ArtSlant - Recently added en-us 40 Karen Mirza and Brad Butler - Campagne Première Berlin - May 2nd - June 27th <p><br />Preview: <strong>2 May 2015, 11 AM - 6 PM</strong> <br />Gallery Weekend Berlin special opening hours:<strong> Sunday, 3 May 2015, 11 AM - 6 PM</strong><br /><br />The exhibition<em> The Unreliable Narrator</em> consists of new installation and video works by London-based artists Karen Mirza and Brad Butler. It is part of the artistic duo's cornerstone project <em>The Museum of Non Participation,</em> which focuses on the danger of unreflected consumption of mass-media narration.</p> Tue, 31 Mar 2015 10:38:26 +0000 Nikita Kadan - Campagne Première Berlin - November 15th, 2014 - January 17th <p>The foundation for Nikita Kadan&rsquo;s body of works &ldquo;Limits of Responsibility&rdquo; is a series of color slides by<br />the Ukrainian artist. They document the protests against the scheduled removal of the protesters&rsquo; camp on Independence Square in Kiev in the spring of 2014. In the series, the focus is on the &ldquo;Maidan<br />gardens&rdquo; that activists planted around their tents and barricades during their months of occupation,<br />cultivating vegetables, grains and herbs in the contested Kiev ground. They cultivated the occupied<br />area to survive, to sustain themselves self-sufficiently, while simultaneously carrying out their<br />resistance, highlighting their presence, and literally rooting their claim deep in the earth of Maidan.<br />Cabbage and lettuce, onions and tomatoes grow and ripen amongst the monuments, improvised<br />homesteads, flags and barricades. A garden stretches its fingers between the instruments of protest, a slice of domesticated nature. Nature -- where metamorphosis and the potential for change have always been inscribed -- grows in the gardens of Maidan in safe, orderly, labeled rows, marking the square as a habitat and its very earth as taken and occupied. In the multimedia exhibition &ldquo;Limits of Responsibility&rdquo; -- the artist&rsquo;s first solo exhibition in the Germanspeaking realm -- the observer encounters not only various forms of resistance, conquest and occupation, but also various strategies of visual representation and argumentation. The aesthetics of the exhibited color slides are reminiscent of those found within the mass-media system of social media platforms, of viral snapshots that circle the globe, inspiring and agitating. Nikita Kadan&rsquo;s watercolors, on the other hand, call to mind academic textbooks of biology or anatomy. But where such textbook illustrations present idealized details of one organic object, Kadan&rsquo;s works combine plant bodies with human ones, and nature with architecture. Roots, tubers and buds end in bones or melt into architectural elements. Things that do not naturally connect gradually dissolve into one another, their unions creating new entities. The artists&rsquo; play on and with the image takes on a sculptural form in a 1.7 x 3 meter object of lacquered white plywood and a square flowerbed of lettuce and herbs, built according to an illustration from a 1979 Soviet Agitprop publication, in which constructions of that kind are promoted as an ideal way to display agricultural achievement. While the sculpture&rsquo;s construction and materials have their roots in instructional purposes, its illustrative function is missing. The display boards are painted opaque white, their lack of text and image conveying nothing but a reference to propaganda presentation strategy. The artist connects this relic of totalitarianism, robbed of its function, with a space for plants -- a bed of garden growth which, in being brought up-to-date, has been liberated from its ideological underpinnings and today serves the autarchy of protesters and survivors. Excluded from the commercial exchange of goods, their responsibility is limited to their immediate surroundings.<br />Nikita Kadan&rsquo;s &ldquo;Limits of Responsibility&rdquo; is not a rejection of the image, but an exploration of its<br />conditions. In his choice of motif, in his aesthetic examinations of media and material, the artist reveals ideologically potent and system-strengthening image strategies, makes them his own, decontextualizes and undermines them. Reference and transmission unmask the original, making it recognizable for what it is.</p> <p><br />Text: Nina Lucia Gro&szlig;</p> <p>&nbsp;</p> Mon, 30 Mar 2015 08:51:13 +0000 Junggeun OH - galerie son - May 1st - May 3rd <p>&nbsp;</p> <p>come and be astonished&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> Sat, 28 Mar 2015 12:26:45 +0000 Junggeun OH - galerie son - March 21st - May 23rd <p>&nbsp;</p> <p>The work of Junggeun Oh is centered around the unusual balance between two surfaces.</p> <p>Junggeun Oh has been working for several years now on the <em>Interspaces</em>, taking the silhouette of buildings against the sky from his own subjective viewpoint in different cities and so creating a very personal map of this town. In countless variations he goes in pursuit of a shape, which he might have found in the urban reality, but which he uses to create the most abstract form dividing surfaces from each other. He leaves the viewer marvelling at the strange balance between the two, where none overweighs the other and where there is no foreground and background but just plain surface.</p> <p>Oh uses strong colours with a deep glow and without relation to the motive. He especially favours the colour red, which is shown in endless variations, from very bright to a very dark brownish hue. Black is also a favorite of his, from charcoal to lacquer. The contrast between the areas in his pictures might be also between very smooth areas and very rough areas formed by a lot of small brushstrokes.</p> <p>The continuous repetition of gestures and the erasing of the individual handwriting gives his work a meditative trait. It goes way beyond the reflection on the individual defining himself in the borders and bounds of architecture and society and has a stern mathematical beauty about it. In his late works, surfaces are cut out and canvas contrasts with flimsy fragile cardboard, with a small interstice between the two. And he leaves the square frame, choosing unusual contours also for the outer border of his pictures.</p> <p>His paintings have a special hermetic elegance about them, they become flat sculptures.</p> <p>&nbsp;</p> <p>web: -&gt;<a href="" target="_blank" rel="nofollow">&nbsp;</a></p> <p>catalogue raisonne: -&gt;<a href="" target="_blank" rel="nofollow"></a></p> Sat, 28 Mar 2015 12:23:43 +0000 Magdalena Abakanowicz - ŻAK | BRANICKA - April 30th - May 4th <p>As part of Gallery Weekend Berlin 2015, ŻAK | BRANICKA is proud to present a major exhibition by world-renowned artist Magdalena Abakanowicz (b. 1930) at St. Elisabeth Church.</p> <p><br />Since the 60&rsquo;s Magdalena Abakanowicz created the monumental, three-dimensional and hand-woven forms named Abakans, who helped the artist achieve international fame. These works triggered a revolution concerning the view on sculptural art and were awarded the Grand Prix at the São Paulo Biennale in 1965. In the second half of the 70&rsquo;s, the artist started molding heads, figures and animals from cast resin, sisal, burlap and adhesive, which then became her trademark. These were later followed by sculptures made out of bronze, stone, wood and steel. A popular example is the group Agora (2006): a permanent monument at Chicago&rsquo;s Grant Park, comprising of 106 cast-iron figures.<br />Abakanowicz&rsquo;s works have already been exhibited at renowned venues all over the world. The solo- exhibition at St. Elisabeth Church marks the artist&rsquo;s Berlin debut, as there has never before been a show of this magnitude in the German capital. The centrepiece of the exhibition is a monumental installation titled Bambini, consisting of 83 life-sized sculptures, which was shown in venues such as the Metropolitan Museum of Art in New York (1998), the Jardins du Palais Royal in Paris (1999), or the Reina Sofía in Madrid (2008). Bambini is a unique crowd of concrete-humans of whom none equals the other. &ldquo;I have introduced the concept of the crowd into the sculpture&rdquo;, says the artist. &ldquo;They constitute a sign of lasting anxiety, a warning. I do not make editions. Every figure is individuality. There is also another aspect of quantity: the law of nature, which concerns us also. A crowd of people or birds, insects or leaves, is a mysterious assemblage of variants of a certain prototype. A riddle of nature&rsquo;s abhorrence of exact repetition or inability to produce it. Just as the human hand cannot repeat its own gesture. I invoke this disturbing law, switching my own immobile herds into that rhythm.&rdquo; Besides the group Bambini, there will be other sculptures from the series Backs, Bella I and Bella II, on display.</p> <p><br />Abakanowicz is often put together with artists of Arte Povera, with Joseph Beuys and Eva Hesse. During the same period, they were working with the same poor, organic materials and were concerning themselves with the relation between the human and the mass, shedding light on the human condition. For the audience, its own disappearance in a mass of biomorphic shapes, headless figures, animals, or abstract forms becomes an experience of existential depth.</p> Thu, 26 Mar 2015 16:28:46 +0000 Agnieszka Polska - ŻAK | BRANICKA - May 1st - June 20th <p>As part of Gallery Weekend Berlin 2015, ŻAK | BRANICKA is pleased to announce The Body of Words, a solo-exhibition by Agnieszka Polska: an emerging artist from the younger generation, who is rapidly growing in the contemporary art scene.</p> <p><br />The artist&rsquo;s visual language is unique and unprecedented: seen once, her style will always be recognized again. The source materials for most of her non-narrative video pieces are pictures from books and stock photographs, which she animates in order to create an absorbing, hypnotic atmosphere. In her films and collages of recent years, Polska has often addressed the issues of responsibility and social influence of the artist and furthermore she was examining various stances of the processes of legitimization or exclusion: in the field of art history, history, language and consciousness.</p> <p><br />The exhibition The Body of Words, consisting of three new film installations by the artist, employs itself with the influence language has on human perception and the limits it sets. Polska describes the processes of materialization of language and words, which take place on many different levels: from the direct, physical influence of sound on the body of a listener, analogies between the rules of language and the laws of physics, to wondering about the processes of naming.</p> <p><br />In the video I Am the Mouth (2014), a big, animated mouth describes how the words, in the form of a sound wave, are finding their way through various materials, including the body of the listener. Through the representation of a "mouth" that talks, Polska analyzes the artist&rsquo;s possibilities of having an influence on his or her surroundings. In the work that literally "speaks for itself", one can find references to Samuel Beckett's monodrama "Not I", as well as to the Internet phenomenon ASMR (Autonomous Sensory Meridian Response: videos made with the aim of producing a "brain massage" sensation in the viewer).</p> <p><br />Watery Rhymes (2014), with music written specially by the American musician Sun Araw, presents a poetic vision of language being driven by the same forces and rules as physics. Just like the particles of matter, verbs, nouns and adjectives, floating in the colorful liquid, follow the laws of quantum mechanics. This video presents the universe as a space limited to what can be described in words.</p> <p><br />The last video of the triptych, The Talking Mountain (2015), created especially for the show at ŻAK | BRANICKA, is an imaginary journey that Polska and her artist friend Sara van der Heide made, with the aim of finding the &ldquo;Talking Mountain&rdquo;: a legendary hill able to answer any question. In their dialogue, the ubiquitous travellers focus on humanities&rsquo; need to look for spiritual essence in inanimate objects, as well as on the notion of name giving as an act of creating reality.</p> <p><br />Additionally, a new series of collages will be shown during the exhibition.</p> Thu, 26 Mar 2015 16:18:14 +0000 Cyprien Gaillard - Sprüth Magers Berlin - May 2nd - July 18th <p style="text-align: justify;"><em>Where Nature Runs Riot</em>&nbsp;is an exhibition of new work by Cyprien Gaillard. The core of the show is a major new film made by the artist over the last three years, and shot on locations in Berlin, Cleveland and Los Angeles.&nbsp;<br /><br />Through these locations, which have all featured in Gaillard's previous work, the artist reflects upon ideas and phenomena that have held his interest since the beginning of his artistic practice: the dis- and relocation of landmarks and vegetation, misguided urban planning and cultural vandalism, and the anachronisms that constitute the world around us. Combining an advanced film technology with a documentary visual language, Gaillard creates a hypnotic experience as a meditation on the dynamics of history.&nbsp;<br /><br />A new series of double-exposure Polaroids and sculptural works will also be exhibited on the first floor of the gallery.&nbsp;<br /><br />Moving between photography, film and installation, Gaillard embarks upon a search for artefacts, monuments and architectural landmarks, as well as natural and urban landscapes that feature historical or modern ruins in states of neglect or reconstruction. This process allows the artist to investigate the effects and origins of social change. Entropy is an important theme for Gaillard: his works allude to the forms and techniques of Land art and Process art. The subcultures and youth movements that pervade public spaces also influence the artist. Gaillard transfers cultural materials and symbols into other contexts, rearranging images and ideas to critically examine the history of colonialism, thus inscribing his work with an enormous variety of cultural forms and symbols drawn from sources worldwide. The artist then engages these to examine the forces driving destruction and decay, as he observes and marks a continual disappearance of different cultures.&nbsp;<br /><br /><br />Spr&uuml;th Magers Berlin is concurrently presenting the solo exhibition<a href="" target="_blank">&nbsp;<em>The Symmetry Argument</em></a>&nbsp;by Marcel van Eeden.&nbsp;</p> Thu, 26 Mar 2015 13:54:25 +0000 Marcel van Eeden - Sprüth Magers Berlin - May 2nd - July 18th <p style="text-align: justify;">Marcel van Eeden begins every project by looking at images that predate his own birth (1965). For&nbsp;<em>The Symmetry Argument</em>, his exhibition at Spr&uuml;th Magers Berlin, van Eeden researched a cultural phenomenon that occurred in his hometown of Den Haag throughout the 1930s and 40s. During this period of upheaval and crisis, there was a huge interest in spiritualism and occultism. In part, the wave of spiritualism emerged amidst the threat of war and the failing materialism of the era, but it was also a result of The Netherlands' relationship to the colony of Indonesia. With many bureaucrats returning from the island country, they brought with them interest in exotic spiritual traditions, including &lsquo;guna-guna&rsquo;, or black magic. The city teemed with spiritualists and occultists, all advertising their services in the press and on posters. Taking photographs from the era as his starting point, van Eeden draws them in his trademark black chalk and, a new medium for the artist, oil pastel. The title of the show,&nbsp;<em>The Symmetry Argument</em>, is an idea drawn from the poem&nbsp;<em>The Nature of Things</em>&nbsp;by Lucretius, who made the Epicurean argument that one shouldn&rsquo;t fear death because it is merely a return to the eternity that existed before your birth.&nbsp;<br /><br />Spr&uuml;th Magers Berlin is concurrently presenting the solo exhibition&nbsp;<em>Where Nature Runs Riot</em>&nbsp;by Cyprien Gaillard.&nbsp;</p> <hr /> <p style="text-align: justify;">Marcel van Eeden beginnt jedes Projekt mit der Betrachtung von Bildern, die aus einer Zeit vor seiner eigenen Geburt (1965) stammen. F&uuml;r&nbsp;<em>The Symmetry Argument</em>, seiner Ausstellung bei Spr&uuml;th Magers Berlin, untersuchte van Eeden ein kulturelles Ph&auml;nomen, das w&auml;hrend der 1930er und 40er Jahre in seiner Heimatstadt Den Haag zu beobachten war. In dieser unruhigen, krisengesch&uuml;ttelten Zeit gab es ein riesiges Interesse an Spiritismus und Okkultismus, einem Trend, der sich teilweise mit dem drohenden Krieg und dem Kollabieren der Konsumkultur erkl&auml;ren l&auml;sst, aber auch aus der Verbindung der Niederlande zur Kolonie Indonesien resultierte. Viele Administratoren, die aus dem Inselstaat zur&uuml;ckkehrten, brachten ein Interesse an exotischen spirituellen Traditionen mit, wie zum Beispiel an &bdquo;Guna Guna&ldquo; oder schwarzer Magie. Die gesamte Stadt wimmelte von Spiritualisten und Okkultisten, die ihre Dienste in der Presse und auf Plakaten anboten. Van Eedens Ausgangspunkt sind Fotografien aus dieser Zeit, die er in Zeichnungen in schwarzer Kreide, seinem Markenzeichen, sowie in &Ouml;lpastell, einer f&uuml;r ihn neuen Technik, umsetzt. Die Idee zum Titel der Ausstellung,&nbsp;<em>The Symmetry Argument</em>, entstammt dem Gedicht&nbsp;<em>De Rerum Natura</em>&nbsp;(&Uuml;ber die Natur der Dinge) von Lukrez. In seinem Werk befasst sich dieser mit der Lehre Epikurs, die besagt, dass der Tod nicht zu f&uuml;rchten ist, da er nichts anderes als eine R&uuml;ckkehr in eine vor der Geburt existierende Ewigkeit bedeutet.&nbsp;<br /><br />Zeitgleich zeigt Spr&uuml;th Magers Berlin die Ausstellung&nbsp;<em>Where Nature Runs Riot</em>&nbsp;von Cyprien Gaillard.&nbsp;</p> <p>&nbsp;</p> Thu, 26 Mar 2015 13:53:51 +0000 Ulf Aminde, Sejla Kameric, Anna Witt - Galerie Tanja Wagner - April 7th - April 24th Thu, 26 Mar 2015 13:47:46 +0000 Group Show - Galerie Micky Schubert - March 21st - April 18th Thu, 26 Mar 2015 13:41:25 +0000