Summer festival of the galleries

Opening / 29.08. / 6-9pm

Exhibition / 29.08. - 11.09.

Benjamin Eck Projects

Müllerstraße 46a / München

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Welcome to the Jungle

The galleries IMMAGIS - Fine Art Photography & GALLERY BENJAMIN ECK celebrate together with you their summer party.

                Müllerstrasse 46A / Goldberg Studios / 80460 Munich
Date: Thursday 29.08 6-9pm
Exhibition: 30.08 - 11.09

For many years, Joachim Schmeisser has photographed the last giants of Africa at close range and creates exceptionally intimate portraits of the endangered big game.

With his new series »The Last Of Their Child«, Joachim Schmeisser focuses on the beauty of creation and its transience.

They are timeless works that can be interpreted in different ways:
As testimonies of a distant past or as iconic memories of a near future in which we can admire these majestic creatures only in photos or in a few zoos.

They are homage and reminder at the same time - visual messages with the aim of sharpening our clouded view of the one infinitely complex but also vulnerable nature and to recognize what treasures we can irretrievably lose.

"Man will not rest until out of greed and the lucrative business with the desire to kill will be the last of these giants of history." Joachim Schmeisser

Mirsad Herenda

What is a monument?

In the past, sculptures were meant to remember a certain value.
The squares of our cities are populated with monuments, but our eyes do not register them anymore and we forget their meaning.

So it happens that the testament borne by these bronze or stone forms is forgotten and the sculpture finally occupies a remaining space, for instance in the art of urban structure.

But sometimes the cycles of history tell us once again about the hard conflicts in Europe, even if we try to prolong the era of calm, because Europe has never really defeated its religious and ethnic hatreds. Therefore, the sculpture and its given purpose are reborn as it begins to talk about perceptions of confusion and exile, especially considering the eroded iron of Mirsad Herenda.

The sculptures of Herenda are monuments, not only because of their often imposing dimension, but also because they reflect the fragility of people through twisting metal and their own perseverance by not going down in history.

In fact, the works of Herenda are stubborn sculpture art. Tailored bit by bit with patient soldering, these ideas are finely crafted from thinner branches to build tree, forest, and iron landscapes in their entirety.

Through this patient work nothing is lost: even the smallest details are still intact, wasted material that would normally be thrown away, but remains and is incorporated into the sculpture and its essence.

This is a statement that sheds light on the fact that nothing can really be forgotten in people's work, no matter how well or how badly it was done.
Everything stays And maybe there lies in this way the hope for the future of sculpture: to become a monument again, to preserve what we must not forget. Domenico Maria Papa