The 2026 portfolio comes in an edition of 25 and in an archival box.
It features works by us, as artists who shape the space and its programme. In the coming years, we look forward to inviting other artists to contribute to future editions.
For purchase inquiries, please contact
As my practice morphs with my physical and mental abilities, I’ve learned to be a shape shifter in order to keep any kind of artistic practice alive while my topics stay more or less consistent. Because when you fall ill you don’t suddenly loose interest in the political, sociological or aesthetic [...] discourse. But these public spheres are all but inaccessible if you’re bed-bound like me. So making these signs for now for this show and any kind of creative output I can still manage is a way for me to keep on engaging with the world outside of my confinement.
By following the chain of associations these little signs entail, this series has become an interesting way to brush on a surprising number of themes. From authority (“You can’t smoke here!”) to press headlines (“20 dead in barn fire”) to the dissonant chorous of a social media feed optimized to harvest your attention.
This is pursued through the reduced interfaces provided if you want to design your own “Live, laugh, love” sign on any of a number of online commerce websites. All physical production was outsourced thusly. So I set out to subvert this ready made, dusty, suburban aesthetic and make it tell stories it was never meant to contain. And I’ve been lucky enough to have the amazing Nura Afnan- Samandari join me for a while in that endeavor. Further blurring the lines of authorship in the aesthetic decisions made by passing around ideas and texts and expanding its original context.
Da sich meine künstlerische Praxis mit meinen körperlichen und geistigen Fähigkeiten zwangsläufig wandelt, habe ich mit der Zeit gelernt mich anzupassen, um jede Form künstlerischen Schaffens am Leben zu erhalten, während meine Themen mehr oder weniger konstant bleiben. Denn wenn man krank wird, verliert man nicht auf einmal das Interesse am politischen, soziologischen oder ästhetischen [...] Diskurs. Doch diese öffentlichen Sphären sind so gut wie unzugänglich, wenn man ans Bett gefesselt ist wie ich es bin. Daher ist das Erstellen dieser Schilder für diese Ausstellung, sowie jede Art von kreativem Schaffen, das ich noch bewältigen kann, für mich eine Möglichkeit, weiterhin mit der Welt außerhalb meiner Eingrenzung in Verbindung und Austausch zu bleiben.
Wenn man der Assoziationskette folgt, die diese kleinen Schilder mit sich bringen, ist diese Serie zu einer interessanten Möglichkeit geworden, eine überraschende Vielzahl von Themen anzuschneiden. Von Autorität („Hier darf nicht geraucht werden!“) über Schlagzeilen („20 Tote bei Scheunenbrand“) bis hin zum dissonanten Chor eines Social-Media-Feeds, darauf optimiert, deine Aufmerksamkeit einzuholen.
Dies wird durch die reduzierten Interfaces möglich gemacht, die dir zur Verfügung stehen, wenn man auf einer der vielen Online-Shops sein eigenes „Live, laugh, love“-Schild gestalten möchte. Die gesamte physische Produktion wurde somit ausgelagert. Also machte ich mich daran, diese vorgefertigte, verstaubte Vorstadtästhetik zu unterlaufen und sie Geschichten erzählen zu lassen, die sie niemals enthalten sollte. Und ich hatte das Glück, dass die großartige Nura Afnan-Samandari sich mir eine Zeit lang in meinem Vorhaben angeschlossen hat. Grenzen der Urheberschaft bei ästhetischen Entscheidungen wurden weiter verwischt, indem Ideen und Texte weitergereicht und der ursprüngliche Kontext erweitert wurden.
Clages, Brüsseler Straße 5, 50674 Cologne
The exhibition marks a moment within ongoing activities and conversations between Linienstraße and the participating artists. It reflects the duration of a thought, shared by many, as a situation made public.
As a result of our observations and experiences in the Düsseldorf space, we translated a series of spatial gestures and remarks into the gallery architecture. Glass appears both as intention and deviation. Objects circulate between rooms. What is functional also becomes display, and what was background becomes visible structure.
Installation views by Simon Vogel and Linienstraße.
Stoffpavillion Möller, Hahnenstraße 8, 50667 Cologne
As part of Neu Cöln.
Installation views by Mareika Tocha.
Rosa Aiello, The Artist‘s Reserved Rights Transfer And Sale Agreement, The Hun, Swan Lee, Suzan Pitt, Ian Waelder, Quay Quinn Wolf
As part of Düsseldorf Cologne Open Galleries.
The exhibition is based on a story by Haris Giannouras.
Never underestimate the beauty of fiction;
there is power in telling stories.
Apricity is the feeling of the winter sun on your face. It means feeling a quick touch of warm in an otherwise sea of cold, a quick rush of lobster red splashes across your cheeks while sitting in a waiting room or right after getting the bill for having your brakes of your car checked. This has to be a funny piece of information to keep in mind when you’re feeling blue. I sometimes miss a lot of things and happen to miss all of them at the same time. Nostalgia is a weird game, a trickster’s conduit he thought rather unruly to himself. How do you get out of it? Should you even? How can you burst out of this swamp? Am I going to miss apricity when the summer comes along?
He was just standing there, not doing much other than sticking his belly out of the comfort of his slightly elevated cotton blend T-shirt. He rather dangerously came closer to the fan that was standing in the middle of the living room. It was one of those plasticky, squeaky white fans you get at Saturn for no more than 20 euros until the heatwave hits and the prices skyrocket. Then they die without even saying goodbye and then you have to go through them out and get a new one before the next sun strokes come bashing through your door.
Visiting a swimming pool might make things better. There are a lot of funny little beings lurking near stable bodies of water; creatures from the blue lagoon that hide inside the water and do their very best to catch your attention and your wallet. I mean it’s bound to happen, we are bound to come across these otherworldly beings since we’ve abandoned the havens of the moving sea. And yet, he was still there, standing with apathy and serenity in front of the mesmerizing movements of the fan’s blades.
I’ve missed the smell of concrete under the sun, I’ve missed the sound of hairy men arguing on the street, I’ve missed clothes sticking to your skin like you owe them money, I’ve missed drinking wine with lunch, I’ve missed crossing the street as if it’s one of the last things you will ever do, I’ve missed two euro books at midnight slipping next to ruins from a past era, I’ve missed office buildings with abandoned front desks, I’ve missed the smell of flowers in the city, I’ve missed stray dogs sleeping on the side lines, I’ve missed the sound of cats yelling, I’ve missed the waves crashing on the shore, I’ve missed crickets singing out loud for a change, I’ve missed overzealous coffee culture, I’ve missed chairs crossing their legs. I’ve missed them. I’ve missed this.
All these thoughts came crashing down on him, all while the fan was doing its things, dancing around the messy living room, swirling the winds, twisting fates, mixing sentiments.
Scenes as if looking out of a driving cab came flashing before his eyes, dreams of asparagus, of cinema dates and theater kids. Nightmarish fights between lovers taking place inside messy kitchens. With a can of beans spilled all over the floor, staining everything, security deposits flying all over the place.
The fan kept spinning, getting louder by the minute, dancing on its tippy toes, demanding his attention, screaming on the top of its lungs.
Suddenly, this weird pandelirium of flashing images that had completely taken him over, sequences of legged asparagus, trembling kitchen tiles, holiday greeting cards, or even bureaucracy monsters, it all came to a halt.
He blinked, once or twice, pulled his shirt back down and turned the fan off. It is a universally understood fact that summer heat is never good for your emotional state.
A smell of tipsy flowers fils the room as the door slowly opens.
We asked friends and artists to join us with a contribution to this envelope — some we already have collaborated with in the past and others we look forward to working with in the course of this year. It now contains a variety of works in the form of a greeting.
In case you come by, you can get a copy. We still have a few left and are happy to share.
1 out of 150 retracings of a pencil drawing
on Fabriano Accademia drawing paper, 150g/m2
Ulla von Brandenburg
Billodrome
Stofflager
Laserprint, folded
Anna Budniewski
Mit den Fäusten das Kinn hochdrücken, Kopf in den Nacken. Den Blick hat sie steil nach oben gerichtet. Sie sucht den Stern in sich, als wäre der Himmel ihr Spiegel. Der Bass dröhnt.
Laserprint on Chromolux
Michael Dikta
Morning View
Laserprint
Jürgen Drescher
Konzentriere Dich
Entscheide Dich
Laserprints
Buket Isgören
Blätter
Laserprint, folded
Thomas Neumann
Paper model after a yellow shelf
Canary yellow copy paper and installation manual
Babette Semmer
Babette as a rose. Coming up with a plan.
Laserprint on archival paper
Mari van Stokkum
Krater deiner
Essay
Sophie Isabel Urban
Pfeile auf Papier
Vernis mou and oil on handmade paper
Simon Wienk-Borgert
Study for emotional budgets (Expenses, Income, Debt, Balance)
Laserprint on projection film
Ieva Raudsepa, Olga Hohmann, Chantal Kaufmann, Jonida Laçi, Carl-Oskar Jonsson, Fiona Connor, Gregor Peschko, Matthias Noggler, Valentina Triet, Eleni Wittbrodt, Regine Ehleiter, Johanna Terhechte, Polo, Ludwig Kuffer, Tabea Marschall, Lukas Panek, Manuel Wetscher, Adelaide Ivánova, Samuel Bich, Philipp Farra
Installation views by L.K.
Nura Afnan-Samandari, Geta Brătescu, Michael Franz, Gabriel Kuri, Paul Niedermayer and Michel Wagenschütz in collaboration with Theodor Dathe
Kunstverein Bielefeld, Welle 61, 33602 Bielefeld
Installation views by A.R.
Alina Rentsch
Curated by Franca Zitta
If the dramatic action is divided into three subsections, namely the information about the preconditions, the esca- lation of the conflicts up to the climax, and the solution or the catastrophe, the division into three acts is obvious.
As part of Düsseldorf Cologne Open Galleries.
I am not searching for the positive energy, I am only looking for things which I have either lost or misplaced, and I do that often. I try to keep track of my thoughts and to understand. Once I have understood something, I can express it and hope that someone can get something out of the observation, and if this has a positive effect, then that is not bad.
Both show new paintings, new pictures.