ArtSlant - Recently added http://www.artslant.com/ber/Events/show en-us 40 Berenice Abbott - Martin-Gropius-Bau - July 1st - October 3rd <div class="accordiontext_module"> <div class="intro"> <p>&ldquo;Photography doesn&rsquo;t teach you how to express your emotions. It teaches you how to see&rdquo;<br />Berenice Abbott</p> <p>Berenice Abbott (1898-1991) is one of the most important photographers of the 20th century. She spent six decades taking pictures. The Martin-Gropius-Bau is now dedicating an exhibition featuring about 80 pictures to her. Her famous and iconic pictures from the Changing New York series, early portraits and her pioneering work as a scientific photographer will be shown.</p> <p>Born in Springfield, Ohio, Berenice Abbott first studied journalism at the Ohio State University in Columbus before she moved to New York in 1918 to switch to sculpting. She became a Bohemian New Yorker, shared an apartment with author Djuna Barnes and befriended the Dadaists Marcel Duchamp and Man Ray who were about to move to Paris, the capital of modernity.</p> </div> <div class="cont"> <p>In 1921, at 22, Abbott also moved to Paris to continue to study sculpting. Without any money, she ran into Man Ray who happened to need an assistant for his portrait studio. Abbott began to work for him and discovered her talent for photography. Her first solo exhibition was at the Paris Gallery &ldquo;Le Sacre du Printemps&rdquo; in 1926 and featured portraits of artists and authors of the Parisian avant-garde.</p> <p>Through Man Ray, she was also able to meet her idol, Eug&egrave;ne Atget, who captured old Paris in photographs. His photographs show the city in its various facets and offer a special view of Paris and its inhabitants around the turn of the last century. Through its scenic richness and independent creative solutions, his photography distinguishes itself from that of his colleagues who never went beyond documenting buildings. His work also displays an awareness of being at the turn of an era towards modernity. Man Ray who, like Atget, lived in the Montparnasse district of Paris, acquired around forty of his pictures of which he published four in &ldquo;La R&eacute;volution surr&eacute;aliste&rdquo; in 1926.</p> <p>Berenice Abbott visited Atget several times and purchased prints from him. After his death in 1927, she acquired roughly 1,500 negatives and 10,000 of the prints left in his studio. She returned to New York in 1929 to find a publisher for a book about her idol. It is thanks to her that Atget&rsquo;s photography exerted such an influence on American photographers such as Walker Evans or Lee Friedlander.</p> <p>New York, like Paris, was also undergoing a transformation process. Old neighbourhoods were disappearing and replaced by a rapidly-growing skyline. Abbott moved from portrait photography to documenting and stayed in New York. She used Atget&rsquo;s Paris pictures as a guide and began documenting the ever-changing city: Ruins and demolished buildings standing as equals beside new skyscrapers, advertisements as signatures of the modern city, but also decay and poverty became themes for her photography. Abbott utilizes the visual vocabulary of modernity. She prefers a simple, yet dynamic style with top and bottom views, excerpts, stark contrasts and dramatic contours. Changing New York is the name of the chronicle she produced between 1935 and 1939 and published as a book in 1939.</p> <p>In the 1940s, Berenice Abbott returned to scientific photography and served as a picture editor for Science Illustrated for nearly 20&nbsp;years. Abbott worked as a photographer until her death in 1991.</p> <p>The exhibition gives an insight into the &oelig;uvre of a great artist.</p> </div> </div> <div class="event_details"> <div class="event_organizer"> <p>ORGANIZER&nbsp;Berliner Festspiele / Martin-Gropius-Bau. In collaboration with diChroma photography, Madrid<br />CURATOR&nbsp;Anne Morin</p> </div> </div> Wed, 22 Jun 2016 12:05:15 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Leunora Salihu - Galerie Thomas Schulte - July 2nd - August 27th <p>Leunora Salihu, works with various materials including wood, plywood, plaster, and clay, and often combines and relates two different materials to the effect of creating either tension or harmony within a work. In the new ceramic sculptures produced for the exhibition, which will be on view at Galerie Thomas Schulte from July 2 and throughout the summer, the tension inherent in the works however first and foremost resides in the relationship between the whole and the individual parts of its makeup. In the fashion of modular construction, Salihu uses the rhythmic repetition of an array of round and square elements to create an irresolvable link between the form and its compound segments thus opening a vast and complex field of associations ranging from architecture, furniture, or design to the anatomy of insects, and their hives, and nests &ndash; associations placing the work on the verge of the uncanny. Lured in by an immediate intimacy and familiarity, the fascinating game of interpretation will begin only at second glance and through closer inspection.</p> <p><br /> The exhibition coincides with the first comprehensive monograph on the artist&rsquo;s work published by Kerber Verlag.</p> Wed, 22 Jun 2016 11:30:48 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Jan Dibbets - Konrad Fischer Galerie - June 24th - July 30th Sat, 18 Jun 2016 07:51:24 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Cordy Ryman - Konrad Fischer Galerie - June 24th - July 30th Sat, 18 Jun 2016 07:50:47 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Cristian Andersen, Amy Brener - Wentrup - July 5th - July 30th Sat, 18 Jun 2016 07:46:11 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Frank Stella - Sprüth Magers Berlin - July 8th - September 3rd Sat, 18 Jun 2016 07:40:09 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Group Show - Galerie Volker Diehl - June 24th - July 23rd <p style="text-align: justify;">Die Wirklichkeit steckt in der Krise.</p> <p style="text-align: justify;">&bdquo;Die Materie&ldquo;, so schrieb vor &uuml;ber hundert Jahren der franz&ouml;sische Astronom Camille Flammarion, &bdquo;ist nicht das, was sie unseren gew&ouml;hnlichen Sinnen zu sein scheint [&hellip;], sie ist lediglich eine Manifestation der Bewegung der unsichtbaren und unberechenbaren Elemente.&ldquo; Quantenphysik, Neurobiologie oder Neuer Realismus haben der Vermutung in den letzten Jahrzehnten weiter Nahrung gegeben. Die Realit&auml;t, so wie sie dem Objektiv einer Fotokamera erscheint, gibt es nicht. Die vierteilige Ausstellungsreihe PRIME TIME &ndash; Archetypes of Abstraction in Photography lotet aus, wie die Fotografie auf diesen Befund reagieren kann. 16 K&uuml;nstler &ndash; von modernen Klassikern wie Heinz Hajek-Halke bis hin zu Zeitgenossen wie Stefan Heyne, Hiroshi Sugimoto oder Thomas Ruff &ndash; hinterfragen in ihren Arbeiten auf ganz unterschiedliche Weise die grundlegenden Glaubenss&auml;tze des fotografischen Denkens.</p> <p style="text-align: justify;">Kuratiert von dem Berliner Kunstkritiker und Journalisten Ralf Hanselle stellt PRIME TIME s&auml;mtliche Kategorien des fotografischen Mediums auf den Pr&uuml;fstand: Zeit, Licht, Raum oder Material werden in dieser Ausstellungsreihe in der Berliner Galerie DIEHL solange seziert, bis alle Referenzen zu einer Welt jenseits der fotografischen Fl&auml;che verschwunden sind. Zur&uuml;ck bleibt das autonome Bild &ndash; mal als abstraktes Fotogramm, mal als monochromes Feld auf lichtempfindlichem Papier.Widmet sich der erste Teil unter dem Titel The Decisive Aeon den Zeitwahrnehmungen in der Fotografie, so besch&auml;ftigen sich die Sektionen Object_If und The Pencil of Nothing mit dem komplexen Verh&auml;ltnis von Bild und Abbild. Der letzte Teil mit dem Titel Dark Sides schlie&szlig;lich wagt einen Blick zur&uuml;ck in das analoge Zeitalter: Im Zentrum von &bdquo;Dark Sides&ldquo; steht die Dunkelkammer &ndash; ein Ort von Wandlung und Entwicklung; ein Ort der ungesehenen Bilder.<br /> Allen Positionen gemein ist, dass sie die Kamera nicht mehr als einen mimetischen Zeichenstift begreifen, sondern gegen die Apparatur und ihre Ideologien zu spielen begonnen haben. Mittels verschiedenster Verfahrensweisen trennen die K&uuml;nstler die Form vom Stoff. Zur&uuml;ck bleibt am Ende nur das abstrakte Knochenger&uuml;st des Bildes: Die Archetypen der Fotografie.</p> <p style="text-align: justify;">Katalog zur Ausstellung f&uuml;r 35&euro;.</p> Sat, 18 Jun 2016 07:31:05 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Benedikt Hipp, Grit Richter, Angelika J. Trojnarski - Galerie Tanja Wagner - June 24th - July 27th Sat, 18 Jun 2016 07:26:00 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Michael Wutz - Aurel Scheibler - June 24th - August 13th Sat, 18 Jun 2016 07:20:48 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Gerwald Rockenschaub - Mehdi Chouakri - June 24th - July 30th Sat, 18 Jun 2016 07:13:18 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Ryan Gander - Esther Schipper - June 3rd - August 27th <p style="text-align: justify;">Esther Schipper is pleased to present Ryan Gander&rsquo;s first solo exhibition with the gallery, <em>The Connectivity Suite (and other places), </em>following his 2011 presentation with Johnen Galerie. <em>The Connectivity Suite (and other places) </em>will feature all new works, including an architectural intervention, a film, sculptures and a performance.</p> <p style="text-align: justify;">The material, formal and stylistic variety of Ryan Gander&rsquo;s practice is unified both by his conceptual vision and by recurring themes concerning creativity, the nature of art and the life of the artist. His oeuvre evokes fictional spaces, referring to absent objects, art works or persons, both real and imaginary. The suggestions of missing items, indicated by names or traces, act as witty, lyrical evocations of the power of imagination. Gander often focuses his attention on the playfulness and imagination of children, who are less encumbered by facts and appearances than adults. His subtle, elusive works encourage observers to explore new spaces (sometimes deliberately hidden or inaccessible) and, in the process, confront the multiple ambiguities of what may constitute a work of art.</p> <p style="text-align: justify;">A case in point is Gander&rsquo;s best known &ndash; but largely invisible &ndash; work for dOCUMENTA (13), <em>I Need Some Meaning I Can Memorise (The Invisible Pull) </em>(2012), described by the artist as &ldquo;a gentle breeze pulling the spectator through the gallery space.&rdquo; To create this subtle yet spectacular work, Gander devised a hidden, complex alteration to the air circulation system of the room. In Karlsaue Park, Gander&rsquo;s <em>Escape hatch to </em>Culturefield mimicked an easily overlooked municipal drain, alluding to the artist&rsquo;s vision for an imaginary place perfectly suited for r esearch and artistic production. </p> <p style="text-align: justify;"><em>The Connectivity Suite (and other places) </em>continues Gander&rsquo;s investigation of the nature of&nbsp; creativity. The walls in one room of the gallery are covered with a thin pleated curtain. Alluding to the presence of an unseen space, a strong current from a large air vent causes a section of the curtain to billow in constant movement. Lending the exhibition its title, <em>The Connectivity Suite, </em>2016 is modeled on the style of business directory signage found in the foyers of office buildings. Instead of corporations and suite numbers, Gander&rsquo;s large backlit panel lists ideas, notes, themes and subjects from the artist&rsquo;s notebook which relate to the research and development of new art works. The second part of the exhibition&rsquo;s title derives from a new marble sculpture entitled <em>Other Places </em>&ndash; a pair of UGG boots and denim cutoffs, discarded by an unknown visitor. Gander&rsquo;s idealized creative site &ldquo;Culturefield&rdquo; appears in <em>Elevator to </em>Culturefield, ornate scale elevator doors with a golden metal sculptural relief on their surface that illustrates a classical building structure emerging through the clouds&mdash;a reference to Gander&rsquo;s unrealized project for a private art school. Set seamlessly into the wall, the elevator appears deceptively functional.</p> <p style="text-align: justify;">A new film entitled <em>A portrait of a colour blind artist obscured by flowers </em>will be presented in the adjoining room. The film appears to depict the artist working in his studio. Similar to <em>The Connectivity Suite, </em>the film promises insight into Gander&rsquo;s creative processes but continuously frustrates the viewer&rsquo;s curious gaze as the protagonist&rsquo;s face is artfully obstructed in each shot by vases of flowers. Two works referring to idealized fictional places of creation are exhibited alongside: <em>Echo from </em>Culturefield, traces apparently left by a gallery sign, and <em>The Day To Day Accumulation Of Hope, Failure And Ecstasy - Better A Productive Failure Than An Unproductive Success (The Fairfield International), </em>another sculpture that refers to Gander&rsquo;s project for a private art school.</p> <p style="text-align: justify;">Ryan Gander was born in 1976 in Chester in the United Kingdom. He studied at Manchester Metropolitan University, Jan van Eyck Akademie, Maastricht and Rijksakademie van Beeldende Kunsten in Amsterdam. The artist lives and works in London and Suffolk.</p> <p style="text-align: justify;">Gander participated in dOCUMENTA (13) in 2012, 54th Venice Biennale and 9th Shanghai Biennale. The artist&rsquo;s work is included in the collections of Tate Modern, London; Museum of Contemporary Art, Chicago; Museum Moderner Kunst Stiftung Ludwig, Vienna; Carnegie Museum of Art, Pittsburgh; Museum of Contemporary Art, Chicago; The Boijmans van Beuningen Museum, Rotterdam; Tate Collection, London, and Arts Council Collection, London, among other.</p> <p style="text-align: justify;">The artist has had numerous solo exhibitions, among them: <em>To stand amongst the elements and to interpret what one knows </em>opens at the Museum Dhondt-Dhaenes, Deurle (2016); <em>Make every show like it&rsquo;s your last, </em>Musee d&rsquo;art contemporain de Montreal (2016); Aspen Art Museum, Aspen (2015), Contemporary Art Gallery, Vancouver (2015), Manchester City Art Gallery (2014) (touring exhibition); <em>Portrait of a blind artist obscured by flowers, </em>Singapore Tyler Print Institute, Singapore (2015); <em>Esperluette, </em>Palais de Tokyo, Paris (2013); <em>Boing, Boing, Squirt, </em>Museu Tamayo Arte Contempor&aacute;neo, Mexico City (2012); and <em>Intervals: Ryan Gander, </em>Solomon R. Guggenheim Museum, New York (2010).</p> <p style="text-align: justify;">Recent group exhibitions include: <em>ME, </em>Schirn Kunsthalle Frankfurt, Frankfurt (2016); <em>Pri&egrave;re de toucher, le tactile dans l&rsquo;art, </em>Tinguely Museum, Basel (2016); <em>British Art Show 8, </em>Talbot Rice Gallery, Edinburgh (2016); <em>Performa 15, </em>New York (2015); <em>Art as a Verb, </em>Monash University Museum of Art, Melbourne (2015); <em>Between the Idea and Experience, </em>12th Havana Biennial, Havana (2015); <em>Panorama, </em>High Line, New York (2015); <em>When I Give, I Give Myself, </em>Van Gogh Museum, Amsterdam (2015); <em>The Peace One Day Art Project for 2014, </em>ICA, London (2014); <em>Blue Times, </em>Kunsthalle Wien (2014); <em>Postscript: Writing After Conceptual Art, </em>The Power Plant Contemporary Art Gallery, Toronto (2013) and <em>When Attitudes Became Form Become Attitudes, </em>CCA Wattis, San Francisco (2012).</p> Sat, 18 Jun 2016 07:04:01 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Group Show - Contemporary Fine Arts - June 25th - September 10th <p style="text-align: justify;">Contemporary Fine Arts, in cooperation with Two Palms, is pleased to present the exhibition &bdquo;<strong>TWO PALMS</strong>&ldquo; with works by <strong>MEL BOCHNER, CECILY BROWN, CHUCK CLOSE, PETER DOIG, CARROLL DUNHAM, ELLEN GALLAGHER, CHRIS OFILI, ELIZABETH PEYTON, RICHARD PRINCE, </strong>and <strong>DANA SCHUTZ.<br /><br /></strong></p> <p style="text-align: justify;">Since the mid‐1990s, Two Palms has been upending codified notions of what a print could or should be, and how it could be made, expanding the roster of tools to include their massive hydraulic press, their laser cutters, giving paper an enhanced physicality, constantly embracing new technologies. Simultaneously they have also rededicated themselves to traditional techniques, ever expanding their expertise in intaglio and screenprint, and reviving nearly‐lost mediums, like the Woodburytype. </p> <p style="text-align: justify;">The artworks coming out of Two Palms prove that printmaking shows no sign of waning in the new millennium. The studio embodies the kind of openness and risk‐taking that are the hallmark of all Two Palms projects, and a porosity that represents the next step in printmaking&rsquo;s evolution: simultaneously relying on and exploding tradition; welcoming the incursion of other mediums and materials; and above all, letting the artist&rsquo;s vision be the guiding north star.</p> <p style="text-align: justify;">Alongside classical etchings by Peter Doig and Chris Ofili, the largest space in the exhibition is reserved for monotypes by Mel Bochner, Cecily Brown, Carroll Dunham, Elizabeth Peyton, and Dana Schutz. The artists paint on plexiglass or wood plates, then the image is transferred to the paper under extreme pressure using an industrial hydraulic press.</p> <p style="text-align: justify;">A separate room in the show is dedicated to the works of Richard Prince. These works include Joke on You, a collaged, inlaid joke piece on wood panel, silkscreened collages, a digital pigment print on canvas, and Bad Nurse, a sculpture of satirical pulp fiction nurse novels: the entire Prince universe of the last years is graphically brought together here.</p> <p style="text-align: justify;">The range of technical print possibilities from Two Palms includes Chuck Close&rsquo;s Woodburytypes which revive an obscure 19<sup>th</sup> century printmaking medium. The visually complex works by Ellen Gallagher reveal an artist taking full advantage of Two Palms technical virtuosity. Gallagher&rsquo;s DeLuxe, published by Two Palms in 2005, is recognized by MoMA New York as a milestone in printmaking development of the 21<sup>st</sup> century.</p> <p style="text-align: justify;">We are proud to collaborate with David and Evelyn Lasry as well as with the participating artists for this exceptional project.</p> <hr /> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Contemporary Fine Arts freut sich, in Kooperation mit Two Palms Press die Ausstellung &bdquo;<strong>TWO PALMS</strong>&ldquo; mit Werken von <strong>MEL BOCHNER, CECILY BROWN, CHUCK CLOSE, PETER DOIG, CARROLL DUNHAM, ELLEN GALLAGHER, CHRIS OFILI, ELIZABETH PEYTON, RICHARD PRINCE </strong>und <strong>DANA SCHUTZ</strong> bekannt zu geben. </p> <p style="text-align: justify;">Seit Mitte der 1990er Jahre hat Two Palms Press in New York die bis dahin vorherrschende Meinung, wie ein Druck auszusehen hat, revolutioniert. Sie haben die Bandbreite der produktionstechnischen M&ouml;glichkeiten durch Maschinen wie einer massiven Hydraulikpresse sowie Laserschneideger&auml;ten, die dem Papier eine verbesserte Textur geben, erweitert und besch&auml;ftigen sich fortw&auml;hrend mit neuen Technologien. Zugleich besinnt sich Two Palms zur&uuml;ck auf klassische Drucktechniken, in dem sie ihre Expertise im Tiefdruckverfahren und Siebdruck weiterentwickeln und damit in Vergessenheit geratene Medien wie die Woodburytypie wiederbeleben.&nbsp; </p> <p style="text-align: justify;">Die bei Two Palms entstehenden Arbeiten demonstrieren, dass die Druckgraphik auch im neuen Jahrtausend an Aktualit&auml;t nichts verloren hat. Das Studio verk&ouml;rpert nicht nur Offenheit und Risikobereitschaft &ndash; ein Kennzeichen all ihrer Projekte &ndash; sondern auch Hybridit&auml;t: sie referieren auf klassische Drucktradition und brechen sie gleichzeitig auf, indem andere Medien und Materialien entwickelt und zugelassen werden. Dabei gibt immer die Vision des K&uuml;nstlers die Richtung an.&nbsp; </p> <p style="text-align: justify;">Neben klassischen Radierungen von Peter Doig und Chris Ofili nehmen den gr&ouml;&szlig;ten Raum in der Ausstellung die Monotypien von Mel Bochner, Cecily Brown, Elizabeth Peyton oder Dana Schutz ein, die auf Plexiglas oder Holzplatten gemalt und anschlie&szlig;end mit extrem hohen Druck von einer Industriehydraulikpresse einmalig auf Papier gebracht werden.&nbsp; </p> <p style="text-align: justify;">Ein eigener Raum ist den Arbeiten von Richard Prince gewidmet. Von &bdquo;Joke on You&ldquo; auf Holzbrett &uuml;ber Siebdruck bis hin zum digitalen Pigmentdruck auf Leinwand und eigens hergestellten schl&uuml;pfrigen Arztromanen und der Skulptur &bdquo;Bad Nurse&ldquo; ist hier das gesamte Prince&rsquo;sche Universum der vergangenen Jahre druckgraphisch vereint.&nbsp; </p> <p style="text-align: justify;">Die Bandbreite der drucktechnischen M&ouml;glichkeiten von Two Palms Press wird nicht nur in den Woodburytypien von Chuck Close sichtbar &ndash; einem obskuren Druckmedium des 19. Jahrhunderts, das zu neuem Leben erweckt wurde. Das k&uuml;nstlerische Ausma&szlig; der zur Verf&uuml;gung stehenden technischen Mittel &auml;u&szlig;ert sich auch in den Arbeiten von Ellen Gallagher. Gallaghers &bdquo;DeLuxe&ldquo;, das Two Palms 2005 mit ihr realisiert hat, wurde vom MoMA in New York als Meilenstein in der druckgraphischen Entwicklung des 21. Jahrhunderts gew&uuml;rdigt.&nbsp; </p> <p style="text-align: justify;">Wir sind stolz, David und Evelyn Lasry sowie die teilnehmenden K&uuml;nstler f&uuml;r dieses au&szlig;ergew&ouml;hnliche Projekt gewonnen zu haben.</p> <p style="text-align: justify;">Sommerpause 2-20 August 2016</p> Sat, 18 Jun 2016 06:56:57 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list F.C. Gundlach - Contemporary Fine Arts - June 25th - September 10th <p>Sommerpause 2-20 August 2016</p> Sat, 18 Jun 2016 06:45:58 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Dargelos Kersten - Aanant & Zoo - July 2nd - August 28th Sat, 18 Jun 2016 06:37:58 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list