Steiner\u2019s name resounds in the annals of 20th-century art for his pioneering work in video\u2014an era-defining shift that put ephemeral performance and experimental moving images at the vanguard of cultural production. Labeling him simply as a Pioneer of Video Art does him a disservice; he was an engineer of creative infrastructure, founding spaces like the legendary Hotel Steiner and the Studiogalerie, Berlin\u2019s answer to New York\u2019s Chelsea Hotel and a sanctuary for the Fluxus generation. The reverberations of his innovations reached far beyond Berlin, ultimately leading to inclusion of his video archives in the institutional memory of the city. Today, references to his seminal role in video are cemented by the major exhibition Live to Tape<\/a> at Hamburger Bahnhof\u2014a Berlin institution with the gravitas of MoMA or the Whitney in the American imagination. To collectors and critics alike, this signals that Steiner\u2019s legacy is institutional-grade; validated, collected, and permanently discussed at the highest levels. Equally telling is the presence of his work within true European Archives such as Archivio Conz<\/a>, a storied repository for Fluxus, Concrete Poetry, and the kind of transgressive creativity that keeps art history in motion. This isn\u2019t just about nostalgia; it\u2019s about ongoing, recognized significance.<\/p>\n The turn from magnetic tape to painted surface might seem like an about-face to some, but for those who trace the full arc of contemporary German art, it’s a return to roots with exponential intellectual depth. Mike Steiner<\/a> was born in 1941 in Allenstein, raised in the West Berlin vortex of political and artistic cross-currents, and by age seventeen was making waves in Berlin\u2019s public art scene. Early American encounters\u2014scholarship trips, Pop Art exhibitions, and collaborations with luminaries such as Allan Kaprow and Lil Picard\u2014set Steiner on a lifelong collision course with radical possibility. But even as video and performance became his public trademarks through the 1970s and 1980s, the heartbeat of painting never quite left his practice. As other Fluxus figures\u2014think Nam June Paik with his cathode ray or Joseph Beuys with his felt and fat\u2014revolutionized materiality, Steiner recharged painting with the same urgency he brought to electronics.<\/p>\n With the close of the Studiogalerie in 1981 and the subsequent turn of the millennium, Steiner\u2019s focus shifted with deliberate force: the mechanical gaze of the camera yielded to the meditative force of color-field painting. Those familiar with the Berlin Art Scene recognize in Steiner\u2019s paintings an extension of the video ethos\u2014not illustration, but distillation. The visual language of the works now accessible online<\/a> (and, indeed, to American eyes for perhaps the first time) is rooted in the interplay of presence and absence, the slow build-up of form, and the erasure not unlike the rewinding of tape. Surfaces pulse with saturated color\u2014deep reds, sensuous ochres, moody blues\u2014layered almost as if edited frame-by-frame. What has changed is the locus of time: rather than unspooling before us, time in Steiner\u2019s paintings is compressed, tangible, and open to reflection. The immediacy of video becomes the duration of contemplation on canvas. For the serious collector circling Steiner\u2019s paintings, this is not merely a historic curiosity, but evidence of an artist who can pivot from pioneering dematerialization to re-energizing the painted picture plane.<\/p>\n Today, the rediscovery of Fluxus and its satellites, coupled with the growing energy of Berlin as a locus for international collecting, makes Mike Steiner\u2019s trajectory relevant once again. The global market\u2019s hunger for artists with institutional validation and authentic provenance\u2014especially those whose stories are rooted in the hard-won freedoms of postwar Europe\u2014positions Steiner uniquely. The conversation is no longer just about his role in video; it’s about his living legacy on canvas, a bridge between the ephemeral and the enduring. For US-based collectors searching for blue-chip works with unshakeable heritage, Steiner\u2019s abstract paintings both honor and outpace their historic context. In a world saturated by digital content, the measured, handcrafted surfaces of Steiner\u2019s painting invite an entirely different sort of attention\u2014one long overdue, and one finally, thrillingly available.<\/p>\n Mike Steiner Painting & Video Art represents a living connection to the urgency, vision, and material vitality of Europe’s most dynamic art history. Now is the moment\u2014before the rest of the market catches up.<\/p>\n \t\t Hol dir jetzt den Wissensvorsprung der Aktien-Profis. Seit 2005 liefert der B\u00f6rsenbrief trading-notes verl\u00e4ssliche Aktien-Empfehlungen \u2013 dreimal pro Woche, direkt ins Postfach. 100% kostenlos. 100% Expertenwissen. Trage einfach deine E-Mail Adresse ein und verpasse ab heute keine Top-Chance mehr. Jetzt abonnieren.
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F\u00fcr. Immer. Kostenlos.<\/a> <\/a><\/p>\n","protected":false},"excerpt":{"rendered":"From the throbbing Berlin underground to revered museum collections, Mike Steiner\u2019s painting career embodies the authenticity and restless…\n","protected":false},"author":2,"featured_media":40112,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[99],"tags":[14146,112,14145,190,5502],"class_list":{"0":"post-40111","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-berlin","8":"tag-abstract-painting","9":"tag-berlin","10":"tag-berlin-art-scene","11":"tag-germany","12":"tag-mike-steiner"},"share_on_mastodon":{"url":"https:\/\/pubeurope.com\/@dk\/116228150119413025","error":""},"_links":{"self":[{"href":"https:\/\/www.europesays.com\/dk\/wp-json\/wp\/v2\/posts\/40111","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.europesays.com\/dk\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.europesays.com\/dk\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/dk\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/dk\/wp-json\/wp\/v2\/comments?post=40111"}],"version-history":[{"count":0,"href":"https:\/\/www.europesays.com\/dk\/wp-json\/wp\/v2\/posts\/40111\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/dk\/wp-json\/wp\/v2\/media\/40112"}],"wp:attachment":[{"href":"https:\/\/www.europesays.com\/dk\/wp-json\/wp\/v2\/media?parent=40111"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.europesays.com\/dk\/wp-json\/wp\/v2\/categories?post=40111"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.europesays.com\/dk\/wp-json\/wp\/v2\/tags?post=40111"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}