All posts tagged “Drawing

Alexander Horn, Ilkka Sariola

Ausgang | Exit – 30.8.–20.9.2025

Welcome to our opening on Friday, 29. August 2025, 7 pm

Artists

Alexander Horn | Ilkka Sariola

Paitings, drawings

Opening hours: Mit–Sat 3–7 pm


——

Our duo exhibition is titled ”Ausgang – Exit”. Everyday definition of the word is ”an act of leaving a place” or ”a way out of a building”. For example there are ”Ausgang” signs in everywhere in metro stations and signs can save lives in the event of fire. The word exit also has deeper philosophical connotations. ”Exitus” comes from latin and means exit, ending, end or death. Our final exit is moving from on state to another, from life to death. The Nazis used the term with cruel irony, calling the entrance gate of Sachsenhausen concentration camp ”Eingang A” an the exit gate ”Ausgang Z”. There is also a desperate search for away out, exit, of the protracted wars in Ukraine an Gaza. In our exhibition, metaphora ”exit” leads the viewer to consider different ways of of exiting dead ends in front of Alexander Horn´s fascinating paintings and Ilkka Sariola´s large expressive coal drawings.

Alexander Horn lives and works in Mannheim and Ludwigshafen and Ilkka Sariola in Helsinki. We met each other for the first time year 2017 when we both took part in group exhibition ”Nachstein” at Projektraum Toolbox. Even then, a deep understanding arose between us an our art. This is our third duo exhibition in Germany.

Ilkka Sariola

Ilkka Sariola, rom series Requiemm Hind & Shani, 230 x 150 cm, charcoal on paper, 2023-2025

Alexander Horn

Alexander Horn, aus der Serie Only the Rocks Remain

German:

Unsere Duo-Ausstellung trägt den Titel Ausgang – Exit. Eine Alltagsdefinition des Wortes ist „ein Akt des Verlassens eines Ortes“ oder „ein Weg aus einem Gebäude“. So gibt es zum Beispiel überall in U-Bahn-Stationen „Ausgang“-Schilder, und Schilder, die auf Notausgänge hinweisen, können im Falle eines Brandes Leben retten. Das Wort Ausgang hat auch eine tiefere philosophische Bedeutung. „Exitus“ kommt aus dem Lateinischen und bedeutet Ausgang, Abschluss, Ende oder Tod. Unser letzter Ausgang ist der Übergang von einem Zustand zum anderen, vom Leben zum Tod. Die Nazis benutzten den Begriff mit grausamer Ironie und nannten das Eingangstor des Konzentrationslagers Sachsenhausen „Eingang A“ und das Ausgangstor „Ausgang Z“. Auch in den langwierigen Kriegen in der Ukraine und im Gazastreifen wird verzweifelt nach einem Ausweg, einem Ausgang, gesucht.
Die Besucher:innen unserer Ausstellung können vor Alexander Horns kleinformatigen Gemälden in Acryltusche auf MDF und Ilkka Sariolas großformatigen, expressiven Kohlezeichnungen mit der Metapher „Ausgang“ als Ausgangspunkt über Sackgassen und wie man aus ihnen wieder heraus-kommt reflektieren.

Alexander Horn lebt und arbeitet in Mannheim und Ludwigshafen, Ilkka Sariola in Helsinki. Wir sind uns 2017 zum ersten Mal begegnet, als wir beide an der Gruppenausstellung Nachstein im Pro-jektraum Toolbox in Berlin teilgenommen haben. Sofort hatten wir das Gefühl eines besonderen und tiefen Verständnisses füreinander und für die Kunst des anderen. Dies ist unsere dritte Duo-Ausstellung in Deutschland.


Galerie/Projektraum TOOLBOX
Koloniestraße 120
13359 Berlin-Wedding
U-Bahn Osloer Straße

An Feiertagen ist die Toolbox geschlossen
On Bank holidays Toolbox is closed

Mika Karhu

Double Nature – 26.7.–23.8.2025

Welcome to our opening on Friday, 25. July 2025, 7 pm

Artists:

Peter Hock (Berlin) and Mika Karhu (Finland)

Exhibition: 26.07.–23.08.2025

Opening hours: Mit–Sat 3–7 pm

The Compulsion to Name and Art’s Resistance: On the Difficulty of Viewing Peter Hock’s (b. 1962) charcoal drawings

Art challenges us in a way we are not always willing to admit: it forces us to dwell in uncertainty, discomfort, without the protection of conceptual frameworks. This challenge is vividly embodied in Hock’s art, where the experience of viewing his work becomes a site of tension. The viewer wants to name—but cannot. Hock’s pieces offer no clear categories, no space for simple classification or interpretation. They move along the boundary between the recognizable and the unrecognizable, from one form to another, from the natural to the alien. This refusal of unambiguousness is not an obstacle to understanding, but rather its condition: it is precisely the indeterminacy that opens the possibility for a deeper experience.

Our culture is deeply rooted in the power of naming. By naming things, we define them, organize them, give them a manageable form. Naming brings a sense of safety—it is a human way of keeping chaos at bay. But at the same time, naming can also exclude, reduce, and flatten. When art, like Hock’s work, resists naming, it not only irritates the viewer but also reveals something fundamental about ourselves: our desire to control what we do not understand.

This insight into the double nature of naming—as a source of safety and simultaneously a form of limitation—raises a profound philosophical question: to what extent is understanding based on appropriation, and to what extent on the willingness to remain open to what exceeds language? Naming involves power. When we name, we draw a boundary—on this side lies the known and controlled, on the other the foreign, the undefined, perhaps even the threatening. The unnamed is left without a place in our shared system, and for that reason it unsettles us.

An artwork that refuses to be explained challenges this order. It does not provide a ready-made framework of interpretation but forces the viewer to tolerate ambiguity. This kind of ambiguity cannot be resolved by intellectual effort; instead, it must be inhabited. One must look without understanding—listen without immediately translating what is heard into words. This experience can even be therapeutic, as it dismantles the modern mind’s compulsion for control.

Mika Karhu

The world stutters.

It is full of opposing opinions that contradict the facts of the world. Instead of facts, people talk about values and imagine that values themselves become facts if one just wishes, believes, and wants hard enough.

The world stutters.
It cries out for the help of intellect, but that voice is silenced—into the cavities of silence and stupidity, hidden among cobwebs. The hair follicles of foolishness ooze with the defiance of word-bodies resting on beliefs. Beliefs whose destructive energy and burning pain points are stale clichés about politics, race, economy, art, and sexuality.

Double standards build mental architectures through which people navigate their social world. They shape their actions according to habits of prejudice and routine assumptions. So human—and as Nietzsche said, “there is too much human in man.”

What is hypocrisy, where an individual or group publicly presents certain moral values or principles, yet acts in direct contradiction to them? Why does someone preach strict morality, yet behave immorally themselves—or demand behavior from others that they do not follow in politics, religion, or everyday life?

Why do people set public moral standards but follow them only when it benefits or serves their interests? Why do individuals feel pressure to conform to certain moral norms outwardly, even if they don’t personally believe in them or want to follow them?

Why might a person be unaware of their own contradictory behavior, or try to justify it to themselves through various rationalizations? Why are certain moral values so deeply embedded in communities or cultures that they are maintained externally, even if individuals do not find them personally meaningful?

Why is hypocrisy used as a means to maintain power or control over others, even though such behavior ultimately serves only self-interest?
And why does hypocrisy erode trust and credibility, causing conflict and distrust between individuals and groups?

No wonder the world stutters.

——

Galerie/Projektraum TOOLBOX
Koloniestraße 120
13359 Berlin-Wedding
U-Bahn Osloer Straße

An Feiertagen ist die Toolbox geschlossen
On Bank holidays Toolbox is closed

Concert, 2024, Graphit/Papier, 28 x 42 cm.

And Beyond the Infinite – 30.5.–21.6.2025

Welcome to the opening on Fri, May 30, 2025 at 7pm

Exhibition: 30.05.–21.06.2025
Open on Kolononie Wedding weekend: Sun.: 01.06.2025 from 2–6 pm
opening hours: Wed-Sat 3-7 pm

.. AND BEYOND THE INFINITE is a collaboration between the Mannheim gallery Strümpfe and the German-Finnish art space Toolbox.
Twelve artists from Berlin, Heidelberg and Mannheim, whose works are presented both in the Toolbox and in the art.endart project space, form the basis for the first part of this collaboration, in the course of which artists from the Toolbox will then be guests at the Strümpfe Gallery in Mannheim in September.
The title of the exhibition encompasses both the uniqueness of the individual positions – caricature-like representationalism meets abstract finesse – as well as the interdisciplinary abundance (painting, drawing, plasticine, photography, object and video) of the exhibits themselves.

Participating artists:
Patrick Huber (B), Mitsuko Hoshino (Hd), Inessa Siebert (Hd), Jutta Steudle (Ma), Line Wasner (B), Annalena Winkler( Ma), Eric Carstensen (Ma), Jürgen Eisenacher( B), Alexander Horn (Ma), Henrik Jacob (B), Heiko Sievers (B) and Fritz Stier (Ma).

Artwork: Analena Winkler: Concert, 2024, Graphit/Papier, 28 x 42 cm.


German

Willkommen zur Eröffnung am Fr, 30. Mai 2025 um 19 Uhr
Ausstellung: 30.05.-21.06.2025

Geöffnet am Kolononie Wedding Wochenende: So.: 01.06.2025 von 14-18 Uhr
Öffnungszeiten: Mi-Sa 15-19 Uhr

.. AND BEYOND THE INFINITE ist eine Kollaboration der Mannheimer Galerie Strümpfe und dem deutsch-finnischen Projektraum Toolbox.
Zwölf Künstlerinnen aus Berlin, Heidelberg und Mannheim, deren Arbeiten sowohl in der Toolbox als auch im Projektraum art.endart präsentiert werden, bilden die Basis für den ersten Teil dieser Zusammenarbeit, in deren Folge Künstlerinnen der Toolbox dann im September in der Galerie Strümpfe in Mannheim zu Gast sein werden.
Der Titel der Ausstellung umschließt sowohl die Einzigartigkeit der einzelnen Positionen – karikaturhafte Gegenständlichkeit trifft abstrahierende Finesse – als auch die spartenübergreifende Fülle (Malerei, Zeichnung, Knetbild, Fotografie, Objekt und Video) der Exponate selbst.

Teilnehmende Künstlerinne und Künstler:
Patrick Huber (B), Mitsuko Hoshino (Hd), Inessa Siebert (Hd), Jutta Steudle (Ma), Line Wasner (B), Annalena Winkler( Ma), Eric Carstensen (Ma), Jürgen Eisenacher( B), Alexander Horn (Ma), Henrik Jacob (B), Heiko Sievers (B) und Fritz Stier (Ma).

Artwork: Analena Winkler: Concert, 2024, Graphit/Papier, 28 x 42 cm.

——-

Galerie/Projektraum TOOLBOX
Koloniestraße 120
13359 Berlin-Wedding
U-Bahn Osloer Straße

An Feiertagen ist die Toolbox geschlossen
On Bank holidays Toolbox is closed

Periphery | 25.4.-24.5.2025

Alexei Gordin – Anna Emilia Järvingn – Jussi Kekkonen – Jussi Pyky

Opening: Fri, 25.04.2025, 7 pm
Open on Kolononie Wedding weekend: Sun.: 27.04.2025 from 2–6 pm
25.4.-24.5.2025
opening hours: Wed-Sat 3-7 pm

Drawings and paintings
From Europe’s outskirts,
From the fringes of culture,
And from the edges of the mind.

The exhibiting artists are Alexei Gordin (EST), Anna Emilia Järvinen (FI), Jussi Kekkonen (FI) and Jussi Pyky (FI).
The exhibition has been supported by the Finnish Cultural Foundation.

——-

Galerie/Projektraum TOOLBOX
Koloniestraße 120
13359 Berlin-Wedding
U-Bahn Osloer Straße

An Feiertagen ist die Toolbox geschlossen
On Bank holidays Toolbox is closed

Sampsa Indren skull

Dogs Barking Sirens Howling 28.3.–19.4.2025

Markus Willeke & Sampsa Indrén

Exhibition 28.3–19.04.2025

Opening hours: Wed– Sat 3–7pm

Open on Kolononie Wedding weekend: Sun.: 30.03.2025 from 2–6 pm

——-

Galerie/Projektraum TOOLBOX
Koloniestraße 120
13359 Berlin-Wedding
U-Bahn Osloer Straße

An Feiertagen ist die Toolbox geschlossen
On Bank holidays Toolbox is closed

Piet_Zwaanswijk

Autumn walk – Dutch artists visiting Berlin Wedding 25.10.–24.11.2024

In dialogue with Berlin artists

Cordial invitation to the guest exhibition with Dutch artists at
InteriorDAsein and Toolbox. As part of the project space association
Kolonie Wedding.  In collaboration with Kunstruimte 411, Haarlem,
Netherlands. Curated by Hans Kuiper and Archi Galentz.

With works by Marius van Zandwijk (painting), Aquil Copier (painting), Piet Zwaanswijk (collage/print), Jessica Assmann-Zwaanswijk (painting), Sina Khani (painting), Ilja Warmerdam (painting), MC de Waal (photography), Antonio Rego (digital drawing prints), Gerard Veldman (painting), Daan van Houten (drawing/woodcut), Rene Bosch (photography/painting), Tarik Sadouma (AI print) and Hans Kuiper (drawing/painting).

In dialog with Berlin artists: Gisa Hausmann, Jelisaweta Klutschewskaja, Edwin Dickman, Klaus Jürgeit, Jovan Balov, Thomas J.Richter, Cristina Artola, Svenja Schüffler, Markus Schaller, Gagik Kurginian, Julia Katan, Patrick Huber, Julia Kissina and others.

Opening on Friday, October 25 from 7 pm in InteriorDAsein, hosted by
Archi Galentz and simultaneously in ToolBox, hosted by Hans Kuiper.

Opening hours on Saturday and Sunday, October 26 and 27 from 4 to 7 pm.
After the colony weekend by appointment.

Finissage on November 24 from 4 to 7 pm in ToolBox and from 7 to 10 pm
in InteriorDAsein.

Addresses:
InteriorDAsein, Steegerstraße 2, 13359 Berlin
ToolBox, Koloniestraße 120, 13359 Berlin
Transportation from InteriorDAsein to Toolbox: 3 stops by bus 255 or 18 minutes on foot.

Storage plan of Kolonie Wedding and list of further exhibitions of the
project space association: https://koloniewedding.de/

Artwork by Piet Zwaanswijk


Galerie/Projektraum TOOLBOX
Koloniestraße 120
13359 Berlin-Wedding
U-Bahn Osloerstraße

An Feiertagen ist die Toolbox geschlossen
On Bank holidays Toolbox is closed

Jussi_Pyky_Worldview-2024-195x150cm-charcoal_and_ink_on_paper-scaled.jpg

Victory over Nature and Man – 27.9.-19.10.2024

Drawings by Jussi Pyky

Toolbox Kabinett: Carola Ernst

You are very welcome to our opening on Fri 27.9.2024, 7 pm

27.9.–19.10.2024, Toolbox opening hours: Wed–Sat 3–7 pm

Toolbox is open on the Kolonie Wedding weekend only on Sunday, 29.9.2024 from 2–6pm

For German, please scroll down


Jussi Pyky

It gave him fire.
He cooked the meat and ate.
He heated the ore to separate the iron.
He forged a sword, an axe, a plow and a scythe.
He built a shelter for the cattle and harnessed his horse to pull the plow.
He took over the land, cleared the forests, sowed the field and reaped the harvest.
It gave him simple machines.
He dug his way into the ground.
He built great machines that spewed the contents of the earth into the sky.
It gave him electricity.
He built engines and robots to do jobs that humans would have needed.
It gave him radio waves.
He developed the radio and used it to spread his propaganda.
It gave him artificial intelligence.
He amassed vast material to control, rule and maximize his profits.
It gave him power.
He had blind faith in his vision and infallibility.
He considered all the misery and suffering he caused to be necessary.
That’s the price of progress.

Jussi Pyky (born in Tyrnävä, Finland 1985 ) lives and works in Helsinki. He graduated from the
Lahti Institute of Fine Arts in 2009 and from the Finnish Academy of Fine Arts in 2016. Pyky has presented his works in numerous solo and group exhibitions in Finland and abroad. His work is found in Seppo Fränti Collection in Museum of Contemporary Art Kiasma and private collections.
Download CV Jussi Pyky (PDF)

The exhibition has been supported by the Alfred Kordelin Foundation and the Finnish Art
Promotion Center.

Artwork: Jussi Pyky Worldview, 2024, charcoal and ink on paper, 195 x 150 cm


Carola Ernst – Wirkung [Effect]

Solar, 2021
indian ink, watercolor – wax pastell, oil pastel chalk, acrylic, graphite on canvas
136 x 121 cm (artist framed)

Conundrum images, tilt figures, hidden object images, forms of multi-stable perception,
and multi-perspective are well-known forms of expression in art.
I am engaged in the exploration of new perceptual strategies in painting and drawing. On a
scientific level, my work is influenced by the theories of advanced psychophysics and the
findings of neuroscience on processes of perception and consciousness. The limits of
perception with the question of reality, fantasy, and imagination are essential components.
The experience of different levels of reality in the visual arts, as they can be experienced,
for example, in shifts of consciousness in dreams or intoxication, as well as the
intensification of impressions through provoked emotions or intrusive memories, are here
the core of my artistic work.

Download CV Carola Ernst (PDF)


Deutsch:

Herzliche Einladung zur Eröffnung der Ausstellung am Freitag, 27.9.2024, ab 19 Uhr

Am Koloniewochenende ist die Toolbox nur am Sonntag, 29.9.2024 von 14–18 Uhr geöffnet.

Victory over Nature and Man [Sieg über Natur und Mensch]

Es gab ihm Feuer.
Er kochte das Fleisch und aß.
Er erhitzte das Erz, um das Eisen zu trennen.
Er schmiedete ein Schwert, eine Axt, einen Pflug und eine Sense.
Er baute einen Unterstand für das Vieh und schirrte sein Pferd an, um den Pflug zu ziehen.
Er eroberte das Land, rodete die Wälder, säte den Acker und erntete die Früchte.
Es gab ihm einfache Maschinen.
Er grub sich in den Boden.
Er baute große Maschinen, die den Inhalt der Erde in den Himmel schleuderten.
Sie schenkte ihm Elektrizität.
Er baute Motoren und Roboter, um Arbeiten zu erledigen, die Menschen gebraucht hätten.
Er schenkte ihm Radiowellen.
Er entwickelte das Radio und nutzte es, um seine Propaganda zu verbreiten.
Sie schenkte ihm künstliche Intelligenz.
Er häufte riesige Mengen an Material an, um zu kontrollieren, zu herrschen und seine Gewinne zu maximieren.
Das gab ihm Macht.
Er hatte blindes Vertrauen in seine Vision und Unfehlbarkeit.
Er hielt all das Elend und Leid, das er verursachte, für notwendig.
Das ist der Preis des Fortschritts.

Jussi Pyky (geboren 1985 in Tyrnävä, Finnland) lebt und arbeitet in Helsinki. Er schloss sein Studium am Lahti Institute of Fine Arts im Jahr 2009 und an der Finnischen Akademie der Schönen Künste im Jahr 2016 ab. Pyky hat seine Werke in zahlreichen Einzel- und Gruppenausstellungen in Finnland und im Ausland präsentiert. Seine Arbeiten befinden sich in der Sammlung Seppo Fränti im Museum für zeitgenössische Kunst Kiasma und in privaten Sammlungen.

Download CV Jussi Pyky (PDF)


Carola Ernst – Wirkung

Vexierbilder, Kippfiguren, Wimmelbilder, Formen der multistabilen Wahrnehmung und
Multiperspektive sind in der Kunst bekannte Ausdrucksformen.

Ich beschaftige mich mit der Erforschung neuer Wahrnehmungsstrategien in der Malerei
und Zeichnung. Auf wissenschaftlicher Ebene wird meine Arbeit von Theorien der
weiterfuhrenden Psychophysik und Erkenntnissen der Neurowissenschaften uber
Wahrnehmungs- und Bewusstseinsprozesse beeinflusst. Die Grenzen der Wahrnehmung
mit der Frage von Wirklichkeit, Fantasie und Imagination sind wesentliche Bestandteile.
Das Erleben verschiedener Realitatsebenen in der Bildenden Kunst, wie sie z. B. auch bei
Bewusstseinsverschiebungen im Traum oder Rauschzustand erfahren werden konnen,
sowie die Intensivierung von Eindrucken durch provozierte Emotionen oder intrusive
Erinnerungen bilden den Kern meiner kunstlerischen Arbeit.


Toolbox opening hours: Wed–Sat 3–7 pm

Galerie/Projektraum TOOLBOX
Koloniestraße 120
13359 Berlin-Wedding
U-Bahn Osloerstraße

An Feiertagen ist die Toolbox geschlossen
On Bank holidays Toolbox is closed

Wales

Unearthing: Dadorchuddio 30.6.–20.7.2024

Artists from Wales and Berlin at Toolbox Finnish-German Art Space Berlin

Opening: 28.6.2024, 7pm

Exhibition 30.6.–20.7.2024

Artists:

Wales: Marja Bonada, Katie Cyfenw, Penny Hallas

Berlin: Susanne Ring

Opening hours: Wed–Sat 3–7 pm

Galerie/Projektraum TOOLBOX
Koloniestraße 120
13359 Berlin-Wedding
U-Bahn Osloerstraße

An Feiertagen ist die Toolbox geschlossen
On Bank holidays Toolbox is closed

Yö Galerie Helsinki

Yö in Berlin 1.-22.6.2024

You are warmly welcome to our opening of Yö in BERLIN on Friday, 31 May 2024, 6–10pm.

address:
Galerie/Projektraum TOOLBOX, Koloniestraße 120,
13359 Berlin-Wedding, U-Bahn Osloerstraße

Yö ry Artists’ Association is an advocacy organization for professional artists from various
fields, primarily operating in Helsinki. YÖ in BERLIN is a group exhibition organized by Yö
ry, featuring works by its member artists. Yö has over 300 member artists and a gallery in
Helsinki on Lönnrotinkatu. The space is free for all exhibiting artists, not just members of the
association. At the core of Yö is its members’ desire to act. Yö ry is not merely an artist-run
gallery but a coalition of proactive and enthusiastic professionals from various fields. Yö is a
movement and community, whose large membership enables even the most ambitious initia-
tives to be realized.

YÖ IN BERLIN is the first exhibition exchange between Yö ry and Galerie Toolbox. The exhi-
bition is curated by Toolbox’s founding members together with Yö ry members Mia Makela
and Henriikka Pöllänen.

Yö’s exhibition at Galerie Toolbox includes video art, visual art, and a portfolio showcase,
where you can browse the works of Yö’s member artists on a screen. The video works and
portfolios were selected through an open call.

All the videos have been produced during 2020´s. The video works have been curated into 3
different screening programs. Remnants of the Wild presents videos exploring our partner-
ships to non-human world from Earth Forces, Mia Makela and Lau Rämö. Tapestry of Time
contains video works unraveling the echoes of past in the present time from Johanna Väisä-
nen, Hanna Råst, Joonas Jokiranta and Airbakers (Toivola & Wager).
Close Encounters presents a collection of videos focused on exploring intimacy through per-
formance art from Juhani Koivumäki, Kainulainen&Latva, Mari Hokkanen, Eoin O`Dowd,
To Kosie, Henttu&Nummi&Kin and Ginko Hsu.

The paintings and sculptures in the exhibition bring forth the diversity of materials. Isabel
Pathirane’s paintings are bound together by the strong use of color and expressiveness. Tuo-
mas Holst blurs the lines between painting and sculpture with works that are made from re-
cycled materials. Krista Blomqvist’s series “Creatures of the Night” consists of paintings on
copper, which evolve over time as the copper itself changes. The glass sculptures of Henriik-
ka Pöllänen and Kimmo Reinikka bring out different dimensions of glass as material.

Curatorial team consisted of Toolbox founding members Maija Helasvuo and Niina Räty in
collaboration with Yö Association board members Mia Mäkelä and Henriikka Pöllänen.

Opening program includes a performance from Tapani Pirog and an opening talk by Yö cura-
torial team. Some of the artists will be present. Artist meetings on Saturday 1. 6 from 16 until
20 at the gallery.

Tapani Pirog is a Helsinki-based ultramodernist and post-expressionist.

https://www.instagram.com/aetherblau/

www.pirog.fi

More information on the schedule will be available later on Yö’s and Toolbox’s websites.

https://www.yory.fi/fi/etusivu

Artwork: Johanna Väisänen


Galerie/Projektraum TOOLBOX
Koloniestraße 120
13359 Berlin-Wedding
U-Bahn Osloerstraße

An Feiertagen ist die Toolbox geschlossen
On Bank holidays Toolbox is closed

Joakim Sederholm 30.3.–20.4.2024

Joachim Sederholm

We cordially invite you to the opening
 with works by Joakim Sederholm and Anton Laiko on Friday, 29 March 2024 from 7 pm.

I have always tried to express humanity with my work. I have expressed what it meens to be a fragile human being. I hope my art would increase tolerance and understanding between people. Often my work take the shape of a man or woman and sometimes a dog.
I mostly use wood as material.

Joakim Sederholm

Artwork. Sorrow, 2023, 21 x 21 x 83 cm, painted wood

Toolbox Kabinett: Anton Laiko

Galerie/Projektraum TOOLBOX
Koloniestraße 120
13359 Berlin-Wedding
U-Bahn Osloerstraße

An Feiertagen ist die Toolbox geschlossen
On Bank holidays Toolbox is closed