ArtSlant - Current exhibits en-us 40 - Akademie der Künste - Hanseatenweg - June 22nd, 2013 - August 18th, 2013 <p>Das mehrjährige Ausstellungs- und Archivprojekt zeigt über 250 Film- und Foto-Dokumente der feministisch inspirierten und genderkritischen Performancepraxis im transkulturellen Kontext. Der Fokus liegt auf Arbeiten aus den 1960er bis frühen 1980er Jahren sowie zeitgenössischen Positionen. Es sind Arbeiten von bekannten Künstlerinnen und Neuentdeckungen aus Ost- und Westeuropa und den USA sowie aus Ländern Lateinamerikas und des Mittleren und Nahen Ostens zu sehen.<br /> Über die Festschreibung eines Kanons hinaus wird die Vielfalt performativer Strategien hervorgehoben und das komplexe Verhältnis von Live-Performance, Dokumentation und Rezeption befragt.</p> Mon, 10 Jun 2013 02:32:12 +0000 Rolf Szymanski - Akademie der Künste - Hanseatenweg - June 28th, 2013 - November 3rd, 2013 <p>Zu Ehren des Bildhauers Rolf Szymanski, 1974 bis 1983 und 1986 bis 1997 Direktor der Sektion Bildende Kunst sowie Akademie-Vizepräsident (1983–1986) unter Günter Grass, werden mit einer kleinen Auswahl seiner lebensgroßen und kleinen Plastiken aus fünf Jahrzehnten die Höfe und der Glasgang des Akademie-Gebäudes am Hanseatenweg bespielt. Das zentrale Thema von Szymanskis Bronze- und Eisenplastiken ist die menschliche Figur. Seine dauerhaften und stetig in Verwandlung befindlichen Arbeitsprozesse oszillieren zwischen traditioneller Bildhauerei und organischen Wachstumsprozessen. So entstehen stets Menschenbilder, die von einer „lebendigen, pulsierenden Energie des Kreatürlichen“ (Jörn Merkert) erfüllt sind und gleichzeitig in einer offenen, widersprüchlichen und verletzten Form erscheinen.</p> Mon, 10 Jun 2013 02:35:43 +0000 - 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 Gereon Krebber - alexander levy - June 22nd, 2013 - August 10th, 2013 <p>The gallery alexander levy is very pleased to present new works from the sculptor<br />Gereon Krebber.<br />In his second solo exhibit, hülluhollo, the Cologne-based artist will be showing<br />sculptures of melted film, concrete and other building materials which he has<br />modified and transformed in surprising ways.<br />In the middle of the room is an ensemble of sack-like film sculptures,<br />accompanied by concrete casts and works of worm-like expanding foam.<br />Between amorphous forms and bulges, clean edges and hanging tentacles,<br />shapes that are difficult to classify, irregular and only conditionally plannable come<br />into being – as playful and consciously indefinite as the title of the exhibit.<br />"Given the artistic world of Gereon Krebber, it is quite obvious that the priority is<br />not only the development of appropriate perspectives or interpretations, but much<br />more so to initially and fundamentally ascertain what we are even seeing in front of<br />us. The objects recorded by Gereon Krebber in his sketches or as realized as<br />sculptures are both entirely present for the senses and strangely unapproachable.<br />They are located in an ontological field of tension between thing, shape and<br />image, without it being possible to entirely capture them in one of these<br />categories.<br />As visibly artificial formations, they are undoubtedly at home in the sphere of art,<br />and also qualify as images in a general sense, in that they are primarily oriented to<br />being experienceable in visual re-enactment. However, they are also defined by<br />their evidently object-like quality, and are also present as bodies in a world that is<br />understood and constituted in material terms. It is particularly this material<br />physicality that takes on its own meaning in Krebber's approach, to the extent that<br />it here becomes a significant element of the appearance and it is no longer<br />possible to abstract the shapes from the contingency of their material."<br />(Cited from: Reinhard Buskies: WYSIWYG – Gereon Krebber. Catalog for the<br />exhibit in the Kunstverein Bochum 2013, p. 12)<br />Gereon Krebber (born 1973 in Oberhausen) studied at the Kunstakademie<br />Düsseldorf and at the Royal College in London. He lives and works in Cologne and<br />has been professor for sculpture at the Kunstakademie Düsseldorf since 2012.<br />Works of Gereon Krebber can currently be seen in the exhibit Die Bildhauer (The<br />sculptors) in the Kunstsammlung Nordrhein-Westfalen K20 and in the exhibit<br />WYSIWYG in the Kunstverein Bochum. Krebber will soon erect the large public<br />sculpture Blobster in Gelsenkirchen.<br />Krebber recently received commissions for both the Gesundheitscampus NRW<br />and for the Sparkasse KölnBonn.</p> Mon, 01 Jul 2013 00:41:17 +0000 Gregor Gaida - ALEXANDER OCHS PROJECTS - June 14th, 2013 - July 20th, 2013 <p>The ambiguity in the sculptures by Gregor Gaida (* 1975 in Chorzów, Poland) is the result of an apparent concurrence of figuration and abstraction. He manages this through a variety of artistic strategies: through reflections and repetitions, through breaks and gaps and by means of the play with the ambivalent associations which his works evoke.<br />Gaida utilises reflections – such as with the aluminium sculpture Polygonales Pferd II (Polygonal Horse), which is installed in front of the gallery in the outer room – by selecting part of the horse’s body and duplicating it so often in the rotation around one axis until a new, cohesive whole emerges. Through this repetition of a fragment the formerly familiar body becomes an ornamental object that not only seems ambiguous, but also strange, like an immovable, non-viable mutation. In this way there is no evaluation of a specific perspective as with Elementarz: two owls in flight, which are not fragmented, although linked with one another in order to revolve around one reference point in the room. Smaller objects featuring various materials, entitled Membran (Membrane), depict delicately modelled animals which seem to vanish in polygons: mutilated, geometric-organic composite beings are created, even if one tries to ‘imagine’ the missing pieces.<br />But the use of reflecting surfaces within the sculptures also causes a disruption of the view, which from such a possible meaning distinguishes the form and the spatial relationship of individual parts of the figure from each other. Gaida modelled the Dornauszieher (Boy with Thorn) – a sculpture created by Gustav Eberlein during 1879-86 according to a classical model – in acrylic resin. However, the thorn which the boy wants to pull from his left foot in the original and the dynamic turning of his body become subordinate here, because five long thorns pierce the body through the head, back and knee, and deprive him of the right leg and left arm. These long, straight gaps featuring dark wood outside and mirrored inside now give the figure more than merely a foothold. The way in which Eberlein’s original is intentionally deprived through the model in the new work is depicted in a downright destructive manner.<br />A grey flag mounted on the gallery wall, with a silvery Rococo curlicue from which filaments seem to sprout, is not only neutral due to its colour. The emotions, the symbolic content, the pathetic character of a flag, all positive and negative associations are invalidated through this manner of representation and leave nothing behind but ambivalence. However, Gaida does not formulate this artistically here, but leaves the interpretation up to the viewer in a thoroughly ironic way.<br />Gaida’s three metre high sculpture Reichstagsfiale (Reichstag Pinnacle) also remains without pathos. Here he reproduces – true to scale – that part of the Reichstag building’s architecture on which a Red Army soldier mounted a Soviet flag at the end of the war. This is a scene which became quite famous due to the photograph by Yevgeny Khaldei. However, the new isolated pinnacle is not a realistic copy; in addition to the material remoteness (soft wood against the hard sandstone) and the concept as solitary, not the actual architecture but the well-known photograph turns out to be the model. It involves the media process in which the artist takes the picture and immediately becomes detached from it again with his sculpture. The traces of work, the furrows of the chain saw remain visible and transfer the object into a state of autonomy in terms of its form and its materiality.<br />Personal sentiments and memories are not the thematic basis of his works. Gaida makes use of generally available, mostly photographic models. The choice of his motifs is characterised by influences of art history as well as societal and media-cultural aspects. Since Gaida dispenses with any narration, the viewer’s aesthetic reflection becomes the focal point of his works.</p> Sat, 08 Jun 2013 12:08:35 +0000 Agus Suwage - Arndt - June 8th, 2013 - August 31st, 2013 <p>ARNDT Berlin is proud to present Cycle No. 3, the first solo exhibition of Indonesian artist Agus Suwage in the city of Berlin.</p> <p>Agus Suwage is one of the most important Indonesian contemporary artists. He has been actively engaged in local and international art scenes since the late 1980&rsquo;s. His works have been shown in many major art events in Indonesia and abroad. He is prolific and expansive in his artistic practice, making drawings, paintings, sculpture, installations, using various kinds of medium and materials.</p> <p>CYCLE #3 is the final part of an exhibition showing a series of Agus Suwage&rsquo;s works entitled CYCLE. Two preceding parts have been exhibited in Jakarta (Nadi Gallery, 17-30 Apr 2012) and New York (Tyler Rollins Fine Art, 28 Feb-13 Apr 2013).</p> <p>The exhibition title and the works presented here relate to three aspects of a cycle. Firstly: the circle of life as a theme. Life and death has been a major underlying theme addressed in Suwage&rsquo;s earlier work and continues to figure strongly in his recent works. Departing from this, the second aspect of cycle relates to the notion of rotation: the visual motifs that the artist has worked with in the past, and still currently being redeveloped, and perhaps will be in the future. And finally, cycle (or recycle rather) as the artist&rsquo;s predilection for incorporating found materials or used objects in his work.</p> <p>Figures of skulls, skeletons, and black out of charcoal dominate the works in this exhibition. But of course, in the fa&ccedil;ade of death, we are actually having a chance to gaze at life, face to face. This is Suwage&rsquo;s way to confront the act of living with its end point, when all action, belief and faith in life shall meet the final condition to be faced whether we like it or not.</p> <p>A series of works in CYCLE were indeed asserting Agus Suwage&rsquo;s main modus of working all this time: to deliver various personal reflections toward myriad social situations surrounding him. He is not analyzing it, to hastily give opinion and solution at the end. As he is not judging all he had perceived and discussed. On the other hand, he invites us to follow his contemplation by arraying various problems at once in a seemingly ironic, even incoherent relationship. All he delivers in a mere dark visualization, shrouded by a bitter sense of humor.</p> <p>Anxiety toward numerous matters in life confronting the personal with the social in this sort of tension is certainly neither a unique nor exclusive experience that can only be found in Indonesia. Up to this day, various conflicts and illogical atrocities are constantly recurring: from the shooting of a young girl Malala Yousufzai in Pakistan, bombing at Boston Marathon, to the death of a number of people caused only by careless and messy building and workplace arrangement in Bangladesh. These sorts of incidents are indeed not elating, nor nourishing our faith of human savvy and conscience, able to construct a life together. In front of these myriad violence affairs and victims that are continuously tumbling following the absurdity of life, we are all in fact facing an identical destiny. We may wish that life would take another path, to undergo a new cycle.</p> <p>In facing all of it, Suwage seems to be skeptical, also towards himself that keep questioning and concerning any kinds of things. What if what he seeks and waits for, say it an enlightenment of together life, is an ideal that continuously hiding in nowhere afar? Should we be sustained and faithful as Estragon and Vladimir awaited the still-not-coming Godot, just like in the play by Samuel Beckett. Or should we need to promptly gritty seeking the eternal flame of truth, flying close even to the sun, and in the end burn and fall, like Icarus?</p> <p>Enin Supriyanto<br /> Curator</p> Tue, 20 Aug 2013 22:14:31 +0000 - Autocenter - June 17th, 2013 - July 13th, 2013 <p> <article class="block"> <h1>4 Weeks – 8 courses – 120 Guests – Berlin</h1> <p>The ACSA will be taking place this year in its new AUTOCENTER location in the very heart of Berlin. The 2013 program will offer participants a rich combination of practical and theoretical knowledge in a wonderful atmosphere and setting, and in personal encounter and discussion with a wide selection of international experts drawn from all fields of the arts. In addition, the ACSA will provide manifold insights into the art world, its institutions and its discourses.</p> <p>For ACSA 2013, an exciting 4-week program has been drawn up. Participants can choose themselves how long they wish to attend, choosing one of the two weekly classes. The two courses per week are run by major international artists. In each week-long course, 15 participants will have the opportunity of developing their artistic practice and theory in interchange and interaction with their teacher – while at the same time being able to immerse themselves in one of the most exciting city art scenes in the world.</p> <p>In addition to the classes, each week’s schedule includes two lectures and an art-tour in the company of experts, journalists, collectors and curators. The guided tours will enable visits to studios, galleries and art institutions and to the various other stunning sites Berlin has on offer. At the end of every week, an exhibition will be held, presenting the resultant artistic work to a broader public.</p> </article> <section id="program" class="program block"> <ul class="sections"> <li>Week 1 <time class="info">June 17th – 22nd</time> <ul class="units"> <li>Class 1 <ul class="events"> <li>Marc Bijl Painting</li> <li>A.-Catharina Gebbers Tour</li> <li>Julieta Aranda Lecture</li> <li>Thibaut de Ruyter Lecture</li> </ul> </li> <li>Class 2 <ul class="events"> <li>Thomas Scheibitz Sculpture</li> <li>A.-Catharina Gebbers Tour</li> <li>Julieta Aranda Lecture</li> <li>Thibaut de Ruyter Lecture</li> </ul> </li> </ul> </li> <li>Week 2 <time class="info">June 24th – 29th</time> <ul class="units"> <li>Class 1 <ul class="events"> <li>Marlie Mul Sculpture</li> <li>Marc Glöde Tour</li> <li>Maike Cruse Lecture</li> <li>Ivo Wessel Lecture</li> </ul> </li> <li>Class 2 <ul class="events"> <li>Olaf Nicolai Concept</li> <li>Marc Glöde Tour</li> <li>Maike Cruse Lecture</li> <li>Ivo Wessel Lecture</li> </ul> </li> </ul> </li> <li>Week 3 <time class="info">July 1st – 6th</time> <ul class="units"> <li>Class 1 <ul class="events"> <li>Ned Vena Painting</li> <li>Samuel Leuenberger Tour</li> <li>Gerrit Gohlke Lecture</li> <li>Arno Brandlhuber Lecture</li> </ul> </li> <li>Class 2 <ul class="events"> <li>Jorinde Voigt Drawing</li> <li>Samuel Leuenberger Tour</li> <li>Gerrit Gohlke Lecture</li> <li>Arno Brandlhuber Lecture</li> </ul> </li> </ul> </li> <li>Week 4 <time class="info">July 8th – 13th</time> <ul class="units"> <li>Class 1 <ul class="events"> <li>Dirk Bell Painting</li> <li>Sandra Teitge Tour</li> <li>Andreas Schlaegel Lecture</li> <li>Jennifer Allen Lecture</li> </ul> </li> <li>Class 2 <ul class="events"> <li>Rallou Panagiotou Media</li> <li>Sandra Teitge Tour</li> <li>Andreas Schlaegel Lecture</li> <li>Jennifer Allen Lecture</li> </ul> </li> </ul> </li> </ul> </section> </p> Tue, 04 Jun 2013 23:50:59 +0000 - 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 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 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 Group Show - Berlinische Galerie - February 21st, 2013 - September 30th, 2013 <p>Berlin was reinstated as the German capital when the Federal Republic of Germany and the German Democratic Republic reunited. The federal government, the parliament and almost all diplomatic missions moved to the country’s new political hub. Following a number of competitions for urban and architectural design, the districts of Mitte and Tiergarten became home to a new government district and some embassies of notable design quality.<br /><br />Models, drawings and photographs from our collection, complemented by loans, illustrate these competition entries – some implemented and others not – as options for the expression of power. They also stand, however, as works in their own right, embodying conceptual creativity and exploiting construction techniques. The projects on display range from the German Foreign Office, Reichstag and official residences of the German Chancellor and President to embassies for countries such as India, Mexico, the Netherlands and Turkey.</p> Tue, 08 Jan 2013 19:20:50 +0000 Katja Strunz - Berlinische Galerie - April 26th, 2013 - September 2nd, 2013 <p>Artist and Berlin resident Katja Strunz (*1970 Ottweiler) has won the “Vattenfall Contemporary 2013”. Her sculptures and site-related installations of shaped metal, steel and wood are minimalist constructions which unfold in space. Her rigorous, objectless formal canon derives from the appropriation and reformulation of various abstract movements from Constructivism to Minimal Art. By adding random objects and rendering visible traces or origin and wear, she reflects the ephemeral fragility of works of art and the materials of which they are made.<br /><br />The Jury was impressed by Katja Strunz’s masterful treatment of space, which she has already demonstrated at a number of exhibitions. This experience will enable her, in the Jury’s opinion, to conquer the challenge presented by the exhibition hall at the Berlinische Galerie, which is 10 metres high and 40 metres long. Her reflected references to constructive avant-garde forms, combined with an awareness of the transitory nature of art, convinced the Jury that this is an independent position within contemporary art.<br /><br />The prize is a reconceived edition of the “Vattenfall Kunstpreis Energie”, instituted in 1992 and since awarded annually. In 2010 it was redesigned together with the Berlinische Galerie. It has since been bestowed on artists of international renown living and working in Berlin. The award entails a personal exhibition at the Berlinische Galerie, the production of an exhibition catalogue and a purchase for the Vattenfall collection. Previous winners were <span class="interner-link">Julian Rosefeldt (2010)</span>, <span class="interner-link">Angela Bulloch (2011)</span> and <span class="interner-link">Michael Sailstorfer (2012)</span>.<br /><br />The members of the Jury were: Torsten Meyer (management of Vattenfall), Anne-Katrin Reinecke (manager of Local Partnerships Benelux, Central Europe, Nordic, Vattenfall), Petra Roettig (Gallery of Contemporary Art, Hamburger Kunsthalle), Michael Sailstorfer (winner of Vattenfall Contemporary 2012), Thomas Köhler (Director of the Berlinische Galerie), Heinz Stahlhut (Head of the Fine Arts Collection, Berlinische Galerie)</p> Mon, 04 Mar 2013 02:41:46 +0000 Ari Benjamin Meyers - Berlinische Galerie - April 28th, 2013 - April 28th, 2014 <p class="bodytext">The foyer of the Berlinische Galerie will resonate for a year with the sound of an aria. Chamber Music (Vestibule) – a music installation by Ari Benjamin Meyers has been composed by the artist especially for this space. It is sung by Nicole Chevalier (soloist at the Komische Oper Berlin).</p> <p class="bodytext">Meyers reflects on the transient moment of entering and leaving the museum, playing at the same time with the perceptions of its visitors. How far the work unfolds and whether it can be heard at all depend on the behaviour of each guest and the overall activity in the space.</p> Mon, 01 Apr 2013 01:19:41 +0000 Henning Bohl - Berlinische Galerie - May 21st, 2013 - September 23rd, 2013 <p class="bodytext" style="text-align: justify;"><span style="font-size: small;">Works by Henning Bohl rarely stand alone. They are usually clustered around a common theme to create arrangements. Literary snippets and extracts from artistic biographies are so inextricably combined with stylistic quotes and cited motifs that they are hard to disentangle. To this inexhaustible reservoir of existing forms Henning Bohl adds that minimal touch of his own, generating new, surprising elements and consciously defying any overhasty decoding or clear-cut attributions. </span><br /><br /><span style="font-size: small;">The paintings, collages and staged objects in this exhibition were made between 2003 and 2006. They constitute a body of work that has been held in the Berlinische Galerie collection since 2011 and is now being shown for the first time in this form, conceived together with the artist.</span></p> <p class="bodytext" style="text-align: justify;"><br /><span style="font-size: small;">Henning Bohl was born in Oldenburg in 1975. From 1997 to 2000 he studied at the Kunsthochschule in Kassel and from 2000 to 2004 under Thomas Bayrle at the St&auml;delschule in Frankfurt am Main.&nbsp;</span></p> <hr /> <p class="bodytext" style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><span style="font-size: small;">Die Arbeiten Henning Bohls stehen selten f&uuml;r sich allein. Meist f&uuml;gen sie sich zu Arrangements, die um ein gemeinsames Thema kreisen. In ihnen vermischen sich literarische Fundst&uuml;cke und Verweise auf K&uuml;nstlerbiografien mit Stil- und Motivzitaten, deren Verflechtung nur schwer wieder aufzul&ouml;sen ist. Aus dem unersch&ouml;pflichen Fundus bereits existierender Formen stellt Henning Bohl mit minimalem Aufwand neue und &uuml;berraschende Bez&uuml;ge her, die sich dem vorschnellen Entschl&uuml;sseln oder einer eindeutigen Zuordnung bewusst entziehen.</span><br /><br /><span style="font-size: small;"> Die in der Ausstellung gezeigten Gem&auml;lde, Collagen und inszenierten Objekte entstanden zwischen 2003 und 2006. Sie bilden einen Werkkomplex, der sich seit 2011 in der Sammlung der Berlinische Galerie befindet und in dieser &ndash; mit dem K&uuml;nstler gemeinsam konzipierten &ndash; Form erstmals zu sehen ist.</span><br /><br /><span style="font-size: small;">Henning Bohl ist 1975 in Oldenburg geboren. Von 1997-2000 studierte er an der Kunsthochschule Kassel und von 2000-2004 bei Thomas Bayrle an der St&auml;delschule in Frankfurt am Main.</span></p> Sun, 11 Aug 2013 16:55:22 +0000 Jumana Manna, Andy Graydon, Laura Horelli - Berlinische Galerie - June 5th, 2013 - June 23rd, 2014 <p class="bodytext">Over the course of a year, the IBB Video Lounge will present twelve artists who have recently attracted attention with an innovative approach to the film or video medium. Documentary techniques will feature alongside strategies for challenging the medium and testing new formats for cinematic narrative. Other artists we invite to participate will stand out for the way they explore aesthetic issues, use film or video to record performances, or experiment around audio-visual questions.<br /><br />The format is designed to include both established names in contemporary video art and young artists whose works have rarely been shown in museums. A new programme composed of different works will be launched every month.<br /><br />This project has been facilitated by Investitionsbank Berlin (IBB).</p> <h2>Artists June to August 2013</h2> <p class="bodytext">Jumana Manna, 05.06.&ndash;01.07.2013<br />Andy Graydon, 03.07.&ndash;29.07.2013<br />Laura Horelli, 31.07.&ndash;26.08.2013</p> Mon, 11 Nov 2013 04:38:36 +0000 Tobias Zielony - Berlinische Galerie - June 21st, 2013 - September 30th, 2013 <p style="text-align: justify;" class="bodytext">Artist Tobias Zielony (*1973 Wuppertal), who lives in Berlin, is one of the most talked-about German photographers of his generation. In a major one-man show, the Berlinische Galerie will be the first venue to exhibit his latest project “Jenny Jenny” (2011-2013), which includes two photo-animations. Also on show will be the series “Trona” (2008), which Berlin’s museum of modern art was fortunate to acquire for its Photography Collection.</p> <p style="text-align: justify;" class="bodytext">For more than ten years now, Tobias Zielony has been taking portraits of young people encountered on the urban and social margins of Western welfare states. This is where he finds his themes, in places where the achievements of the modern age are falling apart and the promise of a community founded on solidarity has lost its enchantment: teenagers in night-time Los Angeles trying to carve out a space in the shadow zones of the city (The Cast, 2007), descendants of the Canadian First Nations on reserves in Manitoba whose cultural traditions have been shattered along with their prospects for the future (2009), Camorra families whose children pose for the camera in what was once an avant-garde residential development, the “Vele” in Naples (2010). For the benefit of Zielony’s camera, they all seem keen to place themselves in the right light in order to project a self-assured, proud image of themselves, knowing that these images will be open to challenge.</p> <p style="text-align: justify;" class="bodytext">The 18-part series “Trona” (2008) depicts young people from the desert community of that name not far from Los Angeles. When the former industrial town began falling apart in the wake of economic changes, many of its residents resorted to crystal meth as a drug to numb their senses. Trona is typical of many impoverished towns in rural America. Zielony asks what happens when social and institutional structures break down and people are thrown back on their own resources.</p> <p style="text-align: justify;">His latest project is called “Jenny Jenny”. The subjects are young women, some of whom earn their money by selling sex. But the facts are fluid, and so are the roles – both those adopted by the women themselves and those attributed to them by society. The idea that the true essence of a person or moment in time will be revealed is a myth. Zielony has evidently drawn clear conclusions about both the authenticity of the subject and the objectivity of the documentary image: neither is ever free of staging.</p> Mon, 01 Jul 2013 09:07:01 +0000