Henrik Eiben: Nightshift

March 31 – April 30, 2016

Press Release

Henrik Eiben



Galerie Tanja Grunert in collaboration with Arne Zimmermann are pleased to present a selection of works by German artist, Henrik Eiben. The works displayed in Nightshift, the artist’s first showing with the gallery, are conversant and multifaceted, brimming with duplicity and willful contradictions.


Responding to minimalism with sculptures of more expressive qualities, Eiben resonates with the strain of the post minimalism occupied by artists such as Richard Tuttle and Eva Hesse.


When asked about his art, Henrik Eiben responds, "What makes a painting a painting?”. He is not asking a question; rather he is describing a stance implicit in his work. A sculpture may have qualities of a drawing, and a painting may have qualities of a sculpture, In Eiben's view, these distinct terms make us unnecessarily rigid and narrow minded, thus he seeks to break them open in pursuit of something new, moving the minimalist/abstractionist notion forward by emphasizing the innovative idea-based nature of his practice along with an acute awareness of the viewer’s aesthetic experience.




While he is always moving ahead exploring new avenues, consistently inspired by new materials, spatial relationships, and concerns of scale, the language of his individual works remain connected to each other through the clarity of his process driven practice.


By way of his inclusion of an unconstrained array of materials, and his active disregard of categorization, Eiben embraces uncertainty to arrive at surprising new places. While his sensibility conveys a certain freedom, and even eccentricity, evident in the unfettered lines, color, and structure of the pieces, never does one feel they are anything but deliberate in their narrative elements and exacting execution.


Born in 1975 in Tokyo, Japan, Eiben lives and works in Hamburg Germany. He was a student at The State Academy of Fine Arts, Karlsruhe, where he studied under Silvia Bächli, and later was in residence at Fundação Armando Alvares Penteado (FAAP), in São Paulo, Brazil, where his art began to adopt a South American-esque embrace of sensuality, lightheartedness, and liberal use of color, bringing it into conversation with the more reduced formal minimalist disposition from which he came.