The Weserhalle becomes a space capsule in which intimacy, trust, and friendship are explored as acts of navigation. A seat, observations, and crumpled pieces of paper in a fragile system. Two artists in a duo show, or rather, crew members: not identical, but reliant on each other.
A seating structure stands centrally in the room and becomes an emotional interface. It not only allows views in different directions, but also serves as a place for communal exchange. Emil Urbanek and Bella Bram leave behind personal items and traces of a shared world.
Emil Urbanek’s paintings compose scenes that linger in soothing ambiguity. Dreamlike depictions become tangible through shadowy, recurring motifs. Supposed levers, buttons, and switches escape clear classification and become a playing field for nonverbal encounters. Some pictorial elements, such as the pear, refer to the tradition of Vanitas, which Urbanek, however, reinterprets as a state of transition—a liminal state between what is shown and what eludes us. At the edge of a space capsule, the delicate scenes become part of a permeable shell that maintains a balance between the visible and the hidden.
Bella Bram’s works often function in association with architecture in the form of shelves, tables, and storage spaces that refer to the intimate interior and exterior spaces of the human. What else can be experienced in the room requires a close and concentrated look here. On the wall are Bram’s painterly objects, in which sequences of textile surfaces and misty containers appear in a humid climate. Oversized, sensitive instruments serve to feed each other across the table, to care for each other, and only fulfill their purpose in connection with one another. The short, antenna-like extensions create the feeling of a suggested attempt to make contact—both with viewers and with other objects within the space. However, these remain ultimately unfulfilled, as viewers are confronted with crumpled pieces of paper and discarded notes
In fühlen 3000, these two artistic positions glide around each other like two bodies in a spaceship. Here, friendship means navigating uncertainty together without having the same view of the outside world. Here one shares the journey, but not necessarily the perspective
This March, the gallery is proud to present a solo exhibition by Jinhee Kim. Through a vibrant spectrum of color and dramatic light, Kim’s work explores the “primordial states” of the human experience. Her paintings transform ordinary moments—in theaters, restaurants, and pools—into visual allegories that transcend culture and language. This new body of work invites viewers to reflect on identity, alienation, and the fragile beauty of our daily existence.