ArtSlant - Recently added http://www.artslant.com/ber/Events/show en-us 40 NAMIO HARUKAWA - The Wall at In:Surgo! Berlin - April 19th - May 2nd <div style="text-align: center;">&nbsp;</div> <div style="text-align: center;">&nbsp;</div> <div style="text-align: center;">Namio Harukawa, born in 1947, (in Osaka Prefecture, Japan) is a Japanese artist known for his realistic femdom erotica drawings. Harukawa&rsquo;s drawings feature voluptuous women with large breasts, wide hips, round buttocks and thick legs dominating, overpowering and humiliating smaller men</div> <p>&nbsp;</p> <div style="text-align: center;">Opening Saturday 19th of April from 19:00 until 21:00</div> <div style="text-align: center;">Exhibition 20 April - 1 May</div> Wed, 16 Apr 2014 15:25:59 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Gareth Moore - Lüttgenmeijer - April 26th - June 28th Wed, 16 Apr 2014 03:50:19 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Wu Tsang - Galerie Isabella Bortolozzi - May 2nd - June 30th Wed, 16 Apr 2014 03:45:04 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Petrit Halilaj - Chert - April 26th - June 14th Wed, 16 Apr 2014 03:34:41 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Zofia Kulik - ŻAK | BRANICKA - May 2nd - June 21st <p><strong>For this year&rsquo;s Gallery Weekend Berlin ŻAK | BRANICKA is delighted to present an exhibition by Zofia Kulik, entitled Instead of Sculpture &ndash; Sequences 1968-71. </strong><br /><br />This exhibition is a double "return" for the artist: a return to her solo work after several years spent working on the archive and publishing a monumental monograph dedicated to the artistic duo KwieKulik , and also a return to her earliest artistic explorations; to her graduation work created in 1970/71 at the Sculpture Department of the Academy of Fine Arts in Warsaw. This project has not seen the light of day for over four and a half decades, and was never finally edited. Selected fragments from this work will be presented for the first time as a photo sequences at ŻAK | BRANICKA.</p> Wed, 16 Apr 2014 03:27:05 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list NAMIO HARUKAWA - The Wall at In:Surgo! Berlin - April 20th - May 1st <p>Namio Harukawa, born in 1947, (in Osaka Prefecture, Japan) is a Japanese artist known for his realistic femdom erotica drawings. Harukawa&rsquo;s drawings feature voluptuous women with large breasts, wide hips, round buttocks and thick legs dominating, overpowering and humiliating smaller men</p> Wed, 16 Apr 2014 03:22:24 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Iza Tarasewicz - Künstlerhaus Bethanien - April 18th - May 18th Wed, 16 Apr 2014 02:58:59 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Adam Saks, Fabrizia Vanetta - Künstlerhaus Bethanien - April 18th - May 18th Wed, 16 Apr 2014 02:56:38 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Alona Rodeh - Künstlerhaus Bethanien - April 18th - May 18th Wed, 16 Apr 2014 02:55:30 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Soren Thilo Funder - Künstlerhaus Bethanien - April 18th - May 18th Wed, 16 Apr 2014 02:53:40 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Sofie Bird Møller - Künstlerhaus Bethanien - April 18th - May 18th Wed, 16 Apr 2014 02:51:22 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Magnus Plessen - Konrad Fischer Galerie - May 2nd - June 21st <p>English Follows</p> <table width="710" border="0" cellspacing="0" cellpadding="0"> <tbody> <tr> <td align="left" valign="top"> <div align="justify"><span class="T">Die Konrad Fischer Galerie Berlin freut sich, die Er&ouml;ffnung der dritten Einzelausstellung mit neuen Arbeiten von Magnus Plessen (*1967) am 2. Mai 2014 in unseren Berliner R&auml;umen ank&uuml;ndigen zu d&uuml;rfen.<br /> <br /> Den neuen Arbeiten Magnus Plessens liegt eine l&auml;ngere Auseinandersetzung mit der 1922 von Ernst Friedrich erstmals ver&ouml;ffentlichten Publikation &sbquo;Krieg dem Kriege&rsquo; zu Grunde. Die Frage, ob und auf welche Weise sich die Malerei den dort abgebildeten, massiv entstellten Portraitk&ouml;pfen von kriegsversehrten Soldaten des 1. Weltkrieges &uuml;berhaupt ann&auml;hern kann, verschr&auml;nkt sich in den neuen Bildern mit grunds&auml;tzlichen &Uuml;berlegungen zu den M&ouml;glichkeiten der malerischen Repr&auml;sentation von Realit&auml;t. Es handelt sich bei den Aufnahmen also nicht um bildliche Vorlagen, die der K&uuml;nstler in die Malerei zu &uuml;bersetzen sucht, sondern um bildliche Zeugnisse, in denen sich Fragestellungen und Problemfelder zuspitzen, die Plessen in anderer Weise bereits seit langem besch&auml;ftigen. <br /> <br /> Den Erkenntnissen der modernen Naturwissenschaft Rechnung tragend hat Plessen bereits seit einigen Jahren traditionelle Repr&auml;sentationsmodelle der Malerei aufgegeben und Bildformen entwickelt, die zwischen Gegenst&auml;ndlichkeit und Abstraktion changieren, einen idealen Blickpunkt des Betrachters verweigern und die Repr&auml;sentation von Realit&auml;t als M&ouml;glichkeitsform erproben, indem das simultane Sein und Werden von disparaten Elementen auf der B&uuml;hne des Bildes inszeniert wird. Diesem Ansatz entspricht eine Malweise, die eine fixe Orientierung im Bildraum unm&ouml;glich macht, da der K&uuml;nstler seine Leinw&auml;nde w&auml;hrend des Arbeitsprozesses mehrfach dreht und aus unterschiedlichen Richtungen bearbeitet. <br /> <br /> All dies kennzeichnet die neuen Arbeiten noch immer, wobei die eingangs erw&auml;hnte Auseinandersetzung mit den Abbildungen der Kriegsversehrten zu einer f&uuml;hlbar ver&auml;nderten Atmosph&auml;re der Malerei f&uuml;hrt. Bei aller Farbigkeit ist Plessens aktuellem Bilderzyklus etwas D&uuml;steres zu eigen. Denn wie l&auml;sst sich etwas in der Malerei zeigen, das physisch nicht mehr vorhanden ist, sich jeder visuellen Fassbarkeit entzieht und gleich-zeitig unfassbare Folgen f&uuml;r die Selbstwahrnehmung und Identit&auml;t der Betroffenen bedingt. Der existenzielle Verlust und das Nicht-mehr-sein findet sich auf den Leinw&auml;nden zumeist in Zonen dunkelschwarzer Farbigkeit angedeutet, in denen die fragmentierten K&ouml;pfe einsinken und gleichsam in einen Raum entgleiten, vom dem wir nur vermuten k&ouml;nnen, das er sie nicht mehr herausgibt.</span><br /> </div> <p><span class="T"><br /> <br /> <br /></span></p> <hr /> <p>&nbsp;</p> <div align="justify"><br /> <span class="T">Konrad Fischer Galerie Berlin is pleased to announce the opening of the third solo exhibition of new paintings by Magnus Plessen (*1967) on May 2, 2014, 6pm - 9pm. <br /> <br /> Magnus Plessen&rsquo;s new works stem from his contemplation on Ernst Friedrich&rsquo;s anti-war pamphlet &bdquo;War against war&ldquo;. Published in 1922, the book depicts severely injured and disfigured World War I veterans. The question if and how painting can come close to these startling heads is combined in the new works with the broader issue of the representation of reality in painting. Rather than serving in any way as models for the paintings, these photographs act as catalysts, bringing to the fore questions and problems that Plessen has been touching on for years.<br /> <br /> In accordance with models of reality in modern physics Plessen dismissed traditional modes of representation several years ago. Instead he has invented pictorial forms which morph between abstraction and figuration. His paintings don&rsquo;t deliver an ideal viewpoint or a clearly defined pictorial space anymore. Reality is represented in his works as one of many various possibilities and we find on Plessen&rsquo;s canvases the simultaneous appearance of disparate elements, a being and becoming of forms on stage in the painting. Plessen&rsquo;s working method follows suit, for in the process of painting he repeatedly rotates the canvas, treating it from all directions, avoiding a fixed orientation point within the composition.<br /> <br /> These fundamental dynamics of Plessen&rsquo;s approach are ever present in his latest works. However, the preoccupation with Friedrich&rsquo;s images of these war wounded men has drastically changed the atmosphere of these paintings. Despite a colorful appearance, gloom permeates Plessen&rsquo;s new series - for how can painting show non-existing matter, clearly invisible to the human eye and yet having such enormous impact on the lives and identities of the victims. Within dark, black zones in Plessen&rsquo;s paintings fragmented heads seem to be caving in, hinting at existential loss, alienation, and a condition of non-being. It is as if they have slid into a space out of which, we must assume, is no escape.</span></div> </td> <td class="TBgrau" align="left" valign="top">&nbsp;</td> </tr> <tr> <td colspan="2" align="left" valign="top">&nbsp;</td> </tr> </tbody> </table> Wed, 16 Apr 2014 02:41:47 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Viktoria Binschtok - KLEMM'S - April 26th - June 7th Wed, 16 Apr 2014 02:35:08 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Noé Sendas - Invaliden1 - April 25th - June 7th Wed, 16 Apr 2014 02:26:25 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Jean Jullien - Galerie Neurotitan - April 30th - May 4th <p>Jean Jullien is an upcoming French illustrator based in London, who presents his first solo exhibition in Berlin during Pictoplasma. For his exhibition SYLVIE he created gigantic wooden gadgets which form the stage for his latest figurative excursions. The idea of SYLVIE, is to discuss the idea of a online gallery and physical gallery. The large electronic devices are the only tangible pieces in the physical gallery. The supersized devices will serve as a projection screen for the content of the show, which will be updated everyday with a new piece.</p> <p>Jean Jullien is living and working in London. Originally from Nantes he studied Graphic Design in Quimper before moving to London, where he graduated from Central Saint Martins in 2008 and the Royal College of Art in 2010. His practice ranges from illustration to photography, video, costumes, installations, books, posters, and clothing to create a coherent yet eclectic body of work. In 2011, he founded Jullien Brothers, a duo specialised in the moving image. Together with illustrators Yann Le Bec and Gwendal Le Bec, he publishes visual commentaries on current news articles in their blognewsofthetimes.tumblr.com</p> Wed, 16 Apr 2014 02:19:07 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Tim Eitel - Galerie EIGEN + ART (Berlin) - April 24th - June 7th <p>There might have been a painting that was like an outsider, and therefore perhaps not part of the exhibition. If we remember it right, it shows August Strindberg asleep, his head laid on an eiderdown, something soft and impressive, hair and moustache slightly tousled. A horizontal strip, that is, a surface in which we see him like in a mirror, cuts through the lower part of the picture. The image is ambiguous, maybe because Tim Eitel painted it after a found photograph, so that the perception in the image is not from the painter&rsquo;s own experience. He is working from the perception of another, and that other is Strindberg sleeping. The horizontal strip, often present in Eitel&rsquo;s work, here is like a dream image or perhaps the next frame on the film. If we were interested in the original document, we might recognize in it a self-portrait that signifies an experimental photographic practice. Strindberg had set up a portrait studio, where his challenge was to transmit and capture thought, and thus record an invisible operation. His method involved making life-size portraits and working with very long exposure times during which the photographer had to engage in telepathy with the subject observed. Then Strindberg dropped off to sleep.</p> <p>So maybe there is this piece apart, or else a piece that is perhaps invisible, but which still gives a perspective on the preoccupations permeating this exhibition conceived by Tim Eitel &ldquo;as atmosphere&rdquo;. While the successive layers, coverings and erasures on the canvas tip the images over into painting, we never quite know if the black suns are luminous, if night is falling or day breaking, if the figures are disappearing or appearing, if they persist or come back to the surface, if we are looking at an image or its ghost, an empty space or a monochrome plane. Tim Eitel subtracts or abstracts each subject from any narrative space and tends to install it in silence and time to subject it to observation and variation. The image is slowly defined as if our eyes had to become accustomed to the dark, in order to glimpse the nuances, the depth, and then see the head of a Japanese Buddha come to the surface. There will invariably be a Buddha&rsquo;s head, a tree&rsquo;s shadow, a ghost, a mass of hair or a body in a paradoxical state, beings ready to shift into another reality or into another order of painting, beings ready to haunt the Hard Edge. There will always be an operation laughing at Greenberg&rsquo;s narrative of modernism, and becoming interested in its esoteric roots. There will always be a mystical shadow that informs the seriouspainting, and a place on the viewer&rsquo;s forehead where Tim Eitel sticks a Third Eye.&ldquo;</p> <p><em>Elfi Turpin, March 2014</em></p> <p><em>(Translation Simon Pleasance)</em></p> Wed, 16 Apr 2014 21:22:23 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list