SELECTED ARTISTS COLLECTION


Established in 2017 by Uwe Goldenstein
USt. ID: DE 815250803


Nicola Samorì, Dargilla, 2013, oil on bakelite, 29 x 22cm


Nicola Samorì, Vincent, 2020, fresco, 400 x 200cm


Nicola Samorì, Leprosario, 2013, oil on wood, 90 x 75cm


Nicola Samorì, L’Abietto venerabile, 2012, oil on wood, 75 x 50cm


Nicola Samorì, Vicario (ecorchè), 2011, oil on wood, 70 x 50cm


Nicola Samorì, La Storia, 2009, oil on copper, 100 x 100cm

Samori_L'imperterrito_2013_102x102cm
Nicola Samorì, L´ Imperterrito, 2013, oil on wood, 100 x 100cm

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Nicola Samorì, Lode della lingua, 2017, oil on copper, 100 x 100cm

nicola-samori-against-the-orrery-2016-courtesy-bsa
Nicola Samorì, Against The Orrery, 2016
fresco, 200 x 100cm

Nicola Samori,La Spada,2012,200x150cm,oil on wood,BSA Collection Berlin
Nicola Samorì, La Spada, 2012, oil on wood, 200 x 150cm
See here the peeling down action of “La Spada” (min. 2:57)
from “Studio Visit – Alberto Mattia Martini incontra Nicola Samorì”


Nicola Samorì, Jan’s Horizon, 2013, oil on bakelite, 28 x 68cm


Nicola Samorì, A.F.P., 2010, oil on wood, 55 x 55cm


Nicola Samorì, The Mine, 2013, oil on wood, 40 x 50cm


Nicola Samorì, Quadro Italiano, 2012-13, oil on wood, 100 x 100cm


Nicola Samorì, Tantalo, 2012, oil on copper, 100 x 100cm


Nicola Samorì, Huerto, 2010, oil on wood, 19 x 27cm


Nicola Samorì, Kirche, 2013, oil on copper, 50 x 70cm


Nicola Samorì, Nimbus, 2011, oil on wood, 40 x 30cm


Nicola Samorì, Balthazar, 2010, oil on canvas, 200 x 150cm


Nicola Samorì, L’ombra sottile
2011, oil on wood, 44 x 15cm


Nicola Samorì, Untitled, 2016, oil on wood, 55 x 38 x 6cm


Nicola Samorì, G.M.C., 2010, oil on wood, 27 x 19cm


Nicola Samorì, Giardino anatomico, 2007, mixed media on paper
39 x 52cm


Nicola Samorì, Tavola per l’ospite, 2011, oil, silver, emaille on wood
40 x 30cm


Alexander Tinei, Game, 2010, oil on canvas, 120 x 100cm
Published in: “Vitamin P2”, Phaidon 2011

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Alexander Tinei, Dream, 2012, oil on canvas, 31 x 28cm


Alexander Tinei, Yellow Hair, 2007, oil on canvas, 120 x 100cm

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Adam Magyar, Stainless A 13316 (Paris), 2011, silver gelatin print, framed
80 x 168cm, #3/6


Radu Belcin, Along the Way, 2018, oil on linen, 170 x 198cm
Exhibited at “Disturbing Narratives”, Parkview Museum, Singapore


Radu Belcin, Waiting for a Beautiful Day, 2020, oil on linen, 50 x 65cm


Radu Belcin, Sweet Hope, 2020, oil on linen, 50 x 65cm


Radu Belcin, Seeding Light, 2020, oil on linen, 60 x 74cm


Radu Belcin, A Secound like any Other, 2020, oil on linen, 71 x 65cm


Radu Belcin, Return to the Floating Forest III, 2019, oil on linen, 60 x 50cm


Radu Belcin, Loneliness, 2017, oil on linen, 115 x 143cm


Radu Belcin, The Speech, 2017, oil on linen, 115 x 142cm

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Heiner Altmeppen, Felsnadeln im Mondlicht I, 2015, acrylic on paper
mounted on wood, 15 x 15cm

Heiner Altmeppen,Felsnadeln im Mondlicht II, 2017, Acryl auf Papier auf Sperrholz, 15 x15 cm
Heiner Altmeppen, Felsnadeln im Mondlicht II, 2017, acrylic on paper
mounted on wood, 15x15cm


Teodora Axente, The Kiss, 2020, oil on canvas, 126,5 x 126,5cm


Teodora Axente, Annunciation, 2020, oil on canvas, 129 x 102cm


Teodora Axente, Silver Green, 2015, oil on canvas, 39,5 x 20,5cm


Teodora Axente, White Fox, 2018, oil on wood panel, 42,5 x 30cm


Teodora Axente, Polecat, 2018, oil on wood panel, 32 x 25cm


Sergiu Toma, Untitled, 2018, oil on canvas, 200 x 200cm


Daniel Pitín, DNA, 2008, mixed media on paper, 36 x 25,5cm

bota,2014,170x270cm
Adam Bota, Rasterfahndung, 2014, oil on canvas, 170 x 270cm

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Daniel Behrendt, Secret Places, 2010, oil on canvas, 140 x 190cm

gaida,echo mulier,2017
Gregor Gaida, Echo Mulier, 2016
70 x 38 x 22cm, maple wood, fiberboard black, acryl glass

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Attila Szücs, Preparing for Darkness, 2015, oil on canvas, 190 x 140cm

Horst Waigel, Bert After Munch.van gogh version,oil on canvas,104yold frame,44x42cm,2011
Horst Waigel, Bert After Munch (van Gogh Version), 2011, oil on canvas, 44 x 42cm

The Vision - Two Alfs In A Tree
Horst Waigel, Two Alfs In A Tree, 2012, c-print, 40×60cm, #2/8

pmalarsvontrier
Per Morten Abrahamsen, Lars von Trier, 2012, archival ink on Baryta paper
75 x 75cm, # 7/10, framed

Preparing For Darkness Or The Spirit Of The Melancholic Resistance

Black is the color of melancholy. It emerges from darkness and the accompanying dejection if it shows signs, endowed with the feverish dreams of an inflamed phantasy. If melancholy is said to affect the delicate tissues of the brain, it could also be stated, that it frees the imagination of its usual limits.

What is considered a diminution of the field of thought and the field of vision, is revealed in a dialectical twist. The melancholic state leaves behind it a shadow with which it maintains a connection as a bygone picture. The shadow play reveals as a character piece of a mirror image world, which absolves itself from meaning and becomes a void. This creates space for the imagination which results in configurations of a traversed blindness that render those lucid colours possible that are the blips along the paths through black nights of being. These are condensed into counter-images, which, like the impulse of the melancholic gaze, owe themselves to a reflective vision. The collection “Preparing for Darkness” corresponds exactly to the spirit of the melancholic resistance which still enables us to survive today.

Schwarz ist die Farbe der Melancholie. Sie entwächst dann der Dunkelheit und der sie begleitenden Schwermut, wenn sie Zeichen gibt, ausgestattet mit den Fieberträumen einer entzündeten Phantasie. Wurde der Melancholie nachgesagt, dass sie die zarten Gewebe des Gehirns angreife so konnte auch festgestellt werden, dass sie die Einbildungskraft aus ihren gewöhnlichen Grenzen befreit.

Was als Eintrübung des Denk- und Sehfeldes gilt, setzt sich in einer dialektischen Wendung frei. Der melancholische Zustand lässt den Schatten hinter sich, dem er zugleich verhaftet bleibt, als vergangenes Bild. Entblößt wird das Schattenspiel als Zeichentheater einer eingespiegelten Bilderwelt, die sich einer Bedeutung selbst enthebt und zur Leerstelle wird. Diese öffnet den Raum für Imaginationen. Daraus entstehen Konfigurationen einer durchschrittenen Verblendung, die erst jene Farbklarheiten ermöglichen, die auf den Wegen durch schwarze Nächte des Befindens Leuchtzeichen sind. Diese verdichten sich zu Gegenbildern, die sich als Impuls des melancholischen Blicks einem reflektierenden Sehen verdanken. Die hier vorgestellte Sammlung „Preparing for Darkness“ trifft dementsprechend genau den Geist einer melancholischen Widerständigkeit, der uns heute noch das Überleben ermöglicht.

Prof. Dr. Martin Roman Deppner, Hamburg