-
ART COLOGNE 2025
GALERIE KANLDHOFER: BOOTH N033 -
-
-
The works of Maximilian Prüfer (b.1986, Weilheim) reveal a radical and deeply poetic engagement with nature. Neither representative nor romantically idealised, Prüfer’s approach, a longstanding and ongoing investigation, is an experimental exploration of nature’s processes. His work intersects the disciplines of art, science and philosophy, focusing on the question of how natural processes and movements can be translated into lasting, aesthetic forms - beyond human intervention.
Prüfer developed his characteristic method, which he calls Naturantypie (nature typography), early on, and it forms an essential pillar of his artistic practice. He does not use classic painting or drawing utensils such as brushes or pens, but has refined his technique over the past fifteen years to such an extent that he is able to make the most ephemeral natural phenomena visible on canvas or paper. The forms are not drawn by Prüfer himself, but rather emerge through the movements of insects or raindrops, which act as collaborators in the creative process. Everything surrounding the individual work is meticulously prepared so that the wing beats of moths or the footprints of ants or even mites can be traced onto it. In the course of refining his natural typography, Prüfer has gained so many insights and lessons from working with these creatures that he is now able to artistically contain chance. And yet each of his works remains an experiment in which Prüfer withdraws from the process at a certain point and relinquishes control, thereby staging the fragile balance between artistic intention and autonomous natural processes. The result is works that are reminiscent of maps, starry skies, and microscopic structures.
Extract of text by Judith Csiki, translated by Galerie Kandlhofer -
Maximilian Prüfer: Naturantypie on Paper
-
Maximilian PrüferMaschine Testblatt (Regen / Schnecke), 2022Naturantypie on Paper91,7 x 68,7 cm (framed)
73 x 30 cm (unframed)
73 x 21 cm (unframed) -
Acaye Kerunen (b. Kampala, Uganda) is known for her multidisciplinary practice encompassing visual art, curation, activism, acting, poetry, writing, and performance. Her multimedia installations incorporate materials— including banana fibre, raffia, reeds, and palm leaves—grown, harvested, dyed, and woven in Uganda, and these works often meditate on the intricacies of natural systems and the impact of climate change. Enactments of labour and emancipation are also central to her work, which has been exhibited at the 59th Venice Biennale in 2022; Afriart Gallery in Kampala in 2021; and the Nyege Nyege Ugandan culture and music festival in 2018. The artist holds a BSc in Mass Communication from the Islamic University in Mbale. Kerunen lives and works in Kampala.
-
Dance is a recurring motif throughout Acaye’s works. Whether alone or performed with others, rhythmical movement is the common thread in the exhibition to celebrate or commiserate the ritual movements of life which facilitate self-actualisation. Here, the dolls, with their raised hands and dynamic poses, embody a sense of openness and liberation.
-
Acaye KerunenMinKendu Alur for Mother of the Hearth, 2025raffia, banana fibre, mutuba and palm leaves50 x 52 x 49 cm
19 3/4 x 20 1/2 x 19 1/4 in -
Acaye Kerunen, YOOLENG - Luo for "The path:road is good:clear", 2023, Clay dyed bark cloth, raffia, palm leaves, and woven sisal, 115.6 x 192.4 x 24.1 cmThe impact of climate change is a central concern of Kerunen’s multifaceted, activist-minded practice. With her regenerative artistic process, Kerunen imagines a future that facilitates and encourages communal living, working, and art making. Her use of natural fibres and dyes, locally sourced from the wetlands surrounding Lake Victoria, is testament to the artist’s strong relationship to the land and people of Uganda. Kerunen has said that her incorporation of banana fibre, banana rind, and raffia in her work “speaks into a very resilient culture and practice of cultivation and living with a conscious relation to the land and regenerating an environment that is being depleted”.Kerunen’s work is showcased in the 2022 two-person exhibition Radiance: They Dream In Time in Uganda’s inaugural national pavilion at the 59th Venice Biennale, curated by Shaheen Merali. Kerunen presented her first solo exhibition, titled Iwang Sawa, at the Afriart Gallery in Kampala in 2021. That same year, the artist participated in a curatorial fellowship supported by Newcastle University, United Kingdom; Makerere University in Kampala; 32 Degrees East; and Afriart Gallery. In 2018, she showed her interactive, collaborative installation Kendu (2018- present) at the Nyege Nyege Ugandan culture and music festival. -
-
Marc Henry, The Outlook (Dream Sequence), 2025, oil on linen, mahogany frame, 65 x 80 cm -
Through the interplay of precision and indifference, Henry generates a unique visual language that skilfully addresses fundamental questions about humanity and society through its dreamlike absurdity.
-
Marc HenryTransit, 2025oil on linen, walnut frame24 x 30 cm
9 1/2 x 11 3/4 in
ART COLOGNE 2025: Marc Henry, Acaye Kerunen & Maximilian Prüfer
Current viewing_room









