ArtSlant - Openings & events en-us 40 Dargelos Kersten - Aanant & Zoo - July 1st 7:00 PM - 9:00 PM Sat, 18 Jun 2016 06:37:58 +0000 Leunora Salihu - Galerie Thomas Schulte - July 1st 7:00 PM - 9:00 PM <p>Leunora Salihu, works with various materials including wood, plywood, plaster, and clay, and often combines and relates two different materials to the effect of creating either tension or harmony within a work. In the new ceramic sculptures produced for the exhibition, which will be on view at Galerie Thomas Schulte from July 2 and throughout the summer, the tension inherent in the works however first and foremost resides in the relationship between the whole and the individual parts of its makeup. In the fashion of modular construction, Salihu uses the rhythmic repetition of an array of round and square elements to create an irresolvable link between the form and its compound segments thus opening a vast and complex field of associations ranging from architecture, furniture, or design to the anatomy of insects, and their hives, and nests &ndash; associations placing the work on the verge of the uncanny. Lured in by an immediate intimacy and familiarity, the fascinating game of interpretation will begin only at second glance and through closer inspection.</p> <p><br /> The exhibition coincides with the first comprehensive monograph on the artist&rsquo;s work published by Kerber Verlag.</p> Wed, 22 Jun 2016 14:57:13 +0000 Cristian Andersen, Amy Brener - Wentrup - July 4th 6:00 PM - 8:00 PM Sat, 18 Jun 2016 07:46:11 +0000 Clemens von Wedemeyer - Neuer Berliner Kunstverein - July 7th 7:00 PM - 8:00 PM <p style="text-align: justify;">Artist talk with Clemens von Wedemeyer (artist, Berlin), Gertrud Koch (professor of film studies at Freie Universit&auml;t Berlin) and Volker Pantenburg (guest professor of film studies at Freie Universit&auml;t Berlin)</p> <hr /> <p style="text-align: justify;">K&uuml;nstlergespr&auml;ch mit Clemens von Wedemeyer (K&uuml;nstler, Berlin), Gertrud Koch (Professorin f&uuml;r Filmwissenschaft an der Freien Universit&auml;t Berlin) und Volker Pantenburg (Gastprofessor f&uuml;r Filmwissenschaft an der Freien Universit&auml;t Berlin)</p> Wed, 25 May 2016 16:40:18 +0000 Frank Stella - Sprüth Magers Berlin - July 7th 6:00 PM - 8:00 PM Sat, 18 Jun 2016 07:40:10 +0000 - BERLINARTPROJECTS - July 8th 6:00 PM - 8:00 PM <p><strong>BERLINARTPROJECTS</strong> is proud to present the work of Katrin Korfmann in her first solo exhibition at the gallery. Referring to the distance between Korfmann's studio in Amsterdam and her former hometown Berlin, the title sets the tone for the show &ndash; that of travel, of journey. And this on multiple levels, for the artist&rsquo;s work in itself involves a compression of time and space whilst the pieces on show span approximately 15 years and were produced in two different cities.&nbsp;</p> <p>Fittingly perhaps, the exhibition starts with Berlin, with analogue images taken with a plate camera of the city&rsquo;s firewalls and named after the streets they were shot in. Interested in their status as non-spaces, Korfmann makes a study of these so-called &ldquo;Brandmauern&rdquo; &ndash; structures built for the public good, but invisible to most citizens. Yet this is not a chronological tour through Korfmann&rsquo;s oeuvre, we instead see a dynamic exchange between works from different years developing, works that were created in two distinct cities. Korfmann&rsquo;s trademark synthesis of different temporal and spatial dimensions in artistic form, is most pronounced in her ultrachrome prints from the series <em>Count for Nothing</em>. The artist&rsquo;s photographs frequently take a bird&rsquo;s eye perspective on busy urban scenes, merging several images taken over a given time span to create bustling, energetic portrayals of contemporary life. Figures are blurred through movement, or stand static reading in the street, pigeons fly into the frame from different and impossible angles, capturing a sense of simultaneity, of time frozen yet slipping away all too quickly.</p> <p>An archive of incidental traces and irretrievable memory, Korfmann&rsquo;s works present a specific length of time &ndash; ranging from a few minutes through to an entire day &ndash; from multiple perspectives, fixing a vast array of moments through still photography without losing any of their transience and momentum. Her art is indeed more of a journey than a destination, constantly morphing and changing as you contemplate it, condensing disparate spaces and times into succinct statements of artistic intent.</p> <p>&nbsp;</p> Tue, 31 May 2016 16:14:00 +0000 - Haus der Kulturen der Welt - July 8th 7:00 PM - 10:00 PM <div id="moz-reader-content" style="display: block;"> <div id="readability-page-1" class="page"> <div class="two-columns"> <p style="text-align: justify;">There&rsquo;s hardly another region of the world that has generated as much musical stimuli as the Caribbean. From the epicenters of Havana and Kingston styles like the rumba, mambo and reggae influenced listening habits worldwide. Yet the musical diversity is, like the geographical space it refers to, far greater. With <em>The Other Caribbean</em> this year&rsquo;s <em>Wassermusik</em> will perk up your ears to sounds from champeta to mambo punk and steel pan jazz, from New Orleans to Bridgetown and Barranquilla.</p> <p style="text-align: justify;">Musically speaking, the Caribbean encompasses the southern United States and northern South America, the eastern coast of Central America and the Guianas as much as the lesser known islands San Andres, St. Lucia and Anguilla. Distances are short, ties are close and language barriers that were set by the former (in some cases current) colonial powers are easily overcome: &ldquo;the unity is submarine.&rdquo; The exciting breadth of the rhythms and sounds can, however, be experienced overseas: most of us have heard of calypso, merengue and zouk. But how about goombay, beguine and rapso? How do these styles evolve in the diaspora, in the hands of young musicians in France, the UK or Canada?</p> <p style="text-align: justify;">The musical opening will take place on July 8 with Ernest Ranglin and Friends. Ranglin, a central figure in the history of ska, reggae and dub, as well as Jamaican jazz, will be joined by his &ldquo;friends,&rdquo; the musicians Tony Allen, Cheikh L&ocirc;, Courtney Pine! Over the ensuing three weekends, <em>Wassermusik</em> will voyage across the Caribbean, with Calypso Rose, the Grande Dame of calypso from Trinidad; with Systema Solar from Colombia and the &ldquo;Berbenautika,&rdquo; their version of Cumbia Digital; with Elkin Robinson from Providencia Island and his sound influenced by reggae&rsquo;s predecessors mento, calypso, cumbia and merengue; with the fusion of jazz and voodoo by Jacques Schwarz-Bart: Jazz Racine Ha&iuml;ti and with the reunited legendary Les Vikings de la Guadeloupe.</p> <hr /> <div id="moz-reader-content" style="display: block;"> <div id="readability-page-1" class="page"> <div class="two-columns"> <p style="text-align: justify;">Kaum eine Weltgegend hat so viele musikalische Impulse gegeben wie die Karibik. Von den Epizentren Havanna und Kingston aus haben Stile wie Rumba, Mambo und Reggae weltweit H&ouml;rgewohnheiten gepr&auml;gt. Doch die musikalische Vielfalt ist, so wie der geografische Referenzraum, weit gr&ouml;&szlig;er: Mit <em>Die andere Karibik</em> spitzt die diesj&auml;hrige <em>Wassermusik</em> die Ohren f&uuml;r Kl&auml;nge von Champeta &uuml;ber Mambo-Punk bis Steel Pan Jazz, von New Orleans &uuml;ber Bridgetown bis Barranquilla.</p> <p style="text-align: justify;">Aus musikalischer Sicht schlie&szlig;t die Karibik den S&uuml;den der USA und den Norden S&uuml;damerikas, die mittel- amerikanische Ostk&uuml;ste und die Guayanas genau so ein wie die wenig ber&uuml;hmten Inseln San Andres, St. Lucia und Anguilla. Die Wege sind kurz, die Bindungen eng und &uuml;berwinden problemlos die Sprachgrenzen, die ehemalige (und teilweise noch heutige) Kolonialm&auml;chte gesetzt haben &ndash; &raquo;the unity is submarine&laquo;. Die aufregende Bandbreite der Rhythmen und Kl&auml;nge ist jedoch &uuml;berseeisch zu erfahren: Calypso, Merengue und Zouk d&uuml;rften noch den meisten etwas sagen. Aber was ist mit Goombay, Biguine und Rapso? Wie entwickeln sich diese Stile in der Diaspora, in den H&auml;nden junger Musiker*innen in Frankreich, Gro&szlig;britannien oder Kanada weiter?</p> <p style="text-align: justify;">Den musikalischen Auftakt am 8. Juli machen Ernest Ranglin and Friends. Mit Ranglin, zentrale Figur in der Geschichte des Ska, Reggae und Dub, aber auch des jamaikanischen Jazz, spielen hier unter der unscheinbaren Bezeichnung &raquo;friends&laquo; die Musiker Tony Allen, Cheikh L&ocirc;, Courtney Pine! An den folgenden drei Wochenenden reist die <em>Wassermusik</em> durch die Karibik, mit Calypso Rose, der Grande Dame des Calypso aus Trinidad; mit den kolumbianischen Systema Solar und der &raquo;Berbenautika&laquo;, ihrer Version der Cumbia Digital; mit Elkin Robinson von der Insel Providencia und seinem vom Reggae-Vorg&auml;nger Mento, Calypso, Cumbia und Merengue beeinflussten Sound; mit der Fusion von Jazz und Voodoo bei Jacques Schwarz-Bart: Jazz Racine Ha&iuml;ti und mit den wiedervereinten legend&auml;ren Les Vikings de la Guadeloupe.</p> </div> </div> </div> </div> </div> </div> Wed, 25 May 2016 15:43:35 +0000 Group Show - Kunstraum Kreuzberg / Bethanien - July 15th 6:00 PM - 11:00 PM <p>SHIFTING FOCUS <br /> Exhibition - Workshops - Photobook market<br /> Kunstquartier Bethanien Berlin<br /> <br /> 15.07 - 24.07. 2016<br /></p> <p>SHIFTING FOCUS is a group show of 15 international artists primarily focusing on photography. The participating artists first met in 2012 when taking their Masters Degree in Photography course at the University of the Arts London and at the Royal College of Art in London. Since then, they have remained in close artistic exchange, working actively on the planning of a touring exhibition which will culminate in their first SHIFTING FOCUS exhibition in the renowned Kunstquartier Bethanien Berlin. SHIFTING FOCUS aims to get into an active exchange with Berlin&rsquo;s artists and art lovers. During the 14 days of the exhibition a full programme of lectures, workshops and guided tours will be provided to the audience. The highlight of the programme is the Photobook Market that takes place from 22 to 24 July 2016, introducing the undiscovered and 'up and coming' of the photobooks.<br /> The participating artists are: Marianne Bj&oslash;rnmyr (NO), Marcelo Issamu Deguchi (BRA), Karolina Maria Dudek (P), Joachim Fleinert (DK), Francesca Marcaccio Hitzeman (I), Nathalie Joffre (F), Ute Klein (D), Wagner Kreusch (BRA), Espen Krukhaug (NO), Federica Landi (I), Sara Moralo(E), Simone Padelli (I), Bianca Salvo (I), Sonja Trabandt (D), Nick Wiltshire (UK)<br /> <br /> For the full programme and information about the artists please visit the official website:<br /> <a href="" rel="nofollow" target="_blank"></a><br /> <br /> and follow us on twitter<br /> <a href="" rel="nofollow" target="_blank"></a></p> Sun, 10 Apr 2016 21:21:06 +0000 - Neuer Berliner Kunstverein - July 31st 8:00 PM - 9:00 PM <p style="text-align: justify;">The artistic practice of Clemens von Wedemeyer (b. 1974 in G&ouml;ttingen, living in Berlin) becomes visible in video works, short films and multi-channel installations. His examination of historical phenomena is the basis of his interest and establishes socio-political references right to the present day. With non-linear narratives the artist creates condensations that make the levels of the historical and the fictional intertwine. <br /><br />The starting point of the exhibition P.O.V. (Point Of View) at Neuer Berliner Kunstverein, which assembles seven new works, is the documentary footage of Captain Freiherr Harald von Vietinghoff-Riesch, who as an amateur cameraman filmed in Europe during the Second World War between 1938 and 1942 behind the front line. Using the material as an example, von Wedemeyer examines pictorial spaces and boundaries of the subjective camera at war. The historical shots are compared, analyzed and made tangible by way of an experimental presentation. The examination is made by means of an analysis of the filmed objects, places, points of view and duration of view as well as of other film-specific coordinates. Von Wedemeyer here investigates, who is behind the camera and which information can a subjective view provide at war. The 16mm material serves as a basis for the most recent media space installations. Such as in the work Against the point of view (2016), where one scene of the historic film footage by Harald von Vietinghoff-Riesch is isolated and reconstructed in a computer game environment in the manner of the &ldquo;Virtual Battlefields&rdquo; in order to then allow alternative courses of the historic event. In the two video essays Die Pferde des Rittmeisters (The horses of the cavalry captain) (2016) and Im Angesicht (Face to Face) (2016) entirely different motifs are reassembled. In the first work, horses become the central protagonists of the war machine, in the second, the cameraman's view of civilians, prisoners of war and Wehrmacht soldiers becomes apparent, and the perpetrator's perspective is made tangible. Was man nicht sieht (What you do not see) (2016) presents a conversation with the literary scholar, cultural theorist and writer Klaus Theweleit, the director of Neuer Berliner Kunstverein, Marius Babias and Clemens von Wedemeyer himself, in which the historical footage is commented while viewing it and aspects such as the ethnographic view, soldiers as tourists and the crimes of the Wehrmacht are analyzed. The other new video works in the exhibition reflect the film in the continuity of previous wars and reveal how in the film footage memories of the amateur filmmakers construct themselves. Ohne Titel (Alles) (Untitled (Everything)) (2016) shows the more than three-hour long 16mm original footage trimmed to four minutes.<br /><br />The research and production has been developed in a conceptual collaboration of Clemens von Wedemeyer with the artist Eiko Grimberg.<br /><br />Biography<br />Clemens von Wedemeyer (b. 1974 in G&ouml;ttingen, living in Berlin) studied photography and media at Fachhochschule Bielefeld and at the Academy of Fine Arts in Leipzig, where, since 2013, he is a professor of media art. His works have been shown in numerous international exhibitions and his films were shown at various film festivals, most recently, among others, at Forum Expanded, Berlin (2016); Filmfestival Diagonale, Graz (2016); Museum of Contemporary Art, Chicago (2015); Braunschweiger Kunstverein (2014); Museo nazionale delle arti del XXI secolo, Rome (2013); dOCUMENTA (13), Kassel (2012); Frankfurter Kunstverein (2011); Barbican Centre, London (2009); PS1, New York (2006).<br /><br /><br />Publication<br />Accompanying the exhibition and as part of the n.b.k. book series &bdquo;n.b.k. Exhibitions&ldquo;, a publication by Verlag der Buchhandlung Walther K&ouml;nig, Cologne is released, with an introduction by Marius Babias and texts by Tobias Ebbrecht-Hartmann, Tom Holert and Klaus Theweleit.</p> <hr /> <p style="text-align: justify;">Clemens von Wedemeyers (*1974 in G&ouml;ttingen, lebt in Berlin) k&uuml;nstlerische Praxis wird in Videoarbeiten, Kurzfilmen und mehrkanaligen Installationen sichtbar. Seine Auseinandersetzung mit historischen Ph&auml;nomenen bildet dabei den Ausgangspunkt seines Interesses und stellt sozio-politische Bez&uuml;ge bis in die Gegenwart her. Mit non-linearen Erz&auml;hlformen entwirft der K&uuml;nstler Verdichtungen, die die Ebenen des Historischen und Fiktionalen ineinandergreifen lassen. <br /><br />Ausgangspunkt der Ausstellung P.O.V. (Point Of View) im Neuen Berliner Kunstverein, die sieben neue Arbeiten versammelt, ist das dokumentarische Filmmaterial des Rittmeisters Freiherr Harald von Vietinghoff-Riesch, der als Amateur-Kameramann im Europa des Zweiten Weltkrieges zwischen 1938 und 1942 hinter der Front filmte. Am Beispiel des Materials untersucht von Wedemeyer Bildr&auml;ume und Grenzen der subjektiven Kamera im Krieg. Die historischen Aufnahmen werden verglichen, analysiert und durch eine experimentelle Pr&auml;sentation erfahrbar gemacht. Die Untersuchung findet &uuml;ber eine Analyse der Aufnahmegegenst&auml;nde, der Orte, Blickpunkte und Blickdauer sowie &uuml;ber weitere filmspezifische Koordinaten statt. Von Wedemeyer befragt dabei, wer hinter der Kamera steht und wor&uuml;ber ein subjektiver Blick im Krieg Aufschluss geben kann. Das 16mm-Material dient dabei als Grundlage f&uuml;r neueste medial-r&auml;umliche Installationen. So wird in der Arbeit Against the point of view (2016) eine Szene des historischen Filmmaterials von Harald von Vietinghoff-Riesch isoliert und in einer Computerspiel-Umgebung in der Art der &bdquo;Virtual Battlefields&ldquo; rekonstruiert, um alternative Verl&auml;ufe des historischen Ereignisses zu erm&ouml;glichen. In den beiden Video-Essays Die Pferde des Rittmeisters (2016) und Im Angesicht (2016) werden ganz unterschiedliche Motive neu montiert. Im ersten Werk werden Pferde zu zentralen Protagonisten der Kriegsmaschinerie, im zweiten zeigt sich die Sicht des Kameramanns auf Zivilisten, auf Kriegsgefangene und schlie&szlig;lich auf Wehrmachtssoldaten, wodurch die Perspektive der T&auml;ter deutlich wird. Was man nicht sieht (2016) zeigt ein Gespr&auml;ch mit dem Literaturwissenschaftler, Kulturtheoretiker und Schriftsteller Klaus Theweleit, dem Direktor des Neuen Berliner Kunstvereins Marius Babias und Clemens von Wedemeyer, in dem die historischen Aufnahmen w&auml;hrend einer Materialsichtung kommentiert und Aspekte wie der ethnografische Blick, Soldaten als Touristen und die Verbrechen der Wehrmacht analysiert werden. Die weiteren neuen Videoarbeiten in der Ausstellung reflektieren den Film in der Kontinuit&auml;t fr&uuml;herer Kriege und zeigen, wie sich im Filmmaterial Erinnerungen der Amateurfilmer konstruieren. Ohne Titel (Alles) (2016) zeigt das mehr als dreist&uuml;ndige 16mm Original-Filmmaterial auf vier Minuten gerafft.<br /><br />Die Recherche und Produktion ist in konzeptioneller Zusammenarbeit von Clemens von Wedemeyer mit dem K&uuml;nstler Eiko Grimberg entstanden.<br /><br />Biografie<br />Clemens von Wedemeyer (*1974 in G&ouml;ttingen, lebt in Berlin) studierte Fotografie und Medien an der Fachhochschule Bielefeld und an der Hochschule f&uuml;r Grafik und Buchkunst in Leipzig, wo er seit 2013 als Professor f&uuml;r Medienkunst t&auml;tig ist. Seine Arbeiten wurden in zahlreichen internationalen Ausstellungen gezeigt und seine Filme waren auf diversen Filmfestivals zu sehen, zuletzt u. a.: Forum Expanded, Berlin (2016); Filmfestival Diagonale, Graz (2016); Museum of Contemporary Art, Chicago (2015); Braunschweiger Kunstverein (2014); Museo nazionale delle arti del XXI secolo, Rom (2013); dOCUMENTA (13), Kassel (2012); Frankfurter Kunstverein (2011); Barbican Centre, London (2009); PS1, New York (2006).<br /><br /><br />Publikation<br />Zur Ausstellung erscheint eine Publikation in der Reihe &bdquo;n.b.k. Ausstellungen&ldquo; im Verlag der Buchhandlung Walther K&ouml;nig, K&ouml;ln, mit einem Vorwort von Marius Babias und Beitr&auml;gen von Tobias Ebbrecht-Hartmann, Tom Holert und Klaus Theweleit.</p> Wed, 25 May 2016 16:40:19 +0000 Rosemarie Trockel, Bernard Frize, Jo Baer, Max Bill, Gerhard Richter - me Collectors Room Berlin - September 14th 6:00 PM - 8:00 PM <p>Moved by an enthusiasm for intense colour and bold expressive gestures, Thomas Olbricht has spent the last 30 years collecting abstract art in a wide variety of styles. At me Collectors Room, he will present a selection of his current favourites, drawn from his collection of 350 works by ninety different artists. At the same time, with the installation of new seating arrangements featuring Danish-designed furniture and carpets, Olbricht is transforming the exhibition spaces into a multi-sensory experience. This will allow the exhibition visitor to relax and have a drink while delving more deeply into the artworks on display and the reading materials.</p> Fri, 10 Jun 2016 11:26:11 +0000