ArtSlant - Recently added en-us 40 Christina Kubisch - Galerie Mario Mazzoli - May 30th - July 31st <p style="text-align: justify;"><span style="color: #000000;"><span style="font-family: Helvetica, Arial, sans-serif;"><span style="font-size: medium;">Galerie Mario Mazzoli is pleased to present the first solo exhibition in its space by Christina Kubisch.</span></span></span></p> <p style="text-align: justify;">&nbsp;<span style="font-size: medium; font-family: Helvetica, Arial, sans-serif;">At a lecture in San Francisco earlier this year, Christina Kubisch talked as much about seeing as hearing. This fact might be considered unusual, or paradoxical even, for an artist who has made a career predominantly out of creating and capturing sound. And yet, it is precisely through promoting an intense interplay between the eye and ear that Kubisch&rsquo;s works afford an opportunity to &ldquo;see&rdquo; the world more clearly, to apprehend its subtleties in a more nuanced way.</span></p> <p style="text-align: justify;">&nbsp;<span style="font-size: medium; font-family: Helvetica, Arial, sans-serif;">What does Kubisch reveal and how does she allow us to understand our contemporary reality differently? How can sound be anything other than something &ldquo;hidden from view&rdquo;? While her early scores revel in the challenges of annotating sound created through more unusual means (such as thimbles scraping on glass), Kubisch&rsquo;s recent works immerse audiences in existing soundscapes. Her custom-made headphones, for example, induct the wearer into a parallel world of electromagnetic sound. The throbbing, crackling, pulsating, rhythms of this dimension are the manmade tracks that we have overlaid onto nature&rsquo;s compositions. They emanate from transit systems, buildings, lighting displays, security installations, and more, creating a giant sound symphony of sorts, and animating the seemingly lifeless lumps of concrete and metal that generate them.</span></p> <p style="text-align: justify;"><span style="font-size: medium; font-family: Helvetica, Arial, sans-serif;">In general, Kubisch promotes this heightened awareness of our surrounds through relatively modest means. Often working at sites which are disused and or burdened by their histories, she creates environments that account for multiple histories, and futures, in a spirit of true contemporaneity.</span></p> Thu, 21 May 2015 14:27:45 +0000 Roland Boden - Künstlerhaus Bethanien - May 29th - June 21st Wed, 20 May 2015 16:04:37 +0000 Greg Semu - Künstlerhaus Bethanien - May 29th - June 21st Wed, 20 May 2015 16:03:56 +0000 Youki Hirakawa - Künstlerhaus Bethanien - May 29th - June 21st Wed, 20 May 2015 16:03:44 +0000 Olaf Brzeski - Künstlerhaus Bethanien - May 29th - June 21st Wed, 20 May 2015 16:03:32 +0000 Susa Templin - Künstlerhaus Bethanien - May 29th - June 21st Wed, 20 May 2015 16:01:39 +0000 Nevin Aladağ - Wentrup - June 6th - July 31st <p style="text-align: justify;"><em>Traces, </em>Nevin Aladag&rsquo;s latest solo show at WENTRUP, is named for her new 3-channel video work, which is also on view concurrently at the Kunstmuseum Stuttgart. On three separate projection surfaces, Aladag creates a large-scale sound-and-image portrait of the city of Stuttgart. Here we encounter, for instance, an accordion that plays as it unfolds along the length of a lamppost, or a frame drum that rolls loudly through a park landscape. A flute trills as it sails off into the sky with a balloon; the chestnuts in a chestnut tree play a gong and a violin turns on a merry-go-round.</p> <p style="text-align: justify;"><em>Traces </em>is fascinating especially in moments of the orchestrated interaction of only partially controllable sounds. Are sound and image coming together here to tell a tale? As surprisingly as a symphonic interplay seems to arise, it disintegrates just as quickly back into cacophony. The artist has neither designed a soundscape of pure noise, nor has she composed an interpretive piece about the city. Rather, Aladag has invented a remarkable hybrid. The most disparate urban situations become the players in an orchestra. Rocking horses in the pedestrian zone and the slopes of vineyards, downhills on the main street and a carousel in a playground constitute the ensemble that, under Aladag&rsquo;s direction, performs an audio rendition of their city on the accordion, drum, flute and violin &ndash; and elicits wholly unexpected possibilities from each classical instrument.</p> <p style="text-align: justify;"><em>&nbsp;</em></p> <p style="text-align: justify;">In the second room of the gallery, Aladag shows the work<em> Tusch, </em>a sequel to her work<em> Marsch </em>from 2014, which was shown at several venues, including an outdoor installation at Kunsthalle Basel. Castings of 17<sup>th</sup> century cannonballs are the basic elements in<em> Marsch </em>and<em> Tusch. </em>A Tusch is a fanfare, usually played in performative contexts to introduce, conclude or emphasize speeches or performances by honored soloists or conductors. Aladag notates one such Tusch on the wall &ndash; the heads of the notes are the cannonballs, which undergo a musical reinterpretation of their original ballistic milieu. Nevertheless, Aladag leads us back to the projectile context, for it is a fanfare that introduces the shooting of the cannon in the circus. The cannonballs&rsquo; notation depicts the fanfare that acoustically announces their entrance into the ring.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Nevin Aladag has gained international attention for her installations, video works and performances. Her works have been widely shown internationally, in various solo- and group exhibitions at institutions including Kunsthalle Basel; MOT-Museum of Contemporary Art Tokyo; Haus der Kunst, Munich; Hayward Gallery, London; Kunsthaus Zurich; Kunsthalle Fridericianum, Kassel; Mathildenh&ouml;he, Darmstadt; ARTER Vehbi Koc Foundation Istanbul, TBA 21 Thyssen Bornemisza Contemporary, Vienna; Museo Tamayo in Mexico, Pythagorion Art Space Schwarz Foundation, Samos, Greece, ICA Institute for Contemporary Art, London, Great Britain.<br /> Aladag participated in the 2013 Sharjah Biennial (UAE), in the 11<sup>th</sup> Istanbul Biennial in 2009 (TR), The 8<sup>th</sup> Taipei Biennial in 2008 (PR China) and the XIV Biennale Internazionale di Scultura, Carrara, in 2010 (I).</p> <p style="text-align: justify;">Works of Nevin Aladag are in the collection of Neue Nationalgalerie Berlin, Centre Pompidou, Paris; Vehbi Koc Collection, Istanbul; Collection of Sheikha Hoor al-Qasimi, TBA 21, Vienna; Pinakothek der Moderne, Munich, DEKA Bank, Frankfurt, Schwarz Foundation, Munich among others.</p> Wed, 27 May 2015 11:49:00 +0000 Inge Mahn - Galerie Max Hetzler (Goethestraße) - June 6th - July 18th Wed, 20 May 2015 15:49:43 +0000 Frank Nitsche - Galerie Max Hetzler (Bleibtreustraße) - June 6th - July 18th Wed, 20 May 2015 15:47:32 +0000 Ryan Mosley - Galerie EIGEN + ART (Berlin) - May 28th - July 4th <p style="text-align: justify;">"Painters come in two varieties. There are those whose work is essentially premeditated, and who seem to understand the journey upon which they are embarking even before they begin. And then there are those for whom painting is a kind of river in full spate into which they jump and, if mother luck and a good deal of pluck stay with them, swim. You could call it a conflict &ndash; or perhaps it is merely part of a continuing conversation &ndash; between the followers of Classicism and the heirs of Romanticism. Ryan Mosley is of the second variety." (Michael Glover)</p> <p style="text-align: justify;">We're proud to annouce that from May 28 until July 4, 2015 we're presenting british painter Ryan Mosley in his first big solo show in our main space in Berlin. The new works have been created especially for this show named &bdquo;The Mirror Never Reflects&ldquo;. The opening reception takes place on Thursday, May 28, 2015 from 5 to 9 pm. So see you very soon!</p> <hr /> <p style="text-align: justify;">"Es gibt zwei Sorten von Malern. Es gibt diejenigen, deren Arbeit im Wesentlichen im Voraus &uuml;berdacht wird und die sich, schon bevor sie beginnen, &uuml;ber die Reise im Klaren zu sein scheinen, zu der sie aufbrechen. Und dann gibt es diejenigen, f&uuml;r die das Malen eine Art rei&szlig;ender Fluss ist, in den sie hineinspringen und in dem sie (wenn ihnen die G&ouml;ttin des Gl&uuml;cks und eine geh&ouml;rige Portion Courage erhalten bleiben) schwimmen. Man k&ouml;nnte es als Konflikt zwischen den Anh&auml;ngern des Klassizismus und den Nachfahren der Romantik bezeichnen &ndash; vielleicht aber ist es lediglich ein Teil eines andauernden Dialogs zwischen diesen beiden Parteien. Ryan Mosley geh&ouml;rt zu der zweiten Art von Malern." (Michael Glover)</p> <p style="text-align: justify;"><br /> Vom 28. Mai bis 4. Juli 2015 zeigt die Galerie EIGEN + ART die erste gro&szlig;e Einzelausstellung des englischen Malers Ryan Mosley in ihrer Berliner Galerie. Pr&auml;sentiert werden die eigens f&uuml;r die Ausstellung &ldquo;The Mirror Never Reflects&rdquo; entstandene Malereien.<br /> Die Er&ouml;ffnung findet am Donnerstag, den 28. Mai von 17-21 Uhr statt. Wir freuen uns auf Euren Besuch!</p> Wed, 27 May 2015 11:48:47 +0000