ArtSlant - Recently added http://www.artslant.com/ber/Events/show en-us 40 Raimer Jochims - Johnen Galerie - September 16th - October 31st Thu, 27 Aug 2015 19:44:45 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Matthias Mansen - Aurel Scheibler - August 29th - September 5th <p style="text-align: justify;">Aurel Scheibler gives Wolfgang Wittrock CARTE BLANCHE for the exhibition: Matthias Mansen - Potsdamer Stra&szlig;e.</p> <p style="text-align: justify;">This is the first presentation of Matthias Mansen&rsquo;s new woodcuts, made in Berlin between 2011 and 2015. The geographical coincidence is striking: Matthias Mansen&rsquo;s studio as the production site (Am Karlsbad), the venue of the presentation at Galerie Aurel Scheibler (Sch&ouml;neberger Ufer), and Mansen&rsquo;s source of inspiration Potsdamer Stra&szlig;e are all in close proximity to one another.</p> <p style="text-align: justify;"><em>Carving motifs into the printing blocks involves working against resistance. Each motif requires a new engagement with the material and the form that is to be brought about. That is the essence of Mansen&rsquo;s art: creating abstract grid structures that form an image in the eyes of the beholder. His current series deals with Potsdamer Stra&szlig;e, where he now feels very much at home. &ldquo;Things have to become so familiar to me that they become insignificant. It is only then that I can work with them.&rdquo; This also applies to the view from his studio, an old factory fa&ccedil;ade. Countless circular grooves let an image emerge from the wooden surface. Or as Mansen puts it,&nbsp; &ldquo;I don&rsquo;t cut lines, I cut light.&rdquo;</em></p> <p style="text-align: justify;">(Henni Kristin Wiedemann, Berlin)</p> <p style="text-align: justify;">Matthias Mansen was born in Ravensburg in 1958. After studying painting at Karlsruhe&rsquo;s Akademie der Bildenden K&uuml;nste from 1978 to 1984, he turned almost exclusively to the medium of woodcut. Mansen is not interested in reproducing existing motifs or images, but rather in developing complex pictures in a great number of variants. His serial explorations of motifs update a traditional medium &ndash; the woodcut &ndash; and traditional genres such as the landscape. A picture emerges before the eye of the beholder that always also refers to the conditions of its creation &ndash; fragments of reality, consisting of light and shade.</p> <p style="text-align: justify;">Matthias Mansen&rsquo;s work has won numerous prizes, among them the Kunstpreis Junger Westen Recklinghausen. Comprehensive monographic exhibitions of his work have been held in Germany and around the world: Work in Progress, Cabinets d&lsquo;arts graphiques, Mus&eacute;e d&lsquo;Art et d&lsquo;Histoire, Geneva (2012/13); Land und See, Mannheimer Kunstverein, Hamburger Kunsthalle, Kunstsammlungen Chemnitz (2007); Editionen, Museum Folkwang, Essen (2001); About The House, St&auml;dtische Galerie im Spendhaus Reutlingen, Kunstverein G&ouml;ttingen, Kunsthalle Recklinghausen, MIT List Visual Arts Center, Cambridge, Massachussetts (1996&ndash;98). Currently, works by (Matthias) Mansen are on view at the exhibition &bdquo;ich bin eine Pflanze, Naturprozesse in der Kunst&ldquo;, Kunstmuseum Ravensburg. His work is also featured in the collections of institutions such as Museum of Fine Arts Boston; Kupferstichkabinett, Staatliche Kunstsammlungen, Dresden; Hamburger Kunsthalle; The Museum of Modern Art, New York; and the National Gallery of Art, Washington, DC.</p> <p style="text-align: justify;">In 2014, Berlin&rsquo;s Kupferstichkabinett, Staatliche Museen zu Berlin was able to acquire a triptych from the series &bdquo;Potsdamer Stra&szlig;e&ldquo; (2012) for its permanent collection with support from the city of Berlin, Senate Chancellery for Cultural Affairs.</p> <hr /> <p style="text-align: justify;">Aurel Scheibler gibt Wolfgang Wittrock CARTE BLANCHE f&uuml;r die Ausstellung: Matthias Mansen - Potsdamer Stra&szlig;e.</p> <p style="text-align: justify;">Dies ist die erste Pr&auml;sentation der neuen Holzschnitte von Matthias Mansen, entstanden 2011 bis 2015 in Berlin. Spannend ist die Koinzidenz der Orte: das Atelier von Matthias Mansen als Produktionsort (Am Karlsbad), der Ort der Pr&auml;sentation in den R&auml;umen der Galerie Aurel Scheibler (Sch&ouml;neberger Ufer) und die Potsdamer Stra&szlig;e, die Quelle der Inspiration, liegen nur wenige Meter voneinander entfernt.</p> <p style="text-align: justify;"><em>Den Druckst&ouml;cken Motive einzukerben, bedeutet auch, sich an Widerst&auml;nden abzuarbeiten. Jedes Motiv erfordert eine neue Auseinandersetzung mit dem Material und der Form, in die es gebracht werden soll. Das ist f&uuml;r Mansen die Kunst: abstrakte Rasterstrukturen zu schaffen, die sich durch die Augen des Betrachters zu einem Bild formen. Seine aktuelle Serie befasst sich mit der Potsdamer Stra&szlig;e, in deren Gegend er sich mittlerweile zu Hause f&uuml;hlt. &bdquo;Die Dinge m&uuml;ssen mir so vertraut werden, dass sie bedeutungslos sind. Erst dann kann ich mit ihnen arbeiten.&ldquo; So auch der Blick aus seinem Atelier, die Ansicht einer alten Fabrikfassade. Unz&auml;hlige kreisrunde Einkerbungen lassen aus der Holzfl&auml;che ein Bild heraustreten. Bei Matthias Mansen klingt das so: &bdquo;Ich schneide keine Linien; ich schneide eher&sbquo; Licht&rsquo;&ldquo; </em>(Henni Kristin Wiedemann, Berlin)</p> <p style="text-align: justify;">Matthias Mansen wurde 1958 in Ravensburg geboren. 1978 bis 1984 hat er an der Akademie der Bildenden K&uuml;nste Karlsruhe Malerei studiert. Seither arbeitet er fast ausschlie&szlig;lich im Medium Holzschnitt: Mansen geht es nicht um die Reproduktion bereits vorhandener Motive oder Bilder, sondern um die Entwicklung komplexer Bilder in einer gro&szlig;en Zahl von Varianten. Seine seriellen Untersuchungen zum Bild aktualisieren ein traditionelles Medium &ndash; den Holzschnitt &ndash; ebenso wie traditionelle Gattungen &ndash; etwa die Landschaft. Vor dem Auge des Betrachters erscheint ein Bild, das immer auch auf die Bedingungen seines Entstehens verweist &ndash;&nbsp; Realit&auml;tsfragmente aus Licht und Schatten. </p> <p style="text-align: justify;">Matthias Mansens Arbeit wurde vielfach ausgezeichnet, unter anderem mit dem Kunstpreis Junger Westen Recklinghausen. Gro&szlig;e monografische Ausstellungen zu seinem Werk fanden im In- und Ausland statt: &bdquo;Work in Progress&ldquo;, Cabinets d&lsquo;arts graphiques, Mus&eacute;e d&lsquo;Art et d&lsquo;Histoire, Genf (2012/13). &bdquo;Land und See&ldquo;, Mannheimer Kunstverein, Hamburger Kunsthalle, Kunstsammlungen Chemnitz (2007); &bdquo;Editionen&ldquo;, Museum Folkwang, Essen (2001); &bdquo;About The House&ldquo;, St&auml;dtische Galerie im Spendhaus Reutlingen, Kunstverein G&ouml;ttingen, Kunsthalle Recklinghausen, MIT List Visual Arts Center, Cambridge, Massachusetts (1996-98). </p> <p style="text-align: justify;">Aktuell sind Werke von Mansen im Kunstmuseum Ravensburg in der Ausstellung &bdquo;Ich bin eine Pflanze, Naturprozesse in der Kunst&ldquo; zu sehen.&nbsp; Repr&auml;sentative Werke befinden sich in den Sammlungen vieler gro&szlig;er Kupferstichkabinette und Institutionen, wie Museum of Fine Arts, Boston; Kupferstichkabinett, Staatliche Kunstsammlungen, Dresden; Hamburger Kunsthalle; Museum of Modern Art, New York; National Gallery of Art, Washington, D.C.; Das Kupferstichkabinett, Staatliche Museen zu Berlin konnte 2014 mit Hilfe der K&uuml;nstlerf&ouml;rderung des Landes Berlin ein Triptychon aus der Serie &bdquo;Potsdamer Stra&szlig;e&ldquo;, 2012 in die Sammlung integrieren.</p> Thu, 27 Aug 2015 19:03:52 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Wim Wenders - Blain|Southern Berlin - September 17th - November 14th <p style="text-align: justify;">Blain|Southern Berlin is delighted to present new and recent photographs by Wim Wenders, the artist&rsquo;s first exhibition in his hometown in over half a decade. The exhibition brings together images of Germany and America &ndash; the two countries that have most influenced the artist throughout his career.</p> <p style="text-align: justify;">The exhibition&rsquo;s title<em> Time Capsules</em>.<em> By the side of the road</em> alludes to the relationship between memory and photography, highlighting the ability of photographs to act as a medium that captures an essence of the past and preserves it for the future.</p> <p style="text-align: justify;">In the gallery&rsquo;s main space, urban and natural landscapes exist in dialogue, as panoramic photographs of the countryside surrounding Berlin stand in relation to images of the city in flux during the early 1990s. The jungle of cranes, metal and concrete in<em> Potsdamer Platz</em> (1995) is starkly mirrored by the dense foliage depicted in<em> Forest in Brandenburg</em> (2014).</p> <p style="text-align: justify;"><em>Landscape near Wittenberge, Germany</em> (2014) recalls the mood of Romantic paintings from the 18th and 19th Century, with trees akin to those of Camille Corot or Caspar David Friedrich. Growing up in Dusseldorf in the post-war period, Wenders was surrounded by rubble and the traces of destruction, and remembers the prints of French and Dutch landscape paintings that lined his parents&rsquo; walls, &ldquo;which showed a whole unknown aspect of the world&rdquo; to him. Another photograph, The Elbe River near D&ouml;mitz (2014), depicts the reverse angle of a river as captured by Wenders forty years ago in his film &lsquo;In the Course of Time&rsquo;<em> (Im Lauf der Zeit)</em>.</p> <p style="text-align: justify;">The artist describes how the scale of these works aims to &ldquo;transport people to those places in the world that I found and liked; photographs give me a chance to take the places to them&rdquo;. As such his newest panorama, at four and a half metres in width, depicts the epic landscape of the American West &ndash; an area that Wenders has extensively and famously examined through both film and photography.</p> <p style="text-align: justify;">Several of the works in the exhibition feature places that have long-since changed, the images themselves therefore becoming portals into lost moments or spaces. Wenders speaks of how: &ldquo;I see myself as an interpreter, as a translator, a guardian [&hellip;] of stories that places tell me.&rdquo;</p> <p style="text-align: justify;">In the upstairs gallery, smaller-scale prints depict multifarious stories from Germany and America; a giant mountain of salt overlooks an eerily-quiet town; a perforated cinema screen stands disused and abandoned; a woman rests alone at the end of an American saloon bar.</p> <p style="text-align: justify;">The exhibition fosters a dialogue between the two countries in which Wenders has spent extensive periods of time living and working: &ldquo;I think I had wide-open eyes for America, and &lsquo;the American landscape&rsquo; in a general sense seemed extremely attractive to me, both as a photographer and filmmaker. Maybe the long absence from Germany of 15 years has enabled me to see places here with the same wide-open eyes. What has remained the same: in those landscapes, German or American, I&rsquo;m still looking for the traces of civilization, of history, or people.&rdquo;</p> Wed, 26 Aug 2015 11:22:59 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list