• Biografia /Biography

    1964 born in Eberswalde/East-Germany. 1985–1989 studied painting and graphics at Art
    Academy Berlin-Weißensee and art education at Humboldt-University, Berlin. 1994 exhibited at
    the first Croma-Park show at Berlin. Solo carrier and Collaboration works. Works shown at
    numerous international gallery’s and museum’s exhibitions.
    Since my art studies I’m interested in abstract geometrical forms. With references to Kasimir
    Malevich and Vassily Kandinsky are this forms initial points for my non-representational painting
    on canvases or walls. In my starting years as a young painter in the post-socialist and reunited
    Berlin I was trying to find an individual style between the conflicting priorities of realistic paintings
    by Berlin-based artists from the ex-GDR as well as West-Berlin and the emerging techno-scene
    in Berlin. In this special climate of political waste land after the wall came down (1989/90) in
    Germany and a new avant-garde I found my artistic language: I use traditional abstract forms
    and bring them in dynamic and pulsating constellations. Constantly I’m developing this strategy
    further: A flood of triangles or thousands of dots makes entire galleries to a geometrical
    environment. In my painting I use the white primed canvas as a playground for my geometrical

    Modernity is alive
    by Sebastian Preuss
    The avant-garde – in its various permutations – is always present. Malevich’s elementary
    shapes, 20th century Constructivist tendencies, geometric arrangements from Bauhaus to Op
    Art, the grids and serial aesthetics of the industrial and computer age – all of this finds its way
    into DAG’s paintings. Almost involuntarily, our thoughts turn to British art historian Timothy J.
    Clark who once called Modernity our Antiquity – a universal canon of forms and ideas that
    continues to nourish and feed our culture after all those decades. Venerable, ageing Modernity
    renews itself through self-reference and recurrence; it serves as its own fount of youth and
    rejuvenation. A highly topical phenomenon: even today, countless of artists pursuing myriads of
    different approaches continue to draw on this cornucopia, a pool of inspiration that might have
    forfeited its former utopian potential, yet retains the perennial appeal of an identifcatory model
    for cultural production and existence.
    And this is undoubtedly true of DAG’s oeuvre: art in an age of unlimited reproducibility, its
    signature seemingly erased. At first glance, some pictures appear to have been generated by
    digital means. However, DAG pursues a very different path. While he does pick up on the issue
    of repetition and reproduction, he does not actually do it himself. What might look technical isn’t
    so. Closer inspection soon reveals the works’ individual methodology and the strong manual
    aspect that shapes it all – even in images dominated by prefabricated elements or simple basic
    modules. DAG incorporates sheets of coloured dot stickers, uses ruler and templates and
    restricts himself to the fundamental geometric units of circle, triangle, rhombus and
    parallelogram. These are the building blocks of his works, applied to the primed, white canvas
    with a humble felt-tip pen. While this might sound hackneyed or mundane, it involves a highly
    complex procedure. During creation, DAG unleashes a dialectic that eludes concrete words and
    definition: on the one hand, it doggedly obliterates anything that might be considered figurative
    or representational, anything elaborate and overtly artistic – on the other, it generates, as if by
    chance, pictorial effects, personal reflections and many idiosyncratic moments that catch our
    eye and force it to linger. Everything is unique, nothing repeatable.
    DAG’s pictures seem perfect, but perfection remains an illusion. The flawless surface is nothing
    but a clever deception. According to the artist, “it is ordered chaos. A lot of it comes straight
    from the gut, but the process itself needs to be controlled.” DAG experiments with the illusion of
    an ostensibly smooth or technologically produced surface – an aspect that never actually enters
    into his work. Soon enough, the eye will stop at a subtle jar, at black-and-white rhombus grids,
    for example, that are a lot further from Vasarély than appearances might suggest. The structure
    reveals gaps and imperfections within the conscientious ruling. Applied irritations come to the
    fore, flanked by the odd slip and instance of carelessness inevitable in such a serial work.
    “Mistakes are welcome,” comments the artist. “But it is worth distinguishing between good and
    bad, helpful and unnecessary mistakes.” In one case, a composition of triangle rows dissolves
    into a muddled interior triangle; the image implodes, yet even the resulting chaos contains only
    triangles – disorder in order. Most of this is intuitive and the product of extensive trials. After all,
    the strictures of conceptual art have never held an allure for DAG.
    Although he rarely reaches for the brush, his works are closer to paintings than to illustration,
    graphics, design or diagrammatical ideas. The “pictorial and picturesque” aspect – a term often criticised, here actually applicable – becomes especially apparent in DAG’s larger, airier
    compositions. Here, the artist applied myriads of tiny dots with a black marker pen. Taken as a
    whole and viewed from afar, the dots conjure up a wide variety of representational associations:
    clouds, shadows, erupting volcanoes, magnetic fields and other phenomena evolve from the
    canvas. Seurat and Pointillism come to mind and DAG has indeed researched this movement.
    He adopted – and adapted – the breakdown of shapes and colours into basic modules and
    subsequent reassemblage, the synthetic procedure from the smallest possible units – and then
    took it further.
    DAG’s images are minimalist and reduced to the core. Often pervaded by a meditative mood,
    his pinpointed landscapes might even exude a romantic aura. However, this has not always
    been the case. Back in 1990s Berlin, he started out with a rather fast-paced, sleek, ornamental
    painting style and dove right into the era’s exploding club culture. Together with Jim Avignon he
    would enliven any party with feverish paint performances that might cover and transform the
    entire space within half an hour. They would tour all of Germany’s landmark clubs and soon
    received invitations to take their instant art to the rest of the world. In this, they became the
    visual figureheads of Berlin’s oft-copied and admired innovative, experimental music scene. A
    close encounter with Japan and the country’s pared-down aesthetics, but also a penchant for
    the abstract movements of the 20th century, introduced DAG to geometry’s basic shapes and
    the beauty of simple artistic aids. “I prefer to get my supplies from the DIY centre rather than the
    nearest art supply store,” or so DAG succinctly explains. And when he applies his “error-laden”
    grid compositions to old t-shirts, mounted onto frames instead of a canvas, we might consider
    it a nostalgic reminder of those wild clubby days and the era’s equally excessive paintings. Most
    of all, however, DAG’s images reveal: there is plenty of life in Modernity yet.

  • Bibliografia/Bibliography

    Não Disponível / Not Available

  • CV

    Born in 1964 in Eberswalde / Germany. 1985–1989 studiedartstudiesand German studies at the Humboldt University aswellasseminars in painting and print graphics at the Kunsthochschule Berlin-Weißensee. After the Wall fall, orientation in the art scene of London and Berlin. Collaboration works with the artist Jim Avignon. Since 2001 solo career as a painter. Numerous international exhibitions in museums: Goethe Institute, Hong Kong, Mexico City, Singapore, Kunstmuseum Stuttgart, Museum Junge Kunst Franfort / Oder, ICA London among others; and galleries in Tel Aviv, Tokyo, Chicago, Jochen Hempel Berlin, Mikael Andersen Kopenhagen, Marie KirkegaardKopenhagan, Laden für Nichts Leipzig etc. DAG lives and works in Berlin / Germany.

  • Exposições/Exhibitions

    Exposições Selecionadas/Selected Exhibitions

    Struktur – group show, Kunstraum Tyson, Köln
    Rausch – group show, Schau-Fenster, Berlin
    Golden Ass – group show, LFN Laden für Nichts, Leipzig
    Construction Time Again – solo show with Karsten Konrad,
    R&U Alexandra Erlhoff
    It’s all over now, Part 2 – solo show, Kunstverein „Weltecho“
    , Chemnitz
    Disjunktion – solo show with Dirk Krecker, Laura Mars Gallery, Berlin
    It’s Allover Now – solo show, Bar Babette (autocenter), Berlin
    Content Moderation – group show, Laura Mars Gallery, Berlin
    Herz Haus Messer Kreuz – group show, Museum Junge Kunst, Frankfurt/O
    Maximum Likelihood – group show, Kunsthaus Erfurt
    SLOWBURN – soloshow, Projektraum M1 , Berlin
    Minimal Compact – soloshow, Laura Mars Gallery, Berlin
    Glue @ Amsterdam – group show, PS Amsterdam
    Colour me full – group show, Marie Kirkegaard Gallery , Kopenhagen
    Close and closer – Group show, POP Up ART , Linienstrasse 141, Berlin
    Group show, PLU 41, Berlin
    Group show, Schau Fenster, Berlin
    Laura Mars @ Art14, art fair, London
    Angst essen Farbe auf – show with Hannu Prinz, smac, Berlin
    PICTONES – group show, Laura Mars, Berlin
    AND I WAS LIKE …- solo show, hanfweihnacht, Frankfurt / Main
    Kimme und Korn – show with Dirk Krecker, Laden für Nichts, Leipzig
    The Cambridge Rules – group show, Jochen Hempel, Berlin
    Wonderfull things to believe in – group show, Christian Ehrentraut, Berlin
    Disclosure – solo show, Hammerschmidt & Gladigau, Erfurt
    Please don’t kill my vibe …
    – show with Rebecca Michaelis, Kunsthaus Erfurt
    Double Take – show with Peter K. Koch, Museum Junge Kunst, Frankfurt / Oder
    Never mind the bollocks, group show, JR Gallery Berlin
    mothership, group show, saasfee pavillon Frankfurt / Main
    Dutch Treat, group show, DADA-Post, Berlin
    Der Nebel und das Glas, group show infernoesque, Berlin
    Chancen und Risiken, group show, Galerie hanfweihnacht, Frankfurt / Main
    „Alles Wasser“, group show, Galerie Mikael Andersen, Copenhagen
    PROP, solo Show at Laura Mars Grp., Berlin
    Laura Mars @ Art13, art fair, London
    »new abstractions«, White Trash Contemporary, group show, Hamburg,
    »Alles Wasser«, Galerie Mikael Andersen, group show, Berlin,
    Slow Burn, Galerie hanfweihnacht, solo exhibition, Frankfurt/Main,
    Rasterfahndung, KUNSTMUSEUM Stuttgart, group show, Stuttgart
    INCLUSION, Laura Mars Group Berlin
    KETTENREAKTION, group show, Kunsthaus Erfurt, October
    Massenbeschleuniger, group show, Galerie Lorenz, Frankfurt am Main,
    am besten besenrein, gutleut 15 ausstellungsraum, das vorbeiprogramm,
    Forgotten Bar Projekt, group show, Berlin
    Armella Show,group show, Innenministerium Erfurt
    Wieder 5 Deutsche, group exhibition, PIT, Tilburg
    Amsterdam, NL; group exhibition @ kunstruimte09.nl
    Berlin; Laura Mars Group (group exhibition)
    Berlin; Laura Mars Group (with Jens Hagen Engelhard)
    Erfurt; Kunsthaus Erfurt; »minimal compact« (with Jens Hagen Engelhard)
    Brussels; »minimal compact« (H29)
    Berlin; »pussy pussy hello hello« (Glue)
    Düsseldorf; »Fair for Contemporary Art«, Messe Düsseldorf
    Berlin; »Glue – Total Recall«, group exhibition
    Cologne; »New Contemporaries (Art Cologne)«
    Berlin; »III. Berliner Kunstsalon«
    Amsterdam; »PS Exhibition«, group exhibition
    Berlin; »Heute hier und morgen weg.«, group exhibition
    Erfurt, Kunsthaus Erfurt; DAG »Ansätze«
    Berlin, Galerie Asim Chugtai; DAG »Where Is the Beef?«
    Hamburg, Galerie Hafen+Rand; »Hängt die Sonne«
    Berlin, 2. Berliner Kunstsalon: »word & object«
    Berlin, glue: »outsourcing«
    Greifswald, eye kyu: DAG – »Hilde kommt«
    München, Galerie Hobbyshop: DAG – »Bruno kommt«
    Frankfurt a. M., Gutleut 15 Ausstellungsraum: Schwarz auf Weiss (DAG, Ingo
    Frölich, Dirk Krecker, Olaf Probst, Frank Reinecke)
    Berlin, Autocenter: Jessica Centner, Peter K. Koch, Andreas Korte, Dirk Krecker,
    Jens Risch, DAG.
    Berlin, Bar at Karl Marx Allee, interior wall-painting.
    Düsseldorf, konsortium: DAG – earth, wind & fire.
    Berlin: glue, „Welt ohne Gegenstände“, group exhibition
    Singapore: Goethe Institut
    Zuerich: BD Büro Destruct, with Jim Avignon
    Berlin: Berliner kunstsalon, „fleisch“
    Berlin: Glue, with peter k. koch
    Berlin: Showroom, „If you know what I mean?“
    Berlin: Austellungsraum „Fleisch“ @ Café Moskau
    Tokyo: Rocket Gallery, Laboratory Istinct presents: DAG „unknown pleasures“
    Cologne: Gallery Fiebach & Minninger, „New Balance“
    Berlin: Glaspavillon/Volksbühne, „aggregat“, coop with Sebastian Meyer
    Chicago: Heaven Gallery, „Blueblood/Blue Collar“
    Berlin: Haus Schwarzenberg, „Kreatin“
    Paris: Galerie Espace Kiron, „Doping“
    Offenbach: Fahrradhalle
    Tel Aviv: Tal Esther Gallery

  • Site do Artista/Artist Site


  • Seleção de Imprensa/Selected Press

    Não Disponível/Not Available