ArtSlant - Openings & events en-us 40 Peaches - me Collectors Room Berlin - February 10th 7:30 PM - 9:00 PM <p>The Canadian singer and musician discusses the Cindy Sherman<br />exhibition and her new album Rub</p> <p><br />Moderation and concept: Florian Werner</p> <p>&nbsp;</p> <p>To book a place, please email</p> Fri, 29 Jan 2016 11:35:44 +0000 Kristina Schuldt - Galerie EIGEN + ART (Berlin) - February 11th 5:00 PM - 9:00 PM Sun, 07 Feb 2016 11:33:59 +0000 Nestor Sanmiguel Diest - carlier | gebauer - February 12th 6:00 PM - 9:00 PM <p style="text-align: justify;">carlier | gebauer is pleased to announce its first solo exhibition with Spanish artist N&eacute;stor Sanmiguel Diest, a founding member of the A Ua Crag collective and a leading figure of the 1980s avant-garde in Aragon.</p> <p style="text-align: justify;">Sanmiguel Diest began to pursue his artistic practice while initially maintaining a career as a pattern maker. Although the artist has long left his work in the field of applied arts behind,this experience &mdash; combined with his voracious interest in literature and philosophy &mdash; has exerted a broader influence on Sanmiguel Diest&lsquo;s schematic thinking and the quasi-mathematical structures that inform his creative process.</p> <p style="text-align: justify;">Sanmiguel Diest constructs his paintings and works on paper as palimpsests, alternately layering strata of found materials like magazine clippings, newspapers, industrial reports, mail, formulas, and texts atop one another in interplay with layers of ink, paint, graphite, solvents, and ballpen. The artist has developed a lexicon of lines and patterns that he uses to formally delimit fragmented spaces, a practice that carries throughout his oeuvre. He wields superimposed layers of information as screens, simultaneously revealing or hiding a succession of pictorial stories or texts. The series El Suicido de Lucrecia (the Suicide of Lucrecia) - which refers to a historical legend that has been an enduring subject for visual artists, including Titian, Rembrandt, and Botticelli - teems with meticulous systems of lines that vertically bisect the picture plane.</p> <p style="text-align: justify;">Sanmiguel Diest&lsquo;s at times hermetic and highly personal conception of art has resulted in a nuanced vocabulary of methodologies and symbols. Like German artist Hanne Darboven, who employed personally derived numerical systems in the creation of her artworks, Sanmiguel Diest&lsquo;s paintings and drawings have an algorithmic quality. However, if we consider an algorithm to be a finite process with a fixed symbolic vocabulary governed by precise instructions, then Sanmiguel Diest&lsquo;s alogorithm&lsquo;s are unstable, constantly stuttering and re-aligning themselves as the repetition of one process unlocks new, unpredictible effects. </p> <p style="text-align: justify;">Sanmiguel Diest employs literature &mdash; and text more broadly &mdash; as a plastic instrument. The writings of references as diverse as the sci-fi master Stanislav Lem, the Dada poet Tristan Tzara, or French symbolist poet St&eacute;phane Mallarm&eacute; have all provided inspirations for his work. Sanmiguel Diest refers to these sources, and the formal process of layering different materials atop one another, as working with overlapping layers of &rdquo;contaminated information&ldquo; &mdash; simultaneous events entangled in one another, &rdquo;soaked by rain.&ldquo;</p> <p style="text-align: justify;"><strong>N&eacute;stor Sanmiguel Diest (born 1949) </strong>lives and works in Aranda de Duero. At first his art practice revolved around actions, documents, paintings, texts and manifestos linked to collectives such as A Ua Crag and Red District. In the 1990s he began to focus exclusively on the medium of painting. Sanmiguel Diest&lsquo;s work has been collected by MACBA, Museo Reina Sof&iacute;a, and MUSAC, among others. He has exhibited his work at MUSAC (2007), and has also taken part in the recent exhibition Locus Solus: Impressiones de Raymond Roussel at the Museo Reina Sof&iacute;a (MNCARS).</p> Sun, 07 Feb 2016 11:22:01 +0000 Jessica Rankin - carlier | gebauer - February 12th 6:00 PM - 9:00 PM <p style="text-align: justify;">carlier | gebauer is pleased to present a solo exhibition with the Australian artist Jessica Rankin. Field of Mars will be the artist&lsquo;s third exhibition with the gallery.</p> <p style="text-align: justify;">Jessica Rankin is best known for her expansive celestial maps and landscapes, which are interspersed with codes, signs, and symbols that refer to the processes of memory, intuition, and interpretation. Rankin often begins her creative process with the written word, combining stream of consciousness, found texts, stories, memories and fleeting thoughts. She then cuts apart individual words and phrases and recomposes them into new sequences using a method of &rdquo;guided chance.&ldquo; These clusters of texts are then integrated into Rankin&lsquo;s drawings and embroideries.</p> <p style="text-align: justify;">In her current exhibition with carlier | gebauer, Rankin continues to employ constellation maps as a frame of reference. The works on view all refer to a single night sky - a date of personal significance for the artist. By focusing on a discreet, private moment, Rankin places the personal within a broader macro-relationship to time and space. Rankin&lsquo;s large-scale embroidery Field of Mars depicts a delicate celestial lattice plotting the points between the stars on the date that she found and visited her mother&lsquo;s grave. Although the term Field of Mars extends back to antiquity, Rankin&lsquo;s use of the name refers to the cemetery where her mother was buried. Typically ascribed to the women&lsquo;s realm, the medium of embroidery proposes an immersive slowness of process that reinscribes an association that once belonged to military antiquity into a highly subjective poetic reference.</p> <p style="text-align: justify;">Similarly, landscapes become personal and not simply geographical in Rankin&lsquo;s works. Her collage Could I Just Have The Sober Hand depicts the rolling hills, meadows, and rugged coastline of England. Using photographs culled from the book A Writer&lsquo;s Britain, Rankin&lsquo;s collage seems to emphasize the seams between each image, highlighting a discontinuity in the depicted landscape that formally evokes lapses in memory and the gap between things as they are experienced and as they are remembered.</p> <p style="text-align: justify;"><strong>Jessica Rankin (b.1971, Sydney) </strong>lives and works in New York. In spring 2016 Museum Dhondt-Dhaenens will present the two person exhibition Julie Mehretu/Jessica Rankin. Selected solo exhibitions include Salon 94, New York (2014); SCAD, Atlanta (2013); PS1 Contemporary Arts Center, New York (2006); and Franklin Artworks, Minneapolis (2005). Rankin has participated in numerous group exhibitions in the US, Europe and Australia.</p> Sun, 07 Feb 2016 11:22:47 +0000 Mark Van Yetter - Galerie Micky Schubert - February 12th 7:00 PM - 9:00 PM Sun, 07 Feb 2016 07:41:34 +0000 Group Show - Blain|Southern Berlin - February 13th 1:00 PM - 3:00 PM <p style="text-align: justify;">Blain|Southern Berlin announces a group show featuring every artist who has exhibited at the gallery since its inauguration.</p> <p style="text-align: justify;">Blain|Southern Berlin opened in 2011 with a site specific installation created by celebrated British artists Tim Noble &amp; Sue Webster. The gallery represents an international roster of contemporary artists and has an exhibition programme that celebrates the breadth of contemporary art practice worldwide.</p> Sun, 07 Feb 2016 07:23:13 +0000 - KW Institute for Contemporary Art - February 13th 5:00 PM - 10:00 PM <p class="visible" style="text-align: justify;"><em>In his terror of chaos, (man) begins by putting up an umbrella between himself and the everlasting chaos. Then he paints the underside of his umbrella like a firmament. Then he parades around, lives, and dies under his umbrella. Bequeathed to his descendants, the umbrella becomes a dome, a vault, and men at last begin to feel that something is wrong.</em></p> <p class="visible" style="text-align: justify;">D.H. Lawrence</p> <p class="visible" style="text-align: justify;">Departing from the traditional coordinates of the occidental world-view, the exhibition SECRET SURFACE asks where &ndash;  and more importantly, how &ndash;  meaning may materialize.</p> <p style="text-align: justify;">Through our permanent reference to a &ldquo;beyond&rdquo; (be it the horizon, the universe, or the ultimate &ldquo;beyond&rdquo; death), an opositition is set up in which these depths are regarded as the ordinary&rsquo;s other, which provide direction to our existence, and which implicitly devalue the surface. People and things are considered superficial if they lack complexity and intensity. SECRET SURFACE turns this logic upside down, and presents contemporary artworks that conceive of the surface as the location of experience itself, both in terms of subjectivity and towards the outer world.</p> <p style="text-align: justify;">SECRET SURFACE is funded by the Kulturstiftung des Bundes (German Federal Cultural Foundation).</p> <hr /> <p style="text-align: justify;"><em>In his terror of chaos, (man) begins by putting up an umbrella between himself and the everlasting chaos. Then he paints the underside of his umbrella like a firmament. Then he parades around, lives, and dies under his umbrella. Bequeathed to his descendants, the umbrella becomes a dome, a vault, and men at last begin to feel that something is wrong.</em></p> <p style="text-align: justify;">D.H. Lawrence</p> <p style="text-align: justify;">Ausgehend von den traditionellen Koordinaten des abendl&auml;ndischen Weltbildes geht es in der Ausstellung SECRET SURFACE darum, wie und vor allem wo Sinn entsteht.</p> <p style="text-align: justify;">Durch permanente Referenz auf ein Jenseits &ndash; den Horizont, das Universum, und, letztlich, den Tod &ndash; das in unserer Vorstellung dem Gew&ouml;hnlichen entgegen steht und damit unserer Existenz eine Richtung gibt, assoziieren wir Sinn mit Tiefe und werten damit implizit die Oberfl&auml;che ab. Oberfl&auml;chlich sind jene Menschen und Dinge, denen es an Komplexit&auml;t und Intensit&auml;t mangelt. SECRET SURFACE kehrt diese Logik um und pr&auml;sentiert zeitgen&ouml;ssische Werke, die die Oberfl&auml;che sowohl im Hinblick auf Subjektivit&auml;t als auch auf die &auml;u&szlig;ere Welt als einen Ort der Erfahrung konzipieren.</p> <p style="text-align: justify;">SECRET SURFACE wird gef&ouml;rdert durch die Kulturstiftung des Bundes.</p> Tue, 12 Jan 2016 10:44:52 +0000 Melike Kara - Peres Projects - February 13th 6:00 PM - 8:00 PM <p class="p1" style="text-align: justify;">Face to face, he said, but the door does not seem to follow the advancements of your pressing body. Faces are not facts, nor are they facets, but rather acts of expression. With that in mind you relax, leaning your head and body against a brick wall, waiting for the next best thing to happen. From a glance you see the note ahead of you: Back Anytime Soon. Tick tock, tock tick, take note: time does not pass on equal terms to two distant bodies. To those who leave anybody so aimlessly pressed up against a wall waiting, today is not anytime soon, but rather any given day, sooner or later. Wer wei&szlig;, wann. Was weiss wer. Web wide world. Who will wait. Water washes water, with wasser, as well. Mix well, but do not shake. Shhhhhh! Can you hear the ticking, or is the sound only circulating my own mind? Aimlessly placed bodies and their equally amputated parts can go numb in the long run. <em>Knock knock! Who&rsquo;s there? Any. Any who? Any time soon.</em> In the unevenness of time, to the person it concerns his absence depends on the urgency of his business, not the advancements of your own pressing body. You might seem to have all the time in the world, but the world sure doesn&rsquo;t. Listen; speaking of timezones, what one single item would you take to a remote island? Take your time before you answer, you can always leave a message on my phone later. Stranded, you will start to hate islands and all that they stand for. Waves washing the sand, redundant clocks running out of battery, rounded coconuts, and the deceiving milkiness of coconut water. After all, it&rsquo;s not milk, but water. Water washes waves with water, not milk. Meanwhile, can I charge my phone in your wall, I&rsquo;m expecting an important call, from somebody, important. <em>Ring ring! Who&rsquo;s there? Some. Some who? Some body, important.</em> A pressing body presses itself against another but only one of them seems to give in. As one body fails and falls to the ground, the other walks away, leaving behind nothing but footprints in the sand that could belong to anybody who owns a pair of feet. Waves washes away waves with water, wasser and well, alone, you remain, stranded, with your favourite item. You write a note from right to left and place it on top of the other: Be right back. <em>Tick Tock! Who&rsquo;s there? Not. Not who? Not anybody that you know.</em> You sit down in silence, on an island, killing time, as if time had a body to break down. Stranded islands always seem so remote, and even more so in winter. In the absence of anything happening, all you recall is the story of an old nordic esoteric eccentric who died alone on a remote island after following a pure coconut diet. Day in and day out, he drank nothing but this milk-impersonating water. Watching waves washing, water washing water, Wer wei&szlig; wann. When they then found him numb and lifeless they were unsure if it was the fatal fall of a coconut or his faddy diet that in the end killed him. Either way, it was an end. Speaking of, time is up. So, what is your favourite item, the one you would take to a remote island? The item of your choice is time, not because it rhymes, but because it seems as if you have all the time in the world, even though the world itself doesn&rsquo;t. Shhhhhh! I can no longer hear the ticking, unless you tell me that it&rsquo;s touching you too.</p> <p class="p2" style="text-align: justify;">Hanne Lippard</p> Sun, 07 Feb 2016 11:35:24 +0000 Lennart Grau - Circle Culture Gallery - February 26th 7:00 PM - 9:00 PM <p>The solo exhibition &ldquo;2 cm &uuml;ber dem Zenit&ldquo; is presenting opulent, colorful paintings by Berlin-based artist Lennart Grau.<br /><br />Lennart Grau's paintings have a certain anachronistic character. Inspired by the aesthetics of the Rococo, Biedermeier and Baroque, he scours the Internet, auction catalogues and art publications for choice still lifes, landscapes, ruler and hero portraits, that offer a visual pithiness which can hardly be found in the iconographic repertoire of contemporary art. With skilled craft, in acrylic and oil on canvas, he creates exuberant fantasy worlds. The way Grau works with historical images, their appropriation and their idiosyncratic overcoding represents a successful balance between impression and expressiveness. His distance to the currently prevailing visual language nurtures an escapism, which perhaps seeks a point of departure and a reason to drift off into another, much more beautiful and imposing world as a surrogate for an existence trapped in the wretchedness and arrested in the constraints of the day-to-day. The essence of his painting is that it seductively abducts the viewer.<br /><br />Before the tonally shimmering gold, green, turquoise and purple backgrounds, which are sometimes reminiscent of brocade wallpaper, sometimes lit-up horizons and mimic the illusion of theater curtains parting, figures from various societal and professional milieus appear. The artist, who studied at the Berlin University of the Arts (UdK), gives his protagonists their character through garments and typical poses, and presents them, as he himself puts it, &ldquo;2 cm &uuml;ber dem Zenit&rdquo; (2 cm above the zenith) &ndash; which is also the title of the exhibition. They have already surpassed the highpoint of their worldly power. Their vain transience emphasizes Grau, who has long been interested in political iconography, through the exaggeration of their vestiary accoutrements and richly decorated interiors. In the truest sense of the word, they escape the two-dimensional canvas, since the pasty color masses curve up into relief-like structures and extend into the real space of the viewer. They disengage from the representation of the objects to articulate the autonomous quality of mixed paint, the marbled structures, the undulating curves, flowing like lava on the surface.<br /><br />The figures whose faces remain void of identity and without special characteristics &ndash; mostly just eye sockets are visible &ndash; as well as the sensual landscapes, the rich flower bouquets and the sumptuous still lifes deliver one thing above all, namely, the impulse of a sprawling artistic urge towards decorative ornamental stylization. The resulting unconditional affirmation of the beautiful often leads to an aesthetic overdose, which was once damned in the history of culture as kitsch and then praised in turn in Pop Art. As a stylistic means and an affective reservoir, kitsch with its artistic pathos and a proclivity for interminable sentimentality has long been at home in contemporary high culture. Occasionally kitsch has been accused of being completely devoid of irony, and uncritically affirmative. But this argument overlooks that in the exaggeration and the excessiveness there is also an ironic principle &ndash; perhaps as a contemporary reading of Jean Baudrillard&rsquo;s strategy of affirmation. Despite the historic connection, Lennart Grau&rsquo;s art has little to do with the 1980s, with postmodernism and its references of adding together times and epochs. Rather his art construes an imago of the present as alternative world, knowing full well that the truth is the invention of a liar (Heinz von F&ouml;rster). Because too much is just enough. Mannerism at its best! (Excerpt from: Angela Stief &ndash; Beyond Beauty. About the escapist painting of Lennart Grau /transl. Jacob Watson)</p> Sat, 06 Feb 2016 13:08:49 +0000 Group Show - croy nielsen - February 26th 6:00 PM - 9:00 PM Sun, 07 Feb 2016 11:28:01 +0000 Group Show - Neuer Berliner Kunstverein - March 4th 7:00 PM - 9:00 PM Tue, 12 Jan 2016 10:48:12 +0000 Thu Van Tran - Neuer Berliner Kunstverein - March 4th 7:00 PM - 9:00 PM Tue, 12 Jan 2016 10:48:46 +0000 Group Show - Haus der Kulturen der Welt - March 10th 7:00 PM - 9:00 PM <div class="two-columns"> <p style="text-align: justify;">How does the progressive quantification of our social behaviors through technology and their monetization change these very behaviors? How does extensive data collection impact our understanding of society, the state and the self? Beyond contemporary disclosures about mass surveillance by intelligence services, the promises inherent in &ldquo;big data&rdquo; determine discourses about future innovations and systems of classification in government and industry, which aim to increasingly transform political and systemic questions into those of technological management. The promises of social participation and &ldquo;digital democracy&rdquo; stand in contrast to new forms of cybernetic control and modulation of social behavior on an unprecedented scale.</p> <p style="text-align: justify;">The countless sensors of ubiquitous digital and technological infrastructures have united the state, industry, body and technology into ever more complex &ldquo;nervous systems,&rdquo; since industrialization began. The nervousness and uncertainty of modern systems are revealed in particular where relationships of power and participation come to the fore, namely in the &ldquo;social question.&rdquo; Beyond cybernetic control, there is nervousness within disciplinary systems and today&rsquo;s ideology of &ldquo;total information awareness&rdquo;, made especially evident by the gaps between the promise of information-based, solution-oriented &ldquo;management,&rdquo; security discourses and sociopolitical realities.</p> <p style="text-align: justify;">After the exhibition <a title="The Whole Earth" href="" target="_blank">The Whole Earth</a> (2013) and alongside the multi-year <a title="Technosphere" href="" target="_blank">Technosphere</a> project, with this exhibition the Department of Visual Arts at Haus der Kulturen der Welt continues its exploration of the present and past of cybernetics as well as the political dimensions of the global infrastructure in the anthropocene.</p> <p style="text-align: justify;"><em>Nervous Systems</em> is an essay exhibition with artistic works, newly commissioned productions and contextualizing materials curated by Anselm Franke in collaboration with Stephanie Hankey and Marek Tuszynski from the Tactical Technology Collective. Tactical Tech is an international NGO that helps activists and journalists understand and use digital technologies in their work. Since its founding in 2003, Tactical Tech's work is guided by principles of freedom of information and expression. Worldwide they have supported thousands of human rights activists to creatively employ information and communication in their work towards social and political change. Tactical Tech works to show how digital traces are left behind in the mesh of power structures. For the duration of the exhibition, Tactical Tech will enable visitors to explore their own &ldquo;digital shadows&rdquo; in a walk-through installation. Visitors can also discuss subjects like data footprints and the politics of data directly with experts.</p> <p style="text-align: justify;">With artistic contributions by Mari Bastashevski, Emma Charles, Charles Gaines, Melanie Gilligan, Goldin+Senneby, Lawrence Abu Hamdan, On Kawara, Henrik Olesen, Julien Pr&eacute;vieux, Jon Rafman, Deborah Stratman, and others. With contributions by Gr&eacute;goire Chamayou, Avery F. Gordon, Orit Halpern, Tung-Hui Hu, Lawrence Liang, Matteo Pasquinelli, Noortje Maares, Nishant Shah, and Mushon Zer-Aviv.</p> <p style="text-align: justify;"><em>An exhibition by Haus der Kulturen der Welt in collaboration with Tactical Technology Collective, co-curated by Stephanie Hankey, Marek Tuszynski and Anselm Franke.</em> Nervous Systems <em>takes place as part of <a title="100 Jahre Gegenwart" href="" target="_blank">100 Years of Now</a>.</em></p> <hr /> <div class="two-columns"> <p style="text-align: justify;">Wie ver&auml;ndert die massiv fortschreitende Quantifizierung unseres Sozialverhaltens und ihre Monetarisierung dieses Verhalten selbst? Wie beeinflusst die umfassende Datenerfassung Konzepte von Gesellschaft, Staat und dem Selbst? Jenseits gegenw&auml;rtiger Enth&uuml;llungen &uuml;ber die Massen&uuml;berwachung der Geheimdienste bestimmen die Versprechungen von &bdquo;Big Data&ldquo; die Diskurse &uuml;ber die kommenden Innovationen und Ordnungssysteme in Politik und Wirtschaft. Dabei sollen politische und systemische Fragen zunehmend in solche des technologischen Managements &uuml;berf&uuml;hrt werden. Dem Versprechen von gesellschaftlicher Teilhabe und &bdquo;digitaler Demokratie&ldquo; stehen neue Formen der kybernetischen Kontrolle und Modulierung von sozialem Verhalten in bisher ungekanntem Ma&szlig;stab gegen&uuml;ber.</p> <p style="text-align: justify;">Die unz&auml;hligen Sensoren der allgegenw&auml;rtigen digitalen und technologischen Infrastrukturen verbinden schon seit Beginn der Industrialisierung Staat, Wirtschaft, K&ouml;rper und Technologie zu immer komplexer werdenden &bdquo;nerv&ouml;sen Systemen&ldquo;. Die Nervosit&auml;t und Unsicherheit moderner Systeme offenbaren sich insbesondere dort, wo die Verh&auml;ltnisse von Macht und Teilhabe ins Blickfeld geraten, also entlang der &bdquo;sozialen Frage&ldquo;. Jenseits der kybernetischen Steuerung zeigt sich eine ganz eigene Nerv&ouml;sit&auml;t disziplinarischer Systeme und der heutigen Ideologie einer &bdquo;Total Information Awareness&ldquo; nicht zuletzt angesichts der L&uuml;cke, die sich zwischen dem Versprechen von datenbasiertem, l&ouml;sungsorientiertem &bdquo;Management&ldquo;, Sicherheitsdiskurs und gesellschaftspolitischen Realit&auml;ten auftun.</p> <p style="text-align: justify;">Nach der Ausstellung <a title="The Whole Earth" href="" target="">The Whole Earth</a> (2013), und parallel zum mehrj&auml;hrigen Projekt <a title="Technosphere" href="" target="">Technosphere</a> setzt der Bereich Bildende Kunst des Haus der Kulturen der Welt mit dieser Ausstellung seine Auseinandersetzung mit der Gegenwart und Geschichte der Kybernetik sowie den politischen Dimensionen der globalen Infrastruktur im Anthropoz&auml;n fort.</p> <p style="text-align: justify;"><em>Nerv&ouml;se Systeme</em> ist eine Essay-Ausstellung mit k&uuml;nstlerischen Arbeiten, neuen Auftragsproduktionen und kontextualisierenden Materialien. Die Ausstellung wird von Anselm Franke zusammen mit Stephanie Hankey und Marek Tuszynski vom Tactical Technology Collective kuratiert. Tactical Technology Collective ist eine internationale NGO, die u.a. Aktivisten und Journalisten im Umgang mit sozialen Medien und digitalen Technologien ber&auml;t und schult. Seit der Gr&uuml;ndung im Jahr 2003 engagiert sich Tactical Tech f&uuml;r Informations- und Meinungsfreiheit. Weltweit haben sie Tausende Menschenrechtsaktivisten durch die kreative Anwendung von Information und Kommunikation beim Einsatz f&uuml;r gesellschaftlichen und politischen Wandel unterst&uuml;tzt. Tactical Tech zeigt, welche digitale Spuren im Geflecht von Machtstrukturen entstehen. Mit einer begehbaren Installation erm&ouml;glicht das Tactical Technology Collective w&auml;hrend der Ausstellung Besuchern sich in direktem Austausch mit Experten mit ihrem pers&ouml;nlichen digitalen "Schatten" auseinanderzusetzen.</p> <p style="text-align: justify;">Mit k&uuml;nstlerischen Beitr&auml;gen von Mari Bastashevski, Emma Charles, Charles Gaines, Melanie Gilligan, Goldin+Senneby, On Kawara, Henrik Olesen, Julien Pr&eacute;vieux, Jon Rafman, RYBN.ORG, Lawrence Abu Hamdan u.a.</p> <p style="text-align: justify;">Mit Beitr&auml;gen von Gr&eacute;goire Chamayou, Avery Gordon, Orit Halpern, Matteo Pasquinelli, Noortje Maares, Nishant Shah und Mushon Zer-Aviv.</p> <p style="text-align: justify;"><em>Eine Ausstellung vom Haus der Kulturen der Welt in Zusammenarbeit mit dem Tactical Technology Collective, co-kuratiert von Stephanie Hankey, Marek Tuszynski und Anselm Franke.</em><br />Nerv&ouml;se Systeme <em>findet im Rahmen von <a title="100 Jahre Gegenwart" href="" target="_blank">100 Jahre Gegenwart</a> statt.</em></p> </div> </div> Sun, 07 Feb 2016 08:15:22 +0000 Matt Mullican - Capitain Petzel - March 11th 6:00 PM - 8:30 PM Thu, 04 Feb 2016 12:55:48 +0000 Julia Nefedova, Lena Vazhenina - DiehlCUBE - March 17th 6:00 PM - 8:00 PM Sun, 07 Feb 2016 07:50:34 +0000 Alessandro Twombly - Aurel Scheibler - March 18th 6:00 PM - 8:00 PM Sun, 07 Feb 2016 09:15:20 +0000