She comes in colors everywhere – Groupshow

68projects is pleased to present the group exhibition She Comes in Colours Everywhere, curated by Alexandra Alexopoulou, on the occasion of Berlin Art Week 2020.

The exhibition is a homage to Berlin. Its title—taken from the Rolling Stones song She’s Like a Rainbow—refers to the personified city and its vibrant influence on artistic creativity. The participating artists live and work in Berlin; the city’s urban space and structure are a constant source of inspiration, clearly visible in the abstract and conceptual works on display.

The Covid-19 crisis led many artists to turn even more strongly toward their immediate surroundings and to explore various aspects of city life. Although the artists are actively exhibited elsewhere, they have often received limited visibility within their own city.

Gerold Miller (born 1961) occupies a special position in the exhibition as a long-established and influential Berlin artist who has become a role model for younger generations. His work I Love Kreuzberg (2008) is the key piece of the show. In the black-and-white photograph, Miller pulls one of his aluminium sculptures along Oranienstraße, scratching its surface. The city literally engraves itself onto the sculpture, expressing Miller’s deep attachment to the district where he maintained his studio for nearly twenty years.

The conceptual artist Pierre Descamps (born 1975) focuses on urban architecture. His photographs emphasize geometric forms and the formalism of city structures. In recent years, he has placed minimalist concrete sculptures in public spaces as guerrilla interventions, inviting skateboarders to use them. As part of the exhibition, Descamps realizes an intervention in public space on Fasanenstraße.

In the landscape-like compositions of Yorgos Stamkopoulos (born 1983), chance plays a central role, yet the influence of the vibrant Neukölln cityscape—house facades, water, sky, and parks—is unmistakable. His paintings combine opulent, organic-looking colour fields with bare areas of canvas created by removing paint, resulting in dynamic pictorial objects.

These drastic compositions of emptiness and abundance reveal a deep engagement with extroverted surroundings and conscious retreat.

The sculptor Stephanie Stein (born 1972) addresses crisis and its inevitability on a transcendental level. Her wall sculpture Wir sind uns niemals nah gekommen shows the tension between two parallel geometric metal bodies that seem to approach one another mentally but remain physically immobile.

In contrast, the sculptures of Lisa Tiemann (born 1981) are characterized by a subtle absurdity. Through unconventional combinations of materials—ceramic, papier-mâché, metal, and latex—her works appear like architectural elements that have detached themselves and begun to move organically.

Schirin Kretschmann (born 1980) works between installative painting and process-based practices. In SINK, developed especially for 68projects using soap and pigment, she transforms spatial perception into a physical experience. In FORM ON THE DAY, pigment dust creates unpredictable surfaces, while FLOOR WORK brings the artist’s Wedding studio floor into the exhibition space, producing tension between fragile surfaces and metallic appearance.

In his film 32 m a.s.l. NHN – 114.7 m a.s.l. NHN (II) (2012), Cyrill Lachauer (born 1979) measures Berlin in colours. By igniting coloured smoke cartridges at various elevations across the city, he creates a fleeting, abstract city map. The music for the film was composed and recorded by Ari Benjamin Meyers.

Text: Alexandra Alexopoulou