Galerie Caprice Horn, Berlin


 Moment’s Notice: Collected Encounters book-launch

Galerie Caprice Horn • 19.12.2011 • 6pm


Francis Commeyne/Bayan ni Nanding vs. the Postmodern World, 2008/Manila Contemporary


Galerie Caprice Horn is pleased to present the launching of the book, “Moment’s Notice: Collected Encounters,” (CSCVA Publications, 2011) by Geronimo Cristobal, Jr. with interviews and contributions by Wafa Gabsi, Indira Aguilera Kohl, Luis Albuquerque Pinho and Olga Sureda. The essays will revolve around a collection of recent works by artists Chema Alvargonzales, Gino Bueza, Frankie Callaghan, Francis Commeyne, Jerwin Collado, Maria Cruz, Marina Cruz Garcia, Lizza May David, Phillip Hohenwarter, Oswaldo Ruiz, Gerardo Tan, Rodel Tapaya and Kim Westerstrom. Book launching will be at 6pm on 19th December 2011 at the spaces of Galerie Caprice Horn at Rudi-Dutschke-Str. 26, D - 10969 Berlin.

The book aims to provide a unique view of how a broad range of artists employ their experiences in their work mainly through interviews and annotations by the curator, actual reviews and own words by the artists. Often artworks are the site of exploration and experimentation for artists. Embodying the essence of his thoughts, artworks can be a more distilled physical manifestation of ideas given the artists’ intimate relationship with his process. For some artists, the works are only part of mapping the structure of larger production and worldview. For others, it is an end in itself. In all cases, the degree of immediacy revealed and the presence of visual interpretation bring the viewer closer to the artist's process, both formally and conceptually.

Moment’s Notice was hypothesized by Geronimo Cristobal, Jr. as part of his ongoing research on systems of distribution and display of art exhibitions. The artists he presents in this book were handpicked from numerous encounters with artists working in Southeast Asia and Europe with an attempt to activate discussions on shared historical and colonial connections of the artists and the territories in which they work. Presented here are artists of mixed-backgrounds working trans-locally manifesting peripheral visions. The collective body of works seem to present cacophonous relationships that are punctuated by fluctuations in the curatorial process but these are all harmonized by narratives of momentary encounters between artist and curator. The text is similar to that of an art exhibition: pure, terse, and syncopating. There is an attempt to present the images in a more lasting manner for the viewer to develop a more visceral relationship with the works and the views of the artists.

Limited copies of books will be raffled-off to those who will attend the book launch. Rodel Tapaya’s “Visions of Lore,” a featured item on the publication will be on view at the gallery on that night. For information please contact or the author at





 Dear friends of the gallery,

Galerie Caprice Horn is pleased to invite you to the opening of two new exhibitions



José María Cano

The Wall Street One Hundred – the Murdoch Principle



The Spanish artist José María Cano (born in 1959 in Madrid, Spain) focused in his new series on the hundred most well-known and important people of the economy and finance sector – The Wall Street One Hundred.

His artistic career began in 2002 after a period as band member of the group Mecano. He already started with drawing at the age of ten and he went to Rafael Hidalgo de Caviedes Academy followed by Artaquio Academy to prepare himself for his subsequent architecture studies. In 2004 his first exhibition opened at Craig Robins’ Space in Miami, Florida. Cano has been presented internationally in cities such as London, Madrid, Moscow and Shanghai.

In large-size works he portrayed the leading personalities of the economy and finance world such as Rupert Murdoch, Warren Buffet, Bill Gates, Roman Abramovic, Josef Ackermann et al. The portraits of these prominent and influential characters are based on the business profile of each person in the “Wall Street Journal”. In addition, the characters are framed by text fragments as a reference to these profiles. Journals and magazines are commonly considered to be obsolete and antiquated the next day. However by being preserved in wax for posterity, these personalities become a sort of an “eternal monument”. Accordingly, The Wall Street One Hundred are often described as “wax mausoleum” or “exclusive member’s club”. Thereby the question rises why people feel the desire to assemble apparently famous, influential and important persons as statues in a cabinet. Do they serve as a person with whom they identify or as a role model? Wax works seem finally to take up today’s place of the mausoleums of former days.

In the series The Wall Street One Hundred, the perceived level of power by these men plays a key role because it interacts directly with the power of the other members of the “group of hundred“ – thus the significance by some can rise or fall. Cano impressively reveals the influence and the power of economy and politics in his portraits, but also its fragility. It is conspicuous that there are barely women among the most important business leaders. Considering current discussions about demands for a women quota in German economy, this series is marked by a high topicality.

By using paraffin-wax and the technique of encaustic the large-size works are characterized by an exceptionally depth adding a haptic quality. Hugo Rifkind who deals with celebrities and politicians in his column, underlines this point in the British Times with the following statement: “Cano’s pictures surface have a translucent depth so that they are more like sculptures than paintings”. At first sight, his works are kept in black and white but if you get closer to the works you realize blue and pink pigments which finally create this black-and-white-effect. The encaustic is an artistic technique which has a clearly longer tradition than oil painting and had its peak in Greek-Roman Antiquity. Coloured pigments are added to hot wax and then are applied to or sprayed on chosen surfaces such as canvases. The artists of the past believed that encaustic is able to materialize their thoughts and then to burn them with fire into the surface.

Simultaneously to The Wall Street One Hundred Cano painted “mountains” and in this series he visualized in an artistic manner the performance of the financial markets and the stocks of specific companies. These painted statistics represent the “new” landscapes a painter should paint according to Cano’s opinion. Following The Wall Street One Hundred he also realized the series The Wall Street Wax Museum in which celebrities and prominent politicians are in focus such as Queen Elisabeth II. or even Barack Obama whose portrait was directly given as a present to the President of the USA.


Vernissage: 29.4.2011, 6-9pm

Exhibition duration: 30.4.-17.7.2011

Opening hrs: tue-sat 11am - 6pm


Meghan Boody

The Lighthouse Project II: Visitation




Galerie Caprice Horn is pleased to announce the first showing in Europe of Meghan Boody’s complete photographic narrative, “The Lighthouse Project II: Visitation.” The exhibition travels from Affirmation Arts in NYC where it was shown in March.

Meghan Boody was born 1964 in New York City, USA. She received a B.A. from Georgetown University in philosophy and French and apprenticed with the photographer, Hans Namuth for three years where she received her photographic training. Boody began integrating Photoshop and digital compositing into her work in 1994, and is considered one of the first photographers to successfully deploy this new technology. Her large scale, photographic tableaux tell fantastical stories of the human condition and explore the wilderness of the subconscious and the tumult involved in psychological transformation. Her works are in numerous public collections including the collection of Whitney Museum of American Art, New York, Fondazione Teseco, Pisa, Italy and Herbert F. Johnson Museum of Art at Cornell University, Ithaca, New York.

The Lighthouse Project depicts young women and children in heroic landscapes and period interiors. Vacillating between girlhood and adulthood, the subjects undertake the exploration of this interior drama with Boody’s signature insight and sensitivity. Their precarious, psychic journey is underscored by the works’ shifting perspectives. Past and present, reality and fantasy weave in and out of Boody’s disjunctive narratives, which capture the state of the adolescent mind in flux.

Using the first lines of Victorian novels as titles, the story revolves around a young girl, the inmate of an orphanage which is situated near a legendary lighthouse. After a catastrophic fire which destroys the institute (depicted in the seminal piece, “Night is generally my time for walking”), the series follows the child as she wanders through mystical and strange lands towards the beacon of light. Here she encounters other strays and together they investigate their unfolding reality. Fear alternating with enthusiasm drives these individuals who never seem to forget the pathos of their existence as orphans. As the natural elements transform them, the landscape becomes a central character and a palette for the projection of the inner life and transmutation of this young woman and her cohorts.

Boody creates each piece through the compositing of hundreds of Photoshopped layers over the course of several months. This multi-layered approach extends to the lacquered frames studded with sculptural relief that Boody designed for the series. Trios of meticulously carved creatures in metamorphosis slither and writhe across the moldings. These beasts along with a horse’s eye embedded in the surface give the impression that the frames are sentient and alive – like protective gargoyles keeping watch over the images.


Vernissage: 29.4.2011, 6-9pm

Exhibition duration: 30.4.-17.7.2011

Opening hrs: tue-sat 11am - 6pm



Fr., 29.4., 4-9pm

Sat. + Sun., 30.4. + 1.5., 11am-7pm





Edgar Martins

Venice Biennale, Macau Pavilion




Chul-Hyun Ahn

Perception/Deception: Illusion in Contemporary Art

with Larry Kagan, Robert Lazzarini, Mary Temple

Delaware Art Museum, Wilmington, USA



Es gibt keinen sicheren Ort, nirgends/Touching The Void

with Enrico Bach, Matt Calderwood, Gregor Gleiwitz, Annabel Lange, Andreas Lorenschat, Joe Merell, Markus Zimmermann

zeitraumexit, Mannheim, Germany




Norbert Brunner

Ringling Museum of Art, Sarasota, Florida, USA



Museum of Art and Design, New York, NY, USA



54th Venice Biennale, Glasstress, Venice, Italy




Daniel Canogar

Dial M for Murder

ARTIUM, Vitoria, Spain



Vórtices, curated by George Stolz

Funación Canal, FCYII, Plaza Castilla, Madrid, Spain



Synaptic Passage

American Museum of Natural History, New York, NY, USA




Pierre Crocquet

HotSpot Berlin - Eine Momentaufnahme

Georg Kolbe Museum, Berlin




Daniel & Geo Fuchs

Toygiants @ outer space

Kunsthalle Wien, project wall, Vienna, Austria




Julia Fullerton-Batten


Museo Thyssen-Bornemisza and Fundacion Caja, Madrid, Spain



Biennal Photography Festival

De Garage, Mechelen, Belgium





Lodz Fotofestival

Lodz Art Center, Lodz, Poland




Wolfgang Petrick

Von Kirchner bis heute. Künstler reagieren auf die Sammlung Prinzhorn / Artists respond to works of the Prinzhorn Collection

Collection Prinzhorn, Heidelberg, Germany




Achim Riethmann

HotSpot Berlin - Eine Momentaufnahme

Georg Kolbe Museum, Berlin





Dear friends of the gallery,

Galerie Caprice Horn is pleased to announce the opening of a new exhibition
Solo show with CHUL-HYUN AHN

Chul-Hyun Ahn combines plywood, cast concrete, cinder block, mirrors and lights in arrangements with spectacular results. The use of one or two way mirrors, creates a depth  such that the observer feels he is staring into infinity or dropping down the rabbit hole similar to Alice (in Wonderland).
Ahn is not the first artist to combine art with technology, experimenting with human perception and relationships of space and time. Moholy-Nagy observed, that “in an industrialized age, the distinction between art and non-art, between manual craftsmanship and mechanical technology is no longer an absolute one. Neither painting nor photography, the motion pictures nor light display can be any longer jealously separated from each other”.
Recent exhibitions of light based art demonstrate the vast panoply of ways in which artists have used light as a medium. Bruce Nauman, Ivan Navarro, Keith Sonnier, James Turrell, Olafur Eliasson, Daniel Canogar, et al spring to mind. Eliasson has commented “you see whatever you’re looking at, but also you see the way you are seeing.”
Ahn’s geometric arrangements (one is reminded of the minimalism of Dan Flavin) of fluorescent light, unfinished surface finishes, visible electrical wiring, demand a physical interaction with the viewer. However Ahn does not fit into a specific category. Trained originally as a painter in Korea, he moved on to adding a three dimensionality to his works-essentially he is translating geometric painting into an art of light, space and technology. 
Ahn achieves the impossible ie of creating an object of meditation. Staring at one of the objects one feels the mind is emptied of everyday detritus. Endlessness, infinity and emptiness, relinquishing desire and worldly things, are a prerequisite for enlightenment according to Zen Buddhist doctrine, which has influenced Ahn in his work. Ahn’s non-representational works, invite just such a quiet contemplation.

Vernissage: 10.9.2010, 6-9pm
Exhibition duration: 11.9.2010-16.1.2011
Opening hours: Tue.-Sat. 11am - 6pm


BOOK LAUNCH, 10.9.2010, 7pm, at Galerie Caprice Horn
Artists Anonymous
The Apocalyptic Warriors
Dumont Buchverlag, 2010
approx. 256 pages with 148 color illustrations
text: the artists in conversation with Eugen Blume (Hamburger Bahnhof, Berlin)


We look forward to invite you to WINE & ART
Presentation of 200 German Winemakers in Berlin galleries
5.9.2010, 12am - 6pm 
Winemakers at Galerie Caprice Horn: Graf Adelmann, St. Antony, Friedrich Becker, Dr. Heger, Johannshof, Roth

Tickets are available through 



Edgar Martins
Winner of the International Photography Awards (category Fine Art, Abstract)

Daniel & Geo Fuchs
"Eros & Stasi", 26.9.-21.-11.2010
Ludwig Forum für Internationale Kunst, Aachen, Germany

Khaled Hafez
"Manifesta 8 - The European Biennial of Contemporary Art", 9.10.2010-9.1.2011
Murcia, Spain

Meghan Boody
"Fairy Tales, Monsters, and the Genetic Imagination", curated by Mark Scala, 2011
First Center for the Visual Arts, Nashville, TN, USA

Inci Eviner
"Busan Biennale: Living in Evolution", 11.9.-20.11.2010
Busan Museum of Modern Art, Busan, Korea

Daniel Canogar
"Constelaciones", Permanent public art installation on new pedestrian bridges crossing the Manzanares Rio, Opening 8.9.2010
Puentes Manzanares, Madrid, Spain

"Enredos", curated by Neus Cortes, Espai Quatre, Casal Solleric, 16.9.-30.10.2010
Palma de Mallorca, Spain

"Daniel Canogar: Grenzbereiche der Skulptur", curated by Marko Schacher, 24.10.-28.11.2010
Kunstverein Ludwigsburg, Germany

Sunil Gupta
"Love's Body 2 - Sexuality in the age of AIDS", 2.9.-5.12.2010
Tokyo Metropolitan Museum of Photography, Tokyo, Japan

Maslen & Mehra
"Çanakkale Biennial", 20.9.-10.10.2010
Çanakkale, Turkey

Julia Fullerton-Batten
"Heroines", 8.3.-5.6.2011
Museo Thyssen-Bornemisza and Fundacion Caja, Madrid, Spain

"Erased Walls", Mediations Biennale, 11.9.-30.10.2010
Poznan, Poland

Bernardí Roig
"Spielraum", Aug.-Nov. 2010
Pelaires Centre Cultural Contemporani, Palma, Spain

Li Wei
Festival des Arts Visuels de Vevey, 4.9-26.9.2010
Vevey, Switzerland

We are very proud to announce the participation of the following artists at the Cairo Biennale 2010
Khaled Hafez, Amal Kenawy, Justine Otto, Hannah van Ginkel and Matthew Carver 

We look forward to seeing you!