Armin Völckers

The Painters

Frustriert verlässt der junge Sigmar Polke das Haus eines Sammlers in Buchholz in der Nordheide, nachdem sein Bild abgelehnt und er beleidigt wurde und beschließt, eine neue Kunstrichtung zu gründen und es allen zu zeigen, 160x120 cm (63x47"), oil on canvas, 2022

Jeremy Rothko, 100x100 cm (39x39"), oil on canvas, 2022

On The Inside Looking In (Banksy's Basement), 130x195 cm (51x77"), oil on canvas, 2022

Tage im Stüdiö, 150x140 cm (59x55"), oil on canvas, 2022

The Future (Tizian), 190x145 cm (75x57"), oil on canvas, 2022

Where Is Frank Auerbach, 140x230 cm (55x91"), oil on canvas, 2022

Richard Prince Smokes His First Marlboro, 190x145 cm (75x57"), oil on canvas, 2022

Im Café sitzend bemerken die Impressionisten die herannahende Postmoderne nicht, weil diese durch ein Haus verdeckt wird, 100x200 cm, oil on canvas, 2022

Brancusi’s Dream, 140x180 cm (55x71"9, oil on canvas, 2022

Pampa, 150x140 cm (59x55"), oil on canvas, 2021

Oig oig, 140x160 cm (55x63"), oil on canvas, 2022

Recent Works

Das zweite Frühstück, 150x140 cm (59x55"), oil on canvas, 2021

We Live In The City Of Dreams, 60x80 cm (24x31"), oil on canvas, 2021

OT, 100x100 cm (39x39"), oil on canvas, 2021

My Moonlit Path, 80x100 cm (31x39"), oil on canvas, 2022

Flee Market, 80x100 cm (31x39"), oil on canvas, 2021

Arnstadt, 50x80 cm (20x31"), oil on canvas, 2022

Peter Schlemihl, 180x160 cm (71x63"), oil on canvas, 2021

Der Schmetterlingsjunge, 195x130 cm (77x51"), oil on canvas, 2021


(b. 1963, Germany)


1988 UdK Berlin, Master of Fine Arts

Selected Exhibitions

2022 The Naked Room (Kiyv, Ukraine)

Galerie Lake (w. Philip Grözinger)

2021 Galerie Lake (w. Leif Trenkler, Moritz Götze ao)

Galerie Barbara von Stechow (Frankfurt a. M.)


Odetta Gallery, NYC (SHIM@artsy)

Janinebeangallery, Berlin

2020 BLINK ART GROUP (@artsy)

Odetta Gallery, NYC (SHIM@artsy)

Janinebeangallery, Berlin

2019 Galerie Lake, Oldenburg (solo)

Janinebeangallery, Berlin (solo)

Sotheby’s/Challery, Vienna

2018 Galerie Lake, Oldenburg (solo)

Janinebeangallery, Berlin (solo)

Sotheby’s/Challery, Vienna

2017 Galerie Lake, Oldenburg (solo)

Janinebeangallery, Berlin (solo)

Sotheby’s/Challery, Vienna

2016 Galerie Schimming (w. Niclas Castello a.o.), Hamburg

Galerie Lake (w. Leif Trenkler a.o.), Oldenburg

Galerie No. 3, Berlin (solo)

2015  culture matters, Hannover (solo)

„Funerary“ (w. Claudia Hart, Chicago) Friedhofsmuseum, Berlin

Galerie Lake (w. Gretchen Scherer, NYC), Oldenburg
2014 Galerie Anne Moerchen, Hamburg (solo)

2013 Galerie Anne Moerchen, Hamburg

L’Accrochage, Hamburg

2012 Karokabinett, Giovanni Castell, Hamburg (solo)

Sotheby’s, Hamburg

„Beauty In The Dark“, Hamburg
2004 „Find Your Love“, Berlin  (w. Marc Schmitz), 

Damensalon, Berlin (solo)

2002 St. Emmaus Church, Kassel (solo)

Galerie am Savignyplatz, Berlin (solo)

1998 Galerie Claudia Brandt, Munich (solo)

Phase 4, Munich (solo)
1997 Fine Art Rafael Vostell, Köpenicker Kunstsommer, Installation "The Crying Room"

1996 Galerie am Savignyplatz, Berlin (solo)

"Berlin-Rijeka", Mali Salonu, Rijeka, Croatia

Kunstverein Schering, Berlin (solo)

1995 „Standpunkte“ Fine Art Rafael Vostell, Berlin

Galerie M, Hamburg (solo)

1994 Galerie am Savignyplatz, Berlin (solo)

1993 Galerie im Boudoir, Berlin (as „Susi Pop“)

"Potsdamer Platz" Kunsthalle Berlin

1992 Galerie Vorsetzen, Installation "Behind our Door“, Hamburg

Abriss-Galerie, Hamburg, "Some Girls Wander By Mistake“, collaboration with the band „The Sisters Of Mercy” and EastWest Records, Hamburg (solo)

Selected Catalogues

2018 Janinebeangallery, „Paintings“

2017 Janinebeangallery, „Silent Green“

1995 Fine Art Rafael Vostell, „Standpunkte“

1994 Galerie am Savignyplatz, „Hin und her“


The World Bank, Washington (DC)

Hypovereinsbank (UniCredit)

Schering AG, Berlin

Sir Paul McCartney

Patricia Highsmith (Estate)

Public Municipal Collection, Moscow, Russia

Given the ubiquitous influence of photography and photographic reproduction of our era, Armin Volckers has consciously sought to distance, to the furthest extent, any compositional element which may be misconstrued with that of photography. Far from the photographic density, reductive nature of the technological image, without evidence of restricted plane, or the arid granular disposition of negative and paper, he yet aspires to a sense of realism. The artist‘s preference to incline towards realism is in effect, due to his adverse stance to both disfiguration and distortion, an aversion which extends to the use of collage and “quotation”. His conscious enquiry, to locate within the brush and that depicted in it’s use, elements within the process, wherein brushwork is a cartography which resonates with the geometry hidden in life, hidden in the mundane. The isolation of the brushstroke is aligned with dark memory, that which obstructs the truth of light, the mnemonic tapestry of the unconscious ruptures which each singular recollection, every applied stroke of paint. The evasive character of this truth,  obscured within process and by life, of those thoughts nearly grasped prior the arrival of sleep, those attempted to capture, yet scarcely either imagined or real at the time of waking: a fraction of time indivisible to “thought”. Here, at this juncture of the concrete and imaginary, where “thought” fails, where the conscious mind has lost, is where the artistic fascination begins. The artist is highly conscious of the fact of a betrayal of intent, what he has often begun, the initial quest to paint something, born of concrete ideas, is yet destroyed, a gradual erasure of the real for a more intrinsic discovery. This process, an “anti-art” or process of the negation of the imagined with the real, the real with the imagined, not dissimilar to that of Auerbach, despite the radically different result in the experimentation.

The evidence is upon the canvas, like a once distant memory transformed, sublimated by the act of painting rather than the unconscious, either form, linear, spatial in quality. The result is a point of intellectual and visual focus, the painter has come to observe, with similarly absurd quotient, the evident and immaterial, the ambiguity of what has been revealed in the artistic process. What is discerned, and delighted in, is the sense of the transformative, of the object and ocular, a painting never appearing quite the same in the experience of viewing,that a painting is not static and the varying strokes and textures appear fluid rather than indelibly fixed.  The point of arrival insists on dissolution, wherein the realism or aesthetic virtue of realism pales, accident and non-intent surface, brushwork testament to an ephemeral transitory truth, the sight of the painting echoes their origin. Accidence has come to equate with the truth, and the depiction of scenes drawn from pedestrian realities, natural vistas and urban situations resonate with the chaotic impetus of his mission.

Robin A. Suri, Montréal, 23rd July 2021