group of works

exhibitions

2023 – 2 x 88

2023 – 2 x 88

ZWEI–MAL–ACHT–UND–ACHTZIG – CIRCULAR ENCOUNTER Portfolio It is a rare event: that two female gallery artists turn 88 within a month and now meet in a small but powerful juxtaposition in one room. Within the program of the gallery, the interest is great to represent...

2022 – Addendum

2022 – Addendum

Renate Hampke – addendum 10.12.2022 – 21.1.2023 (verlängert) 3d visit Text (English) Portfolio Mit Humor und großem Selbstbewusstsein hat die Künstlerin – nunmehr 87 Jahre alt – in den letzten Monaten an zwei Werkgruppen gearbeitet, die in addendum zusammengefügt...

2018 – gefingert

2018 – gefingert

AusstellungenRenate Hampke: Gefingert – Nackte Frottagen Januar – 24. Februar 2018 (Straßen-Salon)   Renate Hampkes nunmehr 3. Einzelausstellung in der Galerie konzentriert sich auf das zeichnerische Werk der Künstlerin – mit einer Tendenz zum...

2016 – Pneuma-tacs

2016 – Pneuma-tacs

Renate Hampke – Pneuma-tacs Renate Hampkes bereits einige Jahre künstlerische Beschäftigung mit ausrangierten Fahrradschläuchen erfährt in dieser nunmehr zweiten Einzelausstellung bei Semjon Contemporary einen Höhepunkt. Nur noch vereinzelt wird ein weiteres...

Info

Renate Hampke – inner tube and soap

Used everyday objects such as bicycle inner tubes and soaps, but also finds from the street are the materials for the work of the Berlin artist Renate Hampke.

Her idiosyncratic compositions from these materials give them a new lease of life, transforming the original character of the used, discarded and seemingly worthless item into a something new. Its combination and thus reconstitution with a material by nature foreign to it results in unusual three-dimensional pictorial works exuding the spirit of Arte Povera, Fluxus and Surrealism, but grounded in our time. She happily accepts any incidental erotic charging.

The fascination for her works of inner tubes and cable ties, especially among a generation young enough to be her grandchildren, does the artist (born in 1935) credit for showing how young, fresh and contemporary she has remained in her work. The fact that the artist is a master of drawing – once again diametrically opposed to what one expects from a classical drawing – is demonstrated, for example, by her wood drawings. Here, too, Hampke succeeds in emphasising the overlooked, the minimal, through her graphic interventions with graphite or charcoal. Suddenly we see the marks of time on the piece of wood. She manages to turn it inside out and thus breathe new life into it. But she also coaxes rhythmic formations into the sheet of paper when she lets her fingertips, blackened with charcoal and graphite, dance vigorously over it.