ArtSlant - Recently added en-us 40 Alfredo Esquillo - Arndt - October 27th - November 14th <p style="text-align: justify;"><strong>ARNDT Berlin is pleased to present its first solo exhibition by Pilipino artist Alfredo Esquillo.</strong></p> <p style="text-align: justify;">Alfredo Esquillo presents a suite of new paintings for his first solo exhibition in Berlin. Transfiguration represents a thoughtful body of work that identifies the artist&rsquo;s masterful painting techniques and how he reconfigures an iconography of critical stances and individual positions in a society of duplicity and discord. This exhibition aligns with notions of personal evolution and such temporal allusions. Symbols that anchor this phenomenon of becoming are metaphorically alluded to via impressions of spirituality in a personal aesthetic. Recurring images of sky and flame transit through Esquillo&rsquo;s image-sequences in the form of portraits that are likewise in motion, breaking the static essence of a painting bound by the non?dynamism of its singular dimension.</p> <p style="text-align: justify;">Often affiliated with the lineage of Filipino artistic practice that portrays rhetoric surrounding societal discord of the nation&rsquo;s political consciousness, Esquillo unearths the cultural ironies in the practice of faith and politics of his milieu. The artist, however, relates to this conjecture of the personal and the social within the self-referential criticality of his work. As a political stance and practice of faith, Esquillo&rsquo;s paintings have a tendency to lean towards universal issues posited in the personal sphere of experience that runs in parallel to a society at odds with itself.&nbsp;<br /> &nbsp;<br /> Alfredo Esquillo (b. 1972, Philippines) graduated with a Bachelor of Fine Arts from the University of Santo Tomas in Manila, Philippines in 1993. His practice and talent have been recognized early into his career, through the ASEAN Art Awards (Indonesia, 1995 and Thailand, 1996), the Philippine Art Awards in 1996 and in the national recognition of the Thirteen Artists Awards from the Cultural Centre of the Philippines in 2000. Exhibitions in Asian Art Museum and Whitney Museum (USA), Fukuoka Asian Art Museum (Japan), Metropolitan Museum of Manila, Vargas Museum, Cultural Center of the Philippines (Philippines) and National Portrait Gallery (Australia) have included his works to survey trajectories in contemporary art histories. Esquillo&rsquo;s solo exhibition history has been steadfast with new works.</p> Thu, 08 Oct 2015 19:43:21 +0000 - Haus der Kulturen der Welt - October 23rd - December 14th <p style="text-align: justify;">How can we create affordable living space? How do we provide opportunities for self-determination? Who are today&rsquo;s new clients? What new answers can be found to the age-old housing question?</p> <p style="text-align: justify;">Housing forms the rooms, neighborhoods and streets of our daily lives. Our personal happiness and societal well-being originate and find their expression there, as do social ills and personal dramas. But housing issues are increasingly reduced to real estate problems and disassociated from the cultural practices of architecture. And alternative players are clearly lacking. The result: Growing numbers of people are finding it increasingly difficult to gain access to self-determined, affordable housing. The HKW project <em>Wohnungsfrage</em> investigates the tension-ridden relationships between architecture, housing, and social reality in an <a title="Wohnungsfrage" href="" target="_blank">exhibition</a> of experimental concepts for living, a <a title="Wohnungsfrage: publication series" href="" target="_blank">publication series</a> and an <a title="Wohnungsfrage Academy " href="" target="_blank">academy</a>.</p> <p style="text-align: justify;"><em>Concept and program: Jesko Fezer, Nikolaus Hirsch, Wilfried Kuehn, and Hila Peleg.</em></p> <p style="text-align: justify;"><em>Wohnungsfrage takes place as part of the HKW series <a title="100 Years of Now" href="" target="_blank">100 Years of Now</a>.</em></p> <hr /> <p style="text-align: justify;">Wie l&auml;sst sich bezahlbarer Wohnraum schaffen? Wieviel Platz bleibt dabei f&uuml;r Selbstbestimmung? Wer sind die neuen Klienten? Welche neuen Antworten gibt es auf die alte Wohnungsfrage?</p> <p style="text-align: justify;"><em>Immer weniger Menschen k&ouml;nnen selbstbestimmt &uuml;ber bezahlbaren Wohnraum verf&uuml;gen. Weltweit ist die Wohnungsfrage zunehmend der Immobilienwirtschaft &uuml;berlassen. In der Folge ver&auml;ndern sich die urbanen und sozialen Strukturen. Besonders das Fehlen alternativer gesellschaftlicher Akteure macht sich schmerzlich bemerkbar. Die spannungsgeladene Beziehung von Architektur, Wohnungsbau und sozialer Realit&auml;t untersucht das HKW-Projekt <em>Wohnungsfrage</em> in einer <a title="Wohnungsfrage" href="" target="_blank">Ausstellung</a> experimenteller Wohnformate, einer internationalen <a title="Wohnungsfrage-Akademie " href="" target="_blank">Akademie</a> sowie einer <a title="Wohnungsfrage: Publikationsreihe" href="" target="_blank">Publikationsreihe</a>, die sich mit den M&ouml;glichkeiten eines selbstbestimmten, sozialen und bezahlbaren Wohnungsbaus befasst. Im Mittelpunkt des Projektes <em>Wohnungsfrage</em> steht Architektur als soziokulturelle Praxis, die im Austausch zwischen Nutzern und Planern entsteht. Auf diesen gemeinschaftlich gestaltenden Prozess baut <em>Wohnungsfrage</em>auf.</em></p> <p style="text-align: justify;"><em>Konzept und Programm: Jesko Fezer, Nikolaus Hirsch, Wilfried Kuehn und Hila Peleg</em></p> <p style="text-align: justify;"><em>Wohnungsfrage findet im Rahmen von <a title="100 Jahre Gegenwart" href="" target="_blank">100 Jahre Gegenwart</a> statt.</em></p> Thu, 08 Oct 2015 19:32:55 +0000 Jia - Galerie Arratia Beer - October 15th - November 21st <div id="block-992bc314af4a4cb237eb" class="sqs-block html-block sqs-block-html" data-block-type="2"> <div class="sqs-block-content"> <p style="text-align: justify;">Arratia Beer Gallery is pleased to present the first solo exhibition of Jia.</p> <p style="text-align: justify;">The work of Jia (*1979, Beijing)&nbsp;comprises painting as well as photography and performance. In her painting series, <em>The Chinese Version</em>, Jia renders industrial typography with painterly methods. On large format canvases, she hand paints Chinese characters using always the same typeface which was designed shortly after printing presses came to use in China and Japan and which &ldquo;evokes the mechanization of products &lsquo;perfectly&rsquo; made by machine&rdquo;.</p> <p style="text-align: justify;">The cultural atrocity of Chinese character simplification that began in the 1950&rsquo;s, remains by force of law in the People&rsquo;s Republic of China through the present day. The Simplification Program degraded not only aesthetic properties of Chinese characters, but also hindered literacy in all but recent official texts. The Simplification Program had two aspects: a haphazard formal reduction of the number strokes in Chinese characters, and the elimination of approximately two thirds of characters from the lexicon of those allowed for publication.&nbsp;</p> <p style="text-align: justify;">For her first solo exhibition at Arratia Beer, Jia presents text-based paintings of her series, <em>The Chinese Version</em>.&nbsp; In <em>The Chinese Version</em> paintings, the arrangements of characters are according to formal, not semantic, criteria. Each character therefore may retain its individual meaning, but not its function as a syntactical unit of a sentence.&nbsp;</p> <p style="text-align: justify;">This strategy invests the characters with a formal aspect to &ldquo;replace&rdquo; that which was mutilated by the state&rsquo;s program of formal character simplification imposed for propagandistic ends.</p> <p style="text-align: justify;">These works juxtapose simplified characters with the &ldquo;lost&rdquo; characters excluded by official general publication guidelines. By their very presence in the paintings, these &ldquo;illegal&rdquo; characters constitute further repudiation of a policy of cultural debasement.</p> <p style="text-align: justify;">Since Jia works in a variety of mediums, it is pertinent to ask why she has chosen to render these works as paintings. One reason is that traditional Chinese characters had a dual role: like any writing, they were semantic signifiers, but unlike most other writing, they were, simultaneously, pictographic/ideographic image-signs. Because the Simplification Program annihilated their role as image-signs, the choice of the medium of painting on canvas (the traditional conveyance of a Western illusionistic image) alludes to the fact that these works re-invest Chinese characters with an image capacity, albeit one entirely contrived by the artist.&nbsp;</p> <p style="text-align: justify;">Just as literacy in Chinese is not strictly necessary in order to perceive the implications of these works, neither is their critique of state-mandated cultural degradation limited to a Chinese condition. &nbsp;</p> <p style="text-align: justify;">In Jia&rsquo;s work multi-layered entanglements of form and content point to the complexity of her topic and raise questions about language, communication, and cultural heritage that extend beyond a specific moment in Chinese history.&nbsp;</p> <p style="text-align: justify;">Recalling some basic techniques of Dadaism, which emphasize the illustrative qualities of language, Jia creates minimalist compositions of abandoned or crippled words, creating a new aesthetic apart from calligraphic norms. One could read her work as an archive of linguistic left-overs, remembering eliminated words intertwined with abstract concepts and ideas. Jia&rsquo;s technique evokes a history of dystopian visions, rooted in the homogenization of language as a means of systematic cultural reformation. From Orwellian <em>thoughtcrimes</em> to the concrete poetry movement, Jia&rsquo;s work is situated within a history of attempts to save the potentialities of linguistic expression and develop a practice of linguistic transgression.</p> </div> </div> Thu, 08 Oct 2015 19:21:54 +0000 - G.A.S-station - October 9th - February 5th, 2016 <p>7. internationales, themenspezifisches und sparten&uuml;bergreifendes Ausstellungsprojekt<br />Augustina tr&auml;umt - in progressius 2014-2016<br />27 Positionen aus Kunst und Wissenschaft im Kontext zu literarischem Text<br />Ausstellung: 10. Oktober 2015 - 5. Februar 2016<br />Di-Fr 14-18 Uhr Sa 14-17 Uhr</p> <p>Vernissage: Fr. 9. Oktober 2015, 18.00 Uhr<br />Whathappensnext-Ensemble Berlin:&nbsp;Musicalia augustina<br />Thomas Grill:&nbsp;World construction, variation: here-hear-there (for augustina)<br />Partizipative Klangperformance.</p> <p>Sa. 10.Okt. 2015, 15-17 Uhr<br />Kinderf&uuml;hrung durch die Ausstellung im Rahmen des KinderKulturMonat Berlin.</p> <p>AUGUSTINAselbst. Das literarische Werk von Elisa Asenbaum liegt im Verborgenen, analog einem ausgedehnten Myzel, welches im Untergrund die k&uuml;nstlerischen Arbeiten miteinander verbindet. An verschiedenen Stellen sind transformative, k&uuml;nstlerische Werke verschiedenster Sparten empor geschossen. &Uuml;berraschende Parallelwelten aus Kunst und Wissenschaft werden zur Entfaltung kommen, die sich mit einzelnen Facetten der Erz&auml;hlung auseinandersetzen.</p> <p>Thomas Bed&uuml;rftig (Mathematik - Philosophie) | Martin Carrier (Philosophie - Physik) | Markus P&ouml;ssel in Kooperation von Albert-Einstein-Institut und Haus der Astronomie (Physik) | Brigitte Holzinger (Psychologie) | Jean-Luc Lehners (Kosmologie - Vortrag) | Herbert Pietschmann (Wissenschaftsgeschichte - Physik) | Yvette S&aacute;nchez (Wissenschaft - Vortrag) | James A. Shapiro (Biologie - Videovortrag)</p> <p>Helen Acosta Iglesias (Bildende) | Isabella Gresser (Video) | Thomas Grill (Performance) | Stephan Gro&szlig; (Video) | Susanne Hampe (Installation) | Maria Hanl (Installation) | Kornelia Hoffmann (RaumInstallation) | Ulli Klepalski (Malerei) | Anna-Maria Kursawe (Installation) | Pantea Lachin (Neue Medien) | Calla Mar (Fotoensemble) | Albert Markert (Installation) | Wolfgang Neipl (Neue Medien) | Oliver Orthuber (Installation) | Whathappensnext-Ensemble Berlin: Reinhard Gagel, Hartmut Arweiler, Gudrun Doberenz, Rosmarie J&auml;ger, Esther von der Osten, Max Stehle, Conny Voss, Babette Werth (Musik-Performance) | Stefan Riebel (Fotodokumentation) | Anja Sonnenburg (Installation) | Christiane Spatt (Installation) | Burchard Vossmann (Bildende)</p> <p>Lesungen aus AUGUSTINAselbst von Wolfgang Grossmann, Matthias Neukirch und der Autorin selbst | Ina Krau&szlig; begleitet den KinderKulturMonat | Thematische F&uuml;hrungen durch die Ausstellung mit einem der Initiatoren.</p> <p>Zur Ausstellung erscheint ein Katalog.</p> <p>engl.:</p> <p>7th international, interdisciplinary and topic centered exhibition<br />Augustina tr&auml;umt - in progressius 2014-2016<br />27 positiones out of art and science in context to literary text<br />Exhibition: 10th October 2015 - 5th February 2016<br />Tue-Fr 2-6 p.m. Sa 2-5 p.m</p> <p>Vernissage: 9th October 2015, 6 p.m.<br />Whathappensnext-Ensemble Berlin,&nbsp;Musicalia augustina<br />Thomas Grill&nbsp;- World construction, variation: here-hear-there (for augustina)</p> <p>Sa. 10th Okt. 2015, 3-5 p.m.<br />Guided tour for childen in context with KulturMonat Berlin.</p> <p>AUGUSTINAselbst. The literary work by Elisa Asenbaum is hidden, analog an outstreched myzelium, that connects all the art works in the underground. On several positions transformative and interdisciplinary artistic works rised up. Unfolding surprising parallel worlds out of art and science which deals with the story.</p> <p>Thomas Bed&uuml;rftig (mathematics - philosophy) | Martin Carrier (philosophy - physics) | Markus P&ouml;ssel in cooperation of Albert-Einstein-Institut and House of astronomy (physics) | Brigitte Holzinger (psychology) | Jean-Luc Lehners (cosmology - lecture) | Herbert Pietschmann (science history - physics) | Yvette S&aacute;nchez (science - lecture) | James A. Shapiro (biology - video lecture)</p> <p>Helen Acosta Iglesias (visual arts) | Isabella Gresser (video) | Thomas Grill (performance) | Stephan Gro&szlig; (video) | Susanne Hampe (installation) | Maria Hanl (installation) | Kornelia Hoffmann (room Installation) | Ulli Klepalski (painting) | Anna-Maria Kursawe (installation) | Pantea Lachin (new media) | Calla Mar (photo ensemble) | Albert Markert (installation) | Wolfgang Neipl (new media) | Oliver Orthuber (installation) | Whathappensnext-Ensemble Berlin: Reinhard Gagel, Hartmut Arweiler, Gudrun Doberenz, Rosmarie J&auml;ger, Esther von der Osten, Max Stehle, Conny Voss, Babette Werth (music-performance) | Stefan Riebel (photo documentation) | Anja Sonnenburg (installation) | Christiane Spatt (installation) | Burchard Vossmann (visual arts)</p> <p>Readings out of AUGUSTINAselbst by Wolfgang Grossmann, Matthias Neukirch and the author herself | Ina Krau&szlig; accompanied the KinderKulturMonat | Topic speficic guided tours by one of the instigator.</p> Mon, 05 Oct 2015 06:39:04 +0000 Timur CELIK - Künstlerhaus Bethanien - October 9th - November 1st Fri, 02 Oct 2015 16:59:42 +0000 Sergey Voronzov, Juliana Bardolim - Künstlerhaus Bethanien - October 9th - November 1st Fri, 02 Oct 2015 16:59:31 +0000 Florin Kompatscher - Künstlerhaus Bethanien - October 9th - November 1st Fri, 02 Oct 2015 16:59:03 +0000 Joshua Schwebel - Künstlerhaus Bethanien - October 9th - November 1st Fri, 02 Oct 2015 16:58:48 +0000 Dafna Maimon - Künstlerhaus Bethanien - October 9th - November 1st Fri, 02 Oct 2015 16:58:30 +0000 Thérèse Mastroiacovo - Künstlerhaus Bethanien - October 9th - November 1st Fri, 02 Oct 2015 16:58:07 +0000