ArtSlant - Closing soon en-us 40 - C/O Berlin - December 10th, 2012 - February 3rd, 2013 <p>No matter whether they were creating pinhole cameras, Comics, photograms, short films, silhouettes<strong> </strong>or self-portraits, the participants in every one of this year’s 23 Junior and Teens Workshops gave their imaginations and creative talents free rein. Each workshop started by giving the participants a general introduction to the topic. Then, equipped with this knowledge, they created artworks big and small, made new friends, and, above all, had immense fun taking pictures, designing, painting, and crafting. C/O Berlin has selected a number of works from this year’s Workshops and is presenting the highlights in a large exhibition.</p> Tue, 08 Jan 2013 19:25:43 +0000 Sonia Sheridan, Graham Harwood, Matsuko Yokokoji, Diane Torr, Eija-Liisa Ahtila - Haus der Kulturen der Welt - January 29th, 2013 - February 3rd, 2013 <p class="abstract">Back When mobile phones were still dumb, tweeting was done by birds, world economy believed in itself Pluto Was A Planet. In the festival, the demotion of Pluto to “dwarf planet” status in 2006 is used as a kick-off metaphor for the constant shifting of knowledge paradigms that drive the creation of new cultural imaginaries. <span class="textlink"></span></p> <p>For its 26th edition on Jan 29th to Feb 3rd 2013, and at the Haus der Kulturen der Welt, transmediale; Berlin's festival for art and digital culture, boldly goes BWPWAP (Back When Pluto Was a Planet). Through a week of exhibitions, performances, screenings, conferences, and workshops, visitors will be able to explore the thematics of this crisis generating reclassification.</p> <p>In the festival, the demotion of Pluto to “dwarf planet” status, is used as a metaphor for the constant shifting of knowledge paradigms, that drive the creation of new cultural imaginaries.</p> <p>True to transmediale’s ideal of integrating theory and practice, international thinkers and practitioners in the field of art, culture and media, will explore new ways to engage with the histories, practices, and futures of familiar objects that have been declared somewhat obsolete. With this, we prepare them for renewal through artistic intervention.</p> <p>Throughout the geography of the HKW, visitors will engage with Octo, a reenactment of Berlin’s Rohrpost pneumatic mail delivery system, and 3d parody of a social network. Three conceptually connected but independently effective exhibitions will be presented under The Miseducation of Anya Major, and include the works of generative artist Sonia Sheridan, and an Evil Media Distribution Centre by the artists Graham Harwood and Matsuko Yokokoji known as YoHa.</p> <p>Two world premieres and live performances will accompany keynote discussions, and include audiovisual artist People Like Us’ Consequences (One Thing Leads To Another), and cross gender performer Diane Torr’s new stage show that confronts identity and classification stereotypes.</p> <p>The festival’s significant film programme with screenings, will include Eija-Liisa Ahtila’s contemporary remake of The Annunciation, which begs the audience into experiencing the unfamiliar in the familiar.</p> Tue, 08 Jan 2013 20:04:08 +0000 Alessandro Bergonzoni, Gianni Moretti, Maria Elisabetta Novello - Factory-Art gallery - January 10th, 2013 - February 8th, 2013 <p><strong>DATA ON IMPERFECTION</strong> is an exhibition highlighting those conceptual aspects of contemporary artistic experimentation where no preference is given to predefined languages but where the focus is on the reiteration of failure intended as an end and a means, on imperfection as a multiplicative and desired  aspect. It is art’s duty to provide some sort of mental physiotherapy to the maladjusted and torn muscle  of collective awareness. <strong>DATA ON IMPERFECTION</strong> is an effort of this kind, providing a range of broad views and necessary experimentations. The installations by <strong>Alessandro Bergonzoni</strong>, <strong>Gianni Moretti</strong>, <strong>Maria Elisabetta Novello</strong> will be hosted in the halls of <strong>Factory Art</strong> as organisms under transformations, as bodies, figures and mutant tonalities. These become the donors of a data-laden idea – data pertaining to an order disconnected and unhinged; to that ungovernable order that is the quintessence itself of fallacious and <em>imperfect</em> man, which is, for this very reason, remarkably interesting. Art acts as an instrument of conscience, as a passage from the private to the public and from the public to the private; art as a system of relations and an infinite negotiation of viewpoints; art as a container and diseased carrier of <strong>DATA ON IMPERFECTION</strong>. It is necessary to place oneself on the edge of Duchamp’s infra-mince, in that imperceptible and  unclassifiable zone where inhabited is the <em>land in between</em>, where the <em>no man’s land</em> must be regenerated, rehabilitated, translated, touched, seen and lived in.</p> Tue, 18 Dec 2012 23:37:46 +0000 Justin Almquist, Donald Baechler, Monika Grzymala, Daniel Megerle, Peter Miller, Adrien Missika, Rosemarie Trockel, Ryan McGinley - Galerie CRONE - December 15th, 2012 - February 8th, 2013 Sun, 13 Jan 2013 16:53:13 +0000 Group Show - Wentrup - January 19th, 2013 - February 8th, 2013 Wed, 30 Jan 2013 01:40:45 +0000 Max Frisinger - Contemporary Fine Arts - January 5th, 2013 - February 9th, 2013 <p><b>Contemporary Fine Arts</b> freut sich, die zweite Einzelausstellung “Buderus“ von <b>Max Frisinger</b> bekannt geben zu dürfen. Der 1980 geborene Künstler studierte an der HFBK Hamburg. Er lebt und arbeitet in Berlin und Hamburg.</p> <p>Bekannt für seine ortsspezifischen Großinstallationen, bedient sich Max Frisinger in der aktuellen Ausstellung „Buderus“ abermals der Arbeitsmethode des Wiederverwendens und somit Neuerfindens von gefundenen Objekten.</p> <p>Nur teilweise poliert – alte Farbreste bestehen auf den Heizkörpern fort - weisen die freigelegten Elemente der gusseisernen Heizkörper auf ihre Herkunft und Geschichte hin.</p> <p>Der Titel der Ausstellung bezieht sich auf das 1731 gegründete Unternehmen <i>Buderus</i>, das sich im Laufe der Jahrhunderte im Bereich der Gießtechnik zu einem der größten Unternehmen Deutschlands und Europas entwickelte.</p> <p>Doppeldeutigkeit ist es, die Frisinger reizt. Der Künstler verweist durch das Herausarbeiten und Hervorheben von Material und Form auf die inhärenten Gegensätze der Skulpturen: Glanz und Verfall, das Fragmentarische, das vollkommen wirkt, Kaputtes, durch das Neues entsteht. <i><br /> </i></p> <p><i><b> </b></i></p> <p><i><b>Contemporary Fine Arts</b> is pleased to present <b>Max Frisinger’s</b> (b. 1980) second solo exhibition entitled “Buderus”. The artist studied at the HFBK Hamburg and lives and works in Berlin and Hamburg.</i></p> <p><i>Known for his site-specific installations, Max Frisinger once again utilises the method of re-using and thus re-invention of found objects in this exhibition. </i></p> <p><i>Old colour fragments remain on the radiators that are only partly polished. The exposed elements of the cast-iron heaters reference their origin and history: The title of the exhibition alludes to the company Buderus, which was founded in 1731 and established itself as one of the leading casting businesses in Germany and Europe. </i></p> <p><i>Ambiguity is what stimulates Max Frisinger. By working the material and form of the sculptures, the artist underlines their inherent opposites: Brilliancy and decay, the fragmentary appearing complete. Brokenness that provokes the new. </i></p> Tue, 29 Jan 2013 23:34:10 +0000 Omer Fast - Galerie Arratia Beer - January 11th, 2013 - February 9th, 2013 <p>Arratia Beer is very pleased to present Omer Fast’s most recent works: Continuity (2012) and 5000 Feet is the Best (2011).<br />Omer Fast’s works examine how individual and collective histories interact. Focusing on narratives, Fast mixes sound and image into stories that test the line between personal and media accounts of current and historical events. In his concern with the strategies of digital manipulation and perception, Fast’s work draws attention to the permeable boundaries between documentary and fiction.<br />5000 is the Best is based on conversations the artist recorded with a US Predator drone aerial vehicle operator. The drone operator agreed to discuss the technical aspects of his job and his daily routine on camera. He also briefly described live-fire missions, in which the unmanned plane ‘engaged targets’ in Pakistan and Afghanistan, and the psychological difficulties he experienced as a result. The resulting film forms a circular plot that returns fitfully to the voice and blurred face of the drone pilot and to his unfinished story.<br />Continuity is Fast’s latest work. It follows a middle-aged German couple as they emotionally reunite with a young soldier just back from service in Afghanistan. What first appears to be a straight-forward family drama becomes increasingly tangled: A series of young men spend the night with the couple, repeatedly reenacting a ritual whose ostensible purpose is mourning but which repeatedly slips into the oedipal and the uncanny.<br />Continuity was commissioned by dOCUMENTA (13) and Thyssen-Bornemisza Art Contemporary, Vienna, with the support of 3sat, Medienboard Berlin-Brandenburg GmbH, Berlin, and OK Offenes Kulturhaus Oberösterreich and produced by Filmgalerie 451, Berlin.<br />Omer Fast (born 1972, Jerusalem) lives and works in Berlin. He was the recipient of the 2009 Preis der Nationalgalerie für Junge Kunst and the 2008 Bucksbaum Award. Fast has had solo exhibitions at the Wexner Center for the Arts, Columbus; The Power Plant, Toronto; Whitney Museum of American Art, New York; Berkeley Art Museum; Henie Onstad Kunstsenter, Oslo; Kölnischer Kunstverein, Cologne; La Caixa Forum, Barcelona; South London Gallery, London and MUMOK- Museum Moderner Kunst Stifung Ludwig, Vienna. His work has been included in LLUMInations, 54th Venice Biennale, dOCUMENTA (13), Performa 09, the 2008 and 2002 Whitney Biennials and Liverpool Biennial 2008 as well as group exhibitions at institutions such as Centre Pompidou, Paris; ZKM, Karlsruhe; Barbican Art Gallery, London and The Hirshhorn Museum and Sculpture Garden, Washington, DC, among other venues.</p> Mon, 14 Jan 2013 11:04:46 +0000 Ruprecht von Kaufmann - Galerie Christian Ehrentraut - December 14th, 2012 - February 9th, 2013 <p>Ich freue mich sehr, Sie zur Eröffnung von Ruprecht von Kaufmanns Ausstellung "Der Ozean" in die Galerie Christian Ehrentraut einzuladen.<br />  <br /> Nach den Serien "Nebel"(2009) und "Äquator"(2010) setzt sich von Kaufmann in seinem "Ozean"-Zyklus nun mit dem Motiv des Meeres als Projektionsfläche für Träume, Wünsche, Stimmungen und emotionale Zustände auseinander.<br /> In fünf großformatigen Leinwänden in überwiegend blauem und violettem Kolorit sowie in einer raumfüllenden Installation nähert sich Kaufmann dem Thema aus malerischer, skulpturaler aber auch literarischer Perspektive an.<br /> Die kompositorisch auf das Wesentliche reduzierten Bilder sind im technischen Aufbau außerordentlich komplex: Kaufmann modelliert in dicken Farbschichten die materiellen Eigenschaften des Meeres nach, lässt es pastos bleiern, dann schrundig und hart wirken, peitscht es auf oder lässt Wellen sich brechen.<br /> "My Name is Ishmael" verweist auf Hermann Melvilles "Moby Dick": In einem von Wasser überfluteten Wohnraum jagt ein mit Axt bewaffneter trauriger Held den Ungeheuern unter der Wasseroberfläche nach, während im Nebenzimmer beschaulich ein eingedeckter Tisch wartet. Wie der mythologische Sisyphos kämpft sich der wagemutige Ruderer in "Die Welle" unerschrocken einen monumentalen Wellenberg hoch, um sich und seine Zimmerpflanze zum sicheren Ufer zu bringen.<br /> In einer ausufernden Rauminstallation inszeniert Kaufmann ein mechanisches Theater. Zwischen in Wellenform gebogenen und in hartem schwarz-weiss Kontrast bemalten Holzpaneelen werden Zustände des Meeres als dramatische, sirenenartige, betörende, hektische, oder rythmisch-tosende Lichtreflektionen und Schattenspiele in den Ausstellungsraum geworfen. Kaufmann schwemmt in seinem "Ozean"-Zyklus die Abenteuerlust, Sehnsüchte und Ängste seiner Protagonisten und des menschlichen Daseins an die Oberfläche.</p> <p>Ruprecht von Kaufmann, geboren 1974 in München, hat am Art Center College Los Angeles studiert und lebt nach langjährigem Aufenthalt in Los Angeles und New York seit 2003 in Berlin. Seine Arbeiten waren in zahlreichen Ausstellungen vertreten, so unter anderem bei der Fraktale IV im Palast der Republik, Berlin (2005), in der Kunsthalle Mannheim (2006) und in der Konrad-Adenauer-Stiftung, Berlin (2007). Zum Wintersemester 2012/2013 ist er zum Professor für Zeichnung und Malerei an der Hochschule für Grafik und Buchkunst in Leipzig berufen worden.</p> <p>-----------------------</p> <p>We are pleased to invite you to the opening reception of Ruprecht von Kaufmann‘s exhibition „Der Ozean“ (Ocean) at Galerie Christian Ehrentraut.</p> <p>After the 'Fog' (2009) and 'Equator' (2010) series, Kaufmann’s  'Ocean' cycle now deals with the image of the sea as an object of projection for dreams, desires, moods and emotional states. He approaches the topic from a pictorial, sculptural and literary perspective in a room-sized installation comprised of five large-scale canvases using predominantly blue and violet color.</p> <p>Although minimal in composition, his paintings are extraordinarily complex due to their  technical structure: Kaufmann molds thick layers of paint to the physical characteristics of the sea. They appear sometimes leaden, other times wild and hard, he whips the up canvases and breaks the waves.</p> <p>Referring to Herman Melville's "Moby Dick", the painting titled "My Name is Ishmael" depicts an anti-hero figure that is armed with an ax to chase monsters under the water surface of a flooded living room interior. In „The Wave“ a daring rower, a contemporary Sisyphus, battles a monumental wave crest to bring himself and his house plant for safer shores.</p> <p>A large room installation of painted and curved wooden panels accommodates a mechanical theater. Mobiles and various light sources cast reflections and shadows into the gallery and onto Kaufmann's portraits of dramatic, siren-like, haunting, frantic, or rhythmically-roaring waveforms and states of the sea in stark black-white contrast.<br /> Kaufmann floats all the adventure, desires and fears of his protagonists and of human condition to the surface of his "Ocean" works</p> <p>Ruprecht von Kaufmann was born 1974 in Munich. He studied painting at the Art Center College in Los Angeles. He lived in Los Angeles and New York for several years, moved to Berlin in 2003, where he currently lives and works. His works have been exhibited at numerous venues including the Fraktale IV exhibition at Palast der Republik, Berlin (2005), Kunsthalle Mannheim (2006) and Konrad Adenauer Stiftung, Berlin (2007).<br /> Since October 2012, he is a professor at the Leipzig Academy of Visual Arts.</p> Tue, 22 Jan 2013 23:30:05 +0000 S. G. RHODES - Galerie Isabella Bortolozzi - November 24th, 2012 - February 9th, 2013 Mon, 14 Jan 2013 01:46:37 +0000 Group Show - Contemporary Fine Arts - January 29th, 2013 - February 10th, 2013 <h1>Die Auktion</h1> <p>Diese Ausstellung und Auktion entstand aus einer Begegnung mit Nicole Hackert und Bruno Brunnet, den Machern der Galerie <a href="">Contemporary Fine Arts</a> in Berlin, die wir vor einigen Monaten ansprachen und fragten, ob sie sich vorstellen könnten, uns zu helfen. Wir erzählten von unserem Projekt <a href="">ONE FINE DAY e.V.</a> und spürten sehr schnell, wie das Interesse und die Begeisterung bei den beiden (ohnehin schon sehr vielfältig aktiven) Galeristen wuchs, und sich schließlich zu einer konkreten Idee formte.</p> <p>Eine Ausstellung von internationalen, solidarischen Künstlern, die allesamt ihre Werke umsonst zur Verfügung stellen, damit diese bei einer anschließenden Auktion, deren Erlöse ausschließlich dem Verein zugutekommen, versteigert werden: Mit diesem Konzept glauben wir, unsere Arbeit in Ostafrika, die mit großem Bedacht auf eine lange Laufzeit ausgerichtet ist, nachhaltig sichern und ausweiten zu können.</p> <p>Im Verlauf der folgenden Wochen und Monate trafen wir auf viele, die sich von Brunos, Nicoles und unserer Entschlossenheit anstecken ließen: Galeristen, Kulturarbeiter, Journalisten, und natürlich Künstler. Diesen sind wir besonders dankbar dafür, dass sie sich trotz einer gewissen Überdosis an vergleichbaren Anfragen für unser sehr eigensinniges und von uns (auch vor Ort) persönlich betreutes Projekt begeistern konnten.</p> <p>Mit den ausgewählten, zum Teil sehr ungewöhnlichen Arbeiten können wir nun sowohl eine relevante Öffentlichkeit mit unserem Projekt vertraut machen als auch den Fortbestand und Ausbau der Initiative für einen nicht unerheblichen Zeitraum sichern.</p> <p>Nur für fünf Tage (vom 6. bis 10. Februar 2013) wird diese Konstellation von Werken in den Räumen von Contemporary Fine Arts zu sehen sein – viele davon erstmalig. Einige wurden speziell für diese Ausstellung angefertigt.</p> <p>Parallel wird in einem separaten Raum ein Einblick in die Arbeit unserer jungen kenianischen Kunststudenten ermöglicht: Eine Auswahl von 25 Bildern wird dabei – natürlich nur ausschnitthaft – abbilden können, welche Talente dort aus zuweilen tiefstem Schlaf geweckt werden.</p> <p>„Fundraising“ dieser Art ist im Ausland gang und gäbe; hier in Deutschland aber immer noch eine eher rare freie Fördermethode, die sich nur langsam durchzusetzen scheint. Die Unabhängigkeit unserer Initiative ist aber eins unserer Kerninteressen bei der Arbeit mit ONE FINE DAY e.V. – keine Bürokratisierung, keine Abhängigkeit von Verteilungsmustern der institutionalisierten Förderungen soll den Geist dieses Unterfangens schmälern, das nichts weniger versucht, als einen befreienden Stimulus in eine Lebenskultur zu pflanzen, der ihr kreatives Selbstverständnis wiederzufinden versucht.</p> <p>Ihre Unterstützung kann entscheidend dazu beitragen. Vielen Dank für Ihr Interesse.</p> <p>Marie Steinmann &amp; Tom Tykwer</p> Tue, 29 Jan 2013 23:41:04 +0000 Group Show - Deutsches Historisches Museum (German Historical Museum) - October 17th, 2012 - February 10th, 2013 <p>How do we wish to live? What should we orientate ourselves by? What roles should do politics, the state and society play, in helping us to live out our lives, as worthy human beings? Does our desire for a socially and ecologically secure future count as a basic human right?</p> <p>The exhibition shows work by 113 artists from 28 countries in Europe, who have been concerned with the theme of freedom since 1945. Transcending all the inherited boundaries and divisions, it shows something of the enormous range of approaches to this question and of the variety of possible answers. Instead of attempting once more to examine the confrontation between the two power blocs in the Cold War, with their familiar ideological and political divisions, it seeks to trace their common roots in democracy and socialism, as offsprings of the Enlightenment. Both systems set themselves the challenge of realising the core values of the Enlightenment – Freedom, Equality and Human Rights.  But how were these to be understood?</p> <p>In a cycle of 12 different sections, or 'chapters', the exhibition examines themes such as Reason, Utopia, Consumerism, Force, Sustainability and Self-Knowledge, which, in turn generates a number of fundamental questions about how we live in society. Artists such as Ian Hamilton Finlay, Fernand Léger, Damien Hirst, Armando, Tadeusz Kantor, Richard Hamilton, Boris Mikhailov, Oskar Rabin, Niki de Saint Phalle, Gerhard Richter, Aurora Reinhard, Christo, Arman, Mario Merz, Jordi Colomer, Raul Meel, Maria Lassnig, Eric Bulatov and Carlfriedrich Claus, provoke us to think about the way in which we lead our own lives.</p> <p> </p> Fri, 19 Oct 2012 01:04:45 +0000 - Haus am Kleistpark - January 19th, 2013 - February 10th, 2013 <p>Aktuelle Arbeiten aus Kursen und Projekten</p> Tue, 08 Jan 2013 19:54:09 +0000 Klaus Hähner-Springmühl - Künstlerhaus Bethanien - January 18th, 2013 - February 10th, 2013 <p>Klaus Hähner-Springmühl, born in Zwickau (Saxony) in 1950, died in Leipzig in 2006, was one of East Germany’s most idiosyncratic artists. From the 1970s onwards, he was a radical performer who experienced and documented his life as an art process, not on the sunny side of the socialist establishment but shoulder to shoulder with therebelsof his generation in Karl-Marx-Stadt, Dresden, Leipzig and East Berlin. Hähner-Springmühl appeared as an outlandish fortune-seeker, always open to things unheard of and to chance, continually askew with the normalizing injunctions of the political system. He did not avoid battles, trying out possible forms and making things happen – as a boxer, an artist and a musician. His expressive pictorial sketches, photographs, abrasive painted-over photos, objects, montages-demontages, actions and free-jazz interventions were astonishing and wonderfully open to risk. He wanted nothing to do with GDR state art. That is why it will always be a mistake to try and incorporate or draw him into that nationalized web of lies. Those who were close to him saw him as a guiding light, although personally, he was suspicious of any claim to leadership, and he could successfully evade any demands on him, as well as the regulating powers. He immersed himself in chaos, fragmenting his surroundings in his own perception; but he remained calm, as if sending out signals from a well-tempered universe. Time came off the rails when he was hammering out his tune. (Christoph Tannert)</p> <p>A catalogue is appearing for the exhibition (128 pages, German / English), priced at 25 Euros; it presents the artist’s largely unknown works and includes texts by Gunar Barthel, Erich WolfgangHartzsch, Barbara Köhler, Claus Löser, Florian Merkel, Olaf Nicolai, Christoph Tannert and Joerg Waehner.</p> <p>We will be showing the film<i>Richterstr. 9 </i>by Erich WolfgangHartzsch in the exhibitionat 7pm on 1<sup>st</sup> February 2013; Hartzsch was an active member, alongside Klaus Hähner-Springmühl,ofthe legendaryfree-jazz formation "Kartoffelschälmaschine". Filmhistorian and catalogue author Dr. Claus Löser will provide an introduction to this work.</p> <p>Special thanks are due to Mike Hähner-Springmühl and Gitte Hähner-Springmühl, without whom it would have been impossible to realize this project.</p> <p>We also appreciate the generosity of Gunar Barthel and Tobias Tetzner in lending us documents, materials and works of art.</p> <p>We are very grateful to boesner GmbH / supplier of artist materials for the support given to us.</p> Mon, 14 Jan 2013 21:45:41 +0000 Joris van de Moortel - Künstlerhaus Bethanien - January 18th, 2013 - February 10th, 2013 <p>In an apparently performative and playful way, Joris Van de Moortel is concerned with architecture as an important medium of our mental and physical experiences of space. Besides musical performances, Vande Moortel creates assemblages, which often resemble stage sets or the remains of a performance. For his generally large-scale installation works, Van de Moorteluses pedestals, walls and boxes or a number of things that seem to have been found by chance: towels, musical instruments, door leaves, a single window, or an old cooking potare combined into unpretentious artefacts, which seem to bear their own, expansive dynamics within them.The artist bundles, ties, screws,and then shuts up his work in wooden or acrylic glass cases, or he has them hang from the ceiling in bin-bags. One constant in these environments often in conjunction with musical performances is the reciprocal relations between sculpture and container. Van de Moortel’s installations are inspired by found situations and often they have no clearly defined beginning, middle or end. Thus, for example, the artistoften ‘recycles’the work at the end of an exhibition – sometimes even during it – by destroying, tearing up or burning, and constructing a new work with the help of the resultant junk. In this way, the“undoing”in Van de Moortel’s work becomes an important aspect of the“doing”.</p> <p>All that Van de Moortel’s exhibition <i>Schwarz oder Weiß es ist mir gleich, es gibt keine Farben in diesem blauenReich </i>holds in store for the visitor is still in the process of development. On the opening evening, among other things, the new publication <i>Cylinder #2 </i>by Joris van de Moortel will be presented to the public – in an exhibition room completely submerged in a magical blue light.</p> <p>For the opening, Van de Moortel (bass, guitar, voice) will also perform together with Ürgerausch kammerensemble (beginca. 8 pm, entrance free).</p> <p> </p> <p>Joris Van de Moortel, born in Oostakker, Belgiumin 1983, lives and works in Antwerp and Berlin. He studied philosophy at the University of Antwerp (UFSIA) and art at the HISK – Higher Institute for FineArts in Ghent. Joris van de Moortel is currently receiving a grant from the Flemish governmentin the context of our International Studio Programme. Info:</p> Mon, 14 Jan 2013 21:54:00 +0000 Hyein Lee - Künstlerhaus Bethanien - January 18th, 2013 - February 10th, 2013 <p>Hyein Lee is a painter whose works represent people, objects and landscapes from the perspective of the processual and the passage of time.</p> <p>In the exhibition<i>Sketch Book </i>the artist will be showing new painterly snapshots, a large number of mainly small-format paintings, the motifs of which she tracked down outside – at the interface of city, humanity and nature.They can be divided thematically into three groups of work.For the first group, last summer Lee went to Planufer amLandwehrkanaldaily, at midnight. Due to the darkness, which pushed the technical aspect of painting into a back seat, the paintings tend to be a rather intuitive realization of people’s moods in the summer nights, of the developing chill, and of specific smells or memories.</p> <p>Another group of works was produced on the occasion of a journey the artist made in the area around Helmstedt, the former border-crossing point when heading for West Berlin. Here, Lee painted the lake Lappwaldsee, a bathing lake that was created in a former open-cast lignite mine during a cross-state renaturalization measure.</p> <p>Lee’s latest works were produced on the spot in the areas of allotment gardens around Baumschulenweg and Plaenterwald in Berlin-Treptow. For weeks, she explored this urban nature created by man, speeding upher painting process, as she always expected to be driven out as an ‘intruder’by the allotment owners. In the end, Lee even sewed a brightly-coloured felt tent as protection from the weather; now, in the exhibition,a video is shown in this tent, documenting, among other things, the artist’s explorativeforays. By contrast to earlier paintings, which were created in a laborious process in the studio from her memory of the places visited, the new works were produced in a short time but within the context of numerous, repeated visits – for the artist, this has been an important process of adaptation to new surroundings.</p> <p> </p> <p>Hyein Lee, born in Goyang (ROK) in 1981, lives in Seoul and Berlin. Study at the School of Fine Art, NationalUniversity, Seoul. Hyein Lee is currently receiving a grant from the Arts Council Korea and is a guest at Künstlerhaus Bethanien.</p> <p>Info:</p> Mon, 14 Jan 2013 21:47:30 +0000 Sharon Houkema - Künstlerhaus Bethanien - January 18th, 2013 - February 10th, 2013 <p>Sharon Houkema’s artistic work belongs in the field of environment, in which a link is generated between the world of ideas and the real world.</p> <p>In her latest project, the title of which – <i>Why tidy my exhibition space when the whole world is in a mess? </i>– takes up and adapts a Greenpeace slogan, Houkema directs her attention towards the idea of environmental conservationand the associated social and political movement. She illuminates environmentalism from artistic vantage points by focusing on the images and narrative structures that it employs.</p> <p>For her exhibition project in Künstlerhaus Bethanien, Houkema collected campaign material and corresponding items of clothing from conservational activists, as well as ‘green’, i.e. recycled or in the broadest sense ecologically correct, products from all spheres. She then arranged the stickers, coffee mugs, items of clothing and toys from the past decades and the present day into an exhibition. Despite the sad relevance of the theme in face of today’s climate problems, the spatial installation – which is reminiscent, as a whole, of a not very tidy but exclusively ecologically furnished home situation –also encompasses humorous and nostalgic aspects.It is likely to raise a wide range of questions for the viewerdue to the different, sometimes conflicting messages of these objects grouped by the artist according to purely formal criteria. As in all her works, in this new project the artist is concerned with the question of the perspective from which things are regarded, something that changes according to our own position, and also with the way in which formal conditions – inboth a concrete and metaphorical sense – are able to change the meaning of a narrative or a statement.</p> <p> </p> <p>Sharon Houkema, born in Drachten, Netherlands in 1975, lives and works in Amsterdam and Berlin.</p> <p>International working residences incl.inthe El Eco Museo Experimental, Mexico City; at Viafarini, Milan, and at the Rijksakademie van beeldende kunsten, Amsterdam. Exhibitions incl.: White Box, New York;Stedelijk Museum, Schiedam; Fact Liverpool and La Casa Encendida, Madrid.</p> <p>Sharon Houkema is currently receiving a grant from the Mondriaan Fonds;she is a guest atKünstlerhaus Bethanien in the context of our International Studio Programme.</p> Mon, 14 Jan 2013 21:43:00 +0000