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It must have been 2013, although it feels much longer ago. This is partly because I can’t find any trace of the exhibition online. I wanted to verify, rely on facts, on photographs, but all I have is an imperfect memory and a sense of distance in time. The first location of Silberkuppe was on the ground floor in two small rooms along the gate of a tenement at 68 Skalitzerstrasse in Berlin. From Laura Lamiel’s exhibition, I remember the glow of light from the floor installation, the precisely composed atmosphere, and a strong desire to showcase something like that at Stereo. I also recall that right across the room stood an equally impressed Michael Stipe.
Browsing through the artist’s monograph, rich in photographic material, it is easy to see how consistent and coherent her body of work is. It is composed of recurring motifs and materials, but also a stable tone and spirit. Regardless of the exhibition space’s size, Lamiel constructs her own environments—rooms she calls “cells”.…
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Press Release
It must have been 2013, although it feels much longer ago. This is partly because I can’t find any trace of the exhibition online. I wanted to verify, rely on facts, on photographs, but all I have is an imperfect memory and a sense of distance in time. The first location of Silberkuppe was on the ground floor in two small rooms along the gate of a tenement at 68 Skalitzerstrasse in Berlin. From Laura Lamiel’s exhibition, I remember the glow of light from the floor installation, the precisely composed atmosphere, and a strong desire to showcase something like that at Stereo. I also recall that right across the room stood an equally impressed Michael Stipe.
Browsing through the artist’s monograph, rich in photographic material, it is easy to see how consistent and coherent her body of work is. It is composed of recurring motifs and materials, but also a stable tone and spirit. Regardless of the exhibition space’s size, Lamiel constructs her own environments—rooms she calls “cells”.…
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More Exhibitions at Galeria Stereo
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