ArtSlant - Recently added en-us 40 Undine Goldberg, Manuel Bonik - Laura Mars Gallery - July 3rd - July 25th <p><strong>Press release / Conversation</strong></p> <p>&nbsp;</p> <p><strong><em>Modejahre (Fashion Years)</em></strong>, the 4th exhibition by <strong>Undine Goldberg</strong> at Laura Mars, presents fresh watercolors and ink drawings and dedicates itself with a retrospective to a grand project, <strong><em>01 No5</em></strong>, which Goldberg, together with artist and journalist <strong>Manuel Bonik</strong>, originally presented in the year 2000 in Berlin. Dealing with the subject of art and fashion and with a published edition of 100 copies, artists magazine 01 No5 was a collaboration of roughly one hundred artists and curators, among them Maria Lassnig, Pipilotti Rist, and Sarah Lucas. Befitting the title 01 No5 (actually alluding to the famous Chanel perfume), the project will be shown again now in Berlin, 15 years later, parallel to Fashion Week. The edition reflects a time when fashion played only a minor role in Berlin yet was discovered as a source of inspiration by numerous artists buoyed by the spirit of departure in &ldquo;new&rdquo; Berlin.&nbsp;</p> <p>&nbsp;</p> <p><strong>Manuel Bonik</strong>: In the watercolors created between 2012 and 2013 you portray your garments such as your Burberry trench coat.</p> <p>&nbsp;</p> <p><strong>Undine Goldberg</strong>: Yes; the trench coat, however, was in my possession only briefly. When I first tried it on a friend told me I&rsquo;d look like a detective in it. Whether she meant Columbo, Maigret, or Marlowe, she didn&rsquo;t say. For me that was an incentive to buy it, as was the price. Alas, this trench coat, too, was only a stage win of sorts on the way towards the perfect raincoat. Eventually, it proved too large for me and turned into a gift to my sister, who really enjoys wearing it.</p> <p>&nbsp;</p> <p><strong>M.B.:</strong> Over the years your passion for clothing has time and again found expression in your artistic work. What came to be were videos, watercolors, and currently those life-size ink drawings. What induced you to do them?</p> <p>&nbsp;</p> <p><strong>U.G.</strong>: The ink portraits go back to a very engaging dream I had in the summer of 2013. I dreamed my face would leave an impression on the pillow. In the studio I transformed that dream into a picture and discovered in the process the radiating flow potency of ink on cotton. Lying on the fabric, I started with tracing my body contour with a pencil. The performance of the contour drawing lends the pictures their immediacy. The ink thereupon applied makes for clothing and skin to flow apart. What emerge are serious monsters emancipating themselves from me.</p> <p>&nbsp;</p> <p><strong>M.B.</strong>: What is it actually that lets you time and again return to the theme of clothing in your art?</p> <p>&nbsp;</p> <p><strong>U.G.</strong>: I was always fascinated with clothing as a game around the staging of the body. No so much in a theatrical or sexual sense. I&rsquo;m more interested in concealing the body with fabric, i.e. skin as the exterior deflected from by way of clothing. That&rsquo;s what fashion does, too. The staging of this exterior is often an inspiration, and a subject within my work.</p> Thu, 25 Jun 2015 08:54:08 +0000 Alekos Hofstetter & Florian Göpfert - Laura Mars Gallery - June 26th - June 27th <p>H&oslash;yblokka &amp; Y-blokka</p> <p>To what do we want to bid farewell? What would we like to forget? We often imagine history as a relentless passage of time and that which used to be modernity recedes ever further into a distance in danger of disappearing once and for all. Visions of yesterday that were driven by social enlightenment zeal seem outdated today and are expeditiously dispatched accordingly.</p> <p>The Tannhauser Gate drawings by Alekos Hofstetter and Florian G&ouml;pfert undermine the necessity of a utopian nostalgia as an effective counterpart in the face of a de-radicalization of imagination and, with hefty artistic impudence to boot, they repurpose postwar modern buildings into timeless sites of worship.</p> <p>In this regard, the installation H&oslash;yblokka &amp; Y blokka by Alekos Hofstetter and Florian G&ouml;pfert in the LAURA MARS GALLERY Berlin references the debate about the consequences of urban planning after the attacks on the office building of the Norwegian Prime Minister in 2011 in Oslo and reframes the current, often controversial question of what the future of the heavily damaged building should be now. The inaugural installation, consisting of nine drawings in various formats and in mixed media (including ink, permanent marker, and colored pencils), examines the relationship between trauma and architecture in times of upheaval.</p> <p>The Norwegian architect Erling Viksj&oslash; hoped that his architecture and construction of H&oslash;yblokka (1958) and Y-blokka (1969) in the Oslo government district would do justice to a new normative social-democratic design of society. Exactly this claim, associated with modern post-war architecture, is now increasingly perceived as an aesthetic burden and is therefore dismissed as a social-romantic fantasy&mdash;or even chosen as a direct target for attack, as happened in 2011. Moreover, the dispute whether such initial ideals were ever even realized, is only now finally underway. Thus Hofstetter and G&ouml;pfert offer an important contribution to the long overdue debate around social aesthetics in light of the desolation that will follow the progressive displacement of modernity.</p> <p>Daniel H. Wild</p> Thu, 25 Jun 2015 08:33:37 +0000