I don't have the words to express the extent of my gratitude. This review is an honor, a great honor. Thank you Stefanie Blumenbecker. You can listen to the entire 7:27min online, please find the link in my bio. #anouklammanouk #morgenkritik #hr2
Roots are the fundament, the air you breath, the water you drink, the bread you eat, the mother-figure you are held by. This posting all started by the ‘Let’s see you at 21’-Trend. Seeing many people I know on old photographs when they were 21. Followed by ‘Let’s see your *bad* art when you where 21’ — Assuming the art of 21-year-olds must be bad (why tho?). I am not a nostalgic person, I remember even as a child I believed the grown-up life would suit me. Maybe due to my autism and the lack of being understood as an old soul who easily felt disgusted by peers putting my toys into their mouthes.
Even as a young adult I felt out of place, always being the youngest student amongst party-animal-art-students and art professionals who would only start taking you serious when you are hitting your 30s, but I felt ready to start my career in my early 20s as I was developing my oeuvre during my teens while peers where discovering their sеxuаlitiеs I was discovering my own language and developing a (hopefully) rich body of work as art was a huge part of me, of who I was, who I am. Art was the only career path I ever saw for myself. Art was the reason why I was excited to become an adult. Just to find out that I have to wait, again. The same feeling I felt as a teen. It seemed like I was always too early to the party so I had to sit and wait till the others are ready. So I was all the happier that there was one person who believed in the power of my art when I was only 20. It was Franz Graf who invited me to participate in his great show ‘Siehe was dich sieht’ at Belvedere21. I was the youngest exhibiting artist at 21 at the Belvedere21. I will be forever grateful to everyone who believes in me and the authenticity of my art. It is so great to be able to create sculptural work on a larger scale and very regularly now. I am so excited for the upcoming projects 2024 and 2025 to explore new materials and possibilities, to shift and evolve. (1/2) please find part two of the caption in the comments 🙏🏻
(Photos are by me, Ania Shestakova and Lorenz Seidler)
#anouklammanouk #franzgraf #belvedere21 #21 #sculpture #textilesculpture
Studio visit by Birgit & Kerstin earlier this year 🫶🏻 it was a pleasure having you.
#anouklammanouk #artiststudio #sculpture #hyperrealisticart #hyperrealism
Baby, baby
Piglet, piglet
Roughly 5% difference
Domestic pigs are considered highly intelligent animals. Research suggests they can:
- Learn complex tasks quickly
- Remember locations and routines
- Understand simple symbolic systems
- Solve puzzles
- Recognize individual pigs and humans
- Show social awareness and emotional responses
In some experiments, pigs performed similarly to dogs and in certain memory tasks even outperformed chimpanzees. Young pigs can also learn to use mirrors to locate hidden food.
#anouklammanouk #hyperrealisticart #hyperrealism #sculpture #piglet
Sheep herds are among the oldest and most recognizable forms of collective animal behavior. A herd moves almost like water, with each sheep constantly adjusting its position to stay close to the group. This behavior provides protection: a lone sheep is vulnerable, but the flock creates safety through numbers and shared awareness. When one sheep reacts to danger, the movement spreads through the herd within seconds.
Unlike predators, sheep survive through cooperation rather than aggression. Their intelligence is deeply social — they recognize faces, remember routes, and respond sensitively to the movements of nearby animals.
There is also a quiet beauty in the way a sheep herd functions. The animals move with a shared attentiveness, reacting subtly to one another until the entire flock changes direction without any visible command. The herd seems to breathe and shift like a single organism made of many bodies.
This collective rhythm depends on trust and proximity. Sheep are highly sensitive to separation, finding calm in closeness. Especially in open or uncertain environments, the flock itself becomes a form of shelter.
#anouklammanouk #ceramicsculpture #sheepherd #sheepsculpture #lambsculpture
Is May something like Season 5 of 2026?
Walking and holding the hybrid being(s) of 'becoming one'.
Seasons come and seasons go
at which point of the year are we?
At which point of life are we?
What means ‚self‘ to us
– and what means ‚being‘?
When it is not raining outside I love walking
for hours
Just start, bring water and do not stop for a long time.
#anouklammanouk #shapedcanvas #painting #artiststudio #gucci
Cat Tongue Temple: The tongue is central to the formation of voice, yet it remains largely unseen—an organ of intimacy, confession, and command concealed behind the teeth. In this work, the tongue becomes both relic and instrument, a site where vulnerability meets power. It suggests that what is spoken, and what is withheld, holds equal weight in the architecture of identity.
#anouklammanouk #sculpture #hyerrealism #siliconsculpture #cattongue
Photos by Mareike Tocha, exhibition views of 'God – Only she can give Absolution' at Galerie Gisela Clement
The series 'Wine me, dine me, 69 me', 'post/pre' and 'Dæmon' on view at @galeriemaximilianhutz
#anouklammanouk #painting #winemedineme69me #galeriemaximilianhutz #abstractart
'United by Jazz' at Pasinger Fabrik in Munich, on view till the 12th of July 2026. 20m wall of my series 'Lеsbiаn Jazz'. This is the first presentation of this series on such a long wall. Please visit when you happen to be in Munich. As you can see, Polaris and I had a lot of fun. At the end of the night we were just running around before we fell in our bed. Thank you Stefan Maria Mittendorf & @grzegorzkiproduction #anouklammanouk #pasingerfabrik #unitedbyjazz #figureativeart #jazzinart
ART DÜSSELDORF, BOOTH J-04 @mariomauroner
I am drawn to bringing together works from different series to form a diptych. On the left is a piece from a new series, Ornithology; on the right, a Lеsbiаn Jazz. The stretcher frames take on portal-like shapes. Both works are structured as divided compositions; two images within a single image, or two scenes held within one frame.
In ORNITHOLOGY N°4, the upper half of the picture presents a portrait of a snowy owl, while in the lower half a dove lies at rest. In LЕSBIАN JAZZ N°119, the upper register is inhabited by a sleeping – dreaming (?) – figure; the lower register offers a close-up of a scene in which two intertwined, cuddling, sleeping bodies are seen.
The nebulous, the in-between moment, and a certain indeterminacy function as connective elements. How do the owl and the dove relate to one another? How do the three figures relate to each other? And what binds the human and the avian?
The diptych does not seek to resolve these questions but rather to hold them in suspension. It proposes a space of quiet adjacency, where parallels emerge without insisting on equivalence. The gaze oscillates between the two panels, tracing echoes of posture, rhythm, and affect; rest, vigilance, intimacy, withdrawal.
The portal-shaped frames further complicate this relation: they suggest thresholds rather than boundaries, openings instead of closures. One might read them as passages between states – wakefulness and sleep, instinct and consciousness, solitude and entanglement. The works do not illustrate one another; instead, they resonate, forming a field of correspondences that remains deliberately unstable.
In this sense, the diptych becomes less a fixed pairing than a temporary alignment, a fragile choreography of images in which meaning is continuously deferred and reconfigured.
#anouklammanouk #artdüsseldorf #painting #diptych #figurativepainting
