Contemporary Art

Wittulsky Gallery is a contemporary art space located in the historic hilltop village of Perinaldo, Liguria, dedicated to immersive installations and sensory experiences that explore themes of world cultural identity, space, and time.

Founded by artist Karin Wittulsky and now run by Philipp Wittulsky, the gallery presents exhibitions by a growing roster of contemporary artists including Pascal M. Colpin-Gucat, Julia Krause-Harder, and Joakim Allgulander, each contributing to a holistic vision where art activates the room, the senses, and the self.

With a minimalist yet edgy aesthetic, Wittulsky Gallery offers a space for dialogue, presence, and transformation—inviting visitors to engage with art beyond the visual, and into the experiential.

Currating Installations and Exhibitions

Philipp Wittulsky @ Torstrasse 166, Berlin

"Since studying with Valie Export at Universität der Künste Berlin, starting in 1992, my interest in Installation and Multimedia art has grown and is now flourishing. Also the deep encounter and exchange with Josef Beuys has had a great impact on how I see art today. Working with and meeting artists from around the world in Berlin from 1992-2022, I had a multitude of Exhibitions, with Installations Performances, and Photography. Now I finally get the chance to currate Installations again, I am thankful and very curious what is going to happen"
Says, Philipp Wittulsky in an Interview

Philipp Wittulsky

Philipp Wittulsky is a multidisciplinary artist whose work spans photography, installation, and conceptual interventions. Rooted in a deep engagement with place, perception, and poetic narrative, Wittulsky’s practice often explores the fragile intersections between the natural world and human emotion. His visual language blends minimalist gestures with tactile textures, inviting viewers into contemplative spaces where silence speaks as loudly as form.

Travelling between Germany and Italy, Wittulsky has developed a body of work that reflects a dual cultural sensibility—introspective and expressive, precise yet intuitive. His exhibitions have been featured in both traditional gallery settings and site-specific contexts, including historical and non-traditional venues that amplify the dialog between artwork and environment.

In recent years, Wittulsky has focused on projects that explore the resonance of memory within architecture and space. His approach emphasizes presence, simplicity, and material honesty—often incorporating found elements to ground his work in the personal and the present.

Based in Perinaldo, Liguria, Philipp Wittulsky continues to evolve his artistic vocabulary while contributing to the region’s growing contemporary art scene, both as an exhibiting artist and an independent curator.

Interview with Philipp Wittulsky

1. Can you introduce yourself and your artistic background?

I was born in Munich, Germany, into a household where art was part of daily life. My mother, Karin Wittulsky, was an artist herself, originally from Düsseldorf. Through her, I was introduced to the legendary Gruppe Zero, who were not just her contemporaries but close friends. Art wasn't just something I observed growing up—it was something I lived.

A formative moment came when I was just 12 years old: I had the opportunity to interview Joseph Beuys. What was meant to be a brief conversation turned into a two-day encounter that profoundly influenced how I perceive art, society, and communication. That experience still echoes through much of what I do today.

At 19, I began collaborating with the artist Johannes Leismüller, and by the time I was 25, I was studying under the pioneering media and performance artist Valie Export at the Universität der Künste (UDK) in Berlin. Each of these experiences deepened my understanding of art not just as form or expression, but as a medium for deep human experience and engagement.

2. What themes or concepts are central to your work and curation?

Vilem Flusser once wrote about photography: "You need to make pictures of things you can't see." til today I like this concept. Breaking the obvious. Having a smell that attacks the audience, of a foggy ground where you don't know where you're stepping. Personally I like the edginess of a work of art. it might be thought, like a title: "Höheres Wesen befahl , obere rechte Ecke schwarz malen." I want to experience something that moves me may it be political UN-PC or a philosophical struggle.

3. Your gallery emphasizes multi-sensory installation art. What draws you to this format, and how do you see it engaging the audience differently from traditional forms?

Studying under Valie Export at UDK Berlin was a turning point for me—she encouraged me to think of art as an environment rather than an object. This led me straight into the world of interactive room installations, where every element—light, sound, scent, texture—becomes part of the artwork. I’m fascinated by how engaging all the senses can dissolve the barrier between viewer and piece, inviting people to inhabit and move through the work rather than merely observe it. For me, art should push borders and provoke new perspectives; a fog-drenched floor you can’t quite navigate, or an unexpected aroma that jolts your memory, all serve to challenge expectations and spark genuine emotional and intellectual reactions.

4. Can you describe one of your favorite or most ambitious installations so far? What was the experience like for you—and for viewers?

One of my most ambitious projects took place in Berlin’s legendary 103 Club, where I transformed two entire floors into an immersive journey through Hieronymus Bosch’s The Garden of Earthly Delights. Every surface—walls, ceiling, even columns—was alive with high-definition projections of Bosch’s fantastic details: from the lush paradisiacal gardens to the enigmatic, otherworldly creatures.

At the heart of the installation was a live performance: two contact-improvisation dancers moving naturally within the space, their bodies continuously mapped by shifting Bosch iconography. We streamed and filmed the dance in real time, then re-projected the live footage onto every wall, creating a recursive feedback loop of movement and image.

For me, it was an exhilarating experiment in layering historical imagery, contemporary performance, and cutting-edge projection technology. For the audience, the effect was almost hallucinatory—they felt as though they’d stepped into Bosch’s world itself, part spectator, part participant. The energy in the club was electric: the performance had to be repeated because the crowd refused to let it end.

5. What’s your process like when developing a new work or curating an exhibition?

Collaboration is at the heart of my creative process. I love bringing another artist into the mix—there’s an electric spark when two minds begin to dream together. Our early sessions are all about expansive brainstorming: no idea is too wild, and we encourage each other to push beyond familiar boundaries. Once we’ve generated a wealth of possibilities, the real discipline begins: we challenge one another to “reduce, reduce, reduce!”—paring back until only the most essential, most potent concept remains. This tension between uninhibited imagination and rigorous editing ensures that every installation I mount is both richly conceived and sharply focused.

6. How do you see contemporary art evolving, especially in the context of sensory and experiential installations?

Contemporary art has long since broken free of the canvas—and I see this liberation only accelerating. Today’s artists are embracing every medium at their disposal: sculptural light, immersive soundscapes, drifting fog, even carefully engineered odors. Each element becomes a brushstroke in a three-dimensional composition that dialogues with its environment—whether that’s an industrial warehouse, a historic church, or a pop-up in unexpected corners of the city.

I’m particularly drawn to the power of scent: it’s the most invasive of the senses—you simply cannot not smell. A single whiff can unearth memories and emotions that lie dormant, and once released, they take on a life of their own—beyond the artist’s control. I relish that unpredictability; giving up control in this way encourages a genuine co-creation with the viewer, making each installation a unique, unrepeatable encounter.

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