... mit Jeppe Hein über Rückzug, Panikattacken und die Freundschaft, die eine Galerie begründete

... mit Jeppe Hein über Rückzug, Panikattacken und die Freundschaft, die eine Galerie begründete

Aus gutem Grund erscheint diese Folge erneut: Noch bis zum 23. August zeigt die KÖNIG GALERIE in der Nave von St. Agnes die neue Ausstellung YOU ARE NEVER REALLY ALLONE von Jeppe Hein. Seine spiegelnden Ballon-Skulpturen sind darin zu Pinguinen geworden, die von der Decke auf den Boden herabgesunken sind. Sie sind nach Regionen benannt, die für ihre Pinguin-Population bekannt sind, und sind auf Steinen platziert, die der Künstler an der dänischen Küste gesammelt hat. Dies ist ein guter Anlass, noch einmal an das besonders persönliche Gespräch mit Jeppe Hein zu erinnern: Er ist für Johann König weit mehr als ein Künstler unter vielen. Er war Trauzeuge bei dessen Hochzeit, hat ihn zur Gründung der Galerie ermutigt und zählte zu den ersten Künstlern, die dort ausstellten. In dieser Folge spricht Jeppe Hein offen über eine Zeit des Rückzugs, über Krisen und Panikattacken und darüber, wie er gelernt hat, mit ihnen umzugehen. Mehr Infos über den KÜNSTLER [https://www.koeniggalerie.com/collections/jeppe-hein] Mehr zur AUSSTELLUNG [https://www.koeniggalerie.com/blogs/exhibitions/jeppe-hein-you-are-never-really-allone] Folgt Johann König auf seinen Social-Media-Kanälen: Instagram: https://www.instagram.com/johann.koenig/ [https://www.instagram.com/johann.koenig/] Facebook: https://www.facebook.com/johannkoenigberlin/ [https://www.facebook.com/johannkoenigberlin/] LinkedIn: https://www.linkedin.com/in/johann-k%C3%B6nig-39b895128/ [https://www.linkedin.com/in/johann-k%C3%B6nig-39b895128/] X: https://x.com/johannkoenig [https://x.com/johannkoenig] Bei Fragen oder Anmerkungen wendet euch gerne via Mail an: info@koeniggalerie.com [info@koeniggalerie.com] Portrait by KÖNIG GALERIE © Courtesy of the artist

... with James Crichton on Inefficiency and Building the Bloomberg of the Art World

In this episode, Johann König speaks with James Crichton, founder of Arthur Analytics [https://www.arthuranalytics.com/landing], a platform that brings together auction results, exhibition histories, primary sales data, bidder records, and museum donation activity. Crichton came to the art world as an outsider: a former hedge fund manager who married into a collecting family and was struck by how analog and opaque the research process still was. Drawing on his Wall Street background, Crichton set out to build what he describes as the Bloomberg Terminal of the art market, combining and licensing data sources that had always existed in isolation. The conversation covers how Arthur works in practice, its future direction—including a subscription model and AI-powered natural language search—and the potential impact on the art market of information once available only to insiders becoming accessible to everyone. Follow Johann König on his social media channels: Instagram [https://www.instagram.com/johann.koenig/] Facebook [https://www.facebook.com/johannkoenigberlin/] LinkedIn [https://www.linkedin.com/in/johann-k%C3%B6nig-39b895128/] X [https://x.com/johannkoenig] If you have any questions or comments, please feel free to contact us by email at: info@koeniggalerie.com [info@koeniggalerie.com] © Photo courtesy of James Crichton

... with Arghavan Khosravi on Persian Miniature Painting and the Shape of Absence

In this episode, Johann König talks to Arghavan Khosravi, an Iranian-born, US-based artist whose layered, architecturally complex paintings are currently on display in THE SHAPE OF ABSENCE at KÖNIG GALERIE in Berlin. Khosravi took an unusual route to becoming a painter: she was surrounded by her father's work in traditional Persian Islamic architecture as a child, then took a detour into graphic design and illustration before finally deciding to focus fully on painting at the Rhode Island School of Design. She reflects on what art school can and cannot teach and explains why, at its best, grad school helps an artist find their own voice rather than reproduce someone else's. The conversation centres on Khosravi's distinctive visual language, which features shaped panels growing out of the wall, multi-layered surfaces combining wood, canvas, and plexiglass, and a symbolic vocabulary drawn from Persian miniature painting, Renaissance altarpieces, and coded imagery such as pomegranates, hands, cages, and hourglasses. She discusses the figures that appear throughout her work — women whose faces remain neutral, composed and deliberately unreadable — and explains why this absence of visible emotion is a form of power in itself. The two also discuss what it meant to grow up amid the tension between private and public life in post-revolutionary Iran, how this experience of duality became the structural logic of her entire practice, and how the Woman Life Freedom movement connected to work she had been creating long before the world was watching. More about the ARTIST [https://www.koeniggalerie.com/collections/arghavan-khosravi] More about the EXHIBITION [https://www.koeniggalerie.com/blogs/exhibitions/arghavan-khosravi-the-shape-of-absence] Follow Johann König on his social media channels: Instagram [https://www.instagram.com/johann.koenig/] Facebook [https://www.facebook.com/johannkoenigberlin/] LinkedIn [https://www.linkedin.com/in/johann-k%C3%B6nig-39b895128/] X [https://x.com/johannkoenig] If you have any questions or comments, please feel free to contact us by email at: info@koeniggalerie.com [info@koeniggalerie.com] Photo by Hossein Fatemi © Courtesy of the artist

... with Jordy Kerwick on Instinct, Failure, and Teaching Yourself to Paint

In this episode, Johann König speaks with Australian-born, France-based painter Jordy Kerwick about his journey from failed entrepreneur to internationally exhibited artist—and what it means to build a practice entirely outside the traditional art world path. Kerwick traces his unlikely entry into painting: a wife who banned band posters, a trip to France, and an obsession with the lives of Matisse, Modigliani, and Yves Klein that quickly turned into an obsession with making. With no formal training, he taught himself to paint horizontally on a kitchen bench, posting work on Instagram every night after long days managing gyms and a failing football college—until painting became the only thing left standing. The conversation moves through the textures of his practice: the shift from still lifes to interiors, rugs, totems, and his new paintings being made for his upcoming show at KÖNIG GALERIE. Kerwick talks about thinking in palette before subject matter, about the philosophy embedded in his two-jawed totems—one mouth to love and nourish, one to take it all away—and about why his new exhibition, THIS TIME TOMORROW, takes its name from a Kinks song about an uncertain future glimpsed from within the present. He also speaks candidly about the secondary market chaos that followed his early success, the realities of shipping costs reshaping the global art market, and why, for all the complications of living in rural southern France, he has no regrets and no shortage of ideas. More about the ARTIST [https://www.koeniggalerie.com/collections/jordy-kerwick] More about the EXHIBITION [https://www.koeniggalerie.com/blogs/exhibitions/jordy-kerwick-this-time-tomorrow] Follow Johann König on his social media channels: Instagram [https://www.instagram.com/johann.koenig/] Facebook [https://www.facebook.com/johannkoenigberlin/] LinkedIn [https://www.linkedin.com/in/johann-k%C3%B6nig-39b895128/] X [https://x.com/johannkoenig] If you have any questions or comments, please feel free to contact us by email at: info@koeniggalerie.com [info@koeniggalerie.com] Photo by Mathieu Douziech © Courtesy of the artist

... mit Alexander Wertheim über das Malen gegen die eigene Ordnung

In dieser Folge spricht Johann König mit dem Berliner Maler Alexander Wertheim anlässlich seiner Ausstellung FUGUE IN OXIDE bei KÖNIG TELEGRAPHENAMT. Die beiden unterhalten sich darüber, wie Wertheim aus der Musik zur Malerei kam, warum er lieber bei Bildhauern als bei Malern studiert hat und was Karomuster aus Indien mit seiner abstrakten Arbeit zu tun haben. Im Mittelpunkt steht Wertheims Arbeitsweise: Ein strenges, selbst auferlegtes System aus parallelen Linien und Farbtönen, das er gleichzeitig malerisch durch Geste, Transparenz und bewusst zugelassene Unschärfe in Frage stellt. Er erklärt, warum er fünf nahezu identische Bilder malt, um am Ende nur eines zu behalten und was es bedeutet, Leichtigkeit mit akribischer Planung herzustellen. Außerdem: Warum seine Werke im internationalen Ausland mehr Anklang finden als in Deutschland – und was ein Kommentar wie „Looks like graduated from Kindergarten" eigentlich über denjenigen sagt, der ihn schreibt. Mehr Infos über den KÜNSTLER [https://www.koeniggalerie.com/collections/alexander-wertheim] Mehr zur AUSSTELLUNG [https://www.koeniggalerie.com/blogs/exhibitions/alexander-wertheim-fugue-in-oxide] Folgt Johann König auf seinen Social-Media-Kanälen: Instagram: https://www.instagram.com/johann.koenig/ [https://www.instagram.com/johann.koenig/] Facebook: https://www.facebook.com/johannkoenigberlin/ [https://www.facebook.com/johannkoenigberlin/] LinkedIn: https://www.linkedin.com/in/johann-k%C3%B6nig-39b895128/ [https://www.linkedin.com/in/johann-k%C3%B6nig-39b895128/] X: https://x.com/johannkoenig [https://x.com/johannkoenig] Bei Fragen oder Anmerkungen wendet euch gerne via Mail an: info@koeniggalerie.com [info@koeniggalerie.com] Portrait by KÖNIG GALERIE © Courtesy of the artist