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Philipp von Rosen Galerie

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Cologne, DE
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About Philipp von Rosen Galerie

Philipp von Rosen Galerie in Cologne is run solely by its eponymous owner and was established in 2015. It continues former Figge von Rosen Galerie. We work with artists of our generation that have a contemporary understanding of the art and the world. We want to build up careers of young artists, and to further develop careers of more established artists. These artists have a close and continuous relation to the gallery. Besides the shows with artists represented by the gallery we like to show occasionally exhibitions with a more historical focus. These artists are not p...Read More

Philipp von Rosen Galerie

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Featured Pieces

"Template Selection #11", photography, abstract, architecture, power, exclusion
By Rebecca Ann Tess
Located in Cologne, DE
Rebecca Ann Tess created her series „Template Selection“ between 2016 and 2018 after she had travelled the world extensively since 2012. It is part of an artistic research that dealt...
Category

21st Century and Contemporary Contemporary Abstract Photography

Materials

Photographic Paper, Pigment, Inkjet

"Template Selection #13", photography, abstract, architecture, power, exclusion
By Rebecca Ann Tess
Located in Cologne, DE
Rebecca Ann Tess created her series „Template Selection“ between 2016 and 2018 after she had travelled the world extensively since 2012. It is part of an artistic research that dealt...
Category

21st Century and Contemporary Contemporary Abstract Photography

Materials

Photographic Paper, Pigment, Inkjet

"Uhu Schuhu", collage with cut-outs from Magritte reproductions, appropriation
By Nic Hess
Located in Cologne, DE
Nic Hess (*1968 in Zurich, where he also lives and works) studied at the Gerrit Rietveld Academy in Amsterdam and at the University of the Arts, Berlin. He got mainly known for his expansive installations and wall collages made of tapes and foils. With these, he deconstructed signs (logos) and symbols from the worlds of business and art history. Now, however, he resorts to his own sign-system, signs that stem from his biography or his personal environment. In particular, for his collages, that he was doing in the last years, he was using hundreds of art and architecture books that he had found in his late father’s library. Like many people in a similar situation, Hess asked himself what he was to do with the books. And he decided to make productive use of them and for his own work. By transforming the books of the library into his own art he created a sort of memorial to his father. Because with the reproductions of some of the illustrated books he made collages, playful new compositions based on the works of mainly three artists: the Swiss Max Bill, the American Edward Hopper and the Belgian René Magritte – all being his father's heroes. "Uhu Schuhu" has been collaged with reproductions stemming from illustrations of paintings by René Magritte. It is a neo-surrealist work that Hess – with a tongue in cheek – loaded with humor. Hess looks back to a long career and to a very large number of institutional solo-shows of which here just a few are mentioned: Zulieferer unter Druck, Städtische Galerie, Wolfsburg (2016); Der Stoff aus dem die Träume waren, Kunsthalle Münster, Münster (2015); Ein Titel muss her!, Kunststation Wolfsburg, Wolfsburg (2013); The Birds (for Lilou), Swiss Institute, New York (2012); Silberpfeil, Mercedes Benz Museum, Stuttgart (2011); Automatic Crash Response, Armand Hammer Museum, Los Angeles (2009); Escape, Schloß Ringenberg, Hamminkeln (2009); Sculptures, The Project, New York (2008); Food4Less, Museo de Zapopan, Zapopan (2007); Walls/Muri (with Federico Herrero...
Category

21st Century and Contemporary Contemporary Figurative Drawings and Water...

Materials

Paper

"Untitled(Deviation)22", painting, cardboard, wood, recycling, evolution, red
By Florian Schmidt
Located in Cologne, DE
Florian Schmidt (*1980 in Raabs, Austria) lives in Berlin and works as an Artistic Associate at the Bauhaus-University, Weimar. He graduated at the Academy of Fine Arts in Vienna, Au...
Category

21st Century and Contemporary Contemporary Abstract Paintings

Materials

Wood, Varnish, Acrylic, Vinyl, Cardboard

"Der Moment", collage, architecture, Playboy, Rene Magritte, contemporary
By Nic Hess
Located in Cologne, DE
Nic Hess (*1968 in Zurich, where he also lives and works) studied at the Gerrit Rietveld Academy in Amsterdam and at the University of the Arts, Berlin. He got mainly known for his expansive installations and wall collages made of tapes and foils. With these, he deconstructed signs (logos) and symbols from the worlds of business and art history. “Der Moment” is a work for which he transferred his earlier ideas of playing with and deconstructing logos and symbols to a framed piece. It is showing exactly the moment (“Der moment”) in which the iconic lumberjack from the painting by Ferdinand Hodler, who is known to more or less every Swiss grown-up person due to the fact that he has been shown on the SFR 50-banknote for 67 years, is reaching out with his ax to the highest point in order to hit down with the utmost force against the tree to be cut down. Rarely has there been a stronger symbol in a painting for a nation’s strength. However, instead of reinforcing this symbolic value, Nic Hess plays with it. He prolongs the vertical line of the ax and connects it to a dolphin, a dolphin that seems to swing in the center of the collage. The lumberjack is positioned on a rather unstable ground that is extended, on the left side, into a penguin. And the penguin’s beak is connected to the tip of the Hokusai-wave (this being an artwork often cited in Hess’ œuvre). Below the penguin we see René Magritte’s famous pipe, as a counterweight to the penguin and it’s energy that is pointing upwards. On the right side of the image, we see a Playboy-bunny siting on top of a Swiss-autobahn-sign that is prolonging an architecture (probably Venice) that has been turned to the left by 90°. The lower right corner is dedicated to the KFC-face of Colonel Sanders, the founder of the company. There are more details to recognize and interpret, theoretically. However, it is not Nic Hess’ intention to animate us to an interpretation of an allegedly readable narration. On the contrary: he is deconstructing the idea of such a total understanding. And the symbols and signs, logos, and well-known artworks, that we do or do not recognize, are rather reduced to their esthetic value: an energy pointing up or down, a weight to be set, a dynamic line defining a pictorial space etc. We can either just enjoy the fun of deciphering (and not understanding) such a composition. We can also – on the other side – understand this playing around with signs and symbols as a criticism of the inundation with signs that we are experiencing in our everyday life. Technically, Hess has executed this work with overhead transparencies. These are directly collaged on the surface of a white cardboard. He is used to this material, because he is employing it in his large-scale installations, in order to create – with the help of projections – the forms that are taped down on the walls. Hess' had this collage of overhead transparencies framed in a bi-color frame. By doing so, we experience rather an object than just an image. Hess looks back to a long career and to a very large number of institutional solo-shows of which here just a few are mentioned: Zulieferer unter Druck, Städtische Galerie, Wolfsburg (2016); Der Stoff aus dem die Träume waren, Kunsthalle Münster, Münster (2015); Ein Titel muss her!, Kunststation Wolfsburg, Wolfsburg (2013); The Birds (for Lilou), Swiss Institute, New York (2012); Silberpfeil, Mercedes Benz Museum, Stuttgart (2011); Automatic Crash Response, Armand Hammer Museum, Los Angeles (2009); Escape, Schloß Ringenberg, Hamminkeln (2009); Sculptures, The Project, New York (2008); Food4Less, Museo de Zapopan, Zapopan (2007); Walls/Muri (with Federico Herrero...
Category

21st Century and Contemporary Contemporary Mixed Media

Materials

Mixed Media

"Shimmer Grid", drawing, document proof pen, concept, organic, contemporary art
By Ignacio Uriarte 1
Located in Cologne, DE
"Shimmer Grid" is one work consisting of nine drawings on a European Din A3-size paper (each paper: 42 x 29.7 cm; each frame: 45 x 32.7 cm; the total installion of three frames in three rows: 145 x 108.1 cm). It has been exhibited in Uriarte's mid-career-survey that was shown in the Kunstmusem Reutlingen. Konkret in 2019. Our business world undergoes a constant evolution through specialization and steady improvement. And comparable to that Ignacio Uriarte...
Category

21st Century and Contemporary Contemporary Abstract Drawings and Waterco...

Materials

Pen, Pencil, Paper

"Dante's View #2", painting, desert, sublime, landscape, oil on canvas, photo
By Koen van den Broek
Located in Cologne, DE
Koen van den Broek (*1973 in Bree, Belgium) graduated at the Royal Academy of Fine Arts in Antwerp. Before, he had studied at the Academy of Visual ...
Category

21st Century and Contemporary Contemporary Figurative Paintings

Materials

Canvas, Oil

"Paling (Interval I)", oil on canvas, Korea, Jun Itami, conceptual, photography
By Koen van den Broek
Located in Cologne, DE
Koen van den Broek (*1973 in Bree, Belgium) graduated at the Royal Academy of Fine Arts in Antwerp. Before, he had studied at the Academy of Visual ...
Category

21st Century and Contemporary Contemporary Abstract Paintings

Materials

Oil, Canvas

"Alfa Romeo & Juventus", light box, advertising, deconstruction, nike, furniture
By Nic Hess
Located in Cologne, DE
Nic Hess (*1968 in Zurich, where he also lives and works) studied at the Gerrit Rietveld Academy in Amsterdam and at the University of the Arts, Berlin. He got mainly known for his expansive installations and wall collages made of tapes and foils. With these, he deconstructed signs (logos) and symbols from the worlds of business and art history. “Alfa Romeo and Juventus” is a work for which he transferred his earlier ideas of playing with and deconstructing logos and symbols to a light box. We see and recognize several elements, depending on our knowledge of the world of the economic brands as well as of other fields. For instance, the panther to the left side of the piece is probably rather a fantasy figure and does not represent anything but itself (and power and possible violence). Just to the right of this panther we see an image of the famous Swiss mountain Matterhorn. However, since it has been turned 90° to the left, it forms a diamond together with the partly shown “car freshner tree”. Again, a little bit to the right we see a cowboy boot, that can be considered a symbol for the tough wild West in the US. This boot is connected with what seems to be an image of the Chrysler Building’s top, turned 90° to the right. However, if we look closer, we recognize that Hess was tricking us: what seems to be the Chrysler Building in fact is a repetitive image of an airplane cockpit, seen from above. While the nose of the smallest airplane is touching the tip of the pennant of the Italian soccer...
Category

21st Century and Contemporary Contemporary Mixed Media

Materials

Foil

"Frightened Girl", Collage, Roy Liechtenstein, Pop Art, Cubism, Contemporary
By Nic Hess
Located in Cologne, DE
Nic Hess (*1968 in Zurich, where he also lives and works) studied at the Gerrit Rietveld Academy in Amsterdam and at the University of the Arts, Berlin. He got mainly known for his expansive installations and wall collages made of tapes and foils. With these, he deconstructed signs (logos) and symbols from the worlds of business and art history. Now, however, he resorts to his own sign-system, signs that stem from his biography or his personal environment. In particular, for his collages, that he was doing in the last years, he was using hundreds of art and architecture books that he had found in his late father’s library. Like many people in a similar situation, Hess asked himself what he was to do with the books. And he decided to make productive use of them and for his own work. By transforming the books of the library into his own art he created a sort of memorial to his father. Because with the reproductions of some of the illustrated books he made collages, playful new compositions based on the works of artists like – amongst others – Edward Hopper or Roy Liechtenstein. For his own "Frightened Girl" Hess made use of girls of Roy Liechtenstein-paintings. He cut and re-connected them, creating a kind of cubist version of the original. The result, that even made use of the caption in a Liechtenstein-monograph, was carefully put in a frame chosen by the artist. Hess looks back to a long career and to a very large number of institutional solo-shows of which here just a few are mentioned: Zulieferer unter Druck, Städtische Galerie, Wolfsburg (2016); Der Stoff aus dem die Träume waren, Kunsthalle Münster, Münster (2015); Ein Titel muss her!, Kunststation Wolfsburg, Wolfsburg (2013); The Birds (for Lilou), Swiss Institute, New York (2012); Silberpfeil, Mercedes Benz Museum, Stuttgart (2011); Automatic Crash Response, Armand Hammer Museum, Los Angeles (2009...
Category

21st Century and Contemporary Contemporary Figurative Drawings and Water...

Materials

Paper

"Untitled (M 104)", Rhombus, constructivist, hard edge, minimalist, contemporary
By Jonas Maas
Located in Cologne, DE
Jonas Maas (*1985, lives and works in Düsseldorf) graduated at the Düsseldorf Academy in 2014 in the class of Tomma Abts. In his œuvre he deals with the subject of "painting" as such...
Category

21st Century and Contemporary Contemporary Abstract Paintings

Materials

Fiberboard, Ink, Acrylic

"Untitled", watercolor, transparence, modernism, constructivism, edgy, lightness
By Yelena Popova
Located in Cologne, DE
Yelena Popova’s background as an artist who was born behind the so-called Iron Curtain in the USSR, when Socialism was still very much alive and when the world had not even thought a...
Category

21st Century and Contemporary Contemporary Abstract Drawings and Waterco...

Materials

Paper, Watercolor

More About Philipp von Rosen Galerie

'Frequency' Curated by Christof Mascher, 2020

Koen van den Broek 'The Dog', 2019 Installation view

Anna Malagrida 'Christal House', 2018

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