ArtSlant - Openings & events en-us 40 Anna Roger, Tuva Gonsholt, Ina Kristine Hove, Kjersti Johannessen, Lene Lunde, Louise Olsson - Berlin Glas e.V. - October 5th, 2012 7:00 PM - 9:00 PM <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 23:21:57 +0000 Group Show - Berlinische Galerie - October 5th, 2012 10:00 AM - 6:00 PM <div id="c5456" class="csc-default"> <div id="einleitung"> <p class="bodytext">The Berlinische Galerie is to stage the world’s first comprehensive exhibition of art photography in the GDR. Twenty years after the Wall, “The Shuttered Society” identifies traditions and trends while illustrating shifts in visual idiom and theme.</p> </div> </div> <p class="bodytext">The retrospective will thus contribute to the present discourse about photography that has unfolded in recent years with a flurry of exhibitions and publications. The works and their protagonists, the cultural policies that framed them, regional particularities, technical parameters and personal strategies have been explored in detail, so that an interested audience will now be aware of many of these photographers and of pictures that have acquired a status little short of canonical.</p> <p class="bodytext">The show at the Berlinische Galerie is designed to offer a broad overview, and the selection seeks to convey the specific character of each photographic work, its motivation and its language.</p> <p class="bodytext">Although the exhibition is devoted primarily to the medium itself, it also tells a great deal about daily life in the GDR. This is above all because the most prolific current, in terms of volume, was socially committed photography, and that is the subject of the first chapter. The photographers working within this tradition are keen to depict their world truthfully. As a result, they seek out images enabling them to make statements about real social conditions.</p> <p class="bodytext">The second chapter traces a thread with roots in the modernist idiom of the 1920s which was revived in the 1950s, but then found no successors for the next twenty years. Not until the mid-1970s did photographers lend more attention to the formal and aesthetic resources of their medium. The quest for new forms of aesthetic expression also led to works in three-dimensional space.</p> <p class="bodytext">Many of the young photographers on display in the third chapter needed this broader range of expressive options to render their complex impressions and emotions more effectively. Many had broken with the assumptions that defined the role played by their elders, for their view of East German society was disillusioned. Their investigations with the camera were born of this attitude, and their photography centres upon themselves, their bodies and their perceptions.</p> <p class="bodytext">The three chapters are preceded by a short Prologue with two significant series by Richard Peter sen. and Karl-Heinz Mai, offering an atmospheric impression of the period between the end of the Third Reich in 1945 and the foundation of the German Democratic Republic in 1949.</p> Mon, 03 Sep 2012 03:22:08 +0000 Olarn Chiaravanont - Galerie Koal - October 5th, 2012 7:00 PM - 9:00 PM <p>Die Galerie koal freut sich, die erste Einzelausstellung von Olarn Chiaravanont in Europa zu präsentieren. Geboren 1986 in Bangkok, lebt und arbeitet er seit 2004 in London. Im Juli 2012 erhielt er dort am Goldsmiths College seinen Master of Fine Arts.<br /> Olarn Chiaravanonts Bilder zeichnen sich durch Leichtigkeit und reduzierte Klarheit aus: runde sowie organische Formen und Drippings schweben mühe- und schwerelos im Raum. Doch sind sie präzise kalkuliert, jede einzelne malerische Entscheidung wird genau durchdacht und apodiktisch umgesetzt.<br /> Die ins Bild hineingetragene Dynamik ist ein wesentliches Merkmal seiner Malerei, die zwischen Kontrolle und Zufall, Figuration und Abstraktion oszilliert. Chiaravanonts künstlerische Praxis lässt die Möglichkeit von Fehlern nicht nur zu, indem sie sich dem Unvorhersehbaren öffnet, sie setzt sie gerade zu voraus. Denn in einem gewissen Sinne lässt jedes Bild für Chiaravanont etwas unbeantwortet und liefert damit den Impuls für die Entstehung einer weiteren Arbeit.<br /> ---<br /> Gallery koal proudly presents the first solo exhibition of Olarn Chiaravanont in Europe. Born in 1986 in Bangkok, Chiaravanont lives and works in London since 2004. In July 2012 he received his Master of Fine Arts at Goldsmith College.<br /> Olarn Chiaravanont paintings are distinguished by their lightness and focused clarity: round as well as organic shapes and drippings are effortlessly and weightlessly floating through space. Yet they are precisely calculated, each decision is well considered and apodictically carried out.<br /> The dynamic that is transferred to the painting is a crucial quality of his work, which oscillates between control and chance, figuration and abstraction. Chiaravanont's artistic practice does not only allow the possibility of failure by being open to the unforeseeable, its existence is practically based on it. Because, in a certain way, every paintings leaves something unanswered for Chiaravanont and therefore provides the impulse to create a new one work.</p> Sat, 29 Sep 2012 23:59:20 +0000 Group Show - LEAP - October 5th, 2012 8:30 PM - 12:00 AM <p style="text-align: justify;">Fast forward to 2012, and what we had absorbed from our mediated surroundings last year has since diverged into complexities and the unresolved oblivions of now. With the omnipresence of 2011 persisting, a perspective is called with which to draw its ghosts to the here and now.<br /><br />It was at the scratch of last year, with events like the Arab Spring, the Japanese triple disaster and Wikileaks, when artists were first contacted by Nine Yamamoto-Masson and Mirak Jamal to propose pieces in an environment of formidable media dynamics. Debuting a year later, a selection of these predominantly new works is placed in their specific connectedness to the framework; a problematic of exposing/reflecting/<wbr>documenting a year, or a particular event. As such, the exhibition allows for a media-to-artwork asynchronism that raises the question of how to delegate an event. <br /><br />__________________________<wbr>__________________________<wbr>_________________________<br /><br />Berlin, 2012 <br /><br />20111111111111111s is pronounced “two thousand elevens”. It is an exhibition platform set in theme to the year 2011, and inspired by its many towering events and untold accounts captured through a complex of perspectives. The cacophony that dominated the headlines of last year was transmitted through the many channels of mainstream media and social networks. Within the constraint of a unified space and as a counterpoint to the lifespan of a news story, the assemblage of works in the exhibition aim to trigger responses that communicate tangible and virtual experiences, immediate or distant realities of that year. 2011 will thereto be mirrored in fragments, where the gaze of the inceptor (the artist) is carried out in condensation towards object-pieces and media works. Artworks then function as mementos that trigger points of (re-)discovery in which to connect a bygone time to our mendable present. <br /><br /><br /><a href=";h=RAQEnU90y&amp;s=1" rel="nofollow" target="_blank"></a></wbr></wbr></wbr></p> Fri, 28 Sep 2012 04:49:57 +0000 Christian Martinelli - galerie son - October 6th, 2012 7:00 PM - 9:00 PM <p><span style="font-size: medium;"><strong>Christian Martinelli and the collective <i>CubeStories</i> </strong></span></p> <p></p> <p>galerie son in Berlin is showing the result of four years of work on a man-size camera – the <i>Cube</i> – by the photographer Christian Martinelli and the artists’ collective <i>CubeStorie</i>s.</p> <p>The idea for this minimalistic-looking camera came up four years ago in Beijing, China, when the photographers Christian Martinelli and Andreas Pizzini – the two ideators of the <i>Cube</i> – envisioned for fun a camera that could produce oversized photos without having to resort to magnifying. A portable camera, which with its image carrier could secure life-size pictures of its environment. Back home, they didn’t drop the idea but instead tried to put it into practice, together with their friend Andrea Salvà.</p> <p>After countless trials, there resulted a modular camera, 2 x 2 x 2 m in size, with a lens of 890 mm and a mirrored surface of Alu-Dibond – a light-weight material that makes it possible to transport the cube easily and to use it outside a studio.</p> <p>In the <i>Cube</i> photography is reduced to its essentials: a light-tight case, a lens with a lens aperture and a board to fix the 1 x 1 m photographic paper on it. The light falls through the lens directly onto the photographic paper. In this way each image is unique, like a painting. There is no intermediate stage between the entrance of light and the emergence of the positive image. It is not possible to make reprints. In this respect, the images are literally <i>painted by light</i>.</p> <p>In the 1930’s, the philosopher and art theorist Walter Benjamin feared for the work of art’s aura in the age of mechanical reproduction, directing his critique especially against photography, which had been created to reproduce its environment. In the process of the mechanical reproduction of a work of art its genuineness, its history and its authenticity would get lost, so he thought. The pictures created in the inside of the <i>Cube</i> escape this criticism, as they are not reproducible. Each picture is unique and therefore authentic.</p> <p>The pictures are also authentic in their subject-matter. The immediacy of the picture’s creation makes an intervention impossible. The pictures are honest and truthful. Similar to the first photographs that managed to record a non-subjective image of reality they convey a sense of directness.</p> <p>When photographing, the photographer is inside the <i>Cube</i>-camera. The action of taking a picture is extremely reduced and highly complicated. The simplicity of the procedure is fascinating. Because of the unusual dimension of the pictures and the uniqueness of each picture, each step must be performed accurately.</p> <p>The focus of the picture must be most carefully controlled, then the Ilfochrome paper is stretched out in total darkness. Finally, a shutter is opened and then closed. In the seconds in between one can see how the picture is being drawn on the photographic paper. Occasionally, the taking of a photograph can last a full day. The photographer’s possibilities of intervention are reduced to a minimum.</p> <p>The pictures that are thus created in the <i>Cube</i> are life-sized, razor-sharp color photographies with an excellent brightness of color. The mood of the pictures is always similar. On account of the camera’s size the focal length, depth of focus and variations in framing the image are limited.</p> <p>What also contributes to the uniqueness of these pictures is the finiteness of the photographic paper. The production of Ilfochrome-Photopaper, which is employed here, was stopped in 2011 after almost 50 years because the demand subsided. Through the treble coating, on which pictures are so to speak etched in, photos virtually acquire a haptic depth. In this way each photo stands also for a moment in the history of photography. 150 sheets of paper are still in the possession of Christian Martinelli, Andrea Pizzini and Andrea Salvà, the three faces behind <i>CubeStories</i>.</p> <p>With this limited number of images Christian Martinelli set himself a goal. He wants to record the trivial, and therefore turned his lens on moments and views of our everyday life, which everyone seemingly knows and therefore receive no consideration. In them he is looking for the world’s essence, similarly as the <i>Cube</i> is concentrating on the essence of photography. Martinelli’s pictures record these ephemeral moments for eternity and pursue thereby almost a social endeavor. By elevating the trifles of life to subjects of photography he is showing his appreciation of the work of the Italian photographer Luigi Ghirri. Martinelli is thereby adapting the concept of the “Democratic Camera”, which the photographer William Egglestone introduced into photography.</p> <p>The <i>Cube</i> is doing this in an unostentatious way. The Alu-Dibond gives the cube its reflecting characteristic, so it can get near to its subject unobtrusively. The <i>Cube</i> is incorporated into its surroundings and incorporates them into itself, as the picture it is reflecting is also the one which it is retaining. This duality is underlined by Martinelli’s documentation about the use of the <i>Cube</i>, which provides images that are by themselves fascinating.</p> <p><i>CubeStories</i> is by any account a project of superlatives, which shows its impact best in the original. Absolutely worth seeing!</p> <p></p> <p><span style="font-size: x-small;">(Text: Verena Malfertheiner, <span style="font-family: arial, helvetica, sans-serif;">translated by Verena Alves-Richter)</span></span></p> <p><span style="font-size: x-small;"> </span></p> <p><a href="" title="hotel gat point charlie" rel="nofollow"><img src="" /></a><span style="font-size: x-small;"><span style="font-family: arial, helvetica, sans-serif;"><a href="" title="galerie son at visitberlin" rel="nofollow"><img src="" alt="visitberlin" /></a></span></span></p> <p><span style="font-size: x-small;"><span style="font-family: arial, helvetica, sans-serif;">find more information about Christian MARTINELLI on galerie son website in <a href="" title="christian martinelli bei der galerie son" rel="nofollow">german</a> and <a href="" title="christian martinelli on galerie son" rel="nofollow">english</a></span></span></p> Sat, 22 Sep 2012 15:55:38 +0000 Martin Honert - Hamburger Bahnhof - Museum für Gegenwart - October 7th, 2012 11:00 AM - 6:00 PM <p>Childhood memories are central to Martin Honert's artworks which will be presented by the Nationalgalerie in a comprehensive solo exhibition in the main hall of Hamburger Bahnhof. Derived from images that have been preserved in his memory as well as family photographs and drawings he made as a child, the artist recreates moments from his own past and transforms them into three-dimensional objects.<br /> <br /> In a complicated creative process, he condenses memories of games, lessons and scenes from his childhood into single impressive pictures. Behind every object is a story that has been shaped by the fantasies, ambivalent feelings and experiences of a child. The remembered moments are based on personal memories and yet at the same time are a testament to childhood in the early years of the Federal Republic of Germany in the post-war period. <br /> <br /> Commenting on the central theme of his art, Martin Honert said, "Childhood is certainly not a theme because I think my own was particularly eventful or bad or good. My childhood was no doubt just as dull and boring as anyone else's. What's important to me is to explore things that may well have happened a long time ago but continue to exist for me as an image, a memory." The artist lives and works in Düsseldorf and Dresden.</p> Mon, 03 Sep 2012 03:56:09 +0000 Mara Daria Cojocaru, Nikolai Roskamm, Friedrich von Borries - Deutsches Architektur Zentrum DAZ - October 11th, 2012 8:00 PM - 10:00 PM <p>urbanophil ist am 11. Oktober 2012 mit dem urbanoSALON#2, der sich der "Geschichte der guten Stadt" widmet, im DAZ zu Gast. Nach einer Vorstellung des gleichnamigen Buches von Mara-Daria Cojocaru diskutiert die Autorin mit Nikolai Roskamm (urbanophil) und Friedrich von Borries.<br /><br />Thema des Buches ist eine Rekonstruktion der normativen Momente und Funktionen des Stadtbegriffes, der für Cojacaru vor allem Produzent und Rezipient von Normativität ist. Die These der Autorin lautet, dass es sinnvoll ist, an einer Vorstellung von der »guten Stadt« festzuhalten. Dieser Topos bildet eine Konstante der normativen Reflexion der menschlichen Lebensform, die dadurch, dass die Stadt zum eigentlichen menschlichen Habitat geworden ist, neue Bedeutung erlangt. Durch eine kritische Rekonstruktion der Geschichte von der »guten Stadt« anhand klassischer sowie zeitgenössischer Beiträge –von Platons Kallipolis über Le Corbusiers Ville Radieuse bis zu von Borries' Klimakapseln – zeigt Mara-Daria Cojocaru auf, wie ein gewisser Rest-Utopismus das gesellschaftliche Handeln in den Städten begleitet. Nicht die gebaute Umwelt bringt bedeutsame Formen von  Gesellschaft hervor – vielmehr verhält es sich umgekehrt.</p> Wed, 03 Oct 2012 00:08:28 +0000 Jens Jensen - Kunsthandel Jörg Maaß - October 11th, 2012 6:00 PM - 8:00 PM <p>From October 12 through November 30 Kunsthandel Jörg Maaß<br />presents a selection of paintings and works on paper from the<br />versatile artist, Jens Jensen.<br />Jensen was born in Frankfurt am Main in 1940 and grew up in<br />Ahrensburg/Schleswig Holstein. Since 1966, Jensen has lived in<br />Berlin and Paris. In 1972 he studied at Stanley William Hayters’<br />Atelier 17 in Paris, where he still keeps a studio at the Place d’Italie<br />and where his preferred printing studios are.<br />Jensen has taken part in various exhibitions at biennales in Italy,<br />Chile, and South Korea, as well as solo exhibitions in Berlin, San<br />Francisco, Paris, Thessaloniki, Barcelona and Pittsburgh. The artist’s<br />work can be found in numerous museums and private collections,<br />both in Germany and abroad. A large part of his graphic work can<br />be found in the collections of the Berlinische Galerie in Berlin, as<br />well as the Bibliothèque nationale de France in Paris.<br />Candidness and a desire to experiment are the typical markers<br />of Jensen’s work, which despite the advancements of the form of<br />abstraction, is not a turning away from concreteness. Through the<br />mixing of pigments and various other additives, he opens up the<br />entire spectrum of acrylic colors, from translucent glazes to thickly<br />dripped impasto. The influence from jazz also constitutes an<br />important component of the diversity of Jensen’s artwork. The<br />improvisation process and the desire for color—spontaneous, direct<br />and full of energy—these are the instruments which bind<br />his fascinating process into a unifying work.</p> <p><br />Vom 12. Oktober bis 30. November 2012 präsentiert der<br />Kunsthandel Jörg Maaß eine Auswahl an Gemälden und Arbeiten<br />auf Papier des vielseitigen Künstlers Jens Jensen.<br />Geboren 1940 in Frankfurt/Main und aufgewachsen in Ahrensburg/<br />Schleswig Holstein, lebt Jensen seit 1966 in Berlin und Paris. 1972<br />studierte er bei Stanley William Hayters Atelier 17 in Paris, wo er<br />bis heute ein Atelier an der Place d’Italie und seine bevorzugten<br />Druckwerkstätten hat.<br />Es folgen Ausstellungsbeteiligungen bei Biennalen in Italien, Chile<br />und Südkorea sowie Einzelausstellungen unter anderem in Berlin,<br />San Francisco, Paris, Thessaloniki, Barcelona und Pittsburgh. Arbeiten<br />des Künstlers sind in zahlreichen Museen und Privatsammlungen<br />im In- und Ausland vertreten. Ein Großteil seines druckgraphischen<br />Werks befindet sich heute in der Sammlung der Berlinischen Galerie<br />in Berlin sowie in der Bibliothèque nationale de France in Paris.<br />Offenheit und Experimentierfreude kennzeichnen das Schaffen<br />Jensens, das trotz der weit vorangetriebenen Form der Abstraktion<br />keine absolute Abkehr von der Gegenständlichkeit ist. Durch<br />Beimischung von Pigmenten und Zusatzstoffen eröffnet er die<br />ganze Variationsbreite der Acrylfarben, von durchscheinender<br />Glasur zu dickflüssig aufgetropftem Impasto. Auch der Einfluss von<br />Jazz bildet einen Bestandteil der Vielfältigkeit, die Jensens Kunst<br />ausmacht. Der Improvisationsprozess und die Farb-Lust – spontan,<br />unmittelbar und voller Energie – sind die Mittel, die seine faszinierenden<br />Arbeiten zu einem in sich geeinten Werk verbinden.</p> Sat, 29 Sep 2012 23:54:37 +0000 Ae Hee Lee - Emerson Gallery - October 12th, 2012 7:00 PM - 9:00 PM <p><span style="color: black; font-size: small;" color="black" size="2">In ihrer ersten Einzelausstellung bei der Emerson Gallery Berlin baut die 1982 in Seoul, Südkorea, geborene Ae Hee Lee eine raumgreifende Landschaft, in die sie ihre verschiedenfarbigen menschenähnlichen Figuren aus Ton platziert. <br />Auf den ersten Blick wirken die Figuren trotz unterschiedlicher Farbgebung wie geklonte und androgyne Wesen. Die Farbe sorgt vordergründig für einen Eindruck der Unifomität, der erst duch einen genauen Blick die Differenzierungen bei Gesicht und Körpern entdecken lässt. <br />Bei näherem Studium fallen Unterschiede in Gesichtszügen, Größe und Alter auf. In diesem Sinne ist die Farbe ähnlich wirksam wie ethnische Besonderheiten in Gesichtern sowie die Hautfarbe, die in einem von Rassismus und Xenophobie gerpägtem Blick schnell die Individualität betrachteten Menschen zum Verschwinden bringen kann. <br />Für Ae Hee Lee jedoch folgt die Farbgebung ihrer ganz eigenen Zuordnung. Mit Rot repräseniert sich Aee Hee Lee selbst in den verschiedenen Phasen ihres Lebens. Rot steht somit für ihr Lebensprojekt. Dunkelrot steht für die Familie, Blau für Ex-Freunde, Gelb für die beste Freunde, die ihr geholfen haben, während mit der Farbe Lila die von der Künstlerin vereehrten Personen gekennzeichnet sind. <br />Über die Installation wachen Schutzengel aus Wachs, die von zwei Wänden auf die Landschaft mit Figuren herabblicken. Die Installation schafft eine eindrucksvolles Bild, das zum Einen auf die autobiografisch inspirierte Typologie der Künstlerin verweist und gleichzeitig über Individualität und uniformierenden Blick in unserer westlich gerprägten Welt nachdenken lässt. Ruft man sich den Titel der Arbeit Erinnerung, so kann diese Arbeit ohne Umschweifen als Appell für ein gleichberechtigtes und hierarchiefreies Nebeneinander (und Miteinander) unterschiedlicher Menschen und Ethnien gelesen werden.<br /><br />Ae Hee Lee hat die ersten 25 Jahre ihres Lebens in Südkorea verbracht und in Seoul an der Kyungwon University of Art ihren Bachelor gemacht, bevor sie 2007 nach Deutschland zog und in Braunschweig 2011 ein weiteres Kunststudium mit einem Diplom beendete. <br />Ae Hee Lee lebt und arbeitet in Berlin. </span></p> Fri, 21 Sep 2012 23:05:03 +0000 Draga Jovanovic, Stephan US - G.A.S-station - October 12th, 2012 7:00 PM - 10:00 PM <p>The 5th international and topic centered exhibition project of G.A.S-station.</p> <p><em>NOTHING</em>.<br />Nothing, is more beautiful!<br />Reflections atop and beneath Nothing.</p> <p>G.A.S-station presents two very diametral artistic approaches to the topic: NOTHING. Nothing, is more beautiful!</p> <p>Exhibition: October 13th 2012 until February 1st 2013<br />Vernissage: October 12th 2012, 7-10 p.m.</p> <p>Draga Jovanovic (SRB), "Your self is a reflection of myself"<br />Stephan US (GER), "Das Archiv des Nichts" (The archive of Nothing)</p> <p>Draga Jovanovic chooses with her artistic work "Your self is a reflection of myself" an emotional approach to the topic. The installation confronts the visitor with a touching borderline between cliché and profundity between kitsch, fruitfulness and "frightfulness".</p> <p>Whereas Stefan US is approaching himself methodically to the topic by his "Archive of Nothing", a collection of things, thoughts, utopia, concepts about the Nothing. A collection of examples and quotes of various types – books, movies, music, art and performative actions, etc. - place the manifold questions and views of the cultures to the Nothing and the related areas like zero, emptiness, silence, idleness, this social ambivalent value of Nothing, into space.</p> <p>If we start thinking on the Nothing it turns into Something.</p> Fri, 14 Sep 2012 13:30:26 +0000 Kyungwoo Chun, FX Harsono, Truong Ngu, Tintin Wulia, David Zink Yi - GRIMMUSEUM - October 12th, 2012 7:00 PM - 10:00 PM <p>The exhibition <i>What is it to be Chinese? </i>sets up a framework to start thinking about Chinese belonging, but also to reflect about global migration movements and contemporary Chinese culture. In fact, Chinese migration movements have been happening during a fairly long time and all around the globe. Chinese diaspora has enriched countries with new cultural backgrounds, but also resulted in discrimination and marginalisation. In general, migration reflects a global turn mediated by economical, cultural or religious motifs, in search for new opportunities other than the one offered in the place of origin.<br /> Five artists of mixed Chinese origins address in their work what they associate to their Chinese roots. However, these artists were not raised up in China nor speak Chinese language. Nevertheless, they consider themselves to belong to a Chinese cultural backgound that is present in some of their works.<br /> Chinese people came to Indonesia in the late 15th and early 16th centuries. During the Dutch colonisation (1603-1949), Chinese were prioritised by the Dutch for trading purposes. Since then, a long history of discrimination started and still continues. For a period of time, Chinese in Indonesia were not allowed to perform their traditions, nor use their language or even give Chinese names to their children. In conflict situations, they were targets of a series of riots and massacres. Yet some positive turns have happened after the fall of Suharto in 1998, such as the possibility to learn Chinese language in schools, to be able to perform Chinese traditions and even to celebrate Chinese New Year. However, there is still a lot of work to do about this topic, not only regarding Chinese-Indonesian, but also concerning other Indonesian ethnicities and religious beliefs.<br /> One of the artists that has been researching about this subject matter throughout his artistic career is FX Harsono. The artist takes as an example his personal and family history to reflect about some dire episodes in Indonesian history. He documents through installations, paintings, videos, performances, photographs and testimonials what Chinese-Indonesians have been suffering during the last decades. His latest body of work is about learning to write his Chinese name, exemplified in the installation <i>Writing in the Rain </i>(2011). The piece refers to the ethnic law applied only to Chinese-Indonesians (Presidential Decree no. 127/U/Kep/12/1966), a law that constrained them to change their Chinese names to Indonesian sounding names. In fact, the artist did not learn to write his Chinese name until a few years ago.<br /> Tintin Wulia reflects on ancestry through the topic of migration, mobility and stories that she heard from family members or relatives. Her work encourages the audience to be part of it, such as immersing them in family documents in the form of kites as a metaphor for travelling and flying. She might also teach a language course or tell an uncanny story about the origin of the Kaki fruit. Regardless the material used, the artist is capable of integrating in her work human emotions in a quotidian context. In <i>Study for Wanton </i>(2008), Tintin thinks about the different dimensions of Indonesians mixed identity and her own Chinese-Indonesian background, using elements such as national anthems of the nations that occupied Indonesia - such as The Netherlands and Japan - , karaoke and Chinese cookies, but also showing what it is to be a wanton, that stands for a metaphor of a cross-border term, travelling without any limitations of nationalities or border laws.<br /> Although the majority of the Chinese population in Korea came mainly from Shandong, there are individual stories of Chinese who came already in the early 13th century to the Korean peninsula. Tracing Chinese-Korean history is part of the work of Korean artist Kyungwoo Chun, who explores his Chinese origin through his family name. The artist travelled to the village of Zhengzhou in China in search for people with the family name Chun. Since 2006, the artist has done 1000 portraits of people with the family name Chun (Chun means in Chinese thousand). The installation <i>Thousands </i>(2006-2008) is a living archive of photographs that includes the name, birthplace and date of birth of the people portrayed. It also recalls the history of his family name through the Chinese military general Chun, who was sent to Korea in 1592.<br /> Another point of view on Chinese belonging is the one given by Peruvian-German-Chinese artist David Zink Yi, born in Peru to German-Chinese parents. In the video installation <i>El Festejo </i>(2001), the artist plays with the hibridity of his own cultural background and reflects on the cultural environment of Peruvian post colonial society. In Peru, African people were brought to Peru as slaves during the 16th century settling down in the coastal areas to work in the plantations. Similarly to it, Chinese came to Peru as semi-slaves in the late 19th century replacing the African slaves that were working in the manors or <i>haciendas</i>. The video installation recreates the story of a Chinese-African-Peruvian woman, connecting her mixed cultural background with the rhythm of African-Peruvian music and the Chinese decoration of her family house. It is a story of two migration groups that mingled together, depicting a long history of <i>mestizo </i>(mixblood) heritage in Peruvian culture.<br /> Chinese and Vietnamese relations have a long history of tensions between borders, occupations and exchanges. For instance, in the seventies, when Vietnam became the Socialist Republic of Vietnam after the Vietnam war, Chinese-Vietnamese were victims of social discrimination. Many Chinese of Vietnamese origin fled by sea and asked for political asylum, such as the case of the so-called 'boat people'. An example of this is present in the work of Truong Ngu, born in Hanoi to Chinese-Vietnamese parents. Being a minority in Vietnam, part of his family left the country as boat people and established in former West Germany, where the artist grew up since he was eight years old. In his performance <i>Glücklicher Stern </i>(<i>Lucky Star</i>) (2010), he narrates the migration moves of his family playing a game similar to Monopoly, for which the numbers of the dice will influence his family destiny.<br /> The exhibition <i>What is it to be Chinese? </i>is about Chinese diaspora, but also about how people address their belonging to a place in which they have barely lived nor know the language. It is more about what might be called 'Chinese'. The way these artists address Chinese belonging could give us a clue on how much we do share and incorporate various cultural backgrounds in our lives.<br /> <br /> <strong>about the curator:</strong> <br /> Katerina Valdivia Bruch is a Berlin-based independent curator. She has curated exhibitions for a number of institutions, including ZKM - Center for Art and Media Karlsruhe (Germany), CCCB (Barcelona, Spain), Instituto Cervantes (Berlin and Munich), Instituto Cultural de Leon (Mexico), Para/Site Art Space (Hong Kong), and the Institute of Contemporary Arts Singapore, LASALLE College of the Arts. In 2008, she was co-curator of the Prague Triennale at the National Gallery in Prague. Besides her work as a curator, she contributes with essays and articles for art publications and magazines. Her focus as a curator is on international emerging artists and artists' collectives.</p> Thu, 27 Sep 2012 22:25:52 +0000 Regina Schmeken - Martin-Gropius-Bau - October 16th, 2012 6:00 PM - 8:00 PM <p>Für Regina Schmeken ist die Darstellung von Bewegung ein Schwerpunkt ihrer künstlerischen<br />Arbeit. Ihre seriellen Fotografien konzentrieren sich auf den entscheidenden Moment<br />zwischen Stillstand und Aktion in Fußball, Tanz, Stabhochsprung oder Fechten. Die durchtrainierten<br />Körper der Akteure gewinnen durch das Schwarz-Weiß der Aufnahmen eine<br />skulpturale Qualität, die durch eine ungewöhnliche Komposition und Lichtführung verstärkt<br />wird.<br />Seit 2004 fotografiert Regina Schmeken Fußballer bei Bundesliga- und Länderspielen in<br />deutschen Stadien. Dabei konzentriert sie sich ganz auf die Akteure, auf grafisch klare Zeichen<br />und auf den entscheidenden Moment, der aus den komplexen Handlungsabläufen des<br />Ballspiels isoliert wird.<br />Oliver Bierhoff, ehemaliger Nationalspieler und Manager der deutschen Fußball-<br />Nationalmannschaft, zeigte sich beim Besuch einer Ausstellung der Künstlerin überrascht<br />von diesem anderen Blick auf »seine« Disziplin. So ergab sich ein gemeinsames Projekt:<br />Seit März 2011 begleitet die Fotografin die Nationalmannschaft zu internationalen Spielen,<br />auch zur Europameisterschaft 2012 in Polen und der Ukraine. Die Ausstellung zeigt die Begegnung und das Spiel der Männer mit dem Ball wie eine Choreografie – gesehen aus einer<br />besonderen Perspektive. Die ausgestellten Fotografien umfassen die Zeitspanne März 2011<br />bis Juni 2012.<br />Regina Schmeken fotografiert Schwarz-Weiß seit 1976. Von 1980 an stellt sie ihre Arbeiten<br />regelmäßig aus und erhielt nationale und internationale Preise: Unter anderem 1978 den Prix<br />de la Critique der Rencontres Internationales de la Photographie in Arles, Frankreich, und<br />1996 den Erich-Salomon Preis der Deutschen Gesellschaft für Photographie.<br />Ihre Fotoarbeiten befinden sich in privaten und öffentlichen Sammlungen, unter anderem in<br />der Bibliothèque Nationale in Paris, im Museum of Modern Art in New York, der Pinakothek<br />der Moderne und dem Lenbachhaus in München, sowie dem Museum für Fotografie in Berlin.<br />Seit 1986 dokumentiert sie das Zeitgeschehen für die Süddeutsche Zeitung.<br /><br /></p> Thu, 27 Sep 2012 22:19:21 +0000 Group Show - Daimler Chrysler Collection: Daimler Contemporary - October 17th, 2012 11:00 AM - 6:00 PM <p><span style="color: #666666; font-family: Arial,Helvetica,sans-serif;" color="#666666" face="Arial, Helvetica, sans-serif" size="-1">For the seventh exhibition in the ‘Private/Corporate’ series, the Daimler Art Collection and collector Doron Sebbag are focusing on contemporary Israeli and international tendencies in art. Sebbag’s high calibre collection consists of over 1000 works and presents a varied, critically committed spectrum of contemporary Israeli and international art. </span></p> <p><span style="color: #666666; font-family: Arial,Helvetica,sans-serif;" color="#666666" face="Arial, Helvetica, sans-serif" size="-1"><span style="color: #666666; font-family: Arial,Helvetica,sans-serif;" color="#666666" face="Arial, Helvetica, sans-serif" size="-1">The selection of around 40 works and about 23 artists from the Sebbag Collection is entitled Accelerating Toward Apocalypse. The selection considers the manifestations of time in contemporary art: archaeology, archives, wasting time, and the obsession of capturing the moment. The selection of about 20 works by international and Israeli artists from the Daimler Art Collection responds to this theme with works that bring together politico-social analysis and existential ciphers. </span></span></p> Mon, 03 Sep 2012 03:38:55 +0000 Group Show - Das Verborgene Museum - October 17th, 2012 7:00 PM - 9:00 PM <p><strong>Portrait of the Photographer, Gallery Owner and Collector</strong><br />‘I wanted to get to know the people who reveal my inner life with their pictures.’ Anita Neugebauer (born in 1916 in Berlin) studied photography at the Contempora – Lehrateliers für neue Werkkunst in Berlin in the 1930s. She is among the avantgarde of photo gallery owners and her collection includes masterpieces classic 20th-century photography. Her gallery photo art basel (1976 – 2004) was one of the first to promote the public presentation of photography at a time when it was not yet being collected as art or exhibited in museums. Neugebauer’s photo exhibitions with Robert Doisneau, Gisèle Freund, Ruth Mayerson Gilbert, René Mächler, Floris M. Neusüss, Monique Jacot and Yvan Dalain made history. The curator and artist Alex Silber has selected works to illustrate the life and work of the Swiss photography pioneer in connection and confrontation with historic and contemporary protagonists of the gallery.</p> <p>Das Verborgene Museum präsentiert das Leben und Wirken der Fotografin, Galeristin und Sammlerin Anita Neugebauer. Zu sehen sind Werke historischer und zeitgenössischer Fotografinnen und Fotografen, die mit der Galeristin und untereinander einen thematischen bzw. ästhetischen Dialog aufnehmen: u.a. Robert Doisneau, Gisèle Freund, Ruth Mayerson Gilbert, Katrin Zickendraht, Ute Schendel, Claude Baechtold. Anlass der Fotoausstellung ist der 5. Europäische Monat der Fotografie in Berlin.</p> <p>Mit ihrer Galerie "photo art basel" (1976-2004) gehörte Anita Neugebauer in den 1970er Jahren zur Generation der Avantgardisten, die sich für das Ausstellen und Sammeln von Fotokunst eingesetzt haben. Fotografien waren damals noch nicht als "Kunst" anerkannt, wurden nur selten ausgestellt und in den Museen noch nicht gesammelt. Neben Anna Auer ("Die Brücke", Wien 1970), Rudolf Kicken und Wilhelm Schürmann ("Lichttropfen", Aachen 1973/74), Agathe Gaillard (Paris 1975) gilt Anita Neugebauer – heute 95jährig in Basel lebend – als Pionierin unter den Foto-Galeristen.</p> Mon, 01 Oct 2012 09:57:22 +0000 Anne Petters - Berlin Glas e.V. - October 18th, 2012 7:00 PM - 9:00 PM <p>Please join us on October 18 for a presentation of artist Anne Petters. Anne joined Berlin Glas e.V. - following a three month residency at Wheaton Arts in New Jersey - in mid July to help with the Kids Blow Glas project and the AiR programme in September.<br /> <br /> Anne has a strong background in glass, but sees herself as a multi media artist. She has been trained and worked in the field of glass design. In 2009 she received a Diploma in Fine Arts/ Glass at the Institute of Ceramic and Glass Art in Germany and in</p> <p>2011 the Master of Fine Arts in Sculpture/ Dimensional Studies at Alfred University in New York. Anne has been working with various artists and has been teaching hot glass/ three-dimensional studies at the Institute for Ceramic and Glass Art.<br /> <br /> Her interest in controlling and displaying moments of our fleeting, vulnerable existence leads her to a poetic, metaphoric use of glass and other materials. Entering her installations like Beauty II or [1ALL] we get the illusion that time stands still. Anne will talk about her work and a special pate-de-verre technique she has been exploring during the past years.<br /> <br /> <strong>In addition there will be a short demo in the hot shop starting at 7pm.</strong></p> Sat, 13 Oct 2012 23:11:44 +0000 Hugo Markl - DITTRICH & SCHLECHTRIEM - October 18th, 2012 6:00 PM - 8:00 PM <p style="margin: 0.0px 0.0px 0.0px 0.0px; font: 10.0px 'Helvetica Neue Light';"><span style="font-size: small;">DITTRICH &amp; SCHLECHTRIEM präsentiert eine Einzelausstellung des in New York lebenden Künstlers Hugo Markl mit dem Titel <em>SSSSS</em>. Die Schau, seine erste in Berlin, besteht aus einer Installation, zwei großformatigen Skulpturen, einer neuen Arbeit aus der Winchester-Serie sowie einer Gruppe von Zeichnungen aus dem bekannten Werkkorpus <em>GHOSTSHEETS</em> (2001–2009). Als Teil der Installation erscheint die US-Zeichnung aus der Serie IQ: Auf Grundlage der Farbpalette der amerikanischen Flagge zeigt sie eine Frau, die mit ihrem treppenartig wohlgeordneten Gebiss posiert.</span></p> <p style="margin: 0.0px 0.0px 0.0px 0.0px; font: 10.0px 'Helvetica Neue Light'; min-height: 12.0px;"></p> <p style="margin: 0.0px 0.0px 0.0px 0.0px; font: 10.0px 'Helvetica Neue Light';"><span style="font-size: small;">Raum 1. Die Einführung des Mainstreams als der schizophrene Aspekt? Für diese Ausstellung neugestaltet Markl Materialien des Massengeschmacks und schafft so abgeänderte ikonische Objekte, die das Verhältnis zwischen Original und Revision verschieben und dadurch die Verbindung zwischen ihnen erneuern. Wenn die Situation nachinszeniert wird, ist die Mainstream-Erfahrung eine andere. </span></p> <p><span style="font-size: small;">Raum 2. Eine gezielt klobig gestaltete Skulptur aus mit einer Wasserstrahlschneidemaschine bearbeitetem Aluminium, die eine verdoppelte Winchester darstellt, ist an der Wand angebracht. Neben der Winchester erscheint ein Cowboy zu Pferde, ein Motiv, das aus Howard Hawks’ Western<i> Rio Bravo</i> (1959) entnommen ist.</span></p> <p><span style="font-size: small;">Raum 3. Eine schwarze Skulptur mit dem Titel <em>American Apparel</em>: Eine androgyne Figur, ganz in schwarz gekleidet, die gerade an dem Rollkragenpulli zieht, der ihr Gesicht bedeckt, sitzt als Mysterium im Raum. Vervollständigt wird die Installation durch den schwarzblauen Wandteppich, der auf Wandformate und räumliche Bedingungen reflektiert und die Architektur markiert. </span></p> <p><span style="font-size: small;">Markl hat an prominenten Ausstellungen in aller Welt teilgenommen; seine Arbeiten befinden sich in vielen privaten und öffentlichen Kunstsammlungen. Auswahl:</span></p> <p><span style="font-size: small;"><i>Fondazione Sandretto Re Rebaudengo, Turin, Italien</i><i>; Burger Collection, Hong Kong, China</i><i>; Friedrich Christian Flick Collection, Hamburger Bahnhof, Berlin, Deutschland</i><i>; MUMOK Museum Moderner Kunst Stiftung Ludwig, Wien, Österreich; Pomeranz Collection, Wien, Österreich; Andreas Züst († 2000) Collection, Schweiz; Joel Wachs, Präsident der Andy Warhol Foundation, New York, N.Y.; Shane Akeroyd, Executive Vice President bei Markit, London, U.K.; Claude Berri († 2009), Paris, Frankreich; Sofia Coppola, New York, N.Y., und Paris, Frankreich; Urs Fischer, New York, N.Y.; Ugo Rondinone, New York, N.Y.; Mario Testino Art Projects at Home, Paris, Frankreich, und New York, N.Y.</i><i>; David Teiger, New York, N.Y.; Hauser &amp; Wirth, Zürich, Schweiz; Eva Presenhuber, Zürich, Schweiz.</i></span></p> <p><span style="font-size: small;">DITTRICH &amp; SCHLECHTRIEM wird einen Katalog zur Ausstellung veröffentlichen. </span></p> <p><span style="font-size: small;">________________</span></p> <p style="margin: 0.0px 0.0px 0.0px 0.0px; font: 11.5px 'Helvetica Neue Light';"></p> <p style="margin: 0.0px 0.0px 0.0px 0.0px; font: 11.5px 'Helvetica Neue Light';"><span style="font-size: small;">DITTRICH &amp; SCHLECHTRIEM is proud to present a solo exhibition by the New York-based artist Hugo Markl, titled <i>SSSSS</i>. The exhibition, his first in Berlin, features an installation, two large-scale sculptures, a new work from the Winchester series, as well as a group of drawings from the well-known <em>GHOSTSHEETS</em> (2001–2009) body of work. Included in the installation is the US drawing from the IQ series: using the color range of the American flag, it shows a woman presenting her stairs-like ordered set of teeth. </span></p> <p style="margin: 0.0px 0.0px 0.0px 0.0px; font: 11.5px 'Helvetica Neue Light'; min-height: 13.0px;"></p> <p style="margin: 0.0px 0.0px 0.0px 0.0px; font: 11.5px 'Helvetica Neue Light';"><span style="font-size: small;">Room 1. The introduction of the mainstream as the schizophrenic aspect? For this exhibition, Markl redesigns mainstream materials, creating altered iconic objects that shift the relationship between the original and the revised, renewing the link between them. With the situation restaged, the mainstream experience is different.</span></p> <p style="margin: 0.0px 0.0px 0.0px 0.0px; font: 11.5px 'Helvetica Neue Light'; min-height: 13.0px;"></p> <p style="margin: 0.0px 0.0px 0.0px 0.0px; font: 11.5px 'Helvetica Neue Light';"><span style="font-size: small;">Room 2. Slightly clumsy in design, a water-cut raw aluminum sculpture of a double Winchester is mounted on the wall. Next to the Winchester is a cowboy on his horse, a subject taken from the Western <i>Rio Bravo</i> (1959) directed by Howard Hawks.</span></p> <p style="margin: 0.0px 0.0px 0.0px 0.0px; font: 11.5px 'Helvetica Neue Light'; min-height: 13.0px;"></p> <p style="margin: 0.0px 0.0px 0.0px 0.0px; font: 11.5px 'Helvetica Neue Light';"><span style="font-size: small;">Room 3. A black sculpture titled <i>American Apparel</i>: an androgynous figure completely dressed in black and pulling the polo neck jumper covering his face sits as a mystery in the space.  The installation is completed by the black and blue wall tapestry reflecting wall formats and spatial conditions, marking the architecture. </span></p> <p style="margin: 0.0px 0.0px 0.0px 0.0px; font: 11.5px 'Helvetica Neue Light'; min-height: 13.0px;"><span style="font-family: arial,helvetica,sans-serif; font-size: small;" class="Apple-style-span" face="arial, helvetica, sans-serif"><br /> </span></p> <p style="margin: 0.0px 0.0px 0.0px 0.0px; font: 11.5px 'Helvetica Neue Light';"><span style="font-size: small;">Markl has participated in prominent exhibitions worldwide; his work is included in many private and public art collections. Selection:</span></p> <p style="margin: 0.0px 0.0px 0.0px 0.0px; font: 11.5px 'Helvetica Neue Light'; min-height: 13.0px;"><span style="font-size: small;"> </span></p> <p style="margin: 0.0px 0.0px 0.0px 0.0px; font: 11.5px 'Helvetica Neue Light';"><span style="font-size: small;"><i>Fondazione Sandretto Re Rebaudengo, Turin, Italy; Burger Collection, Hong Kong, China; Friedrich Christian Flick Collection, Hamburger Bahnhof, Berlin, Germany; MUMOK Museum Moderner Kunst Stiftung Ludwig, Vienna, Austria; Pomeranz Collection, Vienna, Austria; Andreas Züst († 2000) Collection, Switzerland; Joel Wachs, President of the Andy Warhol Foundation, New York, N.Y.; Shane Akeroyd, Executive Vice President at Markit, London, U.K.; Claude Berri († 2009), Paris, France; Sofia Coppola, New York, N.Y., and Paris, France; Urs Fischer, New York, N.Y.; Ugo Rondinone, New York, N.Y.; Mario Testino Art Projects at Home, Paris, France, and New York, N.Y.; David Teiger, New York, N.Y.; Hauser &amp; Wirth, Zurich, Switzerland; Eva Presenhuber, Zurich, Switzerland.</i></span></p> <p style="margin: 0.0px 0.0px 0.0px 0.0px; font: 11.5px 'Helvetica Neue Light'; min-height: 13.0px;"></p> <p><span style="font-size: small;">DITTRICH &amp; SCHLECHTRIEM will publish a catalogue of the exhibition.</span></p> Tue, 09 Oct 2012 23:40:15 +0000