17.01. – 24.02.2016
with Asmar Narimanbekova, Zin Maisiri & Stefan Bassir 
On display are paintings by the Azerbaijani artist Asmar Narimanbeova, collages by African artist Zin Maisiri from the collection of Prof. Dr. Fuhrmann and sculptures by Berlin artist Stefan Bassir.
Asmar Narimanbekova comes from a significant Azerbaijani artist family and grew up in an atmosphere of love for art, music and literature. Asmar is an artist full of light with a wide and enthusiastic soul. She has started her personal art journey by exploring Fauvism, continued with Impressionism, passed the Post-Impressionism and made also a stop at Cubism and Expressionism, then finally she found her very own individual creative style, the original color sensation acting as a dominant composition.  The colors in her artwork fill the forms with dynamic, saturates her canvas with the strong energy as well.
Zin Maisiri is an important representative of the so called "Township Art": colorful ensembles with billboards & mud walls, powerful people, alone, in groups and vehicles. The paintings radiate strong vitality and fascination despite the poverty. They catch the eye and the imagination of the viewer, enrichment. They are political commentating paintings with text and word fragments from newspapers & magazines. They pick up problems and hopes. Vivid colors combines them and connects us, merged with incorporated materials, including worthless ZW-trillion- & billion-$-notes as well as cardboard and plates or wire.
Stefan Bassir‘s sculptures seem to arise from an anarchic world, at least his sculptures do not represent any usual orders. The relationship and the problems between mass and gravity, rigour and lightness, static and movement are demonstrated. Stefan's primary goal is not to create smooth and completed forms, but artwork where form and content remain open, accompanied with traces of processing, which are sometimes even reinforced by himself, burials and injured surfaces - so the artist gives the viewer an insight into the creative process and into the figure itself, fetches emotions, seeks the viewer’s gaze to concentrate. 
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