ArtSlant - Recently added en-us 40 - Museum Europäischer Kulturen - October 10th - April 6th, 2015 <p>The Royal Prussian Phonographic Commission was founded in 1915 with the goal of documenting the language and music of foreign soldiers interned in German prison camps. Among the holdings of the Berlin Phonogram Archive in the Ethnologisches Museum, the wax cylinder collection "Phonographische Kommission (Phonographic Commission)" with some 1000 cylinders remains the most extensive of the historical collections. The sound documents consist exclusively of music recordings.</p> <p>Photographs from the holdings of the Museum Europ&auml;ischer Kulturen from the W&uuml;ns-dorf and Zossen prison camps near Berlin complete the sound recording collection. These prisoners received special treatment from the Germans, who wanted to "re-educate" them to serve in the German ranks. To this end, the photographs taken by Otto Stiehl for the camp commandant's office were also used for propaganda.</p> Mon, 15 Sep 2014 04:13:11 +0000 - Pergamonmuseum - October 10th - March 15th, 2015 <p>The richly decorated fa&ccedil;ade of the early Islamic desert palace of Mshatta was presented as a gift from the Ottoman sultan to the German emperor in 1903, when it was trasported from the Jordanian desert to Berlin, where it now forms the centrepiece of the Museum f&uuml;r Islamische Kunst's collection, on show in the Pergamonmuseum. Its accession history began with a series of photographs of the fa&ccedil;ade which circulated among European archaeologists and art historians around the turn of the century and eventually also landed in the hands of Kaiser Wilhelm II.&nbsp;</p> <p>Photographs would also later play a pivotal role in the archaeological and museological study of Mshatta. Photographic records were made at several key moments in its recent history: before and during the facade's dismantling, after the structure was hit by a bomb in World War II, and during its subsequent restoration in the 1950s. Photographic documentation also formed the basis for recurring debates surrounding the facade's reconstruction and museum display.</p> <p align="left"><br />The Mshatta Facade is about to be transported once again, as the Pergamonmuseum prepares for extensive renovation, and the Museum of Islamic Art now presents selected highlights from the remarkable photographic biography of this unique monument.</p> Mon, 15 Sep 2014 04:08:34 +0000 David Chipperfield - Neue Nationalgalerie - October 2nd - December 31st <p>Sticks and Stones&nbsp;is a prologue to the renovation of Neue Nationalgalerie, which will be carried out by David Chipperfield Architects beginning in 2015. For three months from October to December, 2014, the British architect David Chipperfield (born in 1953) will transform the universal space of the upper glass hall into a hall of columns consisting of 144 tree trunks. From the English children's rhyme&nbsp;Sticks and stones may break my bones, but words will never hurt me, Chipperfield borrows the first words to refer to the basic elements of Mies van der Rohe's building and of architecture in general: sticks and stones.</p> <p>Fifty years after its completion, Ludwig Mies van der Rohe's (1886-1969) building continues to impress with its modern stringency, shaped primarily by its special roof construction. The steel roof, which seems suspended in air, is borne by eight steel columns on the outside, thus allowing for a column-free interior space of 2,500 square meters. With barked spruce trunks that in a dense grid stretch the eight meters from the granite flooring to the steel roof structure, David Chipperfield directs attention to the basic themes of architecture in general.</p> <p>Between nature and architecture, a field stretches that embraces the long cultural history of the column. Against the backdrop of the immanent restoration of Neue Nationalgalerie, the forest of columns also pays homage to the great predecessor Mies van der Rohe and serves as a metaphor for a temporary construction site.</p> <p>The visitors to this accessible installation are offered a spatial experience with a strongly evocative power. At the center of the forest of columns is a meadow, 200 square meters in size, where architectural, interdisciplinary shows will take place, including the Festival of Future Nows by artisit &Oacute;lafur El&iacute;asson.</p> Mon, 15 Sep 2014 04:03:32 +0000 Group Show - C/O Berlin - October 31st - January 18th, 2015 <p style="text-align: justify;">Between&nbsp;<strong>31 October 2014 and 18 January 2015</strong>,&nbsp;<strong>C/O Berlin</strong>will present the exhibition&nbsp;<strong>Magnum . Contact Sheets</strong>. The opening will be held on&nbsp;<strong>Thursday, 30. October 2014</strong>, at&nbsp;<strong>7pm</strong>&nbsp;in&nbsp;<strong>Amerika Haus</strong>&nbsp;in the&nbsp;<strong>Hardenbergstra&szlig;e 22-24</strong>, 10623 Berlin.</p> <p style="text-align: justify;">The decisive moment &ndash; in photography this determines everything. It is a synthesis between knowledge, sensitivity, technology, form, coincidence and pure intuition. When all these elements come together, such strong, unique images are created that they transcend the everyday and reveal something of the essence of life. However, what is the crucial factor that turns particular photographs into icons, engraining them into our collective memory? What happened shortly before, what followed subsequently? The contact sheet documents much more than the decisive moment. It provides an intimate insight into the working process of the act of photographing. The artist&rsquo;s sequences of images follow the traces of movement through the space and also testify to photography&rsquo;s goal of presenting reality in a way that is transparent.</p> <p style="text-align: justify;">At the same time, showing this raw material means absolutely breaking a taboo. This medium is not usually intended for publication, remaining in the protected space of the studio or photo workshop as an intermediate product. The contact sheet is first and foremost the photographer&rsquo;s logbook, a decision-making aid for the selection and indexing of subsequent negative archives. Yet at the same time it is more than an artistic sketchbook; it shows the failed steps taken en route to the end product with all its errors, blunders, blind alleys &ndash; and lucky coincidences. Here, each twist and turn and every decision has been recorded. With this complete transparency and exposure of his working methods, the photographer makes himself vulnerable. He risks breaking the aura of the single image and disenchanting the creative process. Hence when looking at the contact sheet, the viewers become fascinated. On the one hand because they can participate directly in the process, looking over the artist&rsquo;s shoulder, and on the other hand because they are doing something forbidden &ndash; like looking at someone else&rsquo;s diary or into their wardrobe.</p> <p style="text-align: justify;">In the light of this, the rare insight the legendary photo agency Magnum provides with this exhibition is even bolder. It includes more than 100 contact sheets from seven decades by the most renowned photographers worldwide &ndash; ranging from&nbsp;<strong>Robert Capa,</strong><strong>Henri Cratier-Bresson</strong>,&nbsp;<strong>Chim</strong>,&nbsp;<strong>Werner Bischof</strong>,&nbsp;<strong>George Rodger</strong>und&nbsp;<strong>Elliott Erwitt</strong>,&nbsp;<strong>Inge Morath</strong>,&nbsp;<strong>Ren&eacute; Burri</strong>,&nbsp;<strong>Eve Arnold</strong>,<strong>Leonard Freed</strong>,&nbsp;<strong>Thomas Hoepker</strong>,&nbsp;<strong>Josef Koudelka</strong>&nbsp;and&nbsp;<strong>Gilles Peress</strong>&nbsp;to&nbsp;<strong>Martine Franck</strong>,&nbsp;<strong>Martin Parr</strong>,&nbsp;<strong>Jim Goldberg</strong>,&nbsp;<strong>Trent Parke</strong>,&nbsp;<strong>Jonas Bendiksen</strong>,&nbsp;<strong>Bruno Barbey</strong>,&nbsp;<strong>Paolo Pellegrin</strong>&nbsp;and<strong>Alec Soth</strong>.</p> <p style="text-align: justify;">The exhibition shows a chronological sequence of passionately committed reportage from the Second World War, street scenarios from the Prague Spring, icons such as Che Guevara, Mohammed Ali and Malcom X, the Balkan Wars and Bloody Sunday, hot spot Middle East, portraits of Japanese, Brazilian and British society, as well as many more historical events worldwide. By means of this unique combination of contact sheets, three different levels are visible in the exhibition: The respective political-sociological contents of the photographs themselves, the general history of photojournalism, as well as the history of the origins of each of the photos. All of the analogue image formats are included in the compilation put together by Magnum &ndash; from the standard 35mm format to panorama shots or large format photos in black-and-white or colour. The comments and markings made by photographers or photo editors are often visible, showing the best motifs in the series or determining the precise detail of a photo.</p> <hr /> <p style="text-align: justify;"><strong>C/O Berlin</strong> pr&auml;sentiert vom <strong>31. Oktober 2014 bis 18. Januar 2015</strong> die Ausstellung <strong>Picture Yourself . Magnum Photomaton</strong>. Die <strong>Er&ouml;ffnung</strong> findet am Donnerstag, den <strong>30. Oktober 2014</strong>, um <strong>19 Uhr</strong> im <strong>Amerika Haus</strong> in der <strong>Hardenbergstra&szlig;e</strong><strong>22-24</strong>, 10623 Berlin, statt.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Biometrisch, praktisch, gut. Fotoautomaten sind vor allem eins: technisch-stoisch. Jeder sa&szlig; schon einmal in einer dieser n&uuml;chternen Kabinen mit Vorhang und drehbarem Stuhl, M&uuml;nzeinwurf, glei&szlig;endem Blitz und Ausgabeschlitz. Fotoautomaten sind besondere Aggregate autorenloser Fotografie, in denen der Portr&auml;tierte zugleich Akteur und Objekt ist. In ihrer Statik und Funktionalit&auml;t sind sie das absolute Gegenteil einer erz&auml;hlerisch-individuellen Fotografie, f&uuml;r die die legend&auml;re Agentur Magnum steht. Und doch gehen diese beiden fotografischen Prinzipien kongenial zusammen.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">C/O Berlin pr&auml;sentiert weltweit zum ersten Mal sechs eigens konstruierte Fotoautomaten, die die Besucher im Stil von Elliott Erwitt, Martin Parr, Paolo Pellegrin, Philippe Halsman, Steve McCurry und Bruce Gilden ablichten. Was f&uuml;r ein Paradox &ndash; Maschinen simulieren perfekt den individuellen Ansatz der renommierten Magnum-Fotografen! Wer ist in diesem Spiel eigentlich der Urheber? Und das Beste ist, dass der Besucher nach jeder Session sein originales Magnum-Portr&auml;t direkt als Print mitnehmen oder als digitale Datei im Internet verbreiten kann.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Die unabh&auml;ngige Fotoagentur Magnum wurde 1947 in New York von Robert Capa, Henri Cartier-Bresson, George Rodger, David Seymour sowie Rita und William Vandivert gegr&uuml;ndet. Ziel war vornehmlich die St&auml;rkung der Position des Fotojournalisten, der gegen&uuml;ber einem schnell wachsenden Zeitungs- und Zeitschriftenmarkt die Rechte an seinen Negativen behalten und damit besser abgesichert werden sollte. Die Agentur f&uuml;hrte das Copyright am Bild ein, wodurch sie einen wesentlichen Anteil an der Geschichte und Entwicklung des modernen Fotojournalismus hat. Heute z&auml;hlt die Kooperative 40 Vollmitglieder und 16 Korrespondenten und unterh&auml;lt Niederlassungen in Paris, London, New York und Tokio.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><strong>Erm&ouml;glicht durch</strong>&nbsp; SAP</p> Mon, 15 Sep 2014 23:58:10 +0000 Meriç Algün Ringborg - Galerie Nordenhake GmbH - Berlin - September 20th - November 7th <p>Galerie Nordenhake is pleased to present the first solo exhibition of Meri&ccedil; Alg&uuml;n Ringborg in Germany. <em>A Work of Fiction (Revisited)</em> is a complex exhibition generated through a single source: the Oxford English Dictionary. Employing a methodology of only using example sentences found in the dictionary, Alg&uuml;n Ringborg created an author character whose output is strictly prescribed by this constrained methodology. The exhibition challenges the concept of authorship, the role of the writer and thereby that of the artist and explores our relationship to language, expression and meaning.<br /> &nbsp;<br /> The ground floor of the gallery is transformed into an environment reminiscent of an author's space. Right upon entering, a list-like description is presented on an overhead projector. This list is then manifested in the space through furniture, objects and general ephemera; a framework to the artworks created during the process of constrained writing. On the author's coffee table lies<em> A Work of Fiction (Manuscript)</em>. The 24-page manuscript assembles sentences found in the dictionary into a seemingly conventional narrative and adopts the style of a generic romance, thriller and mystery tale. It follows the characters Mark, Maria and Peter whose relations evolve into drama, unfaithfulness and murder. A recording device on the author's desk plays the self-reflexive narrative <em>Metatext</em>. As the author reveals her principles of writing, the narrative meanders, eventually loops and turns in on itself. The two videos <em>Infinity and Eternity</em> focus on hands performing meditative and repetitious tasks, one of which is to tie a decorative knot, the other to perform a trick with a pen. Moreover, <em>Men in Buckram</em> is a series of monochromes made by stretching buckram, a type of cloth used in bookbinding. The title refers to the phrase "men in buckram", originating in Shakespeare's <em>Henry IV</em>, defined to mean "hypothetical men existing only in the brain of the imaginer." <br /> <br /> The video installation <em>A World of Blind Chance</em>, on view on the first floor, adds another layer to Meri&ccedil; Alg&uuml;n Ringborg's intricate project by reflecting on the matter of fact and fiction. Using the same constrained writing technique, the artist has composed a script for a theatre play. The play is structured into three acts, each approximately ten minutes long. In each of them "the actor" (played by Michael Nyqvist) enters the stage rehearsing a monologue; a philosophical rambling on subjects such as acting and being on stage, representation of time and space, the search for truth and the essence of existence, language, chance or the origin of the universe. Whilst the actor is performing his lines, the author's voice directs his movements, making apparent the gap between what is written and what happens in reality. <br /> <br /> Meri&ccedil; Alg&uuml;n Ringborg was born in 1983 in Istanbul and currently lives and works in Stockholm. The contrasts between Istanbul and Stockholm as well as her movement between the two cities play a key role in her practice. Her work concentrates on issues of identity and the notion of self, borders and bureaucracy, language and translation through appropriated and "ready-made" texts, collections and archives. <br /> This autumn, the Moderna Museet in Stockholm will feature a solo presentation of Alg&uuml;n Ringborg's work (Oct 18-Jan 11, 2015), following solo exhibitions at MOSTYN, Llandudno (2014); Contemporary Art Gallery, Vancouver; Art in General, New York (both 2013) and Witte de With, Rotterdam (2012). She participated in the 19. Sydney Biennale and the 12. Bienal de Cuenca (both 2014) as well as the 12. Istanbul Biennial (2011). Alg&uuml;n Ringborg's work was also part of group shows at Funda&ccedil;&atilde;o Iber&ecirc; Camargo, Porto Alegre (2014); Kunstverein Hannover; Marabouparken, Stockholm; MoCA, Detroit and MAK, Vienna (all 2013), as well as at CCA Wattis, San Francisco and Malm&ouml; Konsthall, Malm&ouml; (both 2012). <em>A Work of Fiction (Manuscript)</em> was published in the current issue of Art Review (Vol 66, No 6). <br /> </p> Sun, 14 Sep 2014 21:25:18 +0000 Greg Gorman - galerie hiltawsky - September 13th - November 9th <p>Berlin-based galerie hiltawsky is happy to announce its next exhibition with 30+ portraits by the American photographer Greg Gorman starting September 13th, 2014. The portraits include images of Hollywood stars such as Sharon Stone, Sophia Loren, Robert De Niro, Leonardo de Caprio, Marlon Brando, Johnny Depp, Jeff Bridges as well as musiclegends like David Bowie, Jim Morrison, Tom Waits, Michael Jackson, Frank Zappa, Philip Glass, Pop-Art Icon Andy Warhol a.a..<br /><br />Greg Gorman (*1949, Kansas City, Missouri, USA) initially wanted to become a photojournalist, but when in 1968 he photographed Jimi Hendrix at his concert in Kansas City he started his career as a portrait photographer of now 40 years.<br /><br />Succeeding his Master of Fine Arts in 1968 he started portraying actors and musicians. Many of these iconic black-and-white images became movie posters, covers of CDs or magazines like Life, Newsweek, Vogue and Rolling Stones. Gorman&rsquo;s photographs served more than 20 times the cover of Andy Warhol&rsquo;s Interview.<br /><br />Parallel to his portraiture Gorman created a remarkable body of work in the area of nude-photography. With his unique style with sharp contrasts, extreme lighting and shadows he concentrates on the grafic of face and body creating a classic aesthetic which combines the timeless beauty of human nature with erotic charisma.<br />Gorman&rsquo;s images of David Bowie&rsquo;s wife Iman and males starmodels Tony Ward and Mickey Hardt are legendary.</p> Fri, 12 Sep 2014 00:24:52 +0000 Joseph C L Tong, Selma Devrim Fener - Woeske Gallery - September 13th 7:00 PM - 9:00 PM <p><strong>SELMA DEVRIM FENER</strong></p> <p>Es heisst, dass Mohammed in einer Vision die 100 Namen Allahs empfing. 99 Namen teilte er den Menschen mit. Den 100sten Namen Allahs fl&uuml;sterte er seinem Kamel ins Ohr.</p> <p>Die muslimische Gebetskette &bdquo;Tesbih&ldquo; hat 99 Perlen. Im Gebet soll sie u.a das Sprechen bzw. Z&auml;hlen der 99 Namen Allahs unterst&uuml;tzen.</p> <p>&bdquo;Residuum&ldquo; (2014)</p> <p>365 Tage / 99 Bilder</p> <p>Nach 3,6868686868686868686886868686... Tagen ist jeweils ein Bild fertig.</p> <p>Der Malprozess der zur&uuml;ckliegenden 365 Tage wird dokumentiert durch die 99 chronologisch geh&auml;ngten Originalbilder. R&auml;umlich davon getrennt f&uuml;hrt eine zweite Arbeit diese 99 in einem ma&szlig;stabsgetreuen Raster aus leeren Fl&auml;chen zu einem Bild zusammen.</p> <p>Die Arbeit &bdquo;Residuum&ldquo; steht f&uuml;r die unermesslich gro&szlig;e L&uuml;cke, die bei der Ann&auml;hrung an eine L&ouml;sung zur&uuml;ckbleibt.</p> <p>Im Fokus steht der Umgang mit einer Ferne, so nah und konkret sie auch scheinen mag.</p> <p>Ausgangspunkt nicht nur dieser k&uuml;nstlerischen Arbeit ist die Beziehung zu Erinnerungen an religi&ouml;se Formen aus der Kindheit, die jedoch ohne konkret erinnerbaren Inhalt als verinnerlichtes Ritual funktionieren.</p> <p>"Mein Vater hat mich als Kind Teile des Korans auswendig lernen und beten lassen. Dieses Gebet habe ich so verinnerlicht, dass ich es bei einem lebensbedrohlichen Unfall automatisch aufgesagt habe. Als ich meinen Vater danach fragte, was es eigentlich bedeutet, sagte er nur: Die &Uuml;bersetzung ist nicht wichtig. Es ist das, was du da reinpackst."</p> <p>Diese inhaltliche Entleerung eines religi&ouml;sen Gebets steht stellvertretend f&uuml;r eine grunds&auml;tzliche k&uuml;nstlerische Haltung, in der es um das Aufbrechen allgemeing&uuml;ltiger Zeichen geht.</p> <p>F&uuml;r mich sind 1 und 0 wunderbar exakt und sie l&uuml;gen, indem sie das Wichtigste verschweigen. Es geht nicht darum Wissen und Verstand auszuschalten, aber sie sind die Grenzen, die das Unendliche fassbar machen wollen. Nichts ist sein Name.</p> <p><strong>JOSEPH C L TONG</strong></p> <p>Symphonic Duality</p> <p>A Visual Narrative in Five Movements</p> <p>By Joseph C L Tong</p> <p>MMXII - MMXV</p> <p>The following series is a visual manifestation of an artist&rsquo;s analytical and philharmonic interpretation of the condition of duality, with reference to form, geometry and dimensional potentialities.</p> <p>(Dict. Duality: The quality or condition of being dual; an instance of opposition or contrast between two concepts or two aspects of something). The exploration and systemic examination of the dualistic relationship between these aspects and the work&rsquo;s conceptual premise is the thread that embroiders a sequence of symphonic narratives into five &lsquo;movements&rsquo; - each a self-contained part of a visual composition.</p> <p>Within these movements, a visual transcript orientates the viewer both to experience several layers of animation at once and evaluate their complimentary nature. Whilst, the methodology in constructing each piece - within each series - follows the structural principles of symphonic function.</p> <p>The fundamental issue, duality, is represented throughout varying degrees of aesthetics &ndash; defined within each evolving series - and forces the viewer to reconsider each of the works&rsquo; meaning within its allocation, as well as their juxtaposition of preceding and succeeding series.</p> <p>By exploring the minutia and a work&rsquo;s large-scale details, the harmonic nature of the narrative appears to evolve genetically from one movement to the next, and their rather distinct material and stylistic elements essentially become the emphasis on visual continuity. Thus, the tension (or harmony) between perceived &lsquo;optical effects&rsquo; and compositional (dimensional) reality is an instance of symphonic duality.</p> <p><strong>S&eacute;ries: Eidolon / First Movement</strong></p> <p>The countless points of views (as well as view-points) of the beholder equate to the unique visual and metaphysical interpretation of a work of art. This synergetic engagement of both the viewer and the work&rsquo;s conceptual premise are at the heart of this series Eidolon.</p> <p>With the use of visually disorientating and contrasting materials - and through the manipulation and synthesis of identifiable elements (painted abstract shapes) - each piece presents the viewer with multiple opportunities for analysis - in a limitless manner. Aspects of dualism and contradiction occur throughout. Depending on one&rsquo;s closeness or proximity to the work, one can explore the precise balance between play with illusionistic depth and that of a &lsquo;superficial&rsquo; surface that reinforces the picture's flatness.</p> <p>From a frontal viewpoint, clarity of the image is easily definable and perceptible. Upon shifting one&rsquo;s viewing angle, however, the image appears to evanesce - only to simultaneously re-emerge again and again in a permanent rhythmic state (depending on the movement and perspective of the viewer). The inherent nature of each piece, therefore, depends on the variable nature of one&rsquo;s perception. Varying degrees of abstraction - smooth veneer fixed above a jagged interior surface, or the unrefined versus the defined (or vice-versa) - unwittingly become the &lsquo;complexion&rsquo; (identity) of each piece. And, upon closer inspection, the thematic and textural qualities of the works (however muted) allow the viewer&rsquo;s awareness of the pictorial imagery beneath to surface. This extensive exploration probes the boundaries and potentials of abstraction as a medium - questioning the efficacy of a work&rsquo;s illusory and representational state.</p> <p>Emanation</p> <p>Self-consciousness</p> <p>Visual Provocations</p> <p>An idealized person or thing</p> <p>Subjective vs.Object(ive)</p> <p>Ontology</p> <p><strong>S&eacute;ries: L&rsquo;Apparition // Second Movement</strong></p> <p>A realm of stillness penetrates the topography of the works in this series L&rsquo;Apparition. Yet, it seems to be in stark contrast to the pulsations created by the ripple-like, tonal vibrations that seep across the underlying surface of the work, creating a symphonic aesthetic that offers duality, continuity and gestural traits - ranging from the subtle to the unrestrained.</p> <p>The seemingly motionless movements are conditioned by an exploration, modification and resolution of a series of variances, articulated through a formal scheme of a wave-within-waves pattern. And, in turn, creating a visual and illusional statement: elements of a strikingly visual and melodic nature that conveys a degree of stability, in an otherwise fluid compositional series.</p> <p>Here, distinct and undulating motifs operate within chromatic and lyrical frameworks. To cite just two such examples: each &lsquo;strand&rsquo; of ripple provides some continuity to the next (strand); and the shift from one to the other seems to offer a sense of opposition at some designated point, or part, within the piece. Are these strands of wavelets accidental or architectural? Regardless, the diversity created in such an arrangement becomes unified, as their recurrence cannot be interpreted simply in terms of meaningless deployment, but rather on associative connections. These seemingly polychromatic installations equally play on formal colour theory. The surface Plexiglas changes the perceived colour of the work, thereby pushing it to tread a line between sculpture and painting.</p> <p>Void/less</p> <p>Dimensional systems</p> <p>Topographical Lattice</p> <p>Supremum vs. Infimum</p> <p>Semantic Network</p> <p>Resounding&nbsp;</p> <p><strong>S&eacute;ries: Spiegel im Spiegel /// Third Movement&nbsp;</strong></p> <p>In this series Spiegel im Spiegel, which is partly inspired by the melodic and transcendental composition (of the same name) by Arvo P&auml;rt, the reflective nature of the pieces act, not as a supposed mirror should act (in its apparent qualities as a reflective agent) but as an instrument for displacement.</p> <p>The viewer may, at first, accept (or indeed question) its reflective purpose, but upon second glance and from a different viewpoint, conceives to what appears to be apparitions of geometric forms. The purpose of the mirror - its essence - is now incidental / nonessential / defunct. The viewer is no longer interested in his / her own reflection but rather with the faint tinted shapes beyond, nullifying its existential value as a &lsquo;mirror&rsquo;. (One can ask: Does the &lsquo;mirror&rsquo; now become a masquerade of itself?) Additionally, an ulterior proposition is unveiled on the basis of another question: How many dimensions are demonstrated here? (Our human perception of dimensions is limited, as we only perceive three dimensions. We can understand that time is an extra dimension, yet it is obsolete here.)</p> <p>Thus, does the void, which appears (to exist) in the reflection - in essence - create a parallel dimension? A seemingly vivid representation of our reality now exists but merely on a two-dimensional plane, beyond our grasp. Furthermore, the strict minimalism defined by the allegorical / monolithic shapes seems to evade all elemental boundaries. As if, momentarily, attaining temporal transcendence.</p> <p>The dynamic yet schematic nature of the forms - within their composition - inevitably gives rise to questions surrounding the paradox of dimensional potentialities. A further illustrated theme is the denial of a visible authorial hand. By focussing on the conditions of production, the materials employed for production and the way the work is viewed, it is possible to highlight the physicality of these works beyond the artist&rsquo;s hand. In the same way that the title of the series Spiegel im Spiegel refers to a specific piece of music, so the skills used to create these works are generic yet carried out within very specific delineations of practice. This allows the artwork a gentle resistance of definition and questioning of context, acknowledging many of the issues surrounding contemporary art production and re-emphasising the individual creative act. This notion is re-iterated with the aluminium frame, where the work within becomes a part of the structure of the sculpture.</p> <p>Arvo P&auml;rt</p> <p>Displacement</p> <p>Temporal Dimensions</p> <p>Space / Time Continuum</p> <p>Parallel Universes Stratum</p> <p>&nbsp;</p> Thu, 11 Sep 2014 23:33:20 +0000 Lily Wittenburg - KM Galerie - September 12th - October 25th <p>Scroll Down for English</p> <p>Wir freuen uns, die zweite Einzelausstellung mit neuen Werken von Lily Wittenburg zu pr&auml;sentieren.<br />In den Rauminstallationen, Malereien, Zeichnungen und Fotografien der K&uuml;nstlerin er&ouml;ffnet sich uns<br />eine komplexe Synthese aus virtuellen Kr&auml;ften, Bewegungsabl&auml;ufen, Raum und Licht. Die Werke von<br />Lily Wittenburg bieten Strukturen an, die mit der r&auml;umlichen Verteilung von Licht und Schatten, die<br />durch die Struktur hindurch wirken, einen Grad von Durchl&auml;ssigkeit und Offenheit erlangen.<br />Ihre Zeichnungen k&ouml;nnen als immer neue Abfolgen von Ahnungen bezeichnet werden, die dennoch<br />eine Gleichzeitigkeit abbilden. Durch die stete Verschiebung der Linien zeigt Wittenburg<br />unterschiedliche Perspektiven und erzeugt damit eine Verwandlung des Sichtbaren ohne Sichtbares<br />darzustellen. Etwas l&ouml;st sich auf, verschwindet, taucht wieder neu auf. Trotz der Wiederholung ergibt<br />sich kein Muster, sondern der intuitive Umgang mit dem Medium wird deutlich. Der Rhythmus ist<br />kein abgeschlossenes System, sondern bildet Transparenz, Bewegung und Verwandlung ab &ndash; eine<br />offene Form, die im Werk Wittenburgs eine gro&szlig;e Rolle spielt.<br />Auf den ersten Blick erscheinen die farbigen Tuschemalereien in einem starken Kontrast zu den<br />schwarz-wei&szlig;en Zeichnungen. Die Farben sind durch das Blatt gesunken, &auml;hnlich der<br />Chromatographie spalten sie sich in diesem Prozess auf und breiten sich aus. Wittenburgs Ann&auml;herung<br />an den Ort wird in der raumspezifischen Installation sichtbar, die autonome Werke miteinander<br />verkn&uuml;pft. Die skulptural angelegte Bodenarbeit, das bemalte Glas an der Wand und die damit in<br />Verbindung stehende Farbfassung der Neonr&ouml;hre wirken wie Markierungen im Raum und stellen &ndash;<br />&auml;hnlich wie Vektoren eine r&auml;umliche Achse her.<br />Eine Verbindung findet auch zwischen den beiden Galerier&auml;umen statt. Die im zweiten Raum<br />befindliche Lichtinstallation greift ihrerseits den Zusammenhang auf, den Wittenburg r&auml;umlich, formal<br />und thematisch innerhalb ihrer Ausstellungen und Publikationen spannt. Mit unterschiedlichen<br />optischen Elementen wird das Licht &auml;hnlich einem Prisma gebrochen und aufgef&auml;chert. So erzeugt es<br />mit den gl&auml;sernen Objekten wie auf der Wand des abgedunkelten Raumes ein Bild, eine eigene Welt<br />und zugleich ein direktes, sensitives und r&auml;umliches Empfinden. Lily Wittenburg nimmt den Raum, in<br />dem wir uns bewegen, denken, f&uuml;hlen, atmen, auf und verleiht diesem Eindruck in ihren Werken eine<br />eigene, innere Notwendigkeit. Das Erz&auml;hlerische in den Werken verbindet die Medien, die in ihrer<br />unterschiedlichen Geschwindigkeit gleichzeitig v&ouml;llig autonom bleiben. Mit einem sehr pers&ouml;nlichen<br />Vokabular erzeugt sie in ihren Werken eine eigene Welt, in der die dem Lebensrhythmus inne<br />wohnenden Themen wie Entstehen und Verschwinden, Raum und Zeit sowie Unendlichkeit abgebildet&nbsp;werden.<br />Lily Wittenburg wurde 1984 in Dannenberg/Elbe geboren und studierte von 2002-2008 an der Hochschule f&uuml;r Bildende K&uuml;nste in Hamburg.<br />2012 erhielt sie das Arbeitsstipendium des Hamburger Senats. 2013 war sie Stipendiatin der K&uuml;nstlerst&auml;tte Lauenburg/Elbe, in diesem Jahr&nbsp;hat sie das Jahresstipendium f&uuml;r Bildende Kunst der Wasserm&uuml;hle Trittau inne. Ihre bisherigen Ausstellungen fanden meistens in&nbsp;Kollaborationen statt: How long is tomorrow? (mit Nico Ihlein, Anneli Sch&uuml;tz und Katharina Trudzinski), Galerie im Turm, Berlin (2014);&nbsp;Radio Horeb, KM, Berlin (2013); Thermal Noise / Beetobee, K&uuml;nstlerhaus Frise (2012), Hamburg. Gefangenes Zimmer 3, Kunstverein&nbsp;Harburger Bahnhof, Hamburg (2011), Note on in-difference (mit Jenni Zimmer), Note On, Berlin (2011), L.A. Lakeyaki, Tokyo (2011),&nbsp;Versus whiteout, Beetobee &amp; Wooden Veil, Kunsthaus Hamburg (2010).</p> <hr /> <p><br />We are pleased to present new works by Lily Wittenburg in her second solo exhibition at the gallery.<br />The artist&rsquo;s spatial installations, paintings, drawings and photographs allow the viewer to experience a<br />complex synthesis of virtual forces, sequences of motion, space and light. Lily Wittenburg&rsquo;s works<br />offer structures that through the spatial distribution of light and shadows, which take effect through the<br />structure itself, attain a degree of permeability and openness.<br />Her drawings can be described as ever new successions of premonitions that depict a simultaneity, all<br />the same. By means of a constant shifting of lines Wittenburg presents different perspectives, thus<br />producing a transformation of the visible, without depicting anything visible. Something dissolves,<br />disappears and reappears. Despite the repetition, no patterns emerge. Instead, her intuitive treatment<br />of the medium becomes evident. The rhythm does not lead to a closed system but reveals<br />transparency, motion and transformation &ndash; an open form that plays an important role in Wittenburg&rsquo;s<br />oeuvre.<br />At first sight, the colored ink paintings appear in a stark contrast to the black-and-white drawings. The<br />colors have sunken into the paper; like with chromatography, they become separated in the process<br />and spread. Wittenburg&rsquo;s approach to the place becomes visible in the site-specific installation that<br />links autonomous works. The sculptural floor piece, the painted glass on the wall and the associated<br />colors of the neon tubes appear as markings in the gallery, producing a spatial axis similar to vectors.<br />A connection between the gallery spaces is also established. The light installation in the second room<br />takes up the context that Wittenburg creates in spatial, formal and thematic terms within her<br />exhibitions and publications. Employing different optical elements, the light is refracted like through a<br />prism and fanned out. Through the glass objects the light creates an image on the wall of the darkened&nbsp;room, a world of its own that at the same time gives rise to a direct and sensitive feeling of space.<br />Lily Wittenburg takes up the space in which we move, think, feel, and breathe, and lends this<br />impression a distinct, internal necessity in her works. The narrative aspect of art combines the media<br />that simultaneously remain fully autonomous in regard to their different speeds. She uses a very<br />personal vocabulary to create a world of its own, in which themes inherent to the rhythm of life, such<br />as emergence and disappearance, space and time, as well as infinity are represented.<br />Lily Wittenburg was born in Dannenberg/Elbe in 1984 and studied at the University of Fine Arts of Hamburg (HFBK) from 2002-2008. In&nbsp;2012 she received a work stipend from the Hamburg Senate. In 2013 she was a stipend recipient of the K&uuml;nstlerst&auml;tte Lauenburg/Elbe, and&nbsp;this year she received the annual stipend for fine art of the Wasserm&uuml;hle Trittau. Her exhibitions to date were mostly in &nbsp;collaboration with&nbsp;others: How long is tomorrow? (with Nico Ihlein, Anneli Sch&uuml;tz and Katharina Trudzinski), Galerie im Turm, Berlin (2014); Radio Horeb,&nbsp;KM, Berlin (2013); Thermal Noise / Beetobee, K&uuml;nstlerhaus Frise (2012), Hamburg. Gefangenes Zimmer 3, Kunstverein Harburger Bahnhof,&nbsp;Hamburg (2011), Note on in-difference (with Jenni Zimmer), Note On, Berlin (2011), L.A. Lakeyaki, Tokyo (2011), Versus&nbsp;whiteout, Beetobee &amp; Wooden Veil, Kunsthaus Hamburg (2010)</p> Thu, 11 Sep 2014 23:21:46 +0000 Anthony Goicolea - Galerie Crone - September 20th - October 31st <p>In his first exhibition at Galerie Crone Anthony Goicolea presents new works created in 2014, which consist primarily of drawings integrated into an installation context, in addition to a selection of paintings. All works have one thing in common: they show a beautiful, enigmatic, but also somewhat elusive world that the artist conveys through various media.</p> <p>Cornerstone of the show is the installation of a modified half pipe referring back to an earlier work by the artist. On the enlarged levelled plane of the half pipe are music stands with drawings of young men veiling their faces behind white cloths in still, dramatic poses. The cloths are the only naturalistic elements while the heads are executed purely in contours and cross-hatching, alluding to old master drawings. Similarly, other drawings in a photo-realistic manner are lacking any figurative background, which would allow for narrative clarification. The streaky blurring and dripping contours could suggest a reference to both watercolour painting, as well as the manipulation of digital images.</p> <p>Another series shows rear views of young men with grotesquely twisted arms placed before a black background, locating the image in a somewhat surreal and bleak, romantic context with references that are difficult to pinpoint. One of the large landscape drawings shows a slightly oppressive night scene of a snow-covered forest, the inherent darkness of which is disrupted by searchlights. In the foreground of the picture we see intertwined tree trunks, permitting a view of a metal construction, which could create the impression of a stage design, would the tree line not continue beyond the man-made structure.</p> <p>Goicolea&rsquo;s works &ndash; displaying a mastery of various media &ndash; subvert the expectation and visual experience of the spectator. Rarely are things as they seem, even at second glance, and figures and landscapes continuously elude unambiguous interpretations and categorizations. This playful handling of both content and medium is the common thread that runs through Goicolea&rsquo;s work. He achieved fame with seductive photographic arrangements of a gay Jeunesse dor&eacute;e underpinned by inscrutable, cryptic layers of meaning. His artistic staging of the familiar search for identity, replete with media ambiguities, questions the reliability of his visual narration.</p> <p>Both his early photographs and later videos, as well as his current landscape drawings are marked by an elaborate composition and in their lonely austerity recall the sublime landscapes of Classicism and early Romanticism, yet via the constant insertion of unexpected elements are simultaneously placed in the present, located just barely outside of a tangible reality.</p> <p>This oscillation between fact and imagination, fictive past and only just conceivable reality has a biographical link to the artist&rsquo;s family history. Goicolea was born in 1971 in the US to Cuban expatriates and therefore has an extensive ancestry, which he only partly knows and which comes from a country that he has only visited once as a tourist.</p> <p>Goicolea&rsquo;s works are in numerous international collections, including the Whitney Museum of American Art (New York), the Museum of Modern Art (New York), the Guggenheim Museum of Art (New York), the Brooklyn Museum of Art and the Hirshhorn Museum in Washington DC, as well as in various museums in Spain and the Netherlands. In 2004 &ndash; at the age of just 32 &ndash; he exhibited a monumental installation at Art Unlimited in Basel.</p> <p>Text: Stefan Kobel</p> Thu, 11 Sep 2014 23:01:15 +0000 Oliver Gröne, Patrick Cierpka, Philip Grözinger, Lars Teichmann, Miria Vlaming, Felix Wunderlich, Filia Zozor - Jarmuschek + Partner - September 18th - September 21st <p>Codex Painting Show <br />features a fine selection of contemporary painters during the berlin art week</p> <p>Address: Leipziger Str 60./Ecke Jerusalemer Str</p> <p>More Information: <a href="" rel="nofollow"></a></p> Thu, 11 Sep 2014 11:06:50 +0000 Dominik Lejman - ŻAK | BRANICKA - September 18th - October 25th <p>ŻAK | BRANICKA gallery is proud to present the third solo exhibition by Dominik Lejman, titled <em>dis/connected</em>.</p> <p>Dominik Lejman's art work has its roots in traditional painting, but goes far beyond its limits. With his unique technique, Lejman combines painting and video projections. In this way, the artist introduces the factor of time to the painting: &ldquo;painting with time code.&rdquo; His murals - or "video- frescoes" - also derive from old painting traditions. These are wall compositions, in which, instead of paint, Lejman uses light projected directly on walls, buildings, or in the public space.&nbsp;</p> <p>The exhibition in ŻAK | BRANICKA reflects upon the issues addressed in Lejman's most recent works, and stresses more than ever the position of the artist as critically and politically "dis/connected." Lejman criticizes the stance of political art: &ldquo;What do I think of the artist's role in being able to make political commentaries?&rdquo; He believes that he has no ability to change the world. He feels powerless and disconnected, which allows him to use mass media images differently.</p> <p>In the works shown in the <em>dis/connected</em> exhibition we find motifs of conflicts or armed operations from various parts of the world, which Lejman reduces to media ornaments, as in his painting <em>Black Dandelions</em> (2011). This abstraction of events makes them more universal, as they could be happening anywhere &ndash; they are no longer tied to a specific place. "I believe that comments on political and social issues become more visible when resurfaced from their original context." Lejman considers art to be an option for detachment and distancing, though this does not mean that the surrounding reality does not concern him.</p> <p>The exhibition's main installation is Lejman's latest work, a three-channel video-fresco titled <em>Fencing</em> (2014). Layers of wire fence gradually enfold the walls of the gallery. The projections overlap until everything dissolves in light and vanishes. <em>Fencing</em> metaphorically protects the viewer from the world, and simultaneously closes him in a trap. It turns our attention to the invisible, virtual, social and political barriers, which are far more painful than the physical barriers from the past.</p> <p>In another work, <em>Bubblewrapped Philosophy</em> (2014), the viewer is confronted with the faces of contemporary philosophers, lecturing upon current political, social and cultural issues, each of whom is trapped in a bubble of sorts. The philosophers propound their theories, but none of them can be heard: there is no chance here for dialogue. Is this not how we often feel in today's world? How far do we affect it, and how far do we remain anonymous?</p> <p>The <em>dis/connected</em> exhibition is to be accompanied by a new publication, <em>Painting with Timecode,</em> published in English by Hatje Cantz and the ŻAK | BRANICKA Foundation (2014).</p> <p>&nbsp;</p> <hr /> <p>&nbsp;</p> <p>Dominik Lejman was born 1969 in Gdańsk, Poland. He studied at the Fine Arts Academy in Gdańsk and the Royal College of Art in London. He has been awarded scholarships from RCA, the Trust for Mutual Understanding, Location 1 in New York, and the Polish Ministry of Culture. Lejman's works has been exhibited abroad e.g. at <strong>Rockaway!</strong> by MoMAPS1, at Metropolitan Museum of Photography in Tokyo and at the Polish Pavilion at the 9<sup>th</sup> International Architecture Biennale in Venice. <br /> He lives and works in Berlin and Poznań.</p> Thu, 11 Sep 2014 23:05:25 +0000 Carina Linge - Jarmuschek + Partner - October 25th - December 20th Wed, 10 Sep 2014 11:56:54 +0000 Joséphine Kaeppelin - Greusslich Contemporary - September 13th - October 11th <p><strong>Jos&eacute;phine Kaeppelin &ldquo;Something must happen&rdquo;</strong></p> <p>13.09.&ndash;11.10.2014</p> <p>Vernissage: Sa. 13.09.2014, 6&ndash;9 pm<br /> Finissage: Sa. 11.10.2014, 6&ndash;9 pm</p> <p><em>Greusslich Contemporary</em> is delighted to announce a highly intriguing solo show of the French conceptual artist <strong>Jos&eacute;phine Kaeppelin</strong>.</p> <p><strong>Kaeppelin</strong> displays works which point out the moment of &ldquo;STOP&rdquo; or the &ldquo;OFF&rdquo; as a means to produce forms, pictures, thoughts and meanings. In these times of the omnipresence of new technologies and devices, she directs a critical eye towards the use and work practices of technology. She invites visitors to make a &ldquo;pause&rdquo; in order to think about the way such systems work.</p> <p>For the work <em>Appuyer sur pause</em> <strong>Kaeppelin</strong> sets up a protocol for a black digital print on 9 meter fabric by requesting two emergency stops during the production. The outcome is a visual translation of &ldquo;STOP&rdquo;. It echoes the European post-industrial situation and the temporary shutdown of the steel industry in Florange (Moselle, Fr) in 2011.</p> <p>Two other works examine the gesture of turning off a machine as well as the aesthetics of a blank screen. Displays made of black Corian&Ograve; panels can be read as turned off TV screens, isolated from the information flow. Diagrams and texts engraved on those black screens examine the will of a human being over the machine. These are ways to show lack of critical behavior we have in front of continuous TV news or entertainment.</p> <p><strong>Jos&eacute;phine Kaeppelin</strong>&rsquo;s art works are initially based on the use of machines. These devices are at the same time means of production, co-authors and food for thought. By putting forward use and gestures, she focuses attention on human presence within a production system dominated by technology. By using pre-defined formats, standards and default settings, she experiments with the likelihood of re-appropriation by usage.</p> <p>Indeed, using software or machines in an opposite way or diverting a program from its purpose can be understood as an act of resistance, a way to create a space for free thought in a defined system. <strong>Kaeppelin</strong> bypasses a program in order to show the structure behind the system. She would like to sharpen attention in relation to an action, strengthen the will of a human user interacting with a system and to likewise enable a kind of self-realization within the context of work and production.</p> <p>On that thought, some brainstorming from <em>Filip Machac</em>: "What happens when we shut off our smartphones, computers, televisions, and machines in businesses and factories? Is the ideology of progress and production only an idea, or must humanity generally produce in order to protect itself from the "unbearable lightness of being"?</p> <p>One must critically observe ideology, and this is possible in the moment of shutting off. In his moment exists the freedom of reflection and the deciphering of our ideological dreams. The tension between on/off is possibly the most important existential experience in which one can understand simultaneously current social structures as well as one's own pattern of behavior. If one grasps the structures, one feels that "Something must happen!"</p> <p><strong>Jos&eacute;phine Kaeppelin</strong> (born in 1985 in Lyon -France lives and works in Strasbourg) was awarded a diploma in textile design by the Lyon High School of Fine Arts and a diploma in fine arts by the Strasbourg High School of Arts, in 2011. <strong>Kaeppelin</strong> received several stipends and grands from France and Germany. She took part in several exhibitions in France (CRAC Alsace in Altkirch, biennial of Mulhouse 012, Le Magasin CNAC in Grenoble, MBDTCurators in Nantes and CEAAC in Strasbourg), in Germany (Gedok e.V. in Stuttgart, Greusslich Contemporary Berlin) and Akbank Art Center in Istanbul. POPPOSITIONS Off-Fair and the artist run-space Greylight Projects in Brussels also showed her work.</p> Wed, 10 Sep 2014 08:24:18 +0000 Cevdet Erek - Wentrup - September 18th - October 18th <p>The exhibition by Turkish artist and musician at WENTRUP shows three objects that deal with representations of time. Erek appropriates instruments that one usually knows to measure space with, like&nbsp;rulers e.g. or objects like LED displays which he changes in use. He equips these tools with altered scales&nbsp;such as daylight or tree-rings. Therewith, a less normative definition of measuring and representing time&nbsp;evolves that suggests the possibility of contingent time-spaces that are much closer to how we experience&nbsp;them on an everyday, personal level.<br />The most inconspicuous and smallest work in Cevdet Erek&rsquo;s first solo presentation in Germany is a ca. 30 cm&nbsp;long rectangular piece of cederwood that is structured by growth rings running vertically, ending with the&nbsp;tree bark to the right. Above the wooden slab to the left, at the first growth ring, there is a pencil marking on&nbsp;the wall, a vertical stroke accompanied by a number: 1914. This year, i.e. one hundred years later, Erek&nbsp;created Ruler Centenary, which simply marks off the 100 intervening years using the tree&rsquo;s annual growth&nbsp;rings &mdash; up to the present when, as the title states, a 100th anniversary is being commemorated. So on the&nbsp;one hand, we see a naturally-created measuring instrument whose celebratory significance functions this&nbsp;year alone. On the other hand, which centenary is meant? The hundredth anniversary of the starting of World&nbsp;War I, or instead perhaps, as seldom noted, the centenary of the start of the collapse of the Ottoman&nbsp;Empire? Or something with no world historical significance whatsoever? The question highlights the&nbsp;contingency of the humanly created decimal system. The growth rings appear august and solemnly dignified&nbsp;in comparison to the historical attributions of significance &mdash; the rings engrave themselves again and again,&nbsp;year after year.<br />Much as Erek, who lives and works in Istanbul, initially uses the gradually emergent gradient of difference in&nbsp;the coloring structure of the tree itself as his measuring stick, in Ruler Day Night (2011) he translates&nbsp;natural phenomena into a reduced, abstract visual language. Instead of the typical millimeter or centimeter&nbsp;scaling, alternating black and white square-like fields are visible on a 100 cm long ruler. Upon closer&nbsp;examination, it quickly becomes clear that no one interval is the same as the next &mdash; the ruler does not offer&nbsp;us what we expect of it. Here the differing daytimes and nighttimes determine how much white and how&nbsp;much black we see. Across cultures, day and night structure quotidian life and are subject to greater or&nbsp;lesser variations, according to the respective geographical standpoints. Erek&rsquo;s Ruler Day Night can also be&nbsp;understood in specific relation to its location, as the length of the days and nights - which are represented by&nbsp;width of blacks and whites - are taken from prayer times listings as numeric data and are then converted to&nbsp;graphics by drawing each one by one. In the Islamic world, the calendar of sunrises and sunsets represents&nbsp;not only an essential component of the daily structure of prayer; beyond that, it is also an omnipresent&nbsp;influence on the organization of secular daily life. The first field on Ruler Day Night represents September&nbsp;14th, 2011 - the first day of the 12th Istanbul Biennial for which Erek had made it.<br />In Day (2012) Erek likewise takes the natural rhythm of light as his starting point &mdash; and translates it back&nbsp;into artificial light. An LED display &ndash; often used to show texts - pulses from left to right. Like most of Erek&rsquo;s&nbsp;works, Day is always site-specific. A series of LEDs depicts minutes of daylight, which have been calculated&nbsp;for the duration of the exhibition, in which one LED bulb represents one minute. The light-time of the&nbsp;exhibition day illuminates the gallery as accelerated impulses course through the space. The works in&nbsp;jahrundtagundtag are representative of the artist&rsquo;s strategy of converting instruments that usually measure&nbsp;space or display textual information into tools to measure time. Erek, an artist with an academic background&nbsp;in sound and architecture, creates objects that represent the passage of time in its truest sense through the&nbsp;use of variable scalings as opposed to typical normative measurements. His objects acknowledge the&nbsp;variable swiftness of the passage of time precisely as we experience it.</p> Wed, 10 Sep 2014 09:44:11 +0000 Timm Ulrichs - Wentrup - September 18th - October 18th <p>Timm Ulrich&rsquo;s solo exhibition brings together works of the last five decades that deal with fathoming and&nbsp;measuring, that call numbers into question, and that highlight addition, filling after emptying and displacing&nbsp;as artistic strategies. As such Ulrichs chisels a through out of block of sandstone to fill it with its own&nbsp;content in 1969/75 e.g. or in 2008/12 makes six identical copies of a genuine quarzite stone, only that they&nbsp;very in size, while the gestalt remains the same. 8 &frac12; Meisterwerke demonstrates how the ostensibly unique&nbsp;or absolute yields so much more when it becomes altered, augmented, displaced, or even multiplied &ndash; even&nbsp;at times just by half.<br />Eight masterpieces and a half? There&rsquo;s something questionable inherent in the plural of the artist&rsquo;s<br />masterpiece, since it effectively subverts its own meaning: to create something so outstanding that it seems&nbsp;impossible to repeat. Nevertheless, it is probably possible to succeed at trumping one masterpiece with the&nbsp;next. But a half?<br />The solo exhibition of &ldquo;image-inventor&rdquo; and &ldquo;image-discoverer&rdquo; Timm Ulrichs brings together works from&nbsp;the last five decades that deal with measuring and fathoming, that call numbers into question, and that&nbsp;highlight addition and substitution, filling after emptying, and displacing as artistic strategies. His&nbsp;Wachsender Stein (growing stone, 2008/12) takes a genuine quartzite as its starting point; it has six identical&nbsp;copies that vary solely in dimension and, as bronzes, cannot be distinguished from their original. Except in&nbsp;size. But which one is the genuine one?<br />Ulrichs had already, in 1966/75, demonstrated something similar with his work Der dehnbarer Begriff [the&nbsp;flexible concept]: a standard 20 cm long ruler, brand name aristo, sits in a glass box on a 1 : 1 photographic&nbsp;reproduction of itself. Next to it are images of the same ruler, enlarged and reduced in size. To neither the&nbsp;natural stone nor the ruler do we attribute the ontological flexibility that Ulrichs&rsquo;s objects&nbsp;phenomenologically demonstrate for us. Because the centimeter is defined by a humanly determined,&nbsp;arbitrarily assigned value as a universal and immutable unit of length, even as the stone is seen as a one-ofa-kind object, its uniqueness shaped by the forces of nature. Timm Ulrichs&rsquo;s stones and rulers captivate us&nbsp;with their unanticipated flexibility.<br />Ulrichs also seemingly shifts the earth&rsquo;s center of gravity in the exhibition space when he suspends a plumbline&nbsp;from the ceiling that quite obviously hangs not perpendicular to the floor but at an angle &mdash; as if other&nbsp;rules apply in his world. In another work, rectangular electrical magnetic plates are arranged like dominos&nbsp;on the floor, except these dominos all stand at an angle and move when voltage is applied. They mutually&nbsp;repel and never touch. This work&rsquo;s title, Laputa (1985), refers to the flying island from Jonathan Swift&rsquo;s&nbsp;Gulliver&rsquo;s Travels, which is inhabited by enthusiastic mathematicians, physicists and other natural scientists&nbsp;whose measurements nevertheless constantly go awry, due among other things to the island&rsquo;s magnetic&nbsp;core, which is what enables it to levitate in the first place. All of its buildings therefore stand quite crookedly&nbsp;and its inhabitants&rsquo; clothing never fits.<br />Trog, sich selbst beinhaltend (trough, containing itself 1969/75), Form und Inhalt (15 x 1 Liter) (form and&nbsp;content, 1982/92) and Rekonstruktionen (1988/94) are examples of works that ponder shifting gestalts.<br />Ulrichs chisels a trough out of a block of sandstone and fills it with its own contents, or he takes each of the&nbsp;16 individual fragments of a broken flowerpot as the starting point for a complete reconstruction of the&nbsp;original object. The trough physically contains the identical mass, however it generates a function for itself&nbsp;&mdash; it contains itself. According to the number of fragments resulting from the flowerpot&rsquo;s destruction,&nbsp;Ulrichs reconstitutes a family of new, yet identical forms.<br />The exhibition title&rsquo;s most obvious reference alludes to Federico Fellini&rsquo;s film masterpiece 8 &frac12; from 1963.<br />After all, Fellini made being a director itself, the entanglement and nesting of different (filmic) realities, the&nbsp;leitmotif of his eight-and-a-half films as director. The exhibition at WENTRUP traces not just Ulrichs&rsquo;s&nbsp;various attempts at &ldquo;[looking] behind the scenes and [observing] things from all sides in order to realize&nbsp;&ldquo;how polyvalent they are.&rdquo; 8 &frac12; Meisterwerke demonstrates how the ostensibly unique or absolute yields so&nbsp;much more when it becomes altered, augmented, displaced, or even multiplied &ndash; even at times just by half.<br />Timm Ulrichs&rsquo;s 8 &frac12; Meisterwerke and Cevdet Erek&rsquo;s jahrundtagundtag were conceived as parallel exhibitions for WENTRUP by Nico Anklam.</p> Wed, 10 Sep 2014 09:52:08 +0000 Van Hanos - Tanya Leighton Gallery - September 13th - October 11th <p>Tanya Leighton is pleased to announce 'Not The Way', a solo exhibition of new paintings by New York based artist Van Hanos. This is his first exhibition at the gallery.</p> <p>Hanos' approach to painting is valued on difference; one work may be hyperreal - a historical rendition of painting tradition - while another may be an amalgamation of styles stretching from pre-Raphaelite to the editing techniques of Photoshop. Placed in direct dialogue with each other, neither is privileged and neither is employed ironically or in parody. Hanos' range of approaches is held to the same principles that Hanos values not only in painting, but also in his view of life and the images that fill it.</p> <p>In 'Not The Way', Hanos' portrays the entities of each subject as solitary and alienated. A one-time sculpture is now a broken relic of a man who is unable to move, to procreate, to speak. A scarecrow takes on the role of Sisyphus, eternally carving and discarding his own head. The Dodo bird is reimagined - a species that met early extinction as a byproduct of colonization, the animal has only been pictured from secondhand accounts.</p> <p>Utilizing painting's seeming immunity to critical detraction - the medium having already weathered countless&nbsp;proclamations&nbsp;of its death -&nbsp;Hanos engages the sparseness of the white, primed canvas, isolating his&nbsp;imagery&nbsp;from its context. This gesture creates space for&nbsp;seemingly disparate narratives and personal reflection to materialize, fade and return again&nbsp;like the ensemble cast of an Altman film. 'Not The Way' reveals Hanos' rubric as broad and&nbsp;inclusive,&nbsp;constantly expanding alongside his lived experience and amounting to a&nbsp;poignant&nbsp;exploration of painting's capacity to construct images as totemic, mysterious and representative of singular experience.</p> <p>&nbsp;</p> <p>Van Hanos (b. 1979) lives and works in New York City. His work has been exhibited widely in New York, including&nbsp;Gavin Brown's Enterprise, PPOW Gallery, Harris Lieberman and Mitchell Innes &amp; Nash, as well as internationally at Galleria Pianissimo, Milan and Gallery Poulsen, Copenhagen. Hanos has had solo exhibitions at West Street Gallery, New York and Retrospective, Hudson. His work has been written about in <em>The New York Times</em>, <em>Flash Art</em> and <em>Artforum</em>, among other publications. He teaches painting at Columbia University. This is the artist's first exhibition in Germany.</p> Thu, 11 Sep 2014 23:59:05 +0000