ART COLOGNE 2025: Marc Henry, Acaye Kerunen & Maximilian Prüfer

2 - 9 November 2025
  • ART COLOGNE 2025

    GALERIE KANLDHOFER: BOOTH N033
  • Maximilian Prüfer (1986, Weilheim Obb, Germany). Maximilian Prüfer studied Design and Communication Strategy at The Augsburg University of Applied Sciences...
    Maximilian Prüfer (1986, Weilheim Obb, Germany). Maximilian Prüfer studied Design and Communication Strategy at The Augsburg University of Applied Sciences and Fine Arts at the Accademia di Belle Arti di Bologna, Italy. Prüfer’s practice predominantly involves the exploration of natural processes and their transference to the visual image. Within this, Prüfer examines a range of existential, philosophical and political subjects in relation to evolution, as well as humanity’s manipulation of and ultimate interdependence with the natural ecosystem. Hereby he contravenes the cultural paradigm of humanities separation from natural phenomena.One element of Prüfer’s practice where the expression of this analysis is salient lies within his unique representation technique recording the movements and conduct of insects that he has denominated Naturantypie.
  • 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
  • Nature is not depicted mimetically, nor does it serve as a starting point for conceptual abstraction; rather, Prüfer traces the multiple processes of becoming and passing away in nature. A system of permanent movement emerges in his works, a delicate network of forces in which humans are ultimately also involved. The experimental character of his work -the constant testing of new materials, situations, and environments - points to an artistic mindset that closely links scientific research, precise observation and aesthetic sensibility. At a time when nature often appears only as a resource or backdrop, Prüfer's approach reminds us of its autonomy without resorting to romantic gestures of awe and wonder. They are silent testimonies to a world that continues without us. 

    Prüfer shows that experimentation is not just a method, but an attitude and open, sensitive relationship with highly complex reality, characterised by deep connection and appreciation. His art is a dialogue with nature, in which listening is more important than speaking, and observing is more significant than intervening.

     

    Extract of text by Judith Csiki, translated by Galerie Kandlhofer

    Nature is not depicted mimetically, nor does it serve as a starting point for conceptual abstraction; rather, Prüfer traces the...
    Maximilian Prüfer
    Maschine Testblatt (Regen / Schnecke), 2022
    Naturantypie on Paper
    91,7 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...
    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 Kerunen is a multidisciplinary performance and installation artist, storyteller, writer, poet actress and activist based in Kampala, Uganda. She graduated with a BSc in Mass Communication from the Islamic University in Uganda, Kampala and obtained a Diploma in Information Systems Management from Aptech. Kerunen’s installations are forged from natural materials locally grown, harvested, dyed, and woven in Uganda, including banana fibre, raffia, reeds, and palm leaves. Through her work, she seeks to dismantle the hierarchies of fine art and craft, elevating women’s labour within socio-political systems. She often commissions local women to create baskets, tablemats, winnowing trays, and other functional items before reimagining them as assemblage installations. Materiality is central to Kerunen’s artistic practice, and her mutable, expansive installations can be understood as living artworks. Through her intuitive use of material, colour, and form, the artist creates enthralling biomorphic abstractions that envelop viewers into their folds. 

     

    Kerunen’s installations are deeply engaged with their environments, at once rooted in history and emancipatory in their resistance to colonialist, patriarchal narratives. Constructed using embroidery, hand stitching, knotting, and weaving techniques she learned from her mother, Kerunen’s artworks embody ancestral knowledge. The labours, songs, and identities of the women in her community reverberate through the fibres of the artist’s finished works.

    Acaye Kerunen is a multidisciplinary performance and installation artist, storyteller, writer, poet actress and activist based in Kampala, Uganda. She...
    Acaye Kerunen
    MinKendu Alur for Mother of the Hearth, 2025
    raffia, banana fibre, mutuba and palm leaves
    50 x 52 x 49 cm
    19 3/4 x 20 1/2 x 19 1/4 in
  • The impact of climate change is a central concern of Kerunen’s multifaceted, activist-minded practice. With her regenerative artistic process, Kerunen...
    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 cm
    The 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. 
  • Exploring the nuances of reality and its malleability in our post-factual era, Marc Henry delves into the realm of digital...
    Exploring the nuances of reality and its malleability in our post-factual era, Marc Henry delves into the realm of digital image manipulation with a profound curiosity. A graduate of the Academy of Fine Arts Vienna under the mentorship of Daniel Richter, Henry‘s multidisciplinary background includes degrees in economics and curatorial studies. This multi-faceted academic foundation underscores his thematic engagement with societal dynamics, macroeconomics, and politics, reflecting an expansive approach to the pictorial space.
     
    Henry‘s artistic language is shaped by a keen interest in narration and composition, fueled by a iconography drawn from his personal archive of reference collages, AI-powered image generators, and 3D rendering programmes. Engaging in a dynamic dialogue between the digital and analogue realms, the artist often revisits the digital file after initial canvas exploration. Through an iterative process, he modifies colours, adjusts compositions, and incorporates newfound discoveries from the painting back into the digital realm. This rhythmic reciprocity continues until a distinctive form emerges, resembling a pseudo-narrative infused with memories of a fabricated reality.
     
    Marc Henry‘s work has been shown at MMIII Kunstverein Mönchengladbach; Schloßmuseum Murnau;  Kunsthalle Oktogon, Hitzacker; Palais Rasumofsky, Vienna and  Belvedere21, Vienna, amongst others.
  • 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 Henry's visual worlds draw from image databases of the internet's depths and the artist's own photographs. Using various software, he layers, merges, and isolates parts of his findings, creating entirely surreal and almost eerie scenes, which serve as templates for his works. Painting on coarse linen allows him a partial loss of control over the application of oil, distancing both himself and the viewers from the subject and emphasising the works symbolic    content. The visual worlds created can be understood as a collective fiction, a hallucinatory space, entailing a  self-reflection of the very act of painting itself. 
     
    The content of Henry’s works primarily investigates emotions. The search for truth and meaning in life, as well as growing uncertainty amongst the younger generation, is present in many of his works. His work is to be understood not so much as a critique, but rather as a space for resonance. Here, painting evolves from the tradition of confident statements and rather offers reflection on specific ideas and emotions.
    Marc Henry's visual worlds draw from image databases of the internet's depths and the artist's own photographs. Using various software,...
    Marc Henry
    Transit, 2025
    oil on linen, walnut frame
    24 x 30 cm
    9 1/2 x 11 3/4 in