ArtSlant - Recently added en-us 40 Pier Paolo Pasolini - Martin-Gropius-Bau - September 11th - January 5th, 2015 <p>The &ldquo;PASOLINI ROMA&rdquo; exhibition deals with the Italian writer and film-maker Pier Paolo Pasolini (1922-1975) in the context of his relationship with Rome. Pasolini in Rome conjures up visions of poetry, politics, a zest for big-city living, sex, friendship and cinema.</p> <p>Pier Paolo Pasolini was one of the most outstanding and ambivalent personalities on the European intellectual scene of the post-war period. As a lyricist in his native Friulian, as the author of novels, essays and columns on cultural and political issues, as a director of controversial films, and also as a painter and graphic artist, he sought to explore timeless, archaic themes: the fate of man, rural life, religion, sexuality, death. In doing so he always avoided commonly accepted standards and created images of extraordinary clarity and starkness, thus becoming the most provocative figure in Italian society.</p> Fri, 22 Aug 2014 00:29:39 +0000 - Martin-Gropius-Bau - September 10th - January 4th, 2015 <p>An exhibition presented by the Museum f&uuml;r Vor- und Fr&uuml;hgeschichte (Staatliche Museen zu Berlin) in conjunction with the National Museum of Denmark, Copenhagen, and the British Museum, London.</p> <p>From the Baltic, the Vikings ventured as far west as North America and as far east as the Black Sea, in a period of expansion in which they were not only feared as raiders and pillagers, but also greeted as traders and settlers. Through their travels, they came into contact with numerous, vastly differing societies and cultures. As its central theme, the exhibition explores this recipicity of influence and the diverse cultural contacts which the Vikings fostered. Drawing on the latest archaeological and historical research, the exhibition will include recent, major excavation finds, now presented to the wider public for the first time.</p> <p>The centrepiece of the display is a vessel from Roskilde, which stands as an impressive symbol of the Viking Age; measuring 37 metres in length, it is the longest warship from this epoch ever to be found. The exhibition is divided into four thematic strands which branch off from the warship and lead the visitor through the presentation, with each theme illustrated by an array of spectacular exhibits. The strands are titled: 'War and Conquest', 'Power and Dominion', 'Faith and Ritual', and 'Contacts and Exchange'. The exhibition features splendid warrior graves and weapons finds, rich grave goods for affluent women, archaeologically important settlement finds, as well as evidence of cultic and religious practices of enormous historical value.</p> Fri, 22 Aug 2014 00:25:02 +0000 Thomas Hirschhorn - Schinkel Pavillon - August 29th - September 28th <p>Schinkel Pavillon presents a new installative and site-specific work by Swiss artist Thomas Hirschhorn (*1957), his first institutional solo show in Berlin. For&nbsp;<em>H&ouml;here Gewalt</em>, Hirschhorn will not add an artwork to the exhibition space but instead intends to entirely deconstruct it.<br />Over the past twenty years Hirschhorn has created an oeuvre that questions the concept of art in the medium of installation and environment. The critical and political spaces that he creates are explicitly open towards diverse audiences who are invited to engage in and in turn activate the works.&nbsp;<em>H&ouml;here Gewalt</em>&nbsp;continues the artist&rsquo;s practice of transforming the white cube into large-scale environments.</p> <p>Ahead of the opening of&nbsp;<em>H&ouml;here Gewalt</em>&nbsp;Schinkel Pavillon will host a conversation between Thomas Hirschhorn and Prof. Dr. Michael Diers at 6.30 pm.</p> Fri, 22 Aug 2014 00:18:07 +0000 Eckhaus Latta, Fix Xed, H B Peace, Jessie Kiely, Nhu Duong, Rare Candy, Laura Fanning, Martine Rose - Mathew Gallery - August 15th - August 29th Tue, 19 Aug 2014 23:46:11 +0000 Jan-Holger Mauss - Laura Mars Grp. - August 23rd - September 6th Tue, 19 Aug 2014 23:32:54 +0000 Group Show - Autocenter - August 30th - September 13th Tue, 19 Aug 2014 22:53:33 +0000 Alexei Kostroma - Künstlerhaus Bethanien - August 22nd - September 21st <p>At the beginning of the 1990s, Alexei Kostroma proclaimed a new trend in modern art &ndash; the so-called &ldquo;organic way&rdquo;, which began in the 20th century Russian avantgarde. Precisely this &ldquo;organic way&rdquo;, which investigates the developmental laws of living nature, enabled Kostroma to argue his own perspective regarding the relations between theory and artistic practice in modern art. In his creative work he constantly examines the reciprocal relations between man and nature and allows the insights he gains in this way to flow into his social environment. As an artist he works in a parallel way on several threads of a topic; on the foundation of natural phenomena, he thematises problems specific to humanity as well as the world as a whole.<br />In his current series of images entitled&nbsp;<em>Anticipation</em>&nbsp;he examines the economic crisis and mountains of debt in the style of Bad Painting. What can be seen is a painterly trip around the world in numbers &ndash; revealing his faith in art but certainly not in the vague announcements of economic bosses and the political class. Kostroma spills the mood of the consumers into a wild, furious scenario, whereby people&rsquo;s intuition matches the frustrating economic data outside Germany.</p> <p>Alexei Kostroma, born in the city of Kostroma, Russia in 1962, lives and works in Berlin.</p> Tue, 19 Aug 2014 22:35:34 +0000 Sofia Bäcklund - Künstlerhaus Bethanien - August 22nd - September 21st <p>Sofia B&auml;cklund creates series or groups of sculptures, which both represent and abstract objects from our everyday environment. Her works focus on aspects of the interplay between individuals and society, and on the role that material plays in these processes. One recurrent theme in B&auml;cklund&rsquo;s work is the necessity for limits and boundaries to exist in order to create meaning.<br />For the group shown in K&uuml;nstlerhaus Bethanien,<em>&nbsp;On (I mean come on)</em>, B&auml;cklund brings together massive and textile materials and combines substructures made from metal rods welded together, natural wood and rough paper with specially dyed fabrics which form the &lsquo;outer skin&rsquo; of the sculptures. In this context the various forms of the production process are also important to her; in one and the same work, therefore, she contrasts a quickly completed process involving intense decision-making, like welding, with the more contemplative, time-consuming work of sewing. The height of the sculptures is oriented on human dimensions and constitutes a reference to the human body, as does B&auml;cklund&rsquo;s choice of colours for the fabrics &ndash; nuances of skin and powder colours.<br />On the other hand, the forms are indicative of kitchen utensils, bathtubs, plants etc. Each sculpture makes up its own platform or scene.<br />In her works B&auml;cklund sounds out the diverse relations between human being and body, social environment and history.</p> <p>Sofia B&auml;cklund (*1983) is a grantee of the International Artists&rsquo; Studio Programme in Sweden (IASPIS).</p> Tue, 19 Aug 2014 22:32:47 +0000 Hans Kristian Borchgrevink Hansen - Künstlerhaus Bethanien - August 22nd - September 21st <p>Hans Kristian Borchgrevink Hansen is concerned with the artistic mapping of specific geographical areas; for this purpose, he uses found materials and film documentation of small discoveries he makes in the streets, in parks or at flea markets, etc. The everyday objects (hair ties, paper clips, pieces of plastic) or fragments of them, which the artist collects literally by hand or with the aid of his camera, are combined into a multifaceted image of the city&rsquo;s visual undercurrents and resemble miniatures of modernist sculpture with their often indefinable, abstract forms.&nbsp;Hansen assembles these found objects and fragments into small-format sculptural objects or makes them into protagonists in the scurrilous and humorous animation films he produces himself using the simplest of technology.<br />With&nbsp;<em>Life in the Undergrowth</em>&nbsp;Borchgrevink Hansen provides an equally fantastic, entertaining and thoughtful insight into the urban undercurrents of Berlin as his temporary environment. The exhibition shows large-format projections of two newly made animation films as well as a collection of small-format sculptures covering a full wall, constructed from snippets, fragments and found objects; the artist himself characterises this as a &ldquo;cabinet of curiosities&rdquo;.</p> <p>Hans Kristian Borchgrevink Hansen (*1985) is a grantee of the Office for Contemporary Art Norway (OCA).</p> Tue, 19 Aug 2014 22:30:34 +0000 Vera Kox - Künstlerhaus Bethanien - August 22nd - September 21st <p>It is generally the static to the monumental that is understood as sculpture, but the sculptural works by Vera Kox concentrate far more on the fleeting and the transformable, on the transitory nature of her starting material.<br />It sticks, spills over, crumples, folds, bulges and plays with the cognitive patterns of our perception like a trompe-l&rsquo;&oelig;il. The presence of an exposure to strain can be seen and felt in all elements of Kox&rsquo;s work, often emphasised still more by the differing degrees of an object&rsquo;s abnormality; this exposure forms the basis of the artistic work as a theorem inherent in the material.<br />In her exhibition&nbsp;<em>Reassuring inertia</em>&nbsp;at K&uuml;nstlerhaus Bethanien, everyday materials are depicted with unlikely deformations, allowing us to recognise traces of passing gestures. The process and possibilities of formlessness provide a starting point for the works and suggest a phenomenological examination of whatever surrounds us each day.<br />The exhibition is accompanied by a text written by the Swedish artist Liv Strand.</p> <p>Vera Kox (*1984) is a grantee of the Minist&egrave;re de la Culture de Luxembourg, Oeuvre National de la Grande-Duchesse Charlotte (stART-up), Fondation Ind&eacute;pendance, Fonds Culturel National.</p> Tue, 19 Aug 2014 22:26:49 +0000 Erez Israeli - Künstlerhaus Bethanien - August 22nd - December 31st <p>Besides&nbsp;<em>Das mechanische Corps</em>, the focal project of our anniversary year is the artistic design of the firewall at Kottbusser Str. 10, which will be opened ceremonially along with the August solo exhibitions on 21st August.<br />As the result of a closed competition, the jury of experts Ellen Blumenstein, Hans Hemmert, Karin Kasb&ouml;ck, Doreet LeVitte Harten and Sven Dr&uuml;hl recommended a design by Israeli artist EREZ ISRAELI for realisation.<br />Israeli&rsquo;s idea centres on the subject of memory and remembrance in the Jewish-German context, but does not present the component of memory using the customary means for this theme; he avoids pathos by integrating tendencies of Street Art, for example. Israeli&rsquo;s mural painting action will restore its name to the building. In the course of anti-Jewish measures, the Nazis had removed the names of famous Jewish businesses from house fronts. Following the names of Jewish entrepreneurs, it was the Jews themselves who disappeared. This is the basis for the conceptual idea behind Erez Israeli&rsquo;s powerful artistic design.<br />A video documentation by Erez Israeli will expound on the genesis of the mural.</p> Tue, 19 Aug 2014 22:23:09 +0000 Group Show - Galerie Neurotitan - September 6th - September 27th <p>Mit der diesj&auml;hrigen Pr&auml;sentation aktueller Arbeiten, der im RAW Tempel ans&auml;ssigen K&uuml;nstlerInnen, geht das, auf dem Gel&auml;nde in Friedrichshain gebildete, Freie Ausstellungskollektiv FAK in die zweite Runde. Ziel des offenen K&uuml;nstlerkollektivs ist es, mit den vor Ort arbeitenden Kunstschaffenden nicht nur eine Ausstellungsplattfom zu bilden, sondern auch einen Raum zur &ouml;ffentlichen Auseinandersetzung &uuml;ber die prek&auml;re Arbeitssituation vor Ort im Konkreten und die Bedingungen von alternativ arbeitenen K&uuml;nstlerInnen in Berlin im Allgemeinen zur Sprache zu bringen.</p> <p>Die Gruppenausstellung selbst macht das im RAW gewachsene vielf&auml;ltige Spektrum und die lebendige Produktion Bildender K&uuml;nste f&uuml;r das Publikum zug&auml;nglich. Die Gruppenausstellung I like it RAW vereint Malerei, Skulptur, Druckgraphik und Installation internationaler K&uuml;nstler/innen. Begleitet wird sie von einer Podiumsdiskussion, 24 Stunden Zeichnen, Screenings und Artist Talks zum Thema.</p> <p class="Subtitle2">Geza Georg Adasz</p> <p>Geza Georg Adasz, geboren am 3.11.1978 in Budapest, studierte Malerei bei Margarete Hahner und erlangte den Titel des Magister Artium an der J.W.Goethe Universit&auml;t in Frankfurt am Main unter Jean-Christophe Ammann. Adasz&rsquo; Arbeiten oszillieren zwischen Gegenst&auml;ndlichkeit und Abstraktion, verweisen durch die Wahl des Materials auf ihre mimetische Ebene und umkreisen meist Fragen nach Energien, Entropie oder der Semantik bildender Kunstwerke.</p> <p class="Subtitle2">Veneta Androva</p> <p>wurde 1985 in Sofia geboren. Sie besch&auml;ftigt sich in ihrem k&uuml;nstlerischen Werk mit deduktiven und induktiven Zusammenh&auml;ngen in der Natur der Dinge und untersucht die Ableitbarkeit von Gegebenheiten. Interessiert an dem Prozess der Zergliederung des Gesamten in seine Grundbestandteile bedient sich die K&uuml;nstlerin unterschiedlicher Medien wie Installation, Fotografie und Malerei.</p> <p class="Subtitle2">Jacques Capellmann</p> <p>Als K&uuml;nstler sieht Jaques Capellmann es als seine Aufgabe ein neutrales Abbild seiner Umgebung zu schaffen. Dabei orientiert er sich an mit der Kamera im urbanen Raum aufgenommene Schnappsch&uuml;sse. In seiner Arbeit m&ouml;chte er m&ouml;glichst objektiv einen unmittelbaren Lebensraum reflektieren was durchaus trist wirken kann. Nutzt Capellmann hingegen Mediale Bilder entstehen entsprechend grelle und farblich eher angenehme Bilder. Die so resultierende, durchaus provokative Konfrontation l&auml;sst die Gegens&auml;tze unsere Zeit gut sichtbar werden.<br /><br />Bei seinen Asemblagen und Collagen hingegen konzentriert Capellmann sein Schaffen bei der Komposition von Material und Farbe. Zwangsl&auml;ufig sind Gegenst&auml;nde beim Betrachter immer mit Assoziationen verbunden, noch mehr&nbsp; bei seinen Assemblagen als bei seiner Malerei.</p> <p class="Subtitle2">K&auml;the Bauer</p> <p>Die Arbeiten von K&auml;the Bauer bewegen sich im Grenzbereich zwischen Figuration und Abstraktion. Die nat&uuml;rliche Erscheinungsform der Dinge existiert dabei nur in Andeutungen, die eine Br&uuml;cke herstellen sollen zwischen dem Bekannten und dem Unbekannten.Durch offenes Experimentieren und mithilfe einer intuitiven Ausdrucksweise soll einer inneren Wirklichkeit Ausdruck gegeben, Unbewusstes und Hintergr&uuml;ndiges sichtbar gemacht werden. Spontane, phantastische Gebilde in einer imagin&auml;ren Gegenwelt entwickeln sich so aus dem Schaffensvorgang selbst heraus, um dann meist als zentrale Figur im Bild zu stehen - in ihrer offenlassenden Schilderung gleichsam balancierend zwischen kontrolliertem Erkennen und intuitivem Erfassen.</p> <p class="Subtitle2">Nick Cocozza</p> <p>Nick Cocozza hat sich auf das Genre Street-Art spezialisiert. Seine k&uuml;nstlerische Arbeiten umfassen Installationen und Zeichnungen. Seine Arbeiten entstehen sowohl auf Papier als auch im Computer.<br />Stark vom Gro&szlig;stadtleben gepr&auml;gt entwickelt er, ausgehend von der Hip Hop Kultur,&nbsp; ein neues Stra&szlig;enbild. Geb&auml;ude, Graffiti und Charaktere &ndash; eine eigene imagin&auml;re Geschichte &uuml;ber das &bdquo;nat&uuml;rliche&ldquo; Umfeld. Dabei l&auml;sst sich Nick Cocozza aus der zeitgen&ouml;ssischen urbanen Kultur inspirieren und untersucht die Beziehung zu seiner eigener Umgebung.</p> <p class="Subtitle2">Benjamin Wedor</p> <p>In seinen Arbeiten befasst sich Benjamin Dewor mit der Figur des Menschen und der Suche nach einem Menschenbild ansich. Dabei gilt es ein Spannungsfeld zwischen narrativen Versatzst&uuml;cken, die in der allt&auml;glichen Wirklichkeit verhaftet sind und der Farbe als erfahrbares Material aufzubauen und darin den Menschen ohne Verortung, in seiner Auf-sich-selbst-Zur&uuml;ckgeworfenheiterscheinen zu lassen.</p> <p class="Subtitle2">Marta Djourina</p> <p>kommt urspr&uuml;nglich aus Bulgarien, lebt und arbeitet derzeit aber in Berlin. Ihr k&uuml;nstlerisches Werk ist von nat&uuml;rlichen Strukturen inspiriert und untersucht die abstrakten organischen Formen. Sie spielt mit dem negativen Raum in der Komposition, um die Ergebnisse der biotischen Prozesse zu verk&ouml;rpern, w&auml;hrend derer sich diese Formen entwickeln und mutieren.</p> <p class="Subtitle2">Eliot</p> <p>Eliot Markus Henning besch&auml;ftigt sich in seinen Arbeiten mit der uns im Alltag umgebenden Quantit&auml;t der Dinge und begibt sich auf die Suche nach dem &bdquo;one in a million&ldquo;.Seit 2004 kombiniert ELIOT konsequent die Bildsprache der Pop-Art mit Stickereien. Die roughness seiner Graffiti-Vergangenheit zusammen mit der Pixel anmutenden &Auml;sthetik des Kreuzstichs geben seinen Bildern einen unverkennbaren Look. ELIOT liebt das Arbeiten mit den H&auml;nden so sind Siebdruck, Zeichnungen und das Gie&szlig;en von Objekten weitere Facetten seines Schaffens. Als Beatboxer, Produzent, Graffiti-Maler und Comic-Zeichner geh&ouml;rt er zu den Urgesteinen der deutschen HipHop Bewegung.</p> <p class="Subtitle2">Thomas Heidtman</p> <p>entwirft partizipative Installationen, die mit einem interaktiven Ereignis verkn&uuml;pft sind. Dabei verfolgt er einen interdisziplin&auml;ren und experimentellen Ansatz, der es erlaubt, unterschiedliche Medien miteinander zu verkn&uuml;pfen. Die selbstbestimmte Interaktion des Besuchers mit der Kunst bildet dabei die Schnittstelle und den gedanklichen Fokus.Die experimentell-laborhaften Werke fordern den Besucher zurInteraktion mit den Objekten auf.</p> <p align="left">Nele Hoffman</p> <p>Seit 2009 stellte sie in zahlreichen Einzel- und Gruppenausstellungen in Hamburg, Berlin, Melbourne und zuletzt auf der 9. Biennale Florenz aus.Ihre Zeichnungen und Installationen umfassen Aspekte des modernen Lebens wie Gro&szlig;st&auml;dte, Anonymit&auml;t und Subkultur. Ihr Stil ist fig&uuml;rlich-minimal, jedoch gelingt es ihr, Personen mit ihrer innewohnenden Emotionalit&auml;t und Verletzlichkeit abzubilden. Nele arbeitet mit Acryl, Tusche, oder Markern auf Papier oder direkt auf der Wand mit Reispapierklebeband.</p> <p class="Subtitle2">Karoline Krei&szlig;l</p> <p>In ihren Skulpturen und Installationen setzt sich Karoline Krei&szlig;l mit grunds&auml;tzlichen bildhauerischen Fragen auseinander, wobei der Ma&szlig;stab ihres K&ouml;rpers immer eine wesentliche Rolle spielt und ma&szlig;-gebend wird. Die Aspekte Zeit, Bewegung und Raum spielen auf unterschiedlichen Weisen in allen Arbeiten ein Rolle. Sie verwendet die Medien Skulptur, Video, Videoinstallation, Zeichnung sowie Siebdruck.</p> <p class="Subtitle2">Beate Kunath</p> <p>entdeckte schon sehr fr&uuml;h ihre Liebe zum Visuellem, half bei der Organisation und Kuration einer w&ouml;chentlichen Filmreihe des Chemnitzer Filmclub e.V., bevor sie von 1994 bis 2002 ein Filmfestival f&uuml;r den lesbisch-schwulen Film in Chemnitz initiierte. Seit 1996 arbeitet sie bei der Chemnitzer Filmwerkstatt ( und ist seit 2004 Mitglied des Vorstandes. Eigene Kurzfilmproduktionen laufen preisgekr&ouml;nt (u. a. Berlinale 2001, Teddy-Jury-Preis) und konstant seit 2000 auf internationalen Festivals. Beate Kunath ist auch als Jurorin in verschiedenen Gremien t&auml;tig, u.a. Jurymitglied bei der Deutschen Film- und Medienbewertung (FBW).</p> <p class="Subtitle2">Joachim Kuschel</p> <p>Der K&uuml;nstler J. Kuschel bewegt sich in seiner Malerei zwischen fig&uuml;rlich und ungegenst&auml;ndlich und verarbeitet in seinen Bildern hochsensibel Zeitgeschehen und pers&ouml;nliche Befindlichkeit. Manchmal ironisch, manchmal rotzig eruptiv &ndash; immer neugierig auf neue Ausdrucksm&ouml;glichkeiten und Materialien, die er mit gro&szlig;em K&ouml;nnen spielerisch auslotet.<br />Seit 1959 widmet sich J. Kuschel der bildenden Kunst. &Uuml;ber 6.000 Werke bekunden bis heute den k&uuml;nstlerischen Werde- und Fortgang des Malers, die den Str&ouml;mungen der aktuellen Malerei in Deutschland von 1959 bis jetzt entsprechen.</p> <p class="Subtitle2">Steffi Lehner</p> <p>ist Grafik Designerin und Fotografin und arbeitet sowohl k&uuml;nstlerisch frei, als auch im Auftrag f&uuml;r Firmen und Agenturen.<br />Ihre Arbeiten befassen sich im hohen Masse mit zeitkritischen Aspekten. Sie zeigt dem Betrachter die normalen Dinge des Alltags in Ihrer eigenen Sichtweise.</p> <p>NOTE</p> <p>Hieroglyphen, eine eigene typografische Auseinandersetzung mit Buchstaben und dem Alphabet, f&uuml;r das kein W&ouml;rterbuch mitgeliefert wird, sondern jeder Betrachter aufgefordert wird seine eigene Bedeutung zu generieren und selbst zu &uuml;bersetzen.<br />Bilder, kategorisiert als `Farben und Formen`, eine Art geometrischer abstrakter Expressionismus. Note erkl&auml;rt seine Bilder nicht gerne, sie entstehen aus einem Gef&uuml;hl, einer kleinen Idee, einer kleinen Skizze, auch wenn diese nur aus einem Strich besteht - trotzdem kann dieser einfache Strich ausreichen, um Ausdruck einer gr&ouml;&szlig;eren Idee zu werden.</p> <p class="Subtitle2">Francesco Petruccelli</p> <p>Die Malerei von Francesco Petruccelli wird von verschiedenen Lebensformen inspiriert. Er untersucht die darin enthaltene Energie und versucht sie mit schnellen, raschen Pinselstrichen auf der Leinwand festzuhalten. Dabei ist f&uuml;r ihn die Bewegung von besonderer Wichtigkeit und der Rhythmus, mit dem Eindr&uuml;cke entstehen. Die Geschwindigkeit, mit der er arbeitet, ist das Mittel zum Zweck, Momente schnell aufzufassen und wiederzugeben.</p> <p>El&eacute;nore Roedel</p> <p>arbeitet als Grafikerin und Illustratorin sowohl k&uuml;nstlerisch frei als auch im Auftrag f&uuml;r Buchverlage, Zeitungen und Magazine. Ihre Bildsprache orientiert sich an der Plakatkunst Anfang des zwanzigsten Jahrhunderts, B-Movies und Comics. Durch den Einsatz moderner Techniken sampelt sie die verwendeten Bildelemente zu einem ganz eigenen, f&uuml;r sie typischen Look.</p> Tue, 19 Aug 2014 22:08:03 +0000 Group Show - Galerie Buchholz - August 28th - October 31st <p><em>Pictures, Before and After&nbsp;</em>is one of a series of events honoring the work of art historian, theorist, curator and activist Douglas Crimp who turns 70 this month. Departing from Crimp's Memoirs which will be published as&nbsp;<em>Before Pictures</em>&nbsp;in 2015, these events consider artistic, philosophical, queer and subcultural practices from the 1960s to the present. Whether as activist, editor, author, or participant, Crimp has played a key role in the construction, representation and interpretation of this history. The organizers, Diedrich Diederichsen, Juliane Rebentisch and Marc Siegel, together with Daniel Buchholz and Christopher M&uuml;ller of Galerie Buchholz, the Arsenal Institut for Film und Video Art, and&nbsp;<em>Tanz im August</em>&nbsp;are all fans, friends, colleagues or students who have crossed paths with Crimp numerous times over the years.<br /><br />Douglas Crimp, who arrived in New York at the end of the 1960s and worked initially at the Guggenheim Museum and as an assistant to legendary fashion designer Charles James, is undoubtedly one of the influential American intellectuals of our day. Alongside his occassional but significant curatorial projects, and his work as critic (<em>Art News, Art Forum</em>) and editor (<em>October</em>), Crimp has written some of the central texts on museological questions and theories of postmodernism (e.g.&nbsp;<em>On the Museum's Ruins</em>, 1993). He was one of the most critical and persistent voices during the AIDS crisis and arguably the one whose theoretical insights most shaped the development of activist and artistic practices, even beyond the confines of queer and AIDS politics (e.g.&nbsp;<em>AIDS Demo Graphics</em>, 1990;&nbsp;<em>Melancholia and Moralism: Essays on AIDS and Queer Politics</em>, 2004). Moreover, Crimp's writing on AIDS cultural practices directly influenced the development of the scholarly field of queer studies (<em>AIDS: Cultural Analysis, Cultural Activism</em>, 1988;&nbsp;<em>How Do I Look? Queer Film and Video</em>, 1991). More recently, he has continued to attract international attention though his lectures and essays on contemporary dance and on the artistic practices that emerged in the New York Underground scene of the 1960s, mainly the work of Jack Smith, Ronald Tavel and Andy Warhol (e.g. '<em>Our Kind of Movie': The Films of Andy Warhol</em>, 2012)<br /><br />Throughout his career, Crimp continuously corroborated his critical and theoretical insights with curatorial work. The 1977 exhibition&nbsp;<em>Pictures</em>&nbsp;(with, among others, Jack Goldstein, Sherrie Levine, Philip Smith), which he curated for Artist's Space in New York City, is the most influential in this respect in that it instituted a paradigm shift in artistic production and theorization. The historical overview that Crimp developed with curator Lynne Cooke in their co-curated exhibition&nbsp;<em>Mixed Use Manhattan&nbsp;</em>(Reina Sofia, Madrid, 2010) dedicated itself to New York City in the 1970s, the&nbsp; space of Lower Manhattan that was transformed by a recession into a stage for the development of new artistic practices.<br /><br />Crimps Memoirs serve as the departure point for an exhibition that Christopher M&uuml;ller organized &ndash;in close collaboration with Crimp himself&ndash; and that unfolds Crimp's perspective on a half century of mutual exchange and tension between artistic and subcultural practices. The exhibition,&nbsp;<em>Pictures, Before and After</em>, opens on August 28 at Galerie Buchholz in Berlin and will run through October 31, 2014. On August 24, a few days before the opening, Crimp will be a guest of the dance festival&nbsp;<em>Tanz im August</em>, where he will hold a public discussion with Belgian dancer and choreographer Anna Teresa De Keersmaeker. On the two days following the exhibition opening, August 29 &amp; 30, there will be an international symposium in Crimp's honor at the Arsenal Institute for Film and Video Art. Alongside Crimp, who will deliver as a keynote the final chapter of his upcoming Memoirs, there will be lectures by Rosalyn Deutsche (New York), Jonathan Flatley (Detroit), Rachel Haidu (New York), Dirck Linck (Berlin) and Juan A. Su&aacute;rez (Murcia), as well as the three event organizers. Following Crimp's keynote, there will be a screening of&nbsp;<em>Lives of Performers</em>&nbsp;(Yvonne Rainer, USA 1972).</p> Tue, 19 Aug 2014 21:51:23 +0000 Storm Tharp - FELDBUSCHWIESNER GALLERY - September 6th - October 18th <p><strong>Storm Tharp</strong>&nbsp;was born 1970 in Salem, Oregon, USA. His works have already been displayed in a number of renowned institutions, including the Saatchi Gallery, London (2012), as part of the Whitney Biennial, New York (2010), and at Nicole Klagsbrun, New York (2010, solo). He studied at Cornell University in Ithaka and participated in the Roberto Einaudi Architecture Program in Rome.&nbsp;<br /><br />His works feature in the&nbsp;<strong>collections of the Whitney Museum</strong>&nbsp;in New York, the&nbsp;<strong>Saatchi Gallery</strong>&nbsp;in London, the&nbsp;<strong>Cleveland Museum of Art</strong>&nbsp;and the&nbsp;<strong>Museum of Contemporary Art</strong>&nbsp;in San Diego.&nbsp;<br /><br />This year he was awarded the Hallie Ford Fellowship from the Ford Family Foundation (2014). Storm Tharp currently lives and works in Portland, Oregon, USA.<br /><br />Storm Tharp&rsquo;s oil works represent new territory for the artist, who up until now has worked primarily with ink, gouache and pencil in the fluid and immediate aesthetic of fast sketches. His subjects are people and everyday items; his genre is the portrait.<br /><br />Talk (2014), for instance, depicts a three-quarter portrait of a man that oscillates between figuration and abstraction. The subject&rsquo;s grey eyes hold the observer in a penetrating and melancholic gaze; his mouth is slightly open. As well as the figure&rsquo;s gaze, it is the high contrast of styles that is so fascinating: the pale flesh of the cheeks is flat and delicate, while the shadows of the white shirt are abstracted into geometric, metallic patches of colour and the collar edges stand in sharp contrast to the grey monochrome background.<br /><br />Storm Tharp&rsquo;s paintings show an intense interest in the question of perception &ndash; in the boundaries and potential of knowledge, vision and painting. It is as if the artist is combining conscious vision and the fleeting perception of a blink in one image. Talk seems to be the portrait of an iconic figure recreated from memory, a figure who is brought to life in the painting and who speaks to the observer. While some of the characters arise entirely from the artist&rsquo;s imagination, his portraits also take inspiration from Rembrandt&rsquo;s tronies, popular culture, and those close to him personally.<br /><br />Just like the word TURN, the works are full of suspense and characterised by permanent states of change and movement. In his pieces, a face can explode entirely in gestural abstraction, thus avoiding becoming a faithful portrayal. It is this courage to use eclectic gestures that lends Storm Tharp&rsquo;s figures their eerie presence. At the same time, however, each portrait possesses its own intimacy, such as that which features in the works of &Eacute;douard Vuillard and Milton Avery. This is why his works move the observer: Storm Tharp&rsquo;s grotesque and highly nuanced characters raise the everyday to the sublime, and are thus monumental, even beyond the format of history painting.</p> Tue, 19 Aug 2014 21:44:32 +0000 Group Show, composed by Michael Müller - Galerie Thomas Schulte - August 16th - September 27th <p>Michael M&uuml;ller continues his extensive search for what art is or can be in the space of Galerie Thomas Schulte with the group exhibition, "Der Kubist Marcel Duchamp mag nicht malen". Once again, this twelfth part of the exhibition cycle revolves around the year 1913 in which Robert Musil's novel "The Man without Qualities" is set. This was the very year, in which Duchamp created his first Readymade &ndash; and, thus, set a revolutionary milestone in art history, while at the same time he received much critical acclaim for his early Cubist paintings.</p> <p>&nbsp;</p> <p>For his show, Michael M&uuml;ller gathers contributions from contemporary artists and culturally involved individuals, who deal with this historic moment in art to create works specifically for the exhibition. Such diverse positions as the paintings of Michael Kunze or Friederike Feldmann hereby meet the conceptual interventions of Luis Camnitzer and Karin Sander. Jochen Dehn's installation encounters the contribution of the collector-artist, Wilhelm Sch&uuml;rmann or the works of the curators Ellen Blumenstein and Lukas T&ouml;pfer. Also participating: Athanasios Argianas, Wolfgang Betke, Angela de la Cruz, Martin Dammann, Ryan Gander, Young Hay, Bethan Huws, Vlado Martek, Ray K. Metzker, David Schutter, Nedko Solakov, and Raphael Zarka.&nbsp;</p> <p>&nbsp;</p> <p>On Wednesday, September 17, in context of the abc art berlin contemporary, a reception will be hosted from 6 &ndash; 10 pm, including a performance by Jochen Dehn. Throughout the runtime of the exhibition, an opening speech by Ellen Blumenstein can be seen and heard daily at 6 pm.</p> Mon, 18 Aug 2014 17:10:53 +0000 Moshe Gershuni - Neue Nationalgalerie - September 13th - December 31st <p>Moshe Gershuni (born in 1936, Tel Aviv) is one of the most significant living Israeli artists. His existential oeuvre-a continuous project of more than forty years-is uncompromising, and his prolific production of paintings, drawings, and sculptures is extremely evocative. Both sensual and conceptual, emotional and critical, authentic and well-staged, Gershuni's works transcend oppositions, infusing historical commemoration with the cathartic immediacy of the painterly act.</p> <p>Gershuni works horizontally, covering the floor with sheets of paper that he crawls over with his bare hands dipped in paint like a blood-dripping wound. His painterly universe is terrestrial, instinctively sensual and regressive, yet marked by faith and graceful transmutations. His work generates excessive physicality and confronts it with figurative iconography and verbal acts. Many paintings include historically-loaded symbols and hand-written Hebrew passages from the Jewish prayers, which turn the bumpy, overflowing surfaces of liquefied paint, his seemingly-involuntary, pre-lingual compositions, into a living theatrical performance, a frenzy ritual.</p> <p>No Father No Mother&nbsp;is the first comprehensive solo exhibition at Neue Nationalgalerie dedicated to an Israeli artist. It is also Gershuni's first significant solo exhibition at a museum outside Israel. The title of the exhibition&nbsp;No Father No Mother&nbsp;is comprised of two negations. Taken from a painting (Untitled, 1994), it delivers a confession, a negative reflection of rootlessness and discontinuity. Extensive yet open, the exhibition evades evolutionary, retrospective arrangements, periodical divisions and chronological orders, relating to Gershuni's oeuvre as a vital, nonhierarchical entity, an ongoing activity.</p> Mon, 18 Aug 2014 02:27:02 +0000