Reiter galleries

RECTO VERSO with Christian Holze Christian Holze until 18 July

📍 KUNST im pavillon, Scherzachstraße 1, 88250 Weingarten

⏰ Open Wednesday to Sunday, 2:00 PM – 5:00 PM

• Pietà (2026) 130cm x 200cm
acrylic, lacquer on inkjet print on canvas, aluminum

• The Dead Christ with Symbols of the Passion
(2026) 40cm x 200cm
acrylic, lacquer on inkjet print on canvas, aluminum

𝐒𝐞𝐛𝐚𝐬𝐭𝐢𝐚𝐧 𝐒𝐜𝐡𝐫𝐚𝐝𝐞𝐫 — 𝔹𝕝𝕒𝕦𝕞𝕖 𝔹𝕝𝕦𝕞𝕖

REITER | Leipzig
through 19 June

Sebastian Schrader, [untitled], 2026. oil on canvas, 100 cm x 80 cm

Single chrysanthemum on a deep, velvety black ground—centered like a portrait.
A vivid stem, curling leaves shifting from green to brittle yellow, and a dense bloom glowing in ochre, gold, and russet. Painted with a nod to Old Master still life, yet pared back with a contemporary clarity: precise, luminous, and quietly dramatic.
c.h.r.a.d.e.r

𝐒𝐞𝐛𝐚𝐬𝐭𝐢𝐚𝐧 𝐒𝐜𝐡𝐫𝐚𝐝𝐞𝐫 — 𝔹𝕝𝕒𝕦𝕞𝕖 𝔹𝕝𝕦𝕞𝕖

REITER | Leipzig
through 19 June

Sebastian Schrader, [untitled], 2026. oil on canvas, 140 cm x 180 cm

exhibition views .info

At now on view, “A Shea Garden” introduces a new phase in ‘s practice, developed in collaboration with and presented alongside the Venice Biennale.

Mahama often describes himself as a traveller across time, working through material to uncover histories that might still inform the present. In the gallery’s pop-up space in Venice, this approach takes on a new form: clay becomes glass, opacity gives way to transparency, and objects shaped by use are rearticulated through a different language.

In this shift, the centuries-old knowledge embedded in terracotta practices from northern Ghana enters into dialogue with the equally enduring tradition of Murano glassmaking. Both are systems sustained by transmission, repetition and care – forms of making that carry memory as much as technique.

The project also resonates with a longer history of exchange. Venetian glass once travelled to West Africa as a traded material; over time, it was absorbed, reinterpreted and made local. In this sense, “A Shea Garden” reflects an ongoing circulation of forms, materials and knowledge, still evolving today.

On view until 18 July 2026
Tuesday to Saturday, 10 am – 6 pm
Rio della Ca**tà 1046, 30123 Dorsoduro, Venice
Vaporetto stop: Accademia

Ph:
original post by

Hans Aichinger: BE REAL
REITER | Berlin
through 13 June 
Wednesday – Saturday, 12 – 6 PM
Potsdamer Strasse 81B
Mercatorhöfe, Berlin

Hans Aichinger’s painting explores the narrow zone between visible reality and its perception—a form of realism that is not mere representation but a space of cognition. His works resist conventional labels such as hyperrealism or photorealism, as well as narrative traditions. It is more accurate to describe his approach as an intensified, immanent realism sustained by precisely staged, theatrically composed situations.
Aichinger works with models and photographic sources, yet his paintings avoid any psychologizing portrait logic. The figures do not seek eye contact; they appear self-contained, introspective, suspended between moment and duration. Particularly in his more recent works, which often focus on adolescent figures, a pictorial space of transition emerges: a stance of waiting presence in which vague expectations and concentrated stillness prevail. The viewer remains at a distance, experiencing a quietly performed present.
Compositionally, Aichinger shapes flat spaces modulated by light and shadow, whose illumination and materiality reveal his deep knowledge of art-historical dramaturgies of light. Garments, folds, and surface textures are rendered with meticulous clarity; every detail serves the overall effect. In this way, he combines historical pictorial means with a contemporary language of body and image, achieving a confident sense of the present.

Hans Aichinger, Youssef, 2026. oil on canvas, 110 cm x 70 cm

Hans Aichinger, Nähe und Distanz, 2026. oil on canvas, 50 cm x 70 cm

📷 .de

On the canvas, a solitary Bird of Paradise stands in half-profile. The vertical stem runs from the lower third; the green-yellow calyx opens to the right, and the orange petals flare in sharp, arrow-like planes. A dark, soft shadow grounds the bloom against a densely layered background of muted grey, brown, and olive—scratches and pigment traces giving the impression of an aged wall. In Schrader’s idiom, botanical precision meets a tectonic surface: the bloom rendered with exact realism, the surroundings built with thin glazes and scumbles to evoke time and patina.

Sebastian Schrader, [untitled], 2026. oil on canvas, 40 cm x 30 cm

𝐒𝐞𝐛𝐚𝐬𝐭𝐢𝐚𝐧 𝐒𝐜𝐡𝐫𝐚𝐝𝐞𝐫 — 𝔹𝕝𝕒𝕦𝕞𝕖 𝔹𝕝𝕦𝕞𝕖

REITER | Leipzig
through 19 June

exhibition view .info

Five tulip stems rest on a near-black ground. The leaves are long and pale green, their edges dried and torn; some hang heavily, others curve in gentle bows. The blossoms show stages of decay: a yellow and a white flower are open and thinning, while two deep purples tilt aside as if their last petals might fall. The paint speaks with crisp, high-contrast detail—layers build a papery thinness to the leaves and a matte, softly luminous quality to the blooms. The mood remains restrained and somber, inviting a quiet contemplation of time, memory, and the moment when growth gives way to decline. In this pared‑down, observational approach, ordinary plant matter becomes a focal point for reflection on transience.

Sebastian Schrader, [untitled], 2026. oil on canvas, 60 cm x 50 cm

𝐒𝐞𝐛𝐚𝐬𝐭𝐢𝐚𝐧 𝐒𝐜𝐡𝐫𝐚𝐝𝐞𝐫 — 𝔹𝕝𝕒𝕦𝕖 𝔹𝕝𝕦𝕞𝕖
through 19 June
REITER | Leipzig

exhibition view .info

𝐻𝑎𝑛𝑠 𝐴𝑖𝑐ℎ𝑖𝑛𝑔𝑒𝑟: BE REAL
REITER | Berlin
through 13 June 
Wednesday – Saturday, 12 – 6 PM
Potsdamer Strasse 81B
Mercatorhöfe, Berlin

Hans Aichinger’s painting explores the narrow zone between visible reality and its perception—a form of realism that is not mere representation but a space of cognition. His works resist conventional labels such as hyperrealism or photorealism, as well as narrative traditions. It is more accurate to describe his approach as an intensified, immanent realism sustained by precisely staged, theatrically composed situations.
Aichinger works with models and photographic sources, yet his paintings avoid any psychologizing portrait logic. The figures do not seek eye contact; they appear self-contained, introspective, suspended between moment and duration. Particularly in his more recent works, which often focus on adolescent figures, a pictorial space of transition emerges: a stance of waiting presence in which vague expectations and concentrated stillness prevail. The viewer remains at a distance, experiencing a quietly performed present.
Compositionally, Aichinger shapes flat spaces modulated by light and shadow, whose illumination and materiality reveal his deep knowledge of art-historical dramaturgies of light. Garments, folds, and surface textures are rendered with meticulous clarity; every detail serves the overall effect. In this way, he combines historical pictorial means with a contemporary language of body and image, achieving a confident sense of the present.

📷 nrup.de .de

Nicolás Rupcich: GRAINS / DESERTS

HAASE x RUPCICH
A/V concert
16.05.2026 — 19:30
Haus für Medienkunst Oldenburg
haase


A project of PULSE as part of the LONG NIGHT OF MUSIC_pulse