ArtSlant - Recently added http://www.artslant.com/ber/Events/show en-us 40 Michele Spanghero - Galerie Mario Mazzoli - September 5th 7:00 PM - 9:00 PM <p><span style="font-size: small;"><span style="color: #000000;"><span style="font-family: Verdana, Helvetica, sans-serif;"><em>Monologues</em></span></span><span style="color: #000000;"><span style="font-family: Garamond, serif;">&nbsp;</span></span><span class="art"><span style="font-family: Verdana, Helvetica, sans-serif;">represents</span></span><span class="art"><span style="font-family: Verdana, Helvetica, sans-serif;">&nbsp;a tribute to theater as a place of the blossoming of the artistic genre in which the artist began his educational path. In the new series of sound sculptures, videos and photos, the theater as container of art, but also as a space of community becomes the subject. A subject that - for the first time - the artist allows to speak. Indeed, if we were only capable of truly listening, it would be the theater itself to go on stage to present itself and, as in a kind of monologue, it would tell us who it is and what civilization it is a reflection and artistic manifestation of.&nbsp;Giacomo Matteo Miniussi</span></span></span></p> Wed, 03 Sep 2014 01:46:06 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Bernd Ribbeck - Galerie Kamm - September 6th - September 27th Wed, 03 Sep 2014 01:40:30 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Constantin Luser - Galerie Jette Rudolph - September 18th - October 31st <p>english version below</p> <p><em>"Alles Unertr&auml;gliche ist im Kopf, weil der Kopf nicht in der Gegenwart verweilt, sondern die Mauern hochklettert, Erkundigungen einzieht und mit unertr&auml;glichen Nachrichten zur&uuml;ckkommt, die man dann irgendwie glaubt."&nbsp;</em><em>(David Forster Wallace, Unendlicher Spa&szlig;, K&ouml;ln 2009)</em></p> <p>Constantin Lusers zeichnerisches Werk erweitert das Ausdruckspotential des Mediums durch die&nbsp;&Uuml;berschreitung der Gattungsgrenzen&nbsp;in die r&auml;umlichen Dimensionen des Objekts und der Installation sowie die akkustische Disziplin der Musik.&nbsp;</p> <p>J&uuml;ngst&nbsp;begeisterte Lusers Installation einer in ihrer Komplexit&auml;t ungreifbaren Total-Zeichnung die Besucher der Kunsthalle Krems Anfang dieses Jahres. Wie kontinuierliche&nbsp;Denkbewegungen&nbsp;stehen nun auch in der Galerie Jette Rudolph lineare Wandzeichnungen ihren im Raum schwebend installierten&nbsp;Korrelaten aus Draht gegen&uuml;ber.<br /><br />Die Luser'sche Offenheit der Linie verbindet die zeichnerischen Dimensionen visuell miteinander, welche sich f&uuml;r den Betrachter, der sich durch den Raum bewegt, stets zu neuen momenthaften Formen und Bedeutungen verflechten.&nbsp;So tritt die Idee der infinalen Linie in Lusers Drahtobjekten exemplarisch in Erscheinung: Die aus&nbsp;filigranen&nbsp;Messingdr&auml;hten kombiniert&nbsp;mit feinen, zu weiten B&ouml;gen gezogenen Messingf&auml;den konstruierten Objekte schweben frei im Raum, wobei jedes in sich abgeschlossen weder Anfang noch Ende erkennen l&auml;sst.</p> <p>Durch die Permeabilit&auml;t der Objekte wird der Eindruck von virtuellen Projektionen suggeriert, deren punktuelle Aufh&auml;ngungen&nbsp;zus&auml;tzlich mobilisieren und durch sanfte Rotationen einen kontinuierlichen &nbsp;Ansichtswechsel herbeif&uuml;hren und die Variabilit&auml;t jedes einzelnen Zeichenk&ouml;rpers offenbart: Von der figurativen Form eines Kopfes - mal mit oder ohne Brille -, mit dem Attribut eines proportional verkleinerten Hauses, Tieren, Organen, phantastischen Maschinen bis hin zu den am Ende langer antennenartiger Dr&auml;hte sitzenden Zahlen, die in winzige Kreise eingefasst den Charakter einer wom&ouml;glich inh&auml;renten Ordnungsstruktur gewinnen.</p> <p>Aufgrund der steten Drehung der Objekte ist die Identifikation signifikanter Deutung jedoch nur momenthaft m&ouml;glich und&nbsp;verbleibt partiell, denn der K&uuml;nstler fasst die dreidimensionalen Zeichenk&ouml;rper visuell ein, indem&nbsp;er die hinterfangenden Wandfl&auml;chen analog mit schwarzem Fineliner be-zeichnet.&nbsp;Passagenhaft suchen seine Wandzeichnungen situative Ber&uuml;hrungs-punkte mit den Drahtobjekten als substantielle Kommentare, Dialoge oder freie Assoziationen.&nbsp;Dabei legen sich die Signifikantebenen von Objekt und Zeichnung &uuml;bereinander und schaffen aus den beiden linearen Codes eine neue Potenz.&nbsp;</p> <p>Mit der &Uuml;berlagerung dieser tempor&auml;ren,&nbsp;kontingenten&nbsp;und muta-blen&nbsp;Bedeutungsbenen&nbsp;weist Luser die realit&auml;tsgebundene Dimension der Referenzen zur&uuml;ck und zelebriert mit seiner zeichnerischen Totalen das infinale System umfassender Bez&uuml;ge, Kombinationen und Simulationen.&nbsp;Er h&auml;lt die immer wieder neu entstehenden Relationen im Fluss und erm&ouml;glicht vielf&auml;ltige Interpretationsans&auml;tze und -wege, statt blo&szlig;e statische Tatsachen zu pr&auml;sentieren.&nbsp; Entsprechend setzt der K&uuml;nstler die halbspiegelnden, gro&szlig;formatigen und im gestreckten Querformat panoramaartigen Aluplatten ein, welche die&nbsp;reflektierte&nbsp;Dimension des Raumes fortsetzen. Zugleich jedoch werden diese selbst zur Zeichenfl&auml;che, auf welche die Projektion auf der Wandfl&auml;che gar linien- &uuml;bergreifend in die Wandzeichnung integriert sind.</p> <p>Was passiert aber, wenn man ein solches infinales System der Totalzeichnung mit sich selbst spiegelt, es somit verdoppelt und es im Baudriallard'schen Sinne gegen sich selbst wendet? Es wird in der Kulmination der Liniengeflechte ambivalent, radikal tautologisch und wird zur einer autarken Sph&auml;re mit eigenen Perzeptionsmechanismen.&nbsp;Es lie&szlig;e sich im&nbsp;Baudriallard'schen Sinne von einer Untersuchung der&nbsp;Inifinalit&auml;t des Systems des k&uuml;nstlerischen Ausdrucks sprechen, sowohl bzgl. der Medialit&auml;t als auch des Bedeutungspotentials, welches Luser in tautologischer Umkehrung zur Selbstaufl&ouml;sung treibt.</p> <p>Luser's all-around-Installationen verweisen "auf die Bewegung, auf die Dynamik von Formen, wobei die Realit&auml;t als ein Konglomerat von transitorischen Fl&auml;chen und Objekten, die potenziell verschoben werden k&ouml;nnen, bestimmt wird." (Bourriaud, Nicolas: Radikant, Berlin 2009, S.82) Im diesem installativen Raum also schl&auml;gt der K&uuml;nstler eine flie&szlig;ende und sprunghafte Darstellung vor, welche dem Betrachter eine aktive Kompositionsleitung abverlangt, um die fragmentarischen Einheiten relational zu entfalten. (Vgl. zur Methode dieser Darstellungsform: Bourriaud, Nicolas: Radikant, Berlin 2009.)</p> <hr /> <p>english version</p> <p><em>&ldquo;Everything unendurable was in the head, was the head not Abiding in the Present but hopping the wall and doing a recon and then returning with unendurable news.&rdquo;</em>&nbsp;<br />(David Forster Wallace, Infinite Jest)<br /><br /><br />Constantin Luser&rsquo;s graphic work extends the expressive potential of the medium by transgressing the boundaries of the genre and incorporating the spatial dimensions of the object and installation, as well as the auditory discipline of music.<br /><br />At the start of the year, visitors at Kunsthalle Krems were wowed by Luser&rsquo;s installation of a &lsquo;total drawing&rsquo; whose complexity goes beyond our ability to grasp it. Resembling ongoing movements of thought, the linear wall drawings at the Jette Rudolph Gallery have now come face to face with their wire counterparts, installed in a way that has them floating in space.<br /><br />The openness of Luser&rsquo;s lines visually interconnects the graphic dimensions so that, as viewers pass by, they constantly recombine, taking on new fleeting forms and meanings. Luser&rsquo;s wire artworks thus exemplify the notion of an infinite line. Made of filigree brass wire and fine brass thread that has been shaped into wide arches, the objects freely float in space, each of them self-contained so that it is impossible to see where they begin and end.<br /><br />The objects&rsquo; permeability makes them look like virtual projections, while their suspension from select attachment points in the ceiling adds movement by producing gentle rotations. As a result, what viewers see constantly changes as the variability underlying each graphic body is revealed: They see a series of elements running the gamut from the figurative form of a head &ndash; sometimes with, sometimes without glasses &ndash; accompanied by a proportionately undersized house, animals, organs, and fantastic machines, up to numbers perched on the ends of long, antenna-like wires. These numbers have been placed inside tiny circles that makes it look as though they were exponents of a structural order potentially inherent within them.<br /><br />Because the objects constantly rotate, viewers can only assign meaningful significance to them on a moment-to-moment basis and their interpretations will necessarily always be partial interpretations. This is due to the fact that the artist visually frames these three-dimensional graphic bodies by supplying them with their analogs drawn in black fineliner pen on the walls behind them. His wall drawings seek situational points of contact with the wire objects in the form of passages, so as to provide pertinent commentary, dialog or free associations. In the process, objects and drawings overlap on the level of the signifier and thereby create a new power from the two linear codes.<br /><br />By having these temporary, contingent and mutable levels of meaning overlap, Luser is rejecting the dimension of referentiality that is anchored in reality. Instead, his &lsquo;graphic totality&rsquo; celebrates the infinite system of comprehensive relationships, combinations and simulations. He keeps ever-emerging relations in flux and enables diverse approaches to interpretation &ndash; instead of merely presenting static facts.<br />To this end, the artist deploys the semi-reflective, wide, large-format, panorama-like aluminum plates that further extend the reflective dimension of this space. At the same time, however, these plates in turn become drawing surfaces which integrate the projection on the wall with the wall drawing by having their lines overlap.<br />But what happens when you set yourself up as a mirror to reflect the infinite system that comprises the total drawing, thereby doubling it and, in the sense of Baudrillard, turning it against yourself? In the culmination of the interwoven lines, it becomes ambivalent, radically tautological and a self-sufficient sphere with its own perception mechanisms. Along the lines of Baudrillard, one can speak of a study that explores the infinite quality of the system of artistic expression, both in terms of its mediality and its potential meaning, which Luser explores as a tautological reversal to the point of self-dissolution.<br /><br />Luser&rsquo;s all-around installations recall &ldquo;the movement, the dynamics of form, whereby reality is determined as a conglomerate of transitory surfaces and objects, which have the potential to shift.&rdquo; (Bourriaud, Nicolas: Radikant, Berlin 2009, p. 82)<br /><br />So in this installation space, the artist proposes a dynamic, flowing representation, which engages viewers, asking them to be actively involved in the process of creating the composition, of unfolding the fragmentary units in relational terms. (cf. on methods for this type of presentation form: Bourriaud, Nicolas: Radikant, Berlin 2009.)<br /><br />(Text: Jette Rudolph &amp; Ellen Martin // Translation: Cathy Lara &amp; Associates)</p> Wed, 03 Sep 2014 01:38:03 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Jay Chung, Q Takeki Maeda - Galerie Isabella Bortolozzi - September 12th - November 1st Wed, 03 Sep 2014 01:31:38 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Gabriel Acevedo Velarde - Galerie Arratia Beer - September 11th - October 25th Wed, 03 Sep 2014 01:24:46 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Mikkel Sommer, Mikael Ross, Nicolas Wouters - FREIES MUSEUM BERLIN - September 12th - September 28th <p>In einer gemeinsamen Schau stellen sich zwei Berliner Comic-Newcomer vor: Mikkel Sommer, d&auml;nischer Comic-Autor, zeigt Werke aus seinem Krimi &raquo;Burn Out&laquo;. Mikael Ross zeichnete zu dem Szenario von Nicolas Wouters die Graphic Novel &raquo;Lauter Leben!&laquo;, die u.a. die Berliner Hausbesetzerszene der 80er-Jahre thematisiert.</p> <p>Die Ausstellung pr&auml;sentiert Skizzen, Originalseiten und Drucke der K&uuml;nstler.</p> Tue, 02 Sep 2014 23:55:15 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Michael Just, Manuela Kasemir, Ruprecht von Kaufmann - EIGEN + ART Lab - September 11th - October 21st Tue, 02 Sep 2014 23:46:20 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list - DNA - September 5th - October 12th Tue, 02 Sep 2014 23:40:24 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Charlotte Posenenske - Deutscher Künstlerbund, Projektraum - September 12th - November 7th <p>Im Herbst 2014 wendet sich der Deutsche K&uuml;nstlerbund Charlotte Posenenske zu, einer K&uuml;nstlerin, die sich bereits vor fast f&uuml;nfzig Jahren mit auch heute noch aktuellen Fragen der Demokratie, Mitbestimmung und Partizipation besch&auml;ftigt hat.<br /> <br />Die im Projektraum des Deutschen K&uuml;nstlerbundes gezeigte Ausstellung greift eine Performance von Charlotte Posenenske auf, die sie 1967 f&uuml;r ihr variables Wellpappen-Bausystem &raquo;Vierkantrohre Serie DW&laquo; anl&auml;sslich der Ausstellung &raquo;Dies alles, Herzchen, wird einmal Dir geh&ouml;ren&laquo; in der Frankfurter Galerie Dorothea Loehr entwickelt hat. Charlotte Posenenske gestaltete damals f&uuml;r die Transformationen ihrer Arbeit ein Programm, eine Art Choreografie. Im Rahmen der Ausstellungser&ouml;ffnung wird es eine vergleichbare Auff&uuml;hrung geben: Studierende der Universit&auml;t der K&uuml;nste Berlin, Fachbereich Musical/Show werden mit den Vierkantrohren in eigener Regie agieren. Durch ihre Entscheidung, mit welchen und mit wie vielen Elementen sie bauen wollen, bestimmen sie Ausgangsmaterial und Ausgangssituation und somit, einem B&uuml;hnenbild gleich, die Gestaltung des Raumes. Mit dem fortlaufenden Auf- und Umbau machen sie Prozesse der Ver&auml;nderbarkeit und des demokratischen Handelns sichtbar. In den ersten Tagen der Ausstellung wird aus dem B&uuml;hnenraum wieder ein Ausstellungsraum, indem das Wellpappen-Bausystem der prim&auml;ren Funktion des Raumes entsprechend umgebaut wird.<br /> <br />Der Ausstellungstitel &raquo;Aufh&ouml;ren; Weitermachen&laquo; spielt auch darauf an, dass Charlotte Posenenske 1968 ihre k&uuml;nstlerische Laufbahn beendete und mit dem Studium der Soziologie fortfuhr. Sie selbst bemerkte dazu im selben Jahr: &raquo;Es f&auml;llt mir schwer, mich damit abzufinden, dass Kunst nichts zur L&ouml;sung dr&auml;ngender gesellschaftlicher Probleme beitragen kann.&laquo; (1) Im Deutschen K&uuml;nstlerbund waren Posenenskes Arbeiten zuletzt in der Jahresausstellung 1968 in N&uuml;rnberg zu sehen. Mit einer reduzierten geometrischen Formensprache arbeitend, geh&ouml;rte sie schon damals zu den interessantesten und eigenwilligsten K&uuml;nstlerinnen in Deutschland. Auch 1969 bot der Deutsche K&uuml;nstlerbund Posenenske an, sich an der Jahresausstellung in Hannover zu beteiligen. Doch die Einladung blieb unbeantwortet &ndash; Posenenske hatte sich endg&uuml;ltig von der Kunst ab- und der Sozialwissenschaft zugewandt.<br /> <br />Charlotte Posenenske wurde 1930 in Wiesbaden geboren. Sie studierte bei Willi Baumeister an der Stuttgarter Kunstakademie. Zwischen 1952-1955 war sie als B&uuml;hnenbildnerin an den St&auml;dtischen B&uuml;hnen in L&uuml;beck und am Landestheater Darmstadt t&auml;tig. Als Malerin stellte sie 1959 zum ersten Mal ihre Bilder in einer Galerie in Kassel aus. Von 1965 bis 1968 entstand ihr plastisches Werk. 1968 beendete sie ihre Kunstproduktion, studierte Soziologie und arbeitete an sozialwissenschaftlichen Projekten. Nach ihrem fr&uuml;hen Tod 1985 wurden ihre Arbeiten in vielen Ausstellungen gezeigt, darunter 2007 auf der &raquo;documenta 12&laquo; in Kassel.<br /> <br />Text: Anita St&ouml;hr Weber, Frederik Schikowski<br /> <br />(1) Charlotte Posenenske, &laquo;Statement&raquo;, in: Art International (15. Mai 1968), S. 50.<br />Courtesy Nachlass Charlotte Posenenske, Frankfurt am Main und Mehdi Chouakri, Berlin</p> Tue, 02 Sep 2014 23:36:27 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Group Show - Blain|Southern Berlin - September 20th - December 20th <p>The Directors of Blain|Southern are delighted to announce the group exhibition&nbsp;<em>SED TANTUM DIC VERBO (JUST SAY THE WORD)</em>, conceived and curated by the American writer and editor Glenn O&rsquo;Brien. The exhibition examines the use of words in art and brings together artists from the 1960s to the present day who all have/had a strong relationship to the curator. In the following paragraphs Glenn O'Brien describes his personal selection:</p> <p>&bdquo;The transformation of the media landscape over the last half-century created a revolution in communication, not merely mass communications, but how individuals perceive the world and express themselves in return. Visual collage fields and holistic perception replaced literary linearity and its logical bases. The immutability of the written word was overshadowed by the instant mutations of oral speech. As an unexpected consequence words began to appear in formerly pictorial frames, as if language itself had become an unfamiliar landscape requiring reappraisal and transformation.</p> <p>Jean-Michel&nbsp;Basquiat&nbsp;(1960-1988) lifted words from cheap signage in Alphabet City, from Hitchcock movies, from hobo camps and jazz songs, he made poetry that spoke from his pictures, word chains repeated like scientific formulas or magic spells.&nbsp;</p> <p>Stefan Br&uuml;ggemann&nbsp;(b.1975) creates mirrors scrawled with the first and last lines of movies, reflecting the memes in our memories, and his latest verbal matrixes meld definitions in the manner of Joseph Kosuth with jokes in the manner of Richard Prince.&nbsp;</p> <p>Dan Colen&nbsp;(b.1979) was inspired early on by Ed Ruscha, with whom he shares an eye (and perhaps ear) for the mantra like qualities of words and he collaborated with Dash Snow on exploring the memes of trash media. He riffs on the invisible spells language casts, spotlighting the power of seemingly modest, silly or throw away words.</p> <p>Jonah Freeman &amp; Justin Lowe&nbsp;(b.1975 &amp; b.1976) create elaborate fictions, often in installation form. Here they present covers from their fictitious cult-published magazine<em>Artichoke Underground</em>&nbsp;and a rack of paperback titles that reflect their concern with the haunted mythology of what is perhaps euphemistically called popular culture.&nbsp;</p> <p>Charles Gaines&rsquo;&nbsp;(b.1944) career has been an upstream journey through structures of illusion in pursuit of meaning&mdash;investigating such evidence as political manifestos, the collisions of descriptive systems and song lyrics and inevitably illuminating zones where more than meets the eye can be apprehended.&nbsp;</p> <p>John Giorno&nbsp;(b.1936) is an eminent poet who, like his friend William S. Burroughs, saw the word as a transcendent image, penetrating the boundaries of light and sound. His paintings morph slogans or bon mots into imperatives with the stylistic command of official signage.</p> <p>Wayne Gonzales&nbsp;(b.1957) is a painter concerned with history who finds relevant clues in the jetsam and ephemera of official mythology, giving alternative and subversive readings to the handwriting on the wall.</p> <p>Douglas Gordon&nbsp;(b.1966) plays with time and memory, perceptions of good and evil, beauty and monstrosity. His words, whether on walls or paper, whether commentary, imperative or memorial, tend to appear outside of time, immune to the temporal structures of life, yet accentuating their demands.</p> <p>Brion Gysin&nbsp;(1916-1986) is perhaps best known for pioneering the &ldquo;cut up&rdquo; method made famous by the writer William S. Burroughs. He researched the recombinant possibilities of the letter and the calligraphic roots of writing. He famously stated that writing is 50 years behind painting and the motive informing his oeuvre is bringing culture up to the speed of control.</p> <p>Ray Johnson&nbsp;(1927-1995), who relished a path between obscurity and notoriety, made headlines of footnotes and footnotes of headlines. An enormously influential founder of pop art, Johnson practiced an aggressive modesty, exploring the shadows behind the spotlight and reading between the headlines.</p> <p>Atsushi Kaga&nbsp;(b.1978), a young Japanese Dubliner, created his own cast of mythological cartoon characters who re-enact with charm the opaque enigmas and obloquies of contemporary life.&nbsp;</p> <p>Joseph Kosuth&nbsp;(b.1945) was instrumental in redefining artistic practice through the lens of language with the body of work Art as Idea as Idea. He continues to illuminate the now nearly invisible realm of philosophy with provocative propositions that demand participation.</p> <p>McDermott &amp; McGough&nbsp;(b.1952 &amp; b.1958) make contemporary art from other times. Anachronists, they provide striking contrasts to contemporary modes by resurrecting proven formulas and antedated styles. Evoking more literate eras, their use of text illuminates historical transitions and is perhaps a devolution of individual consciousness.</p> <p>Jack&nbsp;Pierson&rsquo;s&nbsp;(b.1960) words and phrases are reconstructed signage, casually examining the composition of the written word, the psychology and aesthetics of type, and the power of word as sign.</p> <p>Richard Prince&nbsp;(b.1949) is one of the most prolific and profound writers best known as an artist. Jokes have been a principal element in his schtick since there was a Borscht Belt. His abstracted jokes seem to elaborate on a Freud book title: &ldquo;The Joke and Its Relation to the Unconscious.&rdquo;</p> <p>Rob Pruitt&nbsp;(b.1964) made all of his e-mails into wallpaper. He made a neon sign that read &ldquo;when life gives you lemonade, add vodka.&rdquo; He has collected autographs and had them analyzed; he has formulated&nbsp;<em>101 Art Ideas You Can Do Yourself</em>, and here has created&nbsp;<em>God Says Nothing</em>, an empty comic's voice bubble for God.</p> <p>Ed Ruscha&nbsp;(b.1937), living in the language littered landscape of L.A. brought resonant words into the realm of serious painting. In the urban pop art continuum we live in, Ruscha gave that language its proper place in landscape painting, essaying the psychology of the city as a story.</p> <p>Tom Sachs&nbsp;(b.1966) is the master of advanced bricolage, creating post-cargo cult simulacra of culture's dominant fetishes, often complete with detailed instructions. His words take the form of logos, lyrics, evidence, quotes and letters which are often appropriated with a sense of the metacritically apropos, suggesting certain critical debates.</p> <p>Dash Snow&nbsp;(1981-2009) mimicked the sensationalism of the tabloid world, collecting the clich&eacute;s and buzz words of the pop media, the sore points of the collective unconscious, and spun them into new and contradictory trajectories.&nbsp;</p> <p>Lawrence Weiner&nbsp;(b.1942) began his career with actions, and actions led him to words: proposing gestures that might or might not be carried out. His words, whether published or installed, indoors or out, create a philosophical poetry that begins with an idea and ends as a sculpture.</p> <p>Christopher Wool&nbsp;(b.1955) began painting words in 1987, with what might be seen as a perfect strategy for painting after the death of painting: in the beginning was the word. Here the words were stenciled, broken into letters, syllables, fields of fractured or looted meaning.</p> <p>Aaron&nbsp;Young&rsquo;s&nbsp;(b.1972) art exists as artifacts of the aftermath of action&mdash;often invoking risk, danger, marginalization and finding a harmony between destruction and creation. His work with words often adopts the language of the rebel, or the arbitrary augury of the found object and detritus.&rdquo;</p> Tue, 02 Sep 2014 23:23:32 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Shaan Syed - Galerie Michael Janssen - September 13th - October 26th Tue, 02 Sep 2014 22:52:42 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Tony Conway, Rainer Fetting, Jay Mark Johnson, Karl Kunz, Lies Maculan, Deborah Sengl, Yukiko Terada - Galerie Deschler - September 12th - October 25th <p><img src="http://dbprng00ikc2j.cloudfront.net/userimages/26821/15e3/20140902223825-00120140903.jpg" alt="" /></p> Tue, 02 Sep 2014 22:40:56 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Heike Ruschmeyer - Emerson Gallery - September 13th - October 25th <p>Kicking off the Autumn 2014 art season in Berlin, it is our pleasure to welcome the Berlin painter&nbsp;<strong>Heike Ruschmeyer</strong>&nbsp;to her fourth solo exhibition "Spurensuche" (Searching for Traces) at EMERSON Gallery Berlin.<br />Ruschmeyer&rsquo;s painting has the impact of a force of nature. The only thing constant is change itself. In her work, Ruschmeyer has spent decades exploring the contours of death and violence in our society. As a virtual prodigy in 1993, the painter created a furor with her exhibition&nbsp;<strong><em>Ma&szlig;lose Zeit</em></strong>, the last exhibition at West Berlin&rsquo;s now legendary&nbsp;<em><strong>Staatliche Kunsthalle Berlin</strong></em>. In this breakthrough exhibit she offered over a hundred works mostly in startlingly bright colors portraying the subjects of violent death. Since that time, Ruschmeyer has offered series confronting, among other topics, sexual violence, violence against children, and suicide. All along the way, her painterly aesthetic took new turns, from the explosive drama of Germany&rsquo;s<em>Junge Wilden</em>&nbsp;to subdued, monochrome depictions in grey tones.&nbsp;<br /><br />In her latest transition, the painter presents the scenes of terrorist violence in Germany, from the infamous Rote Armee Fraktion (RAF) attacks thirty years ago, to more recent outburst by racist extremists. Ironically the painter&rsquo;s depictions of communal violence work even more intimately than her more personal scenes of death. Viewers who lived through time of the events experience a discomforting sense of nostalgia. Younger viewers unfamiliar with the events feel a sense of frozen history.<br />The paintings exude an often eerie stillness: the stillness of contemplation, the stillness of death.<br /><br />Complementing the paintings is Ruschmeyer&rsquo;s contribution to the Edition tradition at EMERSON Gallery Berlin &ndash; economically priced works offered as exclusive limited editions. The painter&rsquo;s latest edition reveals an uncommon aspect of her work, her use of text in paintings and graphics. In this case, Ruschmeyer takes part in a dialogue with the German WW I poet Alfred Lichtenstein.</p> Tue, 02 Sep 2014 22:27:12 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Alice Nikitinova, Matěj Smetana - Autocenter - August 30th - September 13th <p>Alice likes objects that remind her of something else. She doesn&rsquo;t believe art would be able to directly resolve real problems. She&rsquo;s&nbsp;attracted to geometry, which for her is absolutely the strongest, clearest way to work with the picture. Simplicity is a very important value for her. She would like to be straightforward and clear, even if it brings the risk of appearing naive. In all its breadth and imprecision, the word &ldquo;things&rdquo; has long fascinated her. She enjoys working with symbols that are easy to recognise. The place between the picture and the object is very close to her. She strives to expose the skeleton, the structure, without equivocation, mysteriousness or secrecy, abandoning moods and atmospheres and breaking the picture down into spare&nbsp;parts.</p> <p>Matěj would like to be interested in things that extend beyond him somehow, yet at the same time he&rsquo;s&nbsp;not particularly fond of pathos. It strikes him that play is most interesting (and most risky) in places where it also merges with reality. Things that seem too simple or unequivocal earn his advance suspicion. If he can&rsquo;t manage something, he has no issues with having the work made for him. He&rsquo;s&nbsp;not particularly interested in treating a work of art as a tool. He has long considered how to work with the progress of time in an immobile medium, like a static installation or sculpture. The motif of a star with rays seems unusually fascinating to&nbsp;him.</p> Tue, 02 Sep 2014 22:20:50 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Ingeborg Luescher - Campagne Première Berlin - September 6th - October 1st <p style="text-align: justify;">Ingeborg Luescher <br />''300 Million Years&ldquo; <br />6.9.-1.10.2014<br /><br />You are warmly invited to Ingeborg Luescher's first solo show at Campagne Première. After her contribution of historical works from the 1970s to the group exhibition "Transformations &ndash; Ingeborg Luescher, Ana Mendieta,Teresa Murak" in the spring, with "300 Million Years" she will now introduce a new photo series.<br /><br />Since the start of her artistic practice in the late 1960s, Ingeborg Luescherʼs work has been revolving around everyday objects, experiences and impressions from her immediate enviroment. Besides objects and installations, this has also yielded photography, paintings, texts and &ndash; since the 1990s &ndash; video art. The artist frequently produces serial work. Although her oeuvre is rooted in conceptual art, she has also satirized the underlying governing principles of strictness and order. She juxtaposes the dispersion of a motif or idea in a series with forms that are influenced by autobiographical factors. The personal and specific, which are frequently interwoven with the artistʼs memories and stories, build a stark contrast with the unspecific, repetitive and serial nature of her work.<br /><br />Since 2011, Ingeborg Luescher has produced a large volume of analog photographs in and around her hometown in the Tessin region, Switzerland. She has taken these works through an extensive process of selection and modification. With this procedure, the artist has made her motifs &ndash; images of lichens on stones &ndash; blurred and imprecise. Luescher may have chosen photography as the principal medium for her current work, but she has broken one of its main rules: the sharpness of representation. Through the selection of a segment of the photo and subsequent enlargement of the print, the lichens enlace into a picturesquely hazy, organic whir. The motifsʼ lack of sharpness befits the equally unspecified pictorial space. The decision to modify the photographs in this manner, combined with the exhibition title, underscores the idea that the oldest organic microstructures also reflect macrocosmic reality.<br /><br />Ingeborg Luescher relates her images of lichens to questions and observations of a scientific as well as of a metaphysical nature. Spirituality and irrationality are fundamental components in Luescherʼs work. She ascribes her images of lichens to a statement by Werner Heisenberg, which deals with the ambivalence of the natural sciences, as well as the impossibility to separate them from metaphysics. By addressing metaphysics, the artist colonises those territories that lie beyond objectivity, where she actively practices her workʼs inherent irrationality. The exhibition presents her most recent photographs alongside the 2003 video work "Frozen River - who killed Jerusalem". This work, with its insurgent soundtrack of the great outdoors, also reveals how an inconspicuous recording of Nature can be charged with meaning.<br /><br />Ingeborg Luescher (1936, Freiberg, Saxony) has been a part of numerous national and international exhibitions ever since her participation in the 1968 Grosse Kunstausstellung at the Haus der Kunst in Munich. Large solo exhibitions of her work were held at, amongst others, the Haags Gemeentemuseum in The Hague, Museum Wiesbaden, MaRT Museo di Arte Moderna e Contemporanea, Rovereto, NCCA National Center of Contemporary Art in Moscow and at the Kunstsammlungen Chemnitz. Her work was presented at Documenta 5 and IX as well as during the Venice Biennale of 1980 and 1990. In 2011, Ingeborg Luescher was awarded the Meret Oppenheim Prize. Her most recent solo exhibitions took place at Kunstmuseum Luzern, CH (2010), ZKM Center for Art and Media, Karlsruhe, DE (2011), Hamburger Bahnhof - Museum for Contemporary Art, Berlin (2012) and Situation Kunst (for Max Imdahl) Ruhr University, Bochum (2013). An extensive retrospective exhibition is planned at the Kunstmuseum Solothurn for 2016.<br /> <br /><br /> <a href="http://www.campagne-premiere.com" rel="nofollow" target="new">Galerie Campagne Premi&egrave;re</a></p> Tue, 02 Sep 2014 14:42:44 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Kalos & Klio - BERLINER LISTE - September 18th - September 21st <p>Thanasis Moutsopoulos, Art Historian, Critic, Writer, As. Prof. at TUC,</p> <p>GR notes: &ldquo;Artistic duo<a title="Kalos&amp;Klio" href="http://www.kalosklio.com" rel="nofollow" target="_self"> Kalos&amp;Klio</a> utilizes a unique technique to produce</p> <p>complicated compositions which crush the real world into a chaos of the</p> <p>most extreme objects possible. The hybrid-Matrix world of Kalos&amp;Klio</p> <p>is both immaterial because it originates from cyberspace and material</p> <p>because it comes into fruition as a luxury impression on the most</p> <p>precious materials. The Matrix of Kalos&amp;Klio is ever expanding and as it</p> <p>enlarges it appears to take on a consciousness of its own. Kalos&amp;Klio&rsquo;s</p> <p>post- psychedelic works refers to our world as a melting pot that chews</p> <p>everything, from architectural elements to body parts and artificial</p> <p style="text-align: left;">constructions. The Matrix extends..&rdquo;</p> Tue, 02 Sep 2014 17:37:17 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list