Sinnlich – Übersinnlich

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Monika Funke Stern und Bettina Semmer

zeigen Gemälde, Filme, Installationen
ERÖFFNUNG Donnerstag, 06. Juni 2019, 19:00 Uhr

BEGRÜSSUNG Jutta Pelz, Vorsitzende des BVBK e.V.

AUSSTELLUNGSDAUER 07. Juni – 07. Juli 2019

„Hexen – weibliche Selbstbestimmung“ von Bettina Semmer
27. Juni 2019, 17:00 – 18.30 Uhr Vortrag mit Diskussion

ÖFFNUNGSZEITEN Mi. – Fr. 11 – 17 Uhr, Sa. / So. 12 – 16 Uhr

“Sensual – Hypersensual”
Monika Funke Stern and Bettina Semmer are showing
Paintings, films, installations
OPENING Thursday, 06 June 2019, 19:00
WELCOME SPEECH Jutta Pelz, Chairman of BVBK e.V.

EXHIBITION DATE 07th June – 07th July 2019

“Witches – female self-determination”
June 27, 2019, 5:00 pm – 6:30 pm – a lecture by Bettina Semmerwith discussion

OPENING HOURS Wed – Fri 11am – 5pm, Sat./Saturday 12am – 4pm

PNN – Artikel von Sarah Kugler


The Witch, 2019, 210 x 560 cm, egg tempera and acrylics on canvas

A series of works based on old masters, feminist texts and body prints

What’s wrong with her now (after Baldung Grien), 2019, 150 x 120 cm, acrylics on canvas
They call it love, we call it unpaid work, 2019, acrylics on canvas, 170 x 155
Feminism is class war, 2019, 40 x 38 cm, acrylics on canvas
Hell has no Fury (after Baldung Grien), 2019, 170 x 150, acrylics on canvas
The Witches after Dürer, 2019, 200 x 150 cm, acrylics on canvas
Kräuterweiblein mit der Spindel der Nornen und einem Shakespeare-Zitat

Patriarchy is boring, 2019, 200 x 150 cm, acrylics on canvas
Stop being poor, 2019, 150 x 90cm, acrylics on canvas
Good wombs have born bad sons, 2019, 150 x 130 cm, acrylic on canvas
No god, no state, no patriarchy, 2019, 150 x 90 cm, acrylics on canvas

Detail left
detail center left: Goya, Deutsch
detail right: Baldung and Molitor
detail center right: Baldung Grien
Old witch, young witch, 2019, 50 x 40 cm, oil on canvas
Riding on a nightshade

Dürer-Witch, 2019, 85 x 60, oil on canvas
Altersarmut bei Frauen

Demeter drinking


Images and iconography in funerary contexts, and the ubiquity of her Phrygian name Matar (“Mother”), suggest that she was a mediator between the “boundaries of the known and unknown”: the civilized and the wild, the worlds of the living and the dead. Her association with hawks, lions, and the stone of the mountainous landscape of the Anatolian wilderness, seem to characterize her as mother of the land in its untrammeled natural state, with power to rule, moderate or soften its latent ferocity, and to control its potential threats to a settled, civilized life.

The White Goddess, 2019, 210 x 560cm, egg tempera and acrylics on canvas
Draft, The White Goddess (Photoshop from previous paintings) 2018-19

preliminary work for The White Goddes, 2018, 160 x 400 each
Detail -White Goddess, work in prgress, egg tempera on canvas

paintings 2018

strong circles

Vatican jails naked Woman, 210 x 210, oil and acrylics on canvas, 2018

Trümmerfrauen, acrlyics and ashes on canvas, 210 x 300 cm, 2018 (detail)

Trümmerfrauen, acrlyics and ashes on canvas, 210 x 300 cm, 2018 (detail)

Fragment nach G.C. Lichtenberg

The Downloaded Man 2017/18




Everything in Life… installation view, Sevilla 2018

intimate drawings – manual copies, charcoal on paper, 2018

Inauguration with curator Jose Iglesias Gª-Arenal and Sergio Zavallos, Alonso Gil, David Lopez Panea, Rodriguo Tavera, and many others







2017 wall(s) of shame

Stencils of famous walls, sprayed upon ruined houses in the refugee camps of Western Sahara. #artifariti2017

The ruins of people's houses were caused by the heavy rainfalls of 2015, where adobe brick crumbled like sugar cubes under water. Not only the housing but food and medicine were destroyed, in some cases up to 95%.
The mural of Mariem Hassan made by me in 2015 on the outside of the women's union (UNMS) in the center of Boujdour, Tindouf, Algeria, was altered with the same stencils.