Untitled (Möglichkeiten einer Technik)

14 February to 11 April 2026 ⟶ Galerie

Installation view Photo: Katrin Rother

Michael Buthe, Dead Sea, 1990, Etching, Ed. 28/35, 57 x 83 cm

A.R. Penck, Figuren, 1991, Silkscreen printing, Ed., 22/125, 46 x 31,5 cm

Walter Stöhrer, Untitled, 1962, Etching, Ed. 1/3, 40.3 x 31 cm

Antoni Tàpies, Dentelle, 1977, Multicolor lithograph / Rives handmade paper, Ed. 150, 72.5 x 100 cm

Installation view Photo: Katrin Rother

Peter Brüning, M BI, 1969, Serigraphy, Ed. 100, 76 x 59,7 cm

Kazuo Shiraga, Untitled, 1992, Serigraphy, Ed. 50, 100 x 70 cm

K.F. Dahmen, Room Window, 1979, Color etching, Ed. 10/12, 89.5 x 74.5 cm

Installation view Photo: Katrin Rother

Robert Motherwell Beau Geste Suite V, 1989, Lithograph on handmade light gray Gnapi paper, Ed. of 100, 55.9 x 38 cm

Robert Motherwell, Beau Geste Suite IV, 1989, Lithograph on Gray Duchenne Light paper, Ed. 100, 55.9 x 38 cm

Robert Motherwell, Beau Geste Suite III, 1989, Lithograph on Arches paper, Ed. 100, 55.9 x 38 cm

Installation view Photo: Katrin Rother

Christo & Jeanne - Claude, The Gates, 1990,
Offset lithography, unlimited edition, signed by the artist, 103 x 73 cm

Installation view Photo: Katrin Rother

Pierre Alechinsky, Pour Dominique, 1990, Etching and aquatint on vellum paper, Ed. 11/75, 73 x 52 cm

Pierre Alechinsky, Dame Taride, 1990, Etching and aquatint on vellum paper, Ed. 28/99, 34 x 52 cm

Installation view Photo: Katrin Rother

Thomas Hartmann, Viele, 2001, Serigraphy, painted over by the artist, signed and dated, Ed. 18, 100 x 70,5 cm

Max Neumann, Untitled, 1991, Carborundum drypoint, Ed. 25
122 x 160 cm

Installation view Photo: Katrin Rother

Max Neumann, Untitled, 1995 Silkscreen print, Ed. 70,45 x 50 cm

Installation view Photo: Katrin Rother

Carolin Seeliger, Untitled, 2024, Lumen print of Desmarestia aculeata, Unique, 6 parts, each 24 x 30,5 cm

Carolin Seeliger, Untitled(Helgoland 02), 2024, Lumen print, Unique, 30,5 x 24 cm

Carolin Seeliger, Lumen print of ulva lactuca, 2024, Lumen print, Unique,
24 x 30,5 cm

Delia Jürgens, Untitled, (Test -3), 2020-2021,, CNC engraving on pizza box, Unique, 45 x 34,2 cm

Installation view Photo: Katrin Rother

Jan Voss, Untitled, 1990, Woodcut, Ed. 7/30, 64 x 125 cm

Delia Jürgens, Untitled, (Test -1), 2020-2021, CNC engraving on pizza box, Unique, 47,5 x 28,8 cm

Delia Jürgens, Untitled (Test -2), 2020-2021, CNC Engraving on pizza box, Unique, 57,5 x 40 cm

Installation view Photo: Katrin Rother

Robert Rauschenberg, The tramp, 1974, Aquatint in Color, Embossing & collaged photography in colour offsetvellum. Published by the artist Untitled Press, Captiva Island, Florida, Aufl. 300,
72 x 46 cm

Walter Stöhrer, Mara, 1972, Serigraphy painted over by the artist, Ed. 50, 59 x 81 cm

Installation view Photo: Katrin Rother

Damien Daufresne, Les rougers 4-7, 2001, Etching, Unique, 25 x 32 cm

Carolin Seeliger, Waterscape 9 Schlachtensee, 2025, Toni’s body and hair, branches, stones, Cyanotype on used terry cloth towel, Unique, 154 × 107 cm

Installation view Photo: Katrin Rother

Carolin Seeliger, Waterscape 10 Columbiabad Neukoelln, 2025, Cyanotype on used terry towel, two sitting children, French fries, exposure time: approx. 1 hour in gentle sunlight, Unique, 154 × 107 cm

Installation view Photo: Katrin Rother

Eduardo Chillida, Hommage à Johann Sebastian Bach, 1997, Serigraphy with embossing on Eskulan, Ed. 120, 65 x 50,5 cm

Eduardo Chillida, Hommage à Johann Sebastian Bach, 1997, Serigraphy with embossing on Eskulan, Ed. 120, per 65 x 50,5 cm

Eduardo Chillida, Hommage à Johann Sebastian Bach, 1997, Serigraphy with embossing on Eskulan, Ed. 120, 65 x 50,5 cm

Ausstellungsansicht. Foto: Katrin Rother

Galli, Untitled, 1988, Serigraphy, Ed., 6/50, 95 x 66,5 cm

Installation view Photo: Katrin Rother

Richard Serra, Paths and Edges #9, 2007, Etching on Mohachi Papier, Ed. 60, 50,8 x 67,3 cm

Installation view Photo: Katrin Rother

Fred Thieler, Untitled, 1977, Silkscreen printing, Ed., 30, 100 x 69,5 cm

Fred Thieler, Untitled, 1961, Lithography, Ed. 79/100, 58,5 x 44,5 cm

Installation view Photo: Katrin Rother

Christo & Jeanne - Claude, Wrapped Reichstag VII, 1995, Offset lithography, unlimited edition, signed by the artist, 70 x 100 cm

OPENING: Friday, February 13 from 6 - 9 pm
ARTIST TALK: Saturday, February at 2 pm

Galerie Nothelfer is pleased to present an exhibition of prints by 28 artists. On display are both historical post-war positions and contemporary works that provide insight into the diversity and possibilities of printmaking.

Printmaking has established itself as an artistic medium on par with painting and drawing. For many artists, it was a central field of experimentation for formal innovations, serial processes and the combination of craftsmanship and artistic conception. It was not uncommon for the artistic focus to shift temporarily or permanently from painting to printmaking, as in the case of Toulouse-Lautrec's lithographs or Andy Warhol's silkscreen prints.

In the second half of the 20th century, printmaking played a central role in the democratisation of art. It was recontextualised through the social and political upheaval of the 1960s as an alternative to the exclusive art market. Influenced by Walter Benjamin's reflections on the loss of the original through technical reproducibility, artists questioned the traditional understanding of the ‘original’. Which could no longer be defined as a singular unique piece, but as an artistically authorised work. Printmaking thus turned against the artwork as a status symbol and increasingly saw itself as ‘art for all’, removing the institutional barrier keeping it from everyday life.

Printing techniques are infinitely diverse, offering individual possibilities, limitations, characteristics and interactions, but are obscured by opaque technical jargon and nomenclature. To provide clarity and context, here is a brief overview of the most relevant techniques in this exhibition.

Relief printing is the oldest printing technique and mainly includes woodcut and linocut printing. In this process, the artist carves away parts of a block (wood, linoleum, etc.) until a raised image remains. Only the raised areas absorb ink/paint and transfer it to the paper. The exhibition features examples of wood cut prints by Eduardo Chillida and Jan Voss, among others. The prints are particularly fascinating due to their archaic, richly textured aesthetics, in which the natural grain of the wood becomes part of the image.

Intaglio printing originated at the end of the 15th century and encompasses a large variety of different processes. Divided into two categories: manual engraving techniques (such as copperplate engraving, drypoint and mezzotint) and acid-based techniques (such as etching, aquatint, etc.). In both cases, the printing depressions, which hold the colour, are created by mechanical processing or acid-based etching processes in metal plates, which are then transferred to the print medium. Etchings by Pierre Alechinsky, K.F. Dahmen, Walter Stöhrer, Antoni Tàpies, and many other artists will be on display.

Planographic printing is the youngest group of printmaking techniques. It includes lithography, monotype, cyanotype, lumen print, screen printing or serigraphy, as well as many more contemporary printing techniques. A characteristic feature is that the motif is applied directly to the printing substrate without any printing depressions or raised surfaces. The processes range from serially reproducible techniques to unique prints such as monotypes. The exhibition features many examples of planographic printing, including lithographs by Peter Brüning, Offsetlitho by Christo & Jeanne-Claude, silkscreen prints by Robert Rauschenberg, Kazuo Shiraga and Thomas Hartmann, and contemporary prints by Carolin Seelinger and Delia Jürgens, in techniques such as cyanotype, lumen, laser and inkjet printing.

Text: Lucy Defty