frames, a sisyphean grasp at human communion. Hands, lips, and skin take on an anonymous, waxen, tantalizing sheen; Schmidt pauses the instant just before body becomes gestalt. Each photograph is shot on a large format camera and subsequently digitally manipulated; in one case, the image even results in a silver gelatin print, bringing the analog and digital full circle. Schmidt stages his images in lived space and then treats them with the toolkit of a corporate techno-optimism in which everything can be made to feel simultaneously more, and less, real. This depends, of course, on your ability to suspend disbelief. It was the romantic poet Samuel Taylor Coleridge who coined the term “suspension of disbelief,” and long before the days of photoshop. He reasoned that a modicum of "human interest and a semblance of truth" could make an otherwise fictional scenario easily swallowed—could make you turn, in other words, a blind eye to dramaturgy. It is this staging that Schmidt returns to the fore. -Josephine Graf Galerie Tobias Naehring Lützner Straße 98 D-04177 Leipzig Thu – Sat 2 – 6 and by appointment +49 (0) 341 223 400 95 info@tobiasnaehring.de

The cinematographic, theatrical scenes of Toot Suite are depicted in a fresco-like sequence of six paintings. Their color palette suggests the cycle of a day — twilight, morning, noon, afternoon, dawn, night — the narrative, however, gives no evidence to how they are connected, there is no apparent linear logic of events, no actual clues of a storyline at all. Instead, the protagonists seem to be floating through ghostly environments. Clearly outlined and realistically rendered they attract our attention, yet they seem to be trapped behind a transparent veil. Despite their contemporary references and presence, they have fallen out of time. Melanie Ebenhoch’s particular play with immersion and intimacy, fueled by trompe l’oeil details, and her technique negotiates the relationship between the female protagonists and the space of the viewer. Take, for instance, the architectural grids that prominently connect the six paintings, and are carved into the cast Aqua-Resin, forming frames or windows to sub-narrations of different tempo-spatial logics. Giotto, the alleged inventor of linear perspective, and his architectural settings and miniature storytelling, may come to mind. Ebenhoch’s paintings intensify claustrophobic qualities, as motifs are squeezed into them, such as with the scene of the nude in the bathtub, or, they may convey a feeling of too much space and solitude. The fact that, upon closer observation, some of the grids turn out to be the digital numbers 57, 25, 23, 20 of the doomsday clock — the measurement in time of how close the world is to a global catastrophe (momentarily at 23:57) — may be as much of a formal play as a reference to Iannis Xenakis on the sheet of music placed above the piano in Piano Bar – Keys don’t fit (2017).The Corbusier student translated the space of architectural planes into musical time of sheer, scintillating physicality — music, that the young brunette leaning over the sheet of music and piano, shows no interest in playing. Conspicuously, throughout the paintings, realism and narration continuously bounce back from their own mediality and the constructs of time and space. The gaze that connects the relationship triangle of artist – painting – viewer, is without exception a female one: the protagonists are self-portraits of Ebenhoch — as a nude in the bath tube or casually driving a car — and portraits of the artist’s close friends, holding a drink or leaning out of the painting, like they might stumble into the space of the gallery at any moment. Are they bored, in reverse, or simply provocatively withstanding our gazes? The depicted womanhood speaks of vulnerable confidence, fragility, and strength. Toot Suite probes the possibilities and restraints of being a female artist, of female (self) representation and of inscribing oneself into an (art) history, made by man. Not without a humorous undertone: a sense of nostalgia, that emanates from the chosen color palette, is also evident in the cover of the exhibition announcement – an illustration of Live alone and like it, a guide for independent single woman on how to hold themselves apart from men, published by Vogue editor Marjorie Hillis in 1936. More than 80 years ago. Franziska Sophie Wildförster, 2018 Photos: dotgain.info

Wilhelm Klotzek's video installation "Das architektonische Trio" (2012) will be on view at Kunsthaus Dresden as part of the group exhibition "Immer Ärger mit den Grosseltern". Opening reception: Thursday, Feb. 15, 7 pm https://www.facebook.com/events/591341064541807/

Last day of Malte Masemann's solo at Art Rotterdam. You can find us at Booth N20.