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Painting – Winter
Painting – Sea
Mixed Media – Horizon
Painting – Abstract
Painting – Landscape
Vita
2025 MIAMI ARTWEEKS | Miami – USA
2025 COLOGNE ART UNFRAMED | Köln – D
2025 PARIS CARROUSSEL LOUVRE | Paris – FR
2025 „IDENTITY“ insa|art|center | Seoul – KR
2025 SWISSARTEXPO | Zürich – CH
2025 ARTBASEL ARTBOXY LIVE | Basel – CH
2025 THOMSON Gallery | Zug – CH
2025 ARTBOX EXPO NEW YORK | New York – USA
2025 ART BAR GRENADA Gallery | St. George’s – GRENADA
2025 CASA DEL ARTE | Palma – ES
2024 Biennale Artexpo Venezia | Venezia – IT
2024 „The Land Of Silence“ Palazzo P. Revedin | 60th Biennale di Venezia – IT
2024 ARTEXPO PARIS | Paris – FR
2024 CIPRIARTE Venezia Gallery | Venezia – IT
2024 SWISSARTEXPO | Zürich – CH
2024 ANDAKULOVA Gallery | Dubai – United Arab Emirates
2024 CASA DEL ARTE | Palma – ES
2024 NICOLETA Gallery | Berlin – Germany
2024 THOMSON Gallery Fine Art |Zug – CH
2023 AUTUMN EDITION ART EXPO | Rom – IT
2023 SICILY SUMMER ART EXPO | Ragusa Chatedral Museum – Ragusa – IT
2022 KROMIA artista selezionato – IT
2022 „Geh und Sieh – der Horizont“ – Alte Ölmühle in Wittenberge – Germany
2022 We Contemporary Art Show – Pallazo Velli Eventi – Rome – IT
2021 Galerie Marziart Hamburg – Germany
2020 Moovart Co – Expo Florence – IT
2019 Il Collezionista art gallery Rome – IT
2019 „Horizons“ – Palazzo cà Zenobio – 58th Biennale di Venezia – IT
2019 We Contemporary Art Show – Topicuv Salon Prague – Czech Republic
2019 Vatican Palace – Rome Vatican
2019 Architectural Digest Design Show New York – USA
2019 Los Angeles Art Show – USA
2018 „Udine, città per l’arte“ Udine – IT
2018 „We Contemporary Art Show 2018“ Palermo – IT
2018 Art Basel Miami – USA
2018 Art San Diego – USA
2018 artexpo New York – USA
2023
Award at the International Juried Art Competition in Portrait of the TRAVERNA International Gallery
2023
Artistic Excellence at the Artist of the Year 2023 of the Circle Foundation for the Arts
2019
1° Classificato – 1. Prize Giorgio Vasari International Award | Rom Vatican
2017
Honorary Prize at the Artist of the Year 2017 of the New York Circle Foundation for the Arts
2016
Winner of the 31st Chelsea International Fine Art Competition New York
2007
Award of the city and the district of Quedlinburg for the construction of the gallery 7kunst to a center for art and culture
2003
Winner of the Kuthe Prize for painting | Quedlinburg
2025 CIRCLE Quarterly Art Review | summer 2025 | New York | page 66, back cover
2024 ROME Art Expo | autumn edition 2024 – MUSA International | Rome | page 100 ff.
Catalogue for the 60th Venice Biennale „The Land Of Silence“ – MUSA International | Venice | page 192
2023 CIRCLE Spotlight 38 | New York | page 20 f.
CIRCLE Spotlight 35 | New York | page 85
2022 ART IDEAL Explore contemporary aesthetics v.2 | New York | page 113
KROMIA Exhibition catalogue, digital edition, curated by: ARTE contemporary art
CIRCLE Spotlight 32 | New York | page 174 f., back cover
WE CONTEMPORARY – MUSA International Art Space | page 168 ff.
2021 ART IDEAL Explore contemporary aesthetics v.1 | New York | page 134 f.
Circle Quarterly Art Review Magazine 6 | spring 21 | New York | page 108
Catalogue for the 27th Art Exhibition „Human – Nature“ | Braunlage | page 53
2020 CIRCLE Spotlight 26 | New York | page 170
CIRCLE Spotlight 21 | New York | page 104 f.
2019 CIRCLE Spotlight 14 | New York | page 95
CIRCLE Spotlight 13 | New York | page 121
Catalogue for the 58th Venice Biennale „THIRST – Pavilion of the People’s Republic of BANGLADESH“ | page 166 ff.
WE CONTEMPORARY – MUSA International Art Space | page 52 ff.
CIRCLE Quarterly Art Review | fall 2019 | New York | page 25
2018 CIRCLE Spotlight 9 | New York | page 76 f.
CIRCLE Spotlight 5 | New York | page 88 ff.
CIRCLE Quarterly Art Review | winter 2018 | New York | page 88 f.
WE CONTEMPORARY – MUSA International Art Space | page 255 ff.
ART in America Annual 2018
2017 ArtisSpectrum | Volume 36 | The Chelsea Perspective | New York | page 65
Catalogue for the 23rd Art Exhibition „Human – Nature“ | Braunlage | page 69
Uncertainty Relations: The Paintings of Bernd Steinert
“Wie es leuchtet” (How It Glows) is a composition of reduced and asymmetrically positioned colors and forms on a white background, a composition which can not be designated either as abstract or as figurative. Slightly displaced from the center of picture stands a wind-skewed construction on fragile supports, accompanied by three diagonal, rectangular dark planes that suggest the relics of a ladder or a building. A small, disparate ensemble of brown-colored planes marks the lower right corner. Beneath the rough surface of sparcely applied oil paint in the lighter portions of the painting, deeper color levels shine through; the forms, in contrast, are of paper, collaged into the picture and then over-painted. Only with a second look can one recognize along the lower border figures before the dark surfaces- figures that can be discerned in old photographs of unknown persons- thereby tipping the composition into a figurative mode. To the lower right, if perceived in respect to the size of the figures, stand a high tower before a gray-white sky: all this bathed in a diffuse light at some inhospitable site, the location and nature of which remain unclear.
Bernd Steinert’s pictures are not simple to read. Already in their technical realization, they are too complex for easy access. The artist, who studied from 1998 to 2002 in the Burg Giebichenstein Art Academy in Halle und whose work has steadily and consequently evolved, builds up his pictures layer by layer. Motifs are over-painted and remain discernable only as shadows. Surfaces created through the application of a mixture of asphalt-varnish and wood stain that does not allow itself to be applied with any regularity assume an aleatory and relief-like texture which is highly tactical. Offset against this surface, ghost-like webs of filagree lines are spun out to play around the heavy, dark forms. Like expandable sinews, black charcoal strokes of varying intensity manage to hold together the compositional matrix while threatening at any moment to tear apart beneath the weight of the cliff-like forms. In addition to these impressions, boundries between abstraction and figuration – and not only within the work itself – become blurred.
There are, in fact, two complementary directions to be found in the paintings of Bernd Steinert. On the one hand, he creates pictures that are for the most part abstract, and, on the other, like the work “07 Karin Kiwus,” pictures that belong to a series of portraits of writers, in which a predominately figurative scene must assert itself against non-figurative pictorial elements. Bernd Steinert’s drawing style has in essence a calligraphical character, an aspect nourished by the artist’s own special interest in print characters, a fascination to be found repeatedly in his pictures. Readable texts can serve as a commentary on what is presented, whereas script codes remain enigmatic inscriptions. In other works, the characters would seem to assume a graphic function in which drawing-like stenographic logograms become pictorial elements or contribute a rhythmic accompaniment to the serial use of wallpaper-like patterns on the pictorial surface.
The layer-by-layer reworking that transpires in Steinert’s pictures suggests a process of aging, an effect that the artist enhances with accidently found bits of papers pasted into his works- pages of forms to be filled out, remnants of correspondence, scraps of newspaper articles and pergament fragments. Old photographs, which still retain a patina of the original color lacquering, not only reinforce the motivs in the pictures; they render authentic testimony to the past and the protagonists of bygone stories. That the stories for the most part remain indecipherable is the wish of the artist. The title of the picture “Wie es leuchtet” is derived for example from a novel from the “Wendezeit” ( the period of German reunification after the fall of the Wall) written by Thomas Brussig in 2004. Approaching the picture from this standpoint, the viewer can arrive at numerous interpretations, for example, that the structures in the corners represent the Wall, with people are standing before it – on the right or on the wrong side- and with a structure in the center which is metaphorically beginning to break down. But does this reading fully explain the picture? Bernd Steinert is skeptical- “Stories of political power and of day-to-day politics do not particulary interest me. There are too many imposed patterns and simplified versions of the truth in play. I find the subjective approach much more fruitful.” Applying this stance of the artist to the picture “Wie es leuchtet” would suggest that one should be careful with the interpretation above, because there is no certainty, either in the interpretation of recent German history or in the images- with the exception of a certainty of the uncertainty that the artist himself senses and attempts, in one way or another, to come to terms with in his works. As an East German citizen, it is clear that he has been imbued through his own experiences with a skepticism in repect to everyday, generalized assumptions in regards to the GDR and that personal ruptures, or those imposed from elsewhere, in his own biography can not be reduced to simple clichées. A coming to terms with the complexity and the contraditions of the phenomena presented is a challenge that Bernd Steinert wishes to confront in his pictures. “Whenever I realize that a picture is becoming too harmonious and slick, I intervene and destroy what is pleasing.” This confession of the artist attests to his desire for formal contraditions, which also manifests itself whenever what has been realized in a painting is either eliminated or once again over-painted, in that ponderous forms are held together by fragile lines and in that his found objects are mounted in disparate ensembles as metaphors for aging, for uselessness and for memories. In this field of tension between drawing and painting, between figuration and the non-figurative, the indeterminate relationship of visual means of presentation to the imprecision of perception and interpretation finds convincing expression in his work.
Bernd Steinert: The Fluidity Of Creative Expression
“There are things which move me in my innermost self… My subjective perspective is important for me because it often comes closer to the truth.”
Exploring the Enigmatic Realm
Bernd Steinert navigates the delicate balance between the abstract and figurative, his work steeped in enigmatic themes and concealed messages. From Steinert’s vantage point, the term ‘artist’ can often impose limitations, obscuring the fluid nature of creative expression. The impetus behind his work originates from profound emotions, elements that resonate deeply within his being. The spotlight isn’t necessarily focused on vast historical narratives or political discourse, but rather his distinctive perception. Steinert embraces visual exploration of themes in a manner that conveys an intended message, albeit one that may not be instantaneously discernible. The intrigue of the obscured unfurls its beauty in his artistic realm.
Navigating the complexities of today’s world, Steinert acknowledges the arduous journey artists, particularly those with familial responsibilities, undertake. This path, while daunting, wields a formidable power—the ability to move observers through creative expression. This influential power, Steinert contends, necessitates prudent use to avoid an overbearing or moralizing tone. Steinert’s journey into the art world has been anything but conventional. Prior to unearthing his talent for visual storytelling, he treaded the path more traditionally associated with stability and respectability, choosing the noble profession of teaching. His artistic odyssey took a transformative turn when he pursued studies at the esteemed art academy Burg Giebichenstein in Halle, from 1998 to 2002. This pivotal period altered the course of his life, allowing experiences from both the educational and artistic spheres to enhance one another, providing him the agility to adeptly adjust his focus as circumstances dictate.
Bernd Steinert: The Evolution of Artistic Expression
Throughout his artistic journey, Bernd Steinert’s creative process has witnessed a remarkable evolution. In his earlier stages, Steinert maintained a focused approach, dedicating an entire year to exploring a singular theme. However, the contemporary structure of his work often exhibits overlapping themes. Steinert demonstrates a penchant for re-engaging with completed cycles, imbuing his portfolio with a dualistic quality—some of his artworks exhibit a pronounced abstraction, while others veer towards more distinct figurative elements. This intriguing juxtaposition of abstract and figurative elements not only delineates Steinert’s artistic breadth, but also occasionally challenges interpretive clarity. The artworks that most distinctly mirror Steinert’s personality are typically those upon which he is presently engaged. These pieces require a maximum input of his creative energy and invite a profound journey of self-exploration. However, the artist ensures to leave behind an element of enigma, routinely incorporating concealed messages and intricate puzzles within the body of his work. Art, in Steinert’s view, holds the potential to pivot perspectives, given the viewer’s receptiveness. It gratifies him to observe viewers engaging in dialogue with his artworks. For Steinert, art should not impose overarching truths onto its audience. Rather, he holds a conviction that viewers possess the wisdom to discern what truly resonates with them, affirming the individual’s agency in interpreting art.
Embracing Tangibility in a Digital Age
In considering Bernd Steinert’s perspective towards new technology and social media, they are perceived as elements of both boon and bane. Such platforms have undeniably ushered in a renaissance in art, particularly resonating with the younger cohort whose innovative usage captivates him. Notwithstanding, the validity of these digital creations as ‘art’ remains a subject of intense debate. Steinert stands steadfast in his artistic vision, prioritizing the tangibility inherent in his work — an aspect often diminished in the digital medium. The creations of Steinert elegantly straddle the realms of the abstract and the figurative, each piece imbued with a rich, nuanced narrative. A prime example is “Wie es leuchtet,” (How It Glows), a captivating amalgamation of unconventional hues and shapes oscillating between abstract and tangible realms. In this masterwork, Steinert embeds and overlays paper shapes, utilizing a refined layering method that insinuates the passage of time. This gifted artist relishes in harmonizing a myriad of elements such as oil paint, paper collage, asphalt-varnish, and charcoal strokes, forging depth and texture in his pieces. The resultant layers not only grant a tactile quality to his work but also stitch together an intricate tale that reveals itself under meticulous scrutiny. Steinert’s body of work reflects two parallel directions: primarily abstract paintings and portraits infused with both abstract and figurative elements. A calligraphic flourish often characterizes his drawings, with his fascination for printed characters culminating in cryptic inscriptions or rhythmic patterns. In a bid to invoke authenticity and evoke a sense of temporality, Steinert seamlessly weaves found objects such as aged photographs, shapes, correspondences, and fragments of parchment into his artistry. He deliberately maintains an enigmatic narrative in his work, harboring reservations towards oversimplified or imposed interpretations of truth. Instead, Steinert advocates for a more subjective approach in artistic perception and appreciation.
Bernd Steinert: The Dance Between Complexity and Contradiction
In the artwork “Wie es leuchtet,” myriad interpretations emerge, among which a discerning viewer might perceive a commentary on the fall of the Berlin Wall. However, Bernd Steinert urges a cautious approach towards assigning specific interpretations, emphasizing his belief in the ‘uncertainty of uncertainty.’ Steinert’s oeuvre is characterized by a tenacious refusal to conform to harmonious, aesthetically pleasing forms. Instead, he deliberately disrupts such elements, finding solace in the tensions that dance on the lines between drawing and painting, figuration and non figuration, perception and interpretation. His work defiantly resists straightforward categorization or understanding. Steinert’s art underscores the inherent struggle to reconcile complexity and contradiction, thus nurturing a dynamic, evolving dialogue between form and content. Interaction with art collectors has been somewhat scant thus far in Steinert’s journey, with only a select few taking significant notice of his work. Nevertheless, the artist places his own critical assessment above all, esteeming his subjective evaluation as the pinnacle of importance. For Steinert, true success is epitomized when a painting or project coalesces as he originally envisioned. The full value of his creations often becomes apparent to him only after a temporal distance, due to his profound immersion in the creative process. In recent times, Steinert’s sensitivity has been deeply stirred by the swift environmental shifts in his local region. The once thriving forests, a magnet for numerous tourists, are slowly perishing, and the indifference of humanity towards this transition strikes a dissonant chord within him. In response, Steinert has embarked on a new series titled “Forest,” intended to encapsulate this transformation through the medium of paint. While the final objective of the series remains somewhat nebulous, several pieces are currently underway, bearing witness to the unyielding progress of environmental change.
WECONTEMPORARY 2019 – The Faces Of Contemporary Art
10 Questions for Artist Bernd Steinert
- How do you describe yourself as artist to someone who doesn’t know you?
I don’t necessarily see myself as an artist. I wouldn’t even know exactly what that is. There are things which move me in my innermost self. Daily politics or history of who dominates over whom don’t interest me so much. My subjective perspective is important for me because it often comes closer to the truth. If I feel a need to position myself, I address specific themes visually in such a way that my works arrive at a message, even though this message may often remain not immediately accessible. Something obscured can also be beautiful.
- What does it mean to be an artist today?
Artists in today’s society have a difficult life, especially if they have a family to feed. I tip my hat to anyone who has chosen this way. People who create art have a gift of being able to influence others. When works emerge that move the observer, something wonderful has taken place has happened. One should wield this power, however, very carefully. The danger of seeming pedantic is always at hand.
- When did you start your artistic career?
It took a long time for me to realize that I have this gift of being able to reach others through the language of images. For this reason, as my grandparents would say, I first studied to be able to pursue a “serious” profession. I became a teacher. Then, from 1998 to 2002 I studied at the art academy Burg Giebichenstein in Halle. This experience gave my life a completely other direction. Both worlds contribute mutually to one another and give me the opportunity of being able, when necessary, to shift my priorities fluidly.
- How have your works changed over the years?
My work is almost exclusively themematic. Earlier I used to set a time limit of a year in which to address any particular area . Today, however, there are many instances of themes running parallel to one another. I often return to cycles which have already been completed and take them up once again. In essence, there are two complementary sides to my work as painter: images, which are predominately abstract and others, in which figurative elements prevail. This is why my works can also be difficult to read. I am stimulated by the interplay between these two poles.
- Which of your works does your personality best focus on?
It is always the works with which I am immediately engaged that demand the most from me, works in which I open myself the most. Nevertheless, I always wish to have a bit of the mysterious to remain. For this reason, I am inclined to work in codes and to create puzzles.
- Do you think art is able to affect the different points of view of people about important political and social issues?
When people are willing to open themselves, art is definitely in the position of being able to influence them. For me, it is always a pleasure to experience how the viewer can enter into dialogue with what he is observing. That’s the real salt in the soup. But there is no need, of course, for every work to formulate great truths hammered in with a metronome. People are wise enough to discern for themselves what moves or interests them.
- What is your relationship with social network, social media and all new technologies which affect art and the audience?
The new media offer a great enrichment to our lives but at the same time harbor their own dangers. In art, they have opened doors for us to wholly new worlds. I find it fascinating to observe with how much richness of imagination, especially among young people, one can work with these technological possibilities to engender form. As to whether or not all of this should be acknowledged as art is questionable. This theme, however, can be left for future generations to toss back and forth. I myself work independent of trends. For me materiality plays a major role. This aspect, regardless of technical refinements, is often lost in the new media.
- What is your experience with art collectors?
I have had up to this point very limited experience with collectors of art. They rarely take notice of me.
- Do you have a piece or a series of which you are particularly proud of?
The most important critic of my work is named Bernd Steinert. There is no room for pride here. I am more likely to be pleased or happy, however, if a painting, an exhibition, perhaps a project or something similar comes out as a success. Often I realize the value of what I have produced only later. I am usually too concentrated, to close to my work to be able to order it into a larger context. Nevertheless, once a series, for example, has proved to be successful, I can on occasion, lean back and take a deep breath of relief.
- Which are your projects on schedule for the future?
I live in a region of very attractive landscapes. There are many tourists here, pleased to take advantage of these offerings. Over the past few years, however, the forests have begun literally to die out. This indescribable alteration of the natural surroundings and the indifference expressed many people experiencing it leave me speechless. At the present I am collecting material for a series with the working title of “Forest”. Some paintings are already there. A clear goal for this cycle, however, has not yet been formulated.