ArtSlant - Current exhibits http://www.artslant.com/ber/Events/show en-us 40 Group Show - Akademie der Künste - Hanseatenweg - March 15th, 2013 - May 26th, 2013 <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> Tue, 08 Apr 2014 15:56:19 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Ludger Brümmer - Akademie der Künste - Hanseatenweg - March 15th, 2013 - May 26th, 2013 <p style="text-align: justify;"><span style="font-size: small;"><em><b>Music Section, Akademie der Künste  </b><br /> <br /> Has music has retreated into a cloud, which follows us wherever we go? It seems to be always available from the cloud. In the context of this exhibition, the "music in the cloud" project offers a broad spectrum of things that show how sound and urban space can interact on an artistic level. <br /> <br /> The program presents compositions specially created for eight cultural locations in Berlin, where they can only be heard on smartphones and GPS. The city can also be explored from the perspective of an ear in sound installations and a listening room at Hanseatenweg (8th to 19th May). Ludger Brümmer’s "urban voice" installation can be heard on the foyer staircase during the exhibition. Two evening concerts on 17th and 18th May examine selected locations, their aura and atmosphere in a unique way, augmented by lectures and discussions with experts and artists. <br />  <br /> In collaboration with ZKM | Institut für Musik und Akustik, DISK Berlin, radio aporee, raumlabor berlin<br />  <br /> <b>Curated by the members of the Music Section </b><br /> Ludger Brümmer, Nicolaus A. Huber, Enno Poppe, Manos Tsangaris as well as Evelyn Hansen and Carsten Seiffarth<br />  <br /> <b> <br /> </b><span style="color: #5fb996;" color="#5fb996">•</span><span style="color: #5fb996;" color="#5fb996"> </span><b>15th March – 26th May</b><br /> Sound installation "urban voice" by Ludger Brümmer<br />  <br /> <span style="color: #5fb996;" color="#5fb996">•</span><b><span style="color: #5fb996;" color="#5fb996"> </span>1st – 31st May</b><br /> Music from the Cloud: eight site-specific acoustic performances for smartphone Places: Tempelhofer Feld / Prinzessinnengärten Moritzplatz / Mellowpark / ZK/U Zentrum für Kunst und Urbanistik / ExRotaprint / DOCK 11 EDEN***** / RADIALSYSTEM V/ Kotti-Shop u.a. projects at Kottbusser Tor  www.wolkenmusik.de<br />  <br /> <span style="color: #5fb996;" color="#5fb996">•</span><b><span style="color: #5fb996;" color="#5fb996"> </span>8th – 19th May</b><br /> Audio space: "atmospheres" by a number of composers, and sound installations by Peter Ablinger, Christina Kubisch <br />  <br /> <span style="color: #5fb996;" color="#5fb996">•</span><b><b><span style="color: #5fb996;" color="#5fb996"> </span></b>17th May</b><br /> <b>7pm</b><br /> Lecture: Gernot Böhme "Klang-Atmosphären in Stadt und Architektur",<br /> [Sound Atmospheres in Cities and Architecture] Discussion with Gernot Böhme, Peter Ablinger, and Matthias Sauerbruch<br /> Discussion hosted by Raoul Mörchen<br /> <br /> <span style="color: #5fb996;" color="#5fb996">•</span><b><b><span style="color: #5fb996;" color="#5fb996"> </span></b>17th May</b><br /> <b>9pm</b><br /> Concert <br /> Films, videos and works by Walter Ruttmann / Pierre Henry, Thomas Köner, Robert Lippok<br />  <br /> <span style="color: #5fb996;" color="#5fb996">•</span><span style="color: #5fb996;" color="#5fb996"> </span><b>18th May</b><br /> <b>5pm</b><br /> Lecture: Manos Tsangaris, "Different Conceptions of the Public"<br /> Discussion with Manos Tsangaris, Carsten Stabenow, Arno Brandlhuber<br /> Discussion hosted by Raoul Mörchen<br /> <br /> <span style="color: #5fb996;" color="#5fb996">•</span><span style="color: #5fb996;" color="#5fb996"> </span><b>18th May</b>                             <br /> <b>7pm</b><br /> Concert  <br /> Compositions by Ondrej Adámek, Mark Andre, Georges Aperghis, Georg Friedrich Haas, Nicolaus A. Huber, Bernhard Lang, Luigi Nono, Hans Wüthrich – Kammerensemble Neue Musik Berlin</em></span></p> <hr /> <p style="text-align: justify;"><span style="font-size: small;"><em>Installation im Eingangsbereich zur Ausstellung „Kultur:Stadt“</em></span></p> <p style="text-align: justify;"><span style="font-size: small;">Die Organisation städtischen Lebens stellt eine besondere Kulturleistung der Menschheit dar mit all den dazu nötigen Elementen wie Architektur, Technologie und sozialem Verhalten. Insbesondere die Gemeinsamkeit, die Synchronisation und Verständigung, aber auch das Wechselspiel zwischen Individuation und Gemeinschaft, zwischen Realität und Ideal bilden die notwendige Voraussetzung für die Entstehung solch komplexer, selbst entwickelter Lebensumgebungen, wie Städte es sind. Die Essenz der urbanen Realität liegt für mich in der Kultur und also auch in der Kunst. Die Musik und die Stimme, die sich hier über die Architektur als akustische Grundlage aufbauen, geben ihr Ausdruck. </span><br /><span style="font-size: small;"> In diese Klanglandschaft sind Fragmente aus einem Werk des Renaissance-Komponisten Carlo Gesualdo montiert, die verschiedene Aggregatzustände durchlaufen. Von der Menge bis zur Einzelstimme, von der Fläche bis zum artikulierten Rhythmus repräsentieren sie die Grundformen menschlicher Kommunikation, die Voraussetzung städtischen Lebens.</span><br /><span style="font-size: small;"> (Ludger Brümmer)</span></p> <p style="text-align: justify;"><br /><span style="font-size: small;"> <em>The organization of urban life, with all its requisite elements such as architecture, technology, and social behavior, constitutes a unique cultural achievement of humanity. Those conditions, necessary for the development of such complex, self-evolving living environments as our cities, are formed, in particular, through communality, synchronization and communication, but also through the interaction of individuation with community, and of reality with ideals. For me, the essence of urban reality lies in culture, and therefore also in the arts. This essence is given expression through music and the voice, in this case taking architecture as an acoustic base.<br /> In this soundscape fragments of a work by the Renaissance composer, Carlo Gesualdo, are assembled into a series of different aggregate states. From the many to the single voice, from the surface to the articulated rhythm, they depict basic forms of human communication, prerequisites for urban life.<br /> </em>(Ludger Brümmer)</span></p> <p style="text-align: justify;"><br /><span style="font-size: small;"> <strong>Ludger Brümmer<br /> </strong>Geboren 1958 in Werne / Nordrhein-Westfalen, studierte Komposition bei Nicolaus A. Huber und Dirk Reith an der Folkwang Hochschule Essen. Er war als musikalischer Leiter am Theater tätig und komponierte die Musik für die international aufgeführten Ballette "Ruhrort" (Susanne Linke Kompanie) und "!Tristan und Isolde!" (Nederlands Dans Theater, Den Haag, Choreographie Susanne Linke).  Seit 1996 arbeitet er mit dem Installationskünstler und Architekten Christian Moeller zusammen u.a. für Ausstellungen in Tokio, Lissabon und London. 1991-1993 Stipendiat des DAAD am "Center for Computer Research in Music and Acoustics" an der Stanford Universität Kalifornien. Die dort begonnene Arbeit setzte er unter anderem mit dem NeXT Computer Netz am Zentrum für Kunst und Medien (ZKM) Karlsruhe sowie am Institut für Computermusik und elektronische Medien (ICEM) der Folkwang Hochschule Essen fort. Seit 1993 nimmt er einen Lehrauftrag am ICEM wahr und seit 1997 an der Hochschule für Gestaltung in Karlsruhe. Zahlreiche Vorträge führten ihn durch Europa und Nordamerika. 2000/2002 war er Dozent bei den Darmstädter Frühjahrskursen und Research Fellow an der Kingston University. 2002 übernahm er eine Professur am Sonic Art Research Centre der Queens University Belfast. Seit 2003 ist Ludger Brümmer Leiter des Instituts für Musik und Akustik am ZKM, Karlsruhe. 2009 wurde er zum Mitglied der Akademie der Künste, Berlin gewählt.</span></p> <p style="text-align: justify;"><em><span style="font-size: small;">Auszeichnungen und Preise (Auswahl): 1989 Folkwang Preis der Folkwang Hochschule Essen und Preis für „Riti Contour“ für großes Orchester beim Forum junger Komponisten des WDR. 1990 Busoni-Kompositionspreis der Akademie der Künste, Berlin. 1997 Larry Austin Preis der Internationalen Computer Music Association, ICMA, San Francisco. 2001 Pierre d'Or beim Wettbewerb für elektroakustische Musik in Bourges für das Werk Nyx. 2002 Preis für credoXrequiem beim Musica Sacre, Friburg, Schweiz.</span> </em></p> Mon, 06 May 2013 01:16:43 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Walter Benjamin - Akademie der Künste - Pariser Platz - October 23rd, 2012 - June 30th, 2013 <p>Walter Benjamin entwirft Bilder seiner Großstadtkindheit mit der Einsicht »in die notwendige gesellschaftliche Unwiederbringlichkeit des Vergangenen«. In Vitrinen und einem Computerterminal sind ein Pharus-Plan mit den wichtigsten Orten, Fotos und biografische Dokumente zu sehen, ferner Manuskripte, die den Weg von der »Berliner Chronik« zur »Berliner Kindheit« nachzeichnen: Berlin als Ort zum Schreiben, als literarisches Thema und als Schicksal.</p> Mon, 01 Apr 2013 01:04:12 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list - Akademie der Künste - Pariser Platz - January 17th, 2013 - July 31st, 2013 <p>Es ist nicht nur ein weitverbreitetes Gefühl, sondern eine Tatsache, dass sehr viel falsch läuft in unserer Welt. Grund genug, den globalen Problemen mit allen zur Verfügung stehenden Möglichkeiten Aufmerksamkeit zu verschaffen. Unter dem Motto „Mut zur Wut“ initiierte der Heidelberger Grafikdesigner Götz Gramlich zusammen mit Marcello Lucas einen Plakatwettbewerb. Eine internationale Jury wählt jährlich die 30 aussagekräftigsten Motive aus, die anschließend produziert und im öffentlichen Raum präsentiert werden. Die internationalen Arbeiten nehmen unter anderem Stellung zu Umweltverschmutzung, Krieg, Ausbeutung und Verletzung von Menschenrechten. In der Akademie der Künste werden ausgewählte Wettbewerbsergebnisse der letzten drei Jahre präsentiert. Zur Eröffnung sprechen Klaus Staeck und Götz Gramlich.</p> Tue, 08 Jan 2013 18:57:19 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Christian Jankowski, Pieter Hugo, Halil Altındere, Rasheed Araeen - Akademie der Künste - Pariser Platz - February 1st, 2013 - May 26th, 2013 <p style="text-align: justify;"><span style="color: #000000;" color="#000099">The geopolitical change that took place in 1989 ushered in an era of worldwide biennales, whose geography bid farewell to Western Art, with its old contradiction between the centre and the periphery. The exhibition project Nothing to Declare? now documents these global developments. The heart of this exhibition is a panorama room as a media installation, which illustrates the passage of time and the geographical expansion of the global practice of art using a wide range of data. In so doing, a development becomes recognizable, which is no longer to be interpreted only as pure art history, but rather requiring multiple forms of re-narration – geopolitical, social, economic and cultural. The creation of a new critical practice in the arts also corresponds to these structural changes. Western Modernism’s universal claim to validity has become untenable. This is illustrated in an exemplary manner by the contributions of contemporary art selected. <br /> The research project Global Art and the Museum (GAM) at the <a href="http://www.zkm.de/"><span style="color: #000000;">ZKM | Zentrum für Kunst und Medientechnologie (Centre for Art and Media) in Karlsruhe</span></a> has dedicated itself to this theme since 2006. An initial interim review was presented in the exhibition <a href="http://www.global-contemporary.de/"><span style="color: #000000;">The Global Contemporary</span></a> at the ZKM. This project is now continued in cooperation with the Academy. It places Berlin, in particular, as an art centre within the context of a development that begins in 1989.<br /></span></p> <hr /> <p style="text-align: justify;"><span style="color: #000000;" color="#000099">Die geopolitische Wende 1989 eröffnete das Zeitalter der weltweiten Biennalen, deren Geografie die Westkunst, mit ihrem alten Gegensatz zwischen Zentrum und Peripherie, verabschiedete. Mit dem  Ausstellungsprojekt Nothing to Declare? werden diese globalen Entwicklungen dokumentiert. Im Zentrum der Ausstellung steht ein Panorama-Raum als Medieninstallation, der mithilfe umfangreicher Daten den Zeitablauf und die geografische Ausbreitung der globalen Kunstpraxis anschaulich macht. Dabei wird eine Entwicklung erkennbar, die nicht mehr nur als reine Kunstgeschichte zu lesen ist, sondern vielfache Formen der Nacherzählung fordert, geopolitische, soziale, wirtschaftliche oder kulturelle. Mit diesen strukturellen Veränderungen korrespondiert auch die Bildung einer neuen kritischen Praxis in den Künsten. Der universale Geltungsanspruch der westlichen Moderne ist unhaltbar geworden. Exemplarisch zeigen das ausgewählte Beiträge der Gegenwartskunst. <br /> Dem Thema hat sich das Forschungsprojekt Global Art and the Museum (GAM) seit 2006 am <a href="http://www.zkm.de/"><span style="color: #000000;">ZKM | Karlsruhe</span></a> gewidmet. In der Ausstellung <a href="http://www.global-contemporary.de/"><span style="color: #000000;">The Global Contemporary</span></a> im ZKM wurde eine erste Zwischenbilanz gezogen. In Kooperation mit der Akademie wird dieses Projekt nun fortgeführt. Es stellt insbesondere Berlin als Kunstzentrum in den Zusammenhang einer Entwicklung, die mit 1989 beginnt.</span></p> Mon, 01 Apr 2013 15:26:59 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Marc Lüders - alexander levy - March 16th, 2013 - April 20th, 2013 <p>The gallery alexander levy is pleased to present new works from Marc<br />Lüders.<br />Marc Lüders work moves between photography and painting.<br />With his "photopictures", as he calls them, he joins two artistic media,<br />whereby photography provides the background for painting.<br />His photographs are supplemented with people or abstract objects<br />painted in oil. The backgrounds of past series included the subway and<br />supermarkets in New York, as well as the East Side Gallery in Berlin.<br />The locations recorded by Lüders are on the one hand supplemented with<br />people he finds at other locations, photographed and used as a foundation<br />for painting. The people thus have no connection to the places and Lüders<br />transports them into a new situation, to which they adapt, but in which<br />they always appear a little strange.<br />On the other hand, Lüders allows abstract objects to float through his<br />pictorial world, which in some cases appear to have absorbed the<br />chromaticity of the background.<br />The figures and objects, which adopt and imitate the light and space<br />situations of the photograph, thus appear credible and yet are revealed at<br />second glance.<br />The new works to be found in the exhibit in some cases originate from the<br />Bismarckbad series. Photographs of an old swimming pool in Hamburg,<br />which has been demolished, become the image carriers here. As with the<br />East Side Gallery, here too Lüders has chosen a location that is decaying.<br />The special aspect of this series is that, next to Lüders objects, the figures<br />appear transparent, about to dissolve. Background and light are<br />intensively utilised as colouring for the respective person.</p> Mon, 01 Apr 2013 15:27:12 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Gertrud Arndt - Bauhaus-Archiv Museum of Design - January 30th, 2013 - April 22nd, 2013 <p>Originally, Gertrud Arndt (1903-2000) had wanted to become an architect, but a regular course in architecture was not yet being offered at the Bauhaus. The master of form in the weaving workshop, Georg Muche, recognized her special talent in the field of textiles and entrusted her with creating a carpet to her own design as an introduction to it. Gertrud Arndt quickly became a specialist; her best-known work was a carpet produced for Walter Gropius’s office. On completing her apprenticeship examination, she entirely turned to photography. Starting in 1929, she took photographic self-portraits in a series she called ‘Mask Portraits’dramatizing herself with only a few accessories; the photographs are internationally well-known today.</p> Tue, 08 Jan 2013 19:09:26 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list KP Brehmer - Berlinische Galerie - January 30th, 2013 - August 12th, 2013 <p class="bodytext">The Berlin painter, graphic artist and filmmaker KP Brehmer (1938&ndash;1997) soon made visualising socio-political processes a focal concern of his work. In the 1960s, under the influence of Fluxus and Pop Art, he turned his attention to daily life and the growing presence of the media in Western consumerist society. His early works qualify as examples of the so called &ldquo;capitalist realism&rdquo;.</p> <p class="bodytext"><br />In subsequent years Brehmer cultivated his diagrammatic and cartographic work. He would take data and maps found in books or magazines and transform them &ndash; sometimes subtly, sometimes severely &ndash; into paintings or prints. With carefully chosen touches, Brehmer thwarts the flow of information from illustrations and maps designed to convey their message directly. In &ldquo;Die ausreichend versorgten Gebiete der Welt&rdquo; [&ldquo;Regions of the world with adequate provisions&rdquo;], for example, he erases an entire continent. He highlights the potential power of scientific visualisations by applying similar selection and generalisation techniques to data and thereby subverting it. In his infographics, maps and statistics, Brehmer exposes the ways in which scientific illustrations, commonly seen as &ldquo;objective evidence&rdquo;, can manipulate data.</p> <p class="bodytext"><br />This KP Brehmer presentation drawn from our collection has been put together by the Berlinische Galerie&rsquo;s trainee curators Anne Bitterwolf, Clemens Kl&ouml;ckner, Christina Korzen and Isabelle Lindermann.</p> Mon, 08 Jul 2013 02:37:11 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Group Show - Berlinische Galerie - February 21st, 2013 - September 30th, 2013 <p>Berlin was reinstated as the German capital when the Federal Republic of Germany and the German Democratic Republic reunited. The federal government, the parliament and almost all diplomatic missions moved to the country’s new political hub. Following a number of competitions for urban and architectural design, the districts of Mitte and Tiergarten became home to a new government district and some embassies of notable design quality.<br /><br />Models, drawings and photographs from our collection, complemented by loans, illustrate these competition entries – some implemented and others not – as options for the expression of power. They also stand, however, as works in their own right, embodying conceptual creativity and exploiting construction techniques. The projects on display range from the German Foreign Office, Reichstag and official residences of the German Chancellor and President to embassies for countries such as India, Mexico, the Netherlands and Turkey.</p> Tue, 08 Jan 2013 19:20:50 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list K. H. Hödicke - Berlinische Galerie - February 22nd, 2013 - May 27th, 2013 <p class="bodytext">For more than half a century, the work of K. H. Hödicke has been firmly associated with Berlin. Born in Nuremberg in 1938, the artist later made his home in this city, where he began producing his versatile, multi-genre œuvre in 1957. The Berlinische Galerie holds a large and representative cross-section of his paintings, sculptures, objects and prints. These provide the basis for the first all-round retrospective to be devoted to the artist in Berlin for twenty years. They will be complemented by loans of other major works.</p> <p class="bodytext">With his openness to so many media, from new forms of painting and sculpture to objects and film, K. H. Hödicke has influenced countless young artists and made an enduring mark on the Berlin art scene. His creativity is governed by his very own cryptic sense of humour and an astonishing diversity which is never gratuitous. Inspired by the spontaneity and individuality of the informal, Hödicke has developed a personal form of art which manages both to capture contemporary moods like a seismograph and render historical details with precision. The Berlinische Galerie will show a selection of major groups of his work, focusing on the 1960s and 1970s.</p> <p class="bodytext">For Hödicke “a picture is just a battlefield for handling colour”. He attaches pivotal importance to the materiality of colour as a quality of the image. Tarred and feathered images reinforce this impression and his conceptual approach. Equally, transparent materials like glass can be both theme and substrate in Hödicke’s work: his famous “Passagen” – urban situations reflected in shop windows – are a case in point. Finally, by overstretching and twisting his canvas, the painter drives the potential of his medium to the limits.</p> <p class="bodytext">Movement is a key feature, appearing in his paintings through fuzzy dynamic structures and segueing into films and objects. “Kalter Fluss”, a suspended tar barrel from which bitumen takes months to pour and collect on the floor, is a sculpture moving at an infinitely slow pace. Its material properties are diametrically opposed to those of the glass objects. Hödicke even turns bits and pieces like bricks, postcards, bones, marbles, torches, bottle openers and matchboxes into artist’s materials, forging them together into little objects, poetic or witty, that acquire new meanings from unusual combinations.</p> <p class="bodytext">Above all, we note a great curiosity and a desire to explore the urban environment of Berlin, the big city full of stimuli that challenge the artist. K. H. Hödicke, who studied under Fred Thieler at the Hochschule der Künste (HdK), co-founded Großgorschen 35 in 1964 as a self-help gallery for artists. In 1966/67 he spent a year in New York, an experience that was to have a lasting impact on his experimental films, and in 1968 he was awarded a bursary at the Villa Massimo in Rome. From 1974 to 2006 he followed in the footsteps of his former mentor Thieler, becoming a teacher at HdK in his own right.</p> <p class="bodytext">Exhibition and catalogue with the kind support of the Förderverein der Berlinischen Galerie e.V.</p> Tue, 08 Jan 2013 19:16:01 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Sergej Jensen - Berlinische Galerie - March 18th, 2013 - June 17th, 2013 <p>The Fred Thieler Prize for 2013 goes to Sergej Jensen. The artist, born in Maglegaard (Denmark) in 1973, receives the award for his innovative use of basic resources. <br />Apart from conventional materials like linen and coarse cotton, Jensen paints on jute sacks and coloured fabric, which generate a distinctive flavour of their own. Traces of wear and even damage acquire as much importance as the painterly act. But Jensen is also keen to apply painting to new fields, as we can see from his home-made fan belts, some of them in idiosyncratic forms. This desire to transgress the boundaries of genre has also led the artist to work with the media of drawing, performance, installation and music.<br /><br />The jury consists of Valerie Favre, artist, Katharina Grosse, artist, Udo Kittelmann, Director of the Nationalgalerie in Berlin, Thomas Köhler, Director of the Berlinische Galerie, and Gerwald Rockenschaub, artist. In granting this award, they paid tribute to “a young artist who represents a painterly minimalism and a concentration on the essential characteristics of the painting medium. Sergej Jensen’s technique places him in the tradition of minimalist art, but his exploration of this tendency does not take place on the level of themes. It is expressed, rather, in a particularly individual response to the painter’s raw material: the canvas.”<br /><br />Since 1992 the prize worth €10,000 has been awarded every year (since 2007 every two years) on 17 March, Fred Thieler’s birthday. The old master of informality (1916 - 1999) dedicated the award to “outstanding painters whose artistic development is not yet complete and who have earned public recognition”. The prize is combined with an exhibition at the Berlinische Galerie and publication of the laudation in a commemorative volume.<br /><br />Prize-winners from 1992 to 2011: Eugen Schönebeck, Peter Bömmels, Lothar Böhme, Andreas Brandt, Reinhard Pods, Jan Kotík †, K. H. Hödicke, Walter Libuda, A K Dolven, Peter Herrmann, Marwan, Katharina Grosse, Cornelia Schleime, Günter Umberg, Bernd Koberling, Gerwald Rockenschaub, Pia Fries, Bernard Frize.</p> Mon, 04 Feb 2013 00:48:05 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Douglas Gordon - Blain|Southern Berlin - February 7th, 2013 - April 28th, 2013 <p>Blain|Southern Berlin is delighted to present a new group of video works by Douglas Gordon during the 63rd Film Berlinale, 2013. Gordon is one of the most important and influential artists of his generation. In addition to films and video installations, his work embraces photography, the written word, sculpture and music.</p> <p>For <em>Sharpening Fantasy, 2012 </em>Gordon travelled to Tangier, where he filmed traditional knife grinders in different locations within the Kasbah of the seaport city. The viewer watches as the effortlessly repeated movements of the men are set to the soundtrack of their day’s work. Following the recent large-scale, site-specific works by Jannis Kounellis and Lawrence Weiner, the installation transforms the former production hall of <em>Der Tagesspiegel </em>newspaper into an experiential, audio-visual space. The work presents collisions between Europe and the ‘Orient’, perception and prejudice, desire and fear.</p> <p>Unlike the films of snake charmers in <em>Natural Historie on the Parapet </em>and <em>Natural Historie on the Altar</em>, which Gordon recorded in Marrakech four years previously, <em>Sharpening Fantasy, 2012 </em>blurs the boundaries between the different sensory perceptions, between reality and fairy tale, between dramatic imagination and a more muted gaze.</p> <p>Douglas Gordon has long been affiliated with Berlin; he won a DAAD scholarship in 1998 and has lived and worked there since 2008.</p> Mon, 08 Apr 2013 14:44:51 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Klaus Mosettig - Buchmann Box - March 15th, 2013 - April 20th, 2013 <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 10:13:22 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list William Tucker - Buchmann Galerie - March 15th, 2013 - April 20th, 2013 <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 10:16:49 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Noa Gur - Campagne Première Berlin - March 29th, 2013 - May 11th, 2013 <p>Noa Gur's work reflects on artistic practice as a site of production and labour. She often uses variations on self-portraiture to point towards contemporary aporias of the artists as an economic unit, asked to simultaneously show and hide her labour, her body, her face. Gur's practice is mindful of the possible hierarchies and exploitative powers that may act within this process. She also makes reference to the inner conflicts that the self-employed artist experiences as a one-person enterprise. Her installation "Splitting the Atom“ draws inspiration from structuralist anthropological research and classic economic theories. In particular it explores the presumption made by the early economist Adam Smith that the division of labour will lead the 'savage' inhabitants of recently colonized countries step by step into the realm of civilization.<br />"Splitting the Atom“ refers to the division of the smallest productive unit, the self-employed, in this case the artist, who appears as a living assembly line. The project itself consists of fragments taken from the video documentation of the production process of a simple sculpture, a double cast of the artist's own face. Each of these video clips depicts a stage of production through one representative gesture; pouring the powder, mixing it to a pulp, imprinting the artist's face and the final cast. Each of the video segments is one channel in the six-channel video installation. These are screened alongside one another as a constant loop, thereby creating an impression of continuous and repetitive movement. The installation in its entirety appears to be cyclical and rhythmic, winking at the possibility of reviving Fordist production modes in cognitive and creative work.<br />"Body Bills“ is a slideshow and a text work based on a live act of exchange. Noa Gur worked as an artist model posing for drawing classes. Instead of a fee, she asked for some of the charcoal drawings and paintings made of her. After each posing session she bargained individually with the participating drawers to determine which and how many drawings she would receive. The recorded dialogs from the bargain appear as subtitles on a television screen that presents no image.<br />The title "Body Bills“ implies the use of the drawings as 'banknotes,' which can evaluate a fixed rate of hourly wage. It may also regard the model's body as a vigorous agent, billing its debt from centuries of misuse by art-related studies. Here, the body / model is reversing its traditional role of a passive, merely physical wage worker and arranges an efficient set of conditions for her own self portrait at work.<br />The title of the show is drawn from a contemporary economic term according to which a combination of assets is referred to as 'efficient' if it has the best possible expected level of return for its level of risk.<br />Noa Gur (Tel Aviv 1980; lives and works in Berlin) studied at the Bezalel Academy of Arts, Jerusalem, and the KHM School for Media Art, Cologne. She was winner of a scholarship from Kunst im Tunnel, Düsseldorf (2009), DAAD scholarship for academic excellence (2008-10), and Scholarship of the America-Israel Foundation (2004). In 2013 she is recipient of the German Stiftung Kunstfonds stipend and the Artport Residency in Tel Aviv. Her exhibitions and screenings include: Palais de Tokyo Paris and Kunstwerke Berlin; Souterrain, Berlin; New Talents Biennale, Cologne; Herzliya Museum of Contemporary Art, Herzliya (Israel); Echoraum, Bundeskunsthalle, Bonn; Videonale, Kunstmuseum Bonn.</p> Thu, 28 Mar 2013 22:46:19 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list XOOOOX - Circle Culture Art - April 5th, 2013 - July 27th, 2013 <p>For the first time the solo exhibition "Vanish" located at Circle Culture Gallery in Hamburg will feature elements of abstract paintings by XOOOOX. The artist states that there is a new direction of coordinated chaos. While hanging them, there isn’t a manifested upper or bottom image border in order to create a general dissemination. Following ubiquitous energies and infinite possibilities in life, XOOOOX does not want the viewer to be restricted to the panel itself, but rather direct the beholder to infinite possibilities of interpretation.</p> <p><br />By using fading materials such as trouvé wood, rotted fabrics or rusty materials, XOOOOX combines ostensible glamorous themes with the severe reality of the streets. This accentuated contrast imparts its pieces with an acute tension. Professional styled fashion models are put on weathered materials by the means of delicate stencil work and evoking a sense of Arte Povera –the artist’s leitmotiv, which can be found throughout his oeuvre. In opposing glamour of the high fashion culture with existential issues such as vulnerability, and transience, the artist encourages the beholder to question the cult and seductive techniques of the haute couture. In addition to their alluring beauty, XOOOOX’s women convey a sense of melancholy and introversion, which is a reference to the growing frustration of the uniformed, consumer-driven hype of the fashion industry. Some of the works are sprayed onto shiny copper, which is in Alchemy also associated with the goddess of love and femininity. One could say that the use of copper and the depiction of the models are in competition due to their atheistic beauty. However, after time copper weathers and is in a constant process of atheistic change.<br /><br /></p> Fri, 13 Sep 2013 00:00:39 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list