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Dienstag 11:00 - 17:00 Mittwoch 11:00 - 17:00 Donnerstag 11:00 - 17:00 Freitag 11:00 - 17:00 Samstag 11:00 - 17:00 Sonntag 11:00 - 17:00

KAI 10 - Arthena Foundation, Kaistraße 10, Düsseldorf (2025)

07/03/2025

LILLA VON PUTTKAMER
Lilla von Puttkamer’s (*1973 in Düsseldorf) oeuvre navigates between , and . While the painterly surface of her works immediately catches our eye, it soon becomes apparent that a common theme runs through all her media: the artist focusses on objects and situations that refer to the people who use them and leave their mark, but are themselves not visible. Her “Portraits without People” (2017–20) show mountains of clothes stacked on chairs—sometimes neatly folded, sometimes casually and thoughtlessly thrown over the chair, sometimes piled-up so high that they almost slide into abstraction, disclosing only the materials and patterns of the garments. Her ceramics likewise refer to commonplace moments and items that we encounter on a day-to-day basis: tools, masks or shoes lying on the floor, waiting to be used by their owners.
Exhibition views Lilla von Puttkamer in KAI 10 | ARTHENA FOUNDATION

Exhibition: October 31, 2024 – April 26, 2025
Artists:

Images:
1: „Kleiderberg (1)“, 2018 & „Reiseschuhe“, 2023
2: „Hannahs Höhengleichnis“ (Selection), 2021
Courtesy the artist, VG Bild-Kunst, Bonn 2024
Photos: Studio Kukulies

05/03/2025

CAMBODIAN-GERMAN AND OTHER ENTANGLEMENTS
Tuesday, March 11, 2025, 7 pm
The artists Lilla von Puttkamer and Vera Lossau in conversation with Ludwig Seyfarth
What is the reality of , especially for women, in Cambodia? Lilla von Puttkamer (Berlin) and Vera Lossau (Düsseldorf) wanted to find out. They travelled to the country several times and initiated an intensive exchange with local women artists in cooperation with the Goethe Centre. In addition to a publication, this resulted in several joint in Cambodia and Germany; this year, another exhibition will follow at Schloss Biesdorf in Berlin.

The two artists report on the not always easy realisation of these projects, present the works shown there and the actions carried out. They will also provide information about the network of female artists they co-founded, which is growing year after year. The networking and exchange with female artists in many other countries influences their own artistic work. This will be demonstrated using specific examples, including Lilla von Puttkamer's contribution to the exhibition "Frozen Mirrors".

Exhibition: October 31, 2024 – April 26, 2025
Artists:

16/01/2025

A PAINTED PICTURE IS FIRST AND FOREMOST A PAINTED PICTURE
Thursday, January 23, 2025, 7 pm
Karin Kneffel and René Wirths in conversation with Ludwig Seyfarth
moderated by Ludwig Seyfarth
The painter Maurice Denis remarked in 1890 that before a depicts a warhorse, a naked body or an anecdote, it is essentially a surface covered in . This statement was programmatic for the departure of modern painting from the reproduction of reality. However, beyond the avant-garde trench warfare over abstraction and representationalism, Denis' comment also contains generalities. Everything that is to be seen in a painted picture must first be solved as a problem of painting. In conversation, .kneffel.art and provide an insight into their working processes and explain how the results, which can be seen in the exhibition , are achieved.
FrozenMirrors
Exhibition: October 31, 2024 – April 26, 2025
Artists:

08/01/2025

RONA KOBEL
Rona Kobel’s (*1982 in Freiburg im Breisgau, DE) favourite working material is —a material still marred by the bourgeois image of floral tea services and kitschy cherubs. Kobel breaks with this connotation by charging her sets with contemporary social issues.
In her political tableware, “Dinner for Sinner” (2018), pure white porcelain makes a face-on encounter with unsettling or even shocking issues and events: fatal lynchings (“Doom China”), flower names with racist connotations (“Hate Plates”), or the allegorical centrepiece (“Prop it, don’t drop it (Civilisation bowl – Capitalism, Freedom, Justice)”). This table adornment criticises society’s lurch towards precarious imbalance, symbolised here by a bowl flanked by fat bundles of banknotes and only half-heartedly held aloft by three allegorical figures.
“Dinner for Sinner”, 2016

Exhibition: October 31, 2024 – April 26, 2025
Artists:

Images:
1: Exhibition view Rona Kobel (in front) and Michael Wesely (at the back) in KAI 10 | ARTHENA FOUNDATION | Courtesy Rona Kobel: the artist || Courtesy Michael Wesely: the artist, VG Bild-Kunst, Bonn 2024 | Photo: Studio Kukulies
2: “Prop it, don’t drop it (Civilization bowl – Capitalism, Freedom, Justice)”, 2018 (Detail) | Courtesy the artist | Photo: Trevor Good
3: “Doom china (Hurricane)” & “Hate plate (Kaffir lily)”, 2018 | Courtesy the artist | Photo: Trevor Good
4: “Hate plate (Judenkirsche)”, 2018 (Detail) | Courtesy the artist | Photo: Trevor Good

19/12/2024

GOODBYE 2024
The team of KAI 10 | ARTHENA FOUNDATION wishes you, your families and friends a wonderful and relaxing season and a happy new year.
Please note that KAI 10 will be closed from December 23, 2024 until January 5, 2025.
We thank you for the well-visited exhibitions and much positive feedback in the past year and look forward to new projects, events and personal exchange.
We would also like to thank all the artists, lenders and participants who have made our projects so special.

Exhibition: October 31, 2024 – April 26, 2025
Artists:

12/12/2024

KARIN KNEFFEL
Karin Kneffel (*1957 in Marl, DE) is a painter who elicits entirely new facets from traditional pictorial genres such as , or . Since 2008, the artist has repeatedly explored modern architecture and the art on display within its walls.
Her point of departure were two villas in Krefeld commissioned to Mies van der Rohe by the textile manufacturers Hermann Lange and Josef Esters at the end of the 1920s that are now part of the city’s art museum complex. Kneffel initially painted a series of mainly large-format images based on old photographs, which also showed parts of Lange's art collection, such as by Kirchner, Macke, Kokoschka, Chagall and Kandinsky. She then researched the public collections where these works—condemned as “degenerate art” during the National Socialist period are located today and captured them in their current exhibition settings. However, the rooms appear to be perceived through a pane of glass.
“Ohne Titel”, 2016 | “Ohne Titel”, 2022

Exhibition: October 31, 2024 – April 26, 2025
Artists:

Image: Exhibition view Karin Kneffel in KAI 10 | ARTHENA FOUNDATION

Courtesy Private Collection, VG Bild-Kunst, Bonn 2024

Photo: Studio Kukulies
B!

05/12/2024

SASKIA GRONEBERG
Saskia Groneberg’s (*1985 in Munich, DE) expeditions take us to local offices and parks across the world. The central theme is always the relationship between humans and nature. Groneberg’s particular focus is on artificially fashioned , which she sees as ultimately founded on the longing for nature itself and the fear of whatever lies beyond our control.

The Büropflanze (2012) series is an ostensibly scientific research project on in everyday office life in Germany. With the aid of plants, employees seem driven to add a personal and organic touch to the sterile and functional environment of their workplaces. Domesticated nature makes its own way, climbing up radiators and shelves, but at the same time is totally dependent on human care to thrive..
“Büropflanze”, 2012

Exhibition: October 31, 2024 – April 26, 2025
Artists:

Image: Exhibition view Saskia Groneberg and Helene Appel in KAI 10 | ARTHENA FOUNDATION

Courtesy Helene Appel: the artist & The Approach Gallery, London || Courtesy Saskia Groneberg: the artist, VG Bild-Kunst, Bonn 2024
Photo: Studio Kukulies
B!

27/11/2024

SUPERIMPOSED PAST
Wednesday, December 4, 2024, 7 pm
Michael Wesely in conversation with Barbara Hofmann-Johnson, Director of the Museum of Photography, Braunschweig

moderated by Ludwig Seyfarth
Michael Wesely is known for his long exposure . Changes in urban space - especially in Berlin, where he has lived for a long time - are one of his central motifs. His specially developed cameras remain in one place for up to three years. The construction of new on Potsdamer Platz, for example, is captured as if in fast motion. In his new complex of works, Doubleday (2023), he works with a normal short exposure time, but two images are superimposed on each other. The artist captures places in Berlin from exactly the same as they appear in old black and white photographs. In conversation with Barbara Hofmann-Johnson, Michael Wesely explains his approach and how the artistic and the documentary are combined in his work.

Exhibition: October 31, 2024 – April 26, 2025
Artists:

22/11/2024

GERMAN NATIONAL SCHOLARSHIP OF THE ARTHENA FOUNDATION AT THE HEINRICH HEINE UNIVERISTY DÜSSELDORF
Starting in the winter semester of 2024/25, the ARTHENA FOUNDATION will be funding two German National Scholarships for a period of one year (two semesters). The are linked to the Institute of Art History at the HHU, whose chair is held by Prof Dr Valeska von Rosen.
The German National Scholarship supports the “Seizing Opportunities” programme at the HHU. High-performing students from all faculties, from the first semester of the Bachelor's programme to the end of the Master's programme or the state examination, have the opportunity to receive funding.
Students apply with a letter of motivation, current transcripts and other evidence, e.g. internships or references.
For at least two semesters, but no longer than the end of the standard period of study, students receive €300.00 per month (independent of BAföG benefits).
Scholarship holders will be selected and assigned to 'suitable' donors by the HHU Selection Committee. The scholarships will then be awarded at a ceremony at HHU (probably in 2024).
Further information is to be found on the ARTHENA FOUNDATION website (Link in bio).

21/11/2024

GUILLAUME BIJL
Since 1979, Guillaume Bijl (*1946 in Antwerp, BE) has been producing that feature meticulous re-enactments of commonplace spaces, furnished with original objects. These “three-dimensional ”, as Bijl calls them, are not faithful reconstructions of actual sites, but perfectly arranged, typified versions of a respective kind of interior. Every form of action or event character in his mises en scène is frozen into a still life, as if exemplifying a museumised vestige of the present perceived from a distant future. The of found objects of his “Sorry”-installations follow a logic of the absurd, with the composition appearing to be deliberate, while at the same time it generates an impression of coincidental randomness: as in a picture puzzle, the reference to a factory or an emergency exit does not seem to have any visible or immediate connection to the other artifacts.
“Sorry”, 2022 | “Sorry”, 2024
Frozen Mirrors
Exhibition: October 31, 2024 – April 26, 2025
Artists:

Image: Exhibition view Guillaume Bijl in KAI 10 | ARTHENA FOUNDATION

Courtesy the artist & Galerie Nagel Draxler Berlin, Cologne, Meseberg

Photo: Studio Kukulies

23/10/2024

REMINDER
FROZEN MIRRORS
Opening: October 30, 2024 | 7 pm
Exhibition: October 31, 2024 – April 26, 2025
Is “frozen” time an even greater illusion than deceptively real depictions of an object? This question informs the exhibition which, following on from and explores further facets regarding illusions and how they are reflected in . Here, illusionistic images are juxtaposed with products of the imagination that often transpire to be illusions.
Find out more on our website (link in bio)!
Artists:

Image:
Exhibition view Helene Appel, Florian Slotawa, Guillaume Bijl and Saskia Groneberg in KAI 10 | ARTHENA FOUNDATION

Courtesy Helene Appel: the artist and The Approach Gallery, London
Courtesy Florian Slotawa: Monika Schnetkamp Collection, VG Bild-Kunst, Bonn 2024
Courtesy Guillaume Bijl: the artist and Galerie Nagel Draxler, VG Bild-Kunst, Bonn 2024
Courtesy Saskia Groneberg: the artist, VG Bild-Kunst, Bonn 2024

Photo: Studio Kukulies

25/09/2024

SAVE THE DATE
Frozen Mirrors
Opening: October 30, 2024 | 7 pm
Exhibition: October 31, 2024 – April 26, 2025
Is “frozen” time not an even greater illusion than deceptively real depictions of an object? This question informs the which, following on from and , explores further facets regarding illusions and how they are reflected in . Here, illusionistic images are juxtaposed with products of the imagination that often transpire to be illusions.
Find out more on our website (link in bio)!
Artists:

Key Visual by

26/08/2024

FINISSAGE WITH ARTIST TALK
Sunday, September 15, 2024, 4 pm
We cordially invite you to the finissage of the exhibition “Unsolicited Awakening” with an between Mary-Audrey Ramirez and the curator Gesine Borcherdt
Mary-Audrey Ramirez transforms the world of into a cosmos full of fantasy creatures that we encounter in real and spaces: Craft and new technologies become one, virtuality and reality merge. But how does gaming actually become ? What is the idea behind a work that looks cheerfully at a world without people? How did the artist develop her visual language and what role does her childhood play, to which everything goes back? Gesine Borcherdt, curator of the exhibition “Unsolicited Awakening”, and the artist Mary-Audrey Ramirez discuss these and other questions in conversation.

There will also be a public tour through the exhibition before the talk at 3 pm.

01/08/2024

MARY-AUDREY RAMIREZ – UNSOLICITED AWAKENING
Boosted by the internet and accelerated by smartphones and social media, the influence of on our world is used and challenged by artists who modify commercial and transform the games’ aesthetic into their own pictorial language. In this context, Ramizez’s work stands out by virtue of her unique artistic which symbiotically combines beauty and dystopia, monstrosity and cuteness, digitality and reality.
Exhibition: June 5 – September 15, 2024
curated by Gesine Borcherdt
Find out more on our website (link in bio)!
Installation view Mary-Audrey Ramirez – Unsolicited Awakening in KAI 10 | ARTHENA FOUNDATION
From back to front, from left to right:

Mary-Audrey Ramirez
“Funnel (Into a graveyard from anywhere)”, 2020

Courtesy the artist and MARTINETZ, Cologne

Video made by Pirate Sheep
„Rascal“, 2020 (4 Pieces), „Trixie“, 2020, “Snorsa”, 2020 (2 Pieces)

Courtesy the artist and MARTINETZ, Cologne
Photo: Achim Kukulies, Düsseldorf

18/07/2024

MARY-AUDREY RAMIREZ – UNSOLICITED AWAKENING
Mary-Audrey Ramirez’ eschatological yet humorous, as well as constantly sensual pictorial language throws into light our pleasure in as much as ourdread of apocalypse, not to mention the thrill immanent to the potential of new . The outcome of all this is the dreamlike atmosphere of a non-human future, home to and creatures born from a destroyed world – which at the same timeare also reminiscent of beings such as those that have enthralled people since earliest .
Exhibition: June 5 – September 15, 2024
curated by Gesine Borcherdt
Find out more on our website (link in bio)!
Installation view Mary-Audrey Ramirez – Unsolicited Awakening in KAI 10 | ARTHENA FOUNDATION
“Somebody’s Basilisk”, 2023

Courtesy the artist and MARTINETZ, Cologne, commissioned by Casino Luxembourg and Kunsthalle Gießen
Photo: Achim Kukulies, Düsseldorf

04/07/2024

MARY-AUDREY RAMIREZ – UNSOLICITED AWAKENING
Whether hand-sewn , team-developed animated figures or images of designed with the aid of that look as cute as they appear mutated by environmental toxins: to concoct her altogether individual aesthetic Mary-Audrey Ramirez draws on the pictorial language of video games, sci-fi movies and deep-sea documentaries, whose visual vocabulary is anchored in our .
Exhibition: June 5 – September 15, 2024
curated by Gesine Borcherdt
Find out more on our website!
Installation view Mary-Audrey Ramirez – Unsolicited Awakening in KAI 10 | ARTHENA FOUNDATION
From left to right:

“Slug (sniffing)”, 2024
“Blooh on Alien Weapon”, 2024

Courtesy the artist and MARTINETZ, Cologne, commissioned by KAI 10 | ARTHENA FOUNDATION
“The Clones“, 2023

Courtesy the artist and MARTINETZ, Cologne, commissioned by Casino Luxembourg and Kunsthalle Gießen
Photo: Achim Kukulies, Düsseldorf

14/06/2024

MARY-AUDREY RAMIREZ – UNSOLICITED AWAKENING
Tailored specifically to the of the exhibition space, the artist’s mise-en-scène transforms the venue into an parkour divided into different segments, bearing imaginative resemblance to the experience of entering a . The various areas correspond to – in gaming jargon, these are a kind of environment marked by certain characteristics and home to various kinds of creatures.
Exhibition: June 5 – September 15, 2024
curated by Gesine Borcherdt
Find out more on our website (link in bio)!
Installation view Mary-Audrey Ramirez – Unsolicited Awakening in KAI 10 | ARTHENA FOUNDATION
Mary-Audrey Ramirez, “Debris”, 2023, Courtesy the artist and MARTINETZ, Cologne, commissioned by Casino Luxembourg and Kunsthalle Gießen
Photo: Achim Kukulies, Düsseldorf

KAI 10 - Arthena Foundation

07/03/2025

05/03/2025

16/01/2025

08/01/2025

19/12/2024

12/12/2024

05/12/2024

27/11/2024

22/11/2024

21/11/2024

23/10/2024

25/09/2024

26/08/2024

01/08/2024

18/07/2024

04/07/2024

14/06/2024

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Dienstag	11:00 - 17:00
Mittwoch	11:00 - 17:00
Donnerstag	11:00 - 17:00
Freitag	11:00 - 17:00
Samstag	11:00 - 17:00
Sonntag	11:00 - 17:00