ArtSlant - Current exhibits http://www.artslant.com/ber/Events/show en-us 40 Luis Camnitzer, Michael Dreyer, Channa Horwitz, Vlado Martek, Max Schaffer, Geerten Verheus - Aanant & Zoo - April 26th, 2013 - June 16th, 2013 <p>Wie aus der Form geratene Tafelbilder hängen, hintereinander aufgereiht, zwei Gruppen gewölbter und in sich verdrehter Gummigebilde in einer Art Ständer. Aus verbogenen geometrischen, schwarzen und weißen Flächen zusammengesetzt, versprühen die einzelnen Formen (oder Anti-Formen) eine latent perverse Sinnlichkeit. Die nüchterne, fast pedantische Schlichtheit des „klassischen“ Formalismus wird durch den suggestiven Umgang mit den Gummiflächen aufgebrochen. Wie im Lager oder Modehaus hängen die Werke auf der Stange und bilden, zusammengedrängt, ein Meta-Werk: „Hängung“ von Geerten Verheus.</p> <p>Zwischen Anti-Hommage und Hommage sind auch die Werke von Vlado Martek verortet, dessen Mitte der 70er Jahre gegründeter „Grupa šestorice“ (Group of Six) die Ausstellung ihren Titel verdankt. (Neben Martek waren Mladen und Sven Stilinović, Fedor Vučemilović, Boris Demur und Željko Jerman Mitglieder des Zagreber Kollektivs.) Auf flüchtig gezeichneten Landkarten stehen die Namen berühmter Musiker, Dichter und anderer quasi „staatstragender“ Kulturschaffender der jeweiligen Länder. Dort, wo Paris zu erwarten wäre, hat Mallarmé seinen Platz gefunden. Polen wird von Chopin dominiert. Kunst und Kontext fallen zusammen. Wie so oft bei Martek sind Banalität und Bedeutung kaum voneinander zu trennen: ein Kuddelmuddel aus Hochkultur und mitunter politisch verstandenem Nonsense.</p> <p>„ATTRIBUTES OF MODIFICATION (Hill Arches)”, eine Installation von Max Schaffer, besteht aus großformatigen bedruckten Planen, die ein Werk von Henry Moore zeigen. Jeden Winter werden die „Hill Arches“ auf dem Wiener Karlsplatz für mehrere Monate eingerüstet und durch Bilder ersetzt, die die monumentale Bronze in vier Ansichten zeigen. In „A Group of Six Artists“ werden die Ansichten ineinander verschachtelt und die Flächen in eine räumliche Konfiguration übersetzt, in der Hinten und Vorne, Innen und Außen kaum noch zu unterscheiden sind und die öffentliche Skulptur zum Galerieraum in Beziehung tritt.</p> <p>Die konzentrischen Kreis- und Kreissegmentformen in den Bildern Michael Dreyers bezeugen deutlich sichtbar den handwerklichen Prozess ihrer Entstehung. „Fehler“ werden in Kauf genommen und bisweilen gezielt hervorgebracht. Die vollkommene Form des Kreises bekommt einen handschriftlichen Zug. Durch die Zusammenfügung von unterschiedlichen, offenen wie geschlossenen Kreisbahnen, die mithilfe eines Faden- oder Stangenzirkels gezogen werden, entstehen pulsierende Konstellationen von überzeugender Lebendigkeit zwischen Mandala und Maßwerk, Form und Gestalt, Malerei, Mechanik und Handschrift.</p> <p>Mit Channa Horwitz und Luis Camnitzer sind zwei bedeutende Vertreter der frühen Conceptual Art in „A Group of Six Artists“ vertreten. Im Zentrum des Werks von Horwitz stehen seit Anfang der 1960er Jahre grafische Partituren und Notationen von Bewegungen und Tönen („Sonakinatographies“). Auf Grundlage einer logischen Ordnung wird die Zeit im Medium Zeichnung fixiert und in grafische Rhythmen und serielle Strukturen übersetzt. Bis heute entstehen gleichermaßen strenge und exakte wie – im Rahmen der selbstgesetzten Ordnung – spielerische Kompositionen.</p> <p>Die Installation „S.S. Atlantus“ von Luis Camnitzer besteht aus drei Elementen: dem Großdruck einer Postkarte mit der Abbildung eines havarierten Schiffs; einem Betonblock, der am Boden einer Wasserschale liegt; und einer Messingplatte, auf der in einfachen Worten Folgendes geschrieben steht: „S.S. Atlantus. Remains of experimental concrete ship, one of twelve during World War I. Proved impractical after several transatlantic trips because of weight. Towed and sunk here as wharf in 1926.“ Wie aus der Zeit gefallen, erzählt die „Atlantus“ von den Träumen der Vergangenheit, von den Irrwegen der modernen Technik und der Hybris vor dem verheerenden Krieg. Am Ufer schwimmt, nicht weit entfernt, ein schlichtes, kleines Ruderboot, das dem müde gewordenen Ungetüm melancholisch zuzuzwinkern scheint.</p> Tue, 04 Jun 2013 22:42:12 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list 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 Julius von Bismarck - alexander levy - April 27th, 2013 - June 15th, 2013 Fri, 07 Jun 2013 14:40:47 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Zhao Zhao - ALEXANDER OCHS PROJECTS - April 27th, 2013 - June 8th, 2013 <p>In 2011, Chinese artist Zhao Zhao (* 1982 in Xinjiang) created the expansive sculpture of a still image of a police officer that had fallen and broken into many pieces. The fictional ‘service number’ 201143 on the jacket of the uniform could be interpreted as an indication of the date of Ai Weiwei’s abduction; nonetheless the sculpture was exhibited in Beijing for weeks without problems. In 2012, the work was seized by Chinese authorities from the customs storage. An invoice with the sum of 300,000 RMB was sent to the artist, in order for him to pay the 'destruction' costs of the artwork he created. (Please see the article in DER SPIEGEL, no. 34/2012.) Zhao Zhao, who works in Beijing, received a never officially formulated exhibition ban, but his sculpture remained 'untouched' and the balance of the invoice remained unpaid.<br />The title NOTHING INSIDE makes a direct reference to the eponymous (and last) show in our Beijing gallery in summer of 2012. In that exhibition, very few works were exhibited and these were absolutely secondary in context to the space. While completely darkening the space, the artist ostensibly went against the traditional exhibition design, where artworks are the central element of one’s perception. The darkness ignored the paintings of the artist; it even demoted these, as it hid what should be seen. Through the targeted exclusion of artwork, Zhao demonstrated the deprivation of their right to exist in a powerful way. The result was a sculpture in space that did not exactly show lost perceptions, but rather knew how to represent them.<br />The upcoming exhibition in Berlin is a sequel to exhibition NOTHING INSIDE and will partially reconstruct the initial installation, but this time the works themselves will be visible. Furthermore, these works will be complimented by works that have been created since then.<br />One of which is a large-scale painting of the riding monk, Xuanzang. It is based on Journey to the West, a Chinese folk epic dating back to the Ming Dynasty, where a monk travels in the direction of the western sky to bring Buddhism to China, and learns about suffering in many ways on his journey. Zhao depicted the monk from behind, from eastern point of view while the monk still rides away. This classic novel is still well known by most Chinese people today, along with its iconography. Nevertheless this depiction must seem strange, partly because the monk's face is hidden, and partly because what is usually depicted as a noble horse is an ungraceful creature in this case.<br />This image was created in dark colours, which can be said for most of Zhao’s works created after the events of the past year. The smaller sized works usually show figurative and banal subjects, such as peculiar deformed fruit, or objects that are so difficult to decipher that they border on abstraction. They are sometimes barely visible, or crossed out by white lines, reminiscent of the prison windows which bear reference to his situation and that of other critical artists in China.<br />The content, form and media diversity of Zhao Zhao’s work further express his critical attitude: in order to question constructed meanings, he tests the boundaries of reality and its ideological conventions, as well as cultural stereotypes and the dominance of certain, primarily European categories of art history.<br />NOTHING INSIDE (II) is the third solo exhibition at the ALEXANDER OCHS GALLERIES BERLIN | BEIJING.<br /><br /></p> Wed, 10 Apr 2013 22:21:17 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Mwangi Hutter - ALEXANDER OCHS PROJECTS - April 27th, 2013 - June 8th, 2013 <p>Die Künstlergruppe Mwangi Hutter ist 1975 in Nairobi und Ludwigshafen geboren, wo die Künstler Ingrid Mwangi and Robert Hutter auch arbeiten. Die Künstler selbst sprechen von einer Einheit, wodurch eine Summierung und Auflösung des Einen in den Anderen entsteht. Ihre Videos und Fotografien reflektieren kontinuierliche Ereignisse in Afrika wie auch die Beziehungen zwischen Schwarzen und Weißen, Frauen und Männern. Die Ökologie ist ebenso ein zentrales Thema wie Gender. Die Künstler spielen mit der Illusion von Realität des bewegten Bildes und erweitern so die Grenzen der Wahrnehmung. Oft wenden sie ihre visionäre Idee am eigenen Körper an; der Körper wird zum Übermittler ihrer selbst und einer Welt des nicht Bewussten, der Körper also als Ort eines politischen, sozialen und ökologischen Statements.<br />Die Künstler sind derzeit in den Pitzer College Art Galleries, Claremont, CA, USA, im Smithonian Institution, National Museum of African Art (NMAfA), Washington DC, USA, sowie ab dem 25. Mai 2013 in der Ausstellung ‚VISIONS. An Atmosphere of Change‘ im MARTa Herford zu sehen.<br />Die Ausstellung SINGLE ENTITIES zeigt Video und Fotografie.<br /><br />The artist group Mwangi Hutter was born in Nairobi and Ludwigshafen, where the artists Ingrid Mwangi and Robert Hutter also work. The artists themselves speak of an entity, in which the summation and dissolution of the one into the other is created. Their videos and photography continually reflect on events in Africa, along with the relationship between blacks and whites, as well as women and men. Ecology is as much a central theme as gender is. The artists play with the illusion of the reality of the moving picture, as they try to extend the borders of perception. Their visionary ideas are often practiced on their own bodies; therefore the body becomes a carrier of their selves and of a non-cognitive world. The body becomes a place for political, social and ecological statements.<br />The artists’ works can currently be seen at the Pitzer College Art Galleries, Claremont, CA, USA, the Smithonian Institution, National Museum of African Art (NMAfA), Washington DC, USA. As of the May 25th, 2013 works can also be seen in the exhibition ‘VISIONS. An Atmosphere of Change’ at the MARTa Herford in Germany.<br />The exhibition SINGLE ENTITIES consists of video and photography works.</p> Fri, 10 May 2013 20:29:21 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Group Show - Arndt - April 27th, 2013 - June 1st, 2013 <p>The exhibition "Sip! Indonesian Art Today" and the accompanying publication results from ARNDT’s recent focus on Southeast Asian art and the new Asian and Pacific art markets. Over the past four years Matthias Arndt has worked in Indonesia and other parts of Southeast Asia. His research, the past shows of Southeast Asian artists and the opening of ARNDT Singapore, the Asian showroom and office of ARNDT, makes Matthias Arndt one of the leading experts for contemporary Indonesian and Southeast Asian Art in Germany and Europe.</p> <p>The exhibition "Sip! Indonesian Art Today", curated by Enin Supriyanto, is the 10th show dedicated to Southeast Asian art ARNDT is hosting in Singapore, Australia, Great Britain and Berlin. The 150 page publication "Sip! Indonesian Art Today" edited by Matthias Arndt and published at DISTANZ Verlag (ISBN 978-3-95476-007-7) is available in all bookstores.</p> <p>The public talk <strong>"<span style="text-decoration: underline;">The last three decades of artistic production in Indonesia: 25 years of Cemeti Art House and the status of curating.</span>”</strong> with Enin Supriyanto (curator) and Mella Jaarsma (artist), moderated by Katerina Valdivia Bruch (curator / critic) will take place <strong>at ARNDT Berlin on 27 April 2013 at 4 pm</strong>.</p> <p><br /> The exhibition presents over 40 works from all artistic mediums, painting, sculpture, installation, photography and film, by 16 contemporary artists from Indonesia. They belong to a larger community of artists who are actively shaping Indonesia’s dynamic developing contemporary art scene. If we consider their age and career development, the artists here represent 3 generations of contemporary art practice dating back from the late 1970s: beginning first with FX Harsono, one of the proponents of the Indonesian New Art Movement (Gerakan Seni Rupa Baru) founded in 1975 followed by a group of artists who emerged at a time when Indonesia was undergoing major socio-political transformations in its strive towards democracy during the late 1990s (Agung Kurniawan, Agus Suwage, Mella Jaarsma), the post-Reformasi (Reformation) generation of artists (Christine Ay Tjoe, Entang Wiharso, Rudi Mantofani, Handiwirman Saputra, Eko Nugroho, Syagini Ratna Wulan and Arin Dwihartanto Sunaryo), and finally a generation of artists who have been active in the past decade, sophisticated operators of their own careers in a more or less stable and democratic Indonesia (Wedhar Riyadi, J. Ariadithya Pramuhendra, Wiyoga Muhardanto, Indieguerillas and Tromarama).</p> <p>The generational differences do not only represent differing socio-political experiences in connection with the development of Indonesia’s society in the past three decades but also illustrates the differing socio-political contexts of the artists observations and artistic approaches that have changed and altered over the years.</p> <p>The word “Sip” in Bahasa Indonesia may be a simple and modest one but it is full of meaning. While the origin of this word is unknown, it is a word that is used by nearly everyone every day. “Sip” is the briefest way to state that something – whether an art work, an event, an experience or anything – is good, of good quality, super or outstanding even. Like this word, and like the process of our ongoing global culture, we do not question the origin of an idea, but we consider how this idea can continue to grow and contribute to the interaction and civilization of the world. In a way, we can say that ‘Sip’ has no such thing as exotic cultural background, neither stereotypical cultural baggage. Whatever the case, the meaning is clear: good, great, outstanding.</p> Tue, 21 May 2013 23:21:36 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Curt Stenvert - Aurel Scheibler - April 27th, 2013 - June 22nd, 2013 <p>For Gallery Weekend Berlin, edition 2013, Aurel Scheibler will present Vorstoß ins Niemandsland (Advance into no man’s land), a concentrated group of works by Curt Stenvert (1920 – 1992), which as ‘Gesamtkunstwerk’ strongly evokes the extremely individual, committed and persuasive vein that distinguishes this oeuvre. The exhibition will run from April 27 until June 22 and will open on Friday April 26 from 6 p.m. to 9 p.m.<br />Active as filmmaker, painter, sculptor and object artist, Stenvert’s various working methods made him one of the most adroit and agile artists of his time. A traditional education in painting and sculpting was complemented with theatre studies and led him straight into the making of Austria’s first avant-garde movie ‘Der Rabe’ in 1951. From there on, Stenvert always was ahead of his time, not disconnected from it, but on a quasi-parallel route. This enabled him to incorporate elements from past movements that echoed his beliefs and concerns such as Dada and Surrealism, and to blend them with innovations that arose from his own very personal convictions and views on life and art. From Edgar Allan Poe’s The Raven poem onwards, literature meandered as a constant leitmotiv through his oeuvre and his poetic titles often are the key to the demystification of his work.<br />L’art pour l’homme is Stenvert’s credo - art for the individual, art as awareness initiator, art as instigator and saviour of the world. His works are modern allegorical compositions, which are intended to render renounced values and abstract concepts perceptible again to our senses. It was his intention to convert man through art, to capacitate him again to live his life - an approach simultaneously highly romantic and highly pragmatic. He introduced functional art, bio-cybernetic paintings, and process-perspectives – concepts connected to the realities of a constantly changing world – and considered his work as a tool to elucidate existence through the eye. Art was a spiritual process through which Stenvert wanted to gauge, debate, reveal correlations and highlight psychological and physical developments. Art was his way to change humanity.<br />Curt Stenvert is a crossroads artist. A contemporary of Edward Kienholz, H.C. Westermann and Paul Thek, his work is clearly indebted to the Berlin Dada of Raoul Haussmann and John Heartfield, to George Grosz and Joseph Cornell. In turn, Stenvert’s impetus reverberates in the oeuvre of a later generation of artists such as Martin Kippenberger, whose approach to life as well as art is characterized by a scathing criticism of societal behaviour and intense self-mockery so often derivative from an essentially romantic disposition.<br />Looking at Stenvert’s work today, one realizes that his oeuvre makes as much sense / nonsense at<br />this point in time as it did decades ago and that the combination of ‘double-entente’, verve and biting critique has lost nothing of its shocking quality.</p> Tue, 02 Apr 2013 23:14:38 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Uwe Bremer, Ali Schindehütte, Arno Waldschmidt, Johannes Vennekamp - bauchhund salonlabor - April 19th, 2013 - May 25th, 2013 <p>Die Werkstatt Rixdorfer Drucke wurde 1963 in einem<br /> Kreuzberger Hinterhof unter dem Patronat des Berliner<br /> Poeten Günter Bruno Fuchs (†1977) gegründet.<br />  <br /> ‘Rixdorf’ fanden sie als Namen so schön anrüchig<br /> poetisch. Die Werkstatt besteht heute aus den vier<br /> Künstlern Uwe Bremer, Albert Schindehütte, Johannes<br /> Vennekamp und Arno Waldschmidt.<br />  <br /> Man pflegte in den 1960er Jahren das Image des Bürger–<br /> schrecks. In Gruppenarbeit entstanden über die Jahre<br /> ihre zeitkritischen, provokanten, witzigen und respekt–<br /> losen Wort- und Bilderbögen.<br />  <br /> Ihre Zusammenarbeit mit Dichtern und Schriftstellern<br /> schrieb Literaturgeschichte.<br />  <br /> Die Kalender, Mappen, Buchcover, Illustrationen, die<br /> Kartenspiele und Leporellos mit der unverwechselbaren<br /> Handschrift der „Rixdorfer” prägten die Ästhetik der<br /> politischen Grafik.</p> Tue, 05 Mar 2013 23:50:31 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list - Bauhaus-Archiv Museum of Design - May 8th, 2013 - August 11th, 2013 <p>Written symbols are omnipresent in our culture. They open up the universe of the written word and give us directions in everyday life. But the distinct message inherent in their appearance is often only noticed subliminally. &lsquo;ON&ndash;TYPE: Texts on Typography&rsquo; conveys the fascination of type design and shows classics from twentieth-century typographic history along with recent examples. The exhibition gathers together theses, manifestos and stocktaking accounts from twentieth-century typography in the German-speaking countries. It also presents type specimens and insiders&rsquo; typography magazines, and discusses the central protagonists and important debates in the history of typography regarding legibility, use of small letters in German, and the effects of digitization.</p> Thu, 18 Jul 2013 23:21:03 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Jörg Lohse - BERLINARTPROJECTS - April 15th, 2013 - June 4th, 2013 <p>Wilder, more impetuous and more immediate than ever, Jörg Lohse returns to the art world after an almost three-year hiatus from the Berlin art scene. In the rural seclusion of Upper Bavaria, far from the scene and discourse, the artist developed a series of new, monumental works. The titles are provocative and loud as fanfare: “Tomorrow is over yesterday”, “It’s a shame that concrete doesn’t burn” and “My beginning is your end” begging the question: To whom is this declaration of war directed? The battle is being waged against lightness, the easily-digested, content itself – it is heavy fare, not easy to swallow.  Jörg Lohse plunges into the adventure of painting like a man obsessed, for the sake of painting. He creates himself, and he creates obstacles. For him, it is about painting and only the painting – the painting that can exist and hopefully endure in the eyes of the artist and viewer. Lohse paints his soul from his body and hopes for a piece of immortality.</p> <p>His painting is rapid and extremely aggressive. Everything is massive, loud and supremely colorful: subjects dissolve into abstract surfaces; corrosive yellow and scrawled signatures disrupt and create and almost unbearable disharmony. The title and the depicted often clash and run counter to one another. They negate any mutual relationship in terms of content, and refuse to give even the illusion of a reality. What remains are colors, shapes and surfaces; any content comes directly from the viewer’s own power of association.</p> <p>All of this is exactly as Lohse intended it. Lohse searches for and uses the element of surprise, rebels against traditional painting rules and ordinary viewing habits. He does this without pause, never asking himself the question: “Can I really leave it like that?” Lohse aims to irritate, confuse, overcome obstacles and limitations and create something new. He consciously claims this freedom, keeping a distance from the art world in order to create a space far away from the art market, the scene, discussions and critique - space for his own, independent artistic position. For all their provocation and irony, Lohse's oil paintings reveal a deep and passionate commitment to painting. The omnipresent artist’s signature (“Herr Lohse”, “Schorsch”) alludes to the idea of the artist’s role and its meaning for the value of the artwork. It dominates some of the works like a trademark. At the same time, it also shows how seriously the artist takes it and to what degree he sees himself as a painter among painters.</p> Sun, 01 Jun 2014 08:07:16 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Yasam Sasmazer, Ismail Necmi - BERLINARTPROJECTS - April 26th, 2013 - August 9th, 2013 <p>For Gallery Weekend, Berlin Art Projects proudly presents two young, Turkish artists in two exhibitions in their spaces at Mehringdamm 33. Yasam Sasmazer and Ismail Necmi both belong to the gallery’s regular program; both live and work in Istanbul and Berlin and represent important artistic positions in the Turkish art scene. The exhibitions will both be on view from Friday, April 26 at 6 pm to Monday, April 29 at 7pm. The opening is on Saturday, April 27 from 2 – 5 pm in presence of the artists.</p> <p><b>Yasam Sasmazer ǀ Doppelgänger</b></p> <p>We are delighted to present Sasmazer’s “Doppelgänger” figures – made especially for the artist’s first museum exhibition at the Künstlerhaus Marktoberdorf in the summer of the previous year – for the first time in Berlin. The series, which consists of five sculptures and groups of sculptures, is based on the literary model of the double. Building on earlier works, particularly the “shadow” sculptures created directly before these, Sasmazer’s figures (at first children, then youths) have grown up. The model is the artist herself. Her wooden “doubles” now stand life-sized in front of the viewer – disturbing, uncanny and immediate. The artist refers to her new project as an “attempt to look in a mirror“. With it, she follows the theories outlined by Lacan, points to C. G. Jung’s archetypes and draws reference to “the uncanny” described by Sigmund Freud. In the shadow series, she was primarily interested in a confrontation with one’s own dark side, or thoughts and feelings that society considers negative though they belong to the whole of a personality. In the “Doppelgänger”, Sasmazer confronts her own mirror image, though her figures are not studies of her own character. Instead, they show the different aspects and characteristics that make up a character, like the individual “puzzle pieces” that come together to form every whole personality. For her, it is about identity, the perception of others and of oneself.</p> <p><b>Ismail Necmi | Should I really do it?</b></p> <p> After the first solo exhibition by photographer and filmmaker Ismail Necmi, in which we showed black and white shots from his series “Stills from Unmade Films” on the occasion of the 2011 Berlinale, we are pleased to present this film debut “Should I really do it?” (2009). The film, which Necmi realized as its screenwriter, director and producer in one, has been shown in numerous film festivals and awarded prizes. It tells the story of Petra, a German living in Istanbul – thus ironically reversing the typical path of the Turkish migrant. Petra’s life takes so many unexpected twists and turns that in some places, the film appears to be pure fiction. But what we see is nothing more and nothing less than a life lived – a story as only she could write it. In her meetings with Herold, a masked, mysterious character, Petra reveals her life to him and us, a tale told with impressive sincerity about her existence and experience of two cultures: of Istanbul, Germany, of family and friends of drug use and death. Can reality be more surprising than fiction? Just as we see in the parallel selection of "Stills from Unmade Films", Necmi effortlessly trespasses the boundaries between reality, fantasy and art.  He leads the viewer to the thin line of a difficult-to-grasp, liminal world in which everyone can live as they want without explanation or compromise.</p> Sun, 01 Jun 2014 08:07:16 +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