ArtSlant - Recently added http://www.artslant.com/ber/Events/show en-us 40 Chris Dreier, Reinhard Wilhelmi - Laura Mars Gallery - March 7th - April 2nd Thu, 26 Feb 2015 22:54:46 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Jimmy Robert - Tanya Leighton Gallery - March 14th - April 18th Mon, 23 Feb 2015 18:33:08 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Wyatt Kahn - Tanya Leighton Gallery - March 14th - April 18th <p>*A joint exhibition between Tanya Leighton, Berlin and Adrian Rosenfeld, Los Angeles</p> Mon, 23 Feb 2015 18:32:34 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Koki Tanaka - KunstHall - Deutsche Bank - March 26th - May 25th <p style="text-align: justify;">Deutsche Bank honors the Japanese Koki Tanaka as &lsquo;Artist of the Year&rsquo; 2015. Tanaka follows Wangechi Mutu (Kenya), Yto Barrada (France/Morocco), Roman Ond&aacute;k (Slovakia), Imran Qureshi (Pakistan), and Victor Man (Romania) as the sixth international artist to be honored with this award.</p> <p style="text-align: justify;">Koki Tanaka represents a new generation of artists who connect their aesthetic concerns to social issues. Born 1975 in Tochigi, Japan, Tanaka lives and works in Los Angeles. He represented Japan at the 55th Venice Biennale in 2013.</p> <p style="text-align: justify;">Koki Tanaka will present his first major solo show in Europe at the Deutsche Bank KunstHalle in 2015.</p> <hr /> <p style="text-align: justify;">Die Deutsche Bank ehrt den Japaner Koki Tanaka als &sbquo;K&uuml;nstler des Jahres&lsquo; 2015. Er ist nach Wangechi Mutu (Kenia), Yto Barrada (Frankreich/ Marokko), Roman Ond&aacute;k (Slowakei), Imran Qureshi (Pakistan) und Victor Man (Rum&auml;nien) der sechste internationale K&uuml;nstler, der mit dieser Auszeichnung geehrt wird.</p> <p style="text-align: justify;">Koki Tanaka steht f&uuml;r eine neue K&uuml;nstlergeneration, die gesellschaftliche und &auml;sthetische Anliegen miteinander verbindet. Der 1975 in Tochigi, Japan, geborene K&uuml;nstler, lebt und arbeitet in Los Angeles. 2013 gestaltete er den Japanischen Pavillon auf der 55. Biennale in Venedig.</p> <p style="text-align: justify;">Koki Tanaka wird 2015 in der Deutsche Bank KunstHalle seine erste umfassende Einzelausstellung in Europa zeigen.</p> Mon, 23 Feb 2015 18:24:23 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Aleana Egan - Konrad Fischer Galerie - March 13th - April 18th Mon, 23 Feb 2015 18:21:33 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Michal Budny - Galerie Nordenhake GmbH - Berlin - March 14th - April 25th Mon, 23 Feb 2015 18:15:25 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Jeremiah Day - Galerie Arratia Beer - February 27th - April 4th <p style="text-align: justify;">Arratia Beer is pleased to present Jeremiah Day&rsquo;s first solo exhibition in Germany, The Frank Church &ndash; River of No Return Wilderness.</p> <p style="text-align: justify;">Jeremiah Day&rsquo;s practice integrates photography and an improvisational, moving/talking performance method into an idiosyncratic and personal mode of description. The historical and the political are transmitted through embodiment, incarnation and encounters with sites of memory.</p> <p style="text-align: justify;">Part epitaph, part ode, part investigation, The Frank Church &ndash; River of No Return Wilderness draws together years of research and studio performance into an anti-monument, chronicling the example of US Senator Frank Church, remembered only by activists for his work documenting the secret histories of US politics during the Cold War. A widely forgotten figure, Church&rsquo;s name has resurfaced to public attention in the wake of the revelations of Edward Snowden. In the 1970&rsquo;s Church led a series of investigations into the political practices of the United States, including the harassment of Martin Luther King Jr, assassination plots of foreign political leaders, and the development of mass surveillance.'</p> <p style="text-align: justify;">The title of this work is taken from the name of a wilderness reserve in Idaho, named in honor of United States Senator Frank Church, who had ironically used those exact words to warn of crossing over a &ldquo;bridge of no return,&rdquo; and this word play becomes the point of departure and hinge for Day&rsquo;s evocation of Church, his investigation and his subsequent failed Presidential run. The Wilderness, the largest undeveloped area in the lower 48 States, is so vast that forest fires are allowed to take their course, leaving huge areas burned out.</p> <p style="text-align: justify;">A single-channel video interweaves archival footage of Church speaking, with fragments of Day performing in the studio, and is juxtaposed with a large mural painting and series of color photographs depicting the Wilderness. Combined with original artifacts from Church&rsquo;s Presidential run, gifts made to Day in a spirit of comraderie by the Church archive in Idaho, the installation itself becomes a performative gesture.</p> <p style="text-align: justify;">Through a combination of physical scale, and narrative content, the piece attempts to take up the tradition of French history painting, in which art achieves political relevancy through dramatization and metaphor.The Frank Church - River of No Return Wilderness was originally produced in collaboration with the Stedelijk Museum in Amsterdam as part of their 2012 reopening exhibition and was subsequently presented at the Centre George Pompidou in Paris.</p> <p style="text-align: justify;">Visual artist, Jeremiah Day also trained in movement, working regularly with the pioneer of postmodern dance Simone Forti. His work establishes a montage narrative form, where political and personal realities intertwine through different techniques, including photography, video and movement.</p> <p style="text-align: justify;">The video features the contribution of Day&rsquo;s long time musical collaborator Bart de Kroon, an Utrecht-based singer-songwriter who also possesses degrees in Psychology and Genocide Studies.</p> <p style="text-align: justify;">Jeremiah Day (1974, USA) graduated from the University of California, Los Angeles and attended the Rjiksakademie de Beeldende Kunsten in Amsterdam. Recent exhibitions include: &ldquo;Nonfictions&rdquo; with Fred Dewey and Simone Forti at the Santa Monica Museum of Art, &ldquo;The Promise&rdquo; at Arnolfini, Bristol, and 2014 Liverpool Biennial.</p> <hr /> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Arratia Beer freut sich, Ihnen die erste Einzelausstellung des K&uuml;nstlers Jeremiah Day in Deutschland zu pr&auml;sentieren: The Frank Church &ndash; River of No Return Wilderness.</p> <p style="text-align: justify;">Jeremiah Day entwickelt in seinem k&uuml;nstlerischen Werk durch die Verbindung von Fotografie und improvisierter Bewegungs- und Sprachperformance eine pers&ouml;nliche, fast schon idiosynkratische Darstellungsweise. Historische und politische Aspekte seines Schaffens reflektieren sich in durch Verk&ouml;rperungen, Eingliederungen und Begegnungen mit Erinnerungsst&auml;tten.</p> <p style="text-align: justify;">Zum Teil Grabinschrift, zum Teil Ode, zum Teil Ermittlung f&uuml;hrt das Projekt The Frank Church &ndash; River of No Return Wilderness die Ergebnisse jahrelanger Recherche und Studioperfomance zusammen zu einem Anti-Monument. Anhand des Beispiels des Senators Frank Church, heute nur noch erinnert von wenigen Aktivisten, werden Geheimnisse der amerikanischen Politik w&auml;hrend des kalten Krieges nachgezeichnet.</p> <p style="text-align: justify;">W&auml;hrend Frank Church lange Zeit in Vergessenheit geraten war, nahm das &ouml;ffentliche Interesse an seiner Person mit den Enth&uuml;llungen Edward Snowdens wieder zu. Frank Church f&uuml;hrte in den 1970er Jahren eine Reihe von Ermittlungen und Untersuchungen zu gewissen Praktiken der US Politik, unter Anderem zu den Einsch&uuml;chterungsversuchen gegen Martin Luther King Jr., den Pl&auml;ne zur Ermordung ausl&auml;ndischer politischer F&uuml;hrer und der Entwicklung von Massen&uuml;berwachungstechniken.</p> <p style="text-align: justify;">Der Titel der Arbeit stammt vom Namen eines Naturschutzreservates in Idaho, der in Erinnerung an Frank Church dessen Namen tr&auml;gt. Ironischerweise benutzte Frank Church den gleichen Wortlaut als er vor dem &Uuml;bertreten einer &ldquo;Br&uuml;cke ohne Wiederkehr&rdquo; warnte. Dieses Wortspiel ist Ausgangs-, Dreh- und Angelpunkt f&uuml;r Days Auseinandersetzung mit Church, dessen Ermittlungen und fehlgeschlagene Pr&auml;sidentschaftswahl. Die &ldquo;Wildnis&rdquo; ist die gr&ouml;&szlig;te unbebaute, nat&uuml;rlich belassene Fl&auml;che der 48 Kernstaaten, so weitl&auml;ufig, dass Waldbr&auml;nde ungehindert w&uuml;ten k&ouml;nnen und weite Gebiete verbrannt zur&uuml;ck lassen.</p> <p style="text-align: justify;">In der (singel-channel) Videoarbeit wird Archivmaterial von Frank Church verwoben mit Perfomancesequenzen, aufgenommen in Jeremiah Days Studio. Dem werden ein gro&szlig;formatiges Wandgem&auml;lde und eine Serie Farbfotos, die Ansichten &bdquo;der Wildnis&rdquo; tragen, gegen&uuml;ber gestellt. Erg&auml;nzt durch Artefakte der missgl&uuml;ckten Pr&auml;sidentschaftskandidatur Churchs, Geschenke des Church Archives in Idaho die Day in einem Gef&uuml;hl der Verbundenheit &uuml;berlassen wurden, wird die Installation selbst zur performativen Geste.</p> <p style="text-align: justify;">Durch Kombination von r&auml;umlicher Gr&ouml;&szlig;e und narrativem Inhalt, versucht dieses Werk sich in die Tradition der franz&ouml;sischen Historiengem&auml;lde zu stellen, in denen Kunst politisch Relevantes durch Dramatisierung und Metapher verst&auml;rkt und archiviert. Das Projekt The Frank Church - River of No Return Wilderness entstand urspr&uuml;glich in Kooperation mit dem Stedelijk Museum in Amsterdam und war dort Teil der Ausstellung zur Widerer&ouml;ffnung des Museums im Jahr 2012. Danach wurde das Projekt im Jahr 2014 im Centre Georges Pompidou in Paris pr&auml;sentiert.</p> <p style="text-align: justify;">Der visuelle K&uuml;nstler Jeremiah Day, auch geschult in Bewegungskunst arbeitete regelm&auml;&szlig;ig mit der Postmodern Dance Pionierin Simone Forti zusammen. In seiner Arbeit etabliert Day die Montage als erz&auml;hlerischer Form, in der politische und pers&ouml;nliche Realit&auml;ten durch verschiedene Techniken, wie Fotografie, Video und Bewegung verschmelzen und sich durchdringen.</p> <p style="text-align: justify;">Die Videoarbeit beinhaltet einen Beitrag des Musikers Bart de Kroon, mit dem Day eine langj&auml;hrige musikalische Zusammenarbeit verbindet. Bart de Kroon lebt in Utrecht und hat neben seiner musikalischen T&auml;tigkeit einen Abschluss in Psychologie und Genozid Studien.</p> <p style="text-align: justify;">Jeremiah Day (1974, USA) graduierte von der University of California, Los Angeles und studierte an der Rjiksakademie de Beeldende Kunsten in Amsterdam. K&uuml;rzlich realisierte Ausstellungen: &ldquo;Nonfictions&rdquo; mit Fred Dewey und Simone Forti im Sanat Monica Museum of Art, &ldquo;The Promise&rdquo; bei Arnolfini, Bristol sowie Teilnahme an der Liverpool Biennale 2014.</p> Mon, 23 Feb 2015 18:06:24 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Mitchell Syrop - croy nielsen - March 14th - April 18th Mon, 23 Feb 2015 18:00:18 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Vlatka Horvat - ŻAK | BRANICKA - February 14th - April 18th <p>ŻAK | BRANICKA gallery is pleased to present <em>Immeasurables</em>, the second solo exhibition by Vlatka Horvat.</p> <p>&nbsp;</p> <p>Investigating the politics and poetics of spatial arrangement, order and organization, interpersonal and social relations, Vlatka Horvat&rsquo;s practice explores the characteristics of interaction between the body, the built environment and the objects that inhabit it. In her collages, photographs and installations, Horvat often places the body in awkward, puzzling and uncanny positions, situating it on the horizon of objecthood &ndash; a move which questions the stability of categories and structures through which social and political meaning is made. Whilst the body in Horvat&rsquo;s work is repeatedly depicted as disjointed and discombobulated, situated between functional and dysfunctional, between subject and object, the space in which it performs its often absurdist and Dadaist operations, is itself &lsquo;out of joint&rsquo;.</p> <p>Horvat approaches built space and time as series of elements, which can be re-arranged and reconstituted, as though the true nature of both might only become intelligible through the process of unraveling them. In these procedures, &ndash; which include cutting and severing objects, merging them with other dismantled objects, or intervening in built spaces by emulating elements of architecture using cheap disposable materials such as sponge, cardboard and rubber bands &ndash;, the space, the objects and bodies it contains, all converge into a puzzling and uncanny field of new special and temporal becomings.</p> <p>&nbsp;</p> <p class="BasicParagraph">At the centre of the gallery&rsquo;s main space, Horvat presents a selection of new wall-based collage works <em>The Past is Another Country</em> in which the artist reaches for what lies beneath the surface of her family photographs from the 1960s and 1970s, made in Socialist Yugoslavia, at the time when the idea of solidarity, belief in the future and progress were still at their pinnacle. Horvat&rsquo;s mode of &lsquo;entering&rsquo; these images&ndash;all featuring her mother as young adult&ndash;through a set of sophisticated, formal gestures, suggests an almost infantile attempt of evicting the intergenerational transfer of the sense of loss and disillusionment. Using a series of cutting and folding gestures, the artist sometimes removes all context and surroundings around the figure, leaving it suspended in the midst of empty frames. At other times Horvat folds the figure outside the edges of the photograph, or outside the edges of the paper itself.</p> <p class="BasicParagraph">The relation between the sides and the middle similarly comes to the fore in the sculptural work <em>Peripheral Awareness</em>, in which a range of round or tubular objects are placed at the very edges of a table, precariously stopped at the table&rsquo;s brink, apparently caught at a precipice. The safety of the middle and the stability of the centre are abandoned here for a more precarious space of the edge, and the possibility of the objects &ldquo;going over the edge&rdquo; (in both literal and metaphorical sense) hangs in the air. As is the case with Horvat&rsquo;s collages, in Peripheral Awareness, the safe center also becomes a site of abandonment&ndash;evacuated and deserted &ndash;while the edges become sites of activity, enlivened with the presence of objects/figures occupying it, but which are displaced and stopped in a precarious balance between stability and the potential fall.</p> <p class="BasicParagraph">&nbsp;</p> <p class="BasicParagraph">The walls around the sculptural works hold <em>Spread Pages</em>, Horvat&rsquo;s delicate reworkings of the surface of A4 paper. Here the artist again applies a formally consistent process of cutting and folding their surfaces, expanding them outwards from their one-time boundaries to create a constellation of Moebius-like geometrical conundrums. In this process, basic blank pages are dismantled as solid flat-plane surfaces to become problematic three-dimensional artifacts whose borders, edges, and interior dimensions are constantly an issue. While much of Horvat&rsquo;s work to date has subjected a human figure to gestures such as cutting and severing, recombining and reconfiguring, here the focus shifts to the reconfiguration of an object, to negotiation and distribution of space itself, to the possibilities of occupying it, and of re-drawings its borders. In the spatial redefinition and literal unpacking of this everyday object&ndash;the page&ndash;and in the repeated flux/reversal of outside and inside, Spread Pages evokes the social and political movements of territorial expansion and conquest, and the psychological processes of interior revelation and exploration.</p> <p class="BasicParagraph">&nbsp;</p> <p class="BasicParagraph">Vlatka Horvat (b.Čakovec, HR, 1974) works across sculpture, installation, drawing, performance, photography, and text. Her recent solo exhibitions include MMC Luka (Pula), Disjecta Contemporary Art Center (Portland), Bergen Kunsthall and the Kitchen (New York). Recent commissioned projects include installations for MARTa Herford Museum, MGLC Ljubljana, VOLT Bergen, the 53<sup>rd</sup> October Salon (Belgrade), Stroom (den Hague), Greater New York at MoMA PS1 (New York), Aichi Triennale (a collaboration with Tim Etchells) and the 11<sup>th</sup> Istanbul Biennale. Her performances have been presented at many festivals and venues worldwide, most recently at KAAI (Brussels) and LIFT &ndash; London International Festival of Theatre.&nbsp;</p> Thu, 19 Feb 2015 14:02:06 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list