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with marquis de sade works like these move beyond a narrowly biographical reading to operate associatively a pronounced corporeality is shared by both the textile and ceramic works the fabric installation presents hoecker s oeuvre as it is currently known lending the motifs an undeniable presence despite the material s lightness the white fabric gathers all works identified to date through research while the black shows those now considered lost or destroyed as well as works whose present owners the paul hoecker research group has not yet been able to trace for each painting gufler produced silkscreens at original scale through physically demanding processes in the ceramic works he likewise employs silkscreen printing layering the motifs between successive firings after which they are partially obscured by a high gloss glaze this deliberate interplay of concealing and revealing takes on another spatial dimension through the use of stamps transforming the pieces into reliefs in their emphatic materiality the ceramic works form a tense counterpoint to the seemingly immaterial textile installation as a founding member of the paul hoecker research group gufler is directly involved in the collective research into hoecker s life and work this collaborative production of knowledge forms a central backdrop to the exhibition and is exemplified in the final gallery space through a presentation of relevant archival materials the insights developed jointly within the group are ultimately translated by gufler into his own distinct artistic perspective the exhibition thus unfolds within a field of tension between collective knowledge production individual authorship and a critical reflection on a long marginalized artistic biography the exhibition is accompanied by the publication spuren von paul traces of paul splitter 19 forum queeres archiv münchen in collaboration with bq berlin which brings together exhibition and research as a performative collective endeavor in the polyphony of texts and images paul hoecker emerges as part of an open process of ongoing historical and artistic re examination text nicholas maniu and christina spachtholz bq jörn bötnagel and yvonne quirmbach weydingerstrasse 10 10178 berlin tel 49 30 23457316 info bqberlin de tue sat 11 18 h photos roman märz posted by philippgufler at 05 34 keine kommentare labels berlin bq gallery weekend berlin paul hoecker paul hoecker forschungsgruppe paul hoecker research group buchpräsentation spuren von paul traces of paul book launches splitter 19 spuren von paul traces of paul philipp gufler in conversation with stefan gruhne nicholas maniu and christina spachtholz paul hoecker research group spuren von traces of paul stefan gruhne philipp gufler nicholas maniu christina spachtholz ed forum queeres archiv münchen e v and bq berlin design yvonne quirmbach with texts by karin althaus gerhard becker vera christoph stefan gruhne philipp gufler birgit jooss yuliia kizyma nicholas maniu christina spachtholz arnisa zeqo german english 112 pages 14 b w illustrations 61 coloured illustrations 20 euro shipping order here saturday 02 05 2026 3 pm bq weydingerstrasse 10 10178 berlin posted by philippgufler at 05 27 keine kommentare labels birgit jooss bq christina spachtholz forum queeres archiv münchen gerhard becker karin althaus nicholas maniu paul hoecker paul hoecker forschungsgruppe paul hoecker research group stefan gruhne vera christoph sonntag 8 februar 2026 sexual aesthetics at martin von zomeren philipp gufler sexual aesthetics march 7 april 25 2026 opening saturday march 7 2026 5 7 p m saturday april 18 4 pm finissage with a conversation by viktor neumann and philipp gufler in sexual aesthetics three bodies of work come together quilts mirror paintings and the ceramic series sexual aesthetics from which the exhibition takes its title in gufler s work research and material production exist in constant exchange the way a work is made shapes how its story unfolds while the historical narratives he engages with thread through his choice of material histories become tangible something that can be cut stitched looked at mirrored shaped and fired his extensive experience with archives is reflected in the meticulous way he produces his work archives consist of partial records inconsistencies and silences and the patience required to navigate them becomes visible in his artistic process one shaped by the endurance of slow sustained making and an embrace of transparency and distortion like textiles or clay history is assembled over time through acts of selection and emphasis rather than presenting history as fixed or complete gufler approaches it as something continuously formed and re formed mirror paintings the mirror works which gufler describes as performative paintings begin with pigment each colour is mixed with pigments by hand painted one by one colour by colour through silkscreen onto mirrored glass the process unfolds slowly screen positioned squeegee pressed as weight is shifted across the surface the density of colour changes with bodily pressure even a small change in angle can create visible textures in the pigment when two colours overlap a third tone forms at the intersection seen in the center panel as the layers build the amount of reflection lessens and the viewer s own image of themselves becomes partially withheld gufler situates these works in dialogue with the history of minimalism while queering its austerity by reintroducing the bodily presence and self reflection some works adopt a triangular form recalling the pink triangle once used to stigmatise queer people and later reclaimed as a symbol of resistance and collective memory the mirrored boxes are a variation on his original works containing the reflection ever so slightly more securely with enclosed structures quilts gufler s work does not approach history as a purely aesthetic reference in the quilts his engagement with the past takes on a more explicit form gufler approaches quilting as a ritual structure rooted in mourning and remembrance each quilt is dedicated to a specific figure and grows out of sustained archival research sometimes involving weeks spent studying personal estates and image collections he carefully selects fabrics whose textures and colours resonate with particular aspects of their lives often highlighting overlooked or marginalised elements of their stories i always try to focus on people either who are not in the focus or i m able to find a new angle the compositions are deliberate and carefully constructed photographs are mirrored cropped or subtly altered and texts are embedded directly into the fabric working with silkscreen a medium he has developed over nearly two decades he builds layered textile constellations in which personal desire political struggle and art history intersect for example in the quilt dedicated to charlotte wolff 1897 1986 one of the early sexual scientists active in berlin during the weimar republic gufler reworks a historical photograph by man ray by mirroring it and removing the second hand so that she appears to read with her own hand rather than someone else s in close contact with the surrealist artists wolff later turned to palm reading after her medical licence was no longer recognised in exile continuing her research on hands in a different form ceramic works while the quilts follow a structured internal logic the ceramic works required a different attitude and tempo they were developed during a three month residency at ekwc european ceramic work centre where gufler extended his long standing silkscreen practice into clay unlike conventional ceramic silkscreen methods where images are printed onto already finished tiles and fired at lower temperatures he printed with coloured clay directly onto wet still formable surfaces after screen printing he further processed the surface with stamps his first bisque firings reached around 1200 c after which he printed again with glaze followed by further firings at approximately 1040 c because many of the oxides and pigments may chemically react in extreme heat the final result could never be fully predicted prints sometimes shifted dramatically or reappeared as faint shadows the moment of opening the kiln was the first time he would see the work often confronting something entirely different from what he has imagined he describes how this unpredictability initially frustrated him before he learned to accept and embrace the loss of control the ceramic works can be understood as traces of an unfolding process tiles carrying the memory of their making holding within their surfaces the artist s method over time he developed a rhythm within this delayed process producing more than thirty tiles during the working period in what he described as an intense almost obsessive cycle the imagery embedded in the ceramics stems from extensive prior archival research many of these images relate to the archive of magnus hirschfeld s institute for sexual science in berlin an institute that was destroyed in 1933 and whose image archive was partially displaced sold lost and later spread in fragments across europe some materials resurfaced only as reproductions in books with limited documentation of their origins long term references of gufler such as cosy pièro and karl heinrich ulrichs resurface and merge with images from the sexological picture atlases of hirschfeld from prehistory the middle ages and up to their present day the title refers to sexual aesthetics by peter gorsen a book that examined how ideas about sexuality have shaped artistic production and how those ideas are themselves influenced by the social and cultural values of their time text mabel woodley martin van zomeren hazenstraat 20 1016 sp amsterdam contact gmvz com gallery opening hours wednesday saturday 13 00 18 00 posted by philippgufler at 04 09 keine kommentare labels amsterdam charlotte wolff ekwc european ceramic work centre martin von zomeren oisterwijk peter gorsen pierre molinier quilts sexual aesthetics sexualästhetiken mittwoch 3 dezember 2025 urning urningin language and desire since 1864 urning and urningin language and desire since 1864 9 january 12 april 2026 opening friday january 9 8 11 p m curated by philipp gufler artists sharan bala caconrad philipp gufler eli hill kriwet cosy pièro rory pilgrim sophie serber karl heinrich ulrichs louwrien wijers note this exhibition takes place in our renewed location at de constant rebecqueplein in the hague love and desire between people of the same sex have existed throughout history for centuries there was no language to name these desires except in medical and legal terms that defined them as illness or crime this began to change thanks to karl heinrich ulrichs 1825 1895 a german lawyer who was the first to describe same sex desire as an identity category ulrichs conducted extensive research into what he called uranism built a network of scholars around it and argued that queer desire should be recognised as something innate rather than criminal with his own vocabulary he articulated queer identity long before words such as homosexual gay or queer existed ulrichs legacy forms the starting point for the exhibition urning and urningin language and desire since 1864 the title refers to ulrichs positive description for himself and others with queer desire urning and urningin he used these words publicly for the first time in his series of pamphlets riddle of male male love published between 1864 and 1880 before that queer desires were left unnamed and treated as equivalent to forbidden sodomy in western society at the time ulrichs new words were widely used in german at the end of the 19th century and were also adopted in the netherlands and beyond although his terminology did not stick in the current times ulrichs ideas laid the groundwork for modern queer theory in this exhibition guest curator philipp gufler explores the limitations of language then and now in expressing desire and calls for intersectional solidarity alongside original documents and letters by ulrichs which offer a glimpse into his era and the influence of his thinking nine contemporary artists have been invited through their work they reflect on themes of gender identity language and queer desire marking the 200th anniversary of ulrichs birth this exhibition connects past and present showing how exchange across generations can be both hopeful and transformative a publication will be released alongside the exhibition featuring a pamphlet by karl heinrich ulrichs visual material by the artists and newly commissioned texts by gürsoy doğtaş hendrik folkerts and simon e van saarloos nest de constant rebecqueplein 20 b 2518 ra den haag the netherlands photos kyle tryhorn posted by philippgufler at 02 01 keine kommentare labels caconrad cosy pièro den haag eli hill karl heinrich ulrichs kriwet louwrien wijers nest rory pilgrim sharan bala sophie serber urning urningin ältere posts startseite abonnieren posts atom philipp gufler cv artist books other texts filmography exhibition archive 2026 5 mai 2 manifesta ifeelyou dimensionen der empathie märz 2 februar 1 2025 11 dezember 1 september 3 august 1 juli 1 april 1 märz 3 januar 1 2024 13 dezember 1 november 3 oktober 1 september 2 juni 2 februar 4 2023 13 dezember 2 september 1 august 2 juni 1 mai 2 märz 3 januar 2 2022 19 dezember 2 november 1 oktober 3 september 2 august 3 juli 2 juni 1 mai 3 april 1 januar 1 2021 10 oktober 2 september 4 juli 1 juni 1 april 2 2020 11 november 1 oktober 2 september 1 august 1 mai 1 februar 2 januar 3 2019 14 dezember 2 november 1 september 2 august 2 mai 2 märz 3 januar 2 2018 15 oktober 1 august 2 juli 1 juni 1 mai 3 april 1 märz 4 januar 2 2017 9 dezember 1 oktober 1 juni 1 mai 3 april 1 februar 1 januar 1 2016 15 november 2 september 2 august 1 juli 1 juni 3 mai 2 april 1 märz 2 februar 1 2015 11 dezember 1 november 1 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