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With ‘Late Bloom’, Alexandru Gavriel Ganea (b. 1990) presents his first solo exhibition at pied-à-terre, unveiling recent marble and soapstone sculptures that merge classical craftsmanship with contemporary expression. A sculptor with an intimate connection to his medium, Ganea studied in Carrara, Italy, a city famed for its pristine marble and its legacy as the workplace of some great sculptors. This deep-rooted history, combined with Ganea’s own evolving artistic voice, results in a body of work that explores themes of time, transformation, and personal identity.
"Restless Still Life," the first solo exhibition in Germany by Belgian artist Johan de Wit, explores movement and stillness, challenging traditional still life conventions.
De Wit’s work, rooted in shape and color, spans sculptures, videos, and picturesque objects. His creations reference art history from Antiquity to the present, evoking themes of landscapes, still lifes, and genre scenes. They also explore existential concerns—the fragility of human existence, the ephemerality of power, and the fleeting nature of pleasure. His works balance melancholy with humour, comfort, and care, leaving room for contemplation and emotion.
“In Plain Sight”, the first solo exhibition by Neda Aydin (*1990, Dortmund), showcases sculptures and wall-based works that engage with deviations from norms, disruptions, and the overlooked. Aydin’s artistic practice examines the forces and structures that shape, challenge, and define individuals and societies. Her work highlights the pressure to conform and creates spaces where resistance and irregularities become visible.
‘Un poquito de todo’ by renowned Colombian draughtsman José Antonio Suárez Londoño brings together six distinct series of drawings created over more than two decades, from 1998 to 2019. The exhibition showcases the rich diversity of Suárez Londoño’s practice and offers a broad look into his evolving visual language and introspective artistic journey.
"How does something new come about, and how does it affect what already exists?"
This question could stand alone as an introduction to ‘Veils of Perception’, Maximilian Rödel’s (b. 1984 in Braunschweig) first exhibition at pied-à-terre. The show will feature seven new paintings that challenge traditional notions of perception, inviting viewers to delve beneath the surface and explore the hidden layers of reality within Rödel’s enigmatic works.
Los Angeles, the symbolic end of Western Civilisation, and Athens, its storied beginning, converge in the creative journey of Michael McGregor, who divides his time between these two iconic cities. “Temple of Euphoria”, the artist’s first solo show at pied-à-terre is also his debut in Europe.
Details of seemingly incidental views with mysterious contexts characterise the subjects of Belgian artist Bert de Beul’s paintings, which are being shown for the first time in KEWENIG’s pied-à-terre. The blurred contours in his depictions only hint at architecture, interiors or objects in cool alienation from familiar reality.
Based on ancient beauty ideals, Marcelo Viquez explores a visual language that extends into contemporary art. This is the starting point of his first exhibition at pied-à-terre, following several solo exhibitions at KEWENIG in Palma de Mallorca, the artist's adopted home.
In Manuel Wroblewski’s first exhibition at KEWENIG’s pied-à-terre, the space becomes a parcours of floor-to-ceiling columns and pedestals at different heights which all bear fruit, vegetables, or seafood. This installation of sculptures appears simple at first glance. Only a few of the fruit sculptures are true to scale, most are enlarged, sometimes significantly enlarged, but the proportions are always harmonious.
The works Bernd Koberling has selected for his first exhibition at pied-à-terre are of intense lightness and depth. They are small-format watercolours created in Berlin, but inspired by the rugged landscape and
species-rich, largely untouched nature of Iceland. For many years, the island has been the source of a pictorial world that has already abandoned the purely figurative landscape but yet has not lost itself in abstraction.
The idyllic nature of the motifs reveals itself to be a subtle strategy. A mother with her child in her arms appears in various everyday situations: in her home and garden or on the move, in the city, in the country, on vacation. This exhibition shows photographs by Jamie Diamond from the series I Promise to Be a Good Mother, which she has been working on since 2007. The scenes initially seem familiar, as from family photo albums or well-known subjects from art history, but at the same time appear strangely posed.
In the vibrant pulsating heart of the art world, collective dinners serve as a vital lifeblood. These are no ordinary meals, but grand affairs, often swarming with a kaleidoscope of characters. They are the celebratory feasts that toast the openings of exhibitions, the convivial gatherings that accompany the bustling art fairs, and the memorable occasions that mark significant events in the realm of contemporary art.
The photographs by Elger Esser in this exhibition provide views of a silent infinity, bathed in shades of blue, pierced by the bright glow of the sun and its reflections. They take us to Normandy, showing the mudflats around the island of Mont-Saint-Michel with its imposing silhouette of the towering abbey, the neighbouring tidal island of Tombelaine or the nearby river Couesnon. On view are the landscape, the water, the cloudy sky and, above all, light and space.
Works by the French painter Johanna Dumet are on display at KEWENIG’s pied-à-terre for the first time. Her contemporary view of the traditions of art history finds expression here in new collages, to which this exhibition is exclusively dedicated. When viewed from above, the pictures depict set tables with the traces of smaller and larger meals, – snapshots capturing a moment of togetherness.
The central subject of Miroslav Tichý’s artistic work is women (Czech: ženy). The artist, who worked in seclusion in his Czech hometown all his life, can be seen at KEWENIG’s pied-à-terre with a selection of works from his extensive body of drawings. The exhibition provides an insight into the world he imagined and experienced and illuminates the artist’s devotion to his subject in various facets.
For the first time, KEWENIG is dedicating a solo exhibition to the Indian artist Astha Butail at pied-à-terre. Her works are based on ideas that are shaped by an examination of oral tradition and the custom of sharing and passing on of knowledge. It is about myths and philosophies of different cultures, about their history and transmission up to the present day. Butail’s research is the basis for an artistic realisation in a remarkable range of different media: drawing, assemblage, object art and sculpture, performance and interactive installations and video works.
In his painted imagery, Hendrik Krawen examines phenomena that affect society and the individual – it is about consumption, globalisation and contemporary history. Painting is the main focus of his work, mostly executed in oil and always with great precision, meticulous in detail, with a clear, precise pictorial structure. At the same time, his focus is always on the graphic. Krawen’s characters, geometric shapes and figures take on a value that goes beyond their original function in everyday life, but also beyond in graphic design.
The core of Elisabeth Frieberg’s work is colour, which manifests nothing less than her relationship to the world. For this exhibition, the Swedish artist shows some of her most recent paintings in an immersive installation. The paintings appear very different in their structure and painting technique, but they are united by an artistic approach that is revealed when facing the pictorial invention and its painterly realisation.
This cabinet exhibition gives a particular focus to a remarkable position in German painting. The exhibition presents a selection of works by Raimund Girke from the 1970s to the 1990s, paintings and works on paper, works of geometric rigour and of gestural lightness. KEWENIG's Pied-à-terre is hosting the exhibition also on the occasion of the release of the most extensive catalogueever published on Girke.
As one of the most influential representatives of the ‘New York School’, Robert Motherwell (1915-1991) played a leading role in the emergence and development of Abstract Expressionism. He created numerous iconic works of American painting and left behind an extensive graphic oeuvre. The second exhibition at Pied-à-terre focuses on this innovative and creative facet of his art.
The first exhibition at our Pied-à-terre art space has the title Ouverture and is dedicated to the French artist Bertrand Lavier (b. 1949). His work is between painting and sculpture, challenging traditional notions of art and habits of perception. This show provides us with a fitting opportunity to open Pied-à-terre in the heart of Berlin-Charlottenburg, an inspiring venue with a dynamic programme that promises a diversified contribution to art presentation and outreach.
pied-à-terre
noun; plural des pied-à-terre
UK/piˌeɪ.dætˈeər/US/piˌeɪ.dætˈer/
French: a small house or apartment in a city that you own or rent in addition to your main home, where you stay when visiting that city for a short time;
Unlike a classic gallery, the pied-à-terre offers more than just a place to display art—it’s a creative foothold for experimentation and collaboration. Borrowing its name from the French term for a "temporary home," this dynamic space invites artists and galleries to step beyond traditional boundaries and explore new territories. With a constantly evolving programme, pied-à-terre combines the fresh voices of emerging artists with a reimagining of historically significant positions, fostering a lively exchange between creators and the public. It’s a place where art is not simply shown, but actively discovered, experienced and transformed.
