菲利普・克雷默
Philipp Kremer
Philipp Kremer (born 1981 in Duisburg, Germany) lives and works in Berlin. He studied at the University of the Arts in Berlin with Georg Baselitz (2000-2004) and was resident at the Rijksakademie in Amsterdam (2011-2012). In 2018 he participated in the “Dialogue and EXchange” Residency at Asia Culture Center in Gwangju, South Korea. Recent exhibitions include Philipp Kremer: Us, Nicodim Los Angeles (2022, solo); Soft People (Erotic), Gerhard Hofland Gallery, Amsterdam (2021, solo); Gathering, Bark Berlin, Germany (2020, solo); With Lovers, Nicodim Los Angeles (2019, solo); Skin Stealers, Nicodim Los Angeles (2019); Certain Place, Studio Continuo, Amsterdam (2019, solo); The Adderall and the Ecstasy, Galeria Nicodim, Bucharest (2018); Homeward Bound, Nicodim Los Angeles (2018); Basic Communities/Soft People, CCA Derry/Londonderry (2017, solo); Soft People, Kunstverein Langenhagen, Hannover (2017, solo); and Philipp Kremer, Nicodim Los Angeles (2016, solo). In 2013 he won the Royal Dutch Painting Award. In 2014 he was grantedthe support of the Mondriaan Fund (Scholarship Established Artist).
Philipp Kremer’s paintings are conflict-laden – not only in the subject matter, but also on a formal level, and in the interplay between the two. In his formal approach he often seems to oppose the narrative element, like choosing colors randomly when showing a utopian community, approaching the subject of an orgy as if it was a monochrome abstract painting or using light and gestural marks that suggest the human body in a cruel state of subjection. Kremer’s works evoke questions of representational ethics, both in art’s address of human suffering and in the promise of social togetherness alike.
Philipp Kremer’s paintings are conflict-laden – not only in the subject matter, but also on a formal level, and in the interplay between the two. In his formal approach he often seems to oppose the narrative element, like choosing colors randomly when showing a utopian community, approaching the subject of an orgy as if it was a monochrome abstract painting or using light and gestural marks that suggest the human body in a cruel state of subjection. Kremer’s works evoke questions of representational ethics, both in art’s address of human suffering and in the promise of social togetherness alike.
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