ArtSlant - Closing soon http://www.artslant.com/ber/Events/show en-us 40 Micha Ullman - ALEXANDER OCHS GALLERIES BERLIN | BEIJING - November 29th, 2012 - February 15th, 2013 Mon, 07 Jan 2013 09:13:13 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list SVEN DRÜHL - ALEXANDER OCHS GALLERIES BERLIN | BEIJING - December 14th, 2012 - February 15th, 2013 <p></p> <p>Die Bilder dieser Ausstellung zeigen Architekturen und Landschaften. Geografisch und in ihrer Funktion sind die Motive kaum zuzuordnen. Bei naher Anschauung zeigt sich, dass die Oberflächen von scharf voneinander abgegrenzten Flächen bedeckt sind. Minimale Erhöhungen heben sich von einer glatten Ebene ab, die so dünn ist, dass sie kaum die Textur der Leinwand zu verbergen vermag. Landschaften werden zu Architekturen und Architekturen zu Landschaften.<br /> <br /> Für seine Motive greift Sven Drühl auf vorgefundene Fotografien zurück oder er bedient sich kunsthistorischer Quellen aus der Malerei der Romantik und des Realismus, er zitiert Architekturen des russischen Konstruktivismus, des Bauhauses, bis hin zu zeitgenössischen Werken. Es geht dabei jedoch nie um eine vollständige Adaption, lediglich der von ihm gewählte, gleichsam freigelegte Ausschnitt verbleibt als alleiniger Betrachtungsgegenstand.<br /> <br /> Die malerische Tiefe, die Weite jeder romantischen Landschaft, ebenso der dokumentarische Anspruch von Architekturbildern werden durch das Ausschnitthafte aufgegeben. Drühls Bilder wirken kühl, sie sind menschenleer und jeglicher Narration entzogen. Was bleibt sind Stereotypien, Motive, die scheinbar im Banalen verharren. Die Motive gewinnen jedoch in ihrem Abstraktionsgehalt, auch die Landschaften, und dies ist in besonderem Maße auf die Technik zurückzuführen.<br /> <br /> Sven Drühl fertigt zunächst mit Silikon Umrisszeichnungen an. Die frei gelassenen Linien und Flächen füllt er dann mit Ölfarbe oder mit Lack. Es sind im Grunde also autonome Flächen, die er in der Komposition zusammenführt, die gleichzeitig aber durch die Unvereinbarkeit der Materialien getrennt bleiben müssen. Der hochglänzende Lack als Industriewerkstoff trifft hier oft auf den pastosen Duktus der Ölfarbe, welche nicht zuletzt durch ihre tradierte Rezeption dem entspricht, was mit handwerklicher Könnerschaft konnotiert ist.<br /> <br /> Der Frage nach Originalität und Erfindungssinn in der Malerei begegnet Drühl vordergründig dadurch, dass er das annektierte Ausgangsmotiv beschneidet und die ,Handschrift‘ des Künstlers, der die Vorlage geschaffen hat, unkenntlich macht. Einen chiffrierten Hinweis auf die Urheberschaft der Ausgangsmotive geben allenfalls seine Werktitel, die lediglich die Monogramme nennen. Durch seine schematische Bildsprache verwischt er darüber hinaus auch Spuren seiner eigenen Autorenschaft.<br /> <br /> Diese bleiben gegenwärtig durch seine Materialsprache und die analytische Zerlegung des Bildgegenstandes. Ohne in den andauernden Diskurs um das Wesen der Malerei und ihrem vermeintlichen Ende unmittelbar einzutreten, gelingt Sven Drühl auf dem Grat zwischen Kopie und Neuschöpfung, zwischen der Komplexität des Visuellen und seiner formalen Reduktion, eine ästhetische Neubewertung allgegenwärtiger Bild-Erfahrungen.<br />  </p> <p>Peer Golo Willi</p> <p></p> Sun, 09 Dec 2012 01:42:49 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Jonathan Yeo - Circle Culture Gallery / Berlin-Mitte - November 9th, 2012 - February 15th, 2013 <p style="text-align: justify;"></p> <p style="text-align: justify;"></p> <p style="text-align: justify;"></p> <p style="text-align: justify;"><b>PRIME CUTS</b><br /><br />Who has the harder job – a surgeon or a portrait painter? I’m listening to Sir Roy Calne give his thoughts on surgeons and painters.  And he knows what he’s talking about. Calne performed the first liver transplant in Europe back in 1968 and the world’s first liver, heart and lung transplant in 1987. He is a gifted painter too and was taught by one of his patients – the excellent and troubling Scots artist John Bellany. Calne’s portraits have something of Alice Neel’s psychological acuity. His talk takes us through the battle- scarred portraits of Henry Tonks F.R.C.S. and then he pauses to tell us a great story about Max Liebermann. Before painting his portrait of Ferdinand Sauerbruch (then head of the surgical department of the Charité in Berlin) Liebermann apparently had a warning for the surgeon. The artist told Sauerbruch if he, the surgeon, made a mistake then he could bury it, cover it up with grass in a cemetery - but that if the great Liebermann cocked up then it was stuck on a museum wall for centuries…<br /><br />Jonathan Yeo (b1970) is well aware of the risks that face the portrait painter in the early 21st century. Getting it right in an era of mass surveillance and endless real-time celebrity exposure has paradoxically never been more a challenge. Media intrusion means that, for the famous, the personal guards are well and truly up. How then to break these down slowly with paint, to capture some idea of the essential self? Already well known for his iconic takes on Tony Blair, Dennis Hopper and Nicole Kidman Yeo now turns attention to surgery and in particular that associated with cosmetic operations. Beauty and the endless search for perfection then – the incredible price that some will pay to achieve it.<br /><br />Each era has its own artistic challenges – for Tonks and Otto Dix capturing the surgical results of the First World War was a moral imperative, an essential truth. For Yeo the augmentations and reductions carried out now by plastic surgeons speak of today’s inescapable truths.  We want to look like that…we want our idea of perfection. And in this respect some cosmetic surgeons are sculptors, artists, second cousins removed to, say, Orlan and her experiments. Some surgeons even recognize the work of a colleague, the aesthetic taste of a peer, in the styling of a face-lift.  Yeo’s paintings document this relatively recent craze for a surgically created idea of perfection, a phenomenon not so far away from the eroticism of violence prophesized by J.G. Ballard in his books like The Atrocity Exhibition (1969) and Crash (1973). Yeo’s paintings ask us this - by striving for a fixed ideal of beauty are we not in danger of developing a uniformity of appearance? And by extension by reducing or eliminating difference and oddity in looks might we, ultimately, degrade our capacity for surprise, for finding real beauty in the flaw? Maybe Todd Rundgren was right when he sang that love between the ugly is the most beautiful love of all…<br /><br />Yeo has done his own in-depth research by working with several surgeons. The parallels of creative surgery with painterly activity are highlighted by explicit reference to surgical markings. His collaboration recalls that of writer Ian McEwan who watched a neurosurgeon for two years as research for his novel Saturday (2005). But even as discreet a writer as McEwan cannot escape a certain ironic suggestiveness (his surgeon is named Perowne - which recalls Peyronie’s disease, a painful condition that causes abnormal curvature of the penis). Yeo as a realist in his imagery avoids any such contrived associations and, in a thankfully calmer time than that of Goya, also says Yo lo vi – I saw it. Abdominoplasty and blepharoplasty. Labiaplasty, phalloplasty – Y esto también -and this as well. Draw your own conclusions.<br /><br />In sharp contrast to these surgically contrived attempts at beauty is his new painting of Sienna Miller pregnant. Compelling images of gravidity are relatively uncommon in art, one thinks of Lucian Freud’s languid Kate Moss (2002), Alice Neel’s Pregnant Woman (1971) with her splendid linea nigra, or R.B. Kitaj’s saftig Marynka Pregnant II (1981). All too often images of pregnancy fail to capture its essential mystery and majesty and fall ingloriously into two categories - the glutinously sentimental or cheesily pornographic. Yeo neatly avoids these traps and has caught and fixed a taut moment of imminence.<br /><br />John Quin</p> <p></p> <p></p> <p></p> Sat, 22 Feb 2014 15:33:32 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Gary Hill, Ku-Lim Kim, Björn Melhus, Clemens von Wedemeyer, Mike Steiner, Nástio Mosquito, Mariana Vassileva - DNA - January 15th, 2013 - February 15th, 2013 <p><span style="color: #808080;" class="Apple-style-span" color="#808080">“<b><i>Res(v)olution</i></b>” at the DNA Berlin illuminates the process of artistic creation in video art, regarding its technical conditions and particular role of image resolution: from super 8 to video through early pixilated digital recordings to HD resolution as well as approaches to video art in times of the internet. In this context, the material qualities of the medium shown as well as its relation to sound will be explored. The exhibition arranges a wide range of video and film works simultaneously in an open space, providing a panorama of distinctive positions from the 1960s to the present day with works by Gary Hill, Ku-Lim Kim, Björn Melhus, Clemens von Wedemeyer, Mike Steiner, Nástio Mosquito and Mariana Vassileva. <br /></span></p> Wed, 16 Jan 2013 01:22:46 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list - FREIES MUSEUM BERLIN - February 9th, 2013 - February 15th, 2013 <p>Unter dem Titel „acht!“ stellen die Absolventen der BTK – Hochschule für Gestaltung ihre Abschlussarbeiten im Freien Museum aus. Die Eröffnung findet am 8. Februar um 19 Uhr, ganz im Zeichen des Oktaeders, statt.<br />Der geometrische Körper mit acht Seiten steht für die Vielseitigkeit der Arbeiten und die kreative Entfaltung der persönlichen Fähigkeiten während des Studiums. Die zahlreichen Varianten, einen Oktaeder zu falten, entsprechen auch den unterschiedlichen Wegen, welche die Studenten der BTK eingeschlagen haben, um ihre Visionen neuer Kommunikation zu verwirklichen. Gezeigt werden Arbeiten aus den Studiengängen Motion Design, Kommunikationsdesign, Interaction Design und Fotografie. <br />Die Werke sind bis zum 15. Februar 2013 zu sehen.</p> Tue, 08 Jan 2013 19:42:18 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list R.B. Kitaj - Moeller Fine Art Berlin - November 3rd, 2012 - February 15th, 2013 <p><span style="font-size: small;" size="2">Moeller Fine Art Berlin is pleased to announce the exhibition "R.B. Kitaj," on view from November 3, 2012 to January 25, 2013. The exhibition will run concurrently with the retrospective "R.B. Kitaj: Obsessions" at the nearby Jewish Museum Berlin, through 27 January, 2013. Moeller Fine Art's exhibition presents 15 important paintings created during the 1980s, 1990s, and 2000s. All works are for sale.<br /> <br /> R. B. (Ronald Brooks) Kitaj (1932-2007) is among the best-known of the figurative painters of the “The London School,” a name Kitaj coined in a catalog essay for his 1976 retrospective at the Arts Council of Great Britain, London. Kitaj's honors include election to the American Academy of Arts and Letters in 1982. In 1985, he became the first American since John Singer Sargent to be elected to the Royal Academy. Numerous retrospective exhibitions of his work have been held, including those at the Hirshhorn Museum, Washington, DC, the Tate Gallery, London, the Los Angeles County Museum of Art, and Metropolitan Museum of Art, New York.<br /> <br /> For Kitaj, art was a medium of intellectual exploration, which he mined using references from history, art, literature, pop culture, and his own life. These complex compositions of disorienting landscapes and impossible three dimensional constructions are built up using a montage of images, which he called 'agitational usage'. This juxtaposition is not only one of space but also of time; The Room (Rue St. Denis), 1982-83, exhibited at the Tate retrospective in 1994 and included in the gallery’s exhibition, refers to Kitaj's life and its connection to that of Pablo Picasso: "the year that I lived in Paris, I painted this room which is in the mile-long street which I have haunted since I was eighteen, a street Picasso also loved but I don't know if he ever painted it or its small rooms." <br /> <br /> Kitaj was also a voracious reader and sought to communicate both through form and text. He accompanied many of his works with explanatory “prefaces” and identified with the “painter-scribbler” Vincent van Gogh, to whom he paid homage with After Vincent (2nd Transaction), 2006. For the “preface” of the painting My First Time (Havana, 1949), 1990, also included in the exhibition, Kitaj wrote: </span> <br /> <br /> <span style="font-size: small;" size="1"> I’ve been possessed by a very occasional semi-secret life, not at all uncommon to judge only by erotic art and literature of many cultures, and its bittersweet addictions have fascinated me since my First Time in Havana forty-five years ago (Flaubert says ‘He has not lived’ who has not been drawn into and shamed by this ill-famed addiction), but when I think that a rare beauty has transpired in my secret life, not unlike any other experience of nature which one tries to commit to canvas, I feel it may belong to painting, even when I suspect that the bitter undertaste of the sensual port and its streets of shame may be unknowable to many people, and so it seems to me that if I can recall some sense of sexual drama, as in this bildungsroman about my lost youth, the singular tense in art may be faintly heard and one’s youth may even seem regained.</span></p> Wed, 16 Jan 2013 00:26:53 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Willi Baumeister, Hans Uhlmann, Norbert Kricke, Ernst Wilhelm Nay - Aurel Scheibler - December 8th, 2012 - February 16th, 2013 <p>Aurel Scheibler inaugurates his new location at Schöneberger Ufer with FORM FARBE RAUM (Form Color Space), an exhibition which focuses on four German artists whose work very much evolved around these three elements: Hans Uhlmann (1900-1975), Willi Baumeister (1889-1955), Norbert Kricke (1922-1984) and Ernst Wilhelm Nay (1902-1968). FORM FARBE RAUM shows paintings, sculpture and works on paper mainly originating from the 1950s and 1960s. The exhibition runs from 8 December until 16 February and opens on Friday 7 December from 6 pm to 9pm.<br />‘Degenerate’ was a term which had made a whole contingent of Germany’s most influential and important artists non-entities for more than a decade. Prohibited to work, to exhibit, to even obtain canvas or paint, they were bereft of their livelihood and their essence. For many of them, employment in another professional environment or military service formed their official existence while the shadow side of life was filled with a continuation of their artistic productivity. Against this background, the end of the war, despite all its destruction, also stood for liberation, for freedom, for the regained possibility to frankly express the innermost ideals.<br />Finding a new departure after the war proved to be a very individual undertaking. Depending on context, background and personal circumstances, artists reacted differently to their newly re-acquired liberty. All four artists presented in this exhibition decidedly chose a non-political way, elevating their art above the level of reactionism or misanthropy. The process towards abstraction which had found its origins in Cezanne’s work and had subsequently gone through the motions of movements such as cubism, constructivism and suprematism had already found its way into the prewar oeuvre of Baumeister, Uhlmann and Nay. It was its ability to open up new dimensions and proximities as well as its propensity to communicate in an exacting and direct way which led these artists and a next generation including Kricke to be further guided by this new language.<br />Recognition in Germany followed rather swiftly, but access to an international audience was harder to establish. ‘German’ proved to be a loaded denomination. It took years and very committed supporters for these artists’ reputations to pass the German borders. Uhlmann, Baumeister, Kricke and Nay still may not be real ‘household names’ in today’s international art scene, but the  elevance of their work to international artists, museums and collectors has become more pronounced over the years. The relative ‘obscurity’ of these artists however is certainly part of the reason why every new encounter seems to reveal afresh how truly radical and groundbreaking their work was and still is.<br />Hans Uhlmann (1900 – 1975)<br />Two key words have been used to distinguish Hans Uhlmann’s work – resilience and courage. Trained as an engineer, Uhlmann had established a discrete but promising parallel existence as a sculptor when in 1933 the political regime forced him to take his sculpting activities underground, where he continued his artistic life in a solitary atmosphere comparable to that of exile, creating sculpture impregnated with an aura of stillness. In 1945, the artist Uhlmann could finally re-emerge and his search for a new, transparent, space-defining form of sculpture was further developed. The use of wire, metal rod and surfaces on the one hand, his technical knowledge regarding statics, volumes and materials on the other, enabled Uhlmann to bring about a new form of sculpture. His work is defined in terms largely unknown to the sculpture jargon: rhythm, transparence, energy flow, and weightlessness.<br />Although fully abstract in their appearance, his sculptures never lose touch with the natural world to which Uhlmann returned again and again, both in the drawings as well as the sculptural oeuvre. It is in their transcendence, in their force as spiritual and poetic translation of reality, that Uhlmann’s works acquire their full dimension.<br />In the 1950s, Uhlmann’s work was exhibited sporadically in Germany by Berlin-based galleries but mostly by the Günther Franke gallery in Munich. The Kestner Gesellschaft in Hannover presented selections of his work in 1953 and excerpts were also shown in Bremen, Wuppertal and Wolfsburg. His first international gallery exhibition was in 1957 at the Gallery Kleemann in New York. Uhlmann’s sculpture was part of the first three Documenta editions in Kassel (1955, 1959 &amp; 1964). Internationally he was shown at the Venice Biennale (1954); the ‘New Decade’ exhibition at the Museum of Modern Art, New York (1955); the World Exhibitions in Brussels (1957) and Montreal (1967); and in the First International Exhibition of Modern Sculpture in Tokyo (1969). However, it was only in 1968 that the first retrospective exhibition of Uhlmann’s work in Germany took place, which was at the Akademie der Künste in Berlin. Hans Uhlmann made his last sculpture in 1972, he died three years later.<br />Willi Baumeister (1889 – 1955)<br />Although fully established as a well-known artist and arts professor, the change in the political climate in 1933 resulted in Baumeister’s dismissal from his professorship at the Frankfurter<br />Kunstgewerbeschule and the removal of dozens of his paintings from German museums. Before and during the war, Baumeister earned a living from producing commercial art and from a day job in a varnish factory. His book ‘About the Unknown in Art’ was published in 1947 and revealed a fascination with the elements of movement and time. Guiding the viewer’s gaze, providing him with an experience of mobility and rhythm and creating a sense of time, were his main preoccupations. ‘All-over’ – the equality of the depicted elements and their background – became a key concept in his oeuvre, especially in his late work. Once the war had ended, Baumeister, like Nay, formed an invaluable bridge between the prewar and postwar art world and an important forerunner for a new generation of artists.<br />Baumeister, thanks to his active and sustained international prewar network, was able to exhibit relatively swiftly again after the war. In 1948 he participated in the ‘Salon des Réalités Nouvelles’ in Paris and in the Venice Biennale to which he was invited again in 1952; in 1950 he had a solo exhibition at the gallery Jeanne Bucher in Paris. One year later Baumeister was represented at the first Biennale in São Paulo and received the Biennale Prize. In 1953 his works were part of the exhibition ‘Younger European Painters’ at the Solomon Guggenheim Museum in New York and of exhibitions in Tokyo and New Delhi. He had solo exhibitions in 1954 and 1955 in Stuttgart, Paris and Cologne and participated in the first edition of Documenta in Kassel. Willi Baumeister died in his atelier in 1955.<br />Norbert Kricke (1922 – 1984)<br />A generation younger than the three other artists represented in FORM FARBE RAUM, Kricke’s work still shaped itself against a backdrop of war and a search for other media of artistic expression. The American avant-garde with its idiosyncratic vitality – specifically the work of Jackson Pollock and Alexander Calder – impressed the young artist. In the mid fifties, Kricke succeeded in breaking up the compactness and denseness which had characterized so much of sculpture for so long. He shaped expressive linear wire structures, at times accentuated with color, suggesting weightlessness and movement and leading the viewer into the openness of space rather than obstructing it. Kricke’s sculptural compositions defy every attempt to order or fixate as his use of linear components signifies an uninterrupted sense of movement, without beginning or end, regardless of angle or perspective. <br />Although the idea of ‘transcending’ plays a major role in Kricke’s work, there was no intention on the artist’s part to conduct a spiritual search. Kricke saw his work as an emotional gesture that takes on a physical presence in space and offers the artist access to the world.<br />Norbert Kricke’s first solo exhibition in Germany took place in 1953 at Ophir, Gustl Böhler’s gallery in Munich and was followed a year later by a solo show in the gallery Parnass in Wuppertal. 1955 was marked by high activity as Kricke’s work was shown in exhibitions including ‘Peinture et Sculpture non figurative en Allemagne d’aujourd’hui’ (Paris); the Middelheim Biennale (Antwerp); and at the Düsseldorf Kunstverein where he received a solo presentation which traveled later that year to Istanbul.<br />In the following years he had solo shows at gallery Samlaren in Stockholm, at Iris Clert’s gallery in Paris and at the Kunstverein Freiburg. 1958 was a hallmark year as Kricke received the prize of the Chicagobased Graham Foundation for Advanced Studies in the Fine Arts, which was followed in 1961 by a solo exhibition at the Museum of Modern Art in New York. His sculpture was also included in Documenta II and III (1959 and 1964). Over the years, Norbert Kricke also received and realized private and public commissions for outside sculpture in Germany and abroad. The artist died in 1984.<br />Ernst Wilhelm Nay (1902 – 1968)<br />To Nay, the artist’s gift was a sacred one: the capability to construct an image in which the sublunary and the transcendental touch. The artist whose paintings had been designated as ‘degenerate’ at the end of the 30’s and whose war experience as part of the infantry was nothing if not repressive, returned to his artistic life in 1945 with a fundamentally positive attitude and a deep desire to invoke a solid foundation of European culture that ante-dated the destructiveness of its history. Nay’s move to Cologne in 1951, a large and bustling city with an active musical scene, clearly inserted an element of rhythm and velocity in his work which had already left figurative allusions behind and had become preoccupied with an open pictorial structure and the value of color. Music to Nay symbolized freedom and stood for a perceived order evoked by the character of the different keys. These modi he expressed in his color constellations whose harmony was rooted in the intrinsic laws of color relationships. The freely rotating and frictionless colored discs slowly came to a standstill in the early 60’s, fixing their gaze on the viewer, offering him a magical lens which seemed to enable a glimpse into the secrets of the universe. In the last turn of Nay’s oeuvre, the gazing eyes dissolved into absolute clarity and simplicity, calling forth compositions in which the motives have become one with the ground and constitute an artful membrane between the ‘Here’ and the ‘Beyond’.<br />Ernst Wilhelm Nay’s work received its first postwar exhibition in 1946 with the galleries Franke in Munich and Rosen in Berlin. The Kestner Gesellschaft in Hannover gave him a first retrospective exhibition in 1950. His first international solo show took place at the Gallery Kleemann in New York in 1955. The Venice Biennale of 1948 showed wone painting by E.W. Nay and during the 1956 edition he had a solo exhibition in the German pavilion. Nay’s work was presented during the Documenta I, II and III, the last one being particularly memorable because of the three large-scale paintings that were suspended from the ceiling of the Museum Fridericianum. A participation in the São Paulo Biennale took place in 1959 and was followed by the award of the Guggenheim Prize for German art in New York in 1960. During the 1960s, Nay participated in several exhibitions in the US. His last retrospective during his lifetime was at the Museum des 20. Jahrhunderts (Museum of the 20th Century) in Vienna. His final trip to Berlin he undertook in February 1968, to visit Uhlmann’s exhibition in the Akademie der Künste. Ernst Wilhelm Nay died three months later.</p> Mon, 17 Dec 2012 18:50:12 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Paul Neagu, Geta Bratescu - Galerie Barbara Weiss - January 15th, 2013 - February 16th, 2013 <p>Die Galerie Barbara Weiss führt in ihrer Doppelausstellung <i>Geta Brătescu und Paul Neagu</i> zwei der herausragendsten rumänischen Künstler der Nachkriegszeit zusammen.</p> <p>Geta Brătescu (geb. 1926 in Ploiesti) erregt seit einigen Jahren durch Beteiligungen an wichtigen Ausstellungen große internationale Aufmerksamkeit. Ihre Arbeiten waren u.a. zu sehen im New Museum, New York, der Tate Modern, London, der Istanbul Modern Biennale und der Triennale Paris. Das Oeuvre Brătescus zeichnet die Komplexität der Materialien und Medien des Ausdrucks aus. Es umfasst Objektkunst, Performance, Film, Zeichnung, Grafik, Collage, Fotografie und Textilkunst.</p> <p>Ihre künstlerische Praxis nimmt ihren Ausgang in den 1940er Jahren. Sie nutzt eine Reihe künstlerischer Verfahren aus dem visuellen und theoretischen Repertoire der Moderne, entwickelt sie weiter und schafft neue Ausdrucksweisen und Konzepte. Informationsquelle für internationale Entwicklungen in der zeitgenössischen Kunst waren in den Jahrzehnten der weitestgehenden Isolation unter der Herrschaft Ceauşescus überwiegend Bücher, Kataloge, wenige Ausstellungen und Reisen. Politische, gesellschaftliche und kulturelle Umbrüche, die die Künstlerin miterlebte, sind wichtig für das Verständnis ihres Werkes. Die über fünf Meter lange siebenteilige Collage <i>Memory – state of mind without a title</i> (1990/91) ist ein Erinnerungsstück. Entstanden ist sie in gänzlichem Rückzug kurz nach der Wende und zeigt die für Brătescus Werk typische erweiterte Bildsprache: Figuren, Medaillons, Schrift, Schriftstücke und Briefe. Die Elemente eröffnen eine Reihe von Assoziationen und Referenzen auf ihr eigenes Werk, Kunst- und Kulturgeschichte sowie die Bedeutung von Literatur und Schreiben für die Künstlerin und wirken in ihrer Abstraktion, Aneinanderreihung und Schichtung gleichzeitig geradezu enzyklopädisch. </p> <p>Im Gegensatz zu Brătescu, die über Jahrzehnte innerhalb des Systems arbeitete, immigrierte Paul Neagu (1938–2004) in den 1970er Jahren nach Großbritannien und konnte mit Ausstellungen im British Museum, der Tate Britain und dem Victoria &amp; Albert Museum frühe Erfolge feiern und beeinflusste seine Schüler, u.a. Antony Gormley, Anish Kapoor, Tony Cragg, Rachel Whiteread und Langlands &amp; Bell. </p> <p>Die in die Ausstellung wieder aufgenommene Performance <i>The Cake Man</i> wurde am 10. Mai 1971 in der Sigi Krauss Gallery in London uraufgeführt. Das Reenactment greift einen wichtigen Aspekt in Neagus künstlerischer Praxis auf – die Entstehung eines Prozesses der aktiven, kollektiven Erinnerung, die Neagus Auffassung, Kunst verfüge über eine unbegrenzte Freiheit der Kommunikation in Raum und Zeit, widerspiegelt. </p> <p>Neagu schuf hier eine Situation, in der das Publikum durch den Verzehr der Waffeln an der Performance partizipiert. Wenn die Zellen aus ihrem Verbund gelöst werden, zerfällt die Figur in ein abstraktes Muster. Die Teilnehmer werden zu Teilhabern des Zerfalls der organischen Einheit. </p> <p>Zellähnliche Strukturen sind typisch für Neagus Werke der frühen 1970er Jahre, wie die ergänzend zum Reenactment in der Ausstellung zu findenden Zeichnungen zeigen. Neagus Philosophie, die in engem Zusammenhang steht mit der symbolischen Anthropologie Gilbert Durands, betont die gleichzeitige Unterscheidbarkeit und Vernetzung von allem, vom molekularen Teil bis zum universalen Ganzen, während Geta Brătescu hier durch Schichtung und das Zusammenfügen von Fragmenten ihren eigenen Kosmos kreiert. </p> <p>Die Ausstellung wurde in Kooperation mit der Ivan Gallery Bukarest realisiert, der wir herzlich danken.</p> <p>Doerte Achilles</p> <p> </p> <p>Galerie Barbara Weiss is bringing together two outstanding Romanian artists of the post-war era in the exhibition <i>Geta Brătescu and Paul Neagu</i>.</p> <p>Geta Brătescu, born in 1926 in Ploiesti, has in recent years achieved major international recognition through the participation in important exhibitions at the New Museum, New York, Tate Modern, London, Istanbul Biennial and the Triennial in Paris. Her oeuvre is characterised by the complexity of the material and the media of expression. It comprises object art, performance, film, drawings, graphics, collage, photography and textiles. </p> <p>Brătescu began her artistic practice in the 1940s. In the years of isolation under the rule of Ceauşescu, her main source of information for international developments in contemporary art, were predominantly books, catalogues, a few exhibitions and visits abroad. She utilizes a series of artistic processes out of the visual and theoretical repertoire of modernism and develops these further into different forms of expression and alternative concepts. Political, social and cultural upheavals that the artist has witnessed are all important factors for the understanding of her work. Consisting of seven parts and over five meters long, the collage <i>Memory – state of mind without a title</i> (1990/91), is in itself a piece of memory. It was created in complete retraction very shortly after the fall of the iron curtain showing Brătescu’s characteristic, extended image language: figures, medallions, writings, documents and letters. The elements seem in their abstraction, being strung together and layered one after the other almost universal; they offer a number of associations and references to her artwork, such as art and cultural history as well as the importance of literature and writing to the artist. </p> <p>In contrast to Brătescu, who had for decades worked within the system, Paul Neagu (1938–2004) immigrated in the 1970s to the United Kingdom and celebrated early success with shows at the British Museum, Tate Britain and the Victoria &amp; Albert Museum. He also influenced many of his students such as Antony Gormley, Anish Kapoor, Tony Cragg, Rachel Whiteread and Langlands &amp; Bell.</p> <p>The performance <i>The Cake Man</i> presented here at the exhibition was first shown on 10th May 1971 at the Sigi Krauss Gallery in London. The re-enactment takes up an important aspect of Neagu’s artistic practice – the emergence of an act of active and collective remembrance, which reflects Neagu’s perception that art has the potential of unbounded freedom to communicate in time and space. </p> <p>During the event, Neagu invited the audience to take part through the consumption of waffles, which symbolize cells. When they are extracted out of their initial structure, the figure falls into an abstract pattern. Hence the audience becomes active participants of the fall of this organic unity.</p> <p>Cell-like structures as shown in the re-enactment together with a series of works on paper displayed in this exhibition are typical for Neagu’s works of the early 1970s. His philosophy, which stands in close relationship with the symbolic anthropology of Gilbert Durand, stresses the simultaneous distinctness and interconnectedness of everything, from the molecular level to the universal. Geta Brătrescu, in comparison, creates her own cosmos through the joining and layering of a multitude of fragments.</p> <p>The exhibition was realized in cooperation with Ivan Gallery Bucharest.</p> <p>Doerte Achilles</p> Mon, 14 Jan 2013 11:04:41 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Rainer Fetting - Galerie Deschler - October 19th, 2012 - February 16th, 2013 <p>In an exhibition coinciding with the publication by Edition Braus of an extensive<br />500-page book with roughly 500 photographs taken by the internationally renowned<br />Berlin painter and sculptor Rainer Fetting, affording the general public<br />an unprecedented overview of his extensive photographic work, including<br />countless images never before on view, Galerie Deschler is presenting a large<br />number of these photographs selected by the artist himself.<br />The photographs extend back into the late seventies and comprise a range of<br />different themes and subject matters, from cityscapes and street photography<br />taken mainly in New York and Berlin, to portraits and nudes all the way to<br />private snapshots. The images present a veritable treasure trove of documentary<br />material on the era covered, capturing the specific atmosphere of the two<br />metropolises and their art scenes, as well as providing insights into Fetting’s<br />own development as an artist and the evolution of his subject matter in various<br />media. Even though Fetting’s main interest has consistently been painting and<br />sculpture, he almost always took a camera along on his excursions, for “photographs,”<br />in his words, “not only oftentimes replace the sketchbook, but taking<br />pictures was a fundamental necessity for me, being able to capture places,<br />landscapes and people with a quick press of the shutter release.”<br />Upon entering the gallery space the visitor is confronted by two series of selfportraits<br />created during Fetting’s first stay in New York in 1978, funded by a<br />German DAAD government grant. On the right is a series photographed in the<br />subway (Self in Subway), on the left a series that combines self-portraits on<br />the streets of New York with images of American trucks. The headband Fetting<br />is wearing in the subway-series was a reference to the movie “Flesh” (1968,<br />directed by Paul Morrissey and produced by Andy Warhol), featuring the actor<br />Joe Dallesandro as a young hustler on the streets of New York and wearing just<br />such a headband. Fetting, who had already been active in the Berlin gay rights<br />movement and who was also interested in the homosexual scene in New York,<br />was inspired by the sexual candor of the movie. But the movie’s new aesthetic<br />of using ostensible technical shortcomings such as camera shake and abrupt<br />cuts to convey a sense of truthfulness and authenticity also had a strong influence<br />both on Fetting’s photography and the films he was shooting at the time.<br />His self-portraits with the truck furthermore allude to Robert de Niro’s famous<br />impersonation of the “Taxi Driver” in Martin Scorsese’s 1976 film, another important<br />source of inspiration for Fetting. The theme of the restless young man<br />seeking fulfillment in the ultimate metropolis is enhanced by an impression of<br />brute force emanating from the American truck, which must have struck Fetting<br />as being so much more masculine and raw than their European counterparts.<br />The series Escape From New York, on the other hand, came about at Fetting’s<br />precipitous departure from New York and return to Berlin after his gay lifestyle<br />had led to threats against his person.<br />A further group of photographs, presented in a ‘salon’ or ‘Petersburg’ hanging,<br />combines photographs of people from different walks of Fetting’s life: friends,<br />muses and models, such as Andrea and Susanne, but above all Desmond<br />Cadogan, featured in various pictures and immortalized in countless paintings<br />and sculptures, as well as artist colleagues such as Fetting’s one-time partner<br />Salomé, shown here during a performance in the shop window of the Berlin<br />Galerie Petersen in 1977, the video artist Stefan Roloff, and Slava Mogutin, the<br />first Russian to be granted political asylum in the U.S. due to his homosexuality,<br />photographed as a reclining semi-nude wearing a mask. In the upper center a<br />picture of Fetting and Helmut Middendorf in a New York cab on their way to<br />meet Andy Warhol. Another image from the nude series of Gässler (Fetting,<br />Photography, p. 172 was the basis of several paintings by Fetting (FETTING, pl.<br />177 f.), one of which was exhibited in the German chancellery for a while.<br />In the back room we encounter images of the Berlin Wall, revealing Fetting to<br />be an attentive observer of his time and environment. At a time when the Berlin<br />Wall was mostly ignored or even tabooed by the art scene, Fetting dedicated a<br />whole series of photographs and paintings to the Wall, whose monstrous reality<br />nobody could deny but most chose to ignore. The 1977 photograph of the wall<br />by Zimmerstrasse is one of a series of images of this particular stretch of the<br />wall, another one from this very series being the basis of Fetting’s painting from<br />that same year rendered with violet buildings set against a yellow sky and entitled<br />“First Painting of the Wall” (FETTING, pl .43, today in the collection of the<br />Städel Museum). The oppressively somber black-and-white image with its stark<br />composition of unremitting candor provides a marked contrast to the night-time<br />photographs of the Wall, such as those by Sebastianstrasse, where the Wall is<br />almost made to disappear in a play of lights. Fetting exhibited a similar eye for<br />urban zones that receive less attention in his fascination with the old wooden<br />Hudson River piers in New York, previously a meeting ground for the gay<br />scene, as well as in numerous photographs taken in New York subway stations.<br />Despite the historically highly interesting content of many of Fetting’s photographs,<br />they are not documentary in nature, being in too high a degree shaped<br />by his vision as a painter and by his infallible sense of composition. Fetting is<br />less interested in an exact depiction of reality than he is in the capturing of<br />transient moments and painterly effects, an impression that is frequently enhanced<br />by camera shake and blur. This is particularly apparent in many of the<br />subway pictures exhibited in the basement, as well as in the photograph of the<br />Twin Towers, again a play of colors and light effects that seems to dissolve the<br />concrete materiality of the depicted architectural structures. The blurring of clear<br />outlines in favor of painterly impressionistic color fields is most vivid in the<br />photographs of New York cabs with their yellow planes and red accents set<br />against blue or dark backgrounds.<br />In Fetting’s photographs, it seems, even more than in his paintings, art and life<br />have merged. The dividing line between private snapshots and photography<br />motivated by artistic intention is obliterated and can often no longer be made<br />out. The photograph of Desmond reflected in the bathroom mirror, with Fetting’s<br />own reflection visible behind him, can emblematically represent Fetting’s photography<br />in general: the picture draws us in simultaneously with its intimacy, its<br />composition, and as a self-portrait of the photographer in action. In these photographs,<br />the modernist’s battle-cry for the unity of life and art has become reality,<br />the distinction of separate realms obsolete. In their very own aesthetic of spontaneous<br />immediacy these images are interesting and vibrant in both form and<br />subject matter. As such they go far beyond their documentary aspect in conveying<br />Fetting’s visual experience of the world in which he lives and moves and<br />which is reflected in his art. They not only provide fascinating glimpses into the<br />development of his paintings and sculptures, but are works of art in themselves.</p> Wed, 16 Jan 2013 00:01:27 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Frank Nitsche - Galerie Max Hetzler (Oudenarder Straße) - January 12th, 2013 - February 16th, 2013 <p style="text-align: justify;"><span style="font-size: small;">Galerie Max Hetzler is pleased to announce the exhibition PROFESSIONAL SMILE of recent works by Frank Nitsche.</span><br /><br /><span style="font-size: small;">In a series of large canvas the Berlin based artist, born in 1964 in Görlitz, analyses his work and practice. As a result, he redefines the scope of his formal vocabulary. Nearly void surfaces of only a few geometric shapes are accompanied by seemingly three-dimensional architectures of lines and circles, which are reminiscent of assembly parts as to be found in complex construction drawings.</span><br /><br /><span style="font-size: small;">The painter deconstructs the formal style of his nearly 20 year oeuvre down to its basic elements. Bearing a pictorial grammar book in mind, which provides an alternative or even a counterproposal to any given syntax and linguistic term, Nitsche's paintings become a rhetoric, challenging themselves by revealing their means of expression.</span><br /><br /><span style="font-size: small;">Shapes from the world of consumption and media, stylized to consumer goods in virtue of promotional design, are dissected by the artist in order to be recomposed. Cartoon figures, newspaper illustrations or surfaces of products – everything adds to Nitsche's shaping machine. </span><br /><br /><span style="font-size: small;">The painter is constantly drawing on his own work, which he, however, does not quote, but deconstructs to construct anew. The series HELLO CHINA demonstrates this procedure in an exemplary manner. The paintings were exhibited at the Brandenburgischer Kunstverein Potsdam in 2010 / 2011 and referenced architectural elements of the Kunstverein's building. These paintings are now presented again in PROFESSIONAL SMILE. In the meantime they have been subjected to a reworking and, after having been painted over various times, now lost their green colouring. Nitsche does not celebrate his art as a finished good. Instead, each sketch is followed by another sketch. He examines, which of the executed movements, placements or shapes are needed to create an image. Eventually, he integrates both these forms and their opposites in his works.</span><br /><br /><span style="font-size: small;">The in-depth choreographed exhibition is not only a crucial painterly self-experiment, but all of a sudden is interrupted by the panopticon of a photo wall composed of media images, which Nitsche is collecting in photo albums since his student years. These albums are not to be mistaken for sketch books, on the contrary, here the artist develops his own classification system. Images, documenting accidents as well as zoological curiosities and rendered in matter-of-fact grids, thus become collages with torrents of media images.</span><br /><br /><span style="font-size: small;">Hence, PROFESSIONAL SMILE raises the question of how artistic surfaces differ from the surfaces of the world around us. Even more radically, Nitsche asks how artistic products can be differentiated from any other reconstructed media product. This exhibition provides an answer: Art is defined by eternal self-reflection and perpetual revision.</span><br /><br /><span style="font-size: small;">PROFESSIONAL SMILE is Frank Nitsche's fifth solo exhibition at Galerie Max Hetzler.</span><br /><br /><br /><span style="font-size: small;">Frank Nitsche, born in 1964 in Görlitz, lives and works in Berlin. He studied at Hochschule für bildende Künste (HfBK) in Dresden. </span><br /><br /><span style="font-size: small;">The artist had solo exhitions in institutions such as at the Brandenburgischer Kunstverein, Potsdam (2010/11); Haus am Waldsee, Berlin (2010); Sint-Lukasgalerie, Brussels; Musée d´Art et Contemporain, Strasbourg as well as at FRAC Auvergne, Clermont-Ferrand (2007). </span><br /><br /><span style="font-size: small;">Furthermore, Nitsche has participated in group exhibitions including Kunsthalle Erfurt; Stadtgalerie Kiel (both 2012); Fundación Barrié, A Coruña; Künstlerhaus Bethanien, Berlin; Croatian Biennial, Zagreb; Tel Aviv Museum of Art; Museo dell'Arte del Novecento e del Contemporaneo - Convento del Carmelo, Sassari; Hamburger Kunsthalle, Hamburg; Rohkunstbau, Berlin; b-05 Kunst- und Kulturzentrum, Montabaur; Kunstverein Ulm; Neue Galerie Gladbeck; Kunstmuseum Dieselkraftwerk Cottbus (all 2011); Städtische Galerie, Dresden; Ludwig Museum, Koblenz; Kunsthalle Dominikanerkirche, Osnabrück; Galerie der Stadt Sindelfingen; Märkisches Museum, Witten; FRAC Auvergne, Clermont-Ferrand; Royal Academy of Arts, London (all 2010); MUDAM – Musée d´Art Moderne Grand-Duc Jean, Luxembourg (2007); ZKM Museum für Neue Kunst, Karlsruhe (2006) and Tate Modern, London (2006) as well as the Prague Biennial (2005 and 2010) and at the Centre Pompidou, Paris (2004).</span></p> <hr /> <p style="text-align: justify;"></p> <p style="text-align: justify;"><span style="font-size: small;">Wir freuen uns, Sie auf die Ausstellung PROFESSIONAL SMILE mit neuen Werken von Frank Nitsche aufmerksam zu machen.</span><br /><br /><span style="font-size: small;">Der 1964 in Görlitz geborene, in Berlin lebende Maler unterzieht sein Werk einer konzeptuellen Selbstanalyse. In einer Serie großformatiger Leinwände spitzt Nitsche sein gestalterisches Vokabular radikal zu. Fast leere Flächen aus wenigen geometrischen Formen stehen beinahe körperlich wirkenden Architekturen aus Linien und Kreisen gegenüber, die in ihrer Komplexität an Konstruktionspläne aufeinander bezogener Bauelemente erinnern.</span><br /><br /><span style="font-size: small;">So entsteht entlang sorgfältig bestimmter Sichtachsen eine Ausstellung, in der Nitsche die Formensprache seines knapp zwanzigjährigen Oeuvres bis in seine Grundbestandteile zerlegt hat. An eine malerische Grammatik erinnernd, in der es zu jedem gefundenen Satzbau und jeder sprachlichen Aussage eine Alternative oder gar einen Gegenvorschlag geben kann, wird  Nitsches Malerei zu einer Rhetorik, die sich mit der Offenlegung seiner Ausdrucksmittel selbst infrage stellt.</span><br /><br /><span style="font-size: small;">Formen, die in unserer Waren- und Medienwelt aufgrund ihres verkaufsfördernden Designs zu Konsumprodukten stilisiert wurden, seziert Nitsche mit dem Blick eines Pathologen um sie dann wieder neu zusammen zu setzen. Comicfiguren, Zeitungsillustrationen, Produktoberflächen und journalistische Bilderzählungen – alles fließt in Nitsches Formmaschine ein. </span><br /><br /><span style="font-size: small;">Anders als in früheren Werkphasen greift der Maler inzwischen aber auch auf seine eigenen Arbeiten zurück, die er jedoch nicht zitiert, sondern demontiert und neu konstruiert. Beispielhaft wird dies an einer Werkserie deutlich, die Nitsche 2010 / 2011 unter dem Titel HELLO CHINA im Brandenburgischen Kunstverein Potsdam gezeigt hatte. Die Gemälde hatten sich auf Architekturelemente des Ausstellungsgebäudes bezogen und dessen Formen musterbuchartig in sich aufgenommen. In der Ausstellung PROFESSIONAL SMILE sind diese Bilder nun wieder zu sehen. Sie sind jedoch einer malerischen Umarbeitung unterzogen worden und haben nach zahlreichen Übermalungen unter anderem ihre grüne Farbe verloren. Nitsche feiert seine Kunst nicht als fertiges Luxusprodukt, sondern sucht bei jedem Entwurf auch nach dem Gegenentwurf. Er untersucht, welche der minutiös ausgeführten Bewegungen, Haltungen oder Formen ein Bild zum Bild macht und integriert am Ende Form und Antiform in das Werk.</span><br /><br /><span style="font-size: small;">Die durchchoreographierte Ausstellung ist aber nicht nur kritischer malerischer Selbstversuch, sondern wird jäh durch das Panoptikum einer Fotowand aus Medienbildern unterbrochen, welche Nitsche seit seinen Studienjahren in Fotoalben sammelt. Mit seinen Alben, bei denen es sich jedoch keineswegs um Skizzenbücher handelt, entwickelt der Künstler ein subjektives künstlerisches Ordnungssystem, in dem vom Unfallfoto bis zur zoologischen Kuriosität rigide gerasterte Collagen unserer bilddurchfluteten Medienwelt entstehen.</span><br /><br /><span style="font-size: small;">PROFESSIONAL SMILE beschäftigt sich also damit, was künstlerische Oberflächen von den Oberflächen der uns umgebenden Welt unterscheidet. Radikaler gesagt fragt Nitsche sogar, was künstlerische Produkte eigentlich heute von beliebig umformbaren medialen Produkten unterscheidet. Die Ausstellung gibt eine konsequente Antwort: Kunst definiert sich durch ihre nicht endende Selbstinfragestellung, durch den unbedingten Mut zur ständigen Revision.</span><br /><br /><span style="font-size: small;">PROFESSIONAL SMILE ist Frank Nitsches fünfte Einzelausstellung in der Galerie Max Hetzler.</span><br /><br /><br /><span style="font-size: small;">Frank Nitsche, 1964 in Görlitz geborenen, lebt und arbeitet in Berlin. Von 1988 bis 1993 Studium an der Hochschule für bildende Künste (HfBK) in Dresden. </span><br /><br /><span style="font-size: small;">Der Künstler hatte Einzelausstellungen in Institutionen wie dem Brandenburgischen Kunstverein, Potsdam (2010 / 11); Haus am Waldsee, Berlin (2010); Sint-Lukasgalerie, Brüssel; Musée d´Art et Contemporain, Strasbourg und dem FRAC Auvergne, Clermont-Ferrand (2007). </span><br /><br /><span style="font-size: small;">Desweiteren nahm er an verschiedenen Gruppenausstellungen teil, u.a. Kunsthalle Erfurt; Stadtgalerie Kiel (beide 2012); Fundación Barrié, A Coruña; Künstlerhaus Bethanien, Berlin; Croatian Biennale, Zagreb; Tel Aviv Museum of Art; Museo dell'Arte del Novecento e del Contemporaneo - Convento del Carmelo, Sassari; Hamburger Kunsthalle, Hamburg; Rohkunstbau, Berlin; b-05 Kunst- und Kulturzentrum, Montabaur; Kunstverein Ulm; Neue Galerie Gladbeck; Kunstmuseum Dieselkraftwerk Cottbus (alle 2011); Städtische Galerie, Dresden; Ludwig Museum, Koblenz; Kunsthalle Dominikanerkirche, Osnabrück; Galerie der Stadt Sindelfingen; Märkisches Museum, Witten; FRAC Auvergne, Clermont-Ferrand; Royal Academy of Arts, London (alle 2010); MUDAM – Musée d´Art Moderne Grand-Duc Jean, Luxemburg (2007); ZKM Museum für Neue Kunst, Karlsruhe (2006) und Tate Modern, London (2006) sowie an der Prague Biennale (2005 und 2010) und im Centre Pompidou, Paris (2004).
</span></p> Sun, 13 Jan 2013 17:03:21 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Ryan McLaughlin - Lüttgenmeijer - January 19th, 2013 - February 16th, 2013 Thu, 17 Jan 2013 22:24:03 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list L.N. Tallur - Nature Morte Berlin - November 23rd, 2012 - February 16th, 2013 <p>Nature Morte freut sich eine neue Ausstellung des Künstlers L.N. Tallur anzukündigen: “Montessori: Lessons in Economics" ist die erste Einzelausstellung des Künstlers in Deutschland. Gezeigt wird eine Reihe neuer Skulpturen, die beispielhaft vorführen, mit wieviel Witz und technischem Geschick L.N.Tallur in seinen Kommentaren zu Gesellschaft und Politik agiert.<br /> <br /> Wie der Titel der Ausstellung andeutet, schlüpft L.N.Tallur in die Rolle eines listigen Lehrers, der anhand von interaktiven Experimenten und bildhauerischen Thesen, so-genannte Lösungen für die gegenwärtige Wirtschaftskrise entwickelt. Seine hochgradig inszenierten Präsentationen zielen darauf ab, die Erwartungen des Zuschauers zu lenken und zu manipulieren. Dabei greift er ironisch das „Verpacken“ der vermeintlichen Lösungen auf, wie wir es aus Politik und Erziehung kennen.<br /> <br /> L.N. Tallur absolvierte neben seinem Kunst- auch ein Museumskundestudium und bezieht sich in seiner Arbeit auf ein weites Spektrum kultureller Referenzen, die sich von der Kunstgeschichte bis zur hinduistischen Ikonografie, von der globalisierten Wirtschaft bis hin zur Popkultur erstrecken. Seine eigenen Bewegungen über den Globus, die ihn von seiner Heimatstadt Koteswara (ein Dorf im südindischen Bundesstaat Karnataka) über Leeds, England bis in seinen jetzigen Wohnort Daegu City in Südkorea führten, haben L.N. Tallurs Blick für den Austausch kultureller Güter geschärft. Häufig nutzt er Reproduktionen klassischer asiatischer Skulpturen als Ausgangspunkt für seine Arbeiten. Diese werden dann verfremdet, verstümmelt oder sogar enthauptet, um so die Paradoxien und Irrationalitäten von kulturellen, finanziellen und symbolischen Gegenwerten zu unterstreichen.<br /> <br /> Ein weiteres wiederkehrendes Thema im Werk L.N. Tallurs ist das Wesen des Werts selbst. In einigen Arbeiten verwendet er tatsächlich im Umlauf befindliche Münzen. Diese präsentiert er mal poliert, von ihren Sünden reingewaschen und kultiviert. Ein andermal werden die Geldstücke in Beton gefasst, um sie zu verewigen. Pointiert weist L.N. Tallur in Form der Münzen auf unsere komplexe Beziehung zu Zahlungsmitteln und Reichtum hin, die durchsetzt ist von Verlangen, Furcht und Unbehagen. <br /> <br /> L.N. Tallur wurde 1971 im südindischen Bundesstaat Karnataka geboren. 1996 erhielt er einen BFA von der Chamarajendra Academy of Visual Arts in Mysore und im Jahr 1998 einen MFA in Museumskunde von der MS University in Baroda. 2002 erhielt er einen Master in Kunst von der Metropolitan University in Leeds, Großbritannien. Seine letzten Einzelausstellungen fanden unter anderem im Bhau Daji Lad Museum, Mumbai (2011); Nature Morte, New Delhi (2011), Arario Gallery, Beijing (2010); Chemould Prescott Road, Mumbai (2009); Arario Gallery, New York (2008); und in der Arario Gallery, Seoul (2007) statt. 2003 erhielt er den Sanskriti Preis von der Sanskriti Foundation in Neu Delhi und seine groß angelegte Installation mit dem Titel “Souvenir Maker” wurde in der Devi Art Foundation in Gurganon und im Museum für moderne Kunst in Singapur ausgestellt. Seine Arbeiten werden bei der anstehenden Asia Pacific Triennale in der Queensland Galerie in Brisbane und der Kochi-Muziris Biennale in Indien zu sehen sein, welche beide im Dezember 2012 eröffnen. Der Künstler lebt und arbeitet in Indien und Südkorea. <br /> <br /> ________________________________________________________________________<br /> <br /> Nature Morte is pleased to announce a solo exhibition by the artist L.N.Tallur.<br /> <br /> “Montessori: Lessons in Economics” is the artist’s first solo show in Europe and brings together a number of recent sculptures that exemplify the artist’s wit and deft manipulation of materials when commenting on politics and society.<br /> <br /> As the title of the show implies, L.N. Tallur assumes the role of a cheeky educator, carefully setting up participatory experiments and sculptural propositions, that offer so-called solutions for the current economic crisis. His highly orchestrated presentations aim to control and manipulate the viewer’s expectations and echo the “packaging” of solutions known from the realms of politics and education.<br /> <br /> Having studied both art and museology, L.N. Tallur draws from a wide spectrum of cultural references, ranging from art history, Hindu iconography, a globalized economy and popular culture. A series of personal migrations from his original hometown of Koteswara (a village in the southern Indian state Karnataka), to the likes of Leeds in the U.K. and his current home Daegu City in South Korea have sharpened L.N.Tallur’s eye for the complexities of trading in cultural goods. He often uses reproductions of classical Asian sculptures as a starting point for his work, which he then manipulates, injures or even decapitates to accentuate the absurdities of cultural, monetary and symbolic exchange values.<br /> <br /> Another re-occurring theme in his work is the nature of value itself. In several works he uses actual coins, sometimes polished so as to be washed of their sins and civilized, or embedded in concrete to become eternal, they poignantly point to our complex relationship with currencies and wealth, laden with desire, fear and anxiety.<br /> <br /> L.N. Tallur was born in 1971 in the south Indian state of Karnataka. He received a BFA degree in painting from the Chamarajendra Academy of Visual Arts in Mysore in 1996, an MFA degree in museology from the MS University in Baroda in 1998, and an MA in Fine Art from the Metropolitan University in Leeds, UK, in 2002. Recent solo shows of his works have been held at the Bhau Daji Lad Museum, Mumbai (2011); Nature Morte, New Delhi (2011), Arario Gallery, Beijing (2010); Chemould Prescott Road, Mumbai (2009); Arario Gallery, New York (2008); and Arario Gallery, Seoul (2007). In addition to receiving the Sanskriti Award from the Sanskriti Foundation of New Delhi in 2003 and having his works included in many group exhibitions around the world, Tallur’s large-scale installation entitled “Souvenir Maker” was recently exhibited at the Devi Art Foundation in Gurgaon and the Museum of Contemporary Art in Singapore. His work will be included in the upcoming Asia Pacific Triennale at the Queensland Art Gallery in Brisbane and the Kochi-Muziris Biennale in India, both opening in December 2012.The artist currently divides his time between India and South Korea.</p> Tue, 13 Nov 2012 23:44:32 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Christian Ertel - ph-projects - October 27th, 2012 - February 16th, 2013 Mon, 07 Jan 2013 09:13:03 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Philipp Gufler - Sassa Trülzsch - January 11th, 2013 - February 16th, 2013 <p>Philipp Gufler (*1989) plays with the ideas of becoming and contextualizing oneself in normed identities. His travesty crosses the social construct of masculinity in the installation „Eingebildete Männlichkeit / Imagined Masculinity “ as well as the construct of authorship with a series of contemporary icons being hermaphrodites between painting, sculpture and texts. What art has produced over centuries is as we see it in his exhibition projected either on his body, in the space or in our minds.<br /> <br /> For the first space of the gallery Philipp Gufler produced a translucent "notebook" on sexuality to confirm, loose and question identity. In "1978 (Pride IV)" we read it like an early booklet with textual inspirations found in books or papers mixed with own thoughts. Some quotes can´t be recognized anymore and others show their authorship through well known figures like Querelle. Single pages float in a frozen coloured liquid. They lean against the walls or lie on a glass table. The gallery lights shine through them and their shadows paint the space. Within this presentation two additional, but very different collages are shown. They are made together with artist Max Schmidtlein and represent the collective practice in Philipp Gufler´s work. These cooperative works are sandwiched glasses designed with screen prints and coloured glue from both sides.<br /> <br /> The second space of the gallery appears in claret like a 19th century drawing room, but with blanks, as if pictures would have been removed and only one remained. It is a video showing all the missing pictures on printed veils overlying the artist´s body. The allusion to the motif of projection can be seen here as traveling between the blanks themselves and his method of layering. One blank in the installation is the door to the gallery´s third space. Behind that door is the hidden staircase where an old-fashioned recorder is placed playing the sound piece "Topographie der Erregungen/ Topography of Excitement" by Daniel Door. His work functions as an independent contribution to Philipp Guflers work "Eingebildete Männlichkeit".<br /> <br />Philipp Gufler´s work, to quote last but not least an anonymous passage of his own collages, is "physical, narcissistic, sumptuous, belting and close-mouthed" - and in a very refreshing way a great and playful combination of rebellion and tradition.</p> <div id="textcontainer02"> <p><br /> <br /> Philipp Gufler (*1989) spielt mit den Ideen des eigenen Werdens und der Kontextualisierung innerhalb normierter Identitäten. Seine Travestie überschreitet sowohl das soziale Konstrukt von Männlichkeit, wie in der Installation „Eingebildete Männlichkeit“, als auch das Konstrukt von Autorenschaft, wie mit einer Serie zeitgenössischer Ikonen, die Zwitterwesen zwischen Malereien, Skulpturen und Texten sind. Was Kunst über die Jahrhunderte hinweg hervorgebracht hat, sehen wir in seiner Ausstellung entweder auf seinen Körper und in den Raum projiziert oder als Projektion des Geistes.<br /> <br /> Für den ersten Raum der Galerie hat Philipp Gufler ein durchsichtiges „Notizbuch“ über Sexualität hergestellt. In seinen Aufzeichnungen und Andeutungen bestätigt er Identität oder er verliert und hinterfragt sie. Wir lesen rote, grüne, violette und gelbe Textcollagen wie ein frühes verfasstes Heft mit Inspirationen, - gefunden in Büchern oder Zeitungen und vermischt mit eigenen Gedanken. Einige Zitate sind nicht mehr als solche erkennbar, andere zeigen ihre Autorenschaft durch die Erwähnung bekannter Figuren wie Querelle. Als einzelne Blätter treiben sie in einer gefrorenen farbigen Flüssigkeit. Sie lehnen gegen die Wand oder liegen auf einer Glasplatte. Die Lampen der Galerie scheinen durch sie hindurch, so dass ihre Schatten die Wände bemalen. In diese Presentation sind zwei weitere, sehr unterschiedliche Kollagen gehängt. Sie sind zusammen mit Max Schmidtlein entstanden und stehen für die Öffnung von Philipp Guflers Werk zur collektiven Praxis. Diese kooperativen Werke sind übereinandergeschichtete Glassplatten, die von zwei Seiten mit Siebdrucken und Klebstoff gestaltet sind.<br /> <br /> Der zweite Raum der Galerie erscheint ganz in Weinrot wie ein Salon aus dem 19. Jahrhundert, aber mit Leerstellen, als ob Bilder von der Wand genommen wurden, von denen nur eines verblieben ist. Es ist ein Video, das die fehlenden Bilder auf bedruckten Schleiern zeigt. Sie überlagern den Körper des Künstlers. Die Anspielung auf das allgemeine Motiv der Projektion wandert zwischen den Leerstellen selbst und der Methode der Überlagerungen. Eine weitere Leerstelle in der Installation bildet die Tür zum dritten Raum der Galerie. Hinter dieser Türe befindet sich das verlassene Treppenhaus, wo ein Rekorder platziert ist, der das Klangstück "Topographie der Erregungen“ von Daniel Door spielt. Seine Arbeit ist ein unabhängiger Beitrag zu Philipp Guflers „Eingebildete Männlichkeit“.<br /> <br /> Um Philipp Guflers Arbeit nicht auch zuletzt durch ein Zitat einer anonymen Passage aus seinem eigenen Werk zu beschreiben: Sie ist „ physisch, narzisstisch, üppig, zusammenhaltend – verschlossen“ und auf eine sehr erfrischende Weise eine großartige und verspielte Kombination von Rebellion und Tradition.</p> </div> Wed, 09 Jan 2013 02:38:28 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Group Show - Akademie der Künste - Hanseatenweg - December 7th, 2012 - February 17th, 2013 <p>„Tannhäuser“, „Tristan und Isolde“ oder „Der Ring des Nibelungen“ – das musikdramatische Werk von Richard Wagner (1813–1883) beschäftigt auch heutige Künstler noch so, als ginge es jeweils ums Ganze. Wegen der Themen, die die einen für universal halten, die anderen für rein deutsch, aber vor allem wegen der Musik, deren Komplexität und Suggestivkraft viele singulär schön und manche kaum erträglich finden.<br /> <br /> Die Sektion Darstellende Kunst hat zahlreiche Akademie-Mitglieder und weitere internationale Künstler eingeladen, zu ihrem Verhältnis zu Wagner Position zu beziehen. Sei es durch den Verweis auf bereits Geschaffenes oder neue Arbeiten: Installationen, Texte, Bilder, Videogespräche. Daraus ist ein Panorama zeitgenössischer Arbeitsweisen und persönlicher Lesarten des Werks von Richard Wagner entstanden, das durch wichtige Archive ergänzt und Veranstaltungen kommentiert wird.</p> Mon, 29 Oct 2012 02:22:10 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Group Show - Clarke Gallery - November 16th, 2012 - February 17th, 2013 <p><b>FRAME_birmingham / 17.11.12-17.02.13 /</b></p> <p><b>Launching 6pm Friday 16th November, in Birmingham &amp; online at <a href="http://www.projectframe.net/" rel="nofollow">projectframe.net</a> /</b></p> <p><b>FRAME_birmingham</b> is an Arts Council funded, <a href="http://www.macarts.co.uk/" rel="nofollow">mac birmingham</a> supported project by <a href="http://www.ellyclarke.com/" rel="nofollow">Elly Clarke</a> / <a href="http://www.clarkegallery.de/" rel="nofollow">Clarke Gallery</a> that sees unique and small edition artworks by 42 local &amp; international artists installed into a variety of businesses across the city.</p> <p>Launching at <b>6pm on 16th November 2012</b>, frames will remain in place for three months, with work changing only when sold. <a href="http://www.projectframe.net/" rel="nofollow">projectframe.net</a> will act as the mirror to show what is on display in the city. All work is also for sale, to a maximum price of £750. Thanks to the partnership with mac birmingham, all work will also be available to purchase via the <a href="http://www.ownart.org.uk/" rel="nofollow">Own Art</a> scheme.  </p> <p><b>_ARTISTS:  </b>Ron Athey (LONDON) / Dan Auluk (BIRMINGHAM) / Alex Billingham (BIRMINGHAM) / Jon Campbell (MELBOURNE)/ Elly Clarke (BIRMINGHAM/BERLIN) / Jeanette Dean (BIRMINGHAM) / Sue Dodd (MELBOURNE) / Kim Donaldson (MELBOURNE) / Freya Douglas-Morris (LONDON) / Tatiana Echeverri Fernandez (BERLIN) / Carly Fischer (MELBOURNE/) / Linda Franke (COLOGNE) / Jo Gane (NUNEATON/) / Caitlin Griffiths (BIRMINGHAM/) / Alexander Heaton (LONDON/) / Kers tin Honeit (BERLIN) / David Helbich (BRUSSELS) / Nurul Huda (SINGAPORE) / Harminder Judge (BIRMINGHAM/) / Lisa Jugert (BERLIN) / Fiona Macdonald (MELBOURNE/) / Karen McLean (BIRMINGHAM/) / Anna Mields (BERLIN) / Ayo &amp; Oni Oshodi (LONDON/) / Enda O’Donoghue (BERLIN) / Rebecca Pittam (COVENTRY)/ plan b - Sophia New &amp; Dan Belasco Rogers (BERLIN) / Adele Mary Reed (COVENTRY) / Alana Richards (BERLIN) / Antonio Roberts (BIRMINGHAM/) / Fedora Romita (TORONTO)/ Liz Rosenfeld (BERLIN) / Christian Sievers (COLOGNE) / Vajra Spook (BERLIN) / Miriam Steinhauser (BERLIN) / Karen Stuke (BERLIN) / Cathy Wade (BIRMINGHAM/) / Ed Wakefield (BIRMINGHAM/) / Kym Ward (ROTTERDAM) / Edye Louise Wachler (WOONSOCKET)/ Mo White (BIRMINGHAM/) /  Martha Wilson (NEW YORK/)  </p> <p><b>_VENUES: </b>Aedas Architects / Artfull Expression / The Big Peg / Birmingham Cathedral / Birmingham Central Library /  Bloc Hotel /  Braderie Vintage shop / Centenary Lounge / COS / Cross Synnott, / Equator bar / Ffrenchys / Gorgeous / Hotel du Vin / Pub du Vin / Le Truc / Loki Wines / mac birmingham/ Joint Stock / Provide / Six Eight Kafé / St Paul’s Church / St Martins in the Bullring / The Drum / The Salon Birmingham / The Vaults / Yorks Bakery Café / Urban Coffee Company / Urban Outfitters / Vrai Vintage /</p> <p><b>_TEAM:</b> <a href="http://www.ellyclarke.com/" rel="nofollow">Elly Clarke</a> is an artist &amp; curator based in Birmingham &amp; Berlin. She is assisted by Right Hand Person Kevin Middleton and Project Assistant Jenny Duffin. Plus a number of very excellent Venue Liaison Officers. </p> Fri, 09 Nov 2012 01:39:47 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list