Lukas Glinkowski


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Exhibition views


*1984 Kulm an der Weichsel, Polen
2007–2014 Kunstakademie Düsseldorf, master class Prof. Katharina Grosse
  Lives and works in Berlin

Grants / Scholarships

2019 Villa Aurora, Los Angeles
2015 Hans-Purrmann-Preis (Sponsorship Award)

Solo exhibitions

2022 10 Berliner mit Puderzucker, Galerie Judith Andreae, Bonn
2021 MAYBE I AM BARKING UP THE WRONG TREE – BUT WE'LL SEE!, Evelyn Drewes | Galerie, Hamburg (Exhibition catalogue)
  Shotgun Wedding (Duo), Kanya Kage, Berlin
2019 Förderpreis, Berlin Hyp Bank
2018 Single Party, Kanyakage, Berlin
  Kleiner Raum Für Aktuelles Nichts, Berlin
  Sweaty Fingers, Städtische Galerie Speyer
2017 I Like Disco & Disco Likes Me, Bruch & Dallas, Cologne

Group exhibitions

2022 Kunstmuseum Bonn (Upcoming)
  Spiegelein, Spieglein..., Kunstmuseum Heidenheim (Upcoming)
  OOO [Out of Office], Berlin
  Hyperimage, KunstVerein Ahlen
  never mind the burnout, Studio Galerie im HaL, Berlin
2021 Wie bereits eingangs erwähnt, BcmA, Berlin
  Chronicles 3, Königliche Porzellan-Manufaktur Berlin / Galerie Droste, Berlin
  3 Jahre Kanya & Kage Groupshow, Berlin
  Over The Borderline, Galerie Fran Reus, Palma De Mallorca, Spain
  Sommer.Frische.Kunst, Bad Gastein, Austria
  Portal#2, Luigi Solito Gallery, Neapel, Italy
2020 Studio Berlin, Kooperation Zwischen Boros Collection Und Berghain
  Kunstlotterie Der Uno Flüchtlingshilfe Heart - 100 Artists. 1 Mission., Kunstmuseum Bonn / Kunsthalle Hamburg / Berlinische Galerie
  Umformung, Evelyn Drewes | Galerie, Hamburg
  Tomorrow Might Be Grey But It´s The Most Honest Colour I Know., Künstlerhaus- Sootbörn, Hamburg
  Echt & Falsch, Skulpturen Triennale Bingen 2020
  Grand Opening, Evelyn Drewes | Galerie, Hamburg
  Jetzt! - Junge Malerei In Deutschland, Deichtorhallen Hamburg
2019 Interintimes_ Autoportrait, Lachenmann, Salon Hansa, Frankfurt
  Jetzt! - Junge Malerei In Deutschland, Kunstmuseum Bonn / Museum Wiesbaden / Kunstsammlungen Chemnitz, Museum Gunzenhauser
  Bau Kunst!, Galerie Borchardt, Hamburg
  `Il Est Temps De S‘Enivrer`- Junge Berliner Kunst, Bamhaus Luxembourg
  Kommunizierende Röhren 1, Salon Rene Holm, Berlin
  Schickeria Sieben, Lage Egal, Berlin
  Not So A White Cube, Lage Egal, Berlin
  All Out, Kwadrat, Berlin
2018 The Missing Room, Lage Egal Berlin
  Ufer Open, Uferhallen, Berlin
  Demi-Gros, Les Valseuses, Berlin
  Ansbach Contemporary 2018 - Biennale Für Zeitgenössische Kunst, Ansbach
  That‘S All Right Mama, Xxy, Berlin
  Not In The Mood To Save The World, Codex, Berlin
  Too Early, Bar Babette, Berlin
  Jeune Création, Palais Des Études De L‘École De Beaux Arts, Paris, France
  All´idea Di Quel Metallo, Verband Deutscher Bürgschaftsbanken, Berlin
  Arte Noah, Kunsthalle Feldbach, Austria
  Stolen Images, Meinblau Berlin
  Ein Turm Von Unmöglichkeiten - Salon Hansa, St. Agnes - König Gallery , Berlin
  Hodgepodge, Berlin Con Mucho Arte, Berlin
  Auftakt, Berlin Weekly, Berlin

Pump up the color

Analogous to sampling in music, the artist assembles a visual mash-up in his works. Fragments and set pieces become a new whole, whose meaning the viewer configures himself: Art historical quotations and contemporary references are aesthetic or conceptual finger pointing without index finger. His painting is not about the coherent, cohesive offer of meaning, but about the individual approach, in which the perspective of the artist and the viewer do not have to coincide. This thoroughly postmodern approach creates space for a play with habits of seeing and thinking, which allows for coincidence, chaos and plurality at the same time or even brings together incommensurables. L. G. takes us into a world of images that springs from his everyday observations and experiences, perhaps sometimes dreams or transfiguration: urban spaces, films, tracklists, comics, video games, pop and club culture. In recent years he has increasingly taken leave of the canvas; tiles, photographic and woodchip wallpaper, mirror tiles and foils, wood or glass become the support for his painting. And, because he is particularly interested in subculture, the places he recreates are often as morbid as they are trashy, and his constructions are made of conventional industrial goods. The nature of the self-built objects thus conditions a „spatial grasp“ of his painting, which in any case is not limited to hanging on the wall - sometimes even the exhibition visitors are invited to (co-)paint. Perhaps to show us that his world is actually one that we rediscover with our eyes from his point of view. He doesn‘t want to explain it to us, but as so often in life, well-posed questions are more illuminating than precise answers. 

Peter Ungeheuer