Art for Impact:
Make a bid
Artwork by Sinta Werner
Let’s join forces to transform art into action and help rebuild healthcare in Northwest Syria, restoring hope for hundreds of thousands of people.
Explore our full auction catalog below to see the featured works, and use this form to place your bid.
The German Catalog can be found here.
All bids must be submitted by May 05, 2026 until 18.00.
We also offer the option to place your bid by telephone if you prefer.
To register for telephone bidding, please send an email to auction@aidpioneers.com by Tuesday, October 07, 2025, at 18:00, including your full name and phone number.
On the evening of the auction, Aid Pioneers will call you just before each lot is presented.
Please ensure you are available at the phone number you provided between 20:00 and 22:00.
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§ 1 General
(1) This auction is organized as a charitable art auction by Aid Pioneers e.V. The artists sell the artworks in their own name and on their own account. Aid Pioneers e.V. provides the platform, organizes the event, and may receive the purchase price payment in the capacity of an authorized receiving agent.
(2) The auction is conducted between the artists (or, by way of exception, between Aid Pioneers e.V. for lots 7, 12, 13, 16 & 30, Galerie Watson for lots 4, 11, 20 & 27, Galerie Judith Andreae for lot 18, Stay Raus GmbH for lot 9, and Galerie Office Impart for lot 17). A detailed overview of the contracting party for each lot is provided in § 3 para. 1 of these Terms and Conditions.
(3) The auctioneer acts as representative of the artists and galleries (or of Aid Pioneers e.V. for lots 7, 12, 13, 16 & 30, of Stay Raus GmbH for lot 9, and of Galerie Office Impart for lot 17). The auctioneer awards the lot in the name and on account of the respective artist or gallery (or of Aid Pioneers e.V. for lots 7, 12, 13, 16 & 30, of Stay Raus GmbH for lot 9, and of Galerie Office Impart for lot 17). The purchase contract is concluded exclusively between the artist, the gallery, or (in the case of lot 9) Stay Raus GmbH, and the highest bidder. Aid Pioneers e.V. does not become a contracting party with the purchaser unless expressly indicated. A detailed overview of the contracting party for each lot is provided in § 3 para. 1 of these Terms and Conditions.
(4) Aid Pioneers e.V. is authorized to receive payments in the name and on behalf of the artist.
(5) Auction proceeds may, at the free discretion of the artists – regardless of the sale – be voluntarily donated to Aid Pioneers e.V. Such donations are separate from the purchase contract and do not constitute consideration for the acquisition of the artwork. There is no entitlement to a donation or tax-deductible donation receipt if the requirements of § 10b EStG (German Income Tax Act) are not met.
(6) These Terms and Conditions form the basis of the auction. They are published online at https://aidpioneers.com/events/art-for-syria and, on October 8, 2025, by clearly visible display at Tom Reichstein contemporary (Stockmeyerstraße 41–43, Hall 4 J, 20457 Hamburg). By placing a bid, the purchaser accepts these Terms and Conditions as binding.
§ 2 Conduct of the Auction
(1) Participation in the online auction requires prior online registration via https://www.aidpioneers.com/art-for-syria-make-a-bid. Aid Pioneers e.V. reserves the right to reject registrations without stating reasons.
(2) The auction of an individual artwork begins with its call by the auctioneer, who may deviate from the order provided in the catalog. The starting price is set by the auctioneer upon call.
(3) Bids may be submitted in person in the auction room, in writing via online bids, or by telephone. The auctioneer may reject bids without stating reasons.
(a) Bids in the room are submitted by raising a hand. A contract is concluded by the auctioneer’s acceptance of the bid (“hammer fall”).
(b) Written online bids must be submitted via the form at https://www.aidpioneers.com/art-for-syria-make-a-bid and sent electronically to auction@aidpioneers.com. Written online bids are binding contractual offers. The opportunity to submit advance bids on the website constitutes a non-binding invitation to submit such an offer (invitatio ad offerendum). A contract is concluded by the auctioneer’s acceptance of the bid. If multiple written bids of the same amount are received for the same artwork, the first received bid shall prevail, provided no higher bid is made.
(c) Telephone bids are accepted by an Aid Pioneers e.V. staff member present in the auction room during the auction, who will submit the bid on behalf of the bidder in accordance with their instructions.
(d) Online and telephone bidders have the opportunity to view the works in advance during the public exhibition.
(4) Each bid must clearly identify the artwork, preferably by lot number, artist, and title. The lot is awarded if, after being called three times, no higher bid is made. Acceptance of the bid obliges the bidder to take delivery of the artwork and to pay the purchase price.
§ 3 Purchase Price and Payment
(1) The purchase price consists of the hammer price plus any applicable statutory value-added tax (VAT). For sales by artists and galleries, VAT is generally 7% under § 12 para. 2 no. 7c UStG. For sales by Aid Pioneers e.V. (lots 7, 12, 13, 16 & 30), 0% applies since Aid Pioneers is exempt from VAT under the small business regulation (§ 19 UStG). For artists subject to the small business regulation under § 19 UStG, no VAT is shown. The VAT obligation arises from the respective status of the artist and is indicated on the invoice.
Lot 1: Henri Haake︱Contracting Party: Künstler︱VAT: 7%
Lot 2: Caroline Kryzecki︱Contracting Party: Künstler︱VAT: 7%
Lot 3: Maximilian Rödel︱Contracting Party: Künstler︱VAT: 7%
Lot 4: Rolf Sachs︱Contracting Party: Galerie Watson︱VAT: 7%
Lot 5: Felix Kiessling︱Contracting Party: Künstler︱VAT: 7%
Lot 6: Marta Djourina︱Contracting Party: Künstler︱VAT: 7%
Lot 7: Kerim Seiler ︱ Contracting Party: Künstler ︱ VAT: 0% (exempt under § 19 (1) German VAT Act)
Lot 8: Jorinde Voigt︱Contracting Party: Künstler︱VAT: 7%
Lot 9: Special Lot 1︱Contracting Party: Stay Raus GmbH︱VAT: 7%
Lot 10: Verena Issel︱Contracting Party: Künstler︱VAT: 7%
Lot 11: Mischa Kuball︱Contracting Party: Galerie Watson ︱ VAT: 7%
Lot 12: Vincent Matuschka︱Contracting Party: Künstler︱VAT: 0% (exempt under § 19 (1) German VAT Act)
Lot 13: Hannah Parr︱Vertragspartei: Künstler︱VAT: 0% (exempt under § 19 (1) German VAT Act)
Lot 14: Tamina Amadyar︱Contracting Party: Künstler︱VAT: 7%
Lot 15: Sarice Bruder︱Contracting Party: Künstler︱VAT: 7%
Lot 16: Katharina Grosse︱Contracting Party: Aid Pioneers e.V.︱VAT: 0% (exempt under § 19 (1) German VAT Act)
Lot 17: Special Lot 2︱Contracting Party: OFFICE IMPART︱VAT: 19%
Lot 18: Lunita-July Dorn︱Contracting Party: Galerie Judith Andreae ︱ VAT: 7%
Lot 19: Milena Kling︱Contracting Party: Künstler︱VAT: 19%
Lot 20: Jeongmoon Choi ︱ Contracting Party: Galerie Watson ︱ VAT: 7%
Lot 21: Finja Sander︱Contracting Party: Künstler︱VAT: 7%
Lot 22: Henrik Eiben︱Contracting Party: Künstler︱VAT: 7%
Lot 23: GRAU︱Contracting Party: Künstler︱VAT: 19%
Lot 24: Daniel Hörner︱Contracting Party: Künstler︱VAT: 7%
Lot 25: Georg Haberler︱Contracting Party: Künstler︱VAT: 7%
Lot 26: Hannah Bohnen︱Contracting Party: Künstler︱VAT: 7%
Lot 27: Margareta Hesse︱Contracting Party: Galerie Watson︱VAT: 7%
Lot 28: Ingeborg zu Schleswig-Holstein︱Contracting Party: Künstler︱VAT: 7%
Lot 29: Ingeborg zu Schleswig-Holstein︱Contracting Party: Künstler︱VAT: 7%
Lot 30: Uwe Duettmann︱Contracting Party: Aid Pioneers e.V. ︱ VAT: 0% (exempt under § 19 (1) German VAT Act)
Lot 31: Special Lot 3︱Contracting Party: Aid Pioneers e.V. ︱VAT: 0% (exempt under § 19 (1) German VAT Act)
Lot 32: Gregor Hildebrandt︱Contracting Party: Künstler︱VAT: 7%
Lot 33: Special Lot 4︱Contracting Party: Andy Zingler︱VAT: 19%
(2) Payment of the purchase price is made in favor of the respective artist (except for lots 7, 12, 13, 16 & 30 in favor of Aid Pioneers e.V. as well as the galleries/companies listed in § 1). Aid Pioneers e.V. is authorized to receive payment in the name and on behalf of the artist.(3) Payments must be made in euros by bank transfer within 14 days of invoicing.
(4)All taxes, costs, and fees related to the payment shall be borne by the purchaser.(5) Ownership of the purchased artwork does not pass to the purchaser until full payment and delivery have been completed.
§ 4 Collection and Shipping
(1) The purchaser may collect the purchased artwork on the evening of the auction, October 8, 2025, at Tom Reichstein contemporary (Stockmeyerstraße 41–43, Hall 4 J, 20457 Hamburg).
(2) The purchaser may also collect the purchased artwork until October 30, 2025, at the same location.
(3) The purchaser may commission Aid Pioneers e.V. to arrange shipment of the purchased artwork. Shipment organization by Aid Pioneers e.V. is carried out exclusively as a voluntary service and on behalf of the purchaser. Aid Pioneers e.V. assumes no contractual obligations in connection with shipping but merely acts as an intermediary. Shipping arrangements are made solely in the name and on account of the purchaser.
(a) Aid Pioneers e.V. is liable for damages—on any legal grounds—only in cases of intent or gross negligence.
(b) In cases of ordinary negligence, Aid Pioneers e.V. is liable only for damages arising from injury to life, body, or health, or from breach of essential contractual obligations (cardinal obligations). In such cases, liability is limited to typical, foreseeable damages. Further liability is excluded to the extent permitted by law.
(c) Liability under the German Product Liability Act remains unaffected.
§ 5 Liability
(1)The artworks are sold in the condition they are in at the time of the hammer fall. They may be inspected during the exhibition or on the auction evening.(2)The descriptions in the auction catalog have been prepared to the best of knowledge and serve for information purposes. They do not constitute guaranteed characteristics within the meaning of § 434 BGB, unless expressly designated as such. Catalog and website images are for orientation only and are not binding. Dimensions and colors may vary for technical reasons.
(3) The sellers of the artworks are liable to purchasers within the scope of statutory provisions, particularly under the rules of warranty for defects (§§ 434 ff. BGB).
(4) Any liability of the sellers beyond this—especially for ordinary negligence—is excluded, unless it concerns damages resulting from injury to life, body, or health, or from breach of essential contractual obligations (cardinal obligations). In such cases, liability is limited to typical, foreseeable damages. Liability under the German Product Liability Act remains unaffected.
(5) For used artworks, the statutory limitation period for warranty claims by consumers is reduced to one year from delivery of the artwork, unless the defect was fraudulently concealed. For new artworks, the statutory limitation period remains unaffected.
(6) Aid Pioneers e.V. is liable as organizer solely for lots 7, 12, 13, 16 & 30 as seller, and otherwise only within the scope of the shipping obligations set out in § 4.
(7) Upon handover of the artwork to the purchaser’s chosen transport service provider, the risk of accidental loss or accidental deterioration of the artwork passes to the purchaser. Aid Pioneers e.V. accepts no liability for loss, damage, or delays during transport, unless caused by intent or gross negligence.
§ 6 Withdrawal and Revocation
(1) The statutory provisions on withdrawal apply.
(2) Revocation (right of withdrawal) is excluded pursuant to § 312g para. 2 no. 10 BGB.
§ 7 Miscellaneous
(1) Unsold artworks may be purchased in post-auction sales from October 8, 2025, until November 8, 2025. Inquiries must be directed to auction@aidpioneers.com.
(2) For voluntary donations to Aid Pioneers e.V., a donation receipt in accordance with § 10b EStG may be issued. Such entitlement exists only if the tax requirements are met and the donations are made independently of the purchase contract. Donation receipts are issued exclusively for gratuitous donations. Payments made in connection with the purchase of artworks are not donations and do not entitle the purchaser to receive a donation receipt.(3) The law of the Federal Republic of Germany applies exclusively.
(4) The place of jurisdiction is Berlin, provided the purchaser is a merchant. Otherwise, statutory jurisdiction rules apply.
(5) Should one or more provisions of these Terms and Conditions be invalid, the validity of the remaining provisions shall remain unaffected. In place of the invalid provision, the relevant statutory provisions shall apply.
(6) In case of doubt, the German version of these Terms and Conditions shall prevail. The English translation is provided for convenience only and is not legally binding.
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§ 1 Allgemeines
(1) Diese Versteigerung wird im Rahmen einer gemeinnützigen Kunstauktion von Aid Pioneers e.V. organisiert. Die Künstler veräußern die Kunstwerke in eigenem Namen und auf eigene Rechnung. Aid Pioneers e.V. stellt die Plattform zur Verfügung, organisiert die Veranstaltung und kann die Kaufpreiszahlung im Rahmen eines Empfangsvertreterverhältnisses entgegennehmen.
(2) Die Versteigerung erfolgt zwischen den Künstlern (bzw. ausnahmsweise zwischen Aid Pioneers e.V. im Falle der Losnummern 7, 12, 13, 16 & 30 und der Galerie Watson im Falle der Losnummern 4, 11, 20 & 27 und der Galerie Judith Andreae im Falle der Losnummer 18 und der Stay Raus GmbH im Falle der Losnummer 9 und der Galerie Office Impart im Falle der Losnummer 17). Eine Aufstellung der Vertragspartei für jedes Los findet sich unter § 3 Abs. 1 dieser AGB.
(3) Der Auktionator handelt als Vertreter der Künstler und Galerien (bzw. Aid Pioneers e.V. im Falle der Losnummern 7, 12, 13, 16 & 30 und der Stay Raus GmbH im Falle der Losnummer 9 und der Galerie Office Impart im Falle der Losnummer 17). Der Auktionator erteilt den Zuschlag im Namen und auf Rechnung des jeweiligen Künstlers oder der Galerie (bzw. von Aid Pioneers e.V. bei den Losnummern 7, 12, 13, 16 & 30 und der Stay Raus GmbH im Falle der Losnummer 9 und der Galerie Office Impart im Falle der Losnummer 17). Der Kaufvertrag kommt ausschließlich zwischen dem Künstler, der Galerie bzw. im Fall des Los 9 der Stay RAUS GmbH und dem Meistbietenden zustande. Aid Pioneers e.V. wird nicht Vertragspartner des Käufers, sofern dies nicht ausdrücklich angegeben ist. Eine Aufstellung der Vertragspartei für jedes Los findet sich unter § 3 Abs. 1 dieser AGB.
(4) Aid Pioneers e.V. ist zur Entgegennahme der Zahlung im Namen und für Rechnung des Künstlers berechtigt.
(5) Die Erlöse der Versteigerung können nach freiem Entschluss der Künstler – unabhängig vom Verkauf – freiwillig an Aid Pioneers e.V. gespendet werden. Diese Spenden erfolgen separat vom Kaufvertrag und stellen keine Gegenleistung für den Erwerb des Kunstgegenstandes dar. Es besteht kein Anspruch auf Spende oder steuerliche Zuwendungsbestätigung, falls die Voraussetzungen des § 10b EStG nicht erfüllt sind.
(6) Grundlage der Versteigerung sind diese Versteigerungsbedingungen. Sie sind online auf der Website https://aidpioneers.com/events/art-for-syria und am 08.10.2025 durch deutlich sichtbaren Aushang in den Räumen von Tom Reichstein contemporary (Stockmeyerstraße 41–43, Halle 4 J, 20457 Hamburg) veröffentlicht. Durch Abgabe eines Gebots erkennt der Käufer diese Versteigerungsbedingungen als verbindlich an.
§ 2 Durchführung der Versteigerung
(1) Die Teilnahme an der Online-Versteigerung erfordert eine vorherige Online-Registrierung über die Website https://www.aidpioneers.com/art-for-syria-make-a-bid Aid Pioneers e.V. behält sich das Recht vor, Registrierungen ohne Angabe von Gründen abzulehnen.
(2) Die Versteigerung des einzelnen Kunstgegenstandes beginnt mit dessen Aufruf durch den Auktionator. Er ist berechtigt, bei Aufruf von der im Katalog vorgesehenen Reihenfolge abzuweichen. Der Preis wird bei Aufruf vom Auktionator festgelegt.
(3) Gebote können persönlich im Saal vor Ort, durch schriftliche Online-Gebote oder telefonisch abgegeben werden. Der Auktionator ist berechtigt, Gebote ohne Angabe von Gründen zurückzuweisen.
(a) Gebote vor Ort werden unter Verwendung von Handzeichen abgegeben. Ein Vertrag kommt durch Zuschlag des Auktionators zustande.
(b) Schriftliche Online-Gebote werden unter Verwendung des Formulars auf der Website https://www.aidpioneers.com/art-for-syria-make-a-bid elektronisch an auction@aidpioneers.com übermittelt. Schriftliche Online-Gebote stellen verbindliche Vertragsangebote dar. Die Möglichkeit zum Vorabgebot auf der Website ist eine unverbindliche Einladung zur Abgabe eines solchen Angebots (invitatio ad offerendum). Ein Vertrag kommt durch den Zuschlag des Auktionators zustande. Gehen mehrere gleich hohe schriftliche Gebote für denselben Kunstgegenstand ein, erhält das zuerst eingetroffene Gebot den Zuschlag, wenn kein höheres Gebot vorliegt oder abgegeben wird.
(c) Telefonische Gebote werden von einem während der Versteigerung im Saal anwesenden Mitarbeiter von Aid Pioneers e.V. entgegengenommen und unter Berücksichtigung der Weisungen des Bieters während der Versteigerung abgegeben.
(d) Für Online- oder Telefonbieter besteht die Möglichkeit, die Werke vorab während der öffentlichen Ausstellung zu besichtigen.
(4) Das Gebot muss den Kunstgegenstand, auf den es sich bezieht, zweifelsfrei und möglichst unter Nennung der Los-Nummer, des Künstlers und des Titels benennen. Der Zuschlag wird erteilt, wenn nach dreimaligem Aufruf eines Gebots kein höheres Gebot abgegeben wird. Der Zuschlag verpflichtet den Bieter zur Abnahme des Kunstgegenstandes und zur Zahlung des Kaufpreises.
§ 3 Kaufpreis und Zahlung
(1) Der Kaufpreis besteht aus dem Hammerpreis zuzüglich der gesetzlich geschuldeten Umsatzsteuer. Bei Verkäufen durch die Künstler und Galerien beträgt diese in der Regel 7% gem. § 12 Abs. 2 Nr. 7c UStG, bei Verkäufen durch Aid Pioneers e.V. (Losnummern 7, 12, 13, 16 & 30) 0%, da Aid Pioneers als Kleinunternehmer von der Umsatzsteuer gem. § 19 UStG befreit ist. Bei Künstlern, die unter die Kleinunternehmerregelung gemäß § 19 UStG fallen, wird ebenso keine Umsatzsteuer ausgewiesen. Die Steuerpflicht ergibt sich aus dem jeweiligen Status des Künstlers und wird in der Rechnung entsprechend angegeben. Die nachfolgende Tabelle bietet eine Übersicht der je Losnummer anfallenden Umsatzsteuer:
Los 1: Henri Haake︱Vertragspartei: Künstler︱MwSt: 7%
Los2: Caroline Kryzecki︱Vertragspartei: Künstler︱MwSt: 7%
Los 3: Maximilian Rödel︱Vertragspartei: Künstler︱MwSt: 7%
Los 4: Rolf Sachs︱Vertragspartei: Galerie Watson︱MwSt: 7%
Los 5: Felix Kiessling︱Vertragspartei: Künstler︱MwSt: 7%
Los 6: Marta Djourina︱Vertragspartei: Künstler︱MwSt: 7%
Los 7: Kerim Seiler ︱ Vertragspartei: Künstler ︱ MwSt: 0% gem. §19 (1) UStG umsatzsteuerbefreit
Los 8: Jorinde Voigt︱Vertragspartei: Künstler︱MwSt: 7%
Los 9: Special Lot 1︱Vertragspartei: Stay Raus GmbH︱MwSt: 7%
Los 10: Verena Issel︱Vertragspartei: Künstler︱MwSt: 7%
Los 11: Mischa Kuball︱Vertragspartei: Galerie Watson ︱ MwSt: 7%
Los 12: Vincent Matuschka︱Vertragspartei: Künstler︱MwSt: 0% gem. §19 (1) UStG umsatzsteuerbefreit
Los 13: Hannah Parr︱Vertragspartei: Künstler︱MwSt: 0% gem. §19 (1) UStG umsatzsteuerbefreit
Los 14: Tamina Amadyar︱Vertragspartei: Künstler︱MwSt: 7%
Los 15: Sarice Bruder︱Vertragspartei: Künstler︱MwSt: 7%
Los 16: Katharina Grosse︱Vertragspartei: Aid Pioneers e.V.︱MwSt: 0% gem. §19 (1) UStG umsatzsteuerbefreit
Los 17: Special Lot 2︱Vertragspartei: OFFICE IMPART︱MwSt: 19%
Los 18: Lunita-July Dorn︱Vertragspartei: Galerie Judith Andreae ︱ MwSt: 7%
Los 19: Milena Kling︱Vertragspartei: Künstler︱MwSt: 19%
Los 20: Jeongmoon Choi ︱ Vertragspartei: Galerie Watson ︱ MwSt: 7%
Los 21: Finja Sander︱Vertragspartei: Künstler︱MwSt: 7%
Los 22: Henrik Eiben︱Vertragspartei: Künstler︱MwSt: 7%
Los 23: GRAU︱Vertragspartei: Künstler︱MwSt: 19%
Los 24: Daniel Hörner︱Vertragspartei: Künstler︱MwSt: 7%
Los 25: Georg Haberler︱Vertragspartei: Künstler︱MwSt: 7%
Los 26: Hannah Bohnen︱Vertragspartei: Künstler︱MwSt: 7%
Los 27: Margareta Hesse︱Vertragspartei: Galerie Watson︱MwSt: 7%
Los 28: Ingeborg zu Schleswig-Holstein︱Vertragspartei: Künstler︱MwSt: 7%
Los 29: Ingeborg zu Schleswig-Holstein︱Vertragspartei: Künstler︱MwSt: 7%
Los 30: Uwe Duettmann︱Vertragspartei: Aid Pioneers e.V. ︱ MwSt: 0% *gem. §19 (1) UStG umsatzsteuerbefreit
Lot 31: Special Lot 3︱Aid Pioneers e.V. ︱MwSt: 0% *gem. §19 (1) UStG umsatzsteuerbefreit
Lot 32: Gregor Hildebrandt︱Vertragspartei: Künstler︱MwSt: 7%
Lot 33: Special Lot 4︱Vertragspartei: Andy Zingler︱MwSt: 19%
(2) Die Zahlung des Kaufpreises erfolgt zugunsten des jeweiligen Künstlers (außer bei den Losnummern 7, 12, 13, 16 & 30 zugunsten von Aid Pioneers e.V. sowie den in § 1 genannten Galerien/Gesellschaften). Aid Pioneers e.V. ist zur Entgegennahme der Zahlung im Namen und für Rechnung des Künstlers berechtigt.(3) Zahlungen sind in Euro per Banküberweisung innerhalb von 14 Tagen nach Rechnungsstellung zu leisten.
(4) Alle Steuern, Kosten und Gebühren der Zahlung trägt der Käufer.
(5) Das Eigentum an dem erworbenen Kunstgegenstand geht erst nach vollständiger Bezahlung und Übergabe auf den Käufer über.
§ 4 Abholung und Versand(1) Der Käufer kann den erworbenen Kunstgegenstand am Abend der Versteigerung am 08.10.2025 bei Tom Reichstein contemporary (Stockmeyerstraße 41–43, Halle 4 J, 20457 Hamburg) abholen.
(2) Der Käufer kann den erworbenen Kunstgegenstand bis zum 30. Oktober 2025 bei Tom Reichstein contemporary (Stockmeyerstraße 41–43, Halle 4 J, 20457 Hamburg) abholen.
(3) Der Käufer kann Aid Pioneers e.V. mit der Auslieferung des erworbenen Kunstgegenstands beauftragen. Die Organisation des Versands durch Aid Pioneers e.V. erfolgt ausschließlich als freiwilliger Service und im Auftrag des Käufers. Aid Pioneers e.V. übernimmt keine eigenen Vertragspflichten im Zusammenhang mit dem Versand, sondern vermittelt diesen lediglich. Die Versandorganisation erfolgt ausschließlich im Namen und auf Rechnung des Käufers. In einem solchen Fall gilt für die Haftung Folgendes:
(a) Aid Pioneers e.V. haftet auf Schadensersatz – gleich aus welchem Rechtsgrund – nur bei Vorsatz und grober Fahrlässigkeit.
(b) Bei einfacher Fahrlässigkeit haftet Aid Pioneers e.V. nur für Schäden aus der Verletzung des Lebens, des Körpers oder der Gesundheit sowie für Schäden aus der Verletzung wesentlicher Vertragspflichten (Kardinalpflichten). In diesem Fall ist die Haftung auf den vertragstypischen, vorhersehbaren Schaden begrenzt. Eine weitergehende Haftung ist ausgeschlossen, soweit gesetzlich zulässig.
(c) Die Haftung nach dem Produkthaftungsgesetz bleibt unberührt.
§ 5 Haftung
(1) Die Kunstgegenstände werden in dem Zustand verkauft, in dem sie sich zum Zeitpunkt des Zuschlags befinden. Sie können vor der Auktion im Rahmen der Ausstellung oder am Versteigerungsabend besichtigt werden.
(2) Die Angaben im Auktionskatalog wurden nach bestem Wissen erstellt und dienen der Information. Sie stellen keine garantierten Beschaffenheitsmerkmale im Sinne des § 434 BGB dar, es sei denn, sie sind ausdrücklich als solche bezeichnet. Abbildungen im Katalog oder auf der Website dienen lediglich der Orientierung und sind nicht verbindlich. Maße und Farbdarstellungen können technisch bedingt abweichen.
(3) Die Verkäufer der Kunstwerke haften gegenüber den Käufern im Rahmen der gesetzlichen Vorschriften, insbesondere nach den Regelungen zur Sachmängelhaftung (§§ 434 ff. BGB).
(4) Eine darüber hinausgehende Haftung der Verkäufer – insbesondere für einfache Fahrlässigkeit – ist ausgeschlossen, es sei denn, es handelt sich um Schäden aus der Verletzung des Lebens, des Körpers oder der Gesundheit oder um Schäden aus der Verletzung wesentlicher Vertragspflichten (Kardinalpflichten). In diesem Fall ist die Haftung auf den vertragstypischen, vorhersehbaren Schaden begrenzt. Die Haftung nach dem Produkthaftungsgesetz bleibt unberührt.
(5) Bei gebrauchten Kunstgegenständen beträgt die gesetzliche Verjährungsfrist für Mängelansprüche gegenüber Verbrauchern abweichend von § 438 Abs. 1 Nr. 3 BGB ein Jahr ab Übergabe des Kunstwerks, sofern der Mangel nicht arglistig verschwiegen wurde. Bei neuen Kunstgegenständen bleibt die gesetzliche Verjährungsfrist unberührt.
(6) Aid Pioneers e.V. haftet als Veranstalter ausschließlich bei den Losnummern 7, 12, 13, 16 & 30 als Verkäufer und im Übrigen nur im Rahmen der in § 4 geregelten Versandverpflichtungen.
(7) Mit Übergabe des Kunstgegenstandes an den vom Käufer beauftragten Transportdienstleister geht die Gefahr des zufälligen Untergangs oder der zufälligen Verschlechterung des Kunstgegenstandes auf den Käufer über. Aid Pioneers e.V. übernimmt keine Haftung für Verlust, Beschädigung oder Verzögerungen während des Transports, soweit nicht Vorsatz oder grobe Fahrlässigkeit vorliegen.
§ 6 Rücktritt und Widerruf
(1) Es gelten die gesetzlichen Rücktrittsbestimmungen.
(2) Ein Widerruf ist gem. § 312g Abs. 2 Nr. 10 BGB ausgeschlossen.
§ 7 Sonstige Bestimmungen
(1) Nicht versteigerte Kunstgegenstände können vom 08.10.2025 bis zum 08.11.2025 im Nachverkauf erworben werden. Entsprechende Anfragen sind zu richten an: auction@aidpioneers.com.
(2) Für freiwillige Spenden an Aid Pioneers e.V. kann eine Zuwendungsbestätigung gemäß § 10b EStG ausgestellt werden. Ein Anspruch darauf besteht nur, wenn die steuerlichen Voraussetzungen erfüllt und die Spenden unabhängig vom Kaufvertrag geleistet wurden. Die Ausstellung einer Zuwendungsbestätigung erfolgt ausschließlich für unentgeltliche Spenden. Zahlungen im Rahmen des Erwerbs von Kunstwerken sind keine Spenden und berechtigen nicht zum Erhalt einer Zuwendungsbestätigung.
(3) Es gilt ausschließlich das Recht der Bundesrepublik Deutschland.
(4) Gerichtsstand ist Berlin, sofern der Käufer Kaufmann ist. Im Übrigen gelten die gesetzlichen Regelungen.
(5) Sollten eine oder mehrere Bestimmungen dieser Versteigerungsbedingungen unwirksam sein oder werden, bleibt die Gültigkeit der übrigen Bestimmungen davon unberührt. Anstelle der unwirksamen Bestimmung gelten die entsprechenden gesetzlichen Vorschriften.
(6) Im Zweifel ist die deutsche Fassung dieser AGB maßgeblich. Die englische Übersetzung dient lediglich als unverbindliche Hilfestellung.
Catalog
Explore the works generously contributed by 30 talented artists and partners in support of Art for Syria.
Do you prefer to learn about each artist in German? Find our German version of the catalog here.
LOT 01
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Chris Succo (*1979, Düsseldorf) studied at the Kunstakademie Düsseldorf under Georg Herold and at the Royal College of Art in London. His works have been exhibited internationally, including in Germany, Paris, London, Brussels, Shanghai, New York, and Los Angeles. Works by the artist are held in both private and public collections, including the Museum of Modern Art Chicago, the Kunstsammlung Nordrhein-Westfalen, the Museum Kunstpalast, as well as corporate collections such as the Dior Collection in London and the Celine Collection in Tokyo.
Chris Succo’s work is characterized by a process-based approach in which layers of paint are built up and partially concealed again. Through this act of overpainting, both depth and surface are created, while fragments of the underlying layers remain visible. Succo often works with a reduced palette, such as the black and dominant white of his well-known White Paintings or the ongoing series of ZigZag Paintings.
Formally, his works evoke writing or calligraphy - an indication of the important role that poetry and music play in his practice. At the same time, his works conceptually relate to broader cultural contexts drawn from literature, film, and music. These references usually remain indirect and tend to appear more in the titles than in the compositions themselves.
The work Three Screens translates this approach into silkscreen: three colors were printed in five successive layers onto heavy watercolor paper - neon orange, white, and a very dark violet. The individual silkscreen layers were first painted directly onto the films. Through the repeated overprinting, a dense, painterly image emerges that echoes the method and effect of Succo’s paintings and makes the conceptual complexity of his work visible.
Three Screens, 2023
screen print in three colours in five print runs on heavy Saunders Waterford paper
76 × 57 cm, framed
Edition of 30 + 3 AP
Gallery price: 1.300 €
VAT: 7%
LOT 02
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Markus Lüpertz (*1941, Reichenberg (today Liberec, Czech Republic)) studied at the Werkkunstschule Krefeld and at the Kunstakademie Düsseldorf. From 1988 to 2009, Lüpertz served as rector of the Kunstakademie Düsseldorf. As early as 1964, he co-founded the self-help gallery Großgörschen 35 in Berlin together with Karl Horst Hödicke, Hans-Jürgen Diehl, Wolfgang Petrick, Peter Sorge, and other artists. Lüpertz is considered one of the defining representatives of the “Neue Wilde” (New Wilds), a German art movement of the 1980s characterized by an expressive and figurative painting style. In addition to his work as a painter, graphic artist, and sculptor, Lüpertz has also appeared as a poet, jazz musician, opera director, and stage designer.
The print Leda (2025) is based on the artist’s sculpture of the same name, which has stood on the banks of the Rhine in Monheim am Rhein since 2019. The work depicts the mythological figure Leda together with a swan—a motif from Greek mythology that Lüpertz has explored in several sculptural and graphic works. The present print has been hand-painted and is therefore a unique piece.
Leda (2025) - Unikat I, 2025
Line etching, hand-colored on mould-made paper
43.5 cm x 31.5 cm, framed
Unique
Gallery price: 2.390 €
VAT: 7%
LOT 03
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Sinta Werner (*1977, Hattingen) lives and works in Berlin. In her photo collages, installations, and sculptures, she investigates the relationship between two- and three-dimensionality, reality and representation, as well as between physical presence and projection. By duplicating physical spaces through reflections, pseudo-architectures, and photographic interventions, Werner creates visual irritations that challenge habitual ways of seeing. Her works often engage with the geometric rationality of modernist functionalist architecture.
Werner studied Fine Art at the Berlin University of the Arts and received a Master of Fine Art from Goldsmiths College in London in 2007. Her works have been exhibited at institutions including Marta Herford, the Marrakech Biennale, MOCAK – Museum of Contemporary Art in Kraków, and the Berlinische Galerie. Solo exhibitions have taken place, among others, at the Klocker Museum (Hall) as well as at the galleries alexander levy (Berlin), COMA (Berlin), Nettie Horn (London), and Christinger de Mayo (Zurich).
Sinta Werner has received numerous prizes and fellowships, including a working grant from the Stiftung Kunstfonds Bonn, artist-in-residence fellowships at MuseumsQuartier Vienna and MeetFactory Prague, and a postgraduate scholarship from the German Academic Exchange Service (DAAD).
Reverse Cut - Precise Blur II, 2020
Duraclear print face-mounted behind acrylic glass 48 x 38 cm, framed
Unique
Gallery Price: 3.000 €
VAT: 7%
LOT 04
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Rolf Sachs (*1955, Lausanne) is a multidisciplinary artist and designer who works in Rome. He pursues a distinctive humanistic and conceptual approach, which he applies across a wide range of media - including painting, sculpture, photography, and design. Since the 1990s, Sachs has questioned preconceived uses of materials, processes, and everyday objects, giving them new meaning.
In his current practice, he is particularly engaged with exploring the human psyche, the character of individuals, relationships, soul, and spirit - while always maintaining a humorous and sensitive approach. Imperfection, human weaknesses, and chance are recurring themes in his work. The impulsive spontaneity of his painterly practice is especially evident in the Touchée series, in which the artist applies paint directly onto the surface with his hands. These compositions are full of energy and dynamism; they embrace the imperfection that arises from the immediacy of the gesture and testify to its physical and empathetic intensity.
Sachs’s works have been exhibited internationally in museums including the Kunsthalle Schweinfurt, the Victoria and Albert Museum in London, the Museum für Angewandte Kunst in Cologne, the MAK – Museum of Applied Arts in Vienna, the Peggy Guggenheim Collection in Venice, and the Vitra Design Museum in Weil am Rhein.
Overdose, 2023
Acrylic and emulsion on paper
57 x 76.5 cm, framed
Unique
Gallery Price: 3.745 €
VAT: 7%
LOT 05
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Sarice Brudet (*1982, Gießen) is a Dutch artist with roots in Suriname and Indonesia. She lives and works in Hamburg. Her abstract works address the theme of balance and its relevance - visible in folding techniques, layered colors, and structural compositions. Her informal approach points to free thinking, empathy, shifts in perspective, and transformation. In her artistic practice, Brudet reflects on cultural diversity, humanity, value systems, and concepts of freedom within a philosophical, social, and scientific context.
Her recent bodies of work include the series Context of Time - Variations on a Theme – MOON BLUE and MARS BLACK, as well as Poetic Gesture. The MOON BLUE works - one of which is presented in the auction - are more reduced and subtle. They explore the influence of balance, time, and empathy on our existence and our relationships. For Context of Time, Brudet combines untreated linen, hemp, jute, and cotton. This choice of materials symbolizes the tension between humans and nature, whose only constant is change. The compositions are based on folding techniques that are first developed as sketches, then documented photographically, and finally translated into painting. In a broader sense, the process is about gaining insight and making the invisible or non-obvious visible. Among her inspirations, Brudet cites artists such as Anna-Eva Bergman, Hans Hartung, Mark Bradford, and Lynette Yiadom-Boakye, as well as theorists and philosophers including Édouard Glissant, Nicolas Bourriaud, and Gilles Deleuze.
Brudet is also the founder of THE SPACE // - an exhibition concept aimed at creating a platform for dialogue and cultural education, addressing themes such as coexistence, diversity, postcolonial reflection, relationships between nature and humanity, and social structures.
CONTEXT OF TIME - MOON BLUE - Variations on a Theme: Topology of Becoming I, 2025
Acrylic, pigments on jute
90 x 100 cm, framed
Unique Gallery Price: 4.200 €
VAT: 7%
LOT 06
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Felix Kiessling (*1980, Hamburg) is a Berlin-based artist known for his conceptual work, often realized through land art, video art, and light or spatial installations. His practice bridges physical matter and phenomenology, while also reflecting on social constructs and their entanglement with the material world. From early on, Kiessling was driven by the dizzying sensation of standing on a giant planetary sphere with no scale, direction, or sense of up or down.
A former student of Olafur Eliasson and participant at the Institute for Spatial Experiments, Kiessling has exhibited his work - both solo and as part of the Berlin-based art collective Das Numen - at institutions around the world, including the Neue Nationalgalerie Berlin, Matucana 100 Santiago de Chile, Sprengel Museum Hannover, Weserburg Museum Bremen, Hamburger Bahnhof Berlin, Schinkel Pavillon Berlin, Deutsches Architektur Zentrum Berlin, as well as at Art Basel Cities Buenos Aires 2018, the 5th Moscow International Biennale for Young Art 2016, and the Marrakech Biennale 2012. In 2019, he was a guest lecturer at the University of Liechtenstein for the MA course "Exploring Landscape Studio" in the Faculty of Architecture.
Supported by the Public Art Fund of the City of Kiel and the HCOB Art Foundation for Schleswig-Holstein, he is part of Nukleus Kiel 2025. After receiving first prize in a public art competition, he will permanently install his project Schumann in the foyer of the German Environment Agency in Berlin in 2026. Kiessling is represented by Galerie alexander levy in Berlin.
Blaue Sonne, 2026
MDF, lacquer, steel, LED
50 × 50 cm
1 + 1 AP
Gallery Price: 5.000 €
VAT: 7%
LOT 07
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The German artist Martin Werthmann (*1982, Gießen) is considered one of the most distinctive representatives of his generation working with the traditional printmaking technique of woodcut while simultaneously developing it in a contemporary way.
In his monumental color woodcuts, often executed on large sheets of paper, Werthmann develops a unique visual language characterized by an aesthetic of vagueness and diffusion. Forms dissolve, and pictorial spaces remain deliberately ambiguous, resisting clear readability.
At the center of his oeuvre is not so much perspectivally constructed space, but rather the experience of space itself. Werthmann understands his works as sensory fields of experience in which different facets of human existence become perceptible. He describes his woodcuts as precisely composed “spaces without concrete content” that open up a wide range of associations for the viewer. Accordingly, he conceives his works less as images than as installative pictorial spaces that create their own experiential environment and draw the viewer into their visual structure.
Werthmann studied from 2004 to 2009 at the Hochschule für Bildende Künste Hamburg under Andreas Slominski. Other teachers included Wim Wenders, Fatih Akin, and Daniel Richter. Since then, Werthmann has worked internationally and has developed a distinctive artistic position with his large-format woodcuts, combining traditional printmaking with a contemporary, spatially conceived understanding of the image.
No 12, 2025
Monotype woodblock print on canvas
208 x 158 cm, framed
Unique
Gallery price: 9.800 €
VAT: 7%
LOT 08
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Gain a rare insight into an extraordinary private collection in Munich and discover significant works of American Minimal Art and abstract European art. The collection includes works by internationally renowned artists such as James Turrell, Antonio Calderara, and other important figures of postwar art. Following a personal guided tour of the collection, the evening will conclude with a shared dinner at the host’s home in a special and intimate atmosphere, an exceptional opportunity for art lovers.
Visit to a private collection in Munich
For up to 4 people · valid for 1 year
500 €
VAT exempt according to §19 (1) German VAT Act (UStG)
LOT 09
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Esra Gülmen (*1986, Istanbul) is a Berlin-based artist from Turkey. As an attentive observer of her present, she develops a contemporary iconography of the here and now, combining visual culture with a distinctive formal and pictorial language. Her works operate with irony and playful precision, rendering visible social codes, inner voices, and everyday obsessions. In doing so, her gestural interventions shift between sculpture and painting, subverting conventional expectations of both media.
A central element of her practice is the motif of pixelation as both an aesthetic and conceptual strategy. In her series Uncensorable, Gülmen engages with mechanisms of censorship and transforms them into a defining visual method: mosaic-like structures simultaneously conceal and reveal what is socially regulated or suppressed - intimacy, dissent, desire. The use of ceramic tiles, which reference traditions of Islamic ornamentation, intertwines questions of cultural coding with contemporary forms of control. Here, pixelation appears not merely as a visual barrier, but as an ambivalent space in which visibility and invisibility, concealment and disclosure, overlap. Originally developed in response to censorship in the Middle East, Gülmen expands this principle into a broader reflection on state, religious, and social restrictions, as well as on internalized forms of self-censorship.
Gülmen’s work has been presented in numerous institutional contexts, including solo exhibitions at the OK Center for Contemporary Art in Linz and at Plataforma Arte Contemporáneo in Guadalajara, Mexico, as well as group exhibitions at the Bundeskunsthalle in Bonn. Her works are also held in museum collections, including the Kunstpalast Düsseldorf.
mini euphoria, 2025
Fine art print on Hahnemühle paper
150 x 50 cm, framed
Edition of 5 + 2 AP
Gallery price: 2.300 €
VAT: 7%
LOT 10
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Behind em ef studio are the twin sisters Marie and Feline Grub - designers, artists, and attentive observers of everyday life. Born in Munich (*1989), raised in Vienna, and trained in Berlin, they founded their joint studio in 2022. It functions simultaneously as a space for thinking, a studio, and a field for experimentation. The studio’s work moves between art, design, and everyday culture. Playful objects, models, and installations explore themes such as movement, balance, or the moment of pause. Humor often serves as a method - less as an explanation than as a subtle form of disruption.
With the chair Heimatlos (2025), em ef studio turns to a piece of furniture with more than 400 years of history: the archetypal chair with a backrest, rooted in craft tradition and originally part of a simple everyday culture. The studio reinterprets this historical form through the lens of a contemporary technology - 3D printing. This process represents accelerated form-making, digital seriality, and a new aesthetic of production. The visible printing ridges, once merely a byproduct of the process, are deliberately emphasized and appear like digital fossils.
In this way, Heimatlos moves between past and future, between craft and machine. At the same time, it leaves an open question: does progress mean increasingly handing things over to machines in order to live faster and more efficiently? Or does the real value lie in consciously negotiating the relationship between craftsmanship and digitalization?
Heimatlos Stuhl, 2025
PLA
H 98 cm × B 38 cm × T 46 cm, seat hight 45,3 cm
Edition of 100 + 10 AP
Gallery price: 1.700 €
VAT: 7%
LOT 11
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Julian Faulhaber (*1975, Würzburg) situates his photographic work at the intersection of documentary realism and unsettling artificiality. At the center of his LDPE series are found spaces and scenarios as well as everyday objects whose immaculate surfaces radiate an almost computer-like perfection. People do not appear in these images; instead, a still life of things emerges in which architecture, materials, and objects exist side by side with equal presence.
The photographed spaces appear both real and constructed: biomorphic forms encounter seemingly computer-generated living environments whose surfaces are so smooth and closed that hardly any “open spaces” remain for the imagination. In this heightened realism and graphic precision, the representation itself becomes the object of desire - the real object behind it recedes into the background.
Remarkably, despite this seemingly artificial visual world, Faulhaber largely refrains from digital manipulation. The spaces are photographed shortly after completion, without additional lighting and using analog photography. The desired sense of irritation arises solely from perspective, light, and the materiality of the locations themselves.
Julian Faulhaber lives and works in Berlin. He studied photography at the Fachhochschule Dortmund, received the Reinhart-Wolf Prize in 2006, and was nominated for the Deutsche Börse Photography Prize in 2014. His works are exhibited internationally and are included, among others, in the collection of the Metropolitan Museum of Art in New York.
Tankstelle, 2008
Lambda-print
40 x 50 cm, framed
Edition 37 of 50
Gallery price: 1.400 €
VAT: 19%
LOT 12
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In the artistic universe of Susi Gelb (*1985, Bad Tölz), the boundaries between ecology and technology, between the organic and the artificial, begin to blur - and ultimately dissolve altogether. The artist operates between the poles of control and chance, combining algorithm, randomness, entropy, and the inherent logic of materials into installations that develop an almost autonomous dynamic.
In her studio, Gelb works almost like an alchemist: she experiments with materials, processes, new technologies, and their interactions. At the same time, her work is strongly shaped by its specific context. Sculptures may glow in the dark through embedded phosphorescence, or a palm tree may appear to grow - seemingly impossibly - in the middle of Munich’s Odeonsplatz. Her multimedia installations shift perceptions of space, physics, and time.
Susi Gelb lives and works between Berlin and Munich. In 2014, she graduated from the Academy of Fine Arts Munich. She has been an artist-in-residence at Fogo Island Arts (Newfoundland, Canada), at w-o-l-k-e (Brussels, Belgium), and at the Malimage Monitor Center (Sri Lanka). Her recent exhibitions include presentations at Nir Altman (Munich), Like a Little Disaster (Polignano a Mare, Italy), der Stuhl (Seoul, South Korea), Museum Schloss Moyland (Bedburg-Hau), The Lighthouse (Zurich), as well as at Frieze London in the Curated Section (London, United Kingdom). In 2015, together with other artists, Susi Gelb founded the nomadic, artist-run project space easy!upstream in Munich, where she also curated several exhibitions. She currently holds a visiting professorship at the Academy of Fine Arts Munich.
Mnemonic 113, 2022
Plexiglass, engraving
23 x 16 cm Unique
Gallery price: 1.600 €
VAT: 7%
LOT 13
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In her interdisciplinary practice Nata Togliatti questions the logics of boundaries and categories. She uses ornament and patterns as conceptual and visual metaphors for a worldview in which relationships and interconnections take precedence over separation. This approach enables alternative narratives, decenters power structures, and acknowledges the complexity of diversity.
Her work draws on personal experiences, memories, and ongoing research. Growing up between Russian and German cultures has shaped her perspective and taught her to navigate across languages, modes of thought, and worldviews. This multiplicity influences both her methodology and her choice of motifs, allowing her to challenge cultural orders and open up new spaces of meaning.
In her philosophy of natural repetition, Togliatti examines patterns and transformations as they occur in nature and in social structures. She understands repetition not as a static principle but as a process inherently connected to change. Through close observation of complex networks of interdependence, she makes invisible connections visible and contributes to a deeper understanding of the dynamics that shape ecological and social forms of coexistence.
Togliatti’s works have been exhibited at Haus am Lützowplatz in Berlin (2023), Canal Street Research in New York (2022), Francoise Heitsch Gallery Munich and Kunst & Denker Gallery Düsseldorf (2023), KÖNIG Gallery in Berlin (2022), and Gallery Klüser (2021). In 2021, she brought international art to supermarket shelves with her curated exhibition SUPERmARkT – Fresh Delivery, and in 2022, she curated the art magazine howtosurvivesuperniceandsupersexy, which launched at Haus der Kunst Munich.
CAVE PAINTING IX (no. 2), 2026
Oil and egg tempera on supermarket cardboard
92 x 61,5 cm, framed
Unique
Gallery price: 2.200 €
VAT: 7%
LOT 14
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In the painterly work of Linou Meyer (*1990, Seeheim-Jugenheim), space emerges as a central element. In her artistic practice, she creates a space of self-care - free from judgment and open to experimental forms of expression. Emotions and thoughts, as well as supposed “mistakes,” are understood as part of a narrative beyond perfectionism and self-optimization.
The deliberate relinquishing of control - such as sabotaging her painting tools, using her non-dominant hand, or working in a fast, spontaneous manner - serves the aim of creating a space free from normative evaluation. Empty areas play an important role in this process: they function as spaces for freedom, reflection, and contemplation. Within this reduced environment, subtle details come to the fore. Delicate lines and fragile structures coexist with expansive oil pastels and powerful scribbles. Meyer’s painting plays with proximity and distance in perception and invites viewers to engage with the individual shaping of sensitivity.
Linou Meyer lives and works in Berlin. She studied in the class of Ina Weber at the Berlin University of the Arts (UdK) and graduated there in 2023 as a Meisterschülerin in Fine Art. In her work, she creates a distinct universe in which she explores the intersections of childhood, femininity, and sensitivity within our patriarchal system, drawing on forms of magical thinking to move beyond a purely rational perspective. Meyer has received numerous prizes and scholarships, including the Anna Oppermann Prize and the TakiFuji Special Art Award in Japan. In 2023, she was awarded the Karl Hofer Scholarship as well as the Heussen Perspectives Award at the POSITIONS Berlin Art Fair. In addition to two solo exhibitions in Berlin, her work has been presented in numerous group exhibitions in Germany and internationally.
kaleidoscopic rainbow, 2025
Oil, oil pastel, colored pencils on canvas
95 x 95 cm
Unique
Gallery Price: 2.700 €
VAT: 7%
LOT 15
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Anna Nezhnaya (*1987, Moscow) lives and works in Berlin. In her artistic practice, she combines light, space, and digital imagery into precise yet atmospherically charged installations. Using neon, glass, and computer-based design processes, she creates works that resemble drawings in space, transforming architecture into new visual fields of experience.
Starting from digital sketches, Nezhnaya develops light sculptures that exist between object and immersion. Luminous lines structure space, define volume, and open up new layers of perception. In this context, light is not only used as an aesthetic medium, but also as a carrier of meaning and emotional intensity.
Conceptually, Nezhnaya brings together mythology, contemporary aesthetics, and feminist perspectives. Her works draw on archetypal figures such as Medusa or the succubus, questioning patriarchal narratives and their persistence in the present. Themes such as power, fear, and femininity are central, as are social structures and political systems. Individual works like Barbed Wire Broken articulate a critical engagement with dictatorship and authority, while others reflect on isolation and the simultaneous longing for connection in today’s world.
Nezhnaya’s works invite viewers to understand light as a medium situated between symbolism, space, and experience.
Barbed Wire Broken, 2023
neon glass tubes
100 x 24 cm
Edition of 30
Gallery Price: 3.500 €
VAT: 7%
LOT 16
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Ingeborg zu Schleswig-Holstein (*1956, Thumby, Schleswig-Holstein) is a German painter known for her large-scale abstract works. She began her artistic training at the University of Applied Sciences for Design in Hamburg, followed by a formative period in New York, where she spent two years working at Andy Warhol’s Factory.
Her first exhibition took place in the early 1980s in New York, followed by further shows in Southampton and Hamburg. Since then, she has presented her work internationally, including at P.S.1 in New York, the State Museum Schloss Gottorf, the World Economic Forum in Geneva, the Kunsthalle Bielefeld, and the Today Art Museum in Beijing. In 2004, the Ludwig Museum in the Russian Museum in St. Petersburg showcased a comprehensive retrospective of her work spanning 20 years. In spring 2026, she will present a major exhibition at the Guangdong Museum of Art.
In addition to her large-scale oil paintings, Ingeborg zu Schleswig-Holstein also devotes herself to painting on paper, particularly in oil. These works are characterized by their luminous colors and intimacy. In her 2024 exhibition And There Was Light in Monaco, she also presented works on paper in dialogue with masterpieces from the 15th century.
Ingeborg zu Schleswig-Holstein lives and works in Hamburg. Her oeuvre includes abstract paintings as well as sacred art and installations, which have been shown in a variety of contexts and exhibitions worldwide.
Spanish Magenta (8), 2025
Oil on canvas
60 x 40 cm, framed
Unique
Gallery price: 4.000 €
VAT: 7%
LOT 17
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Robert Janitz (*1962, Alsfeld) lives and works between Mexico City and New York City. He studied ethnology, comparative religion, Indology, and art history at Philipps-Universität Marburg. Janitz is known for his large-scale abstract paintings, for which he uses oil in combination with wax and flour on a monochrome background. The distinctive language of his abstract painting is based on a reduced vocabulary of elements: flowing backgrounds and vertical stripes that reflect a steady and methodical movement across the surface of the canvas. The gestural traces of Janitz’s forms move within complementary boundaries - the edge of each canvas and the reach of a single body. In this way, Janitz’s artistic practice is strongly performative; each individual painting functions, in a sense, as a transparent document of the actions through which it came into being.
His works have been presented in numerous international solo exhibitions, including at the Museo Diego Rivera Anahuacalli in Mexico City; Casa Gilardi, Mexico City; CANADA and Anton Kern Gallery in New York City; San Carlo in Cremona, Italy; Sevil Dolmacı Gallery in Istanbul, Turkey; KÖNIG GALERIE in Berlin; KÖNIG LONDON in London; and Saenger Galería in Mexico City.
Janitz’s works are held in several notable collections, including the Musée d’Art Moderne, Paris, France; SFMOMA, San Francisco, USA; Amorepacific Museum of Art, Seoul, South Korea; Bass Collection, Texas; Carole Server Collection, New York; Collezione Maramotti, Reggio Emilia, Italy; Hall Art Foundation, Reading, Vermont, USA; Goetz Collection, Munich, Germany; and Cerámica Suro Collection, Guadalajara, Mexico.
Personal Information, 2019
Oil, wax on linen
45.7 x 35.5 cm
Unique
Gallery price: 7.500 €
VAT: 7%
LOT 18
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During an exclusive guided tour, you will discover the exhibition “ZERO – An International Artist Movement 1957–1966” at the Olaf Gulbransson Museum at Lake Tegernsee. The exhibition is dedicated to one of the most influential avant-garde movements of the postwar period, which sought a new artistic beginning through light, movement, and new materials. Your guide will be Michael Beck, Chairman of the Board and curator of the Olaf Gulbransson Society, who will offer fascinating insights into the exhibition and the international ZERO movement. Afterwards, the evening will conclude with a shared dinner at Mr. Beck’s home - a rare opportunity to experience art up close in a special and intimate setting.
A special evening of art at Tegernsee
For up to 4 people · valid until 6 September 2026
500 €
VAT exempt according to §19 (1) German VAT Act (UStG)
LOT 19
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The artistic practice of Sophia Wilm (*2002, Bavaria) operates at the intersection of painting and textile art. The starting point of her work is paper cut-outs, from which figures in motion emerge. These reduced forms develop into pictorial motifs situated between abstraction and figuration. Through their arrangement and movement, atmospheric scenes are created.
Wilm works with collage-like layers of various fabrics, prints, and seams. Visible threads and appliqués point to the physical process of making and lend the works a distinctive spatial presence.
Conceptually, her works draw on everyday moments and move between memory and dream. The layering of pictorial elements follows an associative, fragmentary logic in which figuration and abstraction intertwine.
One example is the work Women Swimming, in which Wilm works exclusively with textiles. Various fabrics - some screen-printed - are assembled in a collage-like manner to form a figure floating in water, appearing to hover between abstracted wave forms and fields of color.
Sophia Wilm lives and works in Berlin and has been studying Fine Arts at the Berlin University of the Arts since 2022 in the class of Prof. Christine Streuli. Her works have been shown, among others, at Kunstquartier Bethanien, the New & Abstract Showroom, Dragonerareal in Berlin, and at the Affordable Art Fair in Stockholm.
Women swimming, 2024
Textiles, cardboard, on canvas
50 x 60 cm
Unique
Gallery price: 1.000 €
VAT: 7%
LOT 20
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Florian Huber (*1985, Trier) studied Fine Art at the Muthesius University of Fine Arts and Design in Kiel in the class of FORT/Andreas Greiner. In his artistic practice, he moves between sculpture, installation, and conceptual material research, engaging with social structures, urban phenomena, and the ambivalences of contemporary life.
In the series Colourful Moments, Huber turns his attention to the remnants of consumer and event culture. The starting point of these works are balloon garlands - familiar decorations used for openings, celebrations, or festive occasions. Once the air has escaped, fragile shells remain: relics of a past moment that simultaneously hold new creative potential.
Huber collects these deflated forms and transforms them into carefully composed pictorial objects, which are preserved and altered through a glossy layer of casting resin. The works exist in the tension between sculpture and painting and, in their theme, recall the traditional vanitas motif - the contemplation of transience and time. Colors, shapes, and materiality create individual spaces of resonance in which viewers’ memories and emotions may find an echo.
Huber’s works often originate from found or everyday materials that already carry their own history. By transforming these remnants, he shifts the perspective on what might appear banal and opens new ways of looking at the traces of our daily lives. His works are less intended as definitive answers than as invitations to reflection - moments of pause in an increasingly accelerated world.
Colourful Moments, 2024
Balloons / Synthetic resin on canvas
20 x 20 x 3 cm
Unique
Gallery Price: 1.200 €
VAT: 7%
LOT 21
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Helen Hu (*1994, Augsburg) is a German-Chinese artist dedicated to abstract painting. In her work, the physical act of painting takes center stage; traces of an intuitive process remain visible on the canvas. The artist describes this state as one of constant becoming: “For me, painting is a state of continual becoming - never static, always in motion.”
In Hu’s paintings, color, form, and movement intertwine to create a dynamic structure. Lines begin, break off, and reconnect; areas of color overlap or remain deliberately open. Her interest lies in those unstable moments in which forms seem briefly to organize themselves, only to shift again in the next instant. Within this tension between clarity and dissolution, her works unfold a distinctive presence.
A central reference point in her practice is thinking in terms of relationships. Growing up multilingual and shaped by different cultural influences, Hu developed an early awareness that meaning is not fixed but emerges through interaction. She transfers this logic to painting: lines and forms relate to one another like words in a sentence that is still in the process of forming.
Hu studied New Media Art at the Beijing Film Academy from 2012 to 2016. From 2021 to 2025, she studied at the Hochschule für bildende Künste Hamburg in the master class of Prof. Anselm Reyle. From 2023 to 2024, she also worked at the École Nationale Supérieure des Beaux-Arts Paris in the Atelier Calais. In 2025, she was nominated for the Hiscox Art Prize, and one of her works was acquired for the Federal Art Collection of Germany.
Her works have been exhibited in exhibitions in Paris, Hamburg, Palma, and Antwerp, among other cities.
Untitled (P1), 2025
Acrylic on paper
42 x 29.7 cm, framed
Unique
Gallery price: 1.500 €
VAT: 7%
LOT 22
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Amalia Valdés (*1981, Santiago de Chile) began studying conservation and restoration in 1999 at the Universidad Internacional SEK in Santiago de Chile. From 2000 to 2006, she completed a Bachelor of Fine Arts (BFA) in Visual Arts with a focus on painting at the Universidad Finis Terrae in Santiago. In addition, she studied painting and sculpture in Chile and Mexico and trained in ceramics for more than a decade under the guidance of her aunt, the ceramicist Pilar Correa A. A formative moment in her development was her participation in a workshop on art analysis and criticism led by the Chilean artist Eugenio Dittborn, whose influence ultimately prompted her to leave Chile. Since 2017, she has lived and worked in Berlin.
Her artistic practice combines imagination with experimental research informed by astrology, divination, mystical iconography, and sacred geometry. Working across various media - including cork, ceramics, sculptural assemblages, watercolor, stainless steel, wood, and site-specific installations, she develops visual languages that connect ancestral knowledge, ritual narratives, and concrete art.
Valdés frequently draws on Latin American symbolism, from Andean iconography to Mayan calendars, and intertwines it with healing practices, color concepts, and the search for universal harmony. Her works invite reflection on how ancient systems of knowledge can open alternative perspectives on our reality and how spirituality might be reimagined in our fragmented contemporary world.
Instant Harmony III, 2025
Acrylic paint, silk paper and oil pastel on canvas
40 x 40 cm
Unique
Gallery price: 2.100 €
VAT: 7%
LOT 23
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Thomas Müller (*1959, Frankfurt am Main) is considered one of the most significant contemporary draftsmen in Germany. From 1979 to 1988, he studied at the State Academy of Fine Arts Stuttgart as well as German studies at the University of Stuttgart. Drawing stands at the center of his artistic practice and serves as an open field for exploring and condensing visual processes.
Müller’s works emerge from an intensive, often serial working process. Using fine lines, dense accumulations, and rhythmic structures, he develops abstract pictorial spaces that oscillate between order and movement. His drawings frequently employ repetition, layering, and subtle variations, resulting in complex and dynamic compositions. The works often unfold across multiple sheets and invite a concentrated, almost meditative form of viewing.
Müller’s works have been exhibited internationally and are included in major public collections, including the Städel Museum in Frankfurt, the Centre Pompidou in Paris, the Kupferstichkabinett Berlin, and the Staatsgalerie Stuttgart. Thomas Müller lives and works in Stuttgart.
Untitled, 2014
Pencil, chalk, acrylic, and oil on paper
29.7 x 21 cm, framed
Unique
Gallery Price: 2.200 €
VAT: 7%
LOT 24
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Nadine Schemmann (*1977, Solingen) lives and works in Berlin. From 1997 to 2000, she studied at the Köln International School of Design, followed by studies in fashion and textiles from 2004 to 2006. Her artistic practice moves between painting, sculpture, and installation.
Schemmann creates works with deep, immersive fields of color that move beyond the boundaries of the classical painting. The starting point of her work is often memories of experiences and past encounters. In the process of painting, the artist enters into a dialogue shaped by freedom and attentiveness, in which colors and the materiality of the support develop alongside her.
Schemmann’s preferred painting support is linen, which she understands not only as a surface but as a body, skin, and medium of transition. She achieves the distinctive depth of her color spaces partly through the use of chlorine bleach, which produces layered color gradations. She often allows threads or seams to emerge, where islands of color gather, or emphasizes the structure of the fabric through a slightly distorted stretching of the canvas. At times, Schemmann consistently frees her works entirely from the stretcher frame: the canvases flow down walls or condense into sculptural forms suspended freely in space.
Her works have been shown at institutions including Museum Wiesbaden, Kunstverein Dresden, and international galleries. Currently, the exhibition Als ich dachte es sei Luft by Nadine Schemmann is on view at St. Matthäus Church in Berlin. For this presentation, the artist developed a site-specific installation that makes the air volume of the church space physically perceptible.
Wiser than you, 2025
Ink, chlorine bleach, and oil paint on linen
22 x 20 cm
Unique
Gallery Price: 2.300 €
VAT: 7%
LOT 25
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Siegward Sprotte (*1913, Potsdam, † 2004, Sylt) is considered one of the most important German artists of the postwar period, whose work moves within the tension between figuration and abstraction. The starting point of his painting is always an intense experience of nature. Landscapes, waves, dunes, or floral details such as grasses and stems are not rendered naturalistically but translated into a reduced, gestural visual language. With just a few precise lines, Sprotte succeeds in making the dynamics and structure of natural forms visible - a sense of monumentality within the seemingly small.
Sprotte engaged with both the European artistic tradition and East Asian art. He found inspiration, for example, in the nature studies of Albrecht Dürer, whose close observation he translated into a contemporary visual language. At the same time, many of his works reveal an affinity with East Asian ink painting, where line, rhythm, and emptiness play a central role. In contrast to the purely gestural abstraction of Informel, Sprotte’s works remain consistently connected to real natural phenomena. His painting can be understood as an attempt to make the “living hieroglyphs” of nature visible - a poetic condensation of the experience of nature in which observation, movement, and artistic gesture converge.
The watercolor Hoher Himmel exemplifies this artistic approach. With a few energetic lines and finely graded areas of color, Sprotte evokes the movement of sky and sea. Dark blue and black tones condense into a dramatic atmosphere, while reddish accents animate the horizon. The work moves between landscape depiction and free gestural composition, revealing in concentrated form the elemental forces of nature - movement, depth, and rhythm.
Hoher Himmel*, 1984
Gouache on handmade paper
31.5 x 24 cm, framed
Unique
Gallery price: 3.800 €
VAT: 7%
*Copyright and photo rights: Armin Sprotte
LOT 26
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Ugo Dossi (*1943, Munich) studied at the Academy of Fine Arts in Munich as well as at the Accademia di Brera in Milan. At the center of his work lies a principle also fundamental to Surrealism: to liberate the human being toward their unconsciously creative core and to confront them with the great existential questions of their being in the cosmos - Where do we come from? Where are we going? Who are we when we dream?
Characteristic of Ugo Dossi’s objects and installations is the exploration of fields of meaning, which he locates in archetypal symbols and cross-cultural systems of order such as chess and tarot, referring to them as “models of the world.” Serving as a bridge between the sensorially perceptible and the metaphysical is the technique of automatic drawing, originating with André Breton and further developed by Ugo Dossi.
The silkscreen print Byrne vs. Fischer, a signed artist’s proof (a.p.) from 1973, belongs to the early works within Dossi’s Chess series. It traces the simultaneity of all moves in the legendary game of the same name from 1956 and associates these mental processes with the traces of subatomic particles in a particle detector.
The work of this multiple participant in Documenta and the Biennale is represented in major international museums and private collections. His most recent solo exhibitions have taken place at the State Museum of Egyptian Art in Munich (2021), Museum Würth (2022), and the Reiss-Engelhorn Museum in Mannheim (2023).
Byrne vs. Fischer, 1973
Polychrome silk screen print, signed proof (a.p.)
65 x 50 cm, framed
Unique
Gallery price: 2.500 €
VAT: 7%
LOT 27
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The artist duo Mehmet and Kazim continuously expand the traditional concept of painting in their practice, inviting viewers to immerse themselves in a distinctive red-and-white visual world. This color scheme is closely connected to the biographies of the two artists, who are cousins and share the surname Akal - translated from Turkish as “white-red.” Based on this meaning, they have consistently limited the palette of their works to these two colors.
Central figures in their oeuvre are their alter egos, the Kissing Cousins. They appear on canvas, as animated characters in video works, or performatively embodied by the artists themselves - for example in red Adidas tracksuits and Superstars. The artistic roots of Mehmet and Kazim lie in hip-hop, breakdance, and graffiti - influences that can be found in their visual vocabulary as well as in quotations from song lyrics and symbolic references. These are complemented by elements drawn from comic aesthetics and by art historical references, including Philip Guston, Martin Kippenberger, and André Butzer.
Alongside autobiographical themes, the artists also address the structures and codes of the art world with humor and irony. At the same time, they experiment with different painterly techniques, materials, and media-based extensions of painting.
Mehmet and Kazim studied from 2015 to 2019 at the Academy of Fine Arts, Munich in the class of Markus Oehlen.
Frau, 2022
Oil on wood panel
35.7 × 28 cm
Unique
Gallery price: 2.500 €
VAT: 7%
LOT 25
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Johanna-Maria Fritz (*1994, Baden-Baden) is a German photographer whose work focuses on marginalized communities, women, and conflict zones.
Fritz lives between Berlin and Ukraine, where in recent years she has documented Russian war crimes. Her work regularly appears in international media such as Der Spiegel, Die Zeit, and Le Monde.
At the center of her work are people and realities of life that are often overlooked. With great closeness and sensitivity, she portrays marginalized groups and individuals living under extreme political or social conditions. In her series Like a Bird, for example, she photographs circus communities in countries such as Iran, Afghanistan, Palestine, Indonesia, India, Senegal, and Dagestan. In regions marked by political tensions and difficult living conditions, she depicts the circus as a rare space of lightness and freedom. A young acrobat from Gaza describes this feeling by saying that when he steps into the ring, he feels “like a bird.”
Fritz studied photography at the renowned Ostkreuzschule für Fotografie in Berlin and has been a member of the Ostkreuz Agency since 2019. She has received numerous awards for her photographic work, including the Inge Morath Prize, the Peace Prize for Photography, the PH Grant for Photography, and the World Press Photo Award 2024.
KABUL, AFGHANISTAN, 2017
Fine Art Print on Photo Rag Baryta
60 x 60 cm, framed
Edition 4 of 6 + 2 AP
Gallery price: 2.500 €
VAT: 7%
LOT 26
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Frank Brechter (*1981, Heilbronn) lives and works in Frankfurt am Main. After studying graphic design in Stuttgart, he initially gained experience in the field of conservation framing and exhibition coordination. Since 2008, he has worked as a freelance artist, moving between painting, sculpture, and set design - a combination that explains his particular sensitivity to materiality, surface, and illusion.
The work Wandkäs III (2023) presents an oversized slice of cheese made from polystyrene, polymer plaster, fiberglass, lacquer, and wax. With great craftsmanship, Brechter imitates the surface, texture, and sheen of the everyday product so convincingly that it first appears to be a real object. It is precisely this perfect illusion that creates an ambivalent effect: the familiar suddenly appears strange, inviting viewers to question their own perception.
By monumentalizing a banal consumer product, Brechter strips it of its original function and transforms it into an autonomous pictorial object. At the same time, the work alludes to our culture of consumption and disposability. In combining an everyday motif with a seductive surface and subtle critique, Brechter’s strategy recalls positions of Pop Art - yet his works are entirely handcrafted. Wandkäs III thus transforms an apparently trivial object into a precise play between reality and illusion.
Brechter’s works have been shown in numerous solo and group exhibitions, including at PPC Philipp Pflug Contemporary in Frankfurt and internationally, for example at Perrotin in Paris (Clear History, 2025) and Tuesday to Friday in Valencia (La Grande Bouffe, 2023).
Wandkäs III, 2023
Polystyrene, polymer plaster, fiberglass, lacquer, wax
118 x 112 x 3.5 cm
Unique
Gallery price: 9.800 €
VAT: 7%
LOT 27
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Let Charlotte Waldburg-Zeil create a truly personal work of art for you. Whether it’s a dog, bird, a horse or a special moment - the artist captures your desired subjects with sensitivity and expressiveness, transforming them into a unique, one-of-a-kind painting and a work of lasting value!
Charlotte Waldburg-Zeil studied at the University of Applied Arts in Vienna and at the Florence Academy of Art in Sweden. Her works are characterized by vibrant colors and a special sense of personality.
A personal work of art
Valid for 2 years
1.100 €
VAT exempt according to §19 (1) German VAT Act (UStG)
Photograph from Ibn Al-walid Hospital in Homs, Syria. Captured by Mohammed Alloush from our partner HiHFAD,
Your bid and donation for our Art for Syria auction directly supports the restoration of essential healthcare in Northwest Syria, by helping rebuild hospitals with solar energy and send medical supplies.