Alina Röbke

Some bts studio shots from the latest series, reflecting the strange role of underwear as a cultural and political object and how it shapes bodies, gender identity, power and the gaze.

We are pleased to share a TV feature on Alina Röbke, produced by SWR (@swrkultur ), now available in the ARD Mediathek (@ardmediathek ): /embed/Y3JpZDovL3N3ci5kZS9hZXgvbzIzMDg2NzM?startTime=340.00&endTime=671.00 The feature was produced in the context of her nomination for the Art Prize of the City of Aschaffenburg 2026 – congratulations on this well-deserved recognition...👏👏 The exhibition “Stufen Erklimmen. Wachsen” at Kunsthalle Jesuitenkirche (@museenab ), in which the prize was awarded, is on view until 12 July. Photos by SWR Kultur . #alinaroebke #swrkultur #swr #cyanotype #cyanotypie #contemporaryart #zeitgenössischekunst @alinaroebke @atelierhaus.waggonfabrik

Herzliche Einladung zur Ausstellung cached mit Alina Röbke, Yawei Chen, Philipp Neßler und Julia Seifried. Eröffnung 31/03 ab 18 Uhr 01/04 - 12/04/2026 Freitag - Samstag 14 - 17 Uhr Hinterhof Kaiser-Wilhem-Ring 40 55118 Mainz Gefördert von Stiftung Rheinland-Pfalz für Kultur

Status Quo, 2025 210 x 195 Cyanotypie auf Baumwolle 〰️ „Die Arbeit Status Quo aus dem Jahr 2025 ist eine großformatige Cyanotypie auf Leinwand im Format 210 x 195 cm. Sie zeigt den Schattenwurf einer Leiter, die an die Außenfassade der Jesuitenkirche in Aschaffenburg gelehnt ist. Die Leiter selbst ist nicht sichtbar. Was bleibt, ist ihre Spur. (...) Inhaltlich bezieht sich die Arbeit auf die sogenannte unbewegliche Leiter an der Grabeskirche in Jerusalem. Dieses Objekt steht seit dem 18. Jahrhundert unverändert an seinem Platz, da keine der beteiligten Konfessionen sie ohne Zustimmung aller anderen versetzen darf. Aus einem alltäglichen Gebrauchsgegenstand wurde so ein Symbol für Stillstand, Machtverhältnisse und zugleich für ein empfindliches Gleichgewicht. Röbke überträgt dieses Motiv in einen lokalen und zeitgenössischen Kontext. (...) Status Quo eröffnet einen symbolischen Raum, der Fragen nach Wachstum, Wandel und Koexistenz stellt, ohne eindeutige Antworten zu geben.“ text: @johanneshoneck Katalog anlässlich der Ausstellung 〰️ Stufen - Erklimmen. Wachsen. 📍Kunsthalle Jesuitenkirche @museenab 25.03.2026 — 12.07.2026 Kuratiert von @johanneshoneck Mit Arbeiten von Jonas Ademes, @claudiachaseling , Konrad Franz, @giselda.kunst , Susanne Hessenthaler, @plumbersfont , @christiane.kaufmann.art , @jennifer_maus_art , @finjasander , inksonntagramirezponce und @toniwombacher

This cyanotype by ALINA RÖBKE is part of our current group exhibition “Bowl of Oranges“ – until 19 July. We are open today from 12am-4pm...☕️🍊 Pictured: Trace of Thought 2025 Cyanotype on fabric 170 x 130 cm About: The painterly act as a forensics The work shows a cyanotype on canvas. Visible are gestural traces of a paintbrush, revealed only partially through controlled exposure. These traces appear fragmentary, like remnants of a performative action. Within these traces of movement, the photogram of a piece of fabric emerges that was fixed in its temporary shape during the exposure process, like a shadow image of an ephemeral gesture. The cyanotype does not function as classical painting in the sense of colour application, but rather as a process for visualizing movement, action, touch and temporal sequence. The technique allows physical interventions and material touches to be made perceptible. Light, fabric, movement and absence become materialized within the image and appear as equally significant elements. In the superimposition of brushstroke and fabric imprint, the work reflects on the painterly act as a securing of traces, as a documentary inscription of physical presence and temporal processes. The cyanotype thus becomes a medium that stores temporal processes and translates them into a legible structure. In the sense of an expanded concept of painting, the focus lies not only on the finished image but also on the process of its creation. The work makes visible how action inscribes itself into the surface, and how gesture, materiality, and process are mutually dependent. – Alina Röbke . #emdegallery #bowloforanges #alinaroebke #cyanotype #cyanotypie #artgallery #mainz

Ein Blick ins Atelier 4 in dem Alina Röbke und Julien Hübsch bei den Offenen Ateliers 2025 Einblicke in ihre Arbeitsprozesse gaben. #studioview #atelierhauswaggonfabrik #recap #openstudio 📸 5 6 7 @lrnz_krkff

Group Exhibition: ALINA RÖBKE presents two new large-format, highly delicate cyanotypes in our current winter group exhibition, REMIX 3. Visit us during our gallery hours until February 8th. Gallery hours: Tue, Thu, Fri from 1 to 6 pm, Sat from 12 am to 4 pm, and by appointment. Pictured: - Mutual Gaze I, 2024, cyanotype on polyester, 180 x 130 cm - Mutual Gaze II, 2024, cyanotype on polyester, 180 x 130 cm About: Mutual Gaze I & II are created not on traditional white paper or canvas but on vibrant orange polyester. This results in warm brown tones instead of the characteristic blue tones typically associated with this photographic process. Alina Röbke’s cyanotypes are characterized by experimentation and process: experimentation, as the outcome of exposing light-sensitive treated, or painted fabric and paper outdoors is unpredictable and only partially controllable; and process, as techniques like extended exposure or development times make the passage of time itself visible. The artist intentionally embraces the role of chance in her work, intertwining it with controlled elements. Once again, she explores the painterly potential of this photographic method. For more information about the artist, visit our website (link in bio). For price inquiries, feel free to DM or email us ([email protected]). . #emdegallery #remix #remix3 #groupexhibition #wintergroupexhibition #alinaroebke #mutualgaze #cyanotype #cyanotypie #contemporaryart #zeitgenössischekunst #artgallery #mainz #kunstinmainz @alinaroebke

A bench may be an in-between space for our bodies: It is sometimes the first thing to welcome you on a porch, sometimes the place where strangers meet in consensual silence, and sometimes the thing that marks the threshold between inside and outside. Alongside the curtains, rails, and handles, another element of the work 𝑆𝑇𝑅𝑈𝐶𝑇𝑈𝑅𝐸𝑆 (𝐵𝐸𝑇𝑊𝐸𝐸𝑁 𝑈𝑆) is an upholstered bench that literally copies the thoughts and processes of our previous exhibition at @bistro21_artspace 𝐴𝑆 𝑊𝐸 𝑈𝑁𝐹𝑂𝐿𝐷. Our handwritten thoughts and notes are digitally printed and embroidered by hand on the same fabric as the curtains. It’s an invitation for you and your fingertips to (un)consciously explore the physical traces of our thoughts. ✦ 𝑆𝑇𝑅𝑈𝐶𝑇𝑈𝑅𝐸𝑆 (𝐵𝐸𝑇𝑊𝐸𝐸𝑁 𝑈𝑆) permanent installation, 2024 ♾️ 78 m curtain tracks in 2 loops, 90 wooden spacers, 7 curtains, 5 magnetic PVC handles, 1 upholstered bench 📍@kv_leipzig —— photos: [01–04] /POKY; [05–08] @laurawichmann [05 > AS WE UNFOLD @bistro21_artspace ] curators: @rebekkabauer__ @fedele__m

Das Künstlerinnenduo /POKY @poky.institute (Alina Röbke @alinaroebke und Julia Gerke @julz.lg ) hat mit STRUCTURES (BETWEEN US) eine langfristige architektonische Grundstruktur für den KV geschaffen, die den Kunstraum als wandelbaren Ort der Begegnung und des Austauschs definiert. Dafür erarbeitete /POKY im Austausch mit dem Kurator:innenkollektiv des KV Leipzig ein modulares System aus Vorhängen & Schienen, das Talks, Screenings, Gespräche, Ausstellungen und Zusammenkünfte im KV beherbergen soll und an die jeweiligen Bedürfnisse und Anforderungen angepasst werden kann. Die Zusammenarbeit mit /POKY führt im Rahmen einer Ausstellung von /POKY im Bistro 21 die Zusammenarbeit des KVs mit Leipziger Kunsträumen fort, die 2022 mit dem Kunstraum IDEAL begonnen wurde. Das Künstlerinnenduo /POKY, bestehend aus Julia Gerke und Alina Röbke, arbeitet seit 2019 an hybriden interdisziplinären Formaten. Sie befragen zeitgenössische Kunst als soziales, kollektives, architektonisches, skulpturales und performatives Phänomen. Mit einem offenen Selbstverständnis als Akteur:in im öffentlichen Raum, kuratorisches Projekt, Dialog und kollektive Aktion reflektiert /POKY „Hosting“ im künstlerischen Feld. Kuration: Rebekka Bauer @rebekkabauer__ , Fedele Friede @fedele__m Fotos: Laura Wichmann @laurawichmann_ Im Rahmen der Programmreihe 2024 PAUSE/PLAY des KV - Verein für Zeitgenössische Kunst Leipzig e.V. Gefördert von: Kulturamt der Stadt Leipzig @stadtleipzig

Views of ‚Les Traces (Un Conte)‘ at the Institut français, Mainz. Big thanks to @antonioqvila for making things possible and inviting us together with @part.mainz , and the @institut.francais.mainz for hosting us! Thank you for coming and supporting! „Traces tell stories: From Palermo, via Marseille to Mainz. Together, the two artists Alina Röbke (Mainz/Cologne) and Emma Tholot (Marseille/Paris) explore the oral and visual traditions of the three countries, which are associated with carnival, circus and clowns as mystical figures and costumes as cultural expression. Emma Tholot lives and works as a visual artist between Paris and Marseille. Her practice is rooted in both everyday and traditional rituals, traditions and superstitions of the Mediterranean region. Alina Röbke, also a visual artist, lives in Cologne and Mainz. She explores places, objects and cultural contexts with light-sensitive paintings. Their collaboration began in 2022 during their simultaneous residency at the Institut français Italia in Palermo. For a collaborative work, they conducted several research trips to explore the oral and visual traditions of France, Italy and Germany associated with carnival, circus, clowns as mystical figures and costumes as cultural expression. This process resulted in a spatial installation as well as several paintings made from multi-colored fabrics with embroidery, cyanotype and collected artifacts.“ text: @institut.francais.mainz __ pictures: @lrnz.krkhff

Lucky charms 180 x 130 Cyanotype on cotton a work in collaboration with @emmatholot 〰️ shown at @kwr40_ during @kultursommerrlp 2024

Views of our exhibition ‘All Traces Tell Tales’, a few weeks ago at KRW40, Mainz. In Marseille, we made a precise research on clowns and carnivals in Europe during the last century. We connected to textures, materials, production know-how and learned techniques. The conditions of costume production through the centuries (low candle light, unstable trailers, mending and patching) inspired our process. During the travels through Italy, the use of fabric left a significant mark on the body of work. Sun-bleached curtains on the streets, generous folds, and especially the colours serve as references within the paintings, which visually connect to the creation of costumes. The work delves into the role of clowns as both real historical figures, such as 19th-century Jean Baptiste Auriol, and as archetypal abstract representations. The formal language of circus and carnival, can be clearly interpreted across diverse cultural contexts and is adapted. ‘All Traces Tell Tales’ is constructed as a mosaic of quotations, which is visually realized in a spatial installation featuring artifacts and paintings, encapsulating the connections we discovered between the cultures of France, Italy and Germany. The exhibition moved to the French Institute of Mainz and is on view until December 12th, on an invitation by PART @part.mainz . Many thanks to @kultursommerrlp , @kwr40_ , @philipp.nessler and @julseife !