ArtSlant - Recently added en-us 40 Rachel Harrison - Kraupa-Tuskany Zeidler - April 29th - June 25th <p style="text-align: justify;"><em>Designed to facilitate a variety of business interactions, the basic conference room is by nature a space of latent potential. Though still in use today, these blank, dry-erase infrastructures contain an aspect of outdated futurism. Their promised flexibility seems to lag behind a world of commerce that happens virtually and without discussion. Nonetheless, these table-centric spaces persist, raising the question: How might these seemingly arcane architectures be repurposed? A ping-pong tournament? After-hours Karaoke parties?&nbsp;</em></p> <p style="text-align: justify;"><em>Rachel Harrison uses a range of &ldquo;materials,&rdquo; from store-bought objects to social mores, as fodder for formal humor and cultural commentary. Her latest exhibitions have included upright sculptures donning selfie sticks, parachute chords anchored to gallery walls that act as framing devices, and drawings that pair Amy Winehouse and art-historical figures. Abstract and painted forms, posed with readymade accoutrements, recur throughout her work, which ranges from sculpture to photography, drawing to video. Harrison has recently enlisted cardboard boxes, commonly used for postal delivery, to change shape in the service of art.</em></p> <p style="text-align: justify;"><em>Kraupa-Tuskany Zeidler is situated on the 4th floor of an office block building at Berlin Alexanderplatz. For her first solo exhibition at the gallery, Harrison will make new work for the gallery space and an adjacent, fully equipped conference room used by other businesses in the building.</em></p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><strong>Exhibition Text:</strong></p> <p style="text-align: justify;">Rachel Harrison. Express your Fitness in Everyday Life</p> <p style="text-align: justify;">We cannot step beyond the everyday. The marvelous can only continue to exist in fiction and the illusions that people share.&nbsp; It is assumed that the work must &ldquo;speak for itself,&rdquo; as if the divine dogma of modernism were able to deliver a clear and universal message to a uniform &ldquo;family of man.&rdquo; I&rsquo;ve cracked cases like this with nothing to go on, just by getting out and walking around at random. Make an effort to exhaust the subject, even if that seems grotesque, or pointless, or stupid. You still haven&rsquo;t looked at anything, you&rsquo;ve merely picked out what you&rsquo;ve picked out long ago. All these fragments of perception that lend themselves to pictures release something because they strike a chord, and that chord is the artist&rsquo;s life, which, like ours, keeps changing. Two things are happening at once. That&rsquo;s all. It is an equivalence that is entirely ordinary. This atmosphere ends up making you better as an individual, everybody knows your name, everybody loves you, and you&rsquo;re part of something bigger than just getting a workout. There is no escape. And yet we wish to have the illusion of escape as near to hand as possible. So we work to earn our leisure, and leisure has only one meaning: to get away from work. In affluent regions of the globe, this has occurred amid the dissolving of most of the borders between private and professional time, between work and consumption. It is a fact that night belongs to Michelob and Coke is real. It is a fact the color of your skin matters. It is a fact Crazy Eddie&rsquo;s prices are insane. In order to stimulate competition, a powerful injection of aggressive energy is necessary, a sort of permanent electrocution. It&rsquo;s emotional, it&rsquo;s raw, it&rsquo;s intense, it&rsquo;s incredible, it&rsquo;s awesome, the reward for doing well is the ability to express your fitness in everyday life. The acceleration of novelty production is a disabling of collective memory. What finally occupies attention is the management of the technical conditions: all the expanding determinations of delivery, display, format, storage, upgrades, and accessories. The interference of all silence. The sound of a machine, a scratch, dirt or its image. People walk through the door and say &lsquo;hey, where are all the machines?&rsquo; We&rsquo;re the machines.<sup>i</sup></p> <p style="text-align: justify;">Kirsty Bell</p> <p style="text-align: justify;">_</p> <p style="text-align: justify;"><sup>i</sup>Lefebvre, Henri; Gonzalez-Torres, Felix; Burroughs, William S.; Perec, Georges; Taussig, Michael; White, Ian; CrossFit&reg;; Crary, Jonathan; Eddie, Crazy, consumer electronics NY; Berardi, Franco &lsquo;Bifo&rsquo;.</p> Sun, 29 May 2016 07:55:07 +0000 Albert Markert - G.A.S-station - June 7th - June 21st <p>DREAMING OF SHOPPING - TERRORRAUM, 2016<br />Albert Markert<br />Ausstellung: 8.-21. Juni 2016<br />Vernissage: 7. Juni 2016 - 19 Uhr<br />&Ouml;ffnungszeiten: Di-Fr 14-18 Uhr</p> <p>Die Rauminstallation DREAMING OF SHOPPING - TERRORRAUM thematisieren das interdependente Zusammenspiel zwischen Terror und Terrorangst, Konsum und Konsumverzicht, Intimsph&auml;re und Intimit&auml;tsverlust in den sozialen Medien. Albert Markert nahm f&uuml;r seine Arbeit eine Textstelle aus der Geschichte von AUGUSTINAselbst als Inspirationsfunken in der die Protagonistin in ihrem Traum mit "Nachrichten" aus unserer Realit&auml;t konfrontiert wird. Diese stellt sich aus dem Blickwinkel ihrer Traumwelt als erschreckende, wild vermixte Informationsflut dar, die sich unmittelbar zu manifestieren droht.</p> Thu, 26 May 2016 14:19:39 +0000 Group Show - Peres Projects - June 10th - August 5th <p class="p1" style="text-align: justify;">Peres Projects is pleased to present <em>Wild Style: Exhibition of Figurative Art</em>, a group exhibition exploring depictions of the human figure by contemporary artists and unidentified African artists active from 200 BC to the present.&nbsp;Wild Style invites the viewer to experience the exhibition in a horizontal as opposed to a vertical manner, where contemporary works of art stand as equals with works from different cultures and periods.&nbsp;&nbsp;</p> <p class="p1" style="text-align: justify;">The works on view highlight the invisible link that exists between the mind of the 21st century artist and the minds of artists of prior generations. However, this shared affinity is not to say that the works are actually connected in one way or another. On the contrary, at times the distance may be more profound than the shared affinities between these works and artists, yet by pairing them we may gain new understandings about ourselves, and our fascination with the human form.</p> <p class="p1" style="text-align: justify;">A fully illustrated catalog will accompany this exhibition.</p> <p class="p1" style="text-align: justify;">Artists:&nbsp;</p> <p class="p1" style="text-align: justify;">Dan Attoe<br /> Brian Calvin<br /> Alex Da Corte<br /> C&eacute;cile B. Evans<br /> Donna Huanca<br /> Dorothy Iannone<br /> Melike Kara<br /> Dwight Mackintosh<br /> William J. O&rsquo;Brien<br /> Athena Papadopoulos</p> <p class="p1" style="text-align: justify;">Major works of classic African sculpture:</p> <p class="p1" style="text-align: justify;">Dan, Liberia/Cote d&rsquo;Ivoire<br /> Eket, Nigeria<br /> Fang, Gabon<br /> Ibibio, Nigeria<br /> Igbo, Nigeria<br /> Ijo, Nigeria<br /> Jukun, Nigeria<br /> Kaka, Nigeria<br /> Mumuye, Nigeria<br /> Nok, Nigeria</p> Wed, 25 May 2016 17:31:23 +0000 Lesley Vance - Meyer Riegger - June 3rd - July 30th <p style="text-align: justify;">Lets play fast and loose. Lets let the air out of our over-puffed tires for a minute. Lets shake a bit as we slide and blur across the floor. Lets be inchoate and atmospheric. That&rsquo;s how Lesley Vance is doing it in these new watercolors in which color justifies itself and a kind of automatic drawing evolves stroke into shape and then the increasingly delicate description of space. The artist explores her own miasmic looseness. Sitting flat on top of (rather than absorbed into) smooth, vellum-like surfaces, the liquefied pigment looks still-watery and alive seeming. Brushwork is aleatory and intuitive, meandering line-work somewhat reminiscent of late de Kooning or Brice Marden with his inked stick. Contrapuntally, the flow of watercolor is sliced with the scissored sharpness of collage, cut and arranged with an equally nimble sensitivity. She&rsquo;s been thinking a lot about Krasner&rsquo;s collaged paintings, full of internal disjunction, distance, and great graphic power. These paintings embody alertness, a responsiveness to those fragile gifts of chance that can happen on the drawing table, or off, if you&rsquo;re paying close attention. She is in thrall to that magic moment when form and a new kind of visual sense first take hold, emergent out of static webs and fields of color. The sudden birth, the surprise invention of shapes has a lot to do with the feeling and pleasure in these works; they tap the surging energy of her oil paintings in their early, private stages. Form often appears through subtractive wiping away and erasure. Vance&rsquo;s pictures want to be several things at once: they want to bleed, spill, streak, and be messed up whenever they want and also be taut, tight, precise, and slanted on point. Her planes&mdash;painted and collaged&mdash;interlock in weird ways and cast spells of momentary optical confusion that merge and reorder layers. They say, lets slip and slide. Lets play fast and loose.</p> <p style="text-align: justify;">Text: Sarah Lehrer-Graiwer</p> <p style="text-align: justify;">The work of Lesley Vance (b. 1977, Milwaukee, Wisconsin) has been the subject of solo exhibitions at the Bowdoin College Museum of Art, Brunswick, Maine (2012); the FLAG Art Foundation, New York (2012); and the Huntington Library, Art Collections, and Botanical Gardens, San Marino, California, with Ricky Swallow (2012). Recent group exhibitions featuring her work include Variations: Conversations in and Around Abstract Painting, Los Angeles County Museum of Art (2014); Painter Painter, Walker Art Center, Minneapolis (2013); Difference, Dallas Museum of Art (2012); and 2010 Whitney Biennial, Whitney Museum of American Art, New York. Vance's work is included in the public collections of the Los Angeles County Museum of Art, the Hammer Museum, Los Angeles; the San Francisco Museum of Modern Art; the Milwaukee Art Museum, Wisconsin; the Museum of Modern Art, New York; and the Whitney Museum of American Art, New York, among others. Her work is currently included in the exhibition Campaign for Art at the San Francisco Museum of Modern Art through September 2016. Vance lives and works in Los Angeles.</p> <hr /> <p style="text-align: justify;">Lassen wir mal alle R&uuml;cksichten und Konventionen fallen. Lassen wir mal kurz die Luft aus unseren &uuml;berm&auml;&szlig;ig aufgepumpten Reifen raus. Lassen wir uns mal leicht ins Schwanken geraten w&auml;hrend wir &uuml;ber den Boden schlittern und dabei bis zur Unkenntlichkeit verschwimmen. Lassen wir uns mal amorph und atmosph&auml;risch sein. So macht es Lesley Vance in diesen neuen Aquarellbildern, in denen die Farbe die eigene Rechtfertigung liefert und der Pinselstrich durch eine Art automatisches Zeichnen zur Form und dann zur zunehmend filigranen Beschreibung von Raum wird. Die K&uuml;nstlerin erkundet somit die eigene, diesig-dunst&auml;hnliche Formlosigkeit. Das verfl&uuml;ssigte, eher flach auf den glatten, pergament&auml;hnlichen Fl&auml;chen liegende als von ihnen absorbierte Pigment wirkt noch - w&auml;sserig, lebendig. Die Pinself&uuml;hrung ist aleatorisch und intuitiv, wobei die m&auml;andernde Linienf&uuml;hrung etwas an den sp&auml;ten de Kooning oder an den in Tusche get&uuml;nchten Stift eines Brice Marden erinnert. Kontrapunktisch wird der Fluss der Wasserfarbe mit der Scherensch&auml;rfe einer Collage aufgeschnitten, abgeschnitten und mit gleicherma&szlig;en flinker Sensibilit&auml;t neu angeordnet. Intensiv reflektiert hat die K&uuml;nstlerin die collagierten Gem&auml;lde von Krasner, die voller interner Br&uuml;che und Distanz sind und von denen eine ungeheure graphische Macht ausgeht. Diese Gem&auml;lde verk&ouml;rpern eine Alertheit, eine Empf&auml;nglichkeit f&uuml;r jene zerbrechlichen Geschenke des Zufalls, die sich auf &ndash; oder fern von &ndash; dem Zeichentisch ergeben, wenn man nur besonders wachsam ist. Lesley Vance arbeitet im Banne jener magischen Momente, in denen eine Form und eine neuartige Sichtweise sich erst herauskristallisieren, sich aus statischen Farbnetzen und -feldern herausl&ouml;sen. Diese pl&ouml;tzliche Genese, die &uuml;berraschende Erfindung von Formen, hat viel mit der Gef&uuml;hlslage und Freude zu tun, die diesen Werken innewohnen &ndash; sie speisen bereits in den fr&uuml;hen, privaten Stadien des Kreierens von der in den &Ouml;lgem&auml;lden &uuml;berbordenden Energie. Dabei entsteht Form oft aus einem subtraktiv entfernenden Wegwischen und Tilgen. Vances Bilder wollen mehreres auf einmal sein &ndash; sie wollen bluten, &uuml;berschwappen, zucken, sich vollschmieren, wann immer sie nur m&ouml;chten, aber auch perfekt straff, stramm, exakt und abgeschr&auml;gt sein. Ihre Bildfl&auml;chen &ndash; ob gemalt oder collagiert &ndash; verschr&auml;nken und verzahnen sich auf ungewohnte Art und Weise, wobei sie den Betrachter in den Bann einer vor&uuml;bergehenden optischen Irritation ziehen, die Schichten ineinander flie&szlig;en l&auml;sst und neu ordnet. Sie sagen: Lassen wir uns mal schlittern und schliddern. Lassen wir mal alle R&uuml;cksichten und Konventionen fallen.</p> <p style="text-align: justify;">Text: Sarah Lehrer-Graiwer</p> <p style="text-align: justify;">Werke von Lesley Vance (*1977, Milwaukee, Wisconsin, USA) waren Gegenstand von Einzelausstellungen im Bowdoin College Museum of Art, Brunswick, Maine (2012), in der FLAG Art Foundation, New York (2012) sowie in der Huntington Library, Art Collections and Botanical Gardens, San Marino, California, mit Ricky Swallow (2012). Zu den neueren Gruppenausstellungen, in denen ihre Werke zu sehen waren, geh&ouml;ren: Variations: Conversations in and around Abstract Painting, Los Angeles County Museum of Art (2014); Painter Painter, Walker Art Center, Minneapolis (2013); Difference, Dallas Museum of Art (2012); und 2010 Whitney Biennial, Whitney Museum of American Art, New York. Werke von Vance sind ebenfalls u.a. in den &ouml;ffentlichen Sammlungen des Los Angeles County Museum of Art; des Hammer Museum, Los Angeles; des San Francisco Museum of Modern Art; des Milwaukee Art Museum, Wisconsin; des Museum of Modern Art, New York; und des Whitney Museum of American Art, New York vertreten. Gegenw&auml;rtig werden Werke von ihr in der Ausstellung Campaign for Art im San Francisco Museum of Modern Art bis Ende September 2016 gezeigt. Vance lebt und arbeitet in Los Angeles.</p> Wed, 25 May 2016 17:26:08 +0000 Karin Sander - Johnen Galerie - June 3rd - August 30th Wed, 25 May 2016 17:22:45 +0000 Jeremy Shaw - Johann König - June 5th - July 10th Wed, 25 May 2016 17:19:33 +0000 Jorinde Voigt - Johann König - June 4th - July 24th Wed, 25 May 2016 17:18:20 +0000 Christian Andersson - Galerie Nordenhake GmbH - Berlin - June 3rd - July 30th Wed, 25 May 2016 17:11:55 +0000 - Galerie Guido W. Baudach - June 4th - July 23rd <p style="text-align: justify;">Additional performances every Saturday from 11 - 6pm (except 18 June)<br />and by appointment</p> <p style="text-align: justify;">East of Eden is a collaborative project between New York based artists Grear Patterson and Yves Scherer which takes its title from John Steinbeck&rsquo;s novel published in 1952. Conceived as an exhibition series, this project unfolds over multiple stages and cities in the month of June and Galerie Guido W. Baudach is pleased to present its first chapter.</p> <p style="text-align: justify;">For this the artists take over the back space of the gallery, usually reserved for private viewings by collectors, with an immersive environment inspired by a recent trip of the artists across the USA down to Mexico and their experience of shared living in the northern part of the Bronx.</p> <p style="text-align: justify;">This installation is extended into the entrance area of the gallery which has been turned into a waiting room, offering seats and distraction to the visitors.&nbsp;Here you will be welcomed by the inhabitant of the space, Anahid, who takes over the role of the host and of the emcee.&nbsp;As you follow her through the narrow corridor you enter a rather domestic setting. There is a little kitchen table, some candles and there is rainbow motif on the wall. Take a cookie from the bowl, they&rsquo;re home made, and some tea too. It&rsquo;s like the oracle&rsquo;s place, a transition area where dimensions meet, an interface. Sit down and have a little chat with the medium if you feel like. It&rsquo;s your time.</p> <p style="text-align: justify;">In the back corner of the space you will find an area of comfort, that&rsquo;s where the magic happens. Anahid will guide you to it, help you with the glasses and start the program.</p> <hr /> <div class="views-field-field-presse-value"> <div class="field-content"> <p style="text-align: justify;">Er&ouml;ffnung mit Performance: Freitag, 3. Juni 2016, 18 bis 21 Uhr<br />zus&auml;tzliche Performances immer samstags von 11 &ndash; 18 Uhr (ausgenommen 18. Juni)<br />und nach Vereinbarung</p> <p style="text-align: justify;">East of Eden in eine Gemeinschaftsprojekt der beiden in New York lebenden K&uuml;nstler Grear Patterson und Yves Scherer. Der Titel stammt von John Steinbecks gleichnamiger Erz&auml;hlung aus dem Jahr 1952. Konzipiert als Ausstellungsreihe, die sich im Laufe des Monats Juni in mehreren Stufen und an verschiedenen Orten entfaltet, f&auml;llt der Galerie Guido W. Baudach das Vergn&uuml;gen zu, Schauplatz des ersten Kapitels zu sein.</p> <p style="text-align: justify;">Dazu &uuml;bernehmen die K&uuml;nstler den Hinterraum der Galerie, welcher sonst der gesonderten Pr&auml;sentation von Kunstwerken vor Sammlern vorbehalten ist, und unterziehen diesen einer umfassenden Neudefinition, die von einer k&uuml;rzlich durchgef&uuml;hrten Reise durch die USA nach Mexiko und die Erfahrung des Zusammenlebens in der n&ouml;rdlichen Bronx inspiriert ist.</p> <p style="text-align: justify;">Die Installation umfasst aber auch den Eingangsbereich der Galerie, der in ein Wartezimmer verwandelt ist, in dem eintreffenden Besuchern neben Sitzgelegenheiten auch verschiedene Zerstreuung angeboten wird. Hier wird man von der Bewohnerin der R&auml;umlichkeiten begr&uuml;&szlig;t, Anahid, die die Rolle der Gastgeberin und Zeremonienmeisterin innehat. Folgt man ihr durch den schmalen Flur vorbei an der kleinen K&uuml;chenzeile, und betritt das eigentliche Hinterzimmer, so wird die Einrichtung gleich viel wohnlicher. Da gibt es einen kleinen K&uuml;chentisch, ein paar Kerzen und ein Regenbogenmotiv an der Wand. Nimm Dir einen Keks aus der Schale, sie sind hausgemacht, und Tee dazu. Es ist der Ort des Orakels, ein &Uuml;bergangsbereich, an dem die Dimensionen aufeinandertreffen, eine Schnittstelle. Setz Dich und halte eine kleinen Plausch mit dem Medium, wenn Dir danach ist. Es ist Deine Zeit.</p> <p style="text-align: justify;">In der hinteren Ecke des Raumes befindet sich ein besonders behaglichen Platz. Hier ist es, wo die Magie stattfindet. Anahid wird dich hinf&uuml;hren, Dir mit der Brille helfen und das Programm starten.</p> </div> </div> Wed, 25 May 2016 17:04:17 +0000 Neo Rauch - Galerie EIGEN + ART (Berlin) - June 4th - July 2nd Wed, 25 May 2016 17:00:52 +0000 Marianna Uutinen - carlier | gebauer - June 4th - July 30th <p style="text-align: justify;">carlier | gebauer is pleased to announce Free, a solo exhibition of new paintings by the Finnish artist Marianna Uutinen. This will be her third solo exhibition with the gallery. Over the years, the artist has developed a signature technique that fuses thick layers of acrylic paint to create a skin-like structure that she drapes across the surface of a traditional canvas. While her previous work was distinguished by sweeping folds, a bold palette, and an opulent aesthetic, the paintings in the current exhibition strike a quieter, more contemplative tone. <br /> <br /> Throughout her practice, Uutinen&rsquo;s restless experimentation underscores how painting can be a vehicle for new thinking and breaking with old habits. The new works explore how the medium of painting can convey that which is invisible and immaterial. Shimmering and translucent, these dramatically reduced compositions are the most recent examples of the ethereal visual language that the artist has been developing over the course of a year. A vital instability prevails in Uutinen&rsquo;s new works. The pearlescent hues of each canvas vary dramatically depending on where one stands in relation to them. What at first glance appears like a soft cream color pans to dusty rose as you walk past. While Uutinen has long considered painting to be a non-expressive physical accumulation of her actions, this new body of work forms the most striking example of the artist&rsquo;s treatment of painting as a time-based medium, which in this case extends not only to the accumulation of time as represented in the artist&rsquo;s mark-making, but the time of perception as well. In other words: the time of the viewer. <br /> <br /> The dynamic surfaces of these canvases materially attest to the variability of experience and individual nature of perception. Although Uutinen does not approach painting as an expressive act, through the instability of the materials this new body of work becomes quite personal. The ever-changing celestial color palette nods towards a spiritual bent in the work, yet Uutinen hasn&rsquo;t lost her sense of humor despite such ethereal associations. The artist&rsquo;s material engagement with questions of the feminine, kitsch, sensuality and sexuality seethe just beneath the plastic surfaces, like another sparkling thing. These serene works oscillate between abundance and restraint, redirecting her signature dramatic excess into strategic eruptive flourishes. <br /> <br /> Uutinen (b. 1961, Pieks&auml;m&auml;ki) lives and works in Berlin. Her paintings have been included in numerous public collections such as Moderna Museet (Stockholm, Sweden), Louisiana Museum (Denmark), the Malm&ouml; Art Museum (Sweden), Seoul Museum (South Korea), The National Museum of Contemporary Art (Norway), Kiasma Museum of Contemporary Art, Helsinki, Finland and the Helsinki City Art Museum (Finland). Her work was shown at the Louisiana Museum (Denmark), Moderna Museet (Malm&ouml;, Sweden), the Kiasma Museum of Contemporary Art in (Helsinki), the Ludwig Museum (Koblenz), Moderna Museet (Stockholm), and the Venice Biennale (1997).</p> Wed, 25 May 2016 16:54:10 +0000 Guillaume Leblon - carlier | gebauer - June 4th - July 30th <p style="text-align: justify;">carlier | gebauer is pleased to announce a solo exhibition of recent works by the French artist Guillaume Leblon. This will be his second solo exhibition with the gallery. Leblon&rsquo;s sculptural installations adopt a poetic relationship to space &mdash; embracing an active, mobile, open relationship with the world. Known for choreographing compelling spatial narratives, Leblon&rsquo;s current exhibition exudes a potent sense of ephemerality and the uncanny. <br /> <br /> A tension between absence and form pervades the exhibition. Upon entering the space, visitors will confront a foam carpet that covers the entire floor and the lower part of the wall. The delicate skin sheathing the space will accumulate traces of wear from the visitors&rsquo; movement over the course of the exhibition: a visible imprint of the absent human form. This interplay between absence and the body is a key motif that carries throughout the artist&rsquo;s most recent work. <br /> <br /> A blank face without features, detached arms without hands, a clothed torso. Each of these evocative sculptures comprises a sort of shell or envelope for an absent body, a hollow core that speaks to questions of memory, dreams, fragmentation, and possibility. This new body of work marks a transition in process and materials for Leblon. Over the years, the artist has shifted from working with found materials, remnants, and organic matter to foundry work in materials like aluminum, marble, and sand. Always invested in temporal concerns, Leblon sees this mutation in process as a transformation of the work&rsquo;s relationship to time.<br /> <br /> Leblon&rsquo;s 3-D printed plastic sculptures will be accompanied by blown glass sculpture and a new series of collage. Leblon describes the collages as a connection between every day life and the news, a sort of portal between two worlds. Combining crumbled newspapers with paint, plastics, and everyday found objects these works bristle with an abject materiality. <br /> <br /> Leblon (b.1971, Lille) lives and works in New York. He has had solo exhibitions at venues such as Contemporary Art Gallery, Vancouver; MassMoCA, North Adams; Institut d&rsquo;Art Contemporain (IAC) Villeurbanne, Fondation Paul Ricard, Paris; MUDAM, Luxembourg; and Culturgest, Porto, Kunstverein Dusseldorf. Leblon has participated in group exhibitions at Fondation d&rsquo;entreprise Herm&egrave;s, Paris; Centre Pompidou, Paris; Fundaci&oacute; Joan Mir&oacute;, Barcelona; Biennale de Lyon; Secession, Vienna; B&eacute;tonsalon, Paris; Kunsthalle Saint-Gallen; Museum MARTa, Herford; Fridericianum, Kassel; and CAC Vilnius, among others.</p> Wed, 25 May 2016 16:54:07 +0000 Elizabeth Price - Neuer Berliner Kunstverein - May 31st - July 29th <p style="text-align: justify;">Neuer Berliner Kunstverein, presents the British video artist and Turner Prize winner of 2012, Elizabeth Price, in her first institutional solo exhibition in Berlin. After a career as a pop singer and engaging herself in sculpture, in 2006, Price began to work with video and has since developed an independent and distinctive body of work. In her process-oriented practice she questions the significance of cultural artifacts, collections and archives. She often uses archive images and documents, and discharges them of their original meaning and categorization, so that they develop a life of their own and through the reorganization of the narration in the video obtain spatial and temporal dimensions. The piece The Woolworths Choir of 1979 (2013) is a 20-minute, rhythmic video collage that combines shots of Gothic choir stalls in medieval cathedrals, an appearance of the girl band The Shangri-Las in the 1960s and a department store fire in a Woolworth branch in Manchester in 1979 and structures them on the sound level with finger snapping and clapping. Price&rsquo;s main interest here is the question of the autonomy of images and sounds, and the nature of the conventions by which both are interrelated. She creates fragile connections between disparate motifs and in this way consistently makes use of the &ldquo;elasticity&rdquo; (Price) of digital video technology. In the title of the piece, she replaces the word &ldquo;Fire&rdquo; with &ldquo;Choir&rdquo; and, in doing so, reproduces her visual practice at a semantic level. <br /><br />Elizabeth Price (b. 1966 in Bradford) lives and works in London. In 2012, she received the Turner Prize. Solo exhibitions include: The Model, Sligo (2016); Ashmolean Museum Oxford (2016); Turku Art Museum (2015); Kunsthalle Winterthur (2014); Julia Stoschek Collection, Dusseldorf (2014); Mus&eacute;e d&rsquo;art contemporain de Montr&eacute;al (2013); Contemporary Art Society, London (2013); Tate Britain, London (2012, 2010); Bloomberg SPACE, London (2012); The Baltic, Newcastle (2011); New Museum, New York (2011); Spike Island, Bristol (2009).</p> <hr /> <p style="text-align: justify;">Der Neue Berliner Kunstverein stellt die britische Videok&uuml;nstlerin und Turner-Preis-Tr&auml;gerin von 2012 Elizabeth Price in ihrer ersten institutionellen Einzelausstellung in Berlin aus. Nach einer Karriere als Pop-S&auml;ngerin und nach der Besch&auml;ftigung mit Skulptur begann Price 2006 mit Video zu arbeiten und entwickelt seither ein eigenst&auml;ndiges und unverwechselbares Werk. In ihrer prozessorientierten Praxis hinterfragt sie die Bedeutung von kulturellen Artefakten, Sammlungen und Archiven. Oft verwendet sie Archivbilder und Dokumente und enthebt sie ihrer urspr&uuml;nglichen Bedeutung und Kategorisierung, sodass sie ein Eigenleben entwickeln und durch die Neuordnung der Narration im Video eine r&auml;umliche und zeitliche Ausdehnung erfahren. Die Arbeit The Woolworths Choir of 1979 (2013) ist eine 20-min&uuml;tige, rhythmisierte Videocollage, die Aufnahmen gotischen Chorgest&uuml;hls in mittelalterlichen Kathedralen, einen Auftritt der Girl-Band Shangri-Las aus den 1960er Jahren und einen Kaufhausbrand in einer Woolworth-Filiale in Manchester im Jahre 1979 kombiniert und durch Fingerschnipsen und Klatschen klanglich strukturiert. Prices Hauptinteresse gilt dabei der Frage nach der Eigenst&auml;ndigkeit von Bildern und T&ouml;nen und dem Wesen der Konventionen, durch die beides miteinander in Beziehung gebracht wird. Sie schafft fragile Verbindungen zwischen disparaten Motiven und macht sich so die &bdquo;Elastizit&auml;t&ldquo; (Price) der digitalen Videotechnik immer wieder neu zunutze. Im Titel der Werks ersetzt sie das Wort &bdquo;Fire&ldquo; (Feuer) durch &bdquo;Choir&ldquo; (Chor) und vollzieht damit auf semantischer Ebene ihre visuelle Praxis nach. <br /><br />Elizabeth Price (*1966 in Bradford) lebt und arbeitet in London. 2012 erhielt sie den Turner Preis. Einzelausstellungen u. a.: The Model, Sligo (2016); Ashmolean Museum Oxford (2016); Turku Art Museum (2015); Kunsthalle Winterthur (2014); Julia Stoschek Collection, D&uuml;sseldorf (2014); Mus&eacute;e d&rsquo;art contemporain de Montr&eacute;al (2013); Contemporary Art Society, London (2013); Tate Britain , London (2012, 2010); Bloomberg SPACE, London (2012); The Baltic, Newcastle (2011); New Museum, New York (2011); Spike Island, Bristol (2009).</p> Wed, 25 May 2016 16:43:10 +0000 Renée Green - Neuer Berliner Kunstverein - June 1st 7:00 PM - 8:00 PM <p style="text-align: justify;">Artist talk and film screening with Ren&eacute;e Green (artist, professor MIT Program in Art, Culture &amp; Technology (ACT), Somerville / Massachusetts and New York) and Andr&eacute; Rottmann (art historian, college research group BildEvidenz, Freie Universit&auml;t Berlin)</p> <hr /> <p style="text-align: justify;">K&uuml;nstleringespr&auml;ch und Filmscreening mit Ren&eacute;e Green (K&uuml;nstlerin, Professorin MIT Program in Art, Culture &amp; Technology (ACT), Somerville / Massachusetts und New York) und Andr&eacute; Rottmann (Kunsthistoriker, Kolleg-Forschergruppe BildEvidenz, Freie Universit&auml;t Berlin)</p> Wed, 25 May 2016 16:40:20 +0000 Clemens von Wedemeyer - Neuer Berliner Kunstverein - June 23rd 7:00 PM - 8:00 PM <p style="text-align: justify;">Film projection and discussion with the directors Gerd Conradt and Hartmut Jahn, moderated by Siegfried Zielinski (media theorist, rector of the State Academy of Fine Arts Karlsruhe)</p> <hr /> <p style="text-align: justify;">Filmprojektion und Diskussion mit den Regisseuren Gerd Conradt und Hartmut Jahn, moderiert von Siegfried Zielinski (Medientheoretiker, Rektor der Staatlichen Hochschule f&uuml;r Gestaltung Karlsruhe)</p> Wed, 25 May 2016 16:40:19 +0000 - Neuer Berliner Kunstverein - July 31st 8:00 PM - 9:00 PM <p style="text-align: justify;">The artistic practice of Clemens von Wedemeyer (b. 1974 in G&ouml;ttingen, living in Berlin) becomes visible in video works, short films and multi-channel installations. His examination of historical phenomena is the basis of his interest and establishes socio-political references right to the present day. With non-linear narratives the artist creates condensations that make the levels of the historical and the fictional intertwine. <br /><br />The starting point of the exhibition P.O.V. (Point Of View) at Neuer Berliner Kunstverein, which assembles seven new works, is the documentary footage of Captain Freiherr Harald von Vietinghoff-Riesch, who as an amateur cameraman filmed in Europe during the Second World War between 1938 and 1942 behind the front line. Using the material as an example, von Wedemeyer examines pictorial spaces and boundaries of the subjective camera at war. The historical shots are compared, analyzed and made tangible by way of an experimental presentation. The examination is made by means of an analysis of the filmed objects, places, points of view and duration of view as well as of other film-specific coordinates. Von Wedemeyer here investigates, who is behind the camera and which information can a subjective view provide at war. The 16mm material serves as a basis for the most recent media space installations. Such as in the work Against the point of view (2016), where one scene of the historic film footage by Harald von Vietinghoff-Riesch is isolated and reconstructed in a computer game environment in the manner of the &ldquo;Virtual Battlefields&rdquo; in order to then allow alternative courses of the historic event. In the two video essays Die Pferde des Rittmeisters (The horses of the cavalry captain) (2016) and Im Angesicht (Face to Face) (2016) entirely different motifs are reassembled. In the first work, horses become the central protagonists of the war machine, in the second, the cameraman's view of civilians, prisoners of war and Wehrmacht soldiers becomes apparent, and the perpetrator's perspective is made tangible. Was man nicht sieht (What you do not see) (2016) presents a conversation with the literary scholar, cultural theorist and writer Klaus Theweleit, the director of Neuer Berliner Kunstverein, Marius Babias and Clemens von Wedemeyer himself, in which the historical footage is commented while viewing it and aspects such as the ethnographic view, soldiers as tourists and the crimes of the Wehrmacht are analyzed. The other new video works in the exhibition reflect the film in the continuity of previous wars and reveal how in the film footage memories of the amateur filmmakers construct themselves. Ohne Titel (Alles) (Untitled (Everything)) (2016) shows the more than three-hour long 16mm original footage trimmed to four minutes.<br /><br />The research and production has been developed in a conceptual collaboration of Clemens von Wedemeyer with the artist Eiko Grimberg.<br /><br />Biography<br />Clemens von Wedemeyer (b. 1974 in G&ouml;ttingen, living in Berlin) studied photography and media at Fachhochschule Bielefeld and at the Academy of Fine Arts in Leipzig, where, since 2013, he is a professor of media art. His works have been shown in numerous international exhibitions and his films were shown at various film festivals, most recently, among others, at Forum Expanded, Berlin (2016); Filmfestival Diagonale, Graz (2016); Museum of Contemporary Art, Chicago (2015); Braunschweiger Kunstverein (2014); Museo nazionale delle arti del XXI secolo, Rome (2013); dOCUMENTA (13), Kassel (2012); Frankfurter Kunstverein (2011); Barbican Centre, London (2009); PS1, New York (2006).<br /><br /><br />Publication<br />Accompanying the exhibition and as part of the n.b.k. book series &bdquo;n.b.k. Exhibitions&ldquo;, a publication by Verlag der Buchhandlung Walther K&ouml;nig, Cologne is released, with an introduction by Marius Babias and texts by Tobias Ebbrecht-Hartmann, Tom Holert and Klaus Theweleit.</p> <hr /> <p style="text-align: justify;">Clemens von Wedemeyers (*1974 in G&ouml;ttingen, lebt in Berlin) k&uuml;nstlerische Praxis wird in Videoarbeiten, Kurzfilmen und mehrkanaligen Installationen sichtbar. Seine Auseinandersetzung mit historischen Ph&auml;nomenen bildet dabei den Ausgangspunkt seines Interesses und stellt sozio-politische Bez&uuml;ge bis in die Gegenwart her. Mit non-linearen Erz&auml;hlformen entwirft der K&uuml;nstler Verdichtungen, die die Ebenen des Historischen und Fiktionalen ineinandergreifen lassen. <br /><br />Ausgangspunkt der Ausstellung P.O.V. (Point Of View) im Neuen Berliner Kunstverein, die sieben neue Arbeiten versammelt, ist das dokumentarische Filmmaterial des Rittmeisters Freiherr Harald von Vietinghoff-Riesch, der als Amateur-Kameramann im Europa des Zweiten Weltkrieges zwischen 1938 und 1942 hinter der Front filmte. Am Beispiel des Materials untersucht von Wedemeyer Bildr&auml;ume und Grenzen der subjektiven Kamera im Krieg. Die historischen Aufnahmen werden verglichen, analysiert und durch eine experimentelle Pr&auml;sentation erfahrbar gemacht. Die Untersuchung findet &uuml;ber eine Analyse der Aufnahmegegenst&auml;nde, der Orte, Blickpunkte und Blickdauer sowie &uuml;ber weitere filmspezifische Koordinaten statt. Von Wedemeyer befragt dabei, wer hinter der Kamera steht und wor&uuml;ber ein subjektiver Blick im Krieg Aufschluss geben kann. Das 16mm-Material dient dabei als Grundlage f&uuml;r neueste medial-r&auml;umliche Installationen. So wird in der Arbeit Against the point of view (2016) eine Szene des historischen Filmmaterials von Harald von Vietinghoff-Riesch isoliert und in einer Computerspiel-Umgebung in der Art der &bdquo;Virtual Battlefields&ldquo; rekonstruiert, um alternative Verl&auml;ufe des historischen Ereignisses zu erm&ouml;glichen. In den beiden Video-Essays Die Pferde des Rittmeisters (2016) und Im Angesicht (2016) werden ganz unterschiedliche Motive neu montiert. Im ersten Werk werden Pferde zu zentralen Protagonisten der Kriegsmaschinerie, im zweiten zeigt sich die Sicht des Kameramanns auf Zivilisten, auf Kriegsgefangene und schlie&szlig;lich auf Wehrmachtssoldaten, wodurch die Perspektive der T&auml;ter deutlich wird. Was man nicht sieht (2016) zeigt ein Gespr&auml;ch mit dem Literaturwissenschaftler, Kulturtheoretiker und Schriftsteller Klaus Theweleit, dem Direktor des Neuen Berliner Kunstvereins Marius Babias und Clemens von Wedemeyer, in dem die historischen Aufnahmen w&auml;hrend einer Materialsichtung kommentiert und Aspekte wie der ethnografische Blick, Soldaten als Touristen und die Verbrechen der Wehrmacht analysiert werden. Die weiteren neuen Videoarbeiten in der Ausstellung reflektieren den Film in der Kontinuit&auml;t fr&uuml;herer Kriege und zeigen, wie sich im Filmmaterial Erinnerungen der Amateurfilmer konstruieren. Ohne Titel (Alles) (2016) zeigt das mehr als dreist&uuml;ndige 16mm Original-Filmmaterial auf vier Minuten gerafft.<br /><br />Die Recherche und Produktion ist in konzeptioneller Zusammenarbeit von Clemens von Wedemeyer mit dem K&uuml;nstler Eiko Grimberg entstanden.<br /><br />Biografie<br />Clemens von Wedemeyer (*1974 in G&ouml;ttingen, lebt in Berlin) studierte Fotografie und Medien an der Fachhochschule Bielefeld und an der Hochschule f&uuml;r Grafik und Buchkunst in Leipzig, wo er seit 2013 als Professor f&uuml;r Medienkunst t&auml;tig ist. Seine Arbeiten wurden in zahlreichen internationalen Ausstellungen gezeigt und seine Filme waren auf diversen Filmfestivals zu sehen, zuletzt u. a.: Forum Expanded, Berlin (2016); Filmfestival Diagonale, Graz (2016); Museum of Contemporary Art, Chicago (2015); Braunschweiger Kunstverein (2014); Museo nazionale delle arti del XXI secolo, Rom (2013); dOCUMENTA (13), Kassel (2012); Frankfurter Kunstverein (2011); Barbican Centre, London (2009); PS1, New York (2006).<br /><br /><br />Publikation<br />Zur Ausstellung erscheint eine Publikation in der Reihe &bdquo;n.b.k. Ausstellungen&ldquo; im Verlag der Buchhandlung Walther K&ouml;nig, K&ouml;ln, mit einem Vorwort von Marius Babias und Beitr&auml;gen von Tobias Ebbrecht-Hartmann, Tom Holert und Klaus Theweleit.</p> Wed, 25 May 2016 16:40:19 +0000