ArtSlant - Closing soon en-us 40 Group Show - Factory-Art gallery - September 7th, 2012 - October 5th, 2012 <p>Here we go! We are at the 5th appointment of the project started the 2nd January 2012 with the democratic title “YOU CAN TELL ME!”<br />In these six months a huge work has been done. The exhibitions set up in this time found a very good feedback but more, much more have to be done to establish this talent scout project. We are working very hard, harder than ever, in this direction. We hope curators, collectors and galleries take out from our work and use our efforts to discover new artists. From many artists participating went out really interesting ones. All selected artists will be published in a great final “2012 Project Berlin” catalogue.<br />The catalog will be presented during an international art fair where from all exhibited artists will be selected, by international curators, 6 artists to be exhibited.<br />We hope to give visibility and help good artists to emerge.<br />Turn on, tune in!<br />A chance or opportunity.<br />A movement or development in a particular direction.<br />To cause to move around in order to achieve a result.<br />As usually, freedom and think different are our goals so we borrowed and freely adapted from “The Banned Speech” by Timothy Francis Leary (1920 – 1996) these following sentences:<br />HEY! PEOPLE! WAKE UP! WAKE UP!<br />Who’s brainwashed you that way<br />Hey! People! Have you forgotten?<br />Have you forgotten this ancient message? It’s the oldest motto: “Discover the teachers.” It does not die over the years…..<br />It’s the message of freedom: drop out, turn on, tune in.<br />It's the ancient message of warning against slavery.<br />Your education system is a narcotic, addictive processes to narrow your mind, contract your consciousness, get you to accept this reality, the ridiculous game of the television prop scenario….<br />….don’t be confused…. You must turn on, tune in, keep the cycle going.<br />Look around you…..<br />And what do you see? If you see with any clarity, you will record a madhouse.<br />….. control, power, control.<br />…..Tune back in from all those big circuses, government buildings, and masonry going up.<br />That’s what's going to happen.<br />Hey!<br />Did you hear that?<br />Everyone who is alive today is at least 2,000,000 years old.<br />Everyone who is alive today has the complete story of evolution written inside their cellular tissue, and in molecular scripture inside their body.<br />Now in the next few months there is going to be a period of anguish and conflict, because one thing you must remember, you cannot stop us.<br />Above all, don’t let their chess games, tired games of power, dull your mind. Free your mind, turn on, find a meaning yourself in small groups.<br />And then what?<br />They will try and stop you. What should you do?<br />Yes, turn them on…..</p> Tue, 21 Aug 2012 23:49:40 +0000 Angela Bulloch - Esther Schipper - September 11th, 2012 - October 6th, 2012 Wed, 29 Aug 2012 02:29:58 +0000 Mirjana Vrbaski - exp12 / exposure twelve - September 14th, 2012 - October 6th, 2012 <p style="text-align: justify;"></p> <p style="text-align: justify;"></p> <p style="text-align: justify;"></p> <p style="text-align: justify;">"Verses of Emptiness" explores the essence of portraiture by examining the ability of an image to contain out infinite ambiguity and complexity in something as seemingly simple and straightforward as the face. The foundation of the project is the hypothesis that emptiness contains the most potential of meaning. In images reduced to the bare minimum, the sitters of Verses of Emptiness are removed from as much context as possible, the cultural and the social one, as well as the temporal and spatial one. With their outer 'classifiable' layers chipped away, these faces attempt to abandon the surface of personality and to instead reach a more truthful, essential state - one in which a person becomes hollow enough to echo another. And an anonymous sitter becomes an icon, familiar yet unspecific... and absorbed in a quiet, meditative calm.</p> <p style="text-align: justify;">Mirjana Vrbaski was born in Montreal, Canada in 1978. Having spent the first 16 years of her life in Serbia, she moved back to Canada in 1994. She studied English Literature at the University of Guelph in Ontario and Communications at McGill University in Montreal. At the age of 27, after having worked in communications, she moved to the Netherlands to complete a Bachelor of Photographic Studies at The Royal Academy in The Hague. She now lives in Amsterdam and Berlin. Mirjana's work revolves around the portrait as a way of exploring innocence. In 2009 Mirjana won the 4th Prize of the renowned Taylor Wessing Photographic Portrait Prize at the National Portrait Gallery in London, UK. She is a Winner of the Conscientious Portfolio Competition 2011.</p> <p style="text-align: justify;"></p> <p></p> <p></p> <p></p> Mon, 01 Oct 2012 09:30:00 +0000 Lee Miller - galerie hiltawsky - August 3rd, 2012 - October 6th, 2012 <p style="text-align: justify;"><span style="font-size: small;">In cooperation with the Lee Miller Archives in Chiddingly (Sussex in South East England), the galerie hiltawsky will present a solo exhibition of the American photographer Lee Miller (1907 – 1977) as of August 2nd 2012.</span><br /> <br /><span style="font-size: small;"> While Miller ́s photographs, currently shown at dOCUMENTA (13) focus on her stay in Hitler ́s Munich-based apartment in 1945, the collection of approx. 40 Lee Miller photographs at galerie hiltawsky gives a very good overview of her work and particularly features her portraiture from her early days in Paris during 1929 to 1932 through to her intimate and friendly shots of Picasso in the 1960’s.</span><br /> <br /><span style="font-size: small;"> This particular selection of images demonstrates Lee Miller ́s informal approach to her subjects that seem to effortlessly capture the spirit of the person and sometimes the place as well. We have Picasso relaxing with Jean Cocteau or at his most playful in the Madura pottery with Gary Cooper or clowning with masks he has made. There is Marlene Dietrich, elegant and beautiful at the liberation of Paris, Colette, and Paul Éluard the surrealist poet with his wife Nusch. These faces are mostly Miller’s friends and show us how strongly connected to the worlds of art, fashion and Surrealism she truly was.</span><br /> <br /><span style="font-size: small;"> But apart from the strong portraiture, the exhibition also includes images from the time, Lee Miller spent in Egypt as well as images during her time as an accredited war correspondent with the US Armed Forces. Other photographs, which are not for sale, chart Miller ́s coverage of the holocaust with some of the most devastating images to come out of the war and prove the artist ́s versatility and her commitment to peace, freedom and justice.</span><br /> <br /><span style="font-size: small;"> „Lee Miller’s strongest attribute as a photographer was her Surrealist eye. She began to discover her own unique way of seeing whilst working with Man Ray in Paris from 1929 to 1932 and her personal style was her ability to find ‘Found Images’ which were her pictorial equivalent of the ‘Found object’. She would unerringly find an image that contained the marvellous in the everyday. The result is often humorous, sometimes shocking and always present at some level in her work, even in the combat photographs she took in WW2.“ (Quote: Antony Penrose)</span></p> <hr /> <p style="text-align: justify;"><span style="font-size: small;">In Zusammenarbeit mit den Lee Miller Archives in Chiddingly (East Sussex, Süd- England) zeigt die galerie hiltawsky ab dem 3. August eine Auswahl von ca. 40 Photographien der amerikanischen Künstlerin Lee Miller (1907 – 1977).</span><br /> <br /><span style="font-size: small;"> In der galerie hiltawsky sind Werke aus allen Perioden von Millers Schaffen zu sehen: surrealistische Fotoarbeiten aus ihrer Zeit mit Man Ray, Portraits von Picasso und ihren Freunden aus dem Kreis der damaligen Avantgarde, Modefotografien aus Paris und Werke aus ihrer Episode in Ägypten. Zudem zeigt die Galerie Aufnahmen, die Miller während des Zweiten Weltkrieges in London und als „embedded journalist“ an der Seite der amerikanischen Truppen bei der Befreiung Deutschlands 1945 gemacht hat. Dieser Querschnitt durch ihr Gesamtwerk ist anders als Millers Ausstellungsbeteiligung auf der dOCUMENTA (13), die sich auf ihren Aufenthalt 1945 in Adolf Hitlers Münchner Wohnung konzentriert.</span><br /><span style="font-size: small;"> Miller war eine Ausnahme-Fotografin: Ihr Leben und Werdegang liest sich wie ein Märchen aus einer vergangenen Zeit. Er nährt bis heute den Eindruck, dass „sie, Lee Miller, viele verschiedene Leben gelebt habe“ (Zitat ihres Sohnes Antony Penrose).</span><br /> <br /><span style="font-size: small;"> Lee Miller wurde 1907 in einer Kleinstadt im Staate New York geboren. Sie begann ihre Laufbahn mit knapp 20 Jahren als Fotomodell für die VOGUE und arbeitete mit dem Großmeister der Fotografie Edward Steichen zusammen.</span><br /> <br /><span style="font-size: small;"> 1929 reiste sie in die Weltstadt Paris, um sich der progressiven Kunstszene anzuschließen. Kaum dort angekommen, traf sie auf Man Ray, ihren späteren Ausbilder, Mentor und Geliebten. Bald löste sich Miller aus der Rolle der Muse und führte gemeinsam mit Ray fotografische Experimente durch, vor allem im Bereich der Solarisation. Diese entfachten und begründeten Millers Leidenschaft für metaphysische- surreale Sujets und Stilelemente.</span><br /> <br /><span style="font-size: small;"> Ihr Wandel vom passiven Schöngeist zur aufklärerischen Fotoreporterin vollzog sich innerhalb kürzester Zeit. 1932 ging sie von Paris zurück nach New York, eröffnete ihr eigenes Fotostudio und reüssierte mit ihrer innovativen Mélange aus Straight Photography und europäischer Kunstfotografie. Zudem galt Lee Miller schnell als „Porträtistin der Avantgarde“: Sie schuf ikonografische Fotos von Igor Strawinsky, Max Ernst und Pablo Picasso an der Seite von Dora Maar.</span><br /> <br /><span style="font-size: small;"> 1935 zog Miller mit ihrem neuen Lebensgefährten Aziz Eloui Bey nach Kairo. In dieser Zeit entstanden sowohl eindrucksvolle Fotografien der Cheops-Pyramide und weiterer kultureller Stätten als auch Aufnahmen der Bewohner Ägyptens.</span><br /> <br /><span style="font-size: small;"> Ihre persönliche und berufliche Odyssee nahm eine entscheidende Wende, als sie 1937 den surrealistischen Maler Roland Penrose kennen und lieben lernte. Während Penrose eingezogen wurde, akkreditierte sich Miller 1942 als Kriegskorrespondentin der US-Army. Sie fotodokumentierte die Befreiung von Paris, Hitlers Berghof auf dem Obersalzberg und die Auflösung der Konzentrationslager Buchenwald und Dachau und schuf dabei Reportagen, die mit ihrer Wucht und Immanenz nachhaltig in die Fotogeschichte eingingen. Gleichzeitig hinterließ diese Zeit und Zeugenschaft tiefe Narben in der Psyche der Fotografin.</span><br /> <br /><span style="font-size: small;"> Lee Miller war, gemäß ihrem Filmdebüt in Cocteaus „Das Blut eines Dichters“, eine Foto-Poetin. Ihren Lebensweg bahnte sie sich mit viel Herzblut, Extravaganz und Courage.</span><br /> <br /><span style="font-size: small;"> Sie starb 1977 als Lady Lee Penrose auf ihrem Cottage in Sussex im Kreis ihrer Familie.</span></p> <p></p> Sat, 15 Sep 2012 22:21:39 +0000 - Galerie Michael Haas - September 11th, 2012 - October 6th, 2012 <p style="text-align: justify;"><span style="font-size: small;">In his paintings, that have a style reminiscent of the Old Masters, David Nicholson captures the spirit of our time like no other. Following on from Caravaggio and Otto Dix, the autodidact, born in 1970 in Montreal and now living in New York and Berlin, has a special sense of feeling for his era. </span><br /><br /><span style="font-size: small;"> With a combination of highly topical and classical requisites, his works captivate the viewer through the denseness and intensity of the frequently dark and high- contrast painting. Whether it is the surface of a skull or of a naked breast, the perfection of the material portrayed inevitably fascinates the viewer. Between art-historical, heavily-loaded vanitas symbols and tattoos, a world consisting of illusion and abyss, which often appears both appealing and repelling, is created both in his large-format paintings and also in the small, intimate portraits. The mirror that Nicholson holds up to society is sharp as a razor and often quite ambiguous. Even when the detail seems as small and extravagant,it is always ruthless. At the same time, Nicholson’s painting deals with nothing less than the human aspect of our time. For the first time in Germany, the Galerie Michael Haas will show works by David Nicholson from the last ten years. On the occasion of the exhibition, the first catalogue showing the artist’s oeuvre will be published.</span></p> <hr /> <p style="text-align: justify;"><span style="font-size: small;">David Nicholson trifft in seinen nahezu altmeisterlichen Malereien den Nerv der Zeit wie kein anderer. Nach Caravaggio und Otto Dix hat der 1970 in Montreal geborene Autodidakt, der in New York und Berlin lebt, ein besonderes Gespür für seine Zeit. </span><br /><br /><span style="font-size: small;"> In einer Kombination aus höchst aktuellem und klassischem Beiwerk bestechen seine Werke durch die Dichte und Intensität ihrer oft dunklen und kontrastreichen Malerei. Egal, ob es die Oberfläche eines Totenkopfes oder die einer nackten Brust ist, die Perfektion der gezeigten Materie zieht den Betrachter unumgänglich in seinen Bann. Zwischen kunsthistorisch schwer aufgeladenen Vanitassymbolen und Tätowierungen erwächst in seinen zum Teil großformatigen Gemälden oder aber auch kleinen intimen Portraits eine Welt aus Illusion und Abgrund, die oft anziehend und abstoßend zugleich wirkt. Der Spiegel, den Nicholson der Gesellschaft vorhält, ist messerscharf, oft sogar im doppelten Sinne des Wortes. Und selbst wenn der Ausschnitt noch so klein und noch so extravagant scheint, er ist in jedem Fall schonungslos. Dabei geht es in Nicholsons Malerei um nicht mehr oder weniger als Menschliches in dieser Zeit. </span><br /><br /><span style="font-size: small;"> Die Galerie Michael Haas zeigt das erste Mal in Deutschland Werke aus den letzten zehn Jahren von David Nicholson. Zur Ausstellung erscheint ein erster Katalog zum Oeuvres des Künstlers.</span></p> Sat, 15 Sep 2012 22:27:20 +0000 Menno Aden - Galerie Schuster - July 6th, 2012 - October 6th, 2012 <p>Through challenging camera angles Menno Aden abstracts most familiar actual living environments and public interiors into flattened two-dimensional scale models. A camera that the artist installed on the ceiling of various rooms takes pictures downwards of the interiors. The resulting images lay out space in symmetrical compositions that look like assemblages stripped off any kind of objectivity. The views into private homes and secret retreats bring up associations of the ubiquitous observation camera. The notion of surveillance is systematically played out by the artist to hint at society&rsquo;s voyeuristic urge that popular culture has made mainstream. (Miriam Noske)</p> Wed, 06 Nov 2013 14:11:42 +0000 Sylvie Fleury - Mehdi Chouakri - September 12th, 2012 - October 6th, 2012 Mon, 17 Sep 2012 13:31:52 +0000 Cy Twombly - Hamburger Bahnhof - Museum für Gegenwart - April 6th, 2012 - October 7th, 2012 <p>To consider the works of painter Cy Twombly only within the context of the art movements of the 20th century would not do full justice to his work. The gestural, lavish compositions are too complex, interspersed with small figurative sketches, numbers, words, and quotations. In many cases his canvases are covered with a thick impasto; in others his compositions suggest a generous sense of emptiness. Twombly draws unusual associations between geometric order and chaotic knots of color, figuration and abstraction, image and concept, painting and literature.<br /> <br /> Cy Twombly, who was born in 1928 in Lexington (Virginia) and died in 2011 Rome, lived in Italy as of 1960. This move inspired Twombly's engagement with European art history, especially with the 'École de Fontainebleau'.<br /> The School of Fontainebleau is a Mannerist decorative style, which was developed in the mid 16th century in France. Two Italian artists - Rosso Fiorentino (1494-1540) and Francesco Primaticcio (1504-1570) - were commissioned to decorate the Palace of Fontainebleau. They not only designed the paintings, frescos, tapestries, and sculptures required for the official representation of the court, they also used graphic media to disseminate their programmatic style. Through this graphics they influenced artists, such as Nicolas Poussin (1594-1665) up to the 17th century. <br /> <br /> Hamburger Bahnhof presents a selection of these art works from the collections of the Kupferstichkabinett and the Kunstbibliothek (Staatliche Museen zu Berlin), offering a dialogue with works by Cy Twombly from the Marx Collection.</p> Mon, 16 Apr 2012 11:03:03 +0000 Michael Sailstorfer - Berlinische Galerie - April 26th, 2012 - October 8th, 2012 <p>Michael Sailstorfer (*1979 Velden/Vils), is the prize-winner of “Vattenfall Contemporary 2012”. This choice pays tribute to an artistic position that re-questions and extends the classical concept of sculpture. In his often lavishly produced works he creates new, unfamiliar relations between everyday objects and processes, so generating images with great poetic effect.<br /><br />The central motif of his first major solo exhibition in Berlin is the forest. Five trees in the installation Forst, hanging upside down and revolving around their own axes, take up the whole of the 10-metre high exhibition space. While Sailstorfer brings nature into the exhibition space here, with his second work Schwarzwald (Black Forest) he takes art into nature: he produced a square field in an area of forest using black paint, which is reminiscent of Kazimir Malevich’s Black Square dating from 1914/15. Its slow disintegration, triggered by natural processes, is watched over by a video camera and transmitted via live stream to a screen in the exhibition space.<br /><br />Sailstorfer studied under Olaf Metzel at the Academy of Fine Arts in Munich and at Goldsmiths College in London. To date, it has been possible to see solo exhibitions of his work in the Schirn Kunsthalle Frankfurt a. M. (2008), the Kestner Society Hanover (2010/11), the S.M.A.K. in Genth (2011), and Kunsthalle Nuremberg (2011).<br /><br />The prize "Vattenfall Contemporary" is a re-conception of the “Vattenfall Kunstpreis Energie”, which has been awarded annually since 1992, experiencing its 20th anniversary this year. The prize was re-conceived in collaboration with the Berlinische Galerie in 2010. Since then it has been presented to internationally acclaimed artists living and working in Berlin.</p> Fri, 20 Apr 2012 01:18:14 +0000 - FREIES MUSEUM BERLIN - September 14th, 2012 - October 11th, 2012 <p style="text-align: justify;">In der Ausstellung 100.000 verbindet Benten Clay verschiedene Arbeiten, die zu dem Themenkomplex <em>Nuclear Waste </em>entstanden sind. Dieser ist als Teil des Langzeitprojekts <em>Age of an End</em>, in dem Benten Clay Erscheinungen der Jetzt-Zeit, wie die Limitation natürlicher Ressourcen, unkontrollierbare Faktoren des menschlichen Strebens und Ausformungen des Umbruchs untersucht.</p> <p style="text-align: justify;">Bei der Einlagerung von Atommüll öffnet sich ein Zeitraum von 100.000 Jahren – so lange strahlen die verbrauchten Uranbrennstäbe mindestens weiter. Onkalo – das weltweit erste Endlager für hochradioaktiven Müll, das derzeit in Olkiluoto, Finnland gebaut wird, ist der inhaltliche Kern, den die Ausstellung 100.000 umspannt.</p> <p style="text-align: justify;">Signifikant für diese installative Präsentation ist die dichte Verflechtung unterschiedlicher fotografischer und filmischer Herangehensweisen. Dokumentarische Fotografien widmen sich dem Areal der Halbinsel Olkiluoto: Temporäre Wohncontainer, Blicke auf eine Landschaft, unter dessen Oberfläche zukünftig der Atommüll lagert, beleuchtetes Moos als Bioindikator. Dazu wird eine Sequenz inszenierter, großformatiger Portraits einer offiziellen Persönlichkeit gezeigt,  die eine tiefgreifende Entscheidung der Öffentlichkeit überbringen muss. Von allen Seiten zeigen Hände seltsame, sich überlagernde Gesten zwischen Bestätigung und Trost.</p> <p style="text-align: justify;">Divergierend zur Konzentration dieser Fotografien flackern schnell aneinander geschnittene Videosequenzen wie ein unterschwelliger Kommentar: gebaute Welten aus dem Computerspiel Minecraft, Autofahrten durch unbekanntes Terrain, Ausschnitte eines Informationsvideos der Onkalo-Betreiberfirma Posiva.</p> <p style="text-align: justify;">Dieser Mix leitet über in den Bereich <em>Research &amp; Development</em>, BENTEN CLAYs Forschungsabteilung, in der Konstruktionsparamenter des Endlagers und des umliegenden Ökosystems untersucht werden. Die  Ergebnisse in Form von fotografischen Tableaus, Videos und Grafiken brechen ironisch die Auszüge der offiziellen wissenschaftlichen Studien. Sie erwecken Fragen nach der Möglichkeit einer Kontrolle der Ewigkeit und integrieren sich in das visuelle Gefüge von Unwahrscheinlichkeiten.</p> Mon, 01 Oct 2012 03:22:53 +0000 Anna Roger, Tuva Gonsholt, Ina Kristine Hove, Kjersti Johannessen, Lene Lunde, Louise Olsson - Berlin Glas e.V. - October 4th, 2012 - October 12th, 2012 <p>Berlin Glas eV is happy to have the Dynamo collective as the next resident artists in the studio, where they will present their exhibition <em>I Spy With My Little Eye</em>.  The theme of their newest body of work is centred on the desire for fame and recognition, and the result of being under surveillance that follows. To see and be seen - how is one affected by being observed? How they eventually perceive the world will create certain behaviours. They seek some attention, while rejecting it at the same time.    <br />                                   <br /> "In a room filled with eyes, camera and mirrors we would like to create a situation where the audience is watched while they are watching.  Every glass ball is decorated to represent various types of gazes, perspectives and views. <em>We want our exhibitions to be open, inspiring and challenging in a positive way.  Our idea is that each new show will have a connection with the last one and </em>we want the audience to participate. The idea to this exhibition came from comments the audience at the <em>Carry On 0:3</em> exhibition at Gallery Format in Oslo, Norway 2010. Here in Berlin there will be some of “free” glass balls for the gallery guests to decorate themselves and then hang on the wall so the exhibition will continue to grow."<br />  <br /> DYNAMO was founded in 2008 and comprised of six artists from Norway and Sweden - Anna Roger, Tuva Gonsholt, Ina Kristine Hove, Kjersti Johannessen, Lene Lunde and Louise Olsson. <em>"By forming the collective we have created an inspiring and creative community - a forum in which to share ideas and challenge each other to create new works of art, as well as to evolve as artists.</em>"</p> Thu, 20 Sep 2012 23:21:56 +0000 Klaus Weber - Deutscher Künstlerbund, Projektraum - August 31st, 2012 - October 12th, 2012 <p>From 31 August to 12 October 2012, the Deutscher Künstlerbund (Association of German Artists) will present works by Klaus Weber, winner 2012 of the »HAP-Grieshaber-Preis der VG Bild-Kunst« awarded by Stiftung Kunstfonds.</p> <p>Klaus Weber (born 1967) operates across genres, with an oeuvre including large-scale sculptural pieces, sound installations and performances, as well as paintings and works in public spaces. In spite of their formal rigor, the main element of his technically complex and elaborate installations, some of which extend beyond the exhibition space, is usually borrowed from nature: animals, plants or meteorological forces like rain, wind and sunshine. Weber uses the unpredictable but constructive energy of nature as the driving force and motor of his installations, and the randomness inherent in such energy sources is part of his concept. Rejecting the supposed dichotomy between nature and culture, he uses his laboratory-like set-ups to synthesize the two in new ways.</p> <p>At the Deutscher Künstlerbund Project Space, Weber is showing new works under a title borrowed from equivalence theory, »alle Körper fallen gleich schnell« (All Bodies Fall Equally Fast). A vitrine contains various objects: a section from an anatomical model from which the organs have been removed, causing it to resemble a mask; the negative form of a death mask, a cast taken from it, and a grasshopper with antennae made of human hair – objects that symbolize the transience of all earthly things. With this work, Weber refers to the traditional vanitas theme that has been occurring in art since ancient times. In Broken Window (working title), cracks form a dynamic system of fractures from the centre to the edge of a pane of tinted security glass, contrasting with its supposedly protective function. Using the example of a single broken pane of glass in an abandoned house, the »broken windows theory« formulated by American sociologists describes the chain reaction that can lead to the decline of an entire neighbourhood due to a fundamental human tendency towards the negative. Weber’s works also refer strongly to the Christian faith: while vanitas motifs are intended as an appeal to devote oneself to God and spiritual matters, the structure of the broken security glass recalls church windows – fear and the need for security drives people into religion.</p> <p>Klaus Weber, who studied in the free class at Berlin’s Hochschule der Künste, was the 14th winner of the HAP Grieshaber Prize. In February 2012, the jury of the Stiftung Kunstfonds awarded the artist Klaus Weber with the »HAP-Grieshaber-Preis der VG Bild-Kunst«, which is endowed with €25,000, for outstanding artistic achievement. His works have featured in many exhibitions in Europe and America, and are present in many major collections.</p> <p>The prize money for the »HAP-Grieshaber-Preis der VG Bild-Kunst« is made available by the VG Bild-Kunst from funds drawn from designated deductions from the distribution schemes for copyright fees paid to the VG Bild-Kunst.</p> Wed, 08 Aug 2012 00:20:34 +0000 George Legrady - Nature Morte Berlin - September 8th, 2012 - October 12th, 2012 <p class="p1" style="text-align: justify;">George Legrady<i>- Refraction</i></p> <p class="p1" style="text-align: justify;"><i></i>Opening: September 7th, 6-9 pm</p> <p class="p1" style="text-align: justify;">Exhibition: September 8th - October 13th, 2012</p> <p class="p1" style="text-align: justify;"></p> <p class="p2" style="text-align: justify;">Nature Morte Berlin is pleased to announce George Legrady’s first solo exhibition at the gallery.</p> <p class="p2" style="text-align: justify;">A leading figure in the realm of media art, George Legrady has created some of the most</p> <p class="p2" style="text-align: justify;">fascinating multimedia installations, data visualization projects and photography of the past twenty</p> <p class="p2" style="text-align: justify;">years. In his ongoing research into the semiotics of photography, socio-cultural narrative,</p> <p class="p2" style="text-align: justify;">interactivity and computational technologies, Legrady pushes and manipulates cutting edge</p> <p class="p2" style="text-align: justify;">technology to produce astonishingly subtle results that question our relationship with technology.</p> <p class="p2" style="text-align: justify;">At Nature Morte Berlin the artist will present a new body of work, consisting of 8 lenticular</p> <p class="p2" style="text-align: justify;">photographic panels, a computer animation and a multimedia installation.</p> <p class="p2" style="text-align: justify;">The work <i>Refraction </i>consists of 8 composite photographs, printed with the lenticular process which</p> <p class="p2" style="text-align: justify;">superimposes three images each becoming visible based on the spectator’s angle of view. Legrady</p> <p class="p2" style="text-align: justify;">rediscovered a series of documentary photographs he took in 1973 of the annual Hungarian gala</p> <p class="p2" style="text-align: justify;">ball in Montreal and was fascinated by their cinematic and seemingly staged quality. Legrady, who</p> <p class="p2" style="text-align: justify;">is more known for his use of cutting edge technology, appropriated the lenticular process (a retro</p> <p class="p2" style="text-align: justify;">printing method used in popular culture as early as 1940) to forge a dialogue between photography</p> <p class="p2" style="text-align: justify;">and cinema. By physically involving the audience as their movement determines the transition of</p> <p class="p2" style="text-align: justify;">the images, Legrady allows the spectator to be complicit in the timing and meaning of the work.</p> <p class="p2" style="text-align: justify;">Continuing his exploration of perceptional transitions, <i>Slice, a </i>software-generated animation</p> <p class="p2" style="text-align: justify;">investigates the fine line between recognition and abstraction by slicing an image into smaller and</p> <p class="p2" style="text-align: justify;">smaller sections until the legible image turns into an illegible abstraction. Once reduced to this</p> <p class="p2" style="text-align: justify;">state, the image sequencely rebuilds itself but into another image.</p> <p class="p2" style="text-align: justify;">The exhibition also includes a 4 channel audio-visual composition <i>Voice of Sisyphus. </i>This work is</p> <p class="p2" style="text-align: justify;">comprised of a black and white projected photograph from the Hungarian Ball, which is analyzed</p> <p class="p2" style="text-align: justify;">by software, and sonified and spatialized through a four-channel audio system. Using a highly</p> <p class="p2" style="text-align: justify;">complex synthesis technique, the composition unfolds as several regions within the image are</p> <p class="p2" style="text-align: justify;">filtered, subdivided, and repositioned over time.</p> <p class="p2" style="text-align: justify;">George Legrady was born in 1950 in Budapest and raised in Montreal. He received his MFA from</p> <p class="p2" style="text-align: justify;">the San Francisco Art Institute and has been a professor of interactive media arts at the University</p> <p class="p2" style="text-align: justify;">of California at Santa Barbara since 2001. His work has been exhibited at a number of prestigious</p> <p class="p2" style="text-align: justify;">institutions including the Whitney Museum of American Art in New York, the Centre Pompidou in</p> <p class="p2" style="text-align: justify;">Paris, Zentrum fur Kunst und Medientechnologie (ZKM) in Karlsruhe, and the SOMArts Center in</p> <p class="p2" style="text-align: justify;">San Francisco. The works in <i>Refraction </i>were first exhibited at Edward Cella Art + Architecture in</p> <p class="p2" style="text-align: justify;">Los Angeles in 2011.</p> <p class="p2" style="text-align: justify;"></p> <p class="p2" style="text-align: justify;">---</p> <p class="p2" style="text-align: justify;"></p> <p class="p1" style="text-align: justify;">George Legrady <i>- Refraction</i></p> <p class="p1" style="text-align: justify;">Vernissage am 7. September, von 18 bis 21 Uhr</p> <p class="p1" style="text-align: justify;">Die Ausstellung läuft bis zum 13. Oktober 2012</p> <p class="p1" style="text-align: justify;"></p> <p class="p2" style="text-align: justify;">Nature Morte Berlin freut sich George Legradys erste Einzelausstellung in der Galerie</p> <p class="p2" style="text-align: justify;">anzukündigen. George Legrady ist einer der führenden Künstler im Bereich der Medienkunst und</p> <p class="p2" style="text-align: justify;">hat einige der faszinierendsten Multimediainstallationen, Datenvisualisierungsprojekte und</p> <p class="p2" style="text-align: justify;">Fotografien der letzten zwanzig Jahre kreiert. In seiner kontinuierlichen Erforschung fotografischer</p> <p class="p2" style="text-align: justify;">Semiotik, soziokultureller Narrativen, Interaktivität und Computertechnologien manipuliert Legrady</p> <p class="p2" style="text-align: justify;">modernste Technologie, bringt sie an ihre Grenzen und erzielt dadurch erstaunlich subtile</p> <p class="p2" style="text-align: justify;">Resultate, die unser Verhältnis zur Technologie hinterfragen.</p> <p class="p2" style="text-align: justify;">In der Ausstellung <i>Refraction </i>präsentiert der Künstler eine neue Werkgruppe, die aus acht, mit der</p> <p class="p2" style="text-align: justify;">Linsenrastertechnik hergestellten Fotopanelen, einer Computeranimation und einer</p> <p class="p2" style="text-align: justify;">Multimediainstallation besteht.</p> <p class="p2" style="text-align: justify;">Die Arbeit <i>Refraction </i>besteht aus acht zusammengesetzten Fotografien, die mit dem</p> <p class="p2" style="text-align: justify;">Linsenrastersystem hergestellt sind. Bei dieser Retrodruckmethode, die schon seit 1940 in der</p> <p class="p2" style="text-align: justify;">Popkultur Verwendung findet, werden drei Bilder so übereinander projiziert, dass die Sichtbarkeit</p> <p class="p2" style="text-align: justify;">eines Bildes jeweils vom Blickwinkel des Betrachters abhängt. Legrady entdeckte eine Reihe</p> <p class="p2" style="text-align: justify;">dokumentarischer Fotografien wieder, die er 1973 vom alljährlichen ungarischen Galaball in</p> <p class="p2" style="text-align: justify;">Montreal gemacht hatte, und war fasziniert von ihrer filmischen, scheinbar inszenierten Qualität.</p> <p class="p2" style="text-align: justify;">Legrady, der bekannter ist für seine Verwendung modernster Technologie, machte sich das</p> <p class="p2" style="text-align: justify;">Linsenrastersystem zu eigen um die Fotografie in einen Dialog mit dem Kino zu setzen. Durch die</p> <p class="p2" style="text-align: justify;">körperliche Einbindung des Publikums, dessen Bewegungen die Überblendung der Bilder</p> <p class="p2" style="text-align: justify;">bestimmen, ermöglicht Legrady dem Zuschauer am Ablauf und dadurch auch an der Bedeutung</p> <p class="p2" style="text-align: justify;">der Arbeit teilzuhaben.</p> <p class="p2" style="text-align: justify;"><i>Slice</i>, eine softwaregenerierte Animation, führt seine Erkundung von WahrnehmungsübergaÅNngen</p> <p class="p2" style="text-align: justify;">fort und erforscht den schmalen Grat zwischen Erkenntnis und Abstraktion. Dabei wird ein Bild in</p> <p class="p2" style="text-align: justify;">immer kleinere Teile zerschnitten bis sich das verständliche Bild in eine unverständliche Abstraktion</p> <p class="p2" style="text-align: justify;">verwandelt hat. Einmal in diesen Zustand reduziert, baut sich das Bild sequenziell wieder auf,</p> <p class="p2" style="text-align: justify;">allerdings in ein anderes Bild.</p> <p class="p2" style="text-align: justify;">Die Ausstellung enthält auch eine vierkanalige audiovisuelle Komposition, mit dem Titel <i>Voice of</i></p> <p class="p2" style="text-align: justify;"><i>Sisyphus</i>. Die Arbeit besteht aus einer schwarzweiß projizierten Fotografie des ungarischen Balls,</p> <p class="p2" style="text-align: justify;">welche von Software analysiert und durch ein vierkanaliges Audiosystem vertont und verräumlicht</p> <p class="p2" style="text-align: justify;">wird. Durch die Anwendung einer hochkomplizierten Synthetisierungstechnik entfaltet sich die</p> <p class="p2" style="text-align: justify;">Komposition indem mehrere Regionen innerhalb des Bildes nach und nach gefiltert, unterteilt, und</p> <p class="p2" style="text-align: justify;">neu positioniert werden.</p> <p class="p2" style="text-align: justify;">George Legrady wurde 1950 in Budapest geboren und wuchs in Montreal auf. Er erhielt einen</p> <p class="p2" style="text-align: justify;">MFA vom San Francisco Art Institute und ist seit 2001 Professor für Interaktive Medienkunst an der</p> <p class="p2" style="text-align: justify;">Universität von Kalifornien, Santa Barbara. Seine Arbeiten wurden in einer Vielzahl renommierter</p> <p class="p2" style="text-align: justify;">Institutionen ausgestellt, unter anderem im Whitney Museum of American Art in New York, dem</p> <p class="p2" style="text-align: justify;">Centre Pompidou in Paris, dem Zentrum für Kunst und Medientechnologie (ZKM) in Karlsruhe und</p> <p class="p2" style="text-align: justify;">im SOMArts Center in San Francisco. Die Arbeiten in <i>Refraction </i>wurden zuerst 2011 bei Edward</p> <p class="p2" style="text-align: justify;">Cella Art + Architecture in Los Angeles gezeigt.</p> Wed, 03 Oct 2012 01:11:56 +0000 Hinrich Weidemann - Campagne Première Berlin - September 8th, 2012 - October 13th, 2012 <p>In the context of the 12th international literature festival Berlin.</p> Mon, 01 Oct 2012 10:00:38 +0000 Maki Na Kamura - DITTRICH & SCHLECHTRIEM - September 4th, 2012 - October 13th, 2012 <p>DITTRICH &amp; SCHLECHTRIEM is pleased to present a solo exhibition by Japanese-born, Berlin based artist Maki Na Kamura. Titled, <em>Geomotrie in LD.</em>, the exhibition features a series of 22 paintings, all 60 x 45 cm, in which the artist explores the weighted color red and the balance of structuring geometrical forms in delicately rendered natural landscapes. Profoundly aware of the formal dissimilarities between Eastern and Western artistic traditions, Na Kamura’s <em>Geometrie in LD.</em> paintings are entrenched in art historical discourse.<br /> <br /> Magdalena Kröner and Noemi Smolik have contributed essays for the exhibition catalog which includes reproductions of all artworks in the show and is available at the gallery. Magdalena Kröner says of the <em>Geomotrie in LD.</em> “the red river, it seems, is to the Maki Na Kamura of “GiL” what the “Red Fuji” was to Katsushika Hokusai, who painted it in forever new variations. Yet color presents the artist with a formal challenge rather than one on the level of representational content: everything that happens in these depictions takes place exclusively in the depths of the red. The bridge across the river with a few figures on it merely constitutes the classical frame for an expressive quest for form, movement, and gesture Na Kamura wrests from the dominance of the monochrome; they transpire afresh, are formulated afresh in each picture.”<br /> <br /> Noemi Smolik offers “capturing the world in geometric shapes has always been a way of trying to gain control of a sprawling and stubbornly amorphous nature, whose most persuasive expression is the natural landscape… Na Kamura’s pictures examine this tension. … The trees blend in with the nature that surrounds them, sometimes to the point of dissolving into it; the beams bisect the picture, cutting breaches into nature, which is always a violent act. They establish order. This contrast imbues Na Kamura’s pictures with an energized rhythm, as though the artist has taken the ideas of the Chinese theorist Chuang Yue (1750–1841) to heart, who demanded that any landscape painting possess twenty-four features, the most important of which was a “rhythm of inner energy.””<br /> <br /> This is Maki Na Kamura’s 5<sup>th</sup> solo show in Berlin. Na Kamura has participated in numerous international museum and gallery exhibitions, including a recent solo institutional exhibition at the Kasuya Museum in Yokosuka, Japan. </p> Fri, 07 Sep 2012 01:48:52 +0000 Group Show - Galerie Deschler - September 7th, 2012 - October 13th, 2012 <p><img src="" /></p> Wed, 29 Aug 2012 00:53:47 +0000