ArtSlant - Recently added en-us 40 Group Show - Galerie Gebr. Lehmann, Berlin - May 21st - July 16th Fri, 29 Apr 2016 11:34:33 +0000 - KW Institute for Contemporary Art - April 30th 10:00 AM - 10:00 PM <div id="moz-reader-content" style="display: block;"> <div id="readability-page-1" class="page"> <div class="text"> <p class="visible" style="text-align: justify;">Performance program accompanying the exhibition <a class="visible" href="">SECRET SURFACE. WHERE MEANING MATERIALIZES</a></p> <p class="visible" style="text-align: justify;">SUNRISE SUNSET with Anna Barham, Auto Italia, Lawrence Lek, Naufus Ram&iacute;rez-Figueroa, Emily Roysdon, Marc Sabat mit Mareike Lee</p> <p class="visible" style="text-align: justify;">This 12-hour rhythm of performances within the exhibition space and throughout the house and courtyard complements the exhibition&rsquo;s main question: where does meaning materialize? What if live art was likewise superficial &ndash; in the best sense of the word?</p> <p style="text-align: justify;">The program mainly animates a selection of artworks from the exhibition with their makers&rsquo; live interpretation, but treats the artist&rsquo;s presence as yet another surface for reflection and refraction. It aims to literalize the moment of exchange between observer and observed and thus make the exhibition&rsquo;s questions accessible also through participation. The program stages clashes between seductive, virtual spaces and the physical one, each of which is an interface, or system, for making sense of our surroundings.</p> <p style="text-align: justify;">The day unfolds following a rhythm that refers to biological rhythms and natural changes of light, which lays shadows and spotlights upon different stage-like settings throughout KW. In the morning, performances and workshops guide interested viewers on further explorations of texts and 3D environments presented in the show. Anna Barham leads THE MODEL (2016), a live production reading group, which processes familiar texts through repeated human performance and digital translation. Lawrence Lek takes over the controls on his virtual tour of a futuristic KW with a live performance of BERLIN MIRROR (2042 RETROSPECTIVE), made for the exhibition.</p> <p style="text-align: justify;">In the afternoon, these are joined by interventions and at times surreal departures from thenworks on view. Auto Italia revisit their 2012 film MY SKIN IS AT WAR WITH A WORLD OF DATA by activating the original material through live, but seemingly interchangeable human interactions.</p> <p style="text-align: justify;">At sunset, Marc Sabat and Mareike Lee present an interpretation of surface and depth in musical and architectural terms, proposing an unfolding and shimmering of sound and light that remains suspended in the reflective cubes of Caf&eacute; Bravo, recast as a membrane.</p> <p style="text-align: justify;">The evening culminates with an acceleration of performances, spreading to the courtyard and complemented by artist positions outside the exhibition. Naufus Ram&iacute;rez-Figueroa&rsquo;s piece THE PRINT OF SLEEP (2015/16) concludes the day with a meditative, dreamlike scene that combines printmaking, varied human surfaces and bedtime rituals.</p> <p style="text-align: justify;">The day&rsquo;s pacing and spatial arrangement is developed in conversation with artist Emily Roysdon, who proposes subjective stretches and measures of time as part of her performance UNCOUNTED [PERFORMANCE 7] (2014&ndash;ongoing). Roysdon and her collaborators intermittently perform text excerpts from her numbered and randomized script in KW&rsquo;s courtyard, a central spot that connects the street with the institution&rsquo;s various venues.</p> <p style="text-align: justify;">Schedule for Saturday, 30.4.16:</p> <p style="text-align: justify;">Please note: THE MODEL by Anna Barham requires pre-registration at</p> <p style="text-align: justify;">11:00 h: Anna Barham, THE MODEL, registration required at <br /> 11:30 h: Auto Italia, MY SKIN WAS AT WAR WITH A WORLD OF DATA <br /> 12:30 h: Lawrence Lek, BERLIN MIRROR (2042 RETROSPECTIVE)<br /> 13:30 h: Auto Italia, MY SKIN WAS AT WAR WITH A WORLD OF DATA<br /> 14:00 h: Anna Barham, THE MODEL, registration required at<br /> 15:30 h: Lawrence Lek, BERLIN MIRROR (2042 RETROSPECTIVE)<br /> 16:00 h: Anna Barham, THE MODEL, registration required at<br /> 17:00 h: Auto Italia, MY SKIN WAS AT WAR WITH A WORLD OF DATA<br /> 19:00 h: Lawrence Lek, BERLIN MIRROR (2042 RETROSPECTIVE)<br /> 19:30 h: Emily Roysdon, UNCOUNTED (PERFORMANCE 7), featuring Karl Holmqvist, Ligia Lewis, Manuel Pelmus, and Agnieszka Polska<br /> 20:00 h Marc Sabat and Mareike Lee, LIGHT GROUND<br /> 21:15 h: Naufus Ram&iacute;rez-Figueroa, THE PRINT OF SLEEP</p> <p style="text-align: justify;">All performances are accessible with an exhibition ticket and may be viewed independently of each other. <br /> Some performances overlap, but repeat at other intervals throughout the day.</p> <p style="text-align: justify;">THE PRINT OF SLEEP by Naufus Ram&iacute;rez-Figueroa is commissioned and produced as part of Corpus, network for performance practice. Corpus is Bulegoa z/b (Bilbao), Contemporary Art Centre (Vilnius), If I Can&rsquo;t Dance, I Don&rsquo;t Want To Be Part Of Your Revolution (Amsterdam), KW Institute for Contemporary Art (Berlin), Playground (STUK Kunstencentrum &amp; M-Museum, Leuven), and Tate Modern (London). UNCOUNTED (PERFORMANCE 7) by Emily Roysdon has been developed as part of the first phase of Corpus. Corpus is co-funded by the Creative Europe Programme of the European Union.</p> <p style="text-align: justify;">Curated by Catherine Wood and Adela Yawitz</p> </div> </div> </div> Fri, 29 Apr 2016 11:05:55 +0000 Ruey Shiann Shyu - Künstlerhaus Bethanien - April 13th - May 8th <p style="text-align: justify;">Ruey Shiann Shyu has been working on kinetic installations since the mid 1990s. His motor-driven sculptures are constructions of a purely mechanical nature; nevertheless, the artist succeeds brilliantly in conveying vitality, feelings and emotions with his works, as well as creating an atmosphere of wonder and nostalgia.</p> <p style="text-align: justify;">The floor sculpture shown in the K&uuml;nstlerhaus, <em>Writer&rsquo;s Vessel</em> (2011), was made for the first time in 1997, when Shyu had begun to combine existing mechanical parts with finds from the natural world. It is a construction made from pigeon feathers, each one attached &nbsp;to a metal ring, in an arrangement resembling spokes. A motor turns this like a wheel, so that a kind of visual poetry is created by the feather quills scratching over a metal plate on the floor. <em>Writer&rsquo;s Vessel</em> represents, in an emblematic way, the duality on which Shyu&rsquo;s work as a whole is founded: while everything seems to revolve around mechanical precision and control, the delicate bird&rsquo;s feathers remind us of the fragility of living things and the beauty of Nature.</p> <p style="text-align: justify;">In addition, Shyu is showing the space-consuming installation <em>The River of Childhood</em> (1999/ 2010), which consists of a large number of metal-framed constructions connected by cables. It is the artist&rsquo;s poetic-melancholic reflection on childhood and its carefree ease, which can never be regained.</p> <p style="text-align: justify;">Ruey-Shiann Shyu (Juei Hsien Hsu)&nbsp;is receiving a grant from the Ministry of Culture, R.O.C. (Taiwan) and the Representation of Taipei in the Federal Republic of Germany.</p> <div class="c2"> <p>On the occasion of&nbsp;<strong>Gallery Weekend Berlin</strong>, K&uuml;nstlerhaus Bethanien is offering extended opening hours of the current exhibitions by<strong>&nbsp;Gregor Hildebrandt</strong>&nbsp;and<strong>&nbsp;Ruey Shiann Shyu</strong>.</p> <p>On&nbsp;<strong>Saturday 30th April 2016</strong>, the shows will be open as&nbsp;<strong>from 10 am</strong>&nbsp;already (until 7 pm).<br /> On&nbsp;<strong>Sunday, 1st May</strong>&nbsp;the regular opening hours will be from&nbsp;<strong>2 &ndash; 7 pm</strong>.</p> <p>We are looking forward to your visit!</p> </div> <hr /> <p style="text-align: justify;">Ruey Shiann Shyu besch&auml;ftigt sich seit Mitte der 1990er Jahre mit kinetischen Installationen.&nbsp;Obschon seine motorgetriebenen Skulpturen Konstruktionen rein mechanischer Natur sind, gelingt es dem K&uuml;nstler virtuos, mit seinen Werken Lebendigkeit, Gef&uuml;hle und Emotionen zu transportieren und eine Atmosph&auml;re des Wundervollen und Nostalgischen zu schaffen.</p> <p style="text-align: justify;">Die im K&uuml;nstlerhaus gezeigte Bodenskulptur <em>Writer&rsquo;s Vessel</em> (2011) entstand erstmals 1997, als Shyu begann, vorgefundene mechanische Teile mit Fundst&uuml;cken aus der Natur zu kombinieren. Sie ist eine Konstruktion aus Taubenfedern, die einzeln in speichenartiger Anordnung an einem runden Metallring angebracht sind. Dieser dreht sich mithilfe eines Motors wie ein Rad, so dass durch die &uuml;ber eine Metallplatte am Boden kratzenden Federkiele eine Art visuelle Poesie entsteht.&nbsp;<em>Writer&rsquo;s Vessel</em> repr&auml;sentiert in emblematischer Weise die Dualit&auml;t, die Shyus Gesamtwerk zugrunde liegt: w&auml;hrend alles um mechanische Pr&auml;zision und Kontrolle zu kreisen scheint, gemahnen die zarten Vogelfedern doch zugleich an die Fragilit&auml;t des Lebendigen und die Sch&ouml;nheit der Natur.</p> <p style="text-align: justify;">Die ebenfalls gezeigte Installation<em> The River of Childhood</em> (1999/ 2010)&nbsp;ist eine raumgreifende, poetisch-melancholische Reflexion des K&uuml;nstlers &uuml;ber die Kindheit und deren unwiederbringliche Leichtigkeit.</p> <p style="text-align: justify;">Ruey-Shiann Shyu (Juei Hsien Hsu) ist&nbsp;Stipendiat des Kulturministeriums, R.O.C. (Taiwan) und der Taipeh Vertretung&nbsp;in der Bundesrepublik Deutschland.</p> <div class="c2"> <p>Anl&auml;sslich des&nbsp;<strong>Gallery Weekend Berlin</strong> sind die aktuellen Ausstellungen von <strong>Gregor Hildebrandt</strong> und <strong>Ruey Shiann Shyu</strong> am <strong>Samstag, den 30. April 2016</strong> bereits <strong>ab 10 Uhr</strong> ge&ouml;ffnet (bis 19 Uhr).</p> <p>Am <strong>Sonntag, den 1. Mai</strong> gelten die regul&auml;ren &Ouml;ffnungszeiten (<strong>14 &ndash; 19 Uhr</strong>).</p> <p>Wir freuen uns auf Ihren Besuch!</p> </div> Fri, 29 Apr 2016 11:00:08 +0000 - Haus der Kulturen der Welt - May 8th 3:00 PM - 8:00 PM <div class="event-db-content-abstract"> <p class="abstract" style="text-align: justify;">In a one-day program, contributors to the exhibition and guests will reflect on the question of political and creative autonomy in the digital age. In the gap between individual experience and aggregated data, a crisis of values is emerging.</p> </div> <div class="event-db-content-text"> <p style="text-align: justify;">Beneath narrowed framings such as privacy, net neutrality and surveillance lie more fundamental questions of autonomy, and the &ldquo;fragile free spaces&rdquo; that are essential for creativity, experimentation, and resistance to be possible.</p> <p style="text-align: justify;">3&ndash;5pm<br /><strong>Nervous Models</strong></p> <p style="text-align: justify;">Welcome: Anselm Franke</p> <p style="text-align: justify;">Ana Teixeira Pinto:<br />Feedback Form: Behaviorism, Cybernetics, Autopoiesis</p> <p style="text-align: justify;">Seb Franklin:<br />Figuring the Nerves of Economy</p> <p style="text-align: justify;">5.30‒8pm<br /><strong>The Good, the Bad, and the Data</strong></p> <p style="text-align: justify;">Evgeny Morozov:<br />On Algorithmic Welfare: Silicon Valley as the Good Cop of Neoliberalism</p> <p style="text-align: justify;">Lecture by Laboria Cuboniks</p> <p style="text-align: justify;">Lecture by Franco &ldquo;Bifo&rdquo; Berardi</p> <p style="text-align: justify;"><em>Moderated by Diana McCarty</em></p> <hr /> <div class="event-db-content-abstract" style="text-align: justify;"> <p class="abstract">Zur Technologie- und Diskursgeschichte der neuen Daten&ouml;konomien: F&uuml;nf Vortr&auml;ge diskutieren die historischen Wurzeln des gegenw&auml;rtigen Kontrollsystems, die kulturelle Logik der Digitalit&auml;t und politisch-ideologische Konstellationen der letzten hundert Jahre entlang der Metapher des &bdquo;Nervensystem&ldquo;.</p> </div> <div class="event-db-content-text"> <p style="text-align: justify;">15-17h<br /><strong>Nervous Models</strong></p> <p style="text-align: justify;">Welcome: Anselm Franke</p> <p style="text-align: justify;">Ana Teixeira Pinto:<br />Feedback Form: Behaviorism, Cybernetics, Autopoiesis</p> <p style="text-align: justify;">Seb Franklin:<br />Figuring the Nerves of Economy</p> <p style="text-align: justify;">17.30‒20h<br /><strong>The Good, the Bad, and the Data</strong></p> <p style="text-align: justify;">Evgeny Morozov:<br />On Algorithmic Welfare: Silicon Valley as the Good Cop of Neoliberalism</p> <p style="text-align: justify;">Vortrag von Laboria Cuboniks</p> <p style="text-align: justify;">Vortrag von Franco &bdquo;Bifo&ldquo; Berardi</p> <p style="text-align: justify;"><em>Moderiert von Diana McCarty</em></p> </div> </div> Fri, 29 Apr 2016 10:52:51 +0000 - Haus der Kulturen der Welt - April 28th - May 1st <div id="moz-reader-content" style="display: block;"> <div id="readability-page-1" class="page"> <div class="two-columns"> <p style="text-align: justify;">When did popular music originate? Depending on the definition, it was somewhere between the years 822 and 1964. But, then, around a hundred years ago the decisive transition occurred: wax cylinders and, later, shellac records were able to preserve musical performances and radio was able to broadcast them, thus beginning the era of recorded music.</p> <p style="text-align: justify;"><em>Pop 16</em> examines what styles, manners of interpretation and performance praxes these new technologies encountered. What interactions arose as a result, and what effects does all this have on today&rsquo;s music? Many of the musical phenomena of the dawning twentieth century still live on today: Tin Pan Alley tunes by Irving Berlin and Jerome Kern, French chansons and Argentinean tango. By contrast, today, styles such as Bambuco, Konkoma and Melayu are more the subject matter of music ethnologists. At <em>Pop 16</em> a broad variety of musicians will look back at the beginnings of produced music in <a title="" href="" target="">programs</a> put together exclusively for the festival: The highlife king <a title="Ebo Taylor" href="" target="">Ebo Taylor</a> will bring back the great days of Ghanaian Konkoma, the Japanese Electropop experimenter <a title="Miharu Koshi" href="" target="">Miharu Koshi</a> will dream herself back to 1920s Europe, the Colombian bassist and record collector <a title="Mario Galeano" href="" target="">Mario Galeano</a>, who performed at HKW previously with Ondatr&oacute;pica and Los Pira&ntilde;as, will dig up Colombian music treasures for his audiovisual Bambuco interpretations. Plus: more commissioned productions, installations, <a title="" href="" target="">lectures</a>, <a title="" href="" target="">Berlin tours</a> and the German premiere of <a title="" href="" target="">American Epic</a>, a TV miniseries about the first recording trips made by music producers across the United States.</p> <p style="text-align: justify;"><em>Supported by: 25 Jahre gute Nachbarschaft Deutschland-Polen, cpb culturepartner berlin, the Foundation for Arab Music Archiving &amp; Research, Iwalewahaus / Universit&auml;t Bayreuth, McIntire Department of Music / University of Virginia, Polnisches Institut Berlin, Stiftung Stadtmuseum Berlin, Stroever Schellack Bremen&bull;Pr&auml;sentiert von zitty, taz.die tageszeitung, Berliner Fenster, radioeins, AskHelmut, Exberliner, Rolling Stone</em></p> <p style="text-align: justify;">Pop 16 <em>takes place as part of the HKW series <a title="100 Years of Now" href="" target="">100 Years of Now</a>.</em></p> <hr /> <div id="moz-reader-content" style="display: block;"> <div id="readability-page-1" class="page"> <div class="two-columns"> <p style="text-align: justify;">Wann entstand Popmusik? Je nach Definition irgendwann zwischen 822 und 1964. Vor rund 100 Jahren jedoch kam der entscheidende Umbruch: Wachswalzen und sp&auml;ter Schellackplatten konnten musikalische Darbietungen konservieren, der Rundfunk konnte sie verbreiten &ndash; die &Auml;ra der produzierten Musik begann.</p> <p style="text-align: justify;"><em>Pop 16</em> will wissen, welche Stile, Interpretationsweisen und Auff&uuml;hrungspraxen die neuen Technologien vorfanden. Welche Wechselwirkungen ergaben sich daraus und welche Auswirkungen hat das alles auf die heutige Musik? Viele musikalische Ph&auml;nomene des beginnenden 20. Jahrhunderts sind heute noch gegenw&auml;rtig: die Broadway- Hits von Irving Berlin und Jerome Kern, franz&ouml;sische Chansons und argentinischer Tango. Stile wie Bambuco, Konkoma oder Melayu hingegen sind heute eher Themen f&uuml;r Musikethnolog*innen. Bei <em>Pop 16</em> blicken h&ouml;chst unterschiedliche Musiker*innen in exklusiv f&uuml;r das Festival erarbeiteten <a title="" href="" target="">Programmen</a> auf die Anf&auml;nge der produzierten Musik: Highlife-K&ouml;nig <a title="Ebo Taylor" href="" target="">Ebo Taylor</a> l&auml;sst die gro&szlig;e Zeit des ghanaischen Konkoma wiederauferstehen, die japanische Elektro-Pop-Experimentatorin <a title="Miharu Koshi" href="" target="">Miharu Koshi</a> tr&auml;umt sich ins Europa der 1920er Jahre, der kolumbianische Bassist und Plattensammler <a title="Mario Galeano" href="" target="">Mario Galeano</a>, der mit Ondatr&oacute;pica und Los Pira&ntilde;as bereits im HKW auftrat, gr&auml;bt sich durch kolumbianische Musiksch&auml;tze f&uuml;r seine audiovisuelle Interpretation des Bambuco-Stils. Und dazu: weitere Auftragsproduktionen, Installationen, <a title="" href="" target="">Lectures</a>, <a title="" href="" target="">Berlin-Rundfahrten</a> und die Deutschland-Premiere von <a title="" href="" target="">American Epic</a>, einer TV-Mini-Serie &uuml;ber die erste Aufnahmereise von Musikproduzenten quer durch die Vereinigten Staaten.</p> <p style="text-align: justify;"><em>Unterst&uuml;tzt von: &bdquo;25 Jahre gute Nachbarschaft&ldquo; Deutschland-Polen, cpb culturepartner berlin, The Foundation for Arab Music Archiving &amp; Research, Iwalewahaus / Universit&auml;t Bayreuth, McIntire Department of Music / University of Virginia, Polnisches Institut Berlin, Stiftung Stadtmuseum Berlin, Stroever Schellack Bremen&middot;Pr&auml;sentiert von zitty, taz.die tageszeitung, Berliner Fenster, radioeins, AskHelmut, Exberliner, Rolling Stone</em></p> <p style="text-align: justify;">Pop 16 <em>findet im Rahmen von <a title="100 Jahre Gegenwart" href="" target="">100 Jahre Gegenwart</a> statt.</em></p> </div> </div> </div> </div> </div> </div> Fri, 29 Apr 2016 10:47:35 +0000 Peles Empire - Wentrup - April 30th - June 16th <p style="text-align: justify;">For their second solo show at WENTRUP, Peles Empire has designed a large-scale installation which is based on their many years of exploring the relationship between original and copy, and whose concrete starting point is the ensemble of spaces in the gallery on Tempelhofer Ufer. Strategies of optical flattening out and illusion, the transformation from 3D to 2D and back to 3D, and not least the question as to if and when a work can ever be understood to be completed &mdash; these are some of the motifs Peles Empire handles in their exhibition <em>1EYE 2EYES.</em> </p> <p style="text-align: justify;">Even while they were students at Frankfurt&rsquo;s St&auml;delschule, the duo Katharina St&ouml;ver and Barbara Wolff began its research into Schloss Peles in Romania, a project that is not merely preserved in their pseudonym Peles Empire but actively continues.&nbsp;The castle, an eclectic building in the style historicism, programmatically represents St&ouml;ver and Wolff&rsquo;s practices of appropriation and the re-staging of architectonic structures. </p> <p style="text-align: justify;">At WENTRUP, the new show <em>1EYE 2EYES</em> includes a complete re-staging of the gallery space. New sculptures, photographic wallpaper, Jesmonite objects, carpets printed with photographs, and paintings form an all-embracing installation whose motifs have been generated from images previously recorded within the very same gallery space. For instance, on some of the 2 x 3 m carpets, photographs of earlier stagings at WENTRUP or of leftover packing materials are visible. Peles Empirehere employs classical painterly techniques of <em>trompe l&rsquo;oeil</em>, but also combines them with more recent phenomena in the history of architecture and photography such as &ldquo;forced perspective&rdquo; images, which redefine proportionalities within representation&mdash;reality relations.</p> <p style="text-align: justify;">Their piece rests sculpturally on the gallery topography and portrays it with itself &mdash; altered, however, in medium and material.&nbsp;A comparison with Jorge Luis Borges&rsquo;s well-known story &ldquo;On Exactitude in Science&rdquo; comes to mind, in which the map of the world has attained the dimensions of the world itself and suddenly original and copy lie spatially one on top of the other and the copy is identical to the original in every respect.</p> <p style="text-align: justify;">In <em>1EYE 2EYES</em>, Peles Empire particularlytakes spatiality and perspectival seeing as its point of departure, transforming the spaces of the gallery through a seamless installation in such a way that the copy copied here emerges as an independent and therefore new original.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Peles Empire has had solo shows at the Wilhelm-Hack-Museum, Ludwigshafen; S.A.L.T.S., Birsfelden (Switzerland); PRO/NUM, London; ten/pm, Copenhagen (all 2015); GAK Bremen, Bremen (2014), Cell Project Space, London; Kunstmuseum Stuttgart and the GSS in Glasgow (all 2013). It participated in group shows at the Kunstverein Braunschweig, Braunschweig; Kunstwerke, Berlin (all 2015), The Moving Museum, Istanbul (2014), Shanaynay, Paris, NKV Wiesbaden, Bundeskunsthalle Bonn (all 2013), the Temple Bar, Dublin; V22, London and &lsquo;Bold Tendencies&rsquo; in London (all 2012).</p> <p style="text-align: justify;">In 2011, Peles Empire was selected for Frieze Projects at the Frieze Art Fair in London. Shows in 2009 included, Rotterdam. In 2007 the MAK Center for Art and Architecture invited Peles Empire to the Schindler House, Los Angeles, as part of its artist-in-residence program.</p> Fri, 29 Apr 2016 09:41:58 +0000 Aleksandra Domanovic - Tanya Leighton Gallery - April 30th - June 25th <p>Gallery Weekend 2016</p> Fri, 29 Apr 2016 09:39:02 +0000 Mike Bouchet - Peres Projects - April 29th - June 2nd <p class="p1" style="text-align: justify;">Gallery Weekend Berlin 2016</p> <p class="p4" style="text-align: justify;">Peres Projects is pleased to present <em>Bounty</em> by American artist Mike Bouchet on the occasion of Gallery Weekend Berlin 2016. Bouchet presents a new series of oil paintings alongside an installation of large-scale glass sculptures.</p> <p class="p4" style="text-align: justify;">With&nbsp; <em>Bounty</em> (a word which connotes a generous surplus of amounts), Bouchet investigates our society&rsquo;s collective materialism and consumer habits within the aesthetic confines and supposed safe boundaries of painting. This new body of works on canvas is based on original photographs of collapsing human trash and waste taken by the artist at the municipal water treatment plant Werdhoelzli in Zurich. As vibrantly painted visual tableaux, Bouchet captures solid waste in the fragile instant before it is processed to become homogenous sludge. These dynamic, chiaroscuro compositions of decomposing and nearly formless matter are seductively beautiful; despite being images of our own waste and symbols of overconsumption, they leave the viewer feeling no sense of repulsion.</p> <p class="p4" style="text-align: justify;">There is a familiarity to the tumbling masses that fill the canvases, as the shapes and textures recall everyday products, but only as mere impressions. The turbulence, chaos and colors recall fantastic scenes from 17th and 18th century Baroque painting, while the organic forms convey the luminosity and textures of a Dutch Golden Age still life.</p> <p class="p4" style="text-align: justify;">Also on view are Bouchet&rsquo;s new sculptures, <em>Keglon</em>, oversized 14 liter glass cola bottles standing atop artwork shipping crates. These isolated figures of consumerism are full of contradictions. Bouchet creates a surreal homage to the ubiquitous plastic American 2 liter cola bottle, appropriating them as art. These delicate yet bloated sculptures become both a proposal for new, bigger and better &ldquo;king sized&rdquo; beverage but, due to their apparent emptiness, are perhaps about to be thrown away.</p> <p class="p4" style="text-align: justify;">The exhibition <em>Bounty</em> is related to the artist&rsquo;s upcoming presentation, <em>The Zurich Load</em>, at the Migros Museum of Contemporary Art, Zurich for Manifesta 11, curated by Christian Jankowski. Bouchet will present an eighty-ton sculptural installation made of human sludge collected from the city of Zurich&rsquo;s municipal water treatment plant Werdhoelzli.</p> <p class="p4" style="text-align: justify;">Mike Bouchet lives and works in Frankfurt, DE. Bouchet has participated in the 30th S&atilde;o Paulo Biennial, Brazil, the 53rd Biennale di Venezia in Venice, IT, the 2nd Moscow Biennial, Moscow, RU, among others. Bouchet recently presented an exhibition at the Portikus Museum in Frankfurt with Paul McCarthy and will participate in the upcoming 10th Montreal Biennale in Montreal, Canada.</p> Fri, 29 Apr 2016 09:37:52 +0000 Miriam Cahn - Meyer Riegger - April 29th - May 28th <p style="text-align: justify;">mare nostrum &ndash; in and beyond late antiquity, this term with its manifold political origins described the totality of all people included within, and at the same time the claim to power asserted by the Imperium Romanum, which has left its mark on European life right down to our day. In the autumn of last year, the Italian naval operation of the same name &ndash; which had been called into life in 2013 in the wake of the Lampedusa tragedy to rescue refugees in the Mediterranean &ndash; was terminated. It comes as no surprise that the Swiss artist Miriam Cahn has chosen this title both for her group of works and for her overall exhibition, in which new, large-format works and smaller drawings created from the 1980s on are put on display. Topics such as war, violence and people fleeing from conflict have found expression in her work from the very beginning and reveal both her precise observation of the world around her and her ongoing concern for her own history.</p> <p style="text-align: justify;">The exhibition, however, is not to be seen solely as an autobiographic retrospect: the forthright inclusion of current-day societal circumstances reveals Miriam Cahn&rsquo;s work to be also a testimony to political developments, which are broached directly in her paintings from a personal perspective and are submitted for discussion and debate in the exhibition environment.</p> <hr /> <p style="text-align: justify;">mare nostrum &ndash; Vielfach im politischen Sinne entstanden, beschrieb diese Bezeichnung &uuml;ber die Sp&auml;tantike hinaus die Zusammenfassung aller Menschen und zugleich den Herrschaftsanspruch des Imperium Romanum, das bis heute das europ&auml;ische Leben pr&auml;gt. Im Herbst letzten Jahres wurde die gleichnamige italische Marineoperation &ndash; nach der Trag&ouml;die von Lampedusa 2013 ins Leben gerufen &ndash; zur Rettung von Fl&uuml;chtlingen im Mittelmeer beendet. Es verwundert nicht, dass die Schweizer K&uuml;nstlerin Miriam Cahn diesen Titel sowohl f&uuml;r ihre Werkgruppe als auch f&uuml;r ihre Ausstellung, die neue gro&szlig;formatige Arbeiten sowie kleinere Zeichnungen seit den 80er Jahren zeigt, gew&auml;hlt hat. Themen wie Krieg, Gewalt sowie Flucht finden seit jeher Ausdruck in ihren Arbeiten und zeigen Miriam Cahns genaues Beobachten ihrer Umwelt sowie die Auseinandersetzung mit der eigenen Geschichte.</p> <p style="text-align: justify;">Die Ausstellung ist nicht nur als autobiografischer R&uuml;ckblick zu betrachten: der direkte Einbezug aktueller Gesellschaftsverh&auml;ltnisse l&auml;sst Miriam Cahns Werk auch als Zeugnis politischer Entwicklungen erscheinen, die aus pers&ouml;nlicher Sicht in ihren Bildern unmittelbar ausgesprochen und in der Ausstellung zur Diskussion gestellt werden</p> Fri, 29 Apr 2016 09:30:21 +0000 Philippe Decrauzat - Mehdi Chouakri - April 29th - June 11th <p style="text-align: justify;">On the occasion of Gallery Weekend Berlin, Mehdi Chouakri is pleased to present its second exhibition of Philippe Decrauzat. The artist has envisioned a large-scale installation consisting of a new architecture, a wall work spanning the entire gallery space, a film, and paintings. He continues his exploration of the mechanisms of vision by camouflaging the entirety of the walls with a black-and-white checkerboard. Applied on partitions that shape new paths in the gallery, the repeated pattern is either blown up or minimized through changes of scale, immersing the beholder in an environment of visual distraction.</p> <p style="text-align: justify;">The exhibition opens with the film <em>20 Figures</em>, a two-channel projection on screens mirroring each other in the first room. Decrauzat observes a cup of coffee in close up, recording the hot liquid spiraling, bubbling, foaming, and, indeed, building hypnotic abstract landscapes projected onto grey monochrome canvases. In the process, perception is slowly enveloped by the black void, switching back and forth between different scales &ndash; microscopic and macroscopic &ndash; reflected by the synchronized double projection of the same film. Like the checkerboard, Decrauzat uses the surface of the coffee as a sort of d&eacute;j&agrave; vu mental space, taking this close-up as the ultimate subjective view.</p> <p style="text-align: justify;">In the second room, the artist&rsquo;s paintings of the same checkerboard in different gradations are hung as such that the works are interwoven into the architecture. The paintings gently fade from black to white or vice versa, mixing in subtle shades of grey that dim the stark contrast. These shifts in black on black and white on white evoke states of transition, sources of light, or even the act of erasure. The checkerboard is not only a timeless pattern (used widely from antiquity to the avant-gardes), but also a physiological image that belongs to subjective visual phenomena generated by the eye under certain stimulations, as revealed by the scientist J.E. Purkinje in the 19th century. </p> <p style="text-align: justify;">That is, it is the starting point of possible images, both real and virtual, as it is potentially present in our retina and as the neutral background in imaging softwares.</p> <p style="text-align: justify;">Transformed into an oversized chessboard, the gallery then becomes a hybrid, neither white cube nor dark cinema: Decrauzat&rsquo;s installation merges both concepts into a room for projection. Like a screen that continuously shifts from one backdrop to another, the artist invites the beholder into an unexpected field of vision beyond abstraction and reality that flattens the film, the paintings, and the architecture onto the same plane.</p> <p style="text-align: justify;">Philippe Decrauzat (b. 1974, Lausanne, Switzerland) lives and works in Paris. His works have been recently exhibited at Le Plateau FRAC &Icirc;le-de-France, Paris (2015), Le Magasin &ndash; Centre National d&rsquo;Art Contemporain, Grenoble (2014), Centre Culturel Suisse, Paris (2014), Museum of Modern Art, New York (2013) and MUAC &ndash; Museo Universitario Arte Contempor&aacute;neo, Mexico City (2013), among others. Parallel to Gallery Weekend Berlin, they are also on view at the Kunsthalle Wien, Vienna, in the group show &ldquo;The Promise of Total Automation&rdquo; (March 11 &ndash; May 29, 2016).</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Gallery Weekend Berlin</p> <p style="text-align: justify;">Friday, April 29, 11am &ndash; 9 pm</p> <p style="text-align: justify;">Saturday, April 30, 11 am &ndash; 7 pm</p> <p style="text-align: justify;">Sunday, May 1, 11 am &ndash; 7 pm</p> Fri, 29 Apr 2016 09:26:00 +0000 Basim Magdy - KunstHall - Deutsche Bank - April 29th 7:00 PM - 8:00 PM <p style="text-align: justify;">Basim Magdy talks with Lauren Cornell about his work and exhibition projects.&nbsp; Lauren Cornell is a curator and Associate Director, Technology Initiatives at&nbsp; the New Museum New York. In 2015, she curated the New York Triennial&nbsp; &raquo;Surround Audience&laquo; together with Ryan Trecartin, in which Basim Magdy&nbsp; was represented.</p> <hr /> <p style="text-align: justify;">Basim Magdy im Gespr&auml;ch mit Lauren Cornell &uuml;ber sein Werk und seine&nbsp; Ausstellungsprojekte. Lauren Cornell ist Kuratorin und Associate Director,&nbsp; Technology Initiatives am New Museum New York. 2015 co-kuratierte sie&nbsp; gemeinsam mit Ryan Trecartin die New York Triennial &raquo;Surround Audience&laquo;,&nbsp; in der auch Basim Magdy vertreten war.</p> <div style="left: 33.0708px; top: 100.658px; font-size: 11.6667px; font-family: sans-serif; transform: scaleX(0.968683);" data-canvas-width="387.47333333333324">Basim Magdy im Gespr&auml;ch mit Lauren Cornell &uuml;ber sein Werk und seine</div> <div style="left: 33.0708px; top: 113.993px; font-size: 11.6667px; font-family: sans-serif; transform: scaleX(0.972107);" data-canvas-width="393.7033333333334">Ausstellungsprojekte. Lauren Cornell ist Kuratorin und Associate Director,</div> <div style="left: 33.0708px; top: 127.328px; font-size: 11.6667px; font-family: sans-serif; transform: scaleX(0.986683);" data-canvas-width="392.69999999999993">Technology Initiatives am New Museum New York. 2015 co-kuratierte sie</div> <div style="left: 33.0708px; top: 140.663px; font-size: 11.6667px; font-family: sans-serif; transform: scaleX(0.965455);" data-canvas-width="407.42216666666656">gemeinsam mit Ryan Trecartin die New York Triennial &raquo;Surround Audience&laquo;,</div> <div style="left: 33.0708px; top: 153.998px; font-size: 11.6667px; font-family: sans-serif; transform: scaleX(1.00059);" data-canvas-width="213.12666666666658">in der auch Basim Magdy vertreten war.</div> <div style="left: 33.0708px; top: 180.668px; font-size: 11.6667px; font-family: sans-serif; transform: scaleX(0.967);" data-canvas-width="413.8761666666664">Basim Magdy talks with Lauren Cornell about his work and exhibition projects.</div> <div style="left: 33.0708px; top: 194.003px; font-size: 11.6667px; font-family: sans-serif; transform: scaleX(0.989931);" data-canvas-width="405.87166666666667">Lauren Cornell is a curator and Associate Director, Technology Initiatives at</div> <div style="left: 33.0708px; top: 207.338px; font-size: 11.6667px; font-family: sans-serif; transform: scaleX(0.984033);" data-canvas-width="389.67716666666655">the New Museum New York. In 2015, she curated the New York Triennial</div> <div style="left: 33.0708px; top: 220.673px; font-size: 11.6667px; font-family: sans-serif; transform: scaleX(0.998523);" data-canvas-width="404.40166666666664">&raquo;Surround Audience&laquo; together with Ryan Trecartin, in which Basim Magdy</div> <p>was represented</p> Fri, 29 Apr 2016 09:22:25 +0000 Basim Magdy - KunstHall - Deutsche Bank - April 29th - July 3rd <p style="text-align: justify;">We live, as the science fiction writer William Gibson puts it, in a culture addicted to the future. No matter whether it looks like a hightech paradise or a post-apocalyptic wasteland, the future is always the setting for a new beginning. At first glance, the title of Magdy&rsquo;s &raquo;Artist of the Year&laquo; 2016 exhibition at the Deutsche Bank KunstHalle seems to fit into this scheme: &raquo;The Stars Were Aligned for a Century of New Beginnings.&laquo; But the exact opposite is the case. It is an ironic allusion to humanity, which untiringly makes the same mistakes. All of the nameless and bodiless protagonists of Magdy&rsquo;s films and the survivors who explore futuristic buildings in his works on paper are forced to reenact their history again and again. The societies he portrays in his 2014 filmtrilogy &raquo;The Many Colors of the Sky Radiate Forgetfulness,&laquo; &raquo;The Everyday Ritual of Solitude Hatching Monkeys,&laquo; and &raquo;The Dent&laquo; are bankrupt, entangled in absurd rituals of preserving the past or megalomaniac projects. His installation &raquo;In the Grave of Intergalactic Utopia&laquo; (2006) in the studio of the KunstHalle is a swan song of dreams of reaching the stars and the space race in the postwar era. The journey ends with a slapstick-like crash landing.</p> <p style="text-align: justify;"><strong>Artist of the Year</strong></p> <p style="text-align: justify;"><br />After Wangechi Mutu (2010), Yto Barrada (2011), Roman Ondák (2012), Imran Qureshi (2013), Victor Man (2014) and Koki Tanaka (2015), Basim Magdy is now Deutsche Bank&rsquo;s seventh &raquo;Artist of the Year.&laquo; The award goes to contemporary artists who have created a substantial body of work, in which works on paper and photography play a role. The award focuses on artistic positions that deal with social themes in an individual way and take new formal paths. At the same time, the award honors impetus emanating from the new art centers of Africa, Asia, South America and Eastern Europe. It is not a purely financial award, but firmly embedded in Deutsche Bank&rsquo;s art program. It supports new positions and promotes the acquisition of works for the corporate collection. The highlight is the &raquo;Artist of the Year&laquo; solo exhibition at the Deutsche Bank KunstHalle, which is accompanied by a major catalogue. Subsequently, the show travels on to other international venues. The artist is also invited to design a special edition for the KunstHalle. Artists are chosen within the framework of the Global Art Advisory Council, which is comprised of the renown curators Okwui Enwezor, Hou Hanru, Udo Kittelmann and Victoria Noorthoorn.</p> <hr /> <p style="text-align: justify;">Wir leben, wie es der Science-Fiction Autor William Gibson formuliert, in einer zukunftss&uuml;chtigen Kultur. Ganz egal, ob sie wie ein High-Tech-Paradies oder eine post-apokalyptische Ein&ouml;de aussieht, immer ist die Zukunft der Schauplatz eines Neubeginns. Auf den ersten Blick scheint der Titel von Magdys Ausstellung als &raquo;K&uuml;nstler des Jahres&laquo; 2016 in der Deutsche Bank KunstHalle in dieses Schema zu passen: &raquo;Die Sterne standen gut f&uuml;r ein Jahrhundert des Neubeginns&laquo;. Doch genau das Gegenteil ist der Fall. Er ist eine ironische Anspielung auf eine Menschheit, die unverdrossen ihre Fehler wiederholt. Die namen- und k&ouml;rperlosen Protagonisten in Magdys Filmen, die &uuml;berlebenden, die auf seinen Papierarbeiten futuristische Bauten erkunden &ndash; sie alle sind gezwungen, Geschichte immer wieder nachzuspielen. Die Gesellschaften, die er in seiner 2014 entstandenen Filmtriologie &raquo;The Many Colors of the Sky Radiate Forgetfulness&laquo;, &raquo;The Everyday Ritual of Solitude Hatching Monkeys&laquo; und &raquo;The Dent&laquo; schildert, sind bankrott, verwickelt in absurde Rituale der Vergangenheitsbewahrung oder gr&ouml;&szlig;enwahnsinnige Projekte. Seine Installation &raquo;In The Grave of Intergalactic Utopia&laquo; (2006) im Studio der KunstHalle ist ein Abgesang auf die Sternentr&auml;ume und den Wettlauf ins All der Nachkriegszeit. Die Reise endet mit einer slapstickartigen Bruchlandung.</p> <p style="text-align: justify;">K&uuml;nstler des Jahres</p> <p style="text-align: justify;"><br />Nach Wangechi Mutu (2010), Yto Barrada (2011), Roman Ondák (2012), Imran Qureshi (2013), Victor Man (2014) und Koki Tanaka (2015) ist Basim Magdy der siebte &raquo;K&uuml;nstler des Jahres&laquo; der Deutschen Bank. Diese Auszeichnung richtet sich an aktuelle K&uuml;nstlerInnen, die bereits ein substanzielles Werk geschaffen haben, in dem auch Papier und Fotografie eine Rolle spielen. Im Fokus stehen Positionen, die gesellschaftliche Themen auf individuelle Weise ansprechen und formal neue Wege beschreiten. Zugleich w&uuml;rdigt die Auszeichnung Impulse, die aus den neuen Kunstzentren in Afrika, Asien, S&uuml;damerika oder Osteuropa kommen. Fest im Kunstprogramm der Deutschen Bank verankert, ist sie nicht mit einem Geldpreis dotiert. Stattdessen setzt sie auf Vermittlung von Gegenwartskunst und Ank&auml;ufe von Arbeiten f&uuml;r die Unternehmenssammlung. H&ouml;hepunkt ist die Einzelausstellung des &raquo;K&uuml;nstler des Jahres&laquo; in der Deutsche Bank KunstHalle, die von einem Katalog begleitet und anschlie&szlig;end in weiteren internationalen Museen pr&auml;sentiert wird. Zus&auml;tzlich realisiert der K&uuml;nstler eigens f&uuml;r diesen Anlass eine Edition. Ausgew&auml;hlt werden die K&uuml;nstler im Rahmen des Global Art Advisory Councils der Deutschen Bank, dem die renommierten Kuratoren Okwui Enwezor, Hou Hanru, Udo Kittelmann und Victoria Noorthoorn angeh&ouml;ren.</p> Fri, 29 Apr 2016 09:19:41 +0000 Alice Channer - Konrad Fischer Galerie - April 29th - June 18th <p style="text-align: justify;"><em>Early Man</em>&nbsp;revolves around the fold, a recurring motif in the work of the artist. The fold describes the pictorial and symbolic entanglement of seemingly opposing qualities and production modes. Inside and outside, organic and synthetic, hand crafted and industrially produced interweave in&nbsp;<em>Early Man</em>&nbsp;to become a complex system of signs. A mysterious dramaturgy determines the independent lives of the works presented in the exhibition.&nbsp;<br /><br />Striving in its horizontal orientation beyond the gallery space, the work&nbsp;<em>Burial</em>&nbsp;describes a formation of four rocks resting in a black desert of polystyrene regrind. In geology, folds are wavelike foldings of rock strata that occur under high pressure.&nbsp;The rock surfaces relate to this natural phenomenon and similarly erode it through their digitally mediated&nbsp;materiality. In the interior of the objects, the material is not compressed to a hard core, there is a hollow space instead. From this perspective, the rock formation of<em>Burial</em>&nbsp;also appears as an array of sarcophagi.<br /><br />Channer's pencil and gouache drawings&nbsp;<em>Membrane, Filters, Inhaler, Fine Particles, NO</em><em><sub>x</sub></em><em>&nbsp;</em>and<em>&nbsp;CO</em><em><sub>2</sub></em>&nbsp;relate to the surface texture of&nbsp;<em>Burial</em>. Consisting of&nbsp;<em>Silk Cut</em>&nbsp;cigarette ash, water-soluble synthetic polymers and polyethylene microspheres from the cosmetics industry, Channer&rsquo;s drawings depict volatile material states.&nbsp;<br /><br />Interior and exterior in Channer's work are inseparable from each other. Finiteness unfolds into the infinite. In this way,&nbsp;<em>First Rebirth</em>&nbsp;resolves the choreography of lost and regained physicality initiated by <em>Burial</em>. Here, complex, procedural dramaturgy is used to merge human relics and industrial fragments to an anthropomorphic-technoid distilled form.&nbsp;<br /><br />Channer's folds describe a threshold state. Through their production, shapes, associations and materials are fragmented, wiped out and&nbsp;<em>buried</em>, and at the same time, created, united and&nbsp;<em>reborn</em>. Channer&rsquo;s works deal with a vague middle ground. The artistic attitude behind them is decisive and clear.&nbsp;<br /><br />Excerpt from an essay by Mara-Johanna K&ouml;lmel.&nbsp;<br /><br /><em>Early Man</em>&nbsp;will be accompanied by two specially commissioned texts - an essay by Mara-Johanna K&ouml;lmel and a fictional story by Dietmar Dath.&nbsp;<br /><br />Alice Channer lives and works in London. Solo exhibitions include among others&nbsp;<em>R</em><em>&nbsp;o c k f a l l</em>&nbsp; at Aspen Art Museum, Aspen, Colorado, 2015;&nbsp;<em>Half-life</em>&nbsp;at Lisa Cooley, New York, 2015;&nbsp;<em>Soft Shell</em>&nbsp;at Kunstverein Freiburg, Germany, 2013;&nbsp;<em>Invertebrates</em>&nbsp;at Hepworth Wakefield, UK, 2013;&nbsp;<em>Out Of Body</em>&nbsp;at South London Gallery, London, 2012. Channer also participated in the 55th Venice Biennale.</p> <hr /> <p style="text-align: justify;">Alice Channers Ausstellung&nbsp;<em>Early Man</em>&nbsp;spielt mit dem Motiv der Falte, ein immer wieder zitiertes Thema in ihrem Werk. Die Falte verweist auf die bildliche und sinnbildliche Verschr&auml;nkung sich scheinbar rivalisierend gegen&uuml;ber stehender Qualit&auml;ten und Produktionsweisen. Innen und Au&szlig;en, Organisches und Synthetisches, Handgefertigtes und industriell Produziertes verweben sich in&nbsp;<em>Early Man&nbsp;</em>zu einem komplexen Zeichensystem. Eine geheimnisvolle Dramaturgie bestimmt das Eigenleben der in der Ausstellung pr&auml;sentierten Arbeiten.<br /><br />Die in ihrer horizontalen Ausrichtung &uuml;ber den Galerieraum hinaus strebende Arbeit&nbsp;<em>Burial</em>&nbsp;beschreibt eine aus vier monumentalen Steinen bestehende Felsformation, die in einer schwarzen W&uuml;ste von Polystyrol Regranulat ruht. Falte nennt man in der Geologie die sich unter Druck wellenf&ouml;rmig Verformung von Gesteinsschichten.&nbsp;Die Oberfl&auml;chen verweisen auf dieses nat&uuml;rliche Ph&auml;nomen und untergraben es zugleich durch ihre von digitalen Transformationsprozessen vermittelte Materialit&auml;t. Im Innern der Objekte verdichtet sich das Material nicht zu einem harten Kern sondern befindet sich ein hohler Innenraum. Unter diesem Blickwinkel erscheint die Steinformation von&nbsp;<em>Burial</em>&nbsp;zugleich wie eine Anordnung von Sarkophagen.<br /><br />Die Oberfl&auml;chentextur von&nbsp;<em>Burial</em>&nbsp;nimmt Bez&uuml;ge zu Channers Zeichnungen&nbsp;<em>Membrane, Filters, Inhaler, Fine Particles, NO</em><em><sub>x</sub></em><em>&nbsp;</em>und<em>&nbsp;CO</em><em><sub>2</sub></em>&nbsp;auf. Mit Zigarettenasche der Marke&nbsp;<em>Silk Cut&nbsp;</em>sowie wasserl&ouml;slichen, synthetischen Polymeren und Polyethylen-Mikroperlen aus der Kosmetikindustrie verbildlicht Channer in ihren Zeichnungen sich verfl&uuml;chtigende Materialzust&auml;nde.<br /><br />Innen und Au&szlig;en sind in Channers Arbeiten untrennbar miteinander verschr&auml;nkt. Die Endlichkeit in die Unendlichkeit gleichsam eingefaltet. So beschlie&szlig;t&nbsp;<em>First Rebirth&nbsp;</em>die von&nbsp;<em>Burial&nbsp;</em>initiierte Choreographie verlorener und wieder gewonnener Formen. Hier verschmelzen mittels komplexer, prozessualer Dramaturgie menschliche Relikte und industrielle Fragmente zu einem anthropomorph-technoiden Formendestillat.<br /><br />Channers Faltungen beschreiben einen Schwellenzustand. In ihren Produktionen werden Formen, Assoziationen und Materialien fragmentiert, ausgel&ouml;scht und&nbsp;<em>beerdigt,&nbsp;</em>zugleich erschaffen, vereint sowie&nbsp;<em>wiedergeboren.&nbsp;</em>Ihre Arbeiten thematisieren ein unbestimmtes Dazwischen. Die k&uuml;nstlerische Haltung dahinter ist entschieden und klar.<br /><br />Auszug aus dem Essay von Mara-Johanna K&ouml;lmel.<br /><br /><em>Early Man&nbsp;</em>wird von zwei extra in Auftrag gegebenen Texten begleitet, einem Essay von Mara-Johanna K&ouml;lmel und einer Erz&auml;hlung von Dietmar Dath.<br /><br />Alice Channer lebt und arbeitet in London. Als Einzelausstellungen w&auml;ren unter anderen zu nennen:<br /><br /><em>R o c k f a l l&nbsp;</em>at the Aspen Art Museum, Aspen, Colorado, 2015;&nbsp;<em>Half-life&nbsp;</em>at Lisa Cooley, New York, 2015;&nbsp;<em>Soft Shell&nbsp;</em>at Kunstverein Freiburg, Germany, 2013;&nbsp;<em>Invertebrates&nbsp;</em>at Hepworth Wakefield, UK, 2013;&nbsp;<em>Out Of Body&nbsp;</em>at South London Gallery, London, 2012. Au&szlig;erdem nahm Channer an der 55. Biennale in Venedig teil.</p> Fri, 29 Apr 2016 09:13:38 +0000 Martin Honert - Johnen Galerie - April 29th - May 28th <p style="text-align: justify;">Johnen Galerie is pleased to present Martin Honert&rsquo;s fifth solo exhibition with the gallery. The exhibition will be on view from April 26 and continue through May 28, 2016. A special opening reception concurrently with 2016 Gallery Weekend Berlin will take place on Friday April 29 from 6&ndash;9 PM.</p> <p style="text-align: justify;">Since the early 1990&rsquo;s, Martin Honert (b. 1953 in Bottrop, Germany) has been redefining the possibilities of contemporary sculpture. Honert attended Fritz Schwegler&rsquo;s master class at the Academy of Fine Art D&uuml;sseldorf in the 1980s and, like his fellow students Katharina Fritsch and Thomas Demand, has redefined the concept of medium specificity. This has resulted in an extremely varied oeuvre: for each work the artist develops an individual process and materiality. Honert first attracted international attention when his work was exhibited in the German Pavilion at the 46th Venice Biennial in 1995 (with Katharina Fritsch and Thomas Ruff). In 2012, Honert was the subject of a major retrospective at the Hamburger Bahnhof in Berlin. The following year, a large survey of Honert&rsquo;s work, co-curated by Jeff Wall, was exhibited at the Vancouver Art Gallery.</p> <p style="text-align: justify;">Honert works in his studio over a period of several years producing each of his works by hand. Painstakingly crafted and elaborately staged three-dimensional works capture the ambivalence associated with memories from childhood, to understand the perseverance of an image whose significance is not immediately apparent, not even to the artist himself. Commenting on the centrality of childhood to his work, Honert has said, &ldquo;My childhood was no doubt just as dull and boring as anyone else&rsquo;s. What&rsquo;s important to me is to explore things that may well have happened a long time ago but continue to exist for me as an image, a memory.&rdquo;</p> <p style="text-align: justify;">The exhibition will include three works: two new large-scale installations, <em>VSG-Gruppe </em>2015&ndash;16, <em>Ziegelei </em>2015&ndash;16 and <em>Schlafsaal, Modell 1:5, </em>2013.</p> <p style="text-align: justify;"><em>VSG-Gruppe, </em>is an abbreviation for Versehrten-Sport-Gemeinschaft (and can be translated literally as &ldquo;sports group of the maimed&rdquo;). Honert has extracted six life-size figures seated on wooden bleachers from a poignant black and white photograph dating from 1956. The men, most of whom bear some kind of amputation, are depicted relaxing at an outdoor bathing site. Given the date of the photograph, their injuries are most likely war-related. Hollow-cast from transparent polyurethane to which sand has been added, Honert thinly glazes and paints the surface to further heighten the appearance of a vintage photograph with its faded and grainy resolution. <em>VSG-Gruppe </em>vividly recalls daily life in German post-war society in which the wounds of World War II remained visible.</p> <p style="text-align: justify;"><em>Ziegelei </em>is based on the artist&rsquo;s memories of playing in an old brickyard near his childhood home of Bottrop. The work reconstructs the regularly spaced rows of the brickyard as a diorama-like set. Behind the dark towering drying racks, a backlit vintage photograph with a bright blue sky and the roofs of a row of modest suburban houses can be seen. The rows are slightly distorted to align in such a way as to force a specific perspective on the viewer&mdash;that of a small child looking out from a hideout. Distortions of scale and perspective in Honert&rsquo;s works call into question any claim to verisimilitude, opting instead for emotional truth. The sculptures are not meant to be mere representations but are rather akin to recaptured impressions.</p> <p style="text-align: justify;">Based on an original photographic negative, <em>Schlafsaal, Modell 1:5 </em>refers to a dormitory from Honert&rsquo;s boarding school days. The model emulates the effect of a photographic negative by reversing light and shade: a bright glow emanates from below the dormitory beds with their blue frames and light orange mattresses. Honert addresses photography as a medium, making visible in three-dimensional form effects closely associated with photographic images.</p> <p style="text-align: justify;">Martin Honert, born 1953 in Bottrop, Germany. He lives and works in Dusseldorf and Dresden. The artist studied at the Academy of Fine Arts in Dusseldorf. He represented Germany in the 1995 Venice Biennial and holds a professorship at the Academy of Fine Arts in Dresden since 1998.</p> <p style="text-align: justify;">His work has been the subject of major retrospectives at Hamburger Bahnhof &ndash; Museum f&uuml;r&nbsp; Gegenwart in Berlin in 2012 and at the Vancouver Art Gallery in 2013. The artists&rsquo;s selected solo exhibitions include: <em>Martin Honert, </em>Kunsthalle im Lipsiusbau, Staatliche Kunstsammlungen, Galerie Neue Meister, Dresden (2007); <em>under cover &ndash; aus dem Verborgenen, </em>Kunsthalle D&uuml;sseldorf, Dusseldorf (2006) and <em>Martin Honert, </em>Landesmuseum f&uuml;r Kunst- und Kulturgeschichte, M&uuml;nster (2005).</p> <p style="text-align: justify;">Selected group exhibitions include: <em>Formes Biographiques, </em>Carr&eacute; d&rsquo;art. &ndash; Mus&eacute;e d&rsquo;art. Contemporain, N&icirc;mes (2015); <em>Enlight my Space. Art after 1990, </em>Kunsthalle Bremen, Bremen (2015); <em>lens-based sculpture - The transformation of sculpture through photography, </em>The Berlin Academy of Arts, Berlin (2014); <em>Sculpture at the Duesseldorf Art Academy: 1945 to the Present, </em>Kunstsammlung Nordrhein-Westfalen (2013); <em>The Promised Land, </em>Albertinum, Dresden (2010); <em>Vertrautes Terrain. Aktuelle Kunst in &amp; &uuml;ber Deutschland, </em>ZKM, Karlsruhe (2008) and Spielr&auml;ume, Wilhelm Lehmbruck Museum, Duisburg (2005).</p> Fri, 29 Apr 2016 09:12:05 +0000 Victor Man - Galerie Neu (Mehringdamm) - April 27th - June 5th Thu, 28 Apr 2016 18:59:16 +0000 Jim Lambie - Gerhardsen Gerner - April 29th - June 4th <p style="text-align: justify;">Gerhardsen Gerner is pleased to announce the Scottish artist Jim Lambie&rsquo;s second solo show with Gerhardsen Gerner in the Berlin gallery on the occasion of the GALLERY WEEKEND BERLIN 2016. For this event the musicians Parra for Cuva and the duo Trash Lagoon, both based in Berlin, will release a new LP. The record is also an art work by Jim Lambie, who designed the cover.</p> <p style="text-align: justify;">Sourcing his material directly from the modern world, Jim Lambie references popular culture, often drawing his subject matter from music and iconic figures. He makes use of everyday objects and materials &ndash; both as reference points and as original objects, transforming them into new sculptural forms, re-energizing them and giving them with an alternative function. With each element constructed from found objects he creates sculptures that are steeped in the spirit of the UK punk explosion with garish tones, bold display, and references to both bands and songs from an array of movements.</p> <p style="text-align: justify;">Lambie explores the potential of everyday materials and objects sourced from charity shops, like old suitcases, mirrors and popular books, as well as industrially manufactured materials like gaffer tape and potato bags. This use of ordinary objects reflects the DIY nature of the post-punk scene, where zealous participants created a subculture out of materials that were perceived as broken, obsolete, or undesirable. In his sculptures and installations, he embraces each object&rsquo;s right to meaning while also prioritizing the act of looking. His works acknowledge that the viewer comes with an understanding, a pre-existing history with the component materials that adds to their experience of it as an artwork. According to Lambie, the things we recognize&mdash;paint, potato bags, color&mdash; &ldquo;<em>set up a reverberation between them and our possibly unconscious previous visual experience with them. These works don&rsquo;t want to create a new world into which we can escape, they want to bounce the world back to us, encouraging us to look at it again.&rdquo;</em></p> <p style="text-align: justify;">Jim Lambie?s approach to art making is informed by a few fundamental ideas. A rock musician before he became a visual artist, he uses color in a way that is deeply rooted in color theory and specifically relates to the concept of <em>synesthesia</em>, an analogous experience between music and the color spectrum in which the stimulation of one sensory or cognitive pathway leads to automatic, involuntary experiences in a second sensory or cognitive pathway. Colors are harmonies and pattern and repetition form rhythms.</p> <p style="text-align: justify;">Different from his rather esoteric predecessors, Lambie?s choice of color composition is determined by a sense of directness and everyday availability. The modern world seems his source and palette. Which sheds light onto Lambie?s other basic feature, his Glaswegian origin. Lambie is deeply immersed in the history of a place characterized by the tension between industrialization and liberation movements such as William Morris? utopianism and socialism and the Arts and Crafts movement at large. The Glasgow School of Art, designed by Scottish architect and fellow Arts and Crafts member Charles Rennie Mackintosh, and also Lambie?s place of study, is an incarnation of such utopian ideas. Echoing Mackintosh, Lambie?s concern is to build around the needs of people: people seen, not as masses, but as individuals who needed not a machine for living in but a work of art. Lambie shows how we can maintain a sense of self in an over-commodified world of sameness.</p> <p style="text-align: justify;">Jim Lambie (b.1964, Glasgow) is most well known for his mixed-media sculptures and dazzling floor installations using industrial materials, found objects, and other cultural detritus. He represented Scotland&rsquo;s inaugural pavilion at the 2003 Venice Biennale and was nominated for the 2005 Turner Prize.</p> <p style="text-align: justify;">Recent solo exhibitions include <em>Zero Concerto</em>, Roslyn Oxley9 Gallery, Sydney; <em>Sun Rise, Sun Ra, Sun Set</em>, Rat Hole Gallery, Tokyo; <em>Answer Machine</em>, Sadie Coles HQ, London; and The Fruitmarket Gallery, Edinburgh. <br /> Recent group shows include <em>Eyes on the Prize</em>, The Travelling Gallery, Various cities (Turner Prize); <em>Summer Exhibition 2015</em>, The Royal Academy of Arts London; <em>A Secret Affair: Selections from the Fuhrman Family</em>, FLAG Art Foundation, New York; <em>20 Years of Collecting: Between Discovery and Invention</em>, Zabludowicz Collection, London; <em>Color Fields</em>, Bakalar &amp; Paine Galleries, Massachusetts College of Art and Design, Boston; <em>Schlaflos &ndash; Das Bett in Geschichte und Gegenwartskunst</em>, <em>&Ouml;sterreichische Galerie Belvedere</em>, 21er Haus, Vienna; <em>Private Utopia: Contemporary Works from the British Council Collection</em>, Okayama Prefectural Museum of Art, Okayama.</p> <p style="text-align: justify;">Lambie&rsquo;s work is represented in institutional and private collections worldwide, including The Pace Foundation, San Antonio; Museum of Modern Art, New York; Hara Museum of Contemporary Art, Tokyo; Hirshhorn Museum and Sculpture Garden, Washington; Gallery of Modern Art, Glasgow; Rosa and Carlos de la Cruz, Miami; Rubell Family Collection, Miami; Scottish National Gallery of Art, Edinburgh; and TATE, London.</p> <hr /> <p style="text-align: justify;">Gerhardsen Gerner freut sich sehr, in der Berliner Galerie zum GALLERY WEEKEND BERLIN die zweite Einzelausstellung mit dem schottischen K&uuml;nstler Jim Lambie ank&uuml;ndigen zu k&ouml;nnen. Die Berliner Musiker Parra for Cuva und das Duo Trashlagoon werden zu diesem Anlass eine neue Schallplatte ver&ouml;ffentlichen. Die Platte ist ein Kunstwerk von Jim Lambie, der das Plattencover gestaltet hat.</p> <p style="text-align: justify;">Jim Lambie bezieht sich in seiner Arbeitsweise auf die heutige, moderne Welt und setzt allerlei Verweise zur Pop-Kultur, vor allem Musik und Popikonen charakterisieren sein Schaffen. Er verwendet Alltagsobjekte und &ndash;materialien, &uuml;berf&uuml;hrt sie als Skulpturen in den Bereich der Kunst, und verleiht ihnen so eine alternative Funktion. Aus Teilen der vorgefundenen Materialien schafft der K&uuml;nstler, vom Geist der britischen Punktbewegung durchdrungene Skulpturen: grelle Farbschattierungen, gewagte Pr&auml;sentation und eine Bandbreite von Referenzen zu Musikgruppen sowie Songs aus zahlreichen Musikstilen.</p> <p style="text-align: justify;">Alte Koffer, Spiegel oder B&uuml;cher aus der Sparte der Trashliteratur, aber auch industriell gefertigte Materialien wie Duct-tape und Kartoffels&auml;cke: Lambie erkundet das &uuml;berw&auml;ltigende Potential der, gerne in Second-Hand&ndash;L&auml;den gefundenen&nbsp; Alltagsobjekte. Seine Herangehensweise spiegelt die Do-it-Yourself Haltung der post-punk Szene, deren Mitglieder eine Subkultur geschaffen haben, die sich &uuml;ber kaputte, veraltete oder schlichtweg h&auml;ssliche Materialien definieren. So feiert Lambie mit seinen Skulpturen und Installationen das Recht jedes Objektes auf Bedeutung und priorisiert den Vorgang des Sehens. Das Werk des K&uuml;nstlers r&auml;umt den Vorstellungen des Betrachters und der Geschichte der verwendeten Materialien Platz ein und l&auml;sst dies in die Erfahrung des Betrachters mit dem Kunstwerk miteinflie&szlig;en. Lambie findet, dass die Dinge, die wir wahrnehmen &ndash; Farbe, Kartoffels&auml;cke, Farbschattierungen &ndash; &bdquo;<em>zwischen sich und unserer, m&ouml;glicherweise vorausgegangenen, unbewussten visuellen Erfahrung eine Resonanz bilden. Diese Werke wollen keine neue Welt erschaffen, in welche wir uns fl&uuml;chten k&ouml;nnen, sie m&ouml;chten die Welt in unsere Richtung bringen und uns so dazu ermutigen, nochmals hinzuschauen</em>.&ldquo;</p> <p style="text-align: justify;">Jim Lambies Herangehensweise an das Kunstschaffen ist von einigen wenigen, wichtigen Ideen gepr&auml;gt. Lambie war, bevor er bildender K&uuml;nstler wurde, Musiker. Farbe nutzt der K&uuml;nstler gem&auml;&szlig; der Farbtheorie und bezieht sich auf das Konzept der Syn&auml;sthesie, ein analoges Verfahren zwischen Musik und dem Farbspektrum, in welchem die Stimulation einer bestimmten, sensorischen oder kognitiven Bahn zu automatischer, unbewusster Erfahrung auf einer zweiten, sensorischen oder kognitiven Bahn f&uuml;hrt. Farben formen Harmonien und&nbsp; Muster, Wiederholungen werden zu Rhythmen.</p> <p style="text-align: justify;">Im Unterschied zu seinen eher esoterischen Vorg&auml;ngern geht Lambies Wahl der Farbkompositionen von der Unmittelbarkeit und allt&auml;glichen Verf&uuml;gbarkeit aus. Die moderne Welt dient sowohl als Inspirationsquelle als auch Palette. Dieser Punkt f&uuml;hrt hin zu Lambies anderer wichtiger Besonderheit: seine Glasgower Herkunft. Der K&uuml;nstler ist tief verwurzelt in der Geschichte dieses, damals von Industrialisierung und Befreiungsbewegungen wie den Sozialutopien von William Morris oder der gesamten Arts &amp; Crafts Bewegung gespaltenen Ortes. Die Glasgow School of Art, von schottischen Architekten und Arts &amp; Crafts Anh&auml;nger Rennie Mackintosh entworfen und auch Lambies Ausbildungsort, ist eine Brutst&auml;tte solcher utopistischer Ideen. Im Sinne Mackintoshs ist es auch Lambies Anliegen, die Bed&uuml;rfnisse der Menschen in den Mittelpunkt zu r&uuml;cken: die Menschen sollen nicht als Masse, sondern als Individuen gesehen werden, die keine Maschine zum Leben brauchen, sondern ein Kunstwerk. Lambie macht vor wie wir in dieser &uuml;ber-kommerzialisierten Welt des Eint&ouml;nigkeit und des Immergleichen ein Gef&uuml;hl f&uuml;r uns selbst bewahren k&ouml;nnen.</p> <p style="text-align: justify;">Jim Lambie (1964 in Glasgow geboren) ist bekannt geworden mit seinen mixed-media Skulpturen und beeindruckenden Fu&szlig;boden-Installationen, f&uuml;r die er industrielle Materialien, vorgefundene Objekte und anderen kulturell aufgeladenen Detritus nutzt. Im Jahr 2003 war er Vertreter Schottlands auf der Biennale von Venedig und 2005 wurde er f&uuml;r den Turner Preis nominiert.</p> <p style="text-align: justify;">Einzelausstellungen: <em>Zero Concerto</em>, Roslyn Oxley9 Gallery, Sydney; <em>Sun Rise, Sun Ra, Sun Set</em>, Rat Hole Gallery, Tokyo; <em>Answer Machine</em>, Sadie Coles HQ, London; and The Fruitmarket Gallery, Edinburgh.</p> <p style="text-align: justify;">Gruppenausstellungen: <em>Eyes on the Prize</em>, The Travelling Gallery, Various cities (Turner Prize); <em>Summer Exhibition 2015</em>, The Royal Academy of Arts London; <em>A Secret Affair: Selections from the Fuhrman Family</em>, FLAG Art Foundation, New York; <em>20 Years of Collecting: Between Discovery and Invention</em>, Zabludowicz Collection, London; <em>Color Fields</em>, Bakalar &amp; Paine Galleries, Massachusetts College of Art and Design, Boston; <em>Schlaflos &ndash; Das Bett in Geschichte und Gegenwartskunst</em>, <em>&Ouml;sterreichische Galerie Belvedere</em>, 21er Haus, Vienna; <em>Private Utopia: Contemporary Works from the British Council Collection</em>, Okayama Prefectural Museum of Art, Okayama.</p> <p style="text-align: justify;">Lambies Werke sind in zahlreichen institutiuonen und privaten Sammlungen vertreten, darunter The Pace Foundation, San Antonio; Museum of Modern Art, New York; Hara Museum of Contemporary Art, Tokyo; Hirshhorn Museum and Sculpture Garden, Washington; Gallery of Modern Art, Glasgow; Rosa and Carlos de la Cruz, Miami; Rubell Family Collection, Miami; Scottish National Gallery of Art, Edinburgh; and TATE, London.</p> Thu, 28 Apr 2016 18:53:02 +0000