ArtSlant - Recently added en-us 40 Christina Kubisch - Galerie Mario Mazzoli - May 30th - July 31st <p style="text-align: justify;"><span style="color: #000000;"><span style="font-family: Helvetica, Arial, sans-serif;"><span style="font-size: medium;">Galerie Mario Mazzoli is pleased to present the first solo exhibition in its space by Christina Kubisch.</span></span></span></p> <p style="text-align: justify;">&nbsp;<span style="font-size: medium; font-family: Helvetica, Arial, sans-serif;">At a lecture in San Francisco earlier this year, Christina Kubisch talked as much about seeing as hearing. This fact might be considered unusual, or paradoxical even, for an artist who has made a career predominantly out of creating and capturing sound. And yet, it is precisely through promoting an intense interplay between the eye and ear that Kubisch&rsquo;s works afford an opportunity to &ldquo;see&rdquo; the world more clearly, to apprehend its subtleties in a more nuanced way.</span></p> <p style="text-align: justify;">&nbsp;<span style="font-size: medium; font-family: Helvetica, Arial, sans-serif;">What does Kubisch reveal and how does she allow us to understand our contemporary reality differently? How can sound be anything other than something &ldquo;hidden from view&rdquo;? While her early scores revel in the challenges of annotating sound created through more unusual means (such as thimbles scraping on glass), Kubisch&rsquo;s recent works immerse audiences in existing soundscapes. Her custom-made headphones, for example, induct the wearer into a parallel world of electromagnetic sound. The throbbing, crackling, pulsating, rhythms of this dimension are the manmade tracks that we have overlaid onto nature&rsquo;s compositions. They emanate from transit systems, buildings, lighting displays, security installations, and more, creating a giant sound symphony of sorts, and animating the seemingly lifeless lumps of concrete and metal that generate them.</span></p> <p style="text-align: justify;"><span style="font-size: medium; font-family: Helvetica, Arial, sans-serif;">In general, Kubisch promotes this heightened awareness of our surrounds through relatively modest means. Often working at sites which are disused and or burdened by their histories, she creates environments that account for multiple histories, and futures, in a spirit of true contemporaneity.</span></p> Thu, 21 May 2015 14:27:45 +0000 Roland Boden - Künstlerhaus Bethanien - May 29th - June 21st Wed, 20 May 2015 16:04:37 +0000 Greg Semu - Künstlerhaus Bethanien - May 29th - June 21st Wed, 20 May 2015 16:03:56 +0000 Youki Hirakawa - Künstlerhaus Bethanien - May 29th - June 21st Wed, 20 May 2015 16:03:44 +0000 Olaf Brzeski - Künstlerhaus Bethanien - May 29th - June 21st Wed, 20 May 2015 16:03:32 +0000 Susa Templin - Künstlerhaus Bethanien - May 29th - June 21st Wed, 20 May 2015 16:01:39 +0000 Nevin Aladağ - Wentrup - June 6th - July 31st <p style="text-align: justify;"><em>Traces, </em>Nevin Aladag&rsquo;s latest solo show at WENTRUP, is named for her new 3-channel video work, which is also on view concurrently at the Kunstmuseum Stuttgart. On three separate projection surfaces, Aladag creates a large-scale sound-and-image portrait of the city of Stuttgart. Here we encounter, for instance, an accordion that plays as it unfolds along the length of a lamppost, or a frame drum that rolls loudly through a park landscape. A flute trills as it sails off into the sky with a balloon; the chestnuts in a chestnut tree play a gong and a violin turns on a merry-go-round.</p> <p style="text-align: justify;"><em>Traces </em>is fascinating especially in moments of the orchestrated interaction of only partially controllable sounds. Are sound and image coming together here to tell a tale? As surprisingly as a symphonic interplay seems to arise, it disintegrates just as quickly back into cacophony. The artist has neither designed a soundscape of pure noise, nor has she composed an interpretive piece about the city. Rather, Aladag has invented a remarkable hybrid. The most disparate urban situations become the players in an orchestra. Rocking horses in the pedestrian zone and the slopes of vineyards, downhills on the main street and a carousel in a playground constitute the ensemble that, under Aladag&rsquo;s direction, performs an audio rendition of their city on the accordion, drum, flute and violin &ndash; and elicits wholly unexpected possibilities from each classical instrument.</p> <p style="text-align: justify;"><em>&nbsp;</em></p> <p style="text-align: justify;">In the second room of the gallery, Aladag shows the work<em> Tusch, </em>a sequel to her work<em> Marsch </em>from 2014, which was shown at several venues, including an outdoor installation at Kunsthalle Basel. Castings of 17<sup>th</sup> century cannonballs are the basic elements in<em> Marsch </em>and<em> Tusch. </em>A Tusch is a fanfare, usually played in performative contexts to introduce, conclude or emphasize speeches or performances by honored soloists or conductors. Aladag notates one such Tusch on the wall &ndash; the heads of the notes are the cannonballs, which undergo a musical reinterpretation of their original ballistic milieu. Nevertheless, Aladag leads us back to the projectile context, for it is a fanfare that introduces the shooting of the cannon in the circus. The cannonballs&rsquo; notation depicts the fanfare that acoustically announces their entrance into the ring.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Nevin Aladag has gained international attention for her installations, video works and performances. Her works have been widely shown internationally, in various solo- and group exhibitions at institutions including Kunsthalle Basel; MOT-Museum of Contemporary Art Tokyo; Haus der Kunst, Munich; Hayward Gallery, London; Kunsthaus Zurich; Kunsthalle Fridericianum, Kassel; Mathildenh&ouml;he, Darmstadt; ARTER Vehbi Koc Foundation Istanbul, TBA 21 Thyssen Bornemisza Contemporary, Vienna; Museo Tamayo in Mexico, Pythagorion Art Space Schwarz Foundation, Samos, Greece, ICA Institute for Contemporary Art, London, Great Britain.<br /> Aladag participated in the 2013 Sharjah Biennial (UAE), in the 11<sup>th</sup> Istanbul Biennial in 2009 (TR), The 8<sup>th</sup> Taipei Biennial in 2008 (PR China) and the XIV Biennale Internazionale di Scultura, Carrara, in 2010 (I).</p> <p style="text-align: justify;">Works of Nevin Aladag are in the collection of Neue Nationalgalerie Berlin, Centre Pompidou, Paris; Vehbi Koc Collection, Istanbul; Collection of Sheikha Hoor al-Qasimi, TBA 21, Vienna; Pinakothek der Moderne, Munich, DEKA Bank, Frankfurt, Schwarz Foundation, Munich among others.</p> Wed, 20 May 2015 15:57:49 +0000 Inge Mahn - Galerie Max Hetzler (Goethestraße) - June 6th - July 18th Wed, 20 May 2015 15:49:43 +0000 Frank Nitsche - Galerie Max Hetzler (Bleibtreustraße) - June 6th - July 18th Wed, 20 May 2015 15:47:32 +0000 Ryan Mosley - Galerie EIGEN + ART (Berlin) - May 28th - July 4th <p style="text-align: justify;">"Painters come in two varieties. There are those whose work is essentially premeditated, and who seem to understand the journey upon which they are embarking even before they begin. And then there are those for whom painting is a kind of river in full spate into which they jump and, if mother luck and a good deal of pluck stay with them, swim. You could call it a conflict &ndash; or perhaps it is merely part of a continuing conversation &ndash; between the followers of Classicism and the heirs of Romanticism. Ryan Mosley is of the second variety." (Michael Glover)</p> <p style="text-align: justify;">We're proud to annouce that from May 28 until July 4, 2015 we're presenting british painter Ryan Mosley in his first big solo show in our main space in Berlin. The new works have been created especially for this show named &bdquo;The Mirror Never Reflects&ldquo;. The opening reception takes place on Thursday, May 28, 2015 from 5 to 9 pm. So see you very soon!</p> <hr /> <p style="text-align: justify;">"Es gibt zwei Sorten von Malern. Es gibt diejenigen, deren Arbeit im Wesentlichen im Voraus &uuml;berdacht wird und die sich, schon bevor sie beginnen, &uuml;ber die Reise im Klaren zu sein scheinen, zu der sie aufbrechen. Und dann gibt es diejenigen, f&uuml;r die das Malen eine Art rei&szlig;ender Fluss ist, in den sie hineinspringen und in dem sie (wenn ihnen die G&ouml;ttin des Gl&uuml;cks und eine geh&ouml;rige Portion Courage erhalten bleiben) schwimmen. Man k&ouml;nnte es als Konflikt zwischen den Anh&auml;ngern des Klassizismus und den Nachfahren der Romantik bezeichnen &ndash; vielleicht aber ist es lediglich ein Teil eines andauernden Dialogs zwischen diesen beiden Parteien. Ryan Mosley geh&ouml;rt zu der zweiten Art von Malern." (Michael Glover)</p> <p style="text-align: justify;"><br /> Vom 28. Mai bis 4. Juli 2015 zeigt die Galerie EIGEN + ART die erste gro&szlig;e Einzelausstellung des englischen Malers Ryan Mosley in ihrer Berliner Galerie. Pr&auml;sentiert werden die eigens f&uuml;r die Ausstellung &ldquo;The Mirror Never Reflects&rdquo; entstandene Malereien.<br /> Die Er&ouml;ffnung findet am Donnerstag, den 28. Mai von 17-21 Uhr statt. Wir freuen uns auf Euren Besuch!</p> Wed, 20 May 2015 15:46:32 +0000 Group Show - KW Institute for Contemporary Art - June 14th - August 30th <p class="visible" style="text-align: justify;">"Fire and forget" comes from military jargon, and is a term for weapons systems that are no longer used in direct combat with an enemy but are launched from a safe distance. The exhibition FIRE AND FORGET. ON VIOLENCE takes the military expression as the starting point for an examination of the conventional ideas about war and force. The project revolves around the dimensions of violence that go with the new technological change, and the different strategies. The exhibition is oriented towards the most visible agent of violence: weapons.</p> <p class="visible" style="text-align: justify;">FIRE AND FORGET. ON VIOLENCE applies the means of contemporary art to address the long-term effects of these new weapons on the human psyche.The loss of a direct, physical confrontation and the danger for one's own life had created, separates the violent situation itself from affects like reluctance for killing or overreaction, sympathy or hate. What may this mean for the arguments and evidence of political action? Which meaning does this context of the story receive: the memory and forgetting of an outburst, escalation or the prevention of violence? and which interest does art have in all this?</p> <hr /> <p class="visible" style="text-align: justify;">&bdquo;Fire and Forget" ist ein aus dem Milit&auml;rjargon stammender Begriff f&uuml;r Waffensysteme, die vom Soldaten aus gefahrloser Distanz zum Feind ausgel&ouml;st werden. Die Ausstellung FIRE AND FORGET. ON VIOLENCE nimmt den milit&auml;rischen Ausdruck zum Ausgangspunkt f&uuml;r eine &Uuml;berpr&uuml;fung gel&auml;ufiger Vorstellungen von Krieg und Gewalt. Das Projekt umkreist die mit den technologischen Ver&auml;nderungen einhergehenden Dimensionen von Gewalt, die andere Strategien ihrer Hegung notwendig machen. Hierzu orientiert sich die Ausstellung an den sichtbarsten Agenten von Gewalt: den Waffen.</p> <p class="visible" style="text-align: justify;">Mit den Mitteln der zeitgen&ouml;ssischen Kunst widmet sich FIRE AND FORGET. ON VIOLENCE den Auswirkungen, die der Einsatz von Waffen langfristig auf die menschliche Psyche hat. So werden mit dem Verlust der unmittelbaren k&ouml;rperlichen Konfrontation und der damit verbundenen Gefahr f&uuml;r das eigene Leben Affekte wie T&ouml;tungshemmung oder &Uuml;berreaktion, Mitgef&uuml;hl oder Hass von der konkreten Situation abgespalten. Was bedeutet das f&uuml;r die Argumente und Evidenzen politischen Handelns? Welche Bedeutung kommt in diesem Zusammenhang der Geschichte, dem Erinnern und Vergessen f&uuml;r den Ausbruch, die Eskalation oder die Verhinderung von Gewalt zu? Welchen Anteil hat die Kunst daran?</p> Sat, 16 May 2015 09:11:08 +0000 Renzo Martens - KW Institute for Contemporary Art - May 2nd - June 7th <p style="text-align: justify;">KW Projects</p> <div class="column wide information"> <div class="add-info" style="text-align: justify;"> <div class="partners visible">Partner/s: Institute for Human Activites (IHA)</div> </div> <div class="buttons" style="text-align: justify;"> <p>OPENING: 1.5.15, 17&ndash;21 h</p> </div> <div class="text"> <p class="visible" style="text-align: justify;">Renzo Martens founded the Institute for Human Activities (IHA) in 2010 to run a GENTRIFICATION PROGRAM on a former Unilever plantation in the Congo. The IHA focuses on the usually unwanted byproducts of gentrification, and uses them to make an alternative income opportunity available to the cocoa plantation workers: art.</p> <p class="visible" style="text-align: justify;">IHA sets up a public office at KW Institute for Contemporary Art for the duration of THE MATTER OF CRITIQUE. From there, Martens accompanies the Congo settlement of the institute and uses the institutional infrastructure to raise additional funds and discuss the conditions of the project.</p> <p class="visible" style="text-align: justify;">THE MATTER OF CRITIQUE is a project of the&nbsp;<a class="visible" href="" target="_blank">Institute for Human Activities</a>&nbsp;in collaboration with KW Institute for Contemporary Art.&nbsp;</p> <hr /> <p class="visible" style="text-align: justify;">Renzo Martens gr&uuml;ndete 2010 das Institute for Human Activites (IHA), um ein GENTRIFICATION PROGRAM auf einer ehemaligen Unilever-Plantage im Kongo zu realisieren. Das IHA fokussiert die normalerweise unerw&uuml;nschten Begleiterscheinungen der Gentrifizierung und nutzt diese, um den KakaoplantagenarbeiterInnen eine alternative Einkommensm&ouml;glichkeit zu erschlie&szlig;en: Kunst.</p> <p class="visible" style="text-align: justify;">F&uuml;r die Laufzeit von THE MATTER OF CRITIQUE richtet das IHA ein &ouml;ffentliches B&uuml;ro in den KW Institute for Contemporary Art ein. Von dort begleitet Martens die Ansiedlung des Instituts im Kongo und nutzt die institutionelle Infrastruktur, um zus&auml;tzliche Geldmittel einzuwerben und die Voraussetzungen des Projektes zu diskutieren.</p> </div> </div> Sat, 16 May 2015 09:07:35 +0000 - KunstHall - Deutsche Bank - June 12th - June 28th <p style="text-align: justify;">Hollywood and Silicon Valley, palms, sea, blue skies; California is &ldquo;a land of milk and honey&rdquo; - with Villa Aurora right in the middle. In the 1940s, the former exile residence of Marta and Lion Feuchtwanger was a meeting point for European intellectuals. Today, it is an artists&rsquo; residence that embodies much more than &ldquo;California Dreaming.&rdquo;</p> <p style="text-align: justify;">Villa Aurora, on the occasion of its 20th anniversary, has teamed up with the Deutsche Bank KunstHalle to present nine Villa Aurora fellows in an exhibition entitled &ldquo;Checkpoint California&rdquo;. Works by Thomas Struth, Sabine Hornig, Christian Jankowski, Rosa Barba, Nairy Baghramian, Albrecht Sch&auml;fer, Philipp Lachenmann, Peggy Buth, and Michael Just expose experiences of transit and exile as well as transatlantic differences and contradictions.</p> <p style="text-align: justify;">&ldquo;Checkpoint California&rdquo; strives to raise awareness of historic movements and counter-movements, efforts of integration and dissociation, while assessing their various aspects, both positive and negative. At the same time, the exhibition celebrates the process of exchange and mediation successfully initiated by Villa Aurora over the past 20 years. &ldquo;Checkpoint California&rdquo; will be accompanied by an extensive program of concerts, film screenings, performances, and talks.</p> <p style="text-align: justify;">An exhibition presented by Villa Aurora and the Deutsche Bank KunstHalle.</p> <p style="text-align: justify;"><img src="" alt="" /></p> <hr /> <p style="text-align: justify;">Hollywood und Silicon Valley, Palmen, Meer und blauer Himmel; Kalifornien gilt als &sbquo;Land of Milk and Honey&lsquo; - und mittendrin die Villa Aurora. Als ehemalige Exilresidenz Marta und Lion Feuchtwangers und als Treffpunkt europ&auml;ischer Intellektueller in den 1940er Jahren steht die heutige K&uuml;nstlerresidenz jedoch f&uuml;r mehr als das &sbquo;California Dreaming&lsquo;.</p> <p style="text-align: justify;">Unter dem Titel &bdquo;Checkpoint California&ldquo; pr&auml;sentiert die Villa Aurora anl&auml;sslich ihres 20-j&auml;hrigen Bestehens in einer Ausstellungskooperation mit der Deutsche Bank KunstHalle Positionen von neun Villa Aurora-Fellows. In den Werken von Thomas Struth, Sabine Hornig, Christian Jankowski, Rosa Barba, Nairy Baghramian, Albrecht Sch&auml;fer, Philipp Lachenmann, Peggy Buth und Michael Just kommen Transit- und Exil-Erfahrungen, transatlantische Differenzen und Widerspr&uuml;che an die Oberfl&auml;che.</p> <p style="text-align: justify;">&bdquo;Checkpoint California&ldquo; ist der Versuch, historische Str&ouml;mungen und Gegenstr&ouml;mungen, Integrationsbem&uuml;hungen sowie Abgrenzungsbestrebungen ins Bewusstsein zu rufen, deren Aspekte nicht ohne weiteres in ein F&uuml;r und Wider zusammengef&uuml;hrt werden k&ouml;nnen. Die Ausstellung ist aber auch die Feier eines Austausch- und Vermittlungsprozesses, den die Villa Aurora seit mittlerweile 20 Jahren erfolgreich gestaltet.</p> <p style="text-align: justify;">&bdquo;Checkpoint California&ldquo; wird von einem umfangreichen Rahmenprogramm aus Konzerten, Filmvorf&uuml;hrungen, Performances und Gespr&auml;chen begleitet.</p> <p style="text-align: justify;">Eine Ausstellungskooperation der Villa Aurora und der Deutsche Bank KunstHalle.</p> <p style="text-align: justify;"><img src="" alt="" /></p> <p>&nbsp;</p> Sat, 16 May 2015 09:03:32 +0000 Katie Torn - Künstlerhaus Bethanien - May 11th - May 27th <p style="text-align: justify;"><em>Breathe Deep</em>&nbsp;is a kaleidoscope of 80&rsquo;s and 90&rsquo;s popular culture with dozens of localized perspectives, mixing two- and three-dimensional representations without physical constraints. The resulting virtual sculpture unifies these disparate layers, either captured from real-world objects like plastic toys and fake plants or inspired from digital artifacts like animated GIFs or fish swarms originating from nostalgic screen savers.</p> <p style="text-align: justify;"><br />Katie Torn, growing up in this time of hyper-capitalism, delivers a hindsight portrait of a constantly overwhelmed female body, collecting and blending superficial entities manically &ndash; to defend the status quo of a veneer world that constantly is falling apart.</p> <p style="text-align: justify;"><br /><em>Breathe Deep</em>&nbsp;was commissioned by the Denver Theater District / Denver Digerati 2014<br /><strong>Katie Torn</strong>, *1982, lives and works in New York.|<br /><a title="" href="" target="_blank"></a></p> <p style="text-align: justify;">The on-going screening series&nbsp;<em>Phantom Horizons</em>presents digital as well as analogue works that question the paradigm of&nbsp;<em>linear perspective</em>, seeking for a new kind of &ldquo;<em>status perspective</em>&rdquo; [<em>Bedeutungsperspektive</em>]. The latter was a development of medieval painting, in which the size of figures is determined by their hierarchical significance. Extending this approach and combining deconstructivistic ideas with today&rsquo;s possibilities of film creation, the presented works open up multifaceted, unseen horizons.<br />Curated by&nbsp;<strong>Robert Seidel</strong>&nbsp;|<a title="" href="" target="_blank"></a></p> <hr /> <p style="text-align: justify;"><em>Breathe Deep&nbsp;</em>gleicht einem Kaleidoskop der Popkultur der 80er und 90er Jahre, in welchem sich zwei- und dreidimensionalen Repr&auml;sentationsformen mit zahlreichen Lokalperspektiven ohne physikalische Beschr&auml;nkungen vermischen. Die daraus resultierende virtuelle Skulptur vereinigt diese ungleichen Ebenen, die sich entweder aus der Realit&auml;t ableiten, etwa Plastikspielzeug und Kunstpflanzen oder von digitalen Artefakten inspiriert sind, wie animierten GIFs und nostalgischen Screen-Saver-Fischschw&auml;rmen.<br /> Katie Torn, selbst in der Zeit des Hyperkapitalismus aufgewachsen, liefert im R&uuml;ckblick ein Portrait eines kontinuierlich &uuml;berw&auml;ltigten weiblichen K&ouml;rpers, der manisch Oberfl&auml;chlichkeiten sammelt und zusammenf&uuml;gt &ndash; nur um den Status Quo einer Scheinwelt zu bewaren, die kontinuierlich auseinanderf&auml;llt.<br /> <em>Breathe Deep</em> entstand im Auftrag von Denver Theater District / Denver Digerati 2014.<br /> <strong>Katie Torn</strong>, *1982, lebt und arbeitet in New York.|<br /> <a title="" href="" target="_blank"></a></p> <p style="text-align: justify;">Das fortlaufende Filmprogramm <em>Phantom Horizons</em> pr&auml;sentiert Arbeiten, die sowohl im Digitalen als auch im analogen Raum das Paradigma der <em>Zentralperspektive</em> hinterfragen und nach einer neuen Art der &bdquo;<em>Bedeutungsperspektive</em>&ldquo; suchen. Letztere war eine Entwicklung der mittelalterlichen Malerei, welche die Gr&ouml;&szlig;e von Figuren anhand ihrer hierarchischen Bedeutung festlegte. In der Weiterf&uuml;hrung dieses Ansatzes in Verbindung mit dekonstruktivistischen Ideen und den M&ouml;glichkeiten heutiger Filmerzeugung, er&ouml;ffnen die gezeigten Werke facettenreiche, bisher ungesehene Horizonte.<br /> Kuratiert von <strong>Robert Seidel</strong> |&nbsp;<a title="" href="" target="_blank"></a></p> Wed, 20 May 2015 15:52:39 +0000 Georg Baselitz - Niels Borch Jensen Galerie - May 2nd - September 12th <p>This exhibition&nbsp;presents a range of works including some of the earliest as well as most recent etchings&mdash;all of them produced at the Niels Borch Jensen printshop in Copenhagen.</p> Fri, 15 May 2015 15:28:32 +0000 Germaine Krull - Martin-Gropius-Bau - October 15th - January 31st, 2016 <div class="accordiontext_module"> <div class="intro"> <p>&nbsp;</p> <p>Germaine Krull (1897-1985) was considered to be the photographer of the intellectuals in Paris of the 1920s and a notable representative of her art. Andr&eacute; Malraux exhibited her work, equal aside modern paintings. With her camera, so Jean Cocteau, she &ldquo;discovers a new world, in which technique and soul permeate one another&rdquo;; and Walter Benjamin included her into his &ldquo;A short history of photography&rdquo;. He appreciated Germaine Krull for her political as well as her human involvement, just like her radical visual aesthetic and gave her the same artistic status as August Sander and Karl Blossfeldt. In cooperation with Jeu de Paume, Paris, the Martin-Gropius-Bau dedicates Germaine Krull a comprehensive exhibition.</p> </div> </div> <div class="event_details"> <div class="event_organizer"> <p><strong>Organizer</strong>&nbsp;Berliner Festspiele.<br />An exhibition of Jeu de Paume in association with Martin-Gropius-Bau<br /><br />Enabled by the Cultural Fund of the German Savings Banks and Giro Association.</p> </div> </div> Fri, 15 May 2015 12:50:48 +0000