15.01.2021 — 15.02.2021





16.12.2020 — 15.04.2021




Jack Penny, Marie Hazard, Gianna Dispenza, Machteld Rullens, Ruben Maria, Tunji Adeniyi-Jones,

Anastasia Savinova, François Xavier Saint Pierre, Prendi, Thomas Rhube, Yva Jung, Karolin Schwab, Ming Lu, William Grob


14.08.2020 — 26.09.2020

KÖNIG LONDON is pleased to present OPEN CALL, a group exhibition curated from a series of studio visits held through the gallery’s digital channels during lockdown.

As physical distance transformed our means of seeing and discovering new works, KÖNIG GALERIE has invited artists to participate in digital discussions online, bridging the gap of separation and expanding horizons of engagement. Showcasing works by 14 artists, including Jack Penny, Marie Hazard, Machteld Rullens, Ruben Maria and more, the exhibition culminates in the manifestation of such new encounters into the material space.





05.02.2020 — 09.02.2020

Richard Nonas' works are embedded in space. His spatial interventions, both contemplative and raw, maintain the roughness of the materials used. Marie Hazard’s weavings carry the passing of time: the time of a craft that is getting lost, and the hours spent on the loom, weaving the thread. Each artist, in their own way, relies on the materiality of the object to tell something, to trigger questions about the world we live in, as well as to invite us to contemplate and reflect on our surroundings.


Richard Nonas studied literature and social anthropology at the University of Michigan, Lafayette College, Columbia University and at the University of North Carolina. He worked as a field anthropologist for 10 years, living amongst Native American communities of Canada, United States and Mexico. Nonas turned to sculpture in the mid-60’s. His anthropological background has influenced his art practice and his perception of space throughout his career. His sculptural works, borrowing from the vocabulary of Minimalism, engages with the space itself, trying to create juxtapositions as well as emotional and aesthetically pleasing interactions between his sculptures and their surroundings.

Richard Nonas’ sculptures, which use simple and geometric forms, have a cultural and alienating impact on space — his work and the place simultaneously carrying philosophical and emotional meanings. The repetitive designs, together with the use of raw materials — wooden beams, timber, corten steel, granite curbstones ­ — bring a new sense of place, in which the former place has been disturbed by an unfamiliar presence, while the memory of the original space remains. Nonas’ works are spatial markers, challenging our very own perception of space and place, to become aware of them.


Marie Hazard studied textile design at Central Saint Martins in London. In 2019 she followed the residency program of Casa Lü in Mexico City. By choosing weaving as a medium, Marie Hazard is telling the story of a technique, of savoir-faire, of an ancestral artisanal production which she adapts to our present time. Her work continuously poses the question of the value of labour, specifically manual labour. She reactivates a craftsmanship that had at times been forgotten and, at least in Europe, long remained restricted to the spheres of dressmaking, furnishing and home textiles. Marie Hazard combines materials, overlays techniques and matters. The artist has a carnal relationship with this material; her hand intervenes and transforms it directly.

Marie Hazard’s weavings maintain a cyclical relationship to time, which becomes a creative element in itself: the ritual of weaving and entwining gives rise to highly contemplative works. By weaving, the artist registers time, confers a lasting value on the day-to-day and pays tribute to our collective imaginary. Chance fuels Marie Hazard’s work – it breaks away from the initial expectations and imposes a disruptive rhythm, a point of disorder, of imperfection, a need to let go. A mystery.




24.08.2019 — 30.09.2019

Rental Gallery is pleased to present Summer Rental, a group exhibition organized by writer, curator and artist Kenny Schachter. The show is a love letter to summers, and a celebration of life, family, art, and vacations.

As art-lifers, art is our sandpit, playpen and fun in the sun. There is no escape; in fact, we’d rather it that way. This exhibit is comprised of an affordable hodgepodge of stuff we love, all things art: paintings, sculptures, videos and more, newly made coupled with historically significant works.

Artists include: Mark Grotjahn, Henry Moore, Rita Ackermann, Roy Lichtenstein, Jacqueline Humphries, Joel Mesler, Vito Acconci, Dan Asher, Ricci Albenda, Katherine Bernhardt, Lucky De Bellevue, Forcefield, Devon Dikeou, Kim Gordon, William Kentridge, Misaki Kawai, Craig Kalpakjian, Ryan McGinley, AR Penck, Rene Ricard, Mika Rottenberg, Christian Schumann, Jessica Stockholder, Spencer Sweeney, Nicola Tyson, Marie Hazard, Robert Gunderman, Mitchell Algus, Loie Hollowell, Sarah Aibel, Illona Rich, Adrian, Kai, Gabriel, Sage and Kenny Schachter.

Better than the beach, and cheaper—with one hour free parking.

Rental Gallery began in 2004 in Los Angeles as a way to bridge the New York and West Coast art communities, as well as to provide a venue for flexible and experimental programming, both by local curators and gallerists, and those from out of town.

Kenny Schachter has been curating contemporary art exhibits in museums and galleries and teaching (art history and economics) for nearly thirty years; presently in the graduate department of the University of Zurich. He has lectured internationally, been the recipient of a Rockefeller supported grant in Mexico, and contributed to books on Paul Thek, Zaha Hadid, Vito Acconci and Sigmar Polke/Gerhard Richter. Kenny Schachter has a regular column on in addition to writing widely for various international publications. He most recently had a retrospective of his art at Joel Mesler’s Rental Gallery in New York in the summer of 2018, curated an exhibit at Simon Lee Gallery in London, fall 2018 and a one person show at Kantor Gallery, LA, February 2019. Next up, a solo show at Blum & Poe Tokyo, Spring 2020. Schachter has been profiled in The New York Times Magazine (cover story, September, 1996), and London's Observer, Independent and Telegraph and deals in international art from Impressionist and Modernism to the art and design of today. He recently relocated to New York.




Summer show including the following artists:

Frank Moll, Aribert Von Ostrowski, Marie Hazard, Thomas Arnolds


07.2019 - 08.2019

Frank Moll

My work usually starts with looking for some kind of time-related concept. After all, I am really interested in topics that pertain to helping us structure our lives, more specifically how we manage day-to-day moments and measure time.

Generally, I start by preparing the canvas with special acrylic layers and rabbit skin glue to achieve an elastic and durable dark foundation.The next step is to apply tape to the surface and cut every single string to the right length. Afterwards, I administer some transparent layers, thus creating clear edges.The final step is to paint in oil on the last two to four layers, which creates a subtle depth and also serves as a pleasant contrast. Most of the time, I use for frames a color called “Fleischfarbe” (flesh color), which I have used for approximately six years. The color can be found in circa 90 percent of my paintings and is my homage to artists who have influenced my work.

Aribert Von Ostrowski

Photocopies of advertisements, newspaper pages and scientific illustrations have been a substantial part of Aribert von Ostrowski’s artistic material and medium since the late 1980s. They have often served as an iconographically associative background for his drawings or paintings, have covered sculptures, or were part of context-specific installations.

Born 1953 in Günsterode Lives and works in Berlin

Marie Hazard

I am a weaver. At 24, I weave the invisible threads of an intimate story that does not know how to say otherwise.Trained in textile handicraft training in London – Central Saint Martins –

On my old wooden loom, I weave miles of coiled threads that are released and mingle according to a well- established and thoughtful framework. Weaving is the art of miscegenation. I juxtapose photos, paintings on paper, materials, colors, folds and folds. It is a dance with the craft, a ritual and slow dance with the arms and the whole body that repeats endlessly the ancestral gesture of the craftsman, which requires physical commitment and self-sacrifice. All this should not be interrupted, I would lose my own drawing as the thread of my story.

After a long preparatory work, I choose my natural paper and linen threads, dye them, put them on the job, collect my images from everyday life, my own photos or those cut from magazines, I assemble them, paint them again or redraw them, then I print them on weaving by the process of sublimation or digital printing. It is an adventure playground where living universes are created that move and question. The stakes are there: it’s about capturing something of the energy of the world, and using the threads like the spider that weaves its web, making a mechanical work a unique piece.

Thomas Arnolds

Born in 1975 in Geilenkirchen, Germany. From 1997 to 1999 he trained as a stonemason and stone sculptor, and thereafter worked for two years as a church restorer for the Diocese of Aachen. From 2001 to 2005 he studied painting at the Hochschule für Bildende Künste in Braunschweig under Walter Dahn. Since 2007 his work has been shown in numerous individual and group exhibitions at home and abroad.Thomas Arnolds lives and works in Cologne.




Part of the 5th Crosscurrents Show at the Tokyo Metropolitan Art Museum.


20.12.2019 - 26.12.2019

" We live in a materialistic and structured society filled with order and rules. Humanity is challenged to question the boundaries we share as mankind. Mankind often forgets to be “kind.” The complex ecosystems and microcosms within our very planet are immense and seemingly infinite. From the ever-expanding universe of outer space to our infinite inner expansion within, we continue to discover and uncover new layers within our landscape.

Instant, digital, social media, and artificial intelligence allow us to connect like we never have before, though we can still feel disconnected and alone. The need for codependency and biodiversity are becoming more a part of the discussion for our future. Could it be that we are moving from the age of technology approaching the age of connection? How can we transform into more of a peaceful collective geographical relationship with one another?  How can we re-imagine how life is organized on earth? How do we gift the wisdom that will empower the future?

Every breakdown creates opportunity for a breakthrough. We are mark makers, carbon or otherwise. Our future is at a critical state in need of individual value and universal access. From the air we breathe to the food we eat we must remember to investigate the natural order of things evolving from a political geography dividing the world to functional geography connecting us.  We are the food we eat. Only together we stand the chance to do something meaningful, building a better planet for all. We are in a global revolution, taking a quantum leap of mobility to a global network civilization. We must build more pathways to allow more connection and quality exchange. Connectivity is the new reality. Connectivity is opportunity. Connectivity is destiny. 

Ask to Artists:

I invite you to participate and collaborate in a multifaceted sculptural installation that will first take place in the Metropolitan Museum Art in Tokyo as part of the show, “CROSSCURENT.” The sculpture is titled “ALONE” which comes from the Old English root “ALL ONE” meaning together oneness in the whole, until time and translation shifted its meaning to being by one self.  


I would like to use this opportunity to shift the dialogue about what it means to be alone and the connection of what it means to be together. The sculpture is a constellation of artist coming together with the idea derived from “ it takes a village to raise a child” and “we are on the planet together.” Though we may have social boundaries that seemingly separate us from one another, we are on this planet together.

The spontaneity of chance and the movement throughout the space will allow the work to be an access point, connecting the dots of our time by allowing the possibility of infinite angular focal points, movement, and chance to shift the vocabulary of connection. This sculpture will create a safe space for the multigenerational discussion of connection." ALAN CHIN



“A little sincerity is a dangerous thing, and a great deal of it is absolutely fatal.” – Oscar Wilde

Young Space is delighted to present Crocodile Tears is a group exhibition that brings together the work of 21 artists from around the US and Europe. What does it mean, especially in painting, to have integrity? To be truly undivided, uncorrupted, truthful, and fair? In our collective present moment, oversaturated with an infinite well of information available any second of the day at our fingertips, how do we measure honesty? How do we know someone is truly sincere? Is painting always honest?

The work in this exhibition both figuratively and literally stitches subject and material together to examine the integral characteristics of space and our interaction with it, both in terms of landscape and the surface of the paintings themselves. The artists work across a wide range of media and employ numerous techniques of weaving, cutting, sewing, printing, drawing, and painting. Bright colors belie sinister undertones, and each piece becomes a setting, in subject or in formal terms, that suggests there is usually more than meets the eye.

Young Space is an itinerant online-offline contemporary art platform emphasizing early career and emerging artists, facilitating collaborative projects and exhibitions internationally. Thank you to the Morgan Fine Arts and Film Center and Shane McAdams for assisting with this project.




23.06.2017 - 03.07.2019