With this exhibition at Atelier WILD, the artists’ association is celebrating its 80th anniversary.

Founded in Munich in 1946, the NEUE GRUPPE e.V. stands for artistic free expression, diversity and dialogue. Its history has been shaped by prominent figures in postwar art, such as Ernst Wilhelm Nay, Emil Schumacher and Günther Förg, to name just a few. For decades, the NEUE GRUPPE was closely associated with the GROSSE KUNSTAUSSTELLUNG at the Haus der Kunst in Munich.

The anniversary exhibition takes up ideas from the founding members and showcases the development and transformation reflected in current artistic positions and new works by the members.

“Eccentric Turn,” 100×70 cm, pigments and oxides on iron, 2025

Opening reception: Saturday, September 12, 2026, 11:00 a.m. to 4:00 p.m. Exhibition dates: September 12–27, 2026. Hours: Friday: 4:00 p.m. to 7:00 p.m. and Saturday, Sunday: 2:00 p.m. to 6:00 p.m., as well as by appointment. Closing reception: Sunday, September 27, 2026, 2:00 p.m. to 6:00 p.m. Location: Atelier Wild, Wilbrechtstr. 83, 81477 Munich

Squaring circles and cubing the sphere

Both mentally and physically, games, battles and competitions are fought on and within squares, with each event influencing the other. Tiny squares, glowing in all frequencies, arrange themselves into images, capture our attention, generate opinions and create worldviews: the war for eyes. The square: a promise of harmony, a symbol of infinity, just like the circle with its π. At its center, encircled: humankind, golden-sectioned. The impossibility of squaring the circle. The “golden rule” has by no means become the standard. Prepared? – for the adventure of becoming human.

“In the Undertow”, 100×100 cm, pigments and oxides on iron, 1997

We cordially invite you to the exhibition of the Neue Gruppe München e. V. (New Group Munich), an artists’ collective that was founded in 1946 and is still active today. The exhibition runs from Friday, October 17 to Sunday, November 9, 2025 at the gallery of the Dachau Artists’ Association. Opening reception: Thursday, October 16, 2025 at 7:30 p.m. with a spoken word performance by Karl Imhof entitled “Hochgebirge” (“High Mountains”).

“Exhibition in Dachau: Art in Squares” in the Süddeutsche Zeitung, October 15, 2025. “From Square to Square. Exhibition ‘Quadraturen’ – Neue Gruppe presents 35 works in the KVD Gallery” in the Münchner Merkur, October 18, 2025.

Beatriz von Eidlitz: Image Objects. Works on Paper and Iron. Gallery Anais, Sedanstraße 22, 81667 Munich. T +49 89 480102, info@anais-galerie.de. Exhibition dates: July 4, to August 30, 2025.

Glowing rock against an oscillating black background (Magma II), colorful discs on dancing serpentine lines (Luna Park): the associations are manifold. Black, red or earth-brown backgrounds envelop the viewers and invite them to immerse themselves in the surfaces. The seemingly monochrome spaces are modulated colors that rise and fall with incredible richness of nuance, created by pigments and the incidence of light.

Although Beatriz von Eidlitz’s artworks are purely abstract, memories nonetheless emerge: leaves, shells, fruits, meshes of roots and wires, crusts, fibers, and networks of microscopic cells cover iron plates (Greeting Pollock II, Circle Songs). Delicate color spectra of sand and charred earth, processed into powder, stimulate the sense of touch.

Black curved bands lead like burn marks to distant galaxies and create a unique aesthetic effect (Inktómis Pearl, Hidden Treasure, Flying up flying down, Roll over Mondrian). Conglomerates of circles dominate the picture plane and are reminiscent of cosmic movements (Into the Space, Once upon a Time, Planets, Sweet Seventeen, Dancing Colours, Behind the Moon). The number and distribution of the circular structures determine the dynamics and rhythm of the picture – endless and simultaneously closed, like a universe of its own. The dark backgrounds lend a special clarity to the color circles.

Red cones are arranged on a fibrous structure in the polyptych Take. Docked at the edge of the picture, the cones hang down, move up, left or right, or disappear from the picture plane, so that only fragments of circles remain visible. The contrast between the network of lines and the color forms creates both a sense of floating and motionless stasis.

In small panels (Happy Bauhaus), colorful rectangles nestle horizontally and vertically against each other in a patchwork-like pattern. The well-thought-out structure plays with color balance.

The pictures are incisive and concentrated, but it is in their reduction that their incredible spiritual power lies. The hard-edged contours reinforce the structures of the color fields and evoke a suggestive, meditative effect. Guided by the geometry of the picture, the viewer becomes immersed in expanding organic surfaces and textures. Although the artworks are very closely connected to nature, they are not intended to imitate it. What they all share in common is a sense of sophistication and freedom in the combination. The materiality used detaches the composition from its flatness: light wanders, shadows change, and the sense of space deepens. Even cracks and explosions become moments of artistic creation.

There are hints of the creative process, which the viewer cannot initially comprehend because the technique is unique. The artist pursues a decidedly experimental approach to image design and uses pigments, paper and image carriers in unusual ways. In a controlled process, she dusts color pigments onto an iron plate and scoops paper pulp over the surface. The moisture in the pulp causes the iron to oxidize. After drying, the paper bark is peeled off the iron plate, revealing randomly formed fragments and traces. The controlled randomness, the inherent passage of time, the oxidation of the pigments and the metal, the size and arrangement of the plates give the works their spiritual power. They are charged with meaning: hot iron, earth, wood, stone, growth and transience. Full of depth and throbbing with energy, the color fields embody memories and thoughts as materializations of change and stories.

Betha Maier-Kraushaar
Stuttgart, March 2025

Exhibition at Kunsthaus Fischer, Torstraße 23, 70713 Stuttgart from May 10, 2025 to June 07, 2025. Opening hours: Tuesday to Saturday 12:00 to 18:00. A catalogue will be published.

Art by the Lake
Paintings & Sculptures
Sommerkeller Bernried

Patrizia Casagranda · Beatriz von Eidlitz · Ulrike Hansen · Renate Hofer · Basilius Kleinhans · Jürgen Reichert · Roman Scheidl · Thitz · Renata Tumarova · Alireza Varzandeh.

We cordially invite you and your friends to the preview of art bernried 24 on Saturday, 28 September 2024 at 7:30 p.m. at the Sommerkeller Bernried. Welcome: Josef Steigenberger, former mayor. Introduction: Heidrun Bucher-Schlichtenberger, art historian, M.A. Followed by a reception. Please let us know by 25 September 2024 by email to info@kunstblick-balingen.de or by phone +49 151 54 85 00 40 how many will be attending.

Exhibition from 29 September to 20 October 2024. Wednesday to Friday 2:00 to 6:00 p.m., Saturday and Sunday 11:00 a.m. to 6:00 p.m. And by appointment: +49 171-514 14 18. Free admission. Dorfstrasse 26, D-82347 Bernried am Starnberger See. Parking in the underground car park of the municipality of Bernried.

Organiser and sales: Galerie Kunstblick, Balingen, info@kunstblick-balingen.de, +49 151-54 85 00 40 and Kunsthaus Fischer Stuttgart, info@kunsthaus-fischer.de.

Press response: “The magic of contrasts. Critical to utopian, minimalist to exuberant: Art Bernried – Kunst am See opened at Sommerkeller,” Münchner Merkur, 01 October 2024. “Art in the cellar: stone, gold, rust and paper,” Süddeutsche Zeitung, 30. September 2024.