ArtSlant - Recently added en-us 40 Group Show - Galerie Koal - June 22nd - July 30th <p>Can the human body become abstract? Can the nonconcrete evoke sensuality? In its juxtaposition of nude images and non-figurative photographs facing questions the relationship between abstraction and materiality. <br /><br />The show traces this central motif throughout twelve decades of photographic history. The selection made by artist Ingo Mittelstaedt and Stephan Koal includes iconic images by L&aacute;szl&oacute; Moholy-Nagy, Robert Mapplethorpe and Herlinde Koelbl as well as exceptional works by less well-known artists. At its heart, the exhibition explores the potential synergies between formal aesthetics and mimetic approaches to photography. <br />&nbsp;<br />The process of artistic representation is essentially always one of abstraction: the forms, colours and textures of the material world create a reservoir of meanings that make the emotional reception of artworks possible in the first place, but also simultaneously restrict that response by giving a culturally defined framework of interpretation. <br /><br />By bringing together concrete images of bodies with abstract formal worlds, facing develops new hybrid patterns of interpretation and experience. The figurative dissolves into lines and surfaces whilst formerly non-referential compositions morph into organic shapes. Their objective rigour challenges archaic associations of nudity; erotic physique is charged with rational metaphysis. The human body becomes pictorial, the site of projecting disembodiedness.<br /><br />This ambivalence of perception is inherent to photography - a discipline that holds a special place in the canon of fine art. As a means of technical reproduction photography is attributed a certain soullessness whilst at the same time being ascribed magical qualities. Photography has the power to capture moments that the human eye cannot and so transcends the pure depiction of visible reality.&nbsp; &nbsp;<br /><br />Most of the nude images on show are impressions of a moment: youthful bodies lost in reverie whose sensual hedonism relates to the temporal dimension of photography, the fixing of transience. Juxtaposing them with abstract images enhances the hermeneutic dimension of figurative representations by engaging with the particularities of the photographic medium that are central to the analysis of cultural processes in the digital age.<br /><br />Text by Diana Weis / 2016<br /><br /></p> Mon, 27 Jun 2016 18:26:23 +0000 Berenice Abbott - Martin-Gropius-Bau - July 1st - October 3rd <div class="accordiontext_module"> <div class="intro"> <p>&ldquo;Photography doesn&rsquo;t teach you how to express your emotions. It teaches you how to see&rdquo;<br />Berenice Abbott</p> <p>Berenice Abbott (1898-1991) is one of the most important photographers of the 20th century. She spent six decades taking pictures. The Martin-Gropius-Bau is now dedicating an exhibition featuring about 80 pictures to her. Her famous and iconic pictures from the Changing New York series, early portraits and her pioneering work as a scientific photographer will be shown.</p> <p>Born in Springfield, Ohio, Berenice Abbott first studied journalism at the Ohio State University in Columbus before she moved to New York in 1918 to switch to sculpting. She became a Bohemian New Yorker, shared an apartment with author Djuna Barnes and befriended the Dadaists Marcel Duchamp and Man Ray who were about to move to Paris, the capital of modernity.</p> </div> <div class="cont"> <p>In 1921, at 22, Abbott also moved to Paris to continue to study sculpting. Without any money, she ran into Man Ray who happened to need an assistant for his portrait studio. Abbott began to work for him and discovered her talent for photography. Her first solo exhibition was at the Paris Gallery &ldquo;Le Sacre du Printemps&rdquo; in 1926 and featured portraits of artists and authors of the Parisian avant-garde.</p> <p>Through Man Ray, she was also able to meet her idol, Eug&egrave;ne Atget, who captured old Paris in photographs. His photographs show the city in its various facets and offer a special view of Paris and its inhabitants around the turn of the last century. Through its scenic richness and independent creative solutions, his photography distinguishes itself from that of his colleagues who never went beyond documenting buildings. His work also displays an awareness of being at the turn of an era towards modernity. Man Ray who, like Atget, lived in the Montparnasse district of Paris, acquired around forty of his pictures of which he published four in &ldquo;La R&eacute;volution surr&eacute;aliste&rdquo; in 1926.</p> <p>Berenice Abbott visited Atget several times and purchased prints from him. After his death in 1927, she acquired roughly 1,500 negatives and 10,000 of the prints left in his studio. She returned to New York in 1929 to find a publisher for a book about her idol. It is thanks to her that Atget&rsquo;s photography exerted such an influence on American photographers such as Walker Evans or Lee Friedlander.</p> <p>New York, like Paris, was also undergoing a transformation process. Old neighbourhoods were disappearing and replaced by a rapidly-growing skyline. Abbott moved from portrait photography to documenting and stayed in New York. She used Atget&rsquo;s Paris pictures as a guide and began documenting the ever-changing city: Ruins and demolished buildings standing as equals beside new skyscrapers, advertisements as signatures of the modern city, but also decay and poverty became themes for her photography. Abbott utilizes the visual vocabulary of modernity. She prefers a simple, yet dynamic style with top and bottom views, excerpts, stark contrasts and dramatic contours. Changing New York is the name of the chronicle she produced between 1935 and 1939 and published as a book in 1939.</p> <p>In the 1940s, Berenice Abbott returned to scientific photography and served as a picture editor for Science Illustrated for nearly 20&nbsp;years. Abbott worked as a photographer until her death in 1991.</p> <p>The exhibition gives an insight into the &oelig;uvre of a great artist.</p> </div> </div> <div class="event_details"> <div class="event_organizer"> <p>ORGANIZER&nbsp;Berliner Festspiele / Martin-Gropius-Bau. In collaboration with diChroma photography, Madrid<br />CURATOR&nbsp;Anne Morin</p> </div> </div> Wed, 22 Jun 2016 12:05:15 +0000 Leunora Salihu - Galerie Thomas Schulte - July 2nd - August 27th <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 11:30:48 +0000