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3D exhibitions

Loferrie

SHAPES OF THE SOUL (part 2)

28 Sep 2022 – 28 Sep 2023

Loferrie focuses predominantly on soulful geometric abstraction. His sharp lines and curves are recognisable characteristics in his work, where he masterfully creates bold, vibrant paintings, eliminating any visual confusion, enabling the viewer to experience his compositions for what they represent and understand them in a clear visual language. A refined geometric vocabulary allows him to bring to life striking visuals for new narratives to be told, synthesised through visionary imagination. Loferrie's intuitive process originates from a meditative state, giving rise to vibrant atmospheric three dimensional compositions. Drawing from timeless universal wisdom and contemporary insights, Loferrie's work explores our human experience in this ever-changing technological world. The awareness and connection to self, nurtured by these traditions is what he translates in his studio practice, lived like a visual meditation, channeling pure energies. The core of his creative process is to bring mindfulness into existence and promote a positive message aiming toward a more peaceful and beautiful world.

GALERIE Z

Wolfgang Stifter, Einfacher Chromosomensatz

24 Sep 2022 – 20 Oct 2022

Free Art Room

External Forms 38 - Photography

Photography

galerie bccl

QUINTANA

02 Oct 2022 – 29 Oct 2022

Peintures

Parus Albert Schaeffer

Transfiguration

Transfiguration, the change in form or appearance of a person or thing, symbolizes for me a range of concepts, from personal transformation to the divine. It represents the human journey from earthly to spiritual concerns. As we experience joy and sorrow, success and failure, love and loss, we are transformed by our experiences. The transfiguration is a reminder that we are all constantly changing, and that our journey is never done. Transfiguration, die Veränderung der Form oder des Aussehens einer Person oder Sache, symbolisiert für mich eine Reihe von Konzepten, von der persönlichen Verwandlung bis hin zum Göttlichen. Sie steht für die menschliche Reise von irdischen zu spirituellen Erfahrungen. Wenn wir Freude und Leid, Erfolg und Misserfolg, Liebe und Verlust erleben, werden wir durch unsere Erfahrungen verwandelt. Die Verklärung ist eine Erinnerung daran, dass wir uns alle ständig verändern und dass unsere Reise nie zu Ende ist. www.parus.work

META MOINA

curated by MORROW collective

23 Sep 2022 – 23 Sep 2024

Curated By Morrow Collective Fashion & Art of the Metaverse Reimagining NFTs | An interactive design, generative art gallery and metaverse NFT space The first Bangladeshi decentralized High Fashion NFT & Art NFT digital gallery. META MOINA is redefining the fashion industry by optimizing products through a socially and environmentally engaged lens META MOINA represents designers and artists including jewelry Designer Niharika Momtaz, and artists Fareha Zeba, Harun Ar Rashid Tutul, Habiba Nowrose, Mahmuda Siddiqi & Afroza Hossain Sara from Bangladesh. This is helping a future, where designers and digital artists have more ways to connect with a new generation of collectors.Meta Moina is officially a COMPLETELY CARBON-NEGATIVE NFT PROJECT. Moreover, as a part of the Gallery's green initiative, 'meta moina' committed to plant a tree in Bangladesh for each NFT sold.

Independent Image Art Space

Abstract Art with New Media

24 Sep 2022 – 22 Oct 2022

From September 24 to October 22, 2022, Independent & Image Art Space is glad to present a group exhibition “Abstract Art with New Media”. Adolph Gottlieb, an American abstract expressionist painter, sculptor, and printmaker, said, “The role of the artist, of course, has always been that of image-maker. Different times require different images. ... To my mind certain so-called abstraction is not abstraction at all. On the contrary, it is the realism of our time.” Artists worldwide share their idea about abstract art of our time. They may be painting, or artwork created with new media. They may be monumental in scale, may be intense, spontaneous expression, may be a meditative space for ruminating the fundamental questions of human existence. The abstraction has many possibilities. Artists: Amanda Stojanov, Boguszak, Carmen Isasi, Carol Greenan Bouyoucos, Chauncy Z Marlowe, Crane Zhu, Dejan Grba, Dobkin Elena, Ian Cross, Jae-Eun Suh, Joe Hedges, Joseph Santarpia, Kobi Walsh, Michael Wagner, Nathanael Cox, Nicolei Gupit, Patric Colling, Patrick Stefaniak, Roberto Colombo, Sanja Star, Sara Gevurtz, Siri Stensberg, Sorabella J, teruhisa-tahara

Galleryone962

SEPTEMBER ART / Group Show

23 Sep 2022 – 07 Oct 2022

International Abstract Art Exhibition / Show Group

Larissa Eremeeva

2022 collection

Abstract expressionist oil paintings in a style the artist calls "evocative abstract". A beautiful sense of quiet clarity is built up through mark making and a finessed colour palette - in combination with charcoal, oil sticks and graphite. There is a transparent quality that is usually associated with aquarel. Sand and impasto give extra plasticity and dimension to her work. The artist draws on themes such as silence and the “poetry of just being” (inspired by the likes of Pessoa and Pasternak) - ideas are made emotion, to be expressed by texture and rhythm. Purely abstract, the painting evokes feelings, memories and images - stimulating their recall to the conscious mind.

Aleph Contemporary Ltd

It aways rains in the lakes

27 Sep 2022 – 30 Nov 2022

Fiona G Roberts solo show From What to How and Back Again By Paul Carey Kent What is painting good at? In between the limiting cases of extreme photorealism and rigorously controlled abstraction, it excels in generating a back and forth between our awareness of paint and our awareness of subject: there’s something satisfying about how we see simultaneously both what it shows, and how it is made; about how the eye prioritises first one and then the other. That satisfaction is enhanced if we feel that the ‘how’ supports the ‘what’. In Monet, for example, the way the paint is applied suggests the fact that what we actually see when we look at a landscape is light reflected into our eyes. When we experience a van Gogh, we feel the seething passion of his engagement with the world in the energy and rhythm of his brushwork. A 1920’s Léger applies a cubist language to mechanise people as the industrialisation of society picks up pace. Fiona G Roberts’ paintings aren’t much like Monet, van Gogh or Léger, though they are historically informed and aware. You’re more likely to think of Parmigianino, Edvard Munch or Marlene Dumas. But that to and fro is very much her territory: not only do we enjoy the way her work dances between paint and what it depicts, but the manner of that depiction reinforces what she is dealing with. Her subject is straightforward: the human head - most often one, usually cropped close to maximise the sense of intimacy. That said, heads are a complicated, both inside and outside, and there is a grand and inexhaustible tradition of painting them. Roberts’ contribution to the tradition becomes a little more complicated when we ask whether they are portraits. On the one hand, they do always start from particular people, whether encountered in life or in found photographs or in other art. They are not – in the manner of, say, Lynette Yiadom-Boakye – imaginary people. On the other hand, they don’t attempt to look like the person in question, nor to capture the particular inner self beneath appearances. Nor do Roberts’ characters engage with the viewer: where a conventional portrait will often return our look, Roberts’ characters seem to be lost in their own thoughts. There may not be a snappy term for it, but she paints non-portraits of real people. Roberts’ aims in these non-portraits is to evoke the feelings associated with individual and collective experience - it isn’t too surprising to learn that her first degree was in Sociology at the LSE. Consider two paintings from 2019. At the individual level ‘Lucent’ might be seen as exploring the vulnerability and anxiety of a teenager coming into the world, the uncertainty of form reflecting the uncertainty of mind, a sense that neither the person nor the image is yet fully formed. Collectively, ‘Love Hurts (147 Women)’ combines skilful use of the bleeding qualities of ink with a wider implication of blood-letting as it shows – not as portraits, but as representations of their range of age and ethnicity – the sobering number of women killed by men in the UK in one year (most of them knew their killer, hence the title). Those individual and the collective experiences are not separate, of course, but belong on a continuum - ‘the personal is the political’. And the two come together to poignant effect in Roberts’ latest body of work. ‘It Always Rains in The Lakes’ is a series of ‘non-portraits’ of Roberts’ mother, who died recently. They have her red hair, says her daughter, but don’t otherwise resemble her. But Roberts’ mother also stands in for the conditions faced by many women of her era. As Roberts puts it: ‘my mum was an amazing person in so many ways – and very talented in painting and music. But a woman of her generation and class – raised in farming community in the Lake District, married young to a farmer – didn’t have opportunities such as going to Art College. She never had the chance to develop her talents, and that was a huge sadness for women of her class in that generation’. So there is certainly a melancholy – as well as a feminist protest - in the feeling behind this series, and that does come through. The aqueous application of paint or ink suggests the rain of the series title, or tears. But rain is also regenerative, and we can see these faces as celebrations of a life, not simply as memorialising a death or expressing regret for a life that might have been lived differently. That wateriness, then is put to ambiguous ends typical of Roberts: the ‘how’ supports the ‘what’. And there are other ways to read their painterly and somewhat spectral effects. These paintings might relate to memory, and the impossibility of recollecting in full – affectingly so if we know that Roberts’ mother suffered from dementia. They might be about how we can never be completely sure we know the interior world of another person. Moreover, some of these paintings are also patterned with surface irruptions: one might see them as stars, the celestial being very much in accordance with the themes of death, the beyond, the unknown... If that sounds rather definite, not so. Roberts’ ambiguous style extends to her meanings. There’s plenty of space for viewers to read the emotional tenor differently: what matters to Roberts is that emotional readings are available. We can see that in the other paintings in the show, which take her approach in slightly different directions. A and B have a theatrical aspect. Is that a Shakespearian ruff in the former? Does the latter feature a clown? Perhaps those characters are performing their sadness rather than feeling it. C is a smoker in sunglasses: it could be Roberts’ mother, but acting cool in the style of Warhol. ‘Helenus’ looks more thoughtful than melancholy, and the title indicates a mythical dimension: he was a prince described by Homer as the greatest augur of the Trojan War. And D has two figures, or one figure twice, their interaction open to interpretation.  Roberts’ courting of ambiguity is no accident, then, but the way she goes about it does make sophisticated use of what you might call ‘planned accidents’. When working with ink or watercolour, she explains, ‘I spray the ground with water before I start, then spray more as I go – it’s a game of assessing how wet or dry to make it. The exact effects achieved are unrepeatable, which is both exciting and frustrating, but I’ve learned to trust the process.’ Acrylic on canvas operates comparably – spraying with water, putting paint down, wiping it off, letting it dry, making it wet again, deciding which accidents to keep. She sprays oil paint with zest – a non-toxic turps equivalent. When working on Perspex, wiping fully replaces spraying, and the back can be painted to influence the front. Add the various different ground colours used in this show - yellow, orange, green, bistre, the paper’s white – as well as the choice of palette, and the available effects build up nicely. The formal and emotional range emerging from Roberts’ painting pretty much the same thing turns out to be surprisingly broad. August 2022

Philippe Bouaziz

Genesis Artificial Adversarial Network (GAAN)

20 Sep 2022 – 20 Jan 2023

In this exposition, I try to understand how an AI bot (mid-journey) explains texts from the bible. Using deep learning techniques like generative adversarial networks (GAN), and image processing I try to recreate my vision of Jerusalem third temple and Israel redemption. This show will use AI to generate images based on prompts from Genesis. The intent here is to explore what this hypothetical future may look like digitally and how that would shape our understanding of biblical narrative. Philippe Yeonathan Bouaziz, Data Scientist, creator of DataScienceMustNeeded (skills) blog (>800k views, https://qr.ae/pGiFlN), medium writer (https://yonathanbouazizboaz.medium.com/), artist Music by john_kensy_music

FineArtPrinter-Galerie

Community-Portfolio Thema "MUSIK"

22 Aug 2022 – 20 Sep 2023

Das Community-Portfolio in FneArtPrinter Ausgabe 4/2022 zeigt Fotos der FAP-PLUS-Mitglieder zum Thema "MUSIK". Die im Printmagazin gezeigten Bilder sind Grundlage der virtuellen Ausstellung. Mehr über die Zeitschrift FineArtPrinter unter https://www.fineartprinter.de/

Casa Toscana Art Gallery

JORGE DÁVALOS: 120 DIBUJOS DE HUMEDAD Y TRAZO

20 Sep 2022 – 20 Nov 2022

120 DIBUJOS DE HUMEDAD Y TRAZO El inicio del sueño de esta exhibición fue un momento de valorar la vida, entender que lo único que nos llevamos son las bellas energías. Dejar un legado de constancia, de persistir, de luchar por vivir... volver a respirar y dibujar. Las obras nos hacen eternos. Un estudio arduo y de observación al ser humano, a su interior, al de los otros, hacer una interpretación a través del trazo y la humedad. Encontrar su esencia, su alma, su espíritu, su trasparencia, ir más allá de la carne y de los huesos. El trazo es vida, se puede sentir en solo ver cómo sigue por caminos estrechos y anchos por el papel, pero sigue su rumbo infinito. Comprender, contemplarlo incansablemente; el trazo, entender qué habla, dice y respira. Obras donde un trazo sigue el movimiento de los huesos, músculos los cuales me dan el camino, forma, ritmo representarlo sentirlo a través de la línea esa línea que debe mostrar un equilibrio y con la humedad da un fluido de vida que sigue existiendo. Jorge Dávalos La Paz, Bolivia, 2022 120 DRAWINGS OF HUMIDITY AND TRACE The beginning of the dream for creating this show started at a life pondering moment, at a moment of my understanding that the only thing we carry with us are the beautiful energies. To leave a legacy of consistency, of persistence, of struggle for life…of breathing again and drawing. Our artworks make us eternal. An arduous study of observing the human being, his or her interior, the one of others, and attempting an interpretation through trace and humidity. Finding his or her essence, his or her soul, his or her spirit, as an attempt to go beyond the flesh and bones. The trace is life, you can feel this when you see how it follows narrow and broad paths through the paper, albeit continuing its infinite journey. Understanding it, contemplating it tirelessly; the trace, grasp what it talks about, tells us and breaths. Works in which a trace follows the movement of bones, muscles that show me the way, the form, the rhythm to represent it; to feel through the line. The line should show a balance and with the humidity provides an influx of life that continues forever existent. Jorge Dávalos La Paz, Bolivia, 2022

Women United ART MOVEMENT

POETIC PERSONAGE

21 Sep 2022 – 04 Oct 2022

Women United ART MOVEMENT is proud to present POETIC PERSONAGE a solo exhibit by HEIDI BRUECKNER ARTIST BIO Heidi Brueckner is a Professor of Art at West Valley College in Saratoga, CA where she has taught painting, drawing, and design for over 20 years. A native Californian, Brueckner studied at the University of Heidelberg and The Goethe Institute in Germany in the late 1980s. During this pivotal year, she visited the major museums of Europe and found herself heavily influenced artistically by 20th century German art. Brueckner received a BA in Fine Art and a BA in Art History from University of California, Santa Cruz in 1991. She received an MFA in Painting from University of Kansas in 1997. Professor Brueckner’s work has been shown at museums, galleries, colleges, and in publications nationally and internationally. She has received many awards and scholarships for her work. In 2018, she published the book “Monsterbet”, a series of 26 oil, acrylic, and mixed media paintings based on the format of a children’s alphabet book. The book is available for purchase at Etsy, Amazon, and at her website heidibrueckner.com. Brueckner has won 12 first place awards among others in 20-21, which include the Italian International Prisma Art Prize and the Faber Birren Color Award, and has participated in over 100 juried shows. Upcoming 2022 solo exhibitions include Buckham Gallery in Flint, MI; Abington Art Center in Jenkintown, PA; the Delaplaine Arts Center in Frederick, MD; and Kirkland Art Center in Clinton, NY. She currently lives and works in Oakland, California. ARTIST STATEMENT People are in interested in people, whether because of personality traits, actions, or outward appearance. My work is inspired by this curiosity and allows the viewer to be part of the observation. I think of my portraits as individualistic narratives which explore personage through self-presentation, facial expressions, and gesture. The work often inspects the under-revered, and appreciates the subject’s presence and dignity, giving pause to honor the person. Since the pandemic, I have worked solely on the subject because I’ve missed people and feel the need to study faces and expressions. This series includes friends, family, and people I have met through traveling. I have an assertive aesthetic and I use that to be a kind of “equalizer” in terms of the way people are depicted. My color is divorced from naturalism and therefore skin color is in a way taken out of the equation. The work is meant to honor the entirety of humanity—not just one section of the population or kind of person. This interest in multiculturalism has been continually present in my work through incorporation of pattern, symbolism, form, and ornamentation which reference art and cultures around the world. The work requires, and in fact dictate, expressive and textural paint handling, and frontal, almost discomforting and intrusive compositions to achieve psychological expression. I revel in playing with mixed media, exaggerated space, and distortion in order to enhance visual activity and conceptual impact. WEBSITE: www.heidibrueckner.com

ARTITLEDcontemporary

Mixology - New arrivals

Ivan Marchuk

Віденські рапсодії / Viennese Rhapsodies

21 Sep 2022 – 16 Oct 2022

painters TUBES® galleries

In Time of Plague (Room Two)

09 Oct 2022 – 30 Dec 2022

In Time of Plague - a series of 41 paintings in two rooms presented by painters TUBES gallery

Island Gallery

Culture Night 2022

HONGLEE CURATOR

Sarah Soh Solo Exhibition

21 Sep 2022 – 05 Oct 2022

Sarah Soh is a Malaysian artist based in South Korea. She specializes in fluid art, using acrylics as her medium of expression. She likes to create details in her pours. She does not use any paint brushes to create details, instead, she pours paints and manipulate them to form shapes and details. ”Fluidity is a substance that has no fixed shape yet it yields easily to external pressure. We are these ‘fluids’; free of form yet we yield easily to the pressures of the world. One thing about being a perfectionist is the need to correct a mistake. With pouring, it allows me to accept the flow of the paints that is directed by the conditions of the canvas/surface". That natural phenomenal that occurred when pouring is what makes Sarah's detail pour s unique and special. Sarah uses a lot of Nature elements in her body of works. “Nature is peaceful. It does not scream for the attention of the world. Life has enough chaos as it is but Nature is Order.” She hopes that when people view her works, they will be in awe and be in one with their spiritual side. Sarah has a BA in Visual Communications (UK). She is a Dean’s List Scholar and a Valedictorian of her graduating class (2007). She won the Top Student Achiever Award 3 years in a row. She was a finalist for the 2017 UOB POY awards. She ran her own english art class from 2015-2017 in South Korea, teaching both adults and children to draw and paint. She used to be a lecturer and tutor for Art Design Colleges in Malaysia.

NEXT ART MUSEUM

META ARTVERSE Part.2

23 Sep 2022 – 29 Sep 2022

그 첫 번째 전시 #1 상상의 세계로의 여행에서는 평소 마주할 수 없는 풍경을 마주하며 갖게 되는 비현실적 감각과 실제와의 연결을 통해 우리의 일상을 더 풍부하게 감지하고 긍정적 감정을 떠올려보는 계기가 되길 바란다.


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