ArtSlant - Openings & events http://www.artslant.com/ber/Events/show en-us 40 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 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list 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 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list 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 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list 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 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list 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 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list 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 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list 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 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list 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 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list 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 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list 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 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list 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 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Christopher Makos, Paul Solberg - galerie hiltawsky - October 18th, 2012 7:00 PM - 9:00 PM <p style="text-align: justify;"><span style="font-size: small;">When<strong> Andy Warhol</strong> proclaimed in 1981, “I ́m not trying to look beautiful like Elizabeth Taylor, I ́m trying to show what it feels to be beautiful like Elizabeth Taylor“, he set another milestone within the exploration of <strong>Identity</strong>. Based on the tradition of Man Ray and Duchamp, Warhol used unexpected combinations of simple elements, thus slightly altered his appearance with make-up and a wig while otherwise remaining in his street clothes. With <strong>Christopher Makos</strong> behind the camera, the series 'Altered Image' was born.</span><br /> <br /><span style="font-size: small;"> On <strong>October 18th</strong>, the Berlin-based galerie hiltawsky will present the latest show by New York photographers <strong>Christopher Makos </strong>and<strong> Paul Solberg</strong>, a.k.a.<strong> The Hilton Brothers</strong>. This exhibition project is organized in partnership with art’otel berlin city center west.</span><br /> <br /><span style="font-size: small;"> With ”<strong>Andy Dandy</strong>”, a combined diptych of Makos ́ ”Altered Image” portraits of Warhol and Solberg ́s flower portraits, as heart of the exhibition, the show will feature around 30 colour photographs from <strong>three artistic identities</strong>: Makos, Solberg and the Hilton Brothers.</span></p> <p style="text-align: justify;"><br /><span style="font-size: small;"><strong> Christopher Makos</strong> (*1948 in Massachusetts), already famed as the long-time companion of Andy Warhol, apprentice of Man Ray, and portraitist of many twentieth century ́s icons such as Elizabeth Taylor, John Lennon, Warhol and Ray. Makos introduced Warhol to Keith Haring and Jean Michel Basquiat and taught him to use his first camera. According to Warhol, Makos was the “most modern photographer in America“. In the exhibition 'Andy Dandy and Other works', he will show his fabulous portraits of international stars such as Mick Jagger, Nicola Formichetti and Jean Michel Basquiat.</span><br /> <br /><span style="font-size: small;"><strong> Paul Solberg</strong> (*1969 in Minnesota), a rising photographic force, made his name with “Bloom“ in 2005, and today, has several books titles published under his name. His work has been shown in numerous exhibits in the U.S. and internationally, and since 2004, has been collaborating with Makos under the artistic identity<strong> The Hilton Brothers</strong>. Solberg will feature his ethereal backlit flower portraits alongside examples of a new take on classical portraiture, such as the celebrated portrait of Ai WeiWei in 2008, and the haunting soldiers in his “Service“ series.</span><br /> <br /><span style="font-size: small;"> The moniker The Hilton Brothers is derived from the Hilton Sisters, the 1930‘s Siamese- twin vaudeville stars. The Brothers explore the definition of collaboration, inspired by the ultimate collaboration, physical conjoinment. It’s the emersion of two strong visual identities into one singular narrative. A photographic language spoken in unison. Blurring and fusing two disparate styles, each work subtly commenting on the world today, or the escape from it.</span><br /> <br /><span style="font-size: small;"> Such examples are in the provoking series ”Andy Dandy”, or in the series ”Area 51”, and ”Speed”. Makos and Solberg, two important visual storytellers of our time, speak a unique language, both together and as individuals, for the viewer to unravel.</span><br /> </p> Thu, 29 Nov 2012 10:52:37 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Rainer Fetting - Galerie Deschler - October 19th, 2012 7:00 PM - 9:00 PM <p>In an exhibition coinciding with the publication by Edition Braus of an extensive<br />500-page book with roughly 500 photographs taken by the internationally renowned<br />Berlin painter and sculptor Rainer Fetting, affording the general public<br />an unprecedented overview of his extensive photographic work, including<br />countless images never before on view, Galerie Deschler is presenting a large<br />number of these photographs selected by the artist himself.<br />The photographs extend back into the late seventies and comprise a range of<br />different themes and subject matters, from cityscapes and street photography<br />taken mainly in New York and Berlin, to portraits and nudes all the way to<br />private snapshots. The images present a veritable treasure trove of documentary<br />material on the era covered, capturing the specific atmosphere of the two<br />metropolises and their art scenes, as well as providing insights into Fetting’s<br />own development as an artist and the evolution of his subject matter in various<br />media. Even though Fetting’s main interest has consistently been painting and<br />sculpture, he almost always took a camera along on his excursions, for “photographs,”<br />in his words, “not only oftentimes replace the sketchbook, but taking<br />pictures was a fundamental necessity for me, being able to capture places,<br />landscapes and people with a quick press of the shutter release.”<br />Upon entering the gallery space the visitor is confronted by two series of selfportraits<br />created during Fetting’s first stay in New York in 1978, funded by a<br />German DAAD government grant. On the right is a series photographed in the<br />subway (Self in Subway), on the left a series that combines self-portraits on<br />the streets of New York with images of American trucks. The headband Fetting<br />is wearing in the subway-series was a reference to the movie “Flesh” (1968,<br />directed by Paul Morrissey and produced by Andy Warhol), featuring the actor<br />Joe Dallesandro as a young hustler on the streets of New York and wearing just<br />such a headband. Fetting, who had already been active in the Berlin gay rights<br />movement and who was also interested in the homosexual scene in New York,<br />was inspired by the sexual candor of the movie. But the movie’s new aesthetic<br />of using ostensible technical shortcomings such as camera shake and abrupt<br />cuts to convey a sense of truthfulness and authenticity also had a strong influence<br />both on Fetting’s photography and the films he was shooting at the time.<br />His self-portraits with the truck furthermore allude to Robert de Niro’s famous<br />impersonation of the “Taxi Driver” in Martin Scorsese’s 1976 film, another important<br />source of inspiration for Fetting. The theme of the restless young man<br />seeking fulfillment in the ultimate metropolis is enhanced by an impression of<br />brute force emanating from the American truck, which must have struck Fetting<br />as being so much more masculine and raw than their European counterparts.<br />The series Escape From New York, on the other hand, came about at Fetting’s<br />precipitous departure from New York and return to Berlin after his gay lifestyle<br />had led to threats against his person.<br />A further group of photographs, presented in a ‘salon’ or ‘Petersburg’ hanging,<br />combines photographs of people from different walks of Fetting’s life: friends,<br />muses and models, such as Andrea and Susanne, but above all Desmond<br />Cadogan, featured in various pictures and immortalized in countless paintings<br />and sculptures, as well as artist colleagues such as Fetting’s one-time partner<br />Salomé, shown here during a performance in the shop window of the Berlin<br />Galerie Petersen in 1977, the video artist Stefan Roloff, and Slava Mogutin, the<br />first Russian to be granted political asylum in the U.S. due to his homosexuality,<br />photographed as a reclining semi-nude wearing a mask. In the upper center a<br />picture of Fetting and Helmut Middendorf in a New York cab on their way to<br />meet Andy Warhol. Another image from the nude series of Gässler (Fetting,<br />Photography, p. 172 was the basis of several paintings by Fetting (FETTING, pl.<br />177 f.), one of which was exhibited in the German chancellery for a while.<br />In the back room we encounter images of the Berlin Wall, revealing Fetting to<br />be an attentive observer of his time and environment. At a time when the Berlin<br />Wall was mostly ignored or even tabooed by the art scene, Fetting dedicated a<br />whole series of photographs and paintings to the Wall, whose monstrous reality<br />nobody could deny but most chose to ignore. The 1977 photograph of the wall<br />by Zimmerstrasse is one of a series of images of this particular stretch of the<br />wall, another one from this very series being the basis of Fetting’s painting from<br />that same year rendered with violet buildings set against a yellow sky and entitled<br />“First Painting of the Wall” (FETTING, pl .43, today in the collection of the<br />Städel Museum). The oppressively somber black-and-white image with its stark<br />composition of unremitting candor provides a marked contrast to the night-time<br />photographs of the Wall, such as those by Sebastianstrasse, where the Wall is<br />almost made to disappear in a play of lights. Fetting exhibited a similar eye for<br />urban zones that receive less attention in his fascination with the old wooden<br />Hudson River piers in New York, previously a meeting ground for the gay<br />scene, as well as in numerous photographs taken in New York subway stations.<br />Despite the historically highly interesting content of many of Fetting’s photographs,<br />they are not documentary in nature, being in too high a degree shaped<br />by his vision as a painter and by his infallible sense of composition. Fetting is<br />less interested in an exact depiction of reality than he is in the capturing of<br />transient moments and painterly effects, an impression that is frequently enhanced<br />by camera shake and blur. This is particularly apparent in many of the<br />subway pictures exhibited in the basement, as well as in the photograph of the<br />Twin Towers, again a play of colors and light effects that seems to dissolve the<br />concrete materiality of the depicted architectural structures. The blurring of clear<br />outlines in favor of painterly impressionistic color fields is most vivid in the<br />photographs of New York cabs with their yellow planes and red accents set<br />against blue or dark backgrounds.<br />In Fetting’s photographs, it seems, even more than in his paintings, art and life<br />have merged. The dividing line between private snapshots and photography<br />motivated by artistic intention is obliterated and can often no longer be made<br />out. The photograph of Desmond reflected in the bathroom mirror, with Fetting’s<br />own reflection visible behind him, can emblematically represent Fetting’s photography<br />in general: the picture draws us in simultaneously with its intimacy, its<br />composition, and as a self-portrait of the photographer in action. In these photographs,<br />the modernist’s battle-cry for the unity of life and art has become reality,<br />the distinction of separate realms obsolete. In their very own aesthetic of spontaneous<br />immediacy these images are interesting and vibrant in both form and<br />subject matter. As such they go far beyond their documentary aspect in conveying<br />Fetting’s visual experience of the world in which he lives and moves and<br />which is reflected in his art. They not only provide fascinating glimpses into the<br />development of his paintings and sculptures, but are works of art in themselves.</p> Wed, 03 Oct 2012 00:29:20 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Matthias Hagemann, Jörg Schmiedekind, Alexandra Schraepler, Sabine Wild - Galerie en passant - October 19th, 2012 7:00 PM - 9:00 PM <p>Was in New York oder London ganz selbstverständlich erscheint: ein chinesisches Viertel mitten in der Stadt – das wirkt im Umkehrfall wie eine Surrealität. <b>Matthias Hagemann</b> geht den am Reißbrett entwickelten künstlichen Stadtteil-Paradiesen in Shanghai mit der Lochkamera auf den Grund. Was wir sehen, entspricht nicht immer dem, was wir erwarten.<br /> <br /> Umgekehrt übersehen wir oft Dinge, die direkt vor unseren Augen geschehen. So vertraut <b>Alexandra Schraepler</b> auf analoge Mittel der Darstellung, doch bricht sie die Bildebene mit Spiegelfolien und Poststrips auf, um Fotos von urbanen Heterotopien in abstrakte Gemälde zu verwandeln.<br /> <br /> <b>Jörg Schmiedekind</b> zeigt Berliner Alltagsorte jenseits bekannter Sehenswürdigkeiten. Die streng frontale Sicht entreißt sie der gewohnten Banalität und ermöglicht einen fremden Blick auf alltäglich Vertrautes.<br /> <br /> Komplett neu arrangiert <b>Sabine Wild</b> die Wirklichkeit, indem sie lauter Einzelschnitte zu einer großformatigen und rhythmischen Monografie über den Typus des fernöstlichen Mopedfahrers verdichtet. Auch hier findet sich das Gewahren des Fremden im Blick des Eigenen wieder.</p> Wed, 03 Oct 2012 00:39:46 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list ANDRAS BARTOS, Gunnar Zimmer, Jachya Freeth - Galerie Neurotitan - October 19th, 2012 6:00 PM - 8:00 PM Sat, 22 Feb 2014 15:48:28 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list AAVV - General Public - October 19th, 2012 8:00 PM - 11:00 PM <p>////////////////////////////////////////////////////////////////////////////// </p> <p>Raum für Projektion presents</p> <p><strong>AFTER THE CRISIS Festival</strong></p> <p>/////////////////////////////////////////////////////////////////////////////</p> <p>// Date: Friday, October 19th - Sunday, November 4th</p> <p>// Venue: General Public, Schönhauser Allee 167c, 10435 Berlin</p> <p></p> <p>Since Europe is facing a major financial and economical crisis we were thinking about Argentina which went bankrupt in 2001. Many people in Argentina lost everything and economy had to start all over again. Since we will find ourselves soon in a similar situation, we wanted to know from our friends in Argentina: How was the impact of state bankruptcy on their lives?</p> <p>Most people we know in Buenos Aires work in the creative field. We asked if the crisis influenced their choice of profession. Now with the distance of ten years from the crisis: How do they value the influence of this economical desaster on their lives?</p> <p>Before the survey in Argentina, we did a series of interviews in Berlin and Warsaw. We asked about the worries and expectation regarding the upcoming crisis. What expect young and middle aged creative people from their near future? Do they care about a mighty state bankruptcy or is the crisis something abstact, only happening in mass media? Do they have questions to the Argentinian people, who already experienced state bankruptcy. </p> <p>From these series derive the video works "Before the Crisis" (Europe) and "What will be after state bankruptcy" (Argentina). They are the starting point for the "After the Crisis Festival" - an artistic answer to an upcoming social catastrophe.</p> <p></p> <p>/////////////////////////////////////////////////////////////////////////////</p> <p><strong>AFTER THE CRISIS FESTIVAL</strong></p> <p><strong>programme:</strong></p> <p></p> <p>FRIDAY 19 OCT 20H - WHAT WILL BE AFTER STATE BANKRUPTCY? </p> <p>www.generalpublic.de/nc/current/events/article/19/what-will-be-after-state-bankruptcy.html</p> <p></p> <p>SATURDAY 20 OCT 20H - KRYZYS, SOLIDARITY &amp; POPNOSHOP (changed?) </p> <p>www.generalpublic.de/nc/current/events/article/19/kryzys-solidarity-popnoshop.html</p> <p>SUNDAY 21 OCT 16H - ACCORDION TECHNO </p> <p>www.generalpublic.de/nc/current/events/article/19/accordion-techno-by-formacja.html</p> <p></p> <p>THURSDAY 25 OCT 20H - HACERME FERIANTE &amp; FÁBRICAS RECUPERADAS</p> <p>www.generalpublic.de/nc/current/events/article/19/falsification-occupation.html </p> <p></p> <p>FRIDAY 26 OCT 20H - BUENOS AIRES 2003-12, ONE GUITAR &amp; PRINTED PAPERS </p> <p>www.generalpublic.de/nc/current/events/article/19/buenos-aires-2003-2012-one-guitar-printed-papers.html</p> <p></p> <p>SATURDAY 27 OCT 21H - DANCE WITHOUT MUSIC PARTY </p> <p>www.generalpublic.de/nc/current/events/article/19/dance-without-music-party.html</p> <p></p> <p>SUNDAY 28 OCT 20H - CROP - TALKING ABOUT IMAGES</p> <p>www.generalpublic.de/nc/current/events/article/19/crop-talking-about-images.html</p> <p></p> <p>WEDNESDAY 31 OCT 20H - RENATIONALISATION OF PORTUGAL</p> <p>www.generalpublic.de/nc/current/events/article/19/renationalisation.html</p> <p></p> <p>FRIDAY 2 NOV 20H - SPEAKING SYNCHRONOUSLY</p> <p>www.generalpublic.de/nc/current/events/article/19/speaking-synchronously.html</p> <p></p> <p>SATURDAY 3 NOV 20H - BEFORE THE CRISIS - TO DRUNK TO DREAM</p> <p>www.generalpublic.de/nc/current/events/article/19/before-the-crisis-to-drunk-to-dream.html</p> <p></p> <p>SUNDAY 4 NOV 14H - STOP A100 - DESTROYED GARDEN COLONY</p> <p>www.generalpublic.de/nc/current/events/article/19/stop-a100-destroyed-garden-colony.html</p> <p></p> <p>SUNDAY 4 NOV 17H - ABWARTEN UND TEE TRINKEN </p> <p>www.generalpublic.de/nc/current/events/article/19/abwarten-und-tee-trinken.html</p> <p></p> <p></p> <p>More Info: www.raumfuerprojektion.de, www.generalpublic.de/nc/current/events/article/19/after-the-crisis-festival.html</p> Tue, 30 Apr 2013 17:25:30 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list