ArtSlant - Recently added en-us 40 Eckhaus Latta, Fix Xed, H B Peace, Jessie Kiely, Nhu Duong, Rare Candy, Laura Fanning, Martine Rose - Mathew Gallery - August 15th - August 29th Tue, 19 Aug 2014 23:46:11 +0000 Jan-Holger Mauss - Laura Mars Grp. - August 23rd - September 6th Tue, 19 Aug 2014 23:32:54 +0000 Group Show - Autocenter - August 30th - September 13th Tue, 19 Aug 2014 22:53:33 +0000 Alexei Kostroma - Künstlerhaus Bethanien - August 22nd - September 21st <p>At the beginning of the 1990s, Alexei Kostroma proclaimed a new trend in modern art &ndash; the so-called &ldquo;organic way&rdquo;, which began in the 20th century Russian avantgarde. Precisely this &ldquo;organic way&rdquo;, which investigates the developmental laws of living nature, enabled Kostroma to argue his own perspective regarding the relations between theory and artistic practice in modern art. In his creative work he constantly examines the reciprocal relations between man and nature and allows the insights he gains in this way to flow into his social environment. As an artist he works in a parallel way on several threads of a topic; on the foundation of natural phenomena, he thematises problems specific to humanity as well as the world as a whole.<br />In his current series of images entitled&nbsp;<em>Anticipation</em>&nbsp;he examines the economic crisis and mountains of debt in the style of Bad Painting. What can be seen is a painterly trip around the world in numbers &ndash; revealing his faith in art but certainly not in the vague announcements of economic bosses and the political class. Kostroma spills the mood of the consumers into a wild, furious scenario, whereby people&rsquo;s intuition matches the frustrating economic data outside Germany.</p> <p>Alexei Kostroma, born in the city of Kostroma, Russia in 1962, lives and works in Berlin.</p> Tue, 19 Aug 2014 22:35:34 +0000 Sofia Bäcklund - Künstlerhaus Bethanien - August 22nd - September 21st <p>Sofia B&auml;cklund creates series or groups of sculptures, which both represent and abstract objects from our everyday environment. Her works focus on aspects of the interplay between individuals and society, and on the role that material plays in these processes. One recurrent theme in B&auml;cklund&rsquo;s work is the necessity for limits and boundaries to exist in order to create meaning.<br />For the group shown in K&uuml;nstlerhaus Bethanien,<em>&nbsp;On (I mean come on)</em>, B&auml;cklund brings together massive and textile materials and combines substructures made from metal rods welded together, natural wood and rough paper with specially dyed fabrics which form the &lsquo;outer skin&rsquo; of the sculptures. In this context the various forms of the production process are also important to her; in one and the same work, therefore, she contrasts a quickly completed process involving intense decision-making, like welding, with the more contemplative, time-consuming work of sewing. The height of the sculptures is oriented on human dimensions and constitutes a reference to the human body, as does B&auml;cklund&rsquo;s choice of colours for the fabrics &ndash; nuances of skin and powder colours.<br />On the other hand, the forms are indicative of kitchen utensils, bathtubs, plants etc. Each sculpture makes up its own platform or scene.<br />In her works B&auml;cklund sounds out the diverse relations between human being and body, social environment and history.</p> <p>Sofia B&auml;cklund (*1983) is a grantee of the International Artists&rsquo; Studio Programme in Sweden (IASPIS).</p> Tue, 19 Aug 2014 22:32:47 +0000 Hans Kristian Borchgrevink Hansen - Künstlerhaus Bethanien - August 22nd - September 21st <p>Hans Kristian Borchgrevink Hansen is concerned with the artistic mapping of specific geographical areas; for this purpose, he uses found materials and film documentation of small discoveries he makes in the streets, in parks or at flea markets, etc. The everyday objects (hair ties, paper clips, pieces of plastic) or fragments of them, which the artist collects literally by hand or with the aid of his camera, are combined into a multifaceted image of the city&rsquo;s visual undercurrents and resemble miniatures of modernist sculpture with their often indefinable, abstract forms.&nbsp;Hansen assembles these found objects and fragments into small-format sculptural objects or makes them into protagonists in the scurrilous and humorous animation films he produces himself using the simplest of technology.<br />With&nbsp;<em>Life in the Undergrowth</em>&nbsp;Borchgrevink Hansen provides an equally fantastic, entertaining and thoughtful insight into the urban undercurrents of Berlin as his temporary environment. The exhibition shows large-format projections of two newly made animation films as well as a collection of small-format sculptures covering a full wall, constructed from snippets, fragments and found objects; the artist himself characterises this as a &ldquo;cabinet of curiosities&rdquo;.</p> <p>Hans Kristian Borchgrevink Hansen (*1985) is a grantee of the Office for Contemporary Art Norway (OCA).</p> Tue, 19 Aug 2014 22:30:34 +0000 Vera Kox - Künstlerhaus Bethanien - August 22nd - September 21st <p>It is generally the static to the monumental that is understood as sculpture, but the sculptural works by Vera Kox concentrate far more on the fleeting and the transformable, on the transitory nature of her starting material.<br />It sticks, spills over, crumples, folds, bulges and plays with the cognitive patterns of our perception like a trompe-l&rsquo;&oelig;il. The presence of an exposure to strain can be seen and felt in all elements of Kox&rsquo;s work, often emphasised still more by the differing degrees of an object&rsquo;s abnormality; this exposure forms the basis of the artistic work as a theorem inherent in the material.<br />In her exhibition&nbsp;<em>Reassuring inertia</em>&nbsp;at K&uuml;nstlerhaus Bethanien, everyday materials are depicted with unlikely deformations, allowing us to recognise traces of passing gestures. The process and possibilities of formlessness provide a starting point for the works and suggest a phenomenological examination of whatever surrounds us each day.<br />The exhibition is accompanied by a text written by the Swedish artist Liv Strand.</p> <p>Vera Kox (*1984) is a grantee of the Minist&egrave;re de la Culture de Luxembourg, Oeuvre National de la Grande-Duchesse Charlotte (stART-up), Fondation Ind&eacute;pendance, Fonds Culturel National.</p> Tue, 19 Aug 2014 22:26:49 +0000 Erez Israeli - Künstlerhaus Bethanien - August 22nd - December 31st <p>Besides&nbsp;<em>Das mechanische Corps</em>, the focal project of our anniversary year is the artistic design of the firewall at Kottbusser Str. 10, which will be opened ceremonially along with the August solo exhibitions on 21st August.<br />As the result of a closed competition, the jury of experts Ellen Blumenstein, Hans Hemmert, Karin Kasb&ouml;ck, Doreet LeVitte Harten and Sven Dr&uuml;hl recommended a design by Israeli artist EREZ ISRAELI for realisation.<br />Israeli&rsquo;s idea centres on the subject of memory and remembrance in the Jewish-German context, but does not present the component of memory using the customary means for this theme; he avoids pathos by integrating tendencies of Street Art, for example. Israeli&rsquo;s mural painting action will restore its name to the building. In the course of anti-Jewish measures, the Nazis had removed the names of famous Jewish businesses from house fronts. Following the names of Jewish entrepreneurs, it was the Jews themselves who disappeared. This is the basis for the conceptual idea behind Erez Israeli&rsquo;s powerful artistic design.<br />A video documentation by Erez Israeli will expound on the genesis of the mural.</p> Tue, 19 Aug 2014 22:23:09 +0000 Group Show - Galerie Neurotitan - September 6th - September 27th <p>Mit der diesj&auml;hrigen Pr&auml;sentation aktueller Arbeiten, der im RAW Tempel ans&auml;ssigen K&uuml;nstlerInnen, geht das, auf dem Gel&auml;nde in Friedrichshain gebildete, Freie Ausstellungskollektiv FAK in die zweite Runde. Ziel des offenen K&uuml;nstlerkollektivs ist es, mit den vor Ort arbeitenden Kunstschaffenden nicht nur eine Ausstellungsplattfom zu bilden, sondern auch einen Raum zur &ouml;ffentlichen Auseinandersetzung &uuml;ber die prek&auml;re Arbeitssituation vor Ort im Konkreten und die Bedingungen von alternativ arbeitenen K&uuml;nstlerInnen in Berlin im Allgemeinen zur Sprache zu bringen.</p> <p>Die Gruppenausstellung selbst macht das im RAW gewachsene vielf&auml;ltige Spektrum und die lebendige Produktion Bildender K&uuml;nste f&uuml;r das Publikum zug&auml;nglich. Die Gruppenausstellung I like it RAW vereint Malerei, Skulptur, Druckgraphik und Installation internationaler K&uuml;nstler/innen. Begleitet wird sie von einer Podiumsdiskussion, 24 Stunden Zeichnen, Screenings und Artist Talks zum Thema.</p> <p class="Subtitle2">Geza Georg Adasz</p> <p>Geza Georg Adasz, geboren am 3.11.1978 in Budapest, studierte Malerei bei Margarete Hahner und erlangte den Titel des Magister Artium an der J.W.Goethe Universit&auml;t in Frankfurt am Main unter Jean-Christophe Ammann. Adasz&rsquo; Arbeiten oszillieren zwischen Gegenst&auml;ndlichkeit und Abstraktion, verweisen durch die Wahl des Materials auf ihre mimetische Ebene und umkreisen meist Fragen nach Energien, Entropie oder der Semantik bildender Kunstwerke.</p> <p class="Subtitle2">Veneta Androva</p> <p>wurde 1985 in Sofia geboren. Sie besch&auml;ftigt sich in ihrem k&uuml;nstlerischen Werk mit deduktiven und induktiven Zusammenh&auml;ngen in der Natur der Dinge und untersucht die Ableitbarkeit von Gegebenheiten. Interessiert an dem Prozess der Zergliederung des Gesamten in seine Grundbestandteile bedient sich die K&uuml;nstlerin unterschiedlicher Medien wie Installation, Fotografie und Malerei.</p> <p class="Subtitle2">Jacques Capellmann</p> <p>Als K&uuml;nstler sieht Jaques Capellmann es als seine Aufgabe ein neutrales Abbild seiner Umgebung zu schaffen. Dabei orientiert er sich an mit der Kamera im urbanen Raum aufgenommene Schnappsch&uuml;sse. In seiner Arbeit m&ouml;chte er m&ouml;glichst objektiv einen unmittelbaren Lebensraum reflektieren was durchaus trist wirken kann. Nutzt Capellmann hingegen Mediale Bilder entstehen entsprechend grelle und farblich eher angenehme Bilder. Die so resultierende, durchaus provokative Konfrontation l&auml;sst die Gegens&auml;tze unsere Zeit gut sichtbar werden.<br /><br />Bei seinen Asemblagen und Collagen hingegen konzentriert Capellmann sein Schaffen bei der Komposition von Material und Farbe. Zwangsl&auml;ufig sind Gegenst&auml;nde beim Betrachter immer mit Assoziationen verbunden, noch mehr&nbsp; bei seinen Assemblagen als bei seiner Malerei.</p> <p class="Subtitle2">K&auml;the Bauer</p> <p>Die Arbeiten von K&auml;the Bauer bewegen sich im Grenzbereich zwischen Figuration und Abstraktion. Die nat&uuml;rliche Erscheinungsform der Dinge existiert dabei nur in Andeutungen, die eine Br&uuml;cke herstellen sollen zwischen dem Bekannten und dem Unbekannten.Durch offenes Experimentieren und mithilfe einer intuitiven Ausdrucksweise soll einer inneren Wirklichkeit Ausdruck gegeben, Unbewusstes und Hintergr&uuml;ndiges sichtbar gemacht werden. Spontane, phantastische Gebilde in einer imagin&auml;ren Gegenwelt entwickeln sich so aus dem Schaffensvorgang selbst heraus, um dann meist als zentrale Figur im Bild zu stehen - in ihrer offenlassenden Schilderung gleichsam balancierend zwischen kontrolliertem Erkennen und intuitivem Erfassen.</p> <p class="Subtitle2">Nick Cocozza</p> <p>Nick Cocozza hat sich auf das Genre Street-Art spezialisiert. Seine k&uuml;nstlerische Arbeiten umfassen Installationen und Zeichnungen. Seine Arbeiten entstehen sowohl auf Papier als auch im Computer.<br />Stark vom Gro&szlig;stadtleben gepr&auml;gt entwickelt er, ausgehend von der Hip Hop Kultur,&nbsp; ein neues Stra&szlig;enbild. Geb&auml;ude, Graffiti und Charaktere &ndash; eine eigene imagin&auml;re Geschichte &uuml;ber das &bdquo;nat&uuml;rliche&ldquo; Umfeld. Dabei l&auml;sst sich Nick Cocozza aus der zeitgen&ouml;ssischen urbanen Kultur inspirieren und untersucht die Beziehung zu seiner eigener Umgebung.</p> <p class="Subtitle2">Benjamin Wedor</p> <p>In seinen Arbeiten befasst sich Benjamin Dewor mit der Figur des Menschen und der Suche nach einem Menschenbild ansich. Dabei gilt es ein Spannungsfeld zwischen narrativen Versatzst&uuml;cken, die in der allt&auml;glichen Wirklichkeit verhaftet sind und der Farbe als erfahrbares Material aufzubauen und darin den Menschen ohne Verortung, in seiner Auf-sich-selbst-Zur&uuml;ckgeworfenheiterscheinen zu lassen.</p> <p class="Subtitle2">Marta Djourina</p> <p>kommt urspr&uuml;nglich aus Bulgarien, lebt und arbeitet derzeit aber in Berlin. Ihr k&uuml;nstlerisches Werk ist von nat&uuml;rlichen Strukturen inspiriert und untersucht die abstrakten organischen Formen. Sie spielt mit dem negativen Raum in der Komposition, um die Ergebnisse der biotischen Prozesse zu verk&ouml;rpern, w&auml;hrend derer sich diese Formen entwickeln und mutieren.</p> <p class="Subtitle2">Eliot</p> <p>Eliot Markus Henning besch&auml;ftigt sich in seinen Arbeiten mit der uns im Alltag umgebenden Quantit&auml;t der Dinge und begibt sich auf die Suche nach dem &bdquo;one in a million&ldquo;.Seit 2004 kombiniert ELIOT konsequent die Bildsprache der Pop-Art mit Stickereien. Die roughness seiner Graffiti-Vergangenheit zusammen mit der Pixel anmutenden &Auml;sthetik des Kreuzstichs geben seinen Bildern einen unverkennbaren Look. ELIOT liebt das Arbeiten mit den H&auml;nden so sind Siebdruck, Zeichnungen und das Gie&szlig;en von Objekten weitere Facetten seines Schaffens. Als Beatboxer, Produzent, Graffiti-Maler und Comic-Zeichner geh&ouml;rt er zu den Urgesteinen der deutschen HipHop Bewegung.</p> <p class="Subtitle2">Thomas Heidtman</p> <p>entwirft partizipative Installationen, die mit einem interaktiven Ereignis verkn&uuml;pft sind. Dabei verfolgt er einen interdisziplin&auml;ren und experimentellen Ansatz, der es erlaubt, unterschiedliche Medien miteinander zu verkn&uuml;pfen. Die selbstbestimmte Interaktion des Besuchers mit der Kunst bildet dabei die Schnittstelle und den gedanklichen Fokus.Die experimentell-laborhaften Werke fordern den Besucher zurInteraktion mit den Objekten auf.</p> <p align="left">Nele Hoffman</p> <p>Seit 2009 stellte sie in zahlreichen Einzel- und Gruppenausstellungen in Hamburg, Berlin, Melbourne und zuletzt auf der 9. Biennale Florenz aus.Ihre Zeichnungen und Installationen umfassen Aspekte des modernen Lebens wie Gro&szlig;st&auml;dte, Anonymit&auml;t und Subkultur. Ihr Stil ist fig&uuml;rlich-minimal, jedoch gelingt es ihr, Personen mit ihrer innewohnenden Emotionalit&auml;t und Verletzlichkeit abzubilden. Nele arbeitet mit Acryl, Tusche, oder Markern auf Papier oder direkt auf der Wand mit Reispapierklebeband.</p> <p class="Subtitle2">Karoline Krei&szlig;l</p> <p>In ihren Skulpturen und Installationen setzt sich Karoline Krei&szlig;l mit grunds&auml;tzlichen bildhauerischen Fragen auseinander, wobei der Ma&szlig;stab ihres K&ouml;rpers immer eine wesentliche Rolle spielt und ma&szlig;-gebend wird. Die Aspekte Zeit, Bewegung und Raum spielen auf unterschiedlichen Weisen in allen Arbeiten ein Rolle. Sie verwendet die Medien Skulptur, Video, Videoinstallation, Zeichnung sowie Siebdruck.</p> <p class="Subtitle2">Beate Kunath</p> <p>entdeckte schon sehr fr&uuml;h ihre Liebe zum Visuellem, half bei der Organisation und Kuration einer w&ouml;chentlichen Filmreihe des Chemnitzer Filmclub e.V., bevor sie von 1994 bis 2002 ein Filmfestival f&uuml;r den lesbisch-schwulen Film in Chemnitz initiierte. Seit 1996 arbeitet sie bei der Chemnitzer Filmwerkstatt ( und ist seit 2004 Mitglied des Vorstandes. Eigene Kurzfilmproduktionen laufen preisgekr&ouml;nt (u. a. Berlinale 2001, Teddy-Jury-Preis) und konstant seit 2000 auf internationalen Festivals. Beate Kunath ist auch als Jurorin in verschiedenen Gremien t&auml;tig, u.a. Jurymitglied bei der Deutschen Film- und Medienbewertung (FBW).</p> <p class="Subtitle2">Joachim Kuschel</p> <p>Der K&uuml;nstler J. Kuschel bewegt sich in seiner Malerei zwischen fig&uuml;rlich und ungegenst&auml;ndlich und verarbeitet in seinen Bildern hochsensibel Zeitgeschehen und pers&ouml;nliche Befindlichkeit. Manchmal ironisch, manchmal rotzig eruptiv &ndash; immer neugierig auf neue Ausdrucksm&ouml;glichkeiten und Materialien, die er mit gro&szlig;em K&ouml;nnen spielerisch auslotet.<br />Seit 1959 widmet sich J. Kuschel der bildenden Kunst. &Uuml;ber 6.000 Werke bekunden bis heute den k&uuml;nstlerischen Werde- und Fortgang des Malers, die den Str&ouml;mungen der aktuellen Malerei in Deutschland von 1959 bis jetzt entsprechen.</p> <p class="Subtitle2">Steffi Lehner</p> <p>ist Grafik Designerin und Fotografin und arbeitet sowohl k&uuml;nstlerisch frei, als auch im Auftrag f&uuml;r Firmen und Agenturen.<br />Ihre Arbeiten befassen sich im hohen Masse mit zeitkritischen Aspekten. Sie zeigt dem Betrachter die normalen Dinge des Alltags in Ihrer eigenen Sichtweise.</p> <p>NOTE</p> <p>Hieroglyphen, eine eigene typografische Auseinandersetzung mit Buchstaben und dem Alphabet, f&uuml;r das kein W&ouml;rterbuch mitgeliefert wird, sondern jeder Betrachter aufgefordert wird seine eigene Bedeutung zu generieren und selbst zu &uuml;bersetzen.<br />Bilder, kategorisiert als `Farben und Formen`, eine Art geometrischer abstrakter Expressionismus. Note erkl&auml;rt seine Bilder nicht gerne, sie entstehen aus einem Gef&uuml;hl, einer kleinen Idee, einer kleinen Skizze, auch wenn diese nur aus einem Strich besteht - trotzdem kann dieser einfache Strich ausreichen, um Ausdruck einer gr&ouml;&szlig;eren Idee zu werden.</p> <p class="Subtitle2">Francesco Petruccelli</p> <p>Die Malerei von Francesco Petruccelli wird von verschiedenen Lebensformen inspiriert. Er untersucht die darin enthaltene Energie und versucht sie mit schnellen, raschen Pinselstrichen auf der Leinwand festzuhalten. Dabei ist f&uuml;r ihn die Bewegung von besonderer Wichtigkeit und der Rhythmus, mit dem Eindr&uuml;cke entstehen. Die Geschwindigkeit, mit der er arbeitet, ist das Mittel zum Zweck, Momente schnell aufzufassen und wiederzugeben.</p> <p>El&eacute;nore Roedel</p> <p>arbeitet als Grafikerin und Illustratorin sowohl k&uuml;nstlerisch frei als auch im Auftrag f&uuml;r Buchverlage, Zeitungen und Magazine. Ihre Bildsprache orientiert sich an der Plakatkunst Anfang des zwanzigsten Jahrhunderts, B-Movies und Comics. Durch den Einsatz moderner Techniken sampelt sie die verwendeten Bildelemente zu einem ganz eigenen, f&uuml;r sie typischen Look.</p> Tue, 19 Aug 2014 22:08:03 +0000 Group Show - Galerie Buchholz - August 28th - October 31st <p><em>Pictures, Before and After&nbsp;</em>is one of a series of events honoring the work of art historian, theorist, curator and activist Douglas Crimp who turns 70 this month. Departing from Crimp's Memoirs which will be published as&nbsp;<em>Before Pictures</em>&nbsp;in 2015, these events consider artistic, philosophical, queer and subcultural practices from the 1960s to the present. Whether as activist, editor, author, or participant, Crimp has played a key role in the construction, representation and interpretation of this history. The organizers, Diedrich Diederichsen, Juliane Rebentisch and Marc Siegel, together with Daniel Buchholz and Christopher M&uuml;ller of Galerie Buchholz, the Arsenal Institut for Film und Video Art, and&nbsp;<em>Tanz im August</em>&nbsp;are all fans, friends, colleagues or students who have crossed paths with Crimp numerous times over the years.<br /><br />Douglas Crimp, who arrived in New York at the end of the 1960s and worked initially at the Guggenheim Museum and as an assistant to legendary fashion designer Charles James, is undoubtedly one of the influential American intellectuals of our day. Alongside his occassional but significant curatorial projects, and his work as critic (<em>Art News, Art Forum</em>) and editor (<em>October</em>), Crimp has written some of the central texts on museological questions and theories of postmodernism (e.g.&nbsp;<em>On the Museum's Ruins</em>, 1993). He was one of the most critical and persistent voices during the AIDS crisis and arguably the one whose theoretical insights most shaped the development of activist and artistic practices, even beyond the confines of queer and AIDS politics (e.g.&nbsp;<em>AIDS Demo Graphics</em>, 1990;&nbsp;<em>Melancholia and Moralism: Essays on AIDS and Queer Politics</em>, 2004). Moreover, Crimp's writing on AIDS cultural practices directly influenced the development of the scholarly field of queer studies (<em>AIDS: Cultural Analysis, Cultural Activism</em>, 1988;&nbsp;<em>How Do I Look? Queer Film and Video</em>, 1991). More recently, he has continued to attract international attention though his lectures and essays on contemporary dance and on the artistic practices that emerged in the New York Underground scene of the 1960s, mainly the work of Jack Smith, Ronald Tavel and Andy Warhol (e.g. '<em>Our Kind of Movie': The Films of Andy Warhol</em>, 2012)<br /><br />Throughout his career, Crimp continuously corroborated his critical and theoretical insights with curatorial work. The 1977 exhibition&nbsp;<em>Pictures</em>&nbsp;(with, among others, Jack Goldstein, Sherrie Levine, Philip Smith), which he curated for Artist's Space in New York City, is the most influential in this respect in that it instituted a paradigm shift in artistic production and theorization. The historical overview that Crimp developed with curator Lynne Cooke in their co-curated exhibition&nbsp;<em>Mixed Use Manhattan&nbsp;</em>(Reina Sofia, Madrid, 2010) dedicated itself to New York City in the 1970s, the&nbsp; space of Lower Manhattan that was transformed by a recession into a stage for the development of new artistic practices.<br /><br />Crimps Memoirs serve as the departure point for an exhibition that Christopher M&uuml;ller organized &ndash;in close collaboration with Crimp himself&ndash; and that unfolds Crimp's perspective on a half century of mutual exchange and tension between artistic and subcultural practices. The exhibition,&nbsp;<em>Pictures, Before and After</em>, opens on August 28 at Galerie Buchholz in Berlin and will run through October 31, 2014. On August 24, a few days before the opening, Crimp will be a guest of the dance festival&nbsp;<em>Tanz im August</em>, where he will hold a public discussion with Belgian dancer and choreographer Anna Teresa De Keersmaeker. On the two days following the exhibition opening, August 29 &amp; 30, there will be an international symposium in Crimp's honor at the Arsenal Institute for Film and Video Art. Alongside Crimp, who will deliver as a keynote the final chapter of his upcoming Memoirs, there will be lectures by Rosalyn Deutsche (New York), Jonathan Flatley (Detroit), Rachel Haidu (New York), Dirck Linck (Berlin) and Juan A. Su&aacute;rez (Murcia), as well as the three event organizers. Following Crimp's keynote, there will be a screening of&nbsp;<em>Lives of Performers</em>&nbsp;(Yvonne Rainer, USA 1972).</p> Tue, 19 Aug 2014 21:51:23 +0000 Storm Tharp - FELDBUSCHWIESNER GALLERY - September 6th - October 18th <p><strong>Storm Tharp</strong>&nbsp;was born 1970 in Salem, Oregon, USA. His works have already been displayed in a number of renowned institutions, including the Saatchi Gallery, London (2012), as part of the Whitney Biennial, New York (2010), and at Nicole Klagsbrun, New York (2010, solo). He studied at Cornell University in Ithaka and participated in the Roberto Einaudi Architecture Program in Rome.&nbsp;<br /><br />His works feature in the&nbsp;<strong>collections of the Whitney Museum</strong>&nbsp;in New York, the&nbsp;<strong>Saatchi Gallery</strong>&nbsp;in London, the&nbsp;<strong>Cleveland Museum of Art</strong>&nbsp;and the&nbsp;<strong>Museum of Contemporary Art</strong>&nbsp;in San Diego.&nbsp;<br /><br />This year he was awarded the Hallie Ford Fellowship from the Ford Family Foundation (2014). Storm Tharp currently lives and works in Portland, Oregon, USA.<br /><br />Storm Tharp&rsquo;s oil works represent new territory for the artist, who up until now has worked primarily with ink, gouache and pencil in the fluid and immediate aesthetic of fast sketches. His subjects are people and everyday items; his genre is the portrait.<br /><br />Talk (2014), for instance, depicts a three-quarter portrait of a man that oscillates between figuration and abstraction. The subject&rsquo;s grey eyes hold the observer in a penetrating and melancholic gaze; his mouth is slightly open. As well as the figure&rsquo;s gaze, it is the high contrast of styles that is so fascinating: the pale flesh of the cheeks is flat and delicate, while the shadows of the white shirt are abstracted into geometric, metallic patches of colour and the collar edges stand in sharp contrast to the grey monochrome background.<br /><br />Storm Tharp&rsquo;s paintings show an intense interest in the question of perception &ndash; in the boundaries and potential of knowledge, vision and painting. It is as if the artist is combining conscious vision and the fleeting perception of a blink in one image. Talk seems to be the portrait of an iconic figure recreated from memory, a figure who is brought to life in the painting and who speaks to the observer. While some of the characters arise entirely from the artist&rsquo;s imagination, his portraits also take inspiration from Rembrandt&rsquo;s tronies, popular culture, and those close to him personally.<br /><br />Just like the word TURN, the works are full of suspense and characterised by permanent states of change and movement. In his pieces, a face can explode entirely in gestural abstraction, thus avoiding becoming a faithful portrayal. It is this courage to use eclectic gestures that lends Storm Tharp&rsquo;s figures their eerie presence. At the same time, however, each portrait possesses its own intimacy, such as that which features in the works of &Eacute;douard Vuillard and Milton Avery. This is why his works move the observer: Storm Tharp&rsquo;s grotesque and highly nuanced characters raise the everyday to the sublime, and are thus monumental, even beyond the format of history painting.</p> Tue, 19 Aug 2014 21:44:32 +0000 Group Show, composed by Michael Müller - Galerie Thomas Schulte - August 16th - September 27th <p>Michael M&uuml;ller continues his extensive search for what art is or can be in the space of Galerie Thomas Schulte with the group exhibition, "Der Kubist Marcel Duchamp mag nicht malen". Once again, this twelfth part of the exhibition cycle revolves around the year 1913 in which Robert Musil's novel "The Man without Qualities" is set. This was the very year, in which Duchamp created his first Readymade &ndash; and, thus, set a revolutionary milestone in art history, while at the same time he received much critical acclaim for his early Cubist paintings.</p> <p>&nbsp;</p> <p>For his show, Michael M&uuml;ller gathers contributions from contemporary artists and culturally involved individuals, who deal with this historic moment in art to create works specifically for the exhibition. Such diverse positions as the paintings of Michael Kunze or Friederike Feldmann hereby meet the conceptual interventions of Luis Camnitzer and Karin Sander. Jochen Dehn's installation encounters the contribution of the collector-artist, Wilhelm Sch&uuml;rmann or the works of the curators Ellen Blumenstein and Lukas T&ouml;pfer. Also participating: Athanasios Argianas, Wolfgang Betke, Angela de la Cruz, Martin Dammann, Ryan Gander, Young Hay, Bethan Huws, Vlado Martek, Ray K. Metzker, David Schutter, Nedko Solakov, and Raphael Zarka.&nbsp;</p> <p>&nbsp;</p> <p>On Wednesday, September 17, in context of the abc art berlin contemporary, a reception will be hosted from 6 &ndash; 10 pm, including a performance by Jochen Dehn. Throughout the runtime of the exhibition, an opening speech by Ellen Blumenstein can be seen and heard daily at 6 pm.</p> Mon, 18 Aug 2014 17:10:53 +0000 Moshe Gershuni - Neue Nationalgalerie - September 13th - December 31st <p>Moshe Gershuni (born in 1936, Tel Aviv) is one of the most significant living Israeli artists. His existential oeuvre-a continuous project of more than forty years-is uncompromising, and his prolific production of paintings, drawings, and sculptures is extremely evocative. Both sensual and conceptual, emotional and critical, authentic and well-staged, Gershuni's works transcend oppositions, infusing historical commemoration with the cathartic immediacy of the painterly act.</p> <p>Gershuni works horizontally, covering the floor with sheets of paper that he crawls over with his bare hands dipped in paint like a blood-dripping wound. His painterly universe is terrestrial, instinctively sensual and regressive, yet marked by faith and graceful transmutations. His work generates excessive physicality and confronts it with figurative iconography and verbal acts. Many paintings include historically-loaded symbols and hand-written Hebrew passages from the Jewish prayers, which turn the bumpy, overflowing surfaces of liquefied paint, his seemingly-involuntary, pre-lingual compositions, into a living theatrical performance, a frenzy ritual.</p> <p>No Father No Mother&nbsp;is the first comprehensive solo exhibition at Neue Nationalgalerie dedicated to an Israeli artist. It is also Gershuni's first significant solo exhibition at a museum outside Israel. The title of the exhibition&nbsp;No Father No Mother&nbsp;is comprised of two negations. Taken from a painting (Untitled, 1994), it delivers a confession, a negative reflection of rootlessness and discontinuity. Extensive yet open, the exhibition evades evolutionary, retrospective arrangements, periodical divisions and chronological orders, relating to Gershuni's oeuvre as a vital, nonhierarchical entity, an ongoing activity.</p> Mon, 18 Aug 2014 02:27:02 +0000 Michael Sailstorfer - Haus am Waldsee - September 5th - November 9th <p><strong>An eminent conceptual artist among the younger German sculptors, Michael Sailstorfer (b. 1979) works with objects from nature, technology, urban space and art history alike.&nbsp;</strong>He picks up objects to charge them with new significance: trees turn into missiles, bus stops into bedsits, pieces of forest into constructivist art, street lights into amorous couples emitting sparks, tractor tyres into clouds over New York&rsquo;s Central Park.</p> <p>Sailstorfer has woven old police uniforms into carpets, has transformed a house into a sofa and recorded how a hut is incinerating itself in its own fireplace. The artist divests things of their original purpose, disassembling, deforming, adapting them to reframe and recompose them. The results are powerful installations that render visible, most of all, the transformational potential of our immediate everyday surroundings.</p> <p>He presents these objects either physically in the exhibition space or in the form of processual-performative video works. The artist employs strategies of inversion and reinterpretation, taking up functions, thinking them through to the end, reducing them to absurdity. Thus he creates new and surprising identities.</p> <p>In 2001 Sailstorfer purchased a number of disused bus shelters in his native Lower Bavaria and reworked them into habitable bedsits. Under the title &ldquo;Wohnen mit Verkehrsanbindung&rdquo; (living with transport connection) the five-piece work lets us rethink the concepts of waiting, time, space, habitation, and being on the road. In 2010 one of these bus shelters has taken residence in the sculpture park of Haus am Waldsee: &ldquo;Wohnen mit Verkehrsanbindung<em>&nbsp;(Gro&szlig;katzbach)</em>&rdquo;.</p> <p>With his underwater sculptures of 2007 the artist has gone on a foray into the silent, seemingly weightless subaqueous world, installing seminal works of 20<sup>th</sup>&nbsp;century sculpture like finds from a sunken ship. Their unusual placement alone turns these objects into carriers of emotions, which surprise us and make us rethink the presentation and conservation of artworks in the museum space.</p> <p>Sailstorfer likes to push his works, in a slapstick kind of way, to the point absurdity. He invariably questions our relations to things in our surroundings we take for granted. Under the artist&rsquo;s imagination they unfold surprising new aspects that not only make us smirk but encourages us to rethink them and take our thinking a step further.</p> <p>The exhibition at Haus am Waldsee will feature works from the past 15 years, which have rarely, and in some cases never, been shown before. Among them is a constellation with an electric drill from 2013, in which the its drill-heads in the form of miniaturised popular sculptures like the Statue of Liberty are being driven through the wall from one exhibition room to the next.</p> <p>During the process of drilling the resistance of the wall changes the shape of the small sculpture. The wall is charged with almost 70 years worth of presentations of eminent artists. Site and process provide, as it were, the finishing touch to the sculpture. At the same time, a minor alteration is made to the &ldquo;genome&rdquo; of art history. Not least, the work illustrates a difficult birthing process as a metaphor for artistic practice. While the Arte Povera artist Giuseppe Penone had the bark of a tree removed, Sailstorfer, inversely, takes a world-famous artefact, the Statue of Liberty, and drives it through the wall, challenging its acknowledged artistic beauty.&nbsp;</p> <p>Sailstorfer frequently refers to recent and older art history in his works. Against this background he has created an important &oelig;uvre since the early years of this century, which is recognised on the international stage and marks an independent position within the contemporary discourse on sculpture.</p> <p>&nbsp;</p> <p><strong>Catalogue&nbsp;</strong>in German and English, edited by Katja Blomberg, published by Verlag Walther K&ouml;nig.</p> Mon, 18 Aug 2014 02:17:55 +0000 Group Show - Haus am Kleistpark - August 23rd - October 5th <p>Zum 12. Mal hat der Bezirk Tempelhof-Sch&ouml;neberg seinen Kunstpreis ausgeschrieben. Die f&uuml;nfk&ouml;pfige Jury unter dem Vorsitz von Dr. Anne Marie Freybourg hat aus 192 Bewerber/innen 14 K&uuml;nstler/innen zur Shortlist ausgew&auml;hlt, die in einer Ausstellung im HAUS am KLEISTPARK ihre Werke aus allen Sparten der bildenden Kunst zeigen. Am Tag der Er&ouml;ffnung werden die Preise verliehen.</p> Mon, 18 Aug 2014 02:11:05 +0000 Mariana Castillo Deball - Hamburger Bahnhof - Museum für Gegenwart - September 20th - March 1st, 2015 <p>Beginning in September 2014, the artist Mariana Castillo Deball (*1975 in Mexico City) - who was awarded the "Preis der Nationalgalerie f&uuml;r Junge Kunst" (National Gallery Prize for Young Art) in 2013 - will show a project especially developed for her solo exhibition in the historic hall at Hamburger Bahnhof. This large-scale installation will unite diverse artistic reflections that intersect historical research, philosophy and art; all of which are decisive for Mariana Castillo Deball's work. The artist appropriates specific subject areas for her own works and transfers the emergent research process, which is reminiscent to methods of archaeology, ethnography and the history of science, into a contemporary artistic use of visual forms. She sets that which has been forgotten into new contextual relationships in order to allow images to be both experienced and to create alternative readings.</p> <p>In this exhibition at Hamburg Bahnhof, the artist devotes herself to the "biographies of things." She directs her attention to objects in museum collections, where it is not unusual for them to have "spent itinerant lives wandering between courtyards, basements, pedestals, display cases, museums, traveling exhibitions and private collections." (Mariana Castillo Deball) Objects and works of art from various Berlin museums stand out as the focus of the presentation, above all, however, those that were connected to the Nationalgalerie's collection at different points in time. As "Parergon" (supplementary work, byproduct), the title of the exhibition suggests, the history of the collections, its buildings, exhibits and protagonists is examined and decrypted, in particular with regard to its migrations and reorganizations. Castillo Deball places special attention on connections that occur outside the frame of what is known and is unambiguous.</p> <p>The degree of influence that a museum (as an institution) and its representatives have on the lives and the status of objects is a major focus of the artist's reflections. The subject of the installation is less concerned with the actual facts of the strongly research-based project, but instead aims to develop a situation that can be experienced through the senses, in which the artist links her own newly developed works to historical exhibits. New narrations and interconnections that arise between the various objects, historical breaks and chance occurrences provide Mariana Castillo Deball with the material for her own artistic interventions. She "would like to create a type of opera, in which a repertoire made up of objects, buildings and architectural reconstructions appear as the main characters." (Mariana Castillo Deball) These diverse characters enact a "stage play" at the museum, in which their old, familiar ways used in the past and their previous adventures determine the dramaturgy of the exhibition.</p> <p>As a further level to her opera, the artist will create an audio piece that provides insights into the preliminary research process, and is available to the visitor in the form of an audio guide. The voices of specialists, contemporary witnesses and fictitious characters will be given their say and will share very individual viewpoints and experiences with the visitors, which are connected to the complex history of Hamburg Bahnhof, the Nationalgalerie's collection and the exhibits shown in the exhibition.</p> <p>A publication accompanying the exhibition is being published by the Verlag der Buchhandlung Walther K&ouml;nig, with texts by Kirsty Bell, Dario Gamboni and Melanie Roumigui&egrave;re.</p> Mon, 18 Aug 2014 02:00:26 +0000