ArtSlant - Openings & events http://www.artslant.com/ber/Events/show en-us 40 Group Show - Akademie der Künste - Hanseatenweg - March 15th, 2013 11:00 AM - 8:00 PM <p style="text-align: justify;"><span style="font-size: small;">Art and culture have in many ways become key motors of innovative and successful urban design and planning, without which the world&rsquo;s metropoles would no longer be worthy of the name. The exhibition Culture:City encourages us to think consistently about the future of our cities from this perspective. The architectural exhibition curated by Matthias Sauerbruch for the Akademie der K&uuml;nste takes a critical eye to the relationship between architecture and the social reality of the 21st century and shows the impact of art and culture on cities and architecture.</span><br /> <br /><span style="font-size: small;"> The selection of international examples presented &ndash; ranging from spectacular architectural and art projects, via the creative reuse of empty buildings and city areas, through to citizens&rsquo; initiatives &ndash; opens up a panorama of constructed concretisation of culture thus allowing us not only to take stock of the surroundings but also to evaluate and assess each individual case. Does the social, cultural and architectural rootedness in the city work and does this lead to new forms of cultural production? Or does the construction project merely represent a symbol strong on marketing, yet another island in a city&rsquo;s public spaces characterised by increasing fragmentation?</span><br /> <br /><span style="font-size: small;"> Beyond the physical presentation of plans and models, this exhibition also offers its visitors a special insight: video tours complete with commentary as well as in-depth background information on tablet computers. These films d&rsquo;auteur have been prepared by graduates of the German Film and Television Academy in Berlin. In this manner, it is possible to gain three differing perspectives in the exhibition room: that of the architect, that of the curator and that of the filmmaker.</span><br /> <br /><span style="font-size: small;"> The debate thus triggered is continued in the exhibition in the form of lectures, film screenings, concerts, sound installations and conferences.</span><br /> <br /><span style="font-size: small;"> Accompanying the exhibition, a comprehensive catalogue will be published by Lars M&uuml;ller Publishers, Zurich, edited by Wilfried Wang for the Akademie der K&uuml;nste and includes essays by Kaspar K&ouml;nig, Richard Sennett, Michael M&ouml;nninger and William J.R. Curtis. </span><br /> <br /><span style="font-size: small;"> With this exhibition Culture:City, the Architecture Section of the Akademie der K&uuml;nste continues one of the Academy&rsquo;s key thematic threads: the debate about Public Spaces. It follows on the heels of the project Return of landscape from 2010, a subject used by the Academy to point out that the city of the future can only be developed from within the landscape.</span></p> <hr /> <p style="text-align: justify;"><span style="font-size: small;">Kunst und Kultur sind in vielfacher Weise zu entscheidenden Motoren innovativer und erfolgreicher Stadtgestaltung und -planung geworden, ohne die sich die Metropolen der Welt nicht mehr behaupten k&ouml;nnen. Die Ausstellung Kultur:Stadt denkt die Zukunft unserer St&auml;dte konsequent aus dieser Perspektive. Die von Matthias Sauerbruch f&uuml;r die Akademie der K&uuml;nste kuratierte Architekturausstellung durchleuchtet kritisch das Verh&auml;ltnis zwischen Architektur und sozialer Wirklichkeit im 21. Jahrhundert und zeigt auf, wie Kunst und Kultur Stadt und Architektur pr&auml;gen.</span><br /> <br /><span style="font-size: small;"> Die Auswahl der internationalen Beispiele &ndash; von spektakul&auml;ren Architektur- und Kunstprojekten &uuml;ber die kreative Umnutzung leerstehender Bauten und Stadtareale bis hin zu B&uuml;rgerinitiativen &ndash; er&ouml;ffnet ein Panorama gebauter Konkretisierung von Kultur und erlaubt damit nicht nur eine Bestandsaufnahme, sondern gleicherma&szlig;en eine Bewertung und Einsch&auml;tzung des jeweiligen Einzelfalls. Gelingt die soziale, kulturelle und architektonische Verankerung in der Stadt und f&uuml;hrt diese zu neuen Formen von kultureller Produktion? Oder stellt das Bauprojekt nur ein marketingstarkes Wahrzeichen dar, eine weitere Insel in einem von zunehmender Fragmentierung gekennzeichneten &ouml;ffentlichen Stadtraum?</span><br /> <br /><span style="font-size: small;"> Die Ausstellung bietet ihren Besuchern &uuml;ber die physische Pr&auml;sentation von Pl&auml;nen und Modellen hinaus eine besondere Auseinandersetzung an: auf Tablet-Computern sind kommentierte Videotouren sowie vertiefende Hintergrund-Informationen einzusehen. Erg&auml;nzt werden diese durch Autorenfilme von Absolventen der Deutschen Film- und Fernsehakademie Berlin zu den einzelnen Architektur-Projekten. Somit k&ouml;nnen im Ausstellungsraum drei Sichtweisen versammelt werden: die des Architekten, die des Kurators und die eines Autorenfilmers. </span><br /> <br /><span style="font-size: small;"> Die in der Ausstellung angesto&szlig;ene Debatte wird w&auml;hrend der Laufzeit in Vortr&auml;gen, Filmscreenings, Konzerten, Soundinstallationen und Konferenzen fortgesetzt.</span><br /> <br /><span style="font-size: small;"> Begleitend zur Ausstellung erscheint bei Lars M&uuml;ller Publishers, Z&uuml;rich ein umfangreicher Katalog, herausgegeben von Wilfried Wang f&uuml;r die Akademie der K&uuml;nste, mit Beitr&auml;gen von u.a. Kaspar K&ouml;nig, Richard Sennett, Michael M&ouml;nninger und William J.R. Curtis.</span><br /> <br /><span style="font-size: small;"> Mit der Ausstellung Kultur:Stadt setzt die Sektion Baukunst einen wichtigen Themenstrang der Akademie der K&uuml;nste fort: Die Debatte um den &Ouml;ffentlichen Raum. Sie folgt damit dem Projekt Wiederkehr der Landschaft, mit dem die Akademie 2010 aufzeigte, dass die Stadt der Zukunft nur aus der Landschaft heraus zu entwickeln ist.</span></p> Sat, 06 Apr 2013 10:01:04 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Group Show - Autocenter - March 15th, 2013 8:00 PM - 10:00 PM Wed, 06 Mar 2013 06:24:23 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Klaus Mosettig - Buchmann Box - March 15th, 2013 7:00 PM - 9:00 PM <p style="text-align: justify;"><span style="font-family: arial,helvetica,sans-serif; font-size: small;">The Buchmann Galerie is pleased to present a first solo exhibition with Austrian artist Klaus Mosettig featuring his latest series of works on paper. For some years now, Mosettig has devoted himself to the medium of drawing and in that time created a number of large bodies of work, which were shown in 2009 in a solo exhibition at the Vienna Secession.</span></p> <p style="text-align: justify;"><span style="font-family: arial,helvetica,sans-serif; font-size: small;">In the works exhibited here, the artist engages with the paintings of Josef Albers (*1888 in Bottrop - 1976 in New Haven).</span></p> <p style="text-align: justify;"><span style="font-family: arial,helvetica,sans-serif; font-size: small;">Albers experimented with the effects of colours, shapes, lines and surfaces and the subjectivity of visual perception. In omage to the Squar, one of his most important cycles, each picture consists of three or four differently coloured squares set inside one another.</span></p> <p style="text-align: justify;"><span style="font-family: arial,helvetica,sans-serif; font-size: small;">With pencil drawings, Mosettig retraces Albers鈥? paintings as closely as possible in a methodical and time-consuming process. In eschewing Albers鈥? use of colour, he effects a radical reversal of value, stripping away all that defines Albers as Albers: the colour and its subjective perception, the body of the picture and the characteristic colour.</span></p> <p style="text-align: justify;"><span style="font-family: arial,helvetica,sans-serif; font-size: small;">Not the colour or the flow of the painting or the illusion of the coloured space on the canvas is significant, but Mosettig subjectively positioned graduated grey shading.</span></p> <p style="text-align: justify;"><span style="font-family: arial,helvetica,sans-serif; font-size: small;">Precisely in this apparently cool detachment from the original work lies a high degree of individuality. The quasi photorealism of the reproduction is only as striking as the artist  observation and hand permit. The rest is individuality.</span></p> <p style="text-align: justify;"><span style="font-family: arial,helvetica,sans-serif; font-size: small;">Klaus Mosettig's new works combine painting, drawing and photography using photographs projected on paper as model.</span></p> <p style="text-align: justify;"><span style="font-family: arial,helvetica,sans-serif; font-size: small;">For this exhibition Klaus Mosetting referred to Josef Albers's photographs from the collections of Kunsthalle Karlsruhe, MUMOK Vienna, Josef Albers Museum Bottrop and Josef und Anni Albers Foundation Bethany.</span></p> <hr /> <div dir="ltr" style="font-size: 9.84px; font-family: monospace; left: 54px; top: 338.16px; transform: scale(1.00024, 1); transform-origin: 0% 0% 0px; text-align: justify;" data-font-name="g_font_p0_59" data-canvas-width="138.03257014045712"><span style="font-family: arial,helvetica,sans-serif; font-size: small;">Die Buchmann Galerie freut sich, in der ersten Einzelausstellung mit demÖsterreicher Klaus Mosettig (*1975) die neueste Werkgruppe von Arbeiten auf Papier zu präsentieren.</span></div> <div dir="ltr" style="font-size: 9.84px; font-family: monospace; left: 192.022px; top: 338.16px; transform: scale(0.45592, 1); transform-origin: 0% 0% 0px; text-align: justify;" data-font-name="g_font_p0_76" data-canvas-width="2.735520042419434"></div> <div dir="ltr" style="font-size: 9.84px; font-family: monospace; left: 246.031px; top: 388.08px; transform: scale(1.00024, 1); transform-origin: 0% 0% 0px; text-align: justify;" data-font-name="g_font_p0_59" data-canvas-width="150.0354023265838"><span style="font-family: arial,helvetica,sans-serif; font-size: small;">Klaus Mosettig widmet sich seit einigen Jahren ausschließlich dem MediumZeichnung und hat mehrere große Werkblöcke geschaffen, die u.a. 2009 in einerEinzelausstellung in der WienerSecession zu sehen waren.</span></div> <div dir="ltr" style="font-size: 9.84px; font-family: monospace; left: 396.056px; top: 388.08px; transform: scale(0.45592, 1); transform-origin: 0% 0% 0px; text-align: justify;" data-font-name="g_font_p0_76" data-canvas-width="2.735520042419434"></div> <div dir="ltr" style="font-size: 9.84px; font-family: monospace; left: 252.032px; top: 426.72px; transform: scale(1.00024, 1); transform-origin: 0% 0% 0px; text-align: justify;" data-font-name="g_font_p0_59" data-canvas-width="192.04531497802728"><span style="font-family: arial,helvetica,sans-serif; font-size: small;">In den hier ausgestellten Arbeiten setzt sich der Künstler mit der Malerei vonJosef Albers (*1888 in Bottrop-†1976 in New Haven) auseinander.</span></div> <div dir="ltr" style="font-size: 9.84px; font-family: monospace; left: 252.032px; top: 426.72px; transform: scale(1.00024, 1); transform-origin: 0% 0% 0px; text-align: justify;" data-font-name="g_font_p0_59" data-canvas-width="192.04531497802728"><span style="font-family: arial,helvetica,sans-serif; font-size: small;"> </span></div> <div dir="ltr" style="font-size: 9.84px; font-family: monospace; left: 54px; top: 488.16px; transform: scale(1.00024, 1); transform-origin: 0% 0% 0px; text-align: justify;" data-font-name="g_font_p0_59" data-canvas-width="396.0934621421817"><span style="font-family: arial,helvetica,sans-serif; font-size: small;">Albers experimentierte mit der Wirkungsweise von Farben, Formen, Linien undFlächen und der Subjektivität der optischen Wahrnehmung. Einer der bedeutendsten Zyklenist ‘Homage to the Square‘, dessen Bilder immer gleich aus drei oder vierineinander geschachtelten Quadraten verschiedener Farben bestehen.</span></div> <div dir="ltr" style="font-size: 9.84px; font-family: monospace; left: 450.065px; top: 488.16px; transform: scale(0.45592, 1); transform-origin: 0% 0% 0px; text-align: justify;" data-font-name="g_font_p0_76" data-canvas-width="2.735520042419434"></div> <div dir="ltr" style="font-size: 9.84px; font-family: monospace; left: 54px; top: 560.64px; transform: scale(1.00024, 1); transform-origin: 0% 0% 0px; text-align: justify;" data-font-name="g_font_p0_59" data-canvas-width="222.05239544334404"><span style="font-family: arial,helvetica,sans-serif; font-size: small;">Mit Bleistiftzeichnungen nähert sich Klaus Mosettig den Malereien von Albers in einem zeitintensiven und prozessualen Verfahren. In der Aberkennung der Farbigkeit Albers liegt eine radikale Umkehr der Wertigkeit. Alles, was Albers zu Albers macht, ist ausgehebelt: die Farbe und deren subjektives Empfinden, der Bildkörper oder der Duktus der Farbe.</span></div> <div dir="ltr" style="font-size: 9.84px; font-family: monospace; left: 276.036px; top: 560.64px; transform: scale(0.45592, 1); transform-origin: 0% 0% 0px; text-align: justify;" data-font-name="g_font_p0_76" data-canvas-width="2.735520042419434"></div> <div dir="ltr" style="font-size: 9.84px; font-family: monospace; left: 54px; top: 610.8px; transform: scale(1.00024, 1); transform-origin: 0% 0% 0px; text-align: justify;" data-font-name="g_font_p0_59" data-canvas-width="288.0679724670409"><span style="font-family: arial,helvetica,sans-serif; font-size: small;">Nicht die Farbe, nicht der Duktus der Malerei oder die Raumillusion des Farbraumes auf der Leinwand ist bedeutend, sondern die von Mosettig subjektiv gesetzte abgestufte Schattierung des Grauwertes.</span></div> <div dir="ltr" style="font-size: 9.84px; font-family: monospace; left: 342.047px; top: 610.8px; transform: scale(0.45592, 1); transform-origin: 0% 0% 0px; text-align: justify;" data-font-name="g_font_p0_76" data-canvas-width="2.735520042419434"></div> <div dir="ltr" style="font-size: 9.84px; font-family: monospace; left: 156.017px; top: 672px; transform: scale(1.00024, 1); transform-origin: 0% 0% 0px; text-align: justify;" data-font-name="g_font_p0_59" data-canvas-width="90.0212413959503"><span style="font-family: arial,helvetica,sans-serif; font-size: small;">Gerade in dieser scheinbar kühlen Distanziertheit zur Vorlage liegt ein hoher Grad von Individualität. Die Wiedergabe der Handzeichnung ist nur so treffend,wie es die Beobachtung und Handführung des Künstlers entlang der Vorlage zulässt. Alles andere ist Individualität.</span></div> <div dir="ltr" style="font-size: 9.84px; font-family: monospace; left: 246.031px; top: 672px; transform: scale(0.45592, 1); transform-origin: 0% 0% 0px; text-align: justify;" data-font-name="g_font_p0_76" data-canvas-width="2.735520042419434"></div> <div dir="ltr" style="font-size: 9.84px; font-family: monospace; left: 54px; top: 721.92px; transform: scale(1.00024, 1); transform-origin: 0% 0% 0px; text-align: justify;" data-font-name="g_font_p0_59" data-canvas-width="114.0269057682037"><span style="font-family: arial,helvetica,sans-serif; font-size: small;">Die neuen Arbeiten von Klaus Mosettig verbinden Malerei, Zeichnung und auchFotografie, da die Vorlage für Mosettig auf das Papier projizierte Fotografien der Malereien sind.</span></div> <div dir="ltr" style="font-size: 9.84px; font-family: monospace; left: 168.019px; top: 721.92px; transform: scale(0.45592, 1); transform-origin: 0% 0% 0px; text-align: justify;" data-font-name="g_font_p0_76" data-canvas-width="2.735520042419434"></div> <div dir="ltr" style="font-size: 9.84px; font-family: monospace; left: 54px; top: 772.32px; transform: scale(1.00024, 1); transform-origin: 0% 0% 0px; text-align: justify;" data-font-name="g_font_p0_59" data-canvas-width="450.10620697975213"><span style="font-family: arial,helvetica,sans-serif; font-size: small;">Klaus Mosettig hat für die vorliegende Ausstellung mit Bildern von Josef Albers aus den Sammlungen der Kunsthalle Karlsruhe, dem MUMOK Wien, dem Josef Albers Museum Bottrop und der Josef und Anni Albers Foundation Bethany gearbeitet. <br /></span></div> <div dir="ltr" style="font-size: 9.84px; font-family: monospace; left: 504.073px; top: 772.32px; transform: scale(0.984, 1); transform-origin: 0% 0% 0px;" data-font-name="g_font_p0_59" data-canvas-width="5.904000091552734"></div> Sat, 06 Apr 2013 10:13:23 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list William Tucker - Buchmann Galerie - March 15th, 2013 7:00 PM - 9:00 PM <p style="text-align: justify;"><span style="font-family: arial,helvetica,sans-serif; font-size: small;">Buchmann Galerie is pleased to announce its first exhibition devoted exclusively to the work of British/American sculptor William Tucker (*1935 in Cairo).</span></p> <p style="text-align: justify;"><span style="font-family: arial,helvetica,sans-serif; font-size: small;">In the 1970s, Tucker counted among the influential group of English sculptors, among them Philip King and Tim Scott, who were introduced as the New Generation at the eponymous exhibition at London's Whitechapel Art Gallery in 1965 and whose works provided new inspiration for the development of abstract sculpture as well as a far broader interpretation of the concept of sculpture. William Tucker was also invited to the seminal Primary Structures exhibition at the Jewish Museum in York in 1966, the defining moment for American Minimal Art. A theorist, critic and exhibition organiser at the time, Tucker published The Language of Sculpture in 1972 as well as reviews and essays in Studio International, the English counterpart of ARTFORUM, and organised The Condition of Sculpture exhibition at the Hayward Gallery in London in 1975.</span></p> <p style="text-align: justify;"><span style="font-family: arial,helvetica,sans-serif; font-size: small;">William Tucker's latest work now on show at Buchmann Galerie takes the human figure as its reference. In the light of his early abstract work, this may seem surprising, but Tucker takes a very open approach to the distinction between the figurative and the abstract, sees no contradiction. Any sculpture is a figure in a sense, if it reads as a total, a unity.)</span></p> <p style="text-align: justify;"><span style="font-family: arial,helvetica,sans-serif; font-size: small;">Despite their figurative reference, the sculptures are not immediately decipherable or nameable. They do not refer to a simple, clearly interpretable human form or gesture, nothing stands on one leg, kneels or sits. Rather, the sculptures open up a wide range of possible associations, thus achieving their intense, undeniable physicality. William Tucker's sculptures have a presence that relates to our body and so makes us aware.</span></p> <p style="text-align: justify;"><span style="font-family: arial,helvetica,sans-serif; font-size: small;">In his sculptures, William Tucker concerns himself with the nature, structure and mass of the human body, and this has resulted in a number of sculptures which, interestingly, are more abstract than apparent in form.</span></p> <p style="text-align: justify;"><span style="font-family: arial,helvetica,sans-serif; font-size: small;">The exhibition at Buchmann Galerie includes the two monumental bronzes Vishnu and Eve as well as Victory and Homage to Rodin (Bibi), a perfect example of William Tucker's ability to place innovative sculpture in a historical context.</span></p> <p style="text-align: justify;"><span style="font-family: arial,helvetica,sans-serif; font-size: small;">Tucker's sculpture asks fundamental questions as to what sculpture is and what it can be? (Joy Sleeman, The Sculpture of William Tucker, Lund Humphries, The Henry Moore Foundation, 2007)</span></p> <p style="text-align: justify;"><span style="font-family: arial,helvetica,sans-serif; font-size: small;">Important sculptures from Tucker's current creative period can be found, among others, in the collection of the Tate Gallery in London, at the Guggenheim Museum and the MoMa in New York, the Nasher Sculpture Center in Dallas and the Art Gallery of New South Wales in Sydney.</span></p> <hr /> <div dir="ltr" style="font-size: 13.12px; font-family: monospace; left: 48px; top: 388.16px; transform: scale(1.00024, 1); transform-origin: 0% 0% 0px; text-align: justify;" data-font-name="g_font_p0_60" data-canvas-width="640.1510344161996"><span style="font-family: arial,helvetica,sans-serif; font-size: small;">Die Buchmann Galerie freut sich die erste Einzelausstellung mit dem britisch/amerikanischen Bildhauer William Tucker (*1935 in Cairo) anzukündigen.</span></div> <div dir="ltr" style="font-size: 13.12px; font-family: monospace; left: 48px; top: 403.2px; transform: scale(0.984, 1); transform-origin: 0% 0% 0px; text-align: justify;" data-font-name="g_font_p0_60" data-canvas-width="7.8719999313354485"></div> <div dir="ltr" style="font-size: 13.12px; font-family: monospace; left: 48px; top: 478.72px; transform: scale(1.00024, 1); transform-origin: 0% 0% 0px; text-align: justify;" data-font-name="g_font_p0_60" data-canvas-width="280.0660775570868"><span style="font-family: arial,helvetica,sans-serif; font-size: small;">Tucker zählte in den 1970er Jahren zu dem einflussreichen Kreis englischer Bildhauer wie Philip King oderTim Scott, die als ‘New Generation’ in der gleichnamigen Ausstellung in der Whitechapel Art Gallery London 1965 vorgestellt wurden und entscheidende Impulse für die Entwicklung der abstrakten Skulptur und die Erweiterung des Skulpturenbegriffes setzten. Wi</span></div> <div dir="ltr" style="font-size: 13.12px; font-family: monospace; left: 48px; top: 569.28px; transform: scale(1.00024, 1); transform-origin: 0% 0% 0px; text-align: justify;" data-font-name="g_font_p0_60" data-canvas-width="200.04719825506203"><span style="font-family: arial,helvetica,sans-serif; font-size: small;">lliam Tucker war 1966 eingeladen zu der wegweisenden Ausstellung‘Primary Structures’ im Jewish Museum in New York, dem entscheidenden Moment für die Amerikanische Minimal Art. In dieser Zeit wurde er auch als Theoretiker, Kritiker und Ausstellungsmacher bekannt. Tucker veröffentlichte 1972 ‘The Language of Sculpture’ und publizierte Reviews und Essays in Studio International, das englische Gegenstück zu ARTFORUM.In der Hayward Gallery London organisierte er 1975‘ TheCondition of Sculpture’.</span></div> <div dir="ltr" style="font-size: 13.12px; font-family: monospace; left: 248.033px; top: 569.28px; transform: scale(0.984, 1); transform-origin: 0% 0% 0px; text-align: justify;" data-font-name="g_font_p0_60" data-canvas-width="7.8719999313354485"></div> <div dir="ltr" style="font-size: 13.12px; font-family: monospace; left: 48px; top: 584.64px; transform: scale(0.984, 1); transform-origin: 0% 0% 0px; text-align: justify;" data-font-name="g_font_p0_60" data-canvas-width="7.8719999313354485"></div> <div dir="ltr" style="font-size: 10.56px; font-family: monospace; left: 279.238px; top: 662.72px; transform: scale(0.914496, 1); transform-origin: 0% 0% 0px; text-align: justify;" data-font-name="g_font_p0_60" data-canvas-width="236.85445202140812"><span style="font-family: arial,helvetica,sans-serif; font-size: small;">Das aktuelle Werk von William Tucker das in der Galerie präsentiert wird, hat einen Bezug zur menschlichen Figur. Vor dem Hintergrund der frühen Arbeiten ist dies überraschend. Doch die Abgrenzung zwischen Figuration und Abstraktion behandelt Tucker offen und sieht darin keinen Widerspruch. “Any sculpture is a figure in a sense, if it reads as a total, a unity.”(William Tucker, First Magazine, 1961)</span></div> <div dir="ltr" style="font-size: 13.12px; font-family: monospace; left: 516.076px; top: 660.16px; transform: scale(0.984, 1); transform-origin: 0% 0% 0px; text-align: justify;" data-font-name="g_font_p0_60" data-canvas-width="7.8719999313354485"></div> <div dir="ltr" style="font-size: 13.12px; font-family: monospace; left: 48px; top: 675.2px; transform: scale(0.984, 1); transform-origin: 0% 0% 0px; text-align: justify;" data-font-name="g_font_p0_60" data-canvas-width="7.8719999313354485"></div> <div dir="ltr" style="font-size: 13.12px; font-family: monospace; left: 48px; top: 780.8px; transform: scale(1.00024, 1); transform-origin: 0% 0% 0px; text-align: justify;" data-font-name="g_font_p0_60" data-canvas-width="144.03398274364469"><span style="font-family: arial,helvetica,sans-serif; font-size: small;">Trotz ihres figurativen Bezuges sind die Skulpturen in ihrer Form nicht sofort zu entschlüsseln und benennen. Sie verweisen nicht auf eine einfache, klar ablesbare menschliche Form oder Geste–nichts steht auf einem Bein, kniet oder sitzt. Die Skulpturen eröffnen vielmehr ein weites Feld möglicher Assoziationen und erlangen soihre eindringliche und einzigartige Phys is, der man sich nicht entziehen kann. William Tuckers Skulpturen haben eine Präsenz, die unseren Körper in Bezug zu ihnen stellt und so bewusst macht.</span></div> <div dir="ltr" style="font-size: 13.12px; font-family: monospace; left: 192.023px; top: 780.8px; transform: scale(0.984, 1); transform-origin: 0% 0% 0px; text-align: justify;" data-font-name="g_font_p0_60" data-canvas-width="7.8719999313354485"></div> <div dir="ltr" style="font-size: 13.12px; font-family: monospace; left: 48px; top: 795.84px; transform: scale(0.984, 1); transform-origin: 0% 0% 0px; text-align: justify;" data-font-name="g_font_p0_60" data-canvas-width="7.8719999313354485"></div> <div dir="ltr" style="font-size: 13.12px; font-family: monospace; left: 48px; top: 841.28px; transform: scale(1.00024, 1); transform-origin: 0% 0% 0px; text-align: justify;" data-font-name="g_font_p0_60" data-canvas-width="488.1151637423517"><span style="font-family: arial,helvetica,sans-serif; font-size: small;">Die Beschäftigung mit der Natur, Struktur und Masse des menschlichen Körpers, hat Tucker zu einer Reih e von Skulpturen geführt, die interessanter Weise eher durch ihre abstrakte als durch ihre offensichtliche Form bestimmt sind. <br /></span></div> <div dir="ltr" style="font-size: 13.12px; font-family: monospace; left: 48px; top: 856.32px; transform: scale(0.984, 1); transform-origin: 0% 0% 0px; text-align: justify;" data-font-name="g_font_p0_60" data-canvas-width="7.8719999313354485"></div> <div dir="ltr" style="font-size: 13.12px; font-family: monospace; left: 48px; top: 916.8px; transform: scale(1.00024, 1); transform-origin: 0% 0% 0px; text-align: justify;" data-font-name="g_font_p0_60" data-canvas-width="248.0585258362769"><span style="font-family: arial,helvetica,sans-serif; font-size: small;">Die Ausstellung in der Buchmann Galerie zeigt unter anderem die zwei monumentalen Bronzen Vishnu und Eve sowie Victory und Hommage to Rodin (Bibi), eine Skulptur die exemplarisch zeigt, wie sich William Tucker als innovativer Bildhauer auch auf einen historischen Kontextes bezieht. <br /></span></div> <div dir="ltr" style="font-size: 13.12px; font-family: monospace; left: 48px; top: 931.84px; transform: scale(0.984, 1); transform-origin: 0% 0% 0px; text-align: justify;" data-font-name="g_font_p0_60" data-canvas-width="7.8719999313354485"></div> <div dir="ltr" style="font-size: 13.12px; font-family: monospace; left: 48px; top: 946.88px; transform: scale(1.00024, 1); transform-origin: 0% 0% 0px; text-align: justify;" data-font-name="g_font_p0_60" data-canvas-width="696.1642499276173"><span style="font-family: arial,helvetica,sans-serif; font-size: small;">“Tucker’s sculpture asks fundamental questions as to what sculpture is and what it can</span></div> <div dir="ltr" style="font-size: 13.12px; font-family: monospace; left: 48px; top: 962.24px; transform: scale(1.00024, 1); transform-origin: 0% 0% 0px; text-align: justify;" data-font-name="g_font_p0_60" data-canvas-width="40.00943965101242"><span style="font-family: arial,helvetica,sans-serif; font-size: small;">be.”</span></div> <div dir="ltr" style="font-size: 10.56px; font-family: monospace; left: 88.0065px; top: 964.8px; transform: scale(0.914496, 1); transform-origin: 0% 0% 0px; text-align: justify;" data-font-name="g_font_p0_60" data-canvas-width="32.00735838127136"><span style="font-family: arial,helvetica,sans-serif; font-size: small;">(Joy</span></div> <div dir="ltr" style="font-size: 10.56px; font-family: monospace; left: 120.012px; top: 964.8px; transform: scale(0.914496, 1); transform-origin: 0% 0% 0px; text-align: justify;" data-font-name="g_font_p0_60" data-canvas-width="582.5339225391394"><span style="font-family: arial,helvetica,sans-serif; font-size: small;">Sleeman, The Sculpture of William Tucker, Lund Humphries, The Henry Moore Foundation, 2007)</span></div> <div dir="ltr" style="font-size: 13.12px; font-family: monospace; left: 702.506px; top: 962.24px; transform: scale(0.984, 1); transform-origin: 0% 0% 0px; text-align: justify;" data-font-name="g_font_p0_60" data-canvas-width="7.8719999313354485"></div> <div dir="ltr" style="font-size: 13.12px; font-family: monospace; left: 48px; top: 977.28px; transform: scale(0.984, 1); transform-origin: 0% 0% 0px; text-align: justify;" data-font-name="g_font_p0_60" data-canvas-width="7.8719999313354485"></div> <div dir="ltr" style="font-size: 13.12px; font-family: monospace; left: 48px; top: 992.32px; transform: scale(1.00024, 1); transform-origin: 0% 0% 0px; text-align: justify;" data-font-name="g_font_p0_60" data-canvas-width="664.1566982068073"><span style="font-family: arial,helvetica,sans-serif; font-size: small;">Skulpturen aus der aktuellen Schaffensphase von William Tucker befinden sich unter</span></div> <div dir="ltr" style="font-size: 13.12px; font-family: monospace; left: 48px; top: 1007.36px; transform: scale(1.00024, 1); transform-origin: 0% 0% 0px; text-align: justify;" data-font-name="g_font_p0_60" data-canvas-width="640.1510344161996"><span style="font-family: arial,helvetica,sans-serif; font-size: small;">anderem in der Sammlung der Tate Gallery London, im Guggenheim Museum und im MoM</span></div> <div dir="ltr" style="font-size: 13.12px; font-family: monospace; left: 688.104px; top: 1007.36px; transform: scale(1.00024, 1); transform-origin: 0% 0% 0px; text-align: justify;" data-font-name="g_font_p0_60" data-canvas-width="48.01132758121491"><span style="font-family: arial,helvetica,sans-serif; font-size: small;">A New</span></div> <div dir="ltr" style="font-size: 13.12px; font-family: monospace; left: 48px; top: 1022.4px; transform: scale(1.00024, 1); transform-origin: 0% 0% 0px; text-align: justify;" data-font-name="g_font_p0_60" data-canvas-width="696.1642499276173"><span style="font-family: arial,helvetica,sans-serif; font-size: small;">York, im Nasher Sculpture Center Dallas sowie in der Art Gallery of New South Wales in</span></div> <div dir="ltr" style="font-size: 13.12px; font-family: monospace; left: 48px; top: 1037.76px; transform: scale(1.00024, 1); transform-origin: 0% 0% 0px; text-align: justify;" data-font-name="g_font_p0_60" data-canvas-width="64.01510344161987"><span style="font-family: arial,helvetica,sans-serif; font-size: small;">Sydney.</span></div> <div dir="ltr" style="font-size: 13.12px; font-family: monospace; left: 112.01px; top: 1037.76px; transform: scale(0.984, 1); transform-origin: 0% 0% 0px;" data-font-name="g_font_p0_60" data-canvas-width="7.8719999313354485"></div> Sat, 06 Apr 2013 10:16:50 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Tomás Saraceno - Esther Schipper - March 15th, 2013 6:00 PM - 9:00 PM <div dir="ltr" style="font-size: 14.6667px; font-family: sans-serif; left: 407.513px; top: 157.311px; transform: scale(0.970921, 1); transform-origin: 0% 0% 0px; text-align: justify;" data-font-name="g_font_p1_1" data-canvas-width="238.84667184352875"><span style="font-size: small; font-family: arial,helvetica,sans-serif;">Esther Schipper is pleased to announce the first solo exhibition of Tomás Saraceno at the gallery.<br /></span></div> <div dir="ltr" style="font-size: 14.6667px; font-family: sans-serif; left: 407.513px; top: 157.311px; transform: scale(0.970921, 1); transform-origin: 0% 0% 0px; text-align: justify;" data-font-name="g_font_p1_1" data-canvas-width="238.84667184352875"><span style="font-size: small; font-family: arial,helvetica,sans-serif;"> </span></div> <p style="text-align: justify;">One of Saraceno’s key interests is the scientific observation of environmental, biological and physical systems and their poetic correlation to human perception and ideas about the living environment. Patterns, which the artist discovers in phenomena ranging from macro structures of the outer space to micro bio-systems of nature, invite to imagine alternative ways of the organisation of life.</p> <p style="text-align: justify;"> In the exhibition Tomás Saraceno reveals one of the main sources of his research and inspiration, expanding spatial structures of spider webs. In the first room of the gallery illuminated, translucent cubes are hosting webs built by different species of spiders. Among them social spiders, a small minority between otherwise solitary insects that have developed a social ability. Almost all cobwebs on the display are hybrid creations woven by spiders on top of the older webs built by a different species. These unique multi-generational structures would never occur in ‘nature’. Supervising their development the artist touched upon key principles of social organisation: cooperation, co-habitation and hybridity.</p> <p style="text-align: justify;"> This is an artistic experiment that weaves architecture, biology, network analyses and social behaviour into questions of sharing, communicating and building.</p> <p style="text-align: justify;">In the second space of the gallery large-scale open cobweb installations emphasise the fragility and complexity of the natural structures. The look of the visitor can wander in labyrinths of the spider threads. Like almost all projects of the artist the current works were developed in collaboration with scientists: astrophysicists, arachnologists, radiologists, engineers, biologists and others. The process and unique findings of these collaborations are captured in the works presented in vitrines. Among them, for example, is the proposal for a study of spider webs in the condition of microgravity, which was submitted to the European Science Foundation.</p> <p style="text-align: justify;">The artist’s fascination with cobwebs arises from applying the image of a spider web in astrophysics where it is used to represent galaxy formations. The ongoing research project of Saraceno started out as an investigation of these universal patterns. The artist’s continuous interest in models of co-habitation, biodiversity, adaptability and hybridity led him further to experiments with spiders growing their homes in an artificial environment. Abstract three- dimensional structures created by the insects point out to little known facets of the universe and become associative signs of co-habitation, generational succession, sociality and survival.</p> <p style="text-align: justify;"> The theme of the spider-web as a metaphor of a sociality, networking and connectivity was explored by Tomás Saraceno in his installation „Galaxies Forming along Filaments, like Droplets along the Strands of a Spider’s Web” at the Italian Pavilion of the 53rd Venice Biennale in 2009. During his residency at the International Space Studies Program at NASA in 2009 the artist met space scientists, astrophysicists and biologists, who drew his attention to the parallels between spider silk structures and galactic formations. In the time leading up to the exhibition “14 billions (working title)” at the Bonniers Konsthall (2011) the artist and his collaborators conducted numerous experiments attempting to create 3D visualisations and large-scale installations reconstructing architecture of the spiderweb. The current exhibition introduces the new stage of this ongoing research project where the artist observes the webs as miniature social models.</p> <p style="text-align: justify;">Tomás Saraceno, born in 1973 in Argentina, studied art and architecture. Currently he lives and works in Berlin. His recent international exhibitions include: “Roof Garden Installation”, Metropolitan Museum of Art, New York (2012); “On space time foam”, HangarBicocca, Milan (2012-2013); „Cloud Cities“, Hamburger Bahnhof - Museum für Gegenwart, Berlin (2011-2012). Selected group exhibitions with the artist’s participation: “20 Jahre Gegenwart”, MMK Museum für Moderne Kunst Frankfurt (2011); Installation at the Italian Pavilion at the 53 rd Venice Biennial, Venice (2009). Saraceno’s continuous research of spider-web structures has been presented in solo exhibitions “14 billions (working title)” at Bonniers Kons thall, Stockholm and Kunsthalle, Helsinki (2010). The works displayed in the current exhibition will be part of his next solo show „ In Orbit”, which will open in June 2013 at K21 Ständehaus, Düsseldorf.</p> Sat, 06 Apr 2013 10:44:04 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Ari Benjamin Meyers - Esther Schipper - March 15th, 2013 6:00 PM - 9:00 PM <p style="text-align: justify;"><span style="font-size: small;">Esther Schipper is pleased to present “Songbook” by Ari Benjamin Meyers.</span></p> <p style="text-align: justify;"><span style="font-size: small;">“Songbook” is the title of this show. “Songbook (ES13)” is also a collection of compositions created during the four weeks of the exhibition. These compositions are in a very real sense the show itself, being portraits of the opening and closing, of some visitors to the show, and of all those working at the gallery. “Songbook” can of course be performed. The show also exists as a performance. A visitor to the show is witness to a process that started before the opening and will continue after the closing.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The exhibition by Ari Benjamin Meyers is an inquiry into how to present and represent music within the gallery context. Avoiding straightforward visualization or auralization of a composition, he focuses instead on the act of creation and performance itself. The artist attempts to address an expanded field of music where ideas, concepts, references, and a subjective approach are at least as important, if not more important than what we commonly understand as music: namely the way a composition sounds and that sound’s technical perfection. </span></p> <p style="text-align: justify;"><span style="font-size: small;">The work on “Songbook (ES13)” began with the artist asking each member of the gallery staff one simple question: do you play an instrument? This question evoked other questions: If you play an instrument, which one, and why? If you don’t play an instrument, why not? If you could play any instrument at all, which one would it be? These questions and answers became sources of the short, mostly solo instrumental and vocal composition-portraits that make up “Songbook (ES13)”. In the course of the interviews a musical biography of each person began to take shape and the collective sound of the gallery started to emerge. The resulting score, which will be completed during the show, can be seen as a musical psychogram of the gallery, of the people working there, and of the gallery guests.  </span></p> <p style="text-align: justify;"><span style="font-size: small;"> The instruments on display, albeit at first in their cases, constitute a mute orchestra and testify to the musical potential of the gallery. They are physical and silently aural representations of the discovered musical skills and fantasies present there. These instruments will be activated during rehearsals and workshops that will lead up to performances by the gallery staff, which may or may not be witnessed by an audience. By the end of the show all of the instruments will have been removed from the gallery. Only the remaining music stands and compositions will be left to mark the positions of the quasi-private performances that have taken place. On days when Ari Benjamin Meyers is working in the space, visitors themselves have a possibility to enter the piece through a composition entitled “Visitors”.</span></p> <p style="text-align: justify;"><span style="font-size: small;">A publication of “Songbook (ES13)” will be produced after the exhibition. The current show begins a series of individual one-off portraits to be composed by Ari Benjamin Meyers.</span></p> <p style="text-align: justify;"><span style="font-size: small;"> “In short, must a song always be a song?” -Charles Ives, postscript to 114 Songs</span></p> <p style="text-align: justify;"><span style="font-size: small;"> </span></p> <p style="text-align: justify;"><span style="font-size: small;">Ari Benjamin Meyers, born 1972 in New York, currently lives and works in Berlin. Trained as a composer and conductor, his work has been increasingly presented in an art context since 2007. In his recent projects and compositions, for example „ The Lightning and its Flash (Solo for conductor)“ (2012) and “ Symphony X“ (installation version, 2012) , the artist has explored structures that redefine the performative and immaterial nature of music. The range of his activities is evidenced by his numerous collaborations. In addition to several projects with Tino Sehgal he has also collaborated with Dominique Gonzalez- Foerster on the installation/performance “NY.2022“ at the Solomon R. Guggenheim Museum, New York (2008), “K.62/K.85“ for Performa ‚09, New York and most recently “T.451“ for Tensta Konsthall (2012). Further collaborations include „The Fairytale Recordings“ with Saâdane Afif (2011) and “The Breathing Line“ (2012) and “1395 Days Without Red“ (2011) with Anri Sala. He was Music Director of the staged group show “Il Tempo del Postino” curated by Hans Ulrich Obrist and Philippe Parreno (Manchester International Festival, 2007 and Art Basel, 2009). In April 2013 the new installation “Chamber Music (Vestibule)” by Ari Benjamin Meyers will be shown at the Berlinische Galerie, Berlin. In September 2013 Esther Schipper will feature the first solo-exhibition of the artist at the gallery.</span></p> Sat, 06 Apr 2013 10:46:53 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Rudolf Bonvie, Bendzulla/Harrison/Osterried, Samuel Henne, David Kühne, Clunie Reid, Martin Zellerhoff - Galerie Jette Rudolph - March 15th, 2013 6:00 PM - 10:00 PM <p>„Is photography to be defined with (its own) nature or with the culture that surrounds it?“[1]<br />- Geoffrey Batchen</p> <p>Der künstlerische Umgang mit dem Medium der Fotografie evoziert ein sich weithin ausspannendes Netz referentieller Verweise, welches äquivalent zur multiplen Verortung des Mediums zu verstehen ist, respektive dessen Diskursen im Anschluss an andere Medien und Gattungen, den Gebrauchsweisen fotografischer (Alltags-)Praxis sowie ihren medieninhärenten Parametern. Dabei liegt der Fokus auf sezierenden Prozessen, welche kulturelle und mediale Verbundsysteme der Fotografie vermittels der künstlerischen Strategien von Zitat, Adaption, Montage oder Konstruktion tendenziell decodieren und jenen dem Medium seit seinen Anfängen innewohnenden Authentizitätszwang kritisch kommentieren.<br /> So wird der Bruch mit den etablierten Sehgewohnheiten zum zentralen künstlerischen Motiv: Was mit der Aneignung und Deklination verfügbarer Bildvorlagen und ihrer Darstellungsmodi beginnt – ob als direkt handhabbares Material oder zwecks der Hinterfragung im übergeordneten Kontext – mündet im projektiven Entwurf einer scheinbar grenzenlosen medialen Elastizität von Fotografie heute. Statt die medialen Grenzen zu wahren, setzt sich die postmoderne Fotografie darüber hinweg: Sie inszeniert, manipuliert und erfindet.[2] Und erweitert die Wahrnehmung des authentischen, technischen Bildes, um schließlich dessen gewohnten Rahmen durch ein komplexes Verweissystem zu ersetzen.</p> <p>Mit den in der Ausstellung "Beyond the Compound" versammelten künstlerischen Positionen liegt das Augenmerk zum einen auf der möglichen Verknüpfung vielschichtiger Informationsebenen des fotografischen Bildes (Bonvie, Reid, Kühne, Sauer, Zellerhoff) und zum anderen auf einer perzeptiven Offenheit, die den Betrachter zwischen einer vermeintlich realen, tatsächlichen Wahrnehmung und einer sprachlich-begrifflichen Bedeutung der Bildgegenstände zu differenzieren anregt (Henne, HBO). Stets gibt es mehr zu erkennen und zu sehen: Über das fotografische Bild hinaus werden neue Kontexte geschaffen, Gegebenheiten offengelegt oder auch Parameter der Wahrnehmung neu justiert. Die mitgebrachten Erfahrungen und Kenntnisse des Rezipienten werden im Rahmen der fotografischen Konzepte durch die ästhetische Bilderfahrung, experimentelle Übergriffe auf andere Gattungen sowie die mediale Selbstreflexion gleichsam gefordert und verunsichert. Es entspinnt sich ein Spiel zwischen der An- und Abwesenheit des Bildgegenstands, der sozialen Interaktion wie Konstitution von Wirklichkeit im fotografischen Bild durch das gegenseitige Blicken und Erblickt-Werden bis hin zur morphologischen Handlung am Motiv, die im abstrakten Komposit mündet.[3]</p> <p>Zwischen Aneignung und Autonomie generiert Rudolf Bonvie in seinen Arbeiten unterschiedliche, sich einander überlagernde Bild- und Wirklichkeitsebenen, welche die scheinbar eindeutigen, realen Informationscodes verklären: In seiner frühen Arbeit der Serie „La chasse photographique est ouverte...“ („Die Jagd ist eröffnet...“) von 1982 montiert der Künstler auf kommentierende Weise die Videoaufnahmen fotografierender Paparazzi auf einen monumentalen Sockel, der wiederum von Stapeln massenmedialer Print-Magazine gebildet wird. Durch die medialen und auktorialen Verschiebungen lässt sich das Ausgangsmaterial des Künstlers in verdichteter Form zwar noch erkennen – transportiert also seine ursprüngliche Referenz weiter –, wird jedoch kritisch auf eine neue inhaltliche und mediale Ebene überführt. Das Bildmedium wird zum Medienbild und provoziert zugleich eine Umkehr des bis dato gewohnt hierarchischen Verhältnisses von Bild und Betrachter, bis hin zur Frage nach den Konsequenzen der massenmedialen Produktion, wenn das Bilder-Machen plötzlich über die abgebildeten Objekte in ihnen zu bestimmen behauptet.</p> <p>Die aus der Zusammenarbeit von Adam Harrison, Johannes Bendzulla und Dominic Osterried (alias HBO) entstandene Werkserie kommentiert durch kunstimmanente Verweise die Kommunikationsmechanismen des Kunstbetriebs, indem sie im spontanen und energetischen Prozess druckgrafisches Material kurzerhand zur Leinwand erklärt. Die kommerziellen Informationskanäle wie Werbeposter, Ausstellungsankündigungen und Museumsplakate werden auf diese Weise ihrer Funktion wirkungsorientierter Bildformulierung enthoben, um zugleich Raum zu schaffen für ein gedankliches oder ein ‚reines’ Sehen, das sich unabhängig macht von der Fähigkeit der Gegenstandssynthese. Auf der Fläche der großformatigen, ungerahmten und somit tendenziell ‚grenzenlosen’ Prints entfaltet sich ein aufgrund mehrfacher Belichtungsprozesse freies Schauspiel der Dinge, welche im Prozess der multiplen morphologischen Handlungen am Bild ihre ursprüngliche Identität zugunsten eines abstrahierten Komposits wandeln.</p> <p>Zwischen fotografischem Bild und Objekt changierend, befreit Samuel Henne die Fotografie von ihrer Rolle als Hilfsmedium zur Verbreitung skulpturaler Werke. Die Arbeit "something specific about everything" projiziert vor einen wechselnd farbigen Hintergrund surreale Skulpturen, die aus Alltagsgegenständen frei gesampelt sind. In der Verschränkung des analytisch wiedergegeben aber aufgrund seiner mangelnden Herleitungsmöglichkeiten zuletzt assoziativ aufgeladenen abstrakten Bildgegenstands, verstrickt uns der Künstler in ein fiktives Spiel des fotografischen Blicks im mehrschichtig medialen Transfer. Indem der Künstler sukzessive Bedeutungs- und Informationsebenen ineinander verschachtelt, das Motiv inszeniert und arrangiert, bis das Bezugssystem zum abgebildeten Objekt jeder einzelnen Arbeit brüchig wird, provoziert er eine fotografisch vermittelte Sphäre zwischen Räumlichkeit und flacher Bildwelt.</p> <p>David Kühne lanciert seine photographischen Bilderfolgen im Kontext des Düsseldorfer Rhein-Verlags, einem Distributionsprojekt initiiert durch einen Künstlerzusammenschluss, um sowohl die zeitliche Dimension der Rezeption als auch den "Zusammenschluss von Werk- und Ereignisästhetik"[4] im Medium Buch zu thematisieren. Folgerichtig unterläuft David Kühne eine vermeintliche Chronologie und kausale Prozesshaftigkeit der Lektüre seiner Bilderserien. Sowohl der strukturelle Aufbau als auch der narrative Kommunikationsgehalt werden nachhaltig befragt, umfunktioniert oder ad absurdum geführt. Die scheinbar stereotypischen Bilderfolgen des Künstlers beeindrucken durch ihre explizit analytischen Bestandsaufnahmen wie stringenten Neu-Codierungen und provozieren den Betrachter im Umgang mit den vertrauten Objekten zu stets neuen spezifischen wie (mit)gestaltenden Wahrnehmungsprozessen.</p> <p>Mit dem adaptierenden Rückgriff in die frei verfügbare visuelle, mediale Bilderflut collagiert die britische Künstlerin Clunie Reid fotografische Vorlagen aus Zeitschriften, Magazinen und dem Internet. Wiederholt greift die Künstlerin mit einem schwarzen Marker kommentierend in die Vorlagebilder ein, erweitert und überprüft die scheinbar augenfällig strukturierenden Eigenschaften der meist mehrteiligen Bilderfolgen. Bildaufbau und -inhalt reflektierend überträgt sich das kommunikative Schema mit dem fotografischen Einzelbild in ein dialogisches Verhältnis zum Zeichensystem der Schrift. Die aneignende Praxis der Künstlerin reflektiert die diffuse Bilderflut des täglichen Lebens und analysiert die Darstellungsmodi zentraler Themen wie Schönheit, Entfremdung, Humor und Abscheulichkeiten.</p> <p>Mit seinem langjährigen Buchprojekt, das fortlaufend konzipiert ist und mittlerweile 362 Seiten umfasst, reflektiert Heinz Sauer selbsterkundend seine Person im teilhabenden wie beobachtenden Austausch mit seinem Umfeld, Personen und Objekten. Animiert durch mono- und dialogische Textpassagen, teils gefundene und teils selbst erfundene, werden im überbordenden Werk Sauers fotografische Gedanken- und Identitätsspiele in immer neuen Konstellationen projiziert, welche sich episodenhaft den Themen Sexualität, Geld, Liebe und Gesellschaft widmen. Sauer verbindet dabei die Textabschnitte im Zwiegespräch mit werbeästhetisch inszenierten Fotografien zu Gedankenkonstrukten narrativem Gehalts.</p> <p>Martin Zellerhoff verbindet in seinen Arbeiten die Grundzüge des Konzeptualismus mit einer explizit motivischen Bildhaftigkeit, während sich der narrative Gehalt der vom Künstler darin zitierten technischen und soziologischen Kontexte mit autobiografischen Reminiszenzen vermischt. Seine Fotografien visualisieren anhand von Bilderserien die Spezifika des Dokumentarischen ebenso wie die Codes der Werbe- und Produktfotografie. In jenem Grenzbereich zwischen reproduzierender Bildlichkeit und medienreflexiven Momenten gelangt der Künstler stets an Punkte offenkundiger Widersprüche, welche analog zur Streitfrage um das Medium trefflich von der Geschichte der Fotografie erzählen.</p> <p>_________<br /> [1] Batchen, Geoffrey: Burning With Desire: The Conception of Photography, The MIT Press 1997, S. 17.<br /> [2] Vgl. Köhler, Michael: Das konstruierte Bild. Fotografie – arrangiert und inszeniert, in: Ausst.Kat., Kunstverein München e.V., 1995, S. 18ff.<br /> [3] Vgl. Huber, Hans Dieter: Überkreuzte Blicke. Merleau-Ponty, Lacan, Beckett, Spencer- Brown., in: A.Kapust, B.Waldenfels (Hg.): Kunst.Bild.Wahrnehmung.Blick., S.135 ff.<br /> [4] Rhein-Verlag</p> <p class="dunkelgrauklein">english version</p> <p>Events in conjunction with the exhibition:</p> <p>Saturday, March 16, 2013, 3 p.m.: Book presentation and discussion with David Kühne<br /> Friday, April 12, 2013, 7:30 p.m.: Book presentation and discussion between Heinz Sauer and Martin Zellerhoff</p> <p>“Is photography to be defined with (its own) nature or with the culture that surrounds it?”[1]<br /> - Geoffrey Batchen</p> <p>To deal artistically with the medium of photography opens up a far-flung, expansive network of references that is to be understood as equivalent to the multiple positioning of the medium, or the discourses which link it to other media and genres, or to the way photography is used and practiced (in everyday life), as well as to the parameters inherent in this type of medium. Our focus here is on those analytical processes that tend to decode photography’s cultural and medial network systems by means of various artistic strategies, such as citation, adaptation, assembly, or construction, and that critically comment on this medium’s compulsion towards authenticity, which has inherently defined it from the start.<br /> As such, the break with established viewing habits becomes the central artistic motive: What starts out with the appropriation and declension of available visual models and their modes of representation – either as immediate, easily manageable material or, for the purpose of critical scrutiny, as elevated to a higher contextual level – leads to the projection of a seemingly infinite medial elasticity that characterizes contemporary photography. Instead of preserving medial boundaries, postmodern photography defies and supersedes them: It stages, manipulates and invents.[2] And it expands our perception of the authentic, technological image until it displaces and substitutes for the latter’s habitual framework a complex reference system.</p> <p>The various artworks assembled for the exhibition “Beyond the Compound” focus our attention, on the one hand, on the possibility of interconnecting the multi-layered levels of information that invest the photographic image (Bonvie, Reid, Kühne, Sauer, Zellerhoff) and, on the other, on a perceptual openness that stimulates the viewer to differentiate between a supposedly real, actual perception and the linguistic-conceptual significance of the imaged objects (Henne, HBO).<br /> There is always more to discover and to see: New contexts are created beyond the photographic image; actual conditions are revealed or, conversely, our parameters of perception are freshly re-adjusted. Recipients’ prior experience and knowledge in the field of photographic concepts are simultaneously called upon and unsettled by their aesthetic perception of the image, by its experimental encroachment on other genres as well as by medial self-reflection. What ensues is a game taking place between the presence and the absence of the imaged object, between the social interaction and the constitution of reality within the photographic image – a game originating in mutual seeing and being-seen, leading all the way up to the morphological action imposed on the motif and which finally produces the abstract composite.[3]</p> <p>Between appropriation and autonomy, Rudolf Bonvie generates in his works various mutually overlapping levels of image and reality that glorify and transfigure the seemingly unambiguous, real codes of information: In his early piece from the 1982 series “La chasse photographique est ouverte...” (“Hunting season is open...”), the artist has mounted, as a sort of commentary, the video recordings of paparazzi shooting photographs onto a monumental pedestal composed of stacks of mass-medial print-magazines. The medial and authorial displacements still allow us to recognize the artist’s original material, if in a lyrically condensed format – that is, the material keeps on transmitting its original reference; but it has been critically transported to a new substantial and medial level. The image medium has become a media image and thus provokes, simultaneously, a reversal of the – up to this point – usual and habitual hierarchical relationship of image and spectator; this reversal prompts us to ask questions about the implications of such a mass-medial production, when picture-making suddenly starts to assert its power to determine the imaged objects.</p> <p>By using references intrinsic to art, the series of works produced through the collaboration of Adam Harrison, Johannes Bendzulla and Dominic Osterried (aka HBO) comments on the mechanisms of communication used by the art industry. This comment comes about through a spontaneous and energetic process that, without further ado, declares graphic reproduction materials to function as canvas. Commercial information channels such as advertising posters, exhibition broadsides and museum placards are thus robbed of their effective representational function and, simultaneously, repurposed to create a space for thoughtful or ‘pure’ viewing – a seeing that liberates itself from the ability to synthesize objects. On the surface of large-format, unframed and therefore potentially ‘infinite’ prints, there unfolds, due to manifold exposure processes, a free spectacle of things. Through the process of multiple morphological actions imposed on the image, these things transform and change their original identity in favor of an abstract composite.</p> <p>Oscillating between photographic image and object, Samuel Henne liberates photography from its role as an auxiliary medium tasked to disseminate sculptural works. His piece “something specific about everything” projects surreal sculptures composed of freely sampled everyday objects against a background of changing colors. By making the abstract object appear as something analytically represented all the while – due to a lack of data barring us from being able to conceive of its original derivation – it is finally approached only as charged up with associations, the artist ensnares us in a fictional game of the photographic gaze within the multi-layered process of medial transfer. By creating a structure that has successive levels of significance and information nested within one another, by staging and arranging his motif until the reference system linked to the imaged object of every one of his works becomes fragile and breaks, the artist provokes a photographically mediated sphere located between three-dimensional space and the flat world of the image.</p> <p>David Kühne launches his photographic images in the context of Düsseldorf based publisher Rhein-Verlag, a distribution project initiated by a cooperation of artists, highlighting both the temporal dimensions of reception as well as the “fusion of the work’s aesthetics and its event quality”[4] regarding to the book as a medium.</p> <p>Consequently, David Kühne’s works undermine the putative chronology and causal procedures in the reading of his image series. He consistently calls into question not only the structural composition but also the narrative content of communication, re-purposing them or leading them ad absurdum. The artist’s seemingly stereotypical image sequences impress us with their explicitly analytical surveys as well as their stringent re-codings; and they provoke the viewer, engaged in interaction with familiar objects, to try out ever new specific as well as (co-)creative processes of perception.</p> <p>Taking adaptive recourse to the freely available visual, medial flood of images, British artist Clunie Reid makes collages out of photographic templates culled from newspapers, magazines and the Internet. Using a black marker, the artist intervenes repeatedly into these picture templates in the form of a commentary, thereby expanding and putting to the test the apparently obvious structural qualities of these mostly multi-part picture sequences. Reflecting the picture’s construction and contents, this communicative schema transfers itself, along with the photographic singular image, into a dialogic relationship to the symbolic system of writing. The artist’s appropriational practice thus reflects the diffuse flood of images of everyday life and analyzes the modes of representation used to visualize pivotal subjects such as beauty, alienation, humor and abominations.</p> <p>Heinz Sauer’s long-lived book project was conceived as continuous and by now comprises some 362 pages. It autobiographically probes and reflects his own person in participatory as well as observant interaction with his environment, people and objects. Animated by mono- and dialogical text passages (which he partly found and partly invented), Sauer’s excessive work projects photographic thought and identity games in ever-new constellations that are episodically dedicated to the themes of sexuality, money, love and society. To achieve this effect, Sauer brings the text passages into dialogue with the staged commercial photographs so that they combine to produce thought constructs full of narrative content.</p> <p>Martin Zellerhoff’s works combine the main features of Conceptualism with an explicitly motivic graphic quality, while the narrative content of the technological and sociological contexts inserted into them by the artist in the form of quotes is mixed in with autobiographical reminiscences. Presented as picture series, his photographs visualize the specifics of documentary representation as well as the codes of commercial and product photography. In that liminal domain between reproductive visual representation and media-reflective moments, the artist always arrives at the point of obvious contradictions that, in analogy to the contested issue of the medium as such, splendidly tell us about the history of photography.</p> <p>________<br /> [1] Batchen, Geoffrey: Burning With Desire: The Conception of Photography, published by the MIT Press, 1997, p. 17.<br /> [2] Please see Köhler, Michael: Das konstruierte Bild. Fotografie – arrangiert und inszeniert, in Ausst.Kat., Kunstverein München e.V., 1995, p. 18ff.<br /> [3] Please see Huber, Hans Dieter: Überkreuzte Blicke. Merleau-Ponty, Lacan, Beckett, <br /> Spencer- Brown, in Kunst. Bild. Wahrnehmung. Blick, edited by A. Kapust and B. Waldenfels, <br /> p. 135 ff.<br /> [4] Rhein-Verlag (Publisher)</p> Fri, 01 Mar 2013 02:13:53 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Franco Maurina - galerie son - March 15th, 2013 7:00 PM - 9:00 PM <p></p> <p>Using unique techniques developed autonomously, Franco Maurina tells a mystifying travel through his memories. Everything happens in one room, where the spectator can observe the centre of a scenery that has neither stage nor curtains. Music and lights materialize in space and complete each other with objects carefully placed by the author. It is a 'non'-place that can be transferred to any house or any city. What matters is the representation of the memory, which is already assimilated in the show and which has no limits, not in space and not in time. No machine at present on the market is capable of recreating this atmosphere.</p> <p>The research of the proper technology has been a work of 15 years and it is still evolving, always aiming at the artistic, and not at the technological achievement. </p> <p></p> <p>for more information about Franco Maurina and his Frame Theatre go to galerie som website in <a href="http://www.galerie-son.com/artists/francomaurina/francomaurina_en.html" title="Franco Maurina at galerie son" rel="nofollow" target="_blank">english</a> or <a href="http://www.galerie-son.com/artists/francomaurina/francomaurina.html" title="Franco Maurina at galerie son" rel="nofollow" target="_blank">deutsch</a></p> Mon, 04 Mar 2013 12:09:29 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Christian Megert - Galerie Volker Diehl - March 15th, 2013 7:00 PM - 9:00 PM <p>Christian Megerts Lichtkästen sind einzigartige Kunstwerke. Gleichzeitig sind sie weit mehr als eine bestimmte Momentaufnahme von Megerts persönlicher Entwicklung als Künstler in den Sechziger Jahren – sie sind als eine zweifache Reflexion zu begreifen, weil sie uns die intellektuellen Umbrüche jener Zeit vor Augen führen, in der sich die Erfahrung der räumlichen Wahrnehmung grundlegend veränderte. Damals stand die Menschheit am Beginn des Zeitalters der Raumfahrt, aus dem heraus das völlig neue Gefühl entstand, das bis dahin ausschließlich theoretisch erfaßbare Kontinuum des Weltalls bekomme endlich eine neue, diesmal jedermann zugängliche Bedeutung. Auch Megert machte sich daran, vom festen Boden seiner Ästhetik aus die Begriffe Licht, Raum und Wahrnehmung neu zu erkunden. Er, der zunächst mit der Malerei der ‚art informel’ begann und Mitte bis Ende der Fünfziger Jahre an materialbasierten Monochromen arbeitete, schwenkte 1960/61 auf Experimente mit erweiterten Raumschöpfungen um, indem er Spiegelgläser ganz unmittelbar in seine künstlerische Arbeit einbrachte. Seine Reliefs aus Spiegelscherben erschlossen ihm jene potentielle Autonomie, die er mit Hilfe von gespiegeltem Licht, Spiegelgläsern und kinetischen Verschiebungen erreichen konnte; diese drei Elemente bildeten dann die Basis für den Bau von Lichtkästen, die der Künstler ab 1964 schuf und die nicht ihresgleichen kannten. Megerts Lichtkästen loten auf mannigfachste Weise aus, wie wir Wahrnehmung begreifen; sie werfen Licht auf unsere optischen Reaktionen, indem sie hinterfragen, was wir erleben, wenn sich Räume verschieben und staffeln. Megert nutzt bei seinen Installationen die Blickachsen von Spiegel zu Spiegel, verbunden mit der Interaktion mit Leuchtstoffröhren, wodurch er verdeutlicht, wie aktiv das unmittelbar wahrnehmende Erleben und die rein körperliche Erfahrung den Prozess unserer Wahrnehmung steuern. Bewegt sich der/die Betrachter/in im sie/ihn unmittelbar umgebenden Raum, unterliegen Erleben und Wahrnehmung einer ständigen Veränderung; macht man sich das bewußt, begreift man, welch unverzichtbare (und das heißt implizit: welch demokratische) Rolle das Publikum bei Megerts Lichtkästen spielt. Doch einerlei, ob Megert Spiegel-zu-Spiegel plus simple Leuchtstoffröhren benutzt oder statt dessen kinetische Installationen mit motorgetriebenen Spiegeln und Neonröhren entwirft, immer sind seine Lichtkästen Paradebeispiele und Pointierungen jenes radikalen Neudenkens, das in der Zeitspanne von den 1950ern bis zu den 1970ern wirksam wird und völlig neu erhellt, wie der Mensch den Raum sinnlich erlebt und wie nachdrücklich alle seine Erfahrungen vom Raumerleben definiert sind. Im Endeffekt machen uns Megerts Kunstwerke stärker als zuvor bewußt, daß sich die frühesten Erfahrungen, die wir auf der Welt machen, allesamt aus rein sensorischen Phänomenen ableiten und nicht etwa a priori aus unserem geistigen Bewußtsein. Wollten wir ein philosophisches Gleichnis heranziehen, könnten wir also jetzt – statt wie gehabt zu sagen, „ich denke, also bin ich“ – mit Fug und Recht behaupten „ich nehme wahr, also bin ich“; das wiederum würde den Schluß nahelegen, daß es beim ‚Sein in der Welt’ zuallererst um sinnliche Phänomene geht und erst danach um das selbstreflexive intellektuelle Bewußtsein samt seinen Verhärtungen, das dem Bewußtsein aufgezwungen wird.<br />Mark Gisbourne (Übersetzung Gerd Burger)</p> <p><br /> <br /> The light boxes of Christian Megert are unique and represent not only a moment in his own personal artistic development in the 1960s, but they are also a doubled reflection in sense of the intellectual changes that were taking place in terms of understanding the experience of spatial perception at that time. At the beginning of the modern space age and with a new feeling that the former only theorised continuum of outer space was at last made meaningful, Megert undertook his own aesthetic perceptual terrestrial investigations into light, space and role played by perception. While his art emerged from an early involvement with ‘informel’ painting and material-based monochromes in the mid-to-late 1950s, he began in 1960/61, to experiment with extended spatial realities presented through the use of mirror glass and incorporated them directly into his work. It was with his use of ‘shard’ mirror reliefs that he discovered the potential autonomies presented by the use of reflected light, mirrors and kinetic motion, and these formed the basis for the unique realisation of his light boxes from 1964 onwards. The light boxes investigate a large number of avenues of perception and our optical understanding of experiencing receding space. These take the form of mirror-to-mirror and florescent strip lighting interactions that serve to incorporate both the immediate perceptions of consciousness and the physical or bodily experience as actions involved in the processes of perceiving. As the viewer moves around in his/her immediate space the perceiving experience constantly changes, and as a result we are made increasingly aware of the incorporated (one might say implied democratic) role that is played by a percipient of a Megert light box work. Whether using the mirror-to-mirror and simple light strip approach, or incorporating the kinetic motorised aspects of moving mirrors and light strip contents, the light boxes reveal and reflect a radical rethinking of sensory space and human spatial experience that was taking place from the 1950s to 1970s. As a result they re-articulated an increased awareness that our first experiences of the world are in fact those derived from purely sensory phenomena rather than being dictated a priori by mental consciousness. Using a philosophical simile one might say, instead of ‘I think therefore I am’, it changed to ‘I perceive therefore I am’, suggesting that ‘being in the world’ is a sensory phenomena prior to the self-reflexive intellectual awareness and determination imposed on mental consciousness.<br /> Mark Gisbourne</p> Thu, 07 Mar 2013 23:37:08 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Peter Woelck - Laura Mars Grp. - March 15th, 2013 8:00 PM - 10:00 PM <h1>Press release</h1> <p> <i>Once many a rarity and a right supply thereof has been assembled in one place, select for it a chamber that faces southeast on account of the savory air, with dry walls, an arched floor, daylight well distributed, that is furthermore well protected from whatever accident.</i></p> <p><i>How to Establish a Chamber of Rarities (practical advice, ca. 1727) </i><i><sup>*</sup></i></p> <p> Photographer Peter Woelck’s archive never occupied such an ideal location. In his lifetime prints and negatives were stored at his apartment/studio on the corner of Kastanienallee and Schwedter Straße. Some may still remember the corner store littered with graffiti and posters and with some of Woelck’s most popular motifs displayed for sale in the shop windows. The hippie-esque interior shot <i>Leben im Prenzlauer Berg</i> (Life in Prenzlauer Berg), 1987, depicts Woelck and some of his friends in a ghostly double exposure. The picture on the invite card came about as a snapshot in a neon-lit room while perusing the archive. <br /> The exhibition <i>Nach der Schicht</i> is not intended as a retrospective, but as a subjective approach to the as yet unrevised photographic estate which is meanwhile taken care of by Wilhelm Klotzek, Peter Woelck’s son. The display boards titled <i>Berliner Zwischenlösung</i> (Berlin Interim Solution) which Klotzek designed represent a provisional system of order for repetitive motifs; simultaneously, this system is humorously subverted by discrete ‘outliers’. It is the beginning of a collaboration between father and son; the confrontation with an inheritance not merely to be conserved but, above all, invigorated. <br /> The selection of additional work - with a focus on portraits and urban landscapes - can at best indicate the archive’s broad range. Densely atmospheric images such as <i>Nächtliches Studium Cartier-Bresson</i> (Nocturnal Studies Cartier-Bresson) (1974) are juxtaposed with intense portraits like <i>Typ mit langen schwarzen Haaren</i> (Dude with Long, Black Hair) (1987). Next to well-known motifs from the 60’s and 70’s (e.g. the Leipzig garbage collectors (1974) or the construction of the Berlin TV tower (1968)) assignment work and private photography is shown as well. The reality of photographic practice often enough contradicts any clear-cut distinction between these categories, and in this particular case the confrontation of “high” with “low” hopefully allows for greater freedom in regarding Woelck’s cosmos.</p> <p> Text by Bettina Klein</p> <p><i><sup>*</sup></i> C.F. Neickel, C.F. 1727. „Museographia.“ P 52 et seq in: <i>Alchimie des Alltags</i>. Gießen: Werkbundarchiv 15, 1968.</p> <p>------------------------</p> <p><b>Peter Woelck</b>: * 1948 in Berlin. † 2010 in Berlin. 1972-77 photography studies at Hochschule für Grafik und Buchkunst, Leipzig.</p> <p> <b>Wilhelm Klotzek</b>: * 1980 in Berlin, lives in Berlin. 2006-12 fine art studies at Kunsthochschule Berlin Weißensee.</p> <p> <b>Bettina Klein</b>: * 1970 in Wadern (Saar), lives in Berlin. Art historian, freelance curator.</p> <p><br /><br /> ------------------------ deutsche version ------------------------<br /><br /></p> <p><b>NACH DER SCHICHT.</b></p> <p><b>Fotografien von Peter Woelck</b></p> <p><b> </b></p> <p><b>zusammengestellt von Bettina Klein und Wilhelm Klotzek</b></p> <p><b> </b></p> <p>Eröffnung: Freitag, den 15. März 2013 / 20 Uhr</p> <p>Finissage: Samstag, den 6. April / 18 - 21 Uhr</p> <p> </p> <p>Ausstellungsdauer: 16. März - 6. April 2013</p> <p></p> <p><b>LAURA MARS GRP.</b> <br /> Sorauer Straße 3 - 10997 Berlin  <br /> Öffnungszeiten: Di - Fr 13-19 Uhr / Sa 12-16 Uhr<br />  </p> <p><b> </b></p> <p><b>Pressemitteilung</b></p> <p> </p> <p><i>Nachdem ein ziemlicher Vorrat von allerhand Raritäten an einem Ort zusammengebracht worden, so erwähle man dazu ein Gemach, welches wegen der bequemen Luft gegen Süd-Osten gelegen, dessen Mauern trocken, der Boden gewölbt, das Tageslicht wohl ausgetheilet, und im Übrigen vor allem Unfall wohl bewahret ist.                  </i></p> <p><i> Wir richten eine Raritätenkammer ein (praktische Tips um 1727)<sup>1</sup></i><i></i></p> <p><i> </i></p> <p>Das Archiv des Fotografen Peter Woelck befand sich nie an solch einem idealen Ort. Zu Lebzeiten lagerten die Abzüge und Negative in seinem Wohnatelier in der Kastanienallee, Ecke Schwedter Straße. Manche erinnern sich vielleicht noch an den mit Graffitis und Plakaten übersäten Eckladen,</p> <p>in dessen Schaufenstern einige der besonders beliebten Motive Woelcks zum Verkauf angeboten wurden. Das hippieske Interieur <i>Leben im Prenzlauer Berg</i>, 1987 zeigt Woelck mit Freunden in seinem Laden in einer gespenstisch anmutenden Doppelbelichtung. Das Motiv der Einladungskarte, eine flüchtige Reproduktion des Barytprints, entstand als Schnappschuss beim Sichten des Archivs in einem neonbeleuchteten Raum.</p> <p>Die Ausstellung <i>Nach der Schicht</i> will keine Retrospektive sein, sondern eine subjektive Annäherung an den noch unbearbeiteten fotografischen Nachlass, um den sich inzwischen Peter Woelcks Sohn, Wilhelm Klotzek kümmert. Die von Klotzek gestalteten Displaytafeln mit dem Titel <i>Berliner Zwischen-lösung</i> stellen ein provisorisches Ordnungssystem für wiederkehrende Bildmotive dar und werden zugleich humoristisch gebrochen durch diskrete „Ausreißer“. Es ist der Anfang einer gemeinsamen Arbeit zwischen Vater und Sohn, die Auseinandersetzung mit einem Erbe, das nicht nur konserviert sondern vor allem belebt werden soll.</p> <p>In der Auswahl weiterer Arbeiten, mit einem Schwerpunkt auf Porträts und Stadtlandschaften, kann die Bandbreite des Archivs nur angedeutet werden. Atmosphärisch starke Aufnahmen wie <i>Nächtliches Studium Cartier-Bresson</i> (1974) stehen intensiven Porträts wie <i>Typ mit langen schwarzen Haaren</i> (1987) gegenüber. Neben einigen bekannten Motiven aus den 60er und 70er Jahren (z.B. die Leipziger Müllmänner (1974) oder der Bau des Berliner Fernsehturms (1968)) werden auch Auftragsarbeiten und private Aufnahmen gezeigt. Die Realität fotografischer Praxis widerspricht häufig einer scharfen Trennung jener Kategorien und in diesem konkreten Fall erlaubt die Konfrontation von „High“ und „Low“, so hoffen wir, einen freieren Blick auf den Kosmos Woelck.</p> <p>   Text: Bettina Klein</p> <p><br /> [1]C.F. Neickel: Museographia (1727). In: Alchimie des Alltags, Werkbund Archiv 15, Gießen 1986, S. 52ff.<br /><br />------------------------</p> <p><br /> <b>Peter Woelck </b>*1948 in Berlin † 2010 in Berlin</p> <p>1972-77 Studium der Fotografie an der Hochschule für Grafik und Buchkunst, Leipzig</p> <p> <br /><br /><b>Wilhelm Klotzek</b> *1980 in Berlin, lebt in Berlin</p> <p>2006-12 Studium der Bildhauerei an der Kunsthochschule Berlin Weißensee</p> <p> <br /><br /><b>Bettina Klein </b>*1970 in Wadern (Saar), lebt in Berlin</p> <p>Kunsthistorikerin, freie Kuratorin</p> <p><br /><br /></p> Wed, 13 Mar 2013 13:28:55 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list - FELDBUSCHWIESNER GALLERY - March 16th, 2013 6:00 PM - 9:00 PM Sat, 06 Apr 2013 10:53:13 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Guido Canziani Jona - Galerie Mario Mazzoli - March 16th, 2013 7:00 PM - 9:00 PM <p align="JUSTIFY"><span color="#000000" style="color: #000000;"><span size="2" style="font-size: small;"><span face="Arial, sans-serif" style="font-family: Arial, sans-serif;">Galerie Mario Mazzoli and the Neue Berliner Räume are delighted to present the first solo exhibition of Guido Canziani Jona in Berlin. The main focus in the work of Canziani Jona is the merging of sound, painting and video into one central work, with the idea of vitalizing the static one of his main concerns. For this, Canziani Jona finds an artistic form of expression in the invariably stronger interconnection of video, painting and sound. The process of fusion is not concealed with Canziani Jona. Quite the opposite, it has more to do with creating and making visible those areas of tension that arise in the merging of autonomous elements. In this process, the sound is the complete penetration of the picture and the picture is the full counterpart of the sound. This total synchronicity, this absolute merging of all parts into a work that is literally charged with tension is the goal of this artistic process.</span></span></span></p> Tue, 12 Mar 2013 21:46:16 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Bernard Piffaretti, Esther Kläs, Xylor Jane, Falk Haberkorn, Gwenneth Boelens, Adrian Sauer - KLEMM'S - March 16th, 2013 6:00 PM - 9:00 PM <p><strong>source codes</strong> is the first part of a sequence of three exhibitions that has been conceived together with Alexej Meschtschanow and Ulrich Gebert, and which will accompany the gallery’s exhibition program in the course of the next 12 months.</p> Fri, 01 Mar 2013 01:29:59 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Julian Charrière, Andreas Greiner, Markus Hoffmann, Felix Kiessling - Schinkel Pavillon - March 16th, 2013 7:00 PM - 9:00 PM <p>Dazu verteilen die vier Künstler Julian Charrière, Andreas Greiner, Markus Hoffmann und Felix Kiessling sieben Seismographen im Stadtraum, die jeweils die Vibration ihrer Umgebung registrieren. </p> <p>Basslautsprecher übertragen das Signal auf die sieben Fensterfronten des Pavillons. Je nach Aktivität der einzelnen Stadtteile ändern sich Amplituden der Schwingungen, reagieren einzelne Fensterfronten lauter als andere.</p> <p>Der Ausstellungsraum wird dadurch zum doppelten Observatorium: Er erlaubt den Rundblick auf die ihn umgebende Stadt und produziert ein Klangbild ihres Geschehens.</p> <p></p> Sat, 09 Mar 2013 23:01:33 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Dan Rees - Tanya Leighton Gallery - March 16th, 2013 6:00 PM - 9:00 PM <p>“Keep your art soft and sweet. You might have to eat it.” Inscribed in white cursive letters on a bright blue cake, the words from this 2005 piece encapsulate the spirit behind much of Dan Rees’s young, yet prolific, production. Filled with references to Conceptual art practices—Daniel Buren’s legendary stripes that sloppily spill over onto the wall behind badly painted copies (“Two Stripey Paintings,” 2009) or analog media like slide and 16 mm film projections and B&amp;W documentary photography, as in the 2006 series, “Black and White Things in Black and White,”— his work is accessible to a public specialized in rooting out its numerous art historical references and citations. And yet the impulse behind such an exercise is a far more humbling (and ultimately ambitious) process of shifting through the muddle of what has been handed down to a young artist to eventually make something of one’s own: in this case, something funny, and gently irreverent, and earnest.<br /><br />With his most recent work, Rees aspires to a move away from the hermeticism and elitism of the art world, with a return to the real world with its popular cultural references—well-attired ‘80s football Casuals or cricketer David Gower’s unruly hair to name a few—and messy, dirty materials like plasticine or the artex plaster that adorns his grandmother’s ceiling in Wales and thousands of other working class interiors across the UK. The protagonist of the current exhibition is a frog named Charles, an erudite dandy who engages in posh and leisurely activities like playing cricket (badly of course, because he is French) and reading poetry, although he is eternally frustrated by a longing to fulfill his creative potential, trapped as he is by intellectual detachment and the physical constraints of the tiny monitor that contains his digitally constructed image. Nearby a disembodied clay head spins around on a turntable perched atop a homemade totem pole—a vernacular art form legible to even the most unaccustomed contemporary art viewer—in a vertiginous movement Rees describes as a feeling of freedom “between what you believe in and what you are forced to accept, between your ideas and dreams and the dead forms and phantoms.” It’s like killing your idols but doing it softly.<br /><br />Dan Rees (b. 1982 Swansea, U.K.), lives and works in Berlin. Rees studied at the Staatliche Hochschule fur Bildende Künste Städelschule, Frankfurt am Main 2007-9, and graduated from Camberwell College of Arts, London in 2004.<br /><br />Recent solo exhibitions include: 'In the Ghetto it gets cold but we've got something to warm our soles', Baronian Francey, Brussels (2012); 'Merthyr Rising', New Galerie, Paris (2012); 'Cryogenic Blue', T293, Naples (2011); 'Philanthropy', Jonathan Viner Gallery, London (2011); 'Ventricles', Andreas Huber, Vienna (2011); 'Green Room: Dan Rees', Weltkulturen Labor, Frankfurt (2011); 'Shakin’ Peg Rails (And The Sunsets)', Wallspace, New York (2010); 'Dan Rees', FIAC, New Galerie, Paris (2010); 'French Cricket', Tanya Leighton Gallery, Berlin (2010).     <br />Recent group exhibitions include:  GAMeC, Bergamo (forthcoming); 'Without (Jonathan Monk)' (curated by Adam Carr), Meesse De Clerq, Brussels  (2012); 'Paul Cowen, Brenadn Fowler, Chadwick Rantanen, Dan Rees', Shane Campbell Gallery, Chicago (2012); 'You are right it flows much better this way', Galerie Andreas Huber (2012); 'Mise-en-scène', Young Art, Los Angeles (2012); 'Accidentally on Purpose', QUAD, Derby, Ireland (2012); 'An Incomplete History of Incomplete Works of Art', Francesca Minini, Milan (2012); ' Young British Art', Dienstgebäude, Zurich (2012); 'D’aprés Giorgio', Fondazione Giorgio e Isa de Chirico, Rome (2012); 'Painting, is a painting, is a painting', Cul de Sac, London (2012); 'Surface to Surface', Jonathan Viner, London (2012)</p> Thu, 14 Mar 2013 22:51:00 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Spencer Sweeney - VW (VeneKlasen/Werner) - March 16th, 2013 6:00 PM - 8:00 PM <p>VW (VeneKlasen/Werner) is pleased to present <em>Berlin Paintings</em>, an exhibition of new works by Spencer Sweeney. This is the artist's second exhibition with VW.</p> <p>New York-based artist Spencer Sweeney (b. Philadeplphia, 1973) is known for his work in performance and visual art. His multidisciplinary <em>Teatr Laboratorium,</em> presented at VW in 2010, embraced collaboration and experimentation. Joyfully disregarding boundaries of genre, Sweeney transformed the gallery into a workshop, laboratory, studio and stage, making public the typically private realm of the artist's studio.<br /><em>Berlin Paintings </em>finds the artist looking inward. The exhibition presents a body of paintings created in Berlin. The works explore a narrative against a backdrop of references to modern art, experimental theatre and personal memory. Sweeney consciously adopted a technique of automatic painting, thereby employing subjectivity and allowing experimentation with different styles and methods of image making. Sweeney reworks his paintings several times, intuitively altering the compositions around his central themes.<br /><em>Berlin Paintings </em>draws on traditional genres of portrait and landscape, as well as imagery inspired by such diverse sources as tribal masks and Kabuki. Sweeney evokes the anxiety of the portrayed figure and allows melancholy and a mood of introspection to prevail. The works in <em>Berlin Paintings</em> possess a free painterly gesture reminiscent of Peter Saul, the sensibility of Martin Kippenberger, and the "Vache" period of Magritte.</p> <p><em>Berlin Paintings</em> is Sweeney's second project for VW. Recent exhibitions include Gavin Brown's enterprise, New York; Twig Gallery, Brussels; Jack Hanley Gallery, San Francisco; and The Modern Institute, Glasgow. Sweeney was included in That Was Then...This Is Now at PS1 Contemporary Art Center in 2008, and he participated in Day for Night, the 2006 Whitney Biennial. He lives and works in New York City.</p> <p><em>Berlin Paintings</em> opens Friday 15 March with a reception for the artist from 18:00 to 21:00. The exhibition continues through 20 April. Gallery hours are Tuesday through Saturday, 11AM to 6PM. Please call the gallery or visit vwberlin.com for more information.</p> Tue, 21 May 2013 15:47:29 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list