ArtSlant - Closing soon http://www.artslant.com/ber/Events/show en-us 40 Franz Roh - Kunsthandel Jörg Maaß - May 11th, 2012 - June 20th, 2012 <p>Der Kunsthandel Jörg Maaß präsentiert in seiner aktuellen Ausstellung<br />über fünfzig Collagen und Photographien des Künstlers und<br />Kunsttheoretikers Franz Roh.<br />Das reiche Spektrum an Collagen, deren Entstehungszeit sich über<br />mindestens vier Jahrzehnte erstreckt, gibt einen tiefen Einblick in das<br />Werk des Künstlers und den fantasievollen Menschen Franz Roh, der sich<br />besonders dem Werk seines Künstlerkollegen und Freundes Max Ernst<br />verbunden fühlte.<br />Seine frühen Arbeiten werden durch collagierte Holzstichelemente<br />bestimmt, die in einem intuitiven Prozess zu einem neuen<br />Sinnzusammenhang finden, und durch die lyrisch-surrealistischen, fast<br />psychoanalytischen Titel vervollkommnet werden: So schweben<br />Rhinozerosse in Rokoko-Interieuren, Athleten flüchten vor eruptierenden<br />Vulkanen und leicht beschwipste Herren ergehen sich mit ihren Blicken an<br />körperlosen Frauenbeinen. Dass es in den Arbeiten Franz Rohs nicht nur<br />um das künstlerische Experiment oder den kunstkritischen Blick geht,<br />sondern auch ein Reflex auf das Zeitgeschehen mitschwingt, beweisen die<br />Collagen ebenso, wie sie einen tiefgründigen Witz nicht verbergen können.<br />In seinem neugierig tastenden Schaffen bildete das Lehr- und<br />Schreibverbot der Nazijahre einen „unfreiwilligen“ Katalysator, in dessen<br />Resultat ein enormer Umfang an Arbeiten entstand. Spätestens zu dieser<br />Zeit gesellten sich zu den Holzstichelementen auch Elemente der<br />Fotoreproduktionen aus Illustrierten und Werbeprospekten hinzu, bis er<br />gegen Ende der 1950er Jahre auf Holzstiche weitestgehend verzichtete.<br />Die Collagen der Ausstellung werden durch 15 frühe Photographien<br />(Vintage) Franz Rohs ergänzt, teilweise in der Technik des Negativabzugs,<br />die für sein Engagement in Fragen der „Neuen Photographie“ bzw. des<br />„Neuen Sehens“ der 1930er Jahre stehen. Zusammen mit Jan Tschichold<br />widmete er 1929 dieser Bewegung das photohistorisch bedeutende und<br />legendäre Werk „foto-auge“.</p> Mon, 21 May 2012 19:49:20 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Grégoire Hespel - GALLERY BORN BERLIN - June 8th, 2012 - June 21st, 2012 <p>Grégoire Hespel ist ein merkwürdiger Seemann, er ist ein Seemann vom <br /> Ufer. Er spaziert an der Küste entlang, fotografiert sie gelegentlich, <br /> zeichnet und skizziert sie, bevor er sie in seiner Kunst wiedergibt, <br /> umwandelt, verherrlicht. Die Bretagne von Keremma – merkwürdiges <br /> utopisches Polder, im 19. Jahrhundert von Louis Rousseau entworfen –, <br /> die Berge Schottlands oder die düsteren Forste imaginärer Wälder: das <br /> sind die Inspirationsquellen des Malers. Und doch porträtiert er <br /> niemals diese Orte; nur der Eingeweihte kann eine einsame Kapelle (die <br /> zum Beispiel dem Heiligen Guvroc gewidmet ist!), diesen Baum, jenes <br /> baufällige Haus, vielleicht ein Schiffswrack erkennen… aber die Übung <br /> erscheint vergeblich, ganz wie der Versuch, in diesem oder jenem <br /> blasslila, gelben oder blauen Fleck Heidekraut, Ginster oder <br /> Kornblumen zu bestimmen: Wozu auch?<br /> <br /> Im Atelier von Pantin vollzieht sich die poetische Alchimie. Dennoch, <br /> wohl aus Anstand, erwähnt Grégoire Hespel lieber seine Technik als <br /> seine Kunst. Die Palette des Künstlers ist der Betonboden, auf dem die <br /> Ölfarben direkt aufgetragen sind; daneben stehen noch unberührte, sehr <br /> sorgfältig ausgesuchte Leinwände: „Sie sind in zwei dicken Schichten <br /> grundiert“, sagt er, „Nummer 141“. Ausgangspunkt der Bilder ist eine <br /> präzise Zeichnung. Dann arbeitet der Maler in zahlreichen, noch nicht <br /> trockenen Schichten und schleudert schließlich seine <br /> charakteristischen farbigen Flecken „recht zufällig“ auf das Bild; <br /> somit wird die gesamte Farbigkeit gemildert und es entsteht ein ganz <br /> eigenartiges Licht. Am Ende überzieht er mit den so typischen, <br /> gelblich gefärbten Lasuren das Bild. Er erhält dadurch eine „präzise <br /> Unschärfe“, seine „Art, sich Gebieten zu nähern“. Aber von <br /> Gemütsbewegung spricht der Künstler nie.<br /> <br /> Die marmorartigen Effekte der ausgewaschenen Himmel oder im Gegenteil <br /> die Landschaften ohne Himmel, in denen jegliches Azurblau fehlt; die <br /> Ansichten aus der Vogel- oder Froschperspektive; die geschwungenen <br /> Wege, die ans Meer führen; die einsamen Häuser in der Heide: Was sagen <br /> sie uns? Sofort prallen Erinnerungen aufeinander, erscheint Poesie: <br /> man erahnt das Umherirren der Calixte, dieser diaphanen Heldin von <br /> Barbey d’Aurevilly, entlang der Küste; einzig hinterließ sie einen <br /> Hauch von vielfarbigen Blütenblättern, wie sie oft in japanischen <br /> Grafiken zu sehen sind. In einer anderen Landschaft fehlt nur eine <br /> Herde und man könnte sich ein Gemälde von Ruysdael „als Tachist“ <br /> vorstellen, mit dem so niederen Horizont. Und schließlich erzählt ein <br /> liegendes Schiffswrack, das seine klaffenden Eingeweide ausbreitet, <br /> von der unwahrscheinlichen Begegnung zwischen dem Victor Hugo der <br /> Arbeiter des Meeres und Albert Marquet.<br /> <br /> Jeder führt seine Träumerei fort, die der Künstler über den Horizont <br /> hinaus erweitert. Kein Bild ist eingeschlossen. Kein Rand, kein <br /> Rahmen. Man spaziert darin mit unendlichem Glück.<br /> <br /> <br /> Christophe Morin<br /> Kunsthistoriker, Universität von Tours,<br /> April 2011 <br /> <br /> <br /> English version: <br /> <br /> Gregoire Hesel is an unusual sailor, he is a sailor ashore. He walks <br /> down the coast, occasionally photographing, drawing and sketching it, <br /> before he renders it changed and glorified. The Bretagne of Keremma - <br /> strange utopian Polder, designed in the late 19th century by Louis <br /> Rousseau, the mountains of Scotland or the dark forests of imaginary <br /> woods - they are the painter's sources of inspiration though he never portrays these <br /> places. Only the initiated can recognize the lonely chapel ( which is <br /> for example, dedicated to the holy Guvroc!), or this tree, that house <br /> in ruins, maybe a shipwreck...but the exercise is fruitless- why <br /> should one even attempt to designate this or another pale lilac , <br /> yellow or blue patch as heather, gorse, or cornflower? <br /> <br /> The poetic alchemy is completed in the Pantin Studio. However, perhaps <br /> out of propriety, Gre'goire Hesel prefers to mention his technique <br /> rather than his art. The artist's palette is the concrete floor upon <br /> which the oil colour is directly applied ", beside which stand <br /> carefully prepared still untouched selected canvases. "They are <br /> grounded with two thick layers" he says: " Number 141". The pictures <br /> start out as a precise drawing, then the painter works in numerous <br /> layers, and finally throws his characteristic coloured spots "really <br /> coincidentally" onto the painting. In this manner the entire tone is <br /> mellowed and a strange light is created. Finally he covers the picture <br /> with his typical yellow tinted glaze, obtaining a "precise out of <br /> focus" effect; his way to "approach the areas". <br /> The artist never speaks of moods. <br /> <br /> What does all the marbling effect of the washed out sky or <br /> alternatively, the sky-less landscapes from which all azure blue is <br /> missing, or the frog's and bird's eye view, or the winding paths that <br /> lead to the sea and the isolated houses on the heath tell us ? <br /> Immediate memories collide against each other, poetry appears: one <br /> suspects a diaphanous Calixte, this light heroine from Barbey <br /> d'Aurevilly wandering astray along the coast, leaving behind a trace <br /> of colourful petals as often seen in japanese prints. In another <br /> landscape, the only thing that is missing is a herd, and with such a <br /> low horizon, one could imagine a painting in Taschisme by Ruysdael. <br /> And lastly, a submerged shipwreck spread out, with gaping bowels, <br /> tells of the unlikely meeting between Victor Hugo, the worker of the <br /> sea and Albert Marquet. <br /> Everyone's dreams continue beyond the artist's broadened horizon; no <br /> edges, no frames ; one wanders within, in infinite happiness. <br /> </p> Sat, 02 Jun 2012 02:32:37 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Zaha Hadid - Buchmann Galerie - April 27th, 2012 - June 23rd, 2012 <p>The Buchmann Galerie is pleased to announce its third exhibition with the architect Zaha Hadid<br />(b. 1950 in Baghdad), to coincide with Gallery Weekend in Berlin.<br />The focus of the presentation is on eight Silver Paintings, three Dot Paintings, and the large<br />furniture-sculpture Iceberg.<br />Zaha Hadid became internationally known in the early 1980s for a series of spectacular designs,<br />drawings, and paintings, such as her prize-winning design The Peak Leisure Club, Hong Kong in<br />1983.<br />These early studies were unusual in that they were not simply studies associated with a task but<br />also permitted an open interpretation of the project from various perspectives.<br />Architecture always exists in the area of tension between 2-D and 3-D, between the translation of<br />drawing into building. Nevertheless, in architecture is it precisely the drawing, the 2-D works, that<br />achieved true innovations, which is why the Silver Paintings and the Dot Paintings are particularly<br />important in this exhibition “Drawing accelerates the evolution of architecture,” as Patrik<br />Schumacher, Senior Office Partner at ZHA Architects, explains. He continues: “My thesis here is<br />that with the withdrawal into the two-dimensional surface, i. e. the refusal to interpret everything<br />immediately as a spatial representation, is a condition for the full exploitation of the medium of<br />drawing as a medium on invention. Only on this basis, as explicitly graphic manoevres, do the<br />design maneuvers gain enough fluidity and freedom to play.” (Patrik Schumacher, MAK Wien,<br />2003, p. 22)<br />Zaha Hadid’s Silver Paintings and Dot Paintings thus express notions of space that are otherwise<br />familiar only from abstract formulas or can only be experienced as tectonic forms. Images are<br />important to the studio’s work because their modulations of color, gradients of dark to light or<br />pointillist techniques are design means that cause objects to disappear against their background,<br />showing different options on the long path to the built reality. The graphic forms of the Silver<br />Paintings and Dot Paintings are translated step by step into tectonic structures.<br />Zaha Hadid’s images are representational without being naturalistic, because they do not show<br />physical realities but rather architectural possibilities: Hadid’s vision of an abstract architecture<br />whose formal language she has developed from her occupation with Suprematism.<br />Detlef Mertins explains in the catalog to Hadid’s 2006 exhibition at the Guggenheim Museum:<br />“Hadid transformed Suprematism from an art of building complex structures out of elemental<br />geometric shapes into one that seeks to make visible the elemental nature inherent in the world.<br />Where Malevich declared in 1920 that the forms of Suprematism ‘have nothing in common with the<br />technology of the earth’s surface,’ Zaha Hadid’s paintings bring mathematical and geological<br />geometries into greater alignment.”<br />The Iceberg furniture piece, designed for Sawaya &amp; Moroni, is part of a line of formal research that<br />explores the idea of liquid territories. As well there is the Icestorm, a sculpture designed for the<br />MAK in Vienna that embraces and incorporates these different furniture pieces within one whole<br />liquid landscape.<br />The Iceberg is a bench that enables the user to sit on both sides. The outstanding and apparent<br />features of this bench are two icicles – like extensions. One is darting into horizontality whereas<br />the other points vertical. Although these two shapes are opposing and contrasting each other there<br />is mediation between them through a diagonal fold that “morphs” one shape into the other. The<br />morphing process (the continuous transition from one shape to another) enables us to blend<br />disparate shapes into one organic whole.<br />Zaha Hadid has consistently extended the limits of architecture and the designed space. Her<br />experimentation with new spatial concepts has attracted worldwide attention and esteem. In a few<br />weeks, one of Zaha Hadid’s latest projects, the Olympic Aquatic Centre in London will be opened to<br />the public.<br />“There are 360 degrees, so why stick to one?” (Zaha Hadid)</p> Wed, 18 Apr 2012 01:48:20 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list ANDREAS MÜHE - DITTRICH & SCHLECHTRIEM - April 27th, 2012 - June 23rd, 2012 <p>DITTRICH &amp; SCHLECHTRIEM freut sich, die erste Einzelausstellung mit freien Arbeiten des Berliner Fotografen Andreas Mühe zu präsentieren. Mühes ausschließlich analog fotografiertes Werk umfasst Portraits, Interieurs und Landschaftsaufnahmen. Dabei zeugen zahlreiche Motive der unterschiedlichen Genres von seiner Auseinandersetzung mit ästhetischen Repräsentationen politischer Macht. So auch und ganz besonders in dieser Ausstellung: Mühe zeigt sieben Fotografien seiner Werkgruppe „Obersalzberg“, Aufnahmen, deren malerisches Setting ideologisch aufgeladen ist, seit es Hitler als Feriendomizil und zweiter Regierungssitz diente. Zudem setzt Mühe NS-Propagandamaterial in Szene, das auf die Indoktrination im Kinderzimmer abzielte: Er überführt vergrößerte Fotografien von Spielfiguren der 1930er und 40er Jahre in die Installation, indem er sie auf Zeitungspapier gedruckt und im Rheinischen Format fragmentiert in einem der Galerieräume tapeziert.</p> <p>Die sechs kleinformatigen Aufnahmen in der Ausstellung, die der Originalgröße der Negative von Mühes Großbildkamera entsprechen, muten auf den ersten Blick als erhabene Alpenpanoramen und romantische Waldbilder an, die durch ihre technische Perfektion bestechen. Komposition und Lichtführung lenken den zweiten Blick auf Männer in Uniform, die sich fast in der Natur verlieren. Erst bei noch genauerem Hinsehen wird deutlich, dass es sich hier um Nazis handelt, deren Posen verraten, dass sie gerade ihre Blasen entleeren. Mühe inszeniert die ‚pissenden Nazis‘ dabei als Störfaktoren in der idyllischen Landschaft: Ignorant verunreinigen Sie die makellose Natur. Sie geben das Berchtesgadener Land noch immer nicht zur Umdeutung frei, sondern halten symbolisch an ihm fest, indem sie es schamlos als ihr Revier markieren.</p> <p>Mühe setzt mit seiner Inszenierung ambivalente Zeichen: Er bildet keine Nazis ab, sondern arrangiert meist vom Betrachter abgewandte und damit gesichts- und charakterlose Figuren, die eindeutig Nazis repräsentieren. Der Unterschied ist fein, aber von großer Bedeutung: Die Bilder erschließen sich als Fiktionen, deren Anleihen bei zeitgenössischen filmischen und theatralen Inszenierungsstrategien auffällig sind. Die Figuren in den oft verschatteten, unheimlich wirkenden Szenarien verweisen also weder auf Neonazis, die zum Reenactment am Obersalzberg posieren, noch lassen sie sich mit historischen Nationalsozialisten verwechseln. Stattdessen erinnern sie an die ambitioniert ausgestatteten Nazis im zeitgenössischen Hollywoodkino und an die satirisch zugespitzten Nazi-Verkörperungen im postdramatischen Theater. Ihre Uniformen sind offensichtlich Kostüme, ungetragen und blitzsauber. Ihre Posen strotzen vor vulgären Manierismen. Zweifellos geht es hier um unser Bild der Vergangenheit und damit auch um die medialen Konventionen, die dieses Bild prägen.</p> <p>Mühe bedient sich in seinen Bildkompositionen zwar der größenwahnsinnigen Ästhetik der Nationalsozialisten, er schreibt diese aber nicht bruchlos fort. Seine großformatige Arbeit, die ebenfalls der Serie „Obersalzberg“ angehört, birgt dabei einen Schlüssel zu Mühes Distanznahme. Der dem Betrachter zugewandte, als ranghoher SS-Offizier erkennbare Protagonist des Bildes ist halb von seinem Fotografen verdeckt, einem etwas kleineren Unteroffizier, der ihm die Kamera direkt vor das Gesicht hält. Augen und Nase sind somit verborgen, lediglich sein hoch erhobenes Haupt mit energisch vorgestrecktem Kinn und arrogant verzogenem Mund sowie die kerzengerade Aufrichtung seines Oberkörpers sind zu erkennen. Das Bild reproduziert nicht lediglich die von Überlegenheit, Stolz und Unnachgiebigkeit zeugenden Selbstinszenierungen der Nationalsozialisten, sondern es setzt gleichzeitig die Inszenierung als solche in Szene, betont, was auch die anderen Bilder aus der „Obersalzberg“-Serie ausmacht: Das Foto handelt auch vom Augenblick des Fotografierens als Verdichtung jenes minutiösen Arrangements, das diesem vorausging. Die Selbstinszenierung wird ganz offensichtlich einer zeitgenössischen Rahmung unterworfen und in eine düster anmutende Narration eingebunden. In diesem Bild, das sich zu den Rändern hin im Dunkeln verliert, präsentiert Mühe ‚unsere Nazis‘ als Wiedergänger jener historischen Greueltäter, die sich nie abschließend in den Bildern, die wir uns von ihnen machen, erschöpfen werden, sondern nach wie vor und immer weiter die Auseinandersetzung fordern.</p> <p>Andreas Mühe arbeitet seit 2001 als selbständiger Fotograf. Nach seiner anfänglichen Tätigkeit als Presse- und Werbefotograf, widmet er sich seit 2004 verstärkt freien Arbeiten. Seine Fotografien wurden international ausgestellt und mit zahlreichen Preisen ausgezeichnet. Unter anderem erhielt er den Hansel-Mieth-Preis 2010 und den LeadAward für Portraitfotografie der Jahre 2008 und 2010. 2011 widmete ihm die Kunsthalle Rostock seine erste museale Einzelausstellung. Mühe ist zudem in der Ausstellung State of the Art Photography im Düsseldorfer NRW Forum vertreten, die noch bis zum 6. Mai zu sehen ist.</p> <p>Es erscheint ein Katalog zur Ausstellung „Obersalzberg“</p> <p>
—</p> <p><strong>
</strong>DITTRICH &amp; SCHLECHTRIEM is pleased to present the first solo show featuring uncommissioned works by the Berlin-based photographer Andreas Mühe. Mühe’s oeuvre—the artist works exclusively in analogue photography—includes portraits, interiors, and landscapes. Many motifs in the various genres attest to his critical engagement of the aesthetic representations of political power. That is especially true of the pictures in this exhibition: Mühe shows seven photographs from the series “Obersalzberg,” shots whose picturesque setting has been charged with ideological overtones ever since it served Hitler as a vacation home and second seat of government. Mühe also stages Nazi propaganda materials designed for the indoctrination of children: he transposes enlarged photographs of 1930s and 1940s toy figurines into the installation by printing them on Rhenish-format newsprint, cutting them into fragments, and papering the walls in one of the gallery rooms with them.</p> <p>The six small-format photographs in the exhibition—the dimensions match the size of the original negatives produced by Mühe’s large-format camera—seem at first glance to present sublime Alpine panoramas and romantic forest scenes with captivating technical perfection. At a second glance, the composition and careful use of light guide the eye to men in uniform that are almost lost amid the nature. It takes even closer inspection to recognize that they are Nazis and, as their poses reveal, were emptying their bladders at the moment the pictures were taken. Mühe stages the ‘pissing Nazis’ as a nuisance in the idyllic landscape: they ignorantly pollute a pristine natural setting. Even now they refuse to enable a reinterpretation of the countryside near Berchtesgaden, symbolically holding on to it by brazenly marking it as their territory.</p> <p>MüheMühe’s theatrical production deploys ambivalent signifiers: he does not picture Nazis, but rather arranges figures—most of them turn their backs to the beholder and thus become faceless and characterless—who unambiguously represent Nazis. The difference is subtle and yet of great importance: the pictures become legible as fictions in which borrowings from contemporary strategies of filmic and theatrical staging are conspicuous. So the figures in these frequently shadowy and uncanny scenarios do not refer to neo-Nazis posing at Obersalzberg in a form of reenactment, nor must they be confused with historic National Socialists. They instead recall the ambitiously accoutered Nazis in contemporary Hollywood cinema and the satirically exaggerated embodiments of Nazism in postdramatic theater. Their uniforms are patently costumes, unworn and sparkling clean. Their poses burst with vulgar mannerisms. It is indubitably our picture of the past that is at issue here, and with it the medium-specific conventions that shape this picture.</p> <p>Mühe’s visual compositions draw on the megalomaniacal aesthetic of the National Socialists, but he does not just update it, as though working in an unbroken tradition. A large-format work that is also part of the “Obersalzberg” series contains a key to how Mühe distances himself from this aesthetic. The picture’s protagonist—turned to the beholder, he is recognizable as a high-ranking SS officer—is partly obscured by his photographer, a slightly smaller petty officer, who holds his camera right up to his superior’s face, concealing his eyes and nose—all we see are the head held up high, with the chin vigorously jutting forward and the mouth pursed into an arrogant frown, and his upper body, which he keeps straight as a pole. The picture does not simply reproduce the way the Nazis staged themselves to convey their superiority, pride, and intransigence; it at once also stages the theatrical production as such, emphasizing an aspect that defines the other pictures in the “Obersalzberg” series as well: the photograph is also about the moment a picture is taken, when the meticulous arrangements that went before are distilled into a single shot. The officer’s self-projection is patently subjected to a contemporary framing and integrated into a narrative of somber appeal. In this picture, which fades into darkness along the edges, Mühe presents ‘our Nazis’ as revenants of those perpetrators of atrocities who will never be fully contained by the pictures we form of them, still demanding our unwavering critical engagement.</p> <p>Andreas Mühe has worked as a freelance photographer since 2001. Having started out as a press and advertising photographer, he has built a growing body of uncommissioned work since 2004. His photographs, which have been exhibited in Germany and abroad, have received numerous awards, including the 2010 Hansel Mieth Award and the 2008 and 2010 LeadAwards for portrait photography. In 2011, Kunsthalle Rostock mounted his first solo exhibition at a museum. Mühe’s work is also featured in the show State of the Art Photography at NRW Forum, Düsseldorf, which will be on display until May 6.</p> <p>A catalogue will be published in conjunction with the exhibition “Obersalzberg.”</p> Tue, 17 Apr 2012 23:32:58 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Johann Büsen, Helen Acosta Iglesias, Heike Nösslböck, Elisa Asenbaum - G.A.S-station - March 9th, 2012 - June 23rd, 2012 <div align="left"> <div> <div> <div> <div> <div> <div> <div> <div> <div> <div> <div> <div> <blockquote><span style="color: #000000;"><span color="#800000"><span face="Arial" style="font-family: Arial;"><b>3WEEKS : 4 roomprojects – 4th Vernissage<br /> <br /> Exhibitions from March 9th until June 23rd 2012<br /> next Vernissage: Friday, 1st June 2012, 7-10 p.m.<br /> </b><br /> In this new exhibition project the intentation of G.A.S-station is not to present one artist with different works but an <b>intire room concept </b>or installation to an explicit theme. Therefore we call it 3WEEKS 4 roomprojects. We think that the works with different themes and stringent density are a good beginning and we´re pleased to present <b>3WEEKS : 4 roomprojects</b> at G.A.S-station.<br /> <br /> <span size="2" style="font-size: small;"><span style="font-size: x-small;">Johann Büsen EXCURSION: 9.3. until 30.3.2012 - Vernissage 9TH MARCH, 7-10 p.m</span><br /><span style="font-size: x-small;"> Helen Acosta Iglesias WUNSCHFREI: 6.4. until 27. 4.2012 - Vernissage: 6th APRIL, 7-10 p.m</span><br /><span style="font-size: x-small;"> Heike Nösslböck SENSELESS again: 4.5. until 25.5.2012 - Vernissage: 4th MAY, 7-10 p.m</span><br /> </span><b>Elisa Asenbaum</b> FREEFLY Freiheit was heisst das?: 1.6. until 23.6.2012 - Vernissage: 1st JUNE, 7-10 p.m<br /> </span></span><span face="Arial" style="font-family: Arial;"><br /> <span color="#800000"><b>1st until 23th June 2012<br /> Elisa Asenbaum<br /> </b>FREEFLY. Freiheit was heisst das?<br /> FREEFLY. Freedom, what does that mean?, 2000-2012 continued, Mixed Media Installation (Video, Audio,  photography in different formats, on Alu-Dibond and acrylic glass, text on paper)<br /> <br /> <b>Vernissage: June 1st 2012, 7-10 p.m.<br /> </b></span></span></span></blockquote> <blockquote><span face="Arial" style="font-family: Arial; color: #000000;"><span color="#800000">FREEFLY reflects the meaning of freedom and questions it's existence and it's definition in human existence. In the poetic installation FREEFLY, the desire to fly and the desire for freedom are interwoven into dreamlike pictures and sequences.<br /> The artist's starting point for this work was to put the motive ”flying in dreams” synonymously to longig for freedom. ”FREEFLY. Freedom, what does that mean?“ is a subtle consideration and reflection on the topic freedom.</span></span></blockquote> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> Fri, 18 May 2012 13:15:27 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Andreas Blank - Galerie Christian Ehrentraut - May 11th, 2012 - June 23rd, 2012 <p>Wir freuen uns sehr, Sie zur Eröffnung von „Shadows of Words Spoken“, Andreas Blanks erster Einzelausstellung in der Galerie Christian Ehrentraut einzuladen.</p> <p>Andreas Blank vereint in seinen Skulpturen sowohl abstrakte und gegenständliche als auch konzeptuelle und handwerkliche, technische Praktiken. Auf allen Erdteilen sucht er nach oft seltenen Steinen, bearbeitet sie in aufwendigen Arbeitsprozessen und setzt sie mal zu stilisierten, mal täuschend echt wirkenden Alltagsobjekten zusammen. In den präzise inszenierten Rauminstallationen wird die temporäre Natur der abgebildeten Gegenstände in monumentale Permanenz überführt.<br /> Wurden Marmor, Alabaster oder Porphyr in der Bildhauerei historisch meist benutzt, um politische oder religiöse Aufgaben zu erfüllen, erhalten Blanks skulpturale Objekte dagegen einen scheinbar beiläufigen und fragmentarischen Charakter. Die geographische und kulturelle Identität des Arbeitsmaterials und die Denkmal-Funktion der Steinskulpturen verweist auf die Wertigkeit der Gegenstände. Blank hinterfragt das Sichtbare und überführt traditionelle Bezüge und Wertvorstellungen auf das Alltägliche und Gegenwärtige.</p> <p>Andreas Blank (geboren 1976 in Ansbach) hat an der Staatlichen Akademie der Bildenden Künste in Karlsruhe bei Prof. Klingelhöller studiert und am Royal College of Art in London seinen Master gemacht. Er war Stipendiat der Deutschen Studienstiftung und Finalist des New Sensation Award von Channel 4 und der Saatchi Gallery 2009. Blank lebt und arbeitet in London und Franken.</p> <p>--------------------</p> <p>We are pleased to invite you to „Shadows of Words Spoken“, Andreas Blank's first solo exhibition at Galerie Christian Ehrentraut, on Friday, May 11.</p> <p>In his sculptural practice, Andreas Blank combines the abstract and the realistic, the conceptual as well as the technical. He sources stones from quarries from all over the world, carves them with elaborate deliberation and assembles them in sometimes consciously stylized, and other times deceptively realistic objects of the everyday. In his precise installations, the apparently ephemeral objects achieve monumental permanence. Whether marble, alabaster, or porphyry, material historically used to serve religious or political functions, has in Blank's hands acquired a seemingly casual and fragmentary character. The geographical and cultural identity of the stone and the memorial function of stone-sculpture in general refer to the value of each object. Blank questions the obvious and transforms traditional ideals and values on the ordinary and present.</p> <p>Andreas Blank was born in Ansbach in 1976. He attended the Karlsruhe State Academy of Art (Staatliche Akademie der Bildenden Künste) and was Meisterschüler under Prof. Klingelhöller. He held a scholarship with the German National Academic Foundation and received his MFA from the Royal College of Art in London. In 2009 he was a finalist for the New Sensations Award by Channel 4 and the Saatchi Gallery. Blank lives and works in London and Franconia.</p> Mon, 21 May 2012 19:49:13 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Una H. Moehrke - Galerie en passant - June 1st, 2012 - June 23rd, 2012 <p>Wo und wie sind wir, wenn wir ein abstraktes Bild sehen? Was sehen, empfinden und erfahren wir? <b>Una H. Moehrke</b> verbindet in ihren neuen Arbeiten Malerei und Zeichnung auf äußerst subtile Art und Weise. Der Faktor der Leere meldet sich im Zwischenraum der reduzierten Linien der Zeichnungen und als fluoreszierende Gestik zwischen den Farbbalken der Malerei. Jenseits von jeglicher Abbildhaftigkeit balancieren Noumenales und Phänomenales die Möglichkeiten des Sichtbaren aus. Was ist noch zu sehen, wenn die Malerei fast nichts mehr zeigt außer Stille und Raum? Die Assoziation von Bewegung und ihre offene Bedeutungshorizontalität. Ein philosophisches Bilddenken, das Konkretion ausschließt, Weite schafft und auf universelle Fragen verweist, bildet den Rahmenkontext für die Arbeiten von Una H. Moehrke.</p> Tue, 10 Jul 2012 22:58:47 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Anna Blessmann, Peter Saville - Galerie Neu (Mehringdamm) - April 27th, 2012 - June 23rd, 2012 <p>Anna Blessmann and Peter Saville’s Swing Project explores notions of promiscuity and<br />consequent hybridization in the fields of cultural and intellectual exchange. Incorporating<br />materials and forms that lend themselves to physical contact, to being touched, to being in<br />touch with the body, the works in Swing Project 2 explicitly address the ‘viewer’ as a ‘user’,<br />and further the work is ‘completed’ only when it is engaging the viewer/user in interaction.<br />This suggests a collaborative approach, not only in terms of Blessmann and Saville (who<br />come from different art and design backgrounds) working together, but also of inviting<br />participation.<br />The first object visitors encounter in the exhibition is a large, free-standing mirror, which<br />could be a work on display as much as an architectural element. As one faces an image of<br />oneself, one reads the invitation “PLEASE TOUCH THE WORK” engraved into the mirror.<br />A neon work in the same irregular script addresses the visitors in a similarly direct manner;<br />asking “IS IT YOUR FIRST TIME HERE?”, it suggests a typical small talk situation, but also<br />hints at Galerie Neu’s recent relocation to Mehringdamm 72.<br />The chiasm of the sensual and the social is most explicit in Treffpunkt (a meeting point), an<br />interwoven geometric form in longhaired Icelandic sheepskin that allows for persons to ‘enter’<br />it simultaneously and thus entails (potentially anonymous) body contact. The vision of<br />promiscuity that Blessmann and Saville propose also implies an awareness of “what is<br />happening around oneself”, as they put it in conversation––an inter- and trans-disciplinary<br />attention, i.e., for various, already overlapping contexts such as art, architecture, design,<br />fashion or entertainment culture. Reflecting what Blessmann and Saville observe as<br />characteristic of today’s situation, this emphasis is decidedly contemporary. Entering the<br />Purple Box, which was already shown in the exhibition Swing Project 1 at FRAC<br />Champagne-Ardenne in Reims in 2010, one enters a space inside the exhibition space that<br />offers elements of relaxed lounging in dimmed purple light. While a faint scent of eucalyptus<br />hints at the cleansed atmosphere of a sex club, the overall situation adapts elements from<br />another semi-private sub-cultural space, namely that of a dance club’s chill out zone. The<br />transparent, coloured Perspex-front creates a situation in which visitors entering the Purple<br />Box can look outside, but, in a way, also become exposed themselves – seeing and being seen.<br />The two Memory Form works address further questions of usability, body-consciousness,<br />collaboration, and image-production that are as relevant to art as they are to living. Visitors<br />are invited to lie down in sculptural colour forms made from visco-elastic foam. Their body<br />weight leaves imprints that remain visible before the material returns to its original shape. The<br />process is filmed and displayed in the room, enabling them to watch themselves as they<br />complete the work and leave their individual, temporary mark.<br /><br /></p> Mon, 04 Jun 2012 00:39:02 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Cerith Wyn Evans - Galerie Neu (Mehringdamm) - April 27th, 2012 - June 23rd, 2012 <p>In his second exhibition at the belle etage on Mehringdamm 72 Cerith Wyn Evans presents a<br />fourteen meter long neon-work that extends through all three main rooms of the exhibition<br />space. Following the enfilade-like succession of the rooms, the neon spells out a quote from<br />Jimi Hendrix’ 1968 song Voodoo Child:<br />“If I don’t meet you no more in this world. Then I’ll, I’ll meet you in the next one.<br />And don’t be late, don’t be late…”<br />Throughout his practice, Wyn Evans works extensively with references taken from art,<br />literature, and popular culture, from which he develops dense yet elegant installations,<br />addressing questions of translating and (re-)interpreting these resources. At Mehringdamm 72,<br />to read the sentence viewers have to walk along the work, so that the act of reading is<br />experienced as a temporal and spatial process. The title of the exhibition, Constructed<br />Situation, explicitly echoes Situationist theory. Viewed in this light, Wyn Evans’ use of a<br />quote from a Hendrix song is also a détournement, an attempt to reveal or rather create<br />nuances in what might have congealed into an all too romantic model of transgression.<br />Of course, an exhibition is itself literally a constructed situation. Wyn Evans highlights this in<br />a second installation in an adjacent room, where he creates a new version of the interior-like<br />scenario presented in the same room during his 2008 exhibition at Mehringdamm 72. It<br />includes a large-scale drawing by Pierre Klossowski, an antique Persian rug, and a potted<br />plant on a revolving base. Interweaving all these elements into an atmospheric and temporal<br />fabric, Wyn Evans folds the past into the present, just as he projects the present into the future<br />in his neon work in the main space.<br /><br /></p> Mon, 04 Jun 2012 00:43:03 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Meuser - Galerie Nordenhake GmbH - Berlin - April 28th, 2012 - June 23rd, 2012 <p>Galerie Nordenhake is pleased to present an exhibition with new sculptures by Meuser, one of the most significant German artists of his generation. The exhibition loosely follows the logic of a strange publicly-accessible domestic environment. It playfully alludes through the title to the former Palast der Republik, familiarly called ‘Erichs Lampenladen’ in the DDR’s time.</p> <p>His works reverberate with material transformation and decay as well as with poetic internal collisions and contradictions that cause his sculptures to oscillate between seeming beautiful and ugly, elegant and awkward, graceful and burdened. As an example of this attitude, one can see in his “lamp”-works where the supposed functionality is completely negated if not parodied. As a seemingly useful object, it suggests a purpose, but it is of no real use as a lamp, and the function is only suggested by its shape.</p> <p>Meuser traverses a territory in which the sublime and the ludicrous, passion and indifference, depression and levity keep eclipsing one another, or the possibility or need for such distinctions fades away. Precise and subtle, Meuser’s work is only as ambiguous as life.</p> <p></p> <p>Die Galerie Nordenhake präsentiert eine Ausstellung mit neuen Skulpturen von Meuser, einem der bedeutendsten deutschen Künstler seiner Generation. Die Ausstellung folgt lose der Logik einer eigentümlichen öffentlich-zugänglichen, häuslichen Umgebung, welche der Ausstellungstitel spielerisch mit dem ehemaligen Palast der Republik in Verbindung bringt, der zu DDR-Zeiten auch vertraulich “Erichs Lampenladen” genannt wurde.</p> <p>In Meusers Arbeit finden materielle Transformierung und Verfall ebenso einen Widerhall wie poetische innere Widersprüche und Kollisionen, die sie zwischen scheinbarer Schönheit und Hässlichkeit, Eleganz und Unbeholfenheit, Anmut und Beschwertheit oszillieren lassen. Ein Beispiel hierfür bieten seine „Lampen“-Arbeiten, die funktionale Aspekte vollständig verneinen, wenn nicht sogar parodieren. Als scheinbar nützliche Objekte, behaupten sie einen Zweck. Sie sind als Lampen jedoch nicht wirklich nützlich. Allein die Form suggeriert eine Funktionalität.</p> <p>Meuer durchsteift ein Feld indem Erhabenes und Lächerliches, Leidenschaft und Gleichgültigkeit, Schwere und Leichtigkeit einander gegenseitig in den Schatten stellen oder in dem die Möglichkeit oder Notwendigkeit derartiger Unterscheidungen verschwindet. Präzis wie auch subtil sind Meusers Arbeiten nur so mehrdeutig wie das Leben.<br /> <br /> </p> Fri, 20 Apr 2012 21:19:42 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Victor Burgin - Galerie Thomas Schulte - April 28th, 2012 - June 23rd, 2012 <p>Im Rahmen des diesjährigen Gallery Weekend Berlin vom 27. bis zum 29. April 2012 zeigt die Galerie Thomas Schulte ihre erste Ausstellung mit dem britischen Konzeptkünstler Victor Burgin. Im Zentrum der Ausstellung steht die aus acht Diptychen bestehende Foto-Text-Arbeit "Zoo 78", die 1978 während Burgins Aufenthalt als DAAD-Stipendiat in Berlin entstanden ist. Die Ausstellung mit dem Titel "Three decades" versammelt herausragende Fotoarbeiten und eine Videoinstallation, die drei entscheidende Stationen im Werk dieses richtungsweisenden Künstlers beleuchten.</p> <p>For the 2012 edition of Gallery Weekend Berlin (April 27-29), Galerie Thomas Schulte will feature as its center piece "Zoo 78", a photo-text work by the British artist Victor Burgin. The work comprises eight diptyches and was made during Burgin's 1978 residency as a DAAD Fellow. With a careful selection of photography works as well as one video piece this first Burgin exhibition, titled "Three decades", at Galerie Thomas Schulte represents three key stages in this influential artist's long career.</p> Fri, 27 Apr 2012 06:52:28 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Kerstin Grimm, Sevrina Giard, Sabine Wenzel, Tanja Selzer - janinebeangallery - April 27th, 2012 - June 23rd, 2012 <p>The paintings, sculptures and video installations by Kerstin Grimm, Tanja Selzer, Sabine Wenzel and Sevrina Giard show creatures as beings from different spheres: gods and demons, animals and beasts - staged aggressively, erratically, unlikely and pitifully they are defining the motif. <br /><br /> The exhibition's arc of suspense yields almost by itself: The photographically appealing paintings of Tanja Selzer set an antipole to the picturesque photographies of Sabine Wenzel. Kerstin Grimm's surreal drawings and sculptures as the video of Sevrina Giard complement the sight. <br /><br /> Tanja Selzer draws her motifs from the daily media-related flood of images as components of human seceneries, figures in wild natural spectacles or single persons and animals infront of or inside a natural background. She changes these images by composition, shift of colour and an ease of paint application, so they appear in the guise of a pretended, mostly idyllic scene. <br /> The alternating depiction of humans and animals or also their interactions are an expression of their mirror-symmetric anima. Selzer stages this without psychologic abstractions but with the genuine intensity of a direct line to the source of fables and tempers.</p> Wed, 18 Apr 2012 02:39:13 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Martin Boyce - Johnen Galerie - April 27th, 2012 - June 23rd, 2012 <p>On occasion of Gallery Weekend, Johnen Galerie is proud to announce Martin Boyce’s first solo exhibition since winning the Turner Prize in 2011. <br /><br />Boyce’s work can be likened to melancholic, visual poems that consist of a vocabulary derived from Modern design and architecture. Boyce constructs his work by using a complex, visual language of historical design objects that he puts in relation to the present. He focuses on the origins of these objects and explores how the political and esthetic background has transformed over time. Modernity has become the stage for highly ambivalent experiences, and Boyce’s works inquire to which degree its hopes and dreams had to be adjusted to reality as time went by. His work has been greatly shaped and influenced by the abstract concrete trees by the brothers Joel and Jan Martel, designed in 1925 for a Parisian garden. The trees symbolize nature’s submission to design. Boyce uses the trees’ underlying geometric shapes as forms of departure for creating such diverse objects as lettering, lamps, screens, masks, leaves, grilles, fences and furniture. These elements in turn form installations and environments where nature and architecture collapse and evoke a melancholic ambiance of decay and abandonment. Boyce often composes letter-shaped fragments of the concrete tree leaves that can be read as poetic text. It is his poetry that prevents Boyce’s art from ever being cold and detached in its exactitude. On the contrary, the multitude of variations and associations draws the viewer in and touches a deeper place. <br /><br />Martin Boyce (b. 1967) lives and works in Glasgow where he attended the School of Art until 1990. Solo exhibitions of his work include Fruitmarket Gallery Edinburgh (1999), MMK Frankfurt (2002), Tramway Glasgow (2002), Adolf-Luther-Prize exhibition, Krefeld (2004), Centre d’Art Contemporain Geneva (2007), Scottish Pavilion of Biennale di Venezia (2009) and Turner Prize exhibition, Baltic Centre for Contemporary Art, Gateshead (2011).</p> Mon, 07 May 2012 00:28:55 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Stefan Bertalan - Johnen Galerie - April 27th, 2012 - June 23rd, 2012 <p>The general social state of poverty, complacency, degradation and disengagement, together with the material and the cultural decay is probably the most striking characteristic of the Romanian environment during the ’80s. [...] <br />Stefan Bertalan, thanks to his previous idealist, rationalist and constructivist attemps, is the best illustration of the trauma generated by the fall out of love with the depressed and depressing reality endlessly, propagating itself through the local society and civilization, in the last years before Communism. Bertalan migrates from the abstract clean-cut structures and assembles designed to mirror and echo the utopian aspirations for a society built up on ’pure relationships’, a former dream of the rationalist avantgarde, to the most regressive and mind-blowing type of irrational art, regarded as the last port of call where he can take cover against compensatory self-delusion, escapist and illusory ideals, shared still by all those artists caught up with the idea of creating spiritualist or technical and constructivist utopias. [...]<br />The moral approach of his perspective is blatant and very insightful. A far-fetched ethics of demoralisation and debunking, spans itself throughout the whole of this study. Surviving as a skeleton, as well as surviving as a potato, as a bean-stalk or a sunflower, is equivalent to existing within different relationships of dependency that unavoidably end up in disappearance.“ (p. 189-193)<br /><br />„He withdraws in a vegetal Eden, where he can be away from the authoritarian pressure of a violent power that threatens his existence all the time, as he, in turn, refuses to recognise its authority, and confronts it by opposing it with the paradise of the plants, a space where protest, delight, understanding and happiness find a meeting point.“ (p. 212)<br />
<br />Stefan Bertalan (b. 1930) <br />attended the Institute of Fine Arts „I. Andreescu“ (Cluj, Romania) until 1962. Bertalan was co-founder of Group 111, the first community for experimental art in Romania. <br /><br />De Natura Rerum is organized by Erwin Kessler and Victor Man.<br /><br />
Quoted from: Erwin Kessler (ed.): The Self-punishing One (...). The Art and Romania in the 80s and 90s. Romanian Cultural Institute, 2010.</p> Mon, 07 May 2012 00:31:15 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Cerith Wyn Evans - MD 72 - April 27th, 2012 - June 23rd, 2012 Fri, 27 Apr 2012 07:34:59 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Leo Gabin - Peres Projects - April 27th, 2012 - June 23rd, 2012 <p>Peres Projects is very proud to present <i>Whatever is Clever</i>, a solo exhibition by Belgium based Leo Gabin. Leo Gabin (Lieven Deconinck, Gaëtan Begerem and Robin De Vooght) have worked as a collective since the early 2000's in media such as video, painting, drawing and sculpture and have taught as a collective at The Royal Academy of Fine Arts in Ghent where they received their Fine Art degrees.<br /> <br /> Leo Gabin take inspiration from the proliferation of user generated media on the internet and the until now undefined space straddling the public and private realms. Themes of sex, violence and celebrity which dominate these users' experiences are filtered though Gabin's collage based aesthetic and confrontational means of production. Gabin captures images from their video mash ups to silkscreen onto their paintings and ultimately incorporate the acetate used to create the silkscreens in their collages and totem like sculptures.<br /> <br /> This recyclical use of imagery and media draws on the very function of social media and the ownerless, shared content which it consists of. Created in a singular moment of violent, collaborative exertion, these works shed light on the social media space and our collective identities within it.For their first solo show at the gallery, Leo Gabin will present a new body of work consisting of paintings, collages, sculpture and video works.</p> Mon, 07 May 2012 13:35:37 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list