Hallen #3 – Wilhelm Hallen, Berlin

Lena Henke
Every one of my buildings begins with an Italian journey (Kaffee), 2022
PU-foam, Pigment, Rubber
58.8 x 32.0 x 33.9 cm
Weight: 5,26 kg
Signed, dated and numbered on custom made box
Produced by Kunstgiesserei St. Gallen
Edition of 6 plus 2 AP
Please contact us for further details

To compose her new series of sculptures on view, Henke digitally reworked four iconic Braun appliances of the postwar era: the KM 3 “Küchenmaschine” stand mixer (1957), the MX 3 mixer (1958), the MPZ 2 “Citromatic” citrus press (1972), and the KF 20 “Aromaster” coffee machine (1972).(4) Each sculptural edition is complemented by the artist’s custom-designed packaging of black carton boxes with individual labels. The sculptures’ colors are derived from vintage Braun advertisements, while their skin-like rubber surfaces emphasize the appliances’ biomorphic shapes. Henke has retained the physical glitches that occur in the 3D printing process, which materialize on the sculptures as drips, leaks, and overflows. Upon closer inspection, the appliances appear as bodies on the verge of spilling over, their tumescent forms threatening the integrity of their modernist design.

Lena Henke
The mind is like an umbrella Its most usefull when open (Saftpresse), 2022
PU-foam, Pigment, Rubber
29.8 x 26.3 x 42.1 cm
Weight: 2,21 kg
Signed, dated and numbered on custom made box
Produced by Kunstgiesserei St. Gallen
Edition of 6 plus 2 AP
Please contact us for further details

To compose her new series of sculptures on view, Henke digitally reworked four iconic Braun appliances of the postwar era: the KM 3 “Küchenmaschine” stand mixer (1957), the MX 3 mixer (1958), the MPZ 2 “Citromatic” citrus press (1972), and the KF 20 “Aromaster” coffee machine (1972).(4) Each sculptural edition is complemented by the artist’s custom-designed packaging of black carton boxes with individual labels. The sculptures’ colors are derived from vintage Braun advertisements, while their skin-like rubber surfaces emphasize the appliances’ biomorphic shapes. Henke has retained the physical glitches that occur in the 3D printing process, which materialize on the sculptures as drips, leaks, and overflows. Upon closer inspection, the appliances appear as bodies on the verge of spilling over, their tumescent forms threatening the integrity of their modernist design.

Lena Henke
Better be old iron than new tin (Mixer), 2022
PU-foam, Pigment, Rubber
39.1 x 19.7 x 22.4 cm
Weight: 1,86 kg
Signed, dated and numbered on custom made box
Produced by Kunstgiesserei St. Gallen
Edition of 6 plus 2 AP
Please contact us for further details

To compose her new series of sculptures on view, Henke digitally reworked four iconic Braun appliances of the postwar era: the KM 3 “Küchenmaschine” stand mixer (1957), the MX 3 mixer (1958), the MPZ 2 “Citromatic” citrus press (1972), and the KF 20 “Aromaster” coffee machine (1972).(4) Each sculptural edition is complemented by the artist’s custom-designed packaging of black carton boxes with individual labels. The sculptures’ colors are derived from vintage Braun advertisements, while their skin-like rubber surfaces emphasize the appliances’ biomorphic shapes. Henke has retained the physical glitches that occur in the 3D printing process, which materialize on the sculptures as drips, leaks, and overflows. Upon closer inspection, the appliances appear as bodies on the verge of spilling over, their tumescent forms threatening the integrity of their modernist design.

Lena Henke
Form Follows Feminine (Küche), 2022
PU-foam, Pigment, Rubber
35.3 x 63.8 x 36.3 cm
Weight: 8,22 kg
Signed, dated and numbered on custom made box
Produced by Kunstgiesserei St. Gallen
Edition of 6 plus 2 AP
Please contact us for further details

To compose her new series of sculptures on view, Henke digitally reworked four iconic Braun appliances of the postwar era: the KM 3 “Küchenmaschine” stand mixer (1957), the MX 3 mixer (1958), the MPZ 2 “Citromatic” citrus press (1972), and the KF 20 “Aromaster” coffee machine (1972).(4) Each sculptural edition is complemented by the artist’s custom-designed packaging of black carton boxes with individual labels. The sculptures’ colors are derived from vintage Braun advertisements, while their skin-like rubber surfaces emphasize the appliances’ biomorphic shapes. Henke has retained the physical glitches that occur in the 3D printing process, which materialize on the sculptures as drips, leaks, and overflows. Upon closer inspection, the appliances appear as bodies on the verge of spilling over, their tumescent forms threatening the integrity of their modernist design.

Matt Mullican
Untitled, 2014
Granite plate with reliefs
Inside stretcher frame with frottage
Oil stick on canvas
29,7 x 21 x 2 cm
In custom made wooden box
Signed and numbered certificate
Edition of 8
Please contact us for further details

While the front is concealed by the spanned canvas, the back reveals a finely chiseled diagrammatic drawing. The granite surface is reminiscent of blackboards and their both temporary and universal function, whereby the blackboard – not only since Beuys – stands for potential world designs, as well as a notation surface for energy flows and constructs. The drawings on the two sides of the granite panel are to be understood in a similarly universal sense; they are based on sheets from Mullican’s extensive fund of handwritten notes and were realized in sandblasting technique. The somewhat coarser feel of the rubbing expands Mullican’s formal and thematic spectrum to include the relationship between image and support, drawing and writing, concealment and visualization, visual and tactile perception.

Matt Mullican
Untitled, 2008
7 handcoloured silkscreen prints
And 6 silkscreen printed stamped frames
Both on Zanders Classic 115g
Each 42,8 x 27,7 cm
Signed and numbered
Edition of 8
Edition 8 of 8 sold as single works
Please contact us for further details

Since the late 70’s, Matt Mullican has become one of the most important figures in American post-conceptualism. Through diverse media such as drawing, installation, performance, computer-based light boxes, and video, he sculpts models of the world that use symbols and pictograms to expose their own construction. The world as a system of signs comes within reach, at once universal and deeply subjective. This edition consist of silkscreen printed frames with exchangable handcolored motives corresponding to Mullican’s cosmology.

Matt Mullican
Untitled, 1997
Four handmade, handpainted glass balls
In a glass case with four divisions and lid
Balls: each 15 cm
Case: 31,5 x 31,5 x 31,5 cm
Signed and numbered certificate
Edition of 8
Please contact us for further details

As in „Untitled“ (2014) Mullican’s very interest in different forms of representation and repetition of reality through images, signs and language and on the other hand through physical traces of the material world is being displayed in „Untitled“ (1997). Instead of rubbings, as imprints and copies, the depicted cosmology on glassballs was reproduced as photograms. Here, light becomes the imaging element, while the image content evermore differs, yet stays the same.

Matt Mullican
Untitled, 1997
5 photograms on glossy photographic paper
40,6 x 30,5 cm
Signed and numbered certificate
Edition of 8
Please contact us for further details