Bernd Koller
| 1991 |
Galerie Zell am See |
| 1994 | Galerie Ulysses, Wien (Beteiligung) |
| 1999 | Galerie Lang, Wien Galerie Heike Curtze, Salzburg (Beteiligung) |
| 2000 | Galerie Zell am See Kunstverein Werfen Alte Schmiede, Wien Cité International des Arts, Paris (Beteiligung) |
| 2001 | Galerie Heike Curtze, Wien, Salzburg "Zauber der Zeichen", Rupertinum Salzburg (Beteiligung) Kunstforum der Bauholding, Klagenfurt |
| 2002 | Galerie Zell am See |
| 2003 | Galerie Heike Curtze im Zeughaus Radstadt (Beteiligung) "Spotlight 02", Rupertinum Salzburg Galerie Heike Curtze, Salzburg (Beteiligung) Salzburger Landesregierung, Chiemseehof |
| 2004 | "Querschnitt", Galerie Heike Curtze (Beteiligung) "Vision einer Sammlung", Museum der Moderne Salzburg (Beteiligung) |
| 2005 | Galerie Heike Curtze, Wien (Katalog) |
| 2006 | EISLER-PREIS Galerie Heike Curtze, Salzburg ARCO Madrid Austrian Art Meulenstein Srt Museum, Bratislava Meisterzeichnungen VI, Galerie Lang, Wien |
| 2007 | Tresor im BACA Kunstforum, Wien Galerie Heike Curtze, Salzburg (Beteiligung) |
Bernd Koller
The works of Bernd Koller are handling different sources.
There are these pictures which are not dealing with the subjects but with the appereance of their forms out of the not formed, or, their dissapearing into them.
It's furthermore the relationship between the observer and the observed, respectively the question in which relationship memories stand to just experienced.
Therefore Koller is giving a riche choice of recognizable symbols as fishes, butterflys, salamanders, pallets... These are symbols for ideas of the image. These roll can also take literal citation.
Is the spectator seeing Kollers first ideas or the memorie to them. Is he seeing this from outside or make he part of the cognition. Is he a spectator which looks at himself as a spectator?