Lukas Glinkowski
CV
*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
2023 | It's difficult to explain so I stay quiet, Galeria Fran Reus, Mallorca, Spain |
2022 | 00, Galleria Luigi Solito, Naples, Italy |
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
2023 | AMMI I COLORI, Sociedade Nacional de Belas Artes, Lisboa, Portugal |
Inspire Writing, Montblanc Haus, Hamburg | |
Cherries On Top, Galerie Judith Andreae, Bonn | |
OOO [Out of Office], Berlin | |
2022 | Wall Of Sound, Lage Egal, Berlin |
Hot Little Pool, Lobe Block, Berlin | |
Art Cologne, Cologne | |
Art Verona, Italy | |
Elb/Hängung #2, Villa am Elbhang, Hamburg | |
10 Jahre Artflash, Berlin | |
Drawing Wow 3, Minuseins, Vienna, Austria | |
4 Jahre Kanya & Kage, Berlin | |
Spieglein, Spieglein..., Museum Heidenheim | |
OOO [Out of Office], Berlin | |
HYPERIMAGE, KunstVerein Ahlen | |
Never mind the burnout, Studiogalerie 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