ArtSlant - Openings & events en-us 40 Lucia Ganieva, Vadim Gushchin, Elin Høyland, Thomas Sandberg - Künstlerhaus Bethanien - July 4th, 2013 7:00 PM - 10:00 PM <p>A tarantula is an arachnid from the family of wolf spiders. Signs of poisoning and St. Vitus’ dance are generally attributed to the bite of the tarantula.<br /> TARANTEL 2 seeks its quarry among a curious public, with four artistic positions that Künstlerhaus Bethanien is setting into an international context for the very first time: their pictorial reality, remarkably promising and dangerously enticing, emphasizes a feminine side.</p> <p>In a work entitled <em>The Brothers</em>, <strong>Elin Høyland</strong> shows photographs of brothers Harald (75) and Mathias (80) Ramen. She spent time with the two men living in rural Norway, documenting their everyday routine and fixed habits for several years. Høyland pictures the unmarried men in an intimate setting and private situations – bird-watching, hiking to the nearest supermarket, or sitting on their beds. The artist creates familiar atmospheres in her work, producing photographs reminiscent of film stills; at the same time, she captures elementary characteristics like the brothers’ isolated way of life that may seem almost unimaginable in today’s society.</p> <p><strong>Lucia Ganieva</strong>’s work is dominated by photographic portrait series showing people in their environments. Most of her works are produced in Russia, since her roots lie there and she feels a particular affinity to the Russian people and their culture. Ganieva’s series <em>Dreaming in the Land of Birches</em> shows photographs that were taken in the Russian region of Udmurtia. The series comprises two parts: first, the artist portrays the people and villages of the region. Their special, religious bond to nature reflects in their houses and apartments: the living rooms of the Udmurts are decorated with photo-wallpapers of fantastic images of forests, lakes or mountains, a peculiarity which Ganieva makes  into the second part of her series and thus conveys unfamiliar, mysterious worlds to the viewer.</p> <p><strong>Vadim Gushchin</strong>‘s works are a constantly changing displays of everyday objects such as pills, envelopes or fasteners, which the artist stages à la Malevich and subsequently photographs. He takes them out of their familiar contexts, somewhere on the journey from fabric to refuse dump – or to a museum, to the “sacred refuse dump of culture” – in Gushchin’s words. Viewing his photographs may prompt individual links between the consumer and consumer goods. The artist succeeds in removing a product from an alienated production process and allowing the object to develop an individual value and a personal reference for the viewer.</p> <p><strong>Thomas Sandberg</strong> began to take photographs in Ahrenshoop on the Baltic coast at the age of thirty. His black and white images show the picturesque village (advertising slogan: a place as pretty as a picture), in a state that no longer exists today. In this way he not only records facts but also creates views conveying a state of mind and spirit, capturing the irretrievable. Sandberg has portrayed neighbours no longer alive today or his own children when they were so small that they could hide in a cornfield. The artist offers private memories turned into images, knowing exactly how to immerse the viewer in a scenario or a world of emotions that appears tangible.</p> Wed, 26 Jun 2013 03:14:54 +0000 Ben Cauchi - Künstlerhaus Bethanien - July 4th, 2013 7:00 PM - 10:00 PM <p>In his work Ben Cauchi creates meticulously composed photographic objects by employing the complicated 19th century process of collodion wet plate photography. First, the artist covers a glass plate with collodion. Then he soaks it in a silver nitrate sensitizing bath, and finally fits the wet plate into the camera. Immediately after exposure, an iron sulfate solution is poured over the plate – a difficult balancing act that leads to the production of direct positive images on the glass. Despite the knowledge that these photographs must have been made recently, initially they may appear to the viewer like originals from an earlier period. But it is not only Cauchi’s creative method that might deceive confusion; the motifs also go further than whatever is superficially visible.<br /> This certainly applies to Cauchi’s exhibition <em>One’s Own Grey</em> at Künstlerhaus Bethanien. The artist refers to the individual, imaginative power of the inner eye. Like the grey colour that the human eye sees in absolute darkness, the viewer of Cauchi’s works discovers unique phenomena in these photographs. He gets us to question our own perception with the veiling and interim spaces he creates, for example, by using heavy curtains under which light can escape. What is concealed behind the curtains? What might have been placed on the pedestal he depicts?<br /> Closely following the concept of <em>studium and punctum</em> postulated by Roland Barthes, the artist questions human awareness – for what he portrays, without doubt, is not what the human psyche believes it can see.</p> Wed, 26 Jun 2013 03:17:15 +0000 Wolfgang Betke - Aurel Scheibler - July 5th, 2013 6:00 PM - 9:00 PM <p>Aurel Scheibler freut sich, mit &bdquo;OBERFL&Auml;CHENTIEFGANG&ldquo; die n&auml;chste Einzelausstellung des K&uuml;nstlers Wolfgang Betke (geb. 1958) anzuk&uuml;ndigen. Die Ausstellung zeigt eine Reihe neuer Arbeiten, welche Betkes Fokus auf den k&uuml;nstlerischen Prozess hervorheben. Die Ausstellung ist vom 06. Juli bis zum 7. September zu sehen und er&ouml;ffnet am Freitag, dem 05. Juli.<br />Leinwand, Aluminium und Holz sind die essentiellen Materialien, mit denen sich Betke in seinen Arbeiten auseinandersetzt. Seine Bild-Objekte sind aus unz&auml;hligen Schichten aufgebaut, sie akzeptieren und reflektieren zugleich Manipulation und Metamorphose. Die aus einem langwierigen Transformationsprozess hervorgegangenen Oberfl&auml;chen offenbaren dabei ungesehene neue Realit&auml;ten und er&ouml;ffnen dem Betrachter immer andere Formen des Sehens und sich stetig wandelnde Bedeutungen.<br />Im Mittelpunkt von &bdquo;OBERFL&Auml;CHENTIEFGANG&ldquo; steht ein eigens f&uuml;r die Ausstellung hergestellter f&uuml;nfteiliger Paravent. Dessen Bildtafeln sind mit Acrylfarbe und Permanent Marker auf Aluminium gemalt, das auf Holzpaneele montiert ist. Die Formen werden durch Abkratzen, Abwischen und Abschleifen aus dem aufgetragenen Farbmaterial buchst&auml;blich &sbquo;herausgesch&auml;lt&rsquo;. Die Arbeit zeigt nicht nur Betkes au&szlig;ergew&ouml;hnliche Fertigkeit mit diesem Material umzugehen. Der Bildraum wird durch den sich im Aluminium spiegelnden Galerieraum erweitert, was bedeutet, dass die Betrachter sich selber und den Umraum schemenhaft im Bild als Teil des Formgeschehens wahrnehmen k&ouml;nnen. Jede Bewegung, jede Lichtver&auml;nderung ruft eine v&ouml;llig neue Wahrnehmung hervor. Die Betrachter sind somit Teil einer niemals endenden Bildentstehung. Das Bild ist<br />prinzipiell nicht vollendbar. <br />Betke betont den Zustand des &bdquo;Nicht-Wissens&ldquo;, der die Voraussetzung f&uuml;r seine Arbeit darstellt. Er geht bewu&szlig;t nicht von einem Konzept oder einem Plan aus, sondern versucht, seine Bildhandlungen frei von rationaler Begleitung entstehen zu lassen. Es ist gerade diese tastende und suchende Herangehensweise in Verbindung mit der Technik des Abschleifens, die dem Kunstwerk den Charakter eines Palimpsestes verleiht. <br />Wolfgang Betke studierte Philosophie und Kunstgeschichte an der Universit&auml;t Hamburg, sowie Freie Kunst an der Hochschule f&uuml;r bildende K&uuml;nste, Hamburg bei Franz Erhard Walther. Seine Arbeiten sind in internationalen Stiftungen und Sammlungen vertreten. Als Maler, Schriftsteller und Performancek&uuml;nstler lebt und arbeitet er in Berlin.</p> Wed, 26 Jun 2013 02:36:55 +0000 Group Show - Galerie Neurotitan - July 5th, 2013 7:00 PM - 9:00 PM <div style="padding: 5px 100px;"> <p><em>All the world's a stage,<br /> And all the men and women merely players:<br /> They have their exits and their entrances;<br /> And one man in his time plays many parts.</em></p> <p>- W. Shakespeare, "As you like it"</p> </div> <p>Thus we are all players, actors in our own daily play. All of us act - stage ourselves, project expectations, idealize, are puppets of our sense of self, of our subjective view on ourselves, the others and on the world. Thus everyone is an artist and the space, the time and all the participants dictate the staging.</p> <p>This exhibition wants to invite the visitor to this staging, from the artificial point of view of the exhibiting artists, to participate in this play.</p> <p>What finally lasts is: to isolate and identify the "Übermensch" in our daily play and to see what we share and what separates us, to see the beauty and the ugly, the complex and the naive aspects, the hyper real and the abstract things in the staging of this group exhibition and to ask yourself: When do I stage the "Übermensch" and if on what stage?</p> <p style="text-align: right;"><small>Text by Sebastian Götz, Good Times Factory</small></p> <p></p> <p class="Subtitle2">Hassan Abdelghani</p> <p>Hassan Abdelghani (born 1965 in Osijek, Croatia) was educated as a photographer in Copenhagen, Denmark, where he started his own school for photography. He now lives and works in Pula, Croatia, where he is art director of the gallery Makina with the focus on the contemporary photography. His late works center around old photographs on the gravestones of the deceased. The Pictures of these small mementos, which immediately show its own decay, are raising questions concerning the memories of the past, what comes after or even of the forgetting. The topic wakes feelings of sentimentality, melancholia, even fear and anger.</p> <p align="right"></p> <p class="Subtitle2">Jovan Balov</p> <p>Jovan Balov (born 1961 in Skopje, Macedonia) reflects social and political history critically through his art. In his contemporary works he revives classical sculptures and historical figures by masterfully painting. Within his painting he skillfully inserts eyes into the eyeless sculptures bringing them back from the past into the present. Thus he is critically reflecting the interpretation of history within the present societies.</p> <p></p> <p class="Subtitle2">Claudia Christann</p> <p>The camera is constant companion of Claudia Chritiann (born 1978 in Berlin, self-educated photographer). The metropolis is her stage, its inhabitants are her protagonists, her actors and her statists. Claudia's pictures catch every-day situations almost in a casual but nevertheless with a very sensible eye for the scenery. On second thought her works reveal the comedy and tragedy of the urban way of life.</p> <p></p> <p class="Subtitle2">Bruno Dimartino</p> <p>Bruno Dimartino (born 1966 in Chelles, France) works as a painter and sculptor. His sculptures have artificial relations to several eras, like the humanistic tradition from where he cites Ovid and his "Metamorphosis", the gothic era with all the wild animalistic figures, as well as the Renaissance or the Belle Epoque. He presents his works in the overall art historical context and creates works, showing and respecting the nature and the human being of the past, present and future in a sense that you do not have to destroy in order to create. Bruno Dimartino lives and works in Berlin, his works won several prices and he is closely tied to the art center "Tacheles".</p> <p align="right"></p> <p class="Subtitle2">Gugu Flux</p> <p>Wild! The works of Gugu Flux radiate in a frenetic, protesting ferociousness which connects all his art. Often his expressive style reminds of comics or pop art, as well as the excessive choice and variation of colors. The main topic is the portrait which appears in many ways and specifically ask the question of own identity and in general of the role of the individual and also its acceptance or decline.</p> <p align="right"></p> <p class="Subtitle2">Sebastian Götz</p> <p>The central topic of the work of Sebastian Götz (born 1981 Kronach, Germany) is the self and it's staging. All works were made off clay, fired, were given a form and glazed. All masks were assembled out of separate organic parts - these build a multiple basis, an illustrative model for oneself and others. The questions like "what is it, that is visible?", "how to interpret something being seen by myself or others" and "is something being subjectively perceptible universally valid or simply an appearance of the fragile moment?" are obvious, but what about the answers?</p> <p></p> <p class="Subtitle2">Bojan Hocevar</p> <p>Children, again and again children are appearing in Bojan Hocevar's works. But there is darkness, an imminent danger, childhood is no utopia, there are no heroes that are coming to rescue: The children have to make it themselves! That is where the hope is, that is where the strength is: within - at times - our childish selves!</p> <p></p> <p class="Subtitle2">Glenn Keelan</p> <p>Glenn Keelan is intrigued by the human condition with all its imperfections and fragility; this is what motivates him to create works which he intends to depict in a raw, fleshy, organic and unprocessed way. "An early love for technical drawing has helped to fine tune his attention to detail. His initial reason for using pencils was because of the control that I could achieve, but now, having progressed with more self-confidence, I no longer feel the need to exercise control; instead I am now more equipped to experiment, explore and discover new possibilities within the medium."</p> <p align="center"></p> <p class="Subtitle2">Suzanne Klingenberg</p> <p>In this exhibition the protagonists of Suzanne Klingenberg (born 1968) are small composite beings. Discarded plush toys and puppets which hold visible personal histories and obtain in special and for them designed spaces their insubstantial power back and thus small worlds come into existence. The mirroring and alienation of reality can open gates to other realities and change matter. Suzanne Klingenberg lives and works as sculptor and art-therapist in Wendland, Germany.</p> <p align="right"></p> <p class="Subtitle2">Wilko Königsmann</p> <p>Wilko is a Tacheles artist and organizer of Art Festivals in Berlin, e. g. East meets West and 5 days Tacheles. His exhibitions focus on group exhibitions, in particular with the friends and colleagues of the now evicted Kunsthaus Tacheles. Besides his numerous exhibitions like in Rome, Milan, Prague, Berlin, Leipzig, Potsdam, particularly the exhibitions at Kreuzberg Pavilion Documenta 13 in Kassel (2012) and the Museum of Contemporary Art in Minsk (2013) should be emphasized."My painting is an ongoing experiment in the sense of Karl Valentin: Art comes from ability, but once you achieved the ability, it is no longer art ". And so, while his roots remain clearly visible in the classic modernist, his work remains subject to constant change.</p> <p align="right"></p> <p class="Subtitle2">Javier Lozano Jaén</p> <p>The work of Lozano Jaén (born 1981 Spain) is mainly about painting and artist books. He is a member of the archive of artist of Matadero (Madrid), he has exhibited in commercial and non commercial galleries like Galerie St St (Berlin) La New Gallery (Madrid) Galería Alegria (Barcelona) or G Gallery (Houston). He collaborates with Ediciones Puré and Pogobooks. He graduated at the UCLM, Spain.</p> <p align="right"></p> <p class="Subtitle2">Robert Pauletta</p> <p>Robert Pauletta (born 1961 in Permantura, Croatia) graduated from the Academy of Fine Arts in Zagreb at the Painting Department. From 1991 to 2003 he teaches professional subjects and the theory of design at the School of Applied Arts and Design in Pula. In 2004 he takes up the leading position at the newly founded MMC Luka where, aided by his cooperators.</p> <p></p> <p class="Subtitle2">Birgit Schiemann</p> <p>In the contemporary works of Birgit Schiemann (born 1963 in Werneck, Germany) the human being and its social surroundings constitute the focus. Her protagonists are accurately colored while the surrounding reality is painted in shades of grey. This obvious contradictional tension between human individual and its social context is critically reflected and shows a sensible grasp of the human cosmos. She represents the painter of the human subject, an artist of hope within the human self. Birgit Schiemann lives and works in Berlin and in Wendland and is closely tied to the art collective "Tacheles".</p> <p></p> <p class="Subtitle2">Bojan Sumonja</p> <p>The painting Sheep by Bojan Sumonja resembles some kind of inverted, amazing allegory. The flock of sheep, as the only motif of the work floods the entire surface of the canvas. In the perspective of close and expressed foreground it seems as if the sheep will slip off the edge of the painting and the chosen colors summon up the effect of contrasting black and white, white fleece and black shadow, also present in black and white photography, puts animals in a pastoral setting, thus creating an atmosphere of slight anxiety and uneasiness, insecurity and uncertainity,  giving a meaning to the saying "the lost sheep".</p> <p align="right"></p> <p class="Subtitle2">Mike Turney</p> <p>Since Mike Turney's degree in Commercial Design &amp; Visual Communications in the mid-90's he has been a transient artist, dabbling in everything; action figure prototype design, tourist t-shirts, freelance tattoo design, wall murals, print shop production, etc... But always he returns to assemblage. Urban relics, vintage medical devices, industrial and farming implements, old gears and car parts... they all have a calling in his work.</p> <p align="right"></p> <p class="Subtitle2">Pablo von Lichtenberg</p> <p>Pablo von Lichtenberg (born 1959 in the US) is currently working in mixed media assemblage, collage and multi-media installations &amp; sculpture, incorporating found objects and images into bodies of works he refers to as RASA (Recycled ARTifacts as Structural Assemblages). He is a self taught artist living and working between Berlin and St. Louis.</p> <p></p> <p class="Subtitle2">Biljana Milkov</p> <p>Biljana Milkov, graduated in Fine Arts at the Universität der Künste Berlin in 2008. She is concerned with art since 1991 - in a, as she would say "multitasking kind of way". Apart from painting the artist is interested in video installations which you can check at the links below.</p> Sat, 22 Feb 2014 15:48:22 +0000 Fabian Marcaccio - Galerie Thomas Schulte - July 5th, 2013 7:00 PM - 9:00 PM <p>Am Freitag, den 5. Juli eröffnet die Galerie Thomas Schulte eine Einzelausstellung mit neuen <em>Rope Paintings</em> von Fabian Marcaccio aus dem noch nicht abgeschlossenen Zyklus <em>Some USA Stories</em>, von denen der Künstler 2012 in seiner Einzelausstellung eine große Gruppe im Museum Haus Esters in Krefeld zeigte. <br /> Nach seinen <em>Digitals </em>versteht Fabian Marcaccio seine <em>Rope Paintings</em> als eine Neuverortung und Neudefinition des malerischen Mediums. Die herkömmlichen Elemente eines Gemäldes werden vom Künstler analysiert und neu interpretiert - angefangen vom groben Holzspannrahmen über den handgewebten Malgrund aus Seilen bis zu dem verschiedenartigen Auftrag und Gebrauch von Farbe. <br /> Mit seinen <em>Some USA Stories</em> versucht Fabian Marcaccio, das zeitgenössiche Historienbild als eine Art investigative Darstellung von sowohl historischen Ereignissen als auch der Natur der Malerei an sich neu zu begreifen und stellt dabei immer wieder aktuelle oder historische Bezüge zur US-amerikanischen Geschichte und ihren Protagonisten her. Marcaccios Bilderzyklus ist ein Kaleidoskop der Bedeutung und die Fortsetzung von seiner analytischen Auseinandersetzung mit der medialen Bilderflut unserer Zeit.<br /> <br /> On Friday, July 5, Galerie Thomas Schulte will open a solo exhibition of new <em>Rope Paintings</em> by Fabian Marcaccio from the yet unfinished cycle <em>Some USA Stories</em>, a large number of which was shown in a solo exhibition at the Museum Haus Esters in Krefeld in 2012.<br /> After his <em>Digitals</em>, Marcaccio's <em>Rope Paintings</em> function as a re-territorialization or re-materialization of painting. They involve the redefinition of all the given elements of a painting from the rough wood stretcher to the hand woven rope bases to multiple applications and handlings of paint. <br /> With his <em>Some USA Stories</em>,<em> </em>Marcaccio tries to redefine contemporary history painting as a kind of investigative report on both historical events and the nature of painting itself. The artist makes repeated references to current or past events in US-American history as well as to their protagonists. His cycle of paintings is a kaleidoscope of meaning, carrying on Marcaccio's analytical discussion on the medial image-overflow in modern society.</p> Thu, 20 Jun 2013 22:15:48 +0000 Group Show - HomeBase Berlin - July 5th, 2013 7:00 PM - 10:00 PM <p>From the attic to the basement Das Unmögliche Haus will blast open on the 5th of July with a BOOM!</p> <p>This explosion is the result of the experiment HBB V: Three month long residency at the HomeBase LAB in Berlin where 18 international artists have lived, created and researched on site to find the formula of a 'social glue' that sticks.</p> <p>Please join us in our three-day long festival: Open studios, performances, screenings, talks, food, music and parties, will take place all over the old brewery turned impossible house. Starting on Friday with a public intervention at 15:00 at Caligari Platz, followed by a procession along Gustav-Adolf Strasse and arriving to Thulestrasse at 19:00 sharp for the BOOM-bastic opening.</p> <p> </p> <p>------</p> <p> </p> <p>Vom Dachboden bis in den Keller wird „Das Unmögliche Haus“ mit einem großen Knall am 5. Juli eröffnet.</p> <p>Die Explosion ist das Ergebnis des HBB V Experiments: Drei monatiger Aufenthalt im HomeBase LAB in Berlin bei dem 18 Künstler aus aller Welt an einem Ort gelebt, geschaffen und geforscht haben, um die Formel für einen „sozialen Klebstoff“ zu finden der klebt.</p> <p>Nimm an unserem drei-tägigen Festival teil! Offene Ateliers, Auftritte, Filmvorführungen, Gespräche, Speisen, Musik und Partys werden rund um das „Unmögliche Haus“ stattfinden. Das Festival beginnt am Freitag mit einer öffentlichen Aktion um 15 Uhr am Caligari Platz, gefolgt von einem Festzug entlang der Gustav-Adolf Straße um sich rechtzeitig um 19 Uhr zur BOOM-bastischen Eröffnung in der Thulestraße einzufinden.</p> <p> </p> Thu, 27 Jun 2013 23:33:24 +0000 Veronica Brovall, Sonja Gerdes, Zoë Claire Miller - Laura Mars Gallery - July 5th, 2013 8:00 PM - 11:00 PM <p style="text-align: justify;">Laura Mars Grp. is pleased to present <em><strong>Sole Searching</strong></em>, a group exhibition with new works by Veronica Brovall, Sonja Gerdes and Zoë Claire Miller. All three Berlin-based artists work with ceramics. Their work will be shown within the context of identity, translation, and tradition. Redefining their practice in challenging ways as women artists, Brovall, Gerdes and Miller translate traditional methods to begin to explore new forms of subjectivity.</p> <p style="text-align: justify;"><strong>Veronica Brovall</strong> often uses the visual language of graffiti with violent and absurd gestures on the rich surfaces of her monumental ceramics. Some have protruding orifices which could serve as vessels or could be voids to disappear in, like in “Through Acting”. The omnipresent symbol of hands with thumbs-up rip through structures or breast-like shapes, thereby presenting multiple becomings. The sculpture “Eating you Alive” almost loses its balance; the rear of the über-female figure seems to bear the weight of her dripping red interwoven braids as well as her multiple sets of breasts. Letters in black glaze cover the figure. The words “Wanted” can be easily deciphered, constituting the female figure as an object of desire.</p> <p style="text-align: justify;"><strong>Zoë Claire Miller</strong> transforms traditional pottery. Using familiar household objects, she questions how political fictions are reproduced and circulated. For her "Commemorative Plates for the Euro Crisis" Miller fires each 'failing state', the so-called 'PIGS' countries (Portugal, Italy, Greece, Spain) represented by a one Euro coin from the respective country onto a traditional decorative plate, also from each country.* Playing on the notions of consumption, monetary value versus cultural value, Miller desecrates and obscures the coins as she celebrates and distorts regional crafts. A selection of Zoë Claire Miller’s "negative impression" series will also be shown; the sculptures are hung against bright swaths of silk, as detached and dislocated negative imprints of indigenous masks, they reveal a new ethnic entity. Furthermore, one wall will display an abstract mural of luminous brushstrokes made of clay titled, “Wandmalerei Nr. 3" (composition by Markus Selg).</p> <p style="text-align: justify;">"Air for Free" is a slogan from <strong>Sonja Gerdes</strong>' self-invented sci-fi/utopian system OxygenEnergizer, through which sculptures, talismans, textiles and advertising are used to communicate ideals such as belief, trust and optimism. At the same time Gerdes is conscious that her actions and works as an experimental procedure carry the potential threat of failure. On the last day of the exhibition, Gerdes will premier a performance piece "The Feet in the Air". The spectators will have the chance to have their futures foretold through a reading of their foot soles.<br /> <br /> *The plates are for sale for the price of the date of sale's precise rate of government debt as percent of each country's GDP in Euros.<br /> <br /> <br /> -----------------------------<br /> <br /> <br /> <strong>Veronica Brovall</strong> (b. in 1975 Falun, SE) has exhibited at Bildmuseet, Umeå, Sweden, Kunstverein Schwerin, Sint Lukas Gallery, Brussels, Overgaden Institute for Contemporary Art, Copenhagen, Norrtälje Konsthall, Sweden, U37- Raum für Kunst, Berlin, and Western International Art Biennale Yinchuan, China (curated by Jan Hoet). In 2012 Brovall curated the exhibition “Larger than Life” (with Thomas Hirschhorn and Marcus Steinweg) at Galleri 21 in Malmö, Sweden. Brovall´s work is found in collections such as Moderna Museet, Stockholm, Frederick R. Weisman Art Foundation, USA and Malmö Konstmuseum, Sweden.<br /> <strong><br /> Zoë Claire Miller</strong> (b. in 1984 in Boston, MA, USA) studied Philosophy, Ethnology and Romance Philology at the University of Heidelberg, as well as Sculpture under John Bock at the Akademie der Bildenden Künste Karlsruhe. Miller´s works have been shown in international exhibitions such as: “Das Naturkundemuseum Berlin auf LSD zu Gast in München“ (with Marlene Stark), Kunsthalle Lothringer 13, München, “A Suitcase Full of Art from Berlin“, Alan Nederpelt Gallery, New York, “Klostellung 1“ curated by Fritz Bornstück; Nationalgalerie, Berlin; „Forschung &amp; Nippes”, Tropen, Berlin and "Notes on Form", Société de 032C, Berlin, curated by Carson Chan. In addition she runs the exhibition project Galerie Europa and co-founded the Berlin Art Prize.<br /> <br /> <strong>Sonja Gerdes</strong> (b. 1979 in Clarholz, DE) recent international exhibitions include "Unblinking Eye" at Kavi Gupta in Berlin, ''Pie Of Trouble. Let's Hang. The Energy Plan'' at Elephant in Los Angeles, ''Gyre And Gimble'' (with Lucy Teasdale) at Galerie Gebr. Lehmann in Berlin, and ''XXXL Die Schmiede featuring Talisman for Oxygenenergizer'' at Galerie Lena Brüning in Berlin.<br /> <br /> <strong>Annabelle von Girsewald</strong> is curator based in Berlin from America. She studied Women’s Studies and Art History at the University of Wisconsin Milwaukee and obtained her master’s degree at the University of Tübingen in Empirical Cultural Science and American Studies. Since then she has worked at the Museum für Moderne Kunst Frankfurt under Jean-Christophe Ammann and for Hans Ulrich Obrist at the Serpentine Gallery. Her own series of exhibitions began in her apartment in Frankfurt in 2005. The exhibitions and conferences center on themes of identity and home. She has worked with artists such as Francis Alÿs, Keren Cytter, Anna Ostoya and Egill Sæbjörnsson. </p> Fri, 21 Jun 2013 15:25:37 +0000 Christine Lemke, Katrin Mayer - RECEPTION - July 5th, 2013 8:00 PM - 10:00 PM Wed, 26 Jun 2013 03:26:03 +0000 Christophe de Rohan Chabot, Martin Skauen, Suchan Kinoshita, Paul Haworth, David Polzin, Kasia Fudakowski - Chert - July 6th, 2013 10:00 PM - 8:00 PM <p style="text-align: justify;">An evolving group show with performances each Saturday in July.<br /> <br /> Role Models is the result of a collaboration between David Polzin and Kasia Fudakowski, who in turn invited four further artists to make performances in the spaces they create<br /> <br /> Christophe de Rohan Chabot ( France, 1986), will be the first artist to grace the space on the 6th of July, with his intimate and contemplative style. "Something about, posters found in the street, Art, community, Berliner Dome, Turkish neighbourhood and GG Allin…But, you had better not to come, since it doesn't seem interesting."<br /> <br /> "I'm not here to give a performance, I'm here to teach you a lesson!" On July 13th, Martin Skauen (Norway, 1975) will present Slideshow Johnny. ‘Slideshow Johnny’ is a portrait of an experimental outsider artist, dedicated to the bone, and highly influenced by personal issues.' (Laura Bartlett, 2012).<br /> <br /> The following week, Suchan Kinoshita (Japan, 1960) and Inga Krüger (Deutschland, 1988) will enact 'Zu zweit - zu Tisch', a live transmission with a table, storage, several shelves, two players, a stranger, a helper and a projection.<br /> <br /> Finally, Paul Haworth, author, rapper and poet (UK, 1982) will present 'Karaoke' a smoky variety pack of poems, videos and drama. Haworth tells the truth, the whole glorious truth.<br /> <br /> We look forward to seeing you.<br /> <br /> Performers:<br /> July 6. Christophe de Rohan Chabot<br /> July 13. Martin Skauen<br /> July 20. Suchan Kinoshita with Inga Krüger<br /> July 27. Paul Haworth<br /> <br /> From 8pm at<br /> Chert<br /> Skalitzerstr. 68<br /> 10997 Berlin<br /></p> Wed, 03 Jul 2013 22:14:27 +0000 Kim Sang-Yeon - Galerie Michael Schultz - July 6th, 2013 7:00 PM - 9:00 PM <p class="rtejustify" style="text-align: justify;"><span style="font-size: small;">Mit Fl&uuml;geln versehene Fabeltiere, vermutlich eine Rinderherde, die aus Holz geschnitzt und mit asiatischem Lack bemalt ist, schwebt schwerelos durch den Raum. Der koreanische K&uuml;nstler Kim Sang-Yeon hat diese in seinem, mitten in der Natur gelegenen, Atelier geschaffen und verbindet mit den Kreaturen seine Wahrnehmungen au&szlig;erhalb des Studios mit denen, die er innerhalb des Studios erlebt. Das Fabelwesen k&ouml;nnte eine Mischung zwischen den vor dem Atelier weidenden Rindern sein und den im Geb&auml;ude mitlebenden Flederm&auml;usen. Von beiden gibt es Unmengen in seiner unmittelbaren Umgebung.&nbsp;</span></p> <div class="fieldset-wrapper"> <div class="field field-name-body field-type-text-with-summary field-label-hidden"> <div class="field-items"> <div class="field-item even"> <p class="rtejustify" style="text-align: justify;"><span style="font-size: small;">Der Titel der Ausstellung <em>Disentanglement</em> bedeutet w&ouml;rtlich &uuml;bersetzt <em>Befreiung, Entwirrung</em>; symbolisch stehen die gefl&uuml;gelten Rinder f&uuml;r die L&ouml;sung von Problemen, die Erringung von Emanzipation und Freiheit. Rinder wurden seit der Jungsteinzeit zun&auml;chst wegen ihres Fleisches, sp&auml;ter auch&nbsp;&nbsp; wegen ihrer Milch und Leistung als Zugtier domestiziert. Sie galten als dem Menschen wohlgesinnte Tiere und erschienen so auch in Mythen, Legenden und M&auml;rchen. Ihre Bedeutung hat sich in der kapitalistischen Gesellschaft ge&auml;ndert. Sie werden jetzt nur noch als Lebensmittel- und Lederlieferanten angesehen. Kim Sang-Yeon zitiert in seiner Kunst den urspr&uuml;nglichen Stellenwert des Viehs. Unsere heutige Gesellschaft ist gekennzeichnet durch Konflikte, Spannungen und extremen Individualismus. Die Fledermaus, und darauf kommt es ihm an, hat trotz ihrer verborgenen Existenz, eine gr&ouml;&szlig;ere Freiheit in unserem Universum. Mit seiner Mischung will der K&uuml;nstler zeigen, dass die naive, ehrliche Herangehensweise der Tiere eine Methode f&uuml;r den Menschen sein k&ouml;nnte, Probleme der Gesellschaft zu l&ouml;sen.</span></p> <p class="rtejustify" style="text-align: justify;"><span style="font-size: small;">Als Erg&auml;nzung zur raumgreifenden Installation wird in der Ausstellung Malerei aus seiner aktuellen Produktion gezeigt. Auch in dieser verfolgt er die Sehnsucht nach einem stressfreien Leben in der Natur.</span></p> <p class="rtejustify" style="text-align: justify;"><span style="font-size: small;">Kim Sang-Yeon studierte westliche Malerei an der Chonnam National University, Gwangju und besuchte die Graduiertenschule an der Central Academy of Fine Arts, Beijing. Bereits 2006 nahm er an der bedeutenden Gwangju Biennale teil.</span></p> </div> </div> </div> </div> Sat, 06 Jul 2013 17:44:21 +0000 Rebecca Raue - Galerie Michael Schultz - July 6th, 2013 7:00 PM - 9:00 PM <div class="fieldset-wrapper"> <div class="field field-name-body field-type-text-with-summary field-label-hidden"> <div class="field-items"> <div class="field-item even"> <p class="rtejustify">&nbsp;</p> <div class="fieldset-wrapper"> <div class="field field-name-body field-type-text-with-summary field-label-hidden"> <div class="field-items"> <div class="field-item even"> <p class="rtejustify">The body became space: K&ouml;rper und Raum stehen sich schon im Titel gegen&uuml;ber. Nach ihrer Performance &sbquo;<em>Nachts v&ouml;geln Engel</em>&rsquo; (2002) und der Einzelausstellung &sbquo;<em>wanting the real</em>&rsquo; (2011) verwandelt Rebecca Raue in ihrer aktuellen Ausstellung bei schultz contemporary den Galerieraum in ein begehbares Kunstwerk.</p> <p class="rtejustify">Die Berliner K&uuml;nstlerin macht im Rundumbild den Bildraum zum Raumbild. Sie l&ouml;st dabei die Begrenzung der klassischen Tafelmalerei auf und thematisiert die Schwere als K&ouml;rper im Kontrast zur Leichtigkeit des Himmels. Dieser f&uuml;r die Ausstellung neu geschaffene Zyklus untersucht das Undefinierte der Idee von Himmel / Erde und deren Formbarkeit; sie l&auml;&szlig;t den Himmel als Raum zu und bezieht uns ein als Teil dieses Raums.</p> <p class="rtejustify">Rebecca Raue nimmt in ihrer Installation den Aspekt des Panoramabildes auf und verzichtet dabei auf &uuml;bliche reale oder perspektivische Darstellung. Den Horizont bestimmt hier das Bild selbst, und die verschiedenen Ebenen im Raum beinhalten in diesem Werk mehrere sich &uuml;berlagernde Narrationen. Auf den Wandf&uuml;llenden Holztafeln kontrastiert sie &Uuml;berlagerungen von Sichtbarem und Gespiegeltem mit der Realit&auml;t, &bdquo;um so die Transformation des Sichtbaren zu bewirken&ldquo;, sagt die K&uuml;nstlerin. Die f&uuml;r ihre Malerei charakteristische Verwendung von handschriftlichen Elementen bietet auch im Rundumblick auf <em>The body became space</em> Stichworte an, er&ouml;ffnet Wortspiele und er&ouml;ffnet Dialoge &uuml;ber verschiede Ebenen von Wahrnehmung. Die mit Buntstift oder Kohle in die Bildfl&auml;chen gesetzten Worte und Satzteile verst&auml;rken noch den palimpsestartigen Eindruck und die bruchst&uuml;ckhafte Botschaft im Gem&auml;lde.</p> <p class="rtejustify">Sie sp&uuml;rt der K&ouml;rperlichkeit von Farbe nach und erreicht hier ihre Sehnsucht, diese Wahrnehmung in Bezug zum Raum entstehen zu lassen. In Referenz zu einer fr&uuml;heren Performance zu Stillstand / Gehen beim Pilgern nach Santiago (2001, <em>Ankommen</em>) schafft sich Rebecca Raue aber in der Erweiterung von Bildbegriff und Themenkomplexen hier nun ihren eigenen Raum und definiert ihn als k&ouml;rperliches Erlebnis.</p> </div> </div> </div> </div> <p class="rtejustify">&nbsp;</p> </div> </div> </div> </div> Wed, 26 Jun 2013 02:23:24 +0000 Marck, Sebastian Mögelin, Herbert Tilly, Feng Lu, Selma Deverim, Kai Hellbardt, Dode - Woeske Gallery - July 6th, 2013 7:00 PM - 11:00 PM <p>The Woeske Gallery Berlin cordially invites you and your friends to the grand opening. The move to Charlottenburg is completed, the new space is ready and art is hanging on the walls. On 1800 sq.ft. we will show a selection of recent works by young artists in a curated group exhibition.</p> Mon, 08 Jul 2013 07:58:03 +0000 Christine Schulz - Deutscher Künstlerbund, Projektraum - July 11th, 2013 7:00 PM - 9:00 PM <p>&Uuml;ber das unermesslich weite Reich und all jene &raquo;unsichtbaren St&auml;dte&laquo;, von denen Italo Calvino in seinem gleichnamigen Erz&auml;hlband den ber&uuml;hmten Reisenden Marco Polo berichten l&auml;sst, herrscht Kublai Khan. Wegen seiner Regierungsgesch&auml;fte unabk&ouml;mmlich hei&szlig;t Herrschaft f&uuml;r ihn, blind zu sein f&uuml;r das Beherrschte. Marco Polo wird zu seinem Auge, durch das er erblickt, was ihm selbst niemals begegnen wird. Heute w&uuml;rde der gro&szlig;e Khan nicht l&auml;nger den Erz&auml;hlungen eines Reisenden lauschen, sondern die f&uuml;r ihn k&ouml;rperlich unerreichbaren Landschaften seines Reiches auf den virtuellen Wegen der weltumspannenden Kommunikationsnetzwerke durchqueren. Zwischen den eigenen Erinnerungen und denen anderer w&uuml;sste er immer noch nicht zu unterscheiden. <br /><br />Christine Schulz &ouml;ffnet mit ihren ineinander und im Raum verschr&auml;nkten multimedialen Projektionen Erinnerungslandschaften, deren assoziativ verkn&uuml;pftes Bildmaterial sich zu raumzeitlich verr&uuml;ckten Welt-Bildern f&uuml;gt. Ihre f&uuml;r den Projektraum des Deutschen K&uuml;nstlerbundes entwickelte Installation &raquo;memories of future desires&laquo; ist eine Zusammenstellung von ausgew&auml;hlten Einzelwerken aus dem Werk-Archiv &raquo;Godspeed&laquo;. Dieser Bildfundus spricht auch von der Allgegenwart touristisch aufbereiteter Stadtansichten und mit Fotoapparaten eingefangener Momente des Da-Gewesen-Seins, die als ortlose und endlos wiederholte Panoramen auf Plakatw&auml;nden und Multimedia-Screens ebenso wie auf Handy- und Computer-Bildschirmen erscheinen. Solche Bilder beschreiben Orte, an denen man gerade nicht ist, als diejenigen, an denen man gerade sein sollte &ndash; um dort wiederum Bilder zu erzeugen, die, via Mobiltelefon und Internet herumgereicht, von vor&uuml;bergehender Anwesenheit ebenso wie von vor&uuml;bergehender Abwesenheit zeugen. <br /><br />Christine Schulz verstrickt immaterielle Projektionen in assoziative Bedeutungszusammenh&auml;nge. Geradezu bildhauerisch werden diese geisterhaften Bildschatten im Raum aufgefaltet, verzerrt, verschr&auml;nkt und teilweise unsichtbar, um an anderer Stelle als &Uuml;berlagerung auf ein anderes Motiv zu treffen. <br /><br />Nur am Abend der Vernissage &ouml;ffnet sich diese in den Raum gebaute Welterkundung einer Begehung. Ansonsten zeigt sie sich dem Passanten, im Wechsel zwischen Tag- und Nachtansicht, hinter den Scheiben der Schaufenster: Unerreichbar zwar, aber offen f&uuml;r den neugierigen Blick, der &ndash; sich an nie Gesehenes erinnernd &ndash; das unterbrochene Bild &uuml;ber Verschattungen und Leerstellen hinweg erg&auml;nzt.</p> <p><span class="schwarz11height17">Eine durch die Schaufenster einsehbare Multimedia-Installation- Projektionszeiten: Dienstag bis Freitag sowie am Sonnabend und Sonntag 21./22.09.2013 | 14:00 &ndash; 23:00 Uhr</span></p> Wed, 26 Jun 2013 02:46:41 +0000 Group Show - EIGEN + ART Lab - July 11th, 2013 7:00 PM - 9:00 PM <p>Diesen Sommer zeigen die Galerie EIGEN + ART Berlin und das EIGEN + ART Lab die Ausstellungen <em>on paper</em>. Vom 11. Juli bis zum 10. August in der Galerie und bis zum 24. August im Lab werden Zeichnungen, Aquarelle, Collagen und Faltungen gezeigt und r&uuml;cken das Medium Papier in den Mittelpunkt zeitgen&ouml;ssischer Praxis. Dabei zeigen die verschiedenen konzeptionellen und verarbeitungstechnischen Herangehensweisen der beteiligten K&uuml;nstler, dass Papier nicht nur als Tr&auml;ger f&uuml;r Skizzen und Ideensammlungen dient, sondern ein wichtiger Bestandteil der k&uuml;nstlerischen Arbeit ist. Ein Start und Ausgangspunkt f&uuml;r Ideen und Visionen.</p> Wed, 10 Jul 2013 18:48:19 +0000 Group Show - Galerie EIGEN + ART (Berlin) - July 11th, 2013 7:00 PM - 9:00 PM <p>Diesen Sommer zeigen die Galerie EIGEN + ART Berlin und das EIGEN + ART Lab die Ausstellungen <em>on paper</em>. Vom 11. Juli bis zum 10. August in der Galerie und bis zum 24. August im Lab werden Zeichnungen, Aquarelle, Collagen und Faltungen gezeigt und r&uuml;cken das Medium Papier in den Mittelpunkt zeitgen&ouml;ssischer Praxis. Dabei zeigen die verschiedenen konzeptionellen und verarbeitungstechnischen Herangehensweisen der beteiligten K&uuml;nstler, dass Papier nicht nur als Tr&auml;ger f&uuml;r Skizzen und Ideensammlungen dient, sondern ein wichtiger Bestandteil der k&uuml;nstlerischen Arbeit ist. Ein Start und Ausgangspunkt f&uuml;r Ideen und Visionen.</p> <p><strong>&nbsp;</strong></p> Tue, 09 Jul 2013 23:32:19 +0000 - C/O Berlin - July 12th, 2013 7:00 PM - 9:00 PM <p>From <strong>13 July to 15 September 2013</strong>, <strong>C/O Berlin</strong> will present the open-air exhibition <strong>Bourgeoisie, Swing and Molotov Cocktails</strong> with photography on the theme of <strong>Amerika Haus through the ages</strong>. The <strong>opening</strong> will take place on <strong>Friday 12 July 2013, at 7pm</strong> in front of the <strong>Amerika Haus</strong> in the <strong>Hardenbergstraße 22-24</strong>, 10623 Berlin.</p> <p>Millions of Berlin residents sought information in the library or at the screenings. Robert Kennedy, Richard Nixon and Willy Brandt visited. Eggs and Molotov cocktails were thrown at the building and it was secured with barbed wire. Lyonel Feininger, Robert Rauschenberg and Gordon Parks exhibited their works here – the Amerika Haus in Berlin is much more just than an architectural treasure from the 1950s.</p> <p>The changeful history of the twentieth century is reflected in the immediate vicinity. Until 1945, the area in the Hardenbergstraße accommodated a Prussian officer's club, a wild amusement boulevard and gloomy exhibitions of National Socialist art. Following the Second World War, the light-flooded, filigree Amerika Haus was for 50 years a point of divergence for cultural and political discussions and international controversy between peaceful re-education, western propaganda and fervid anti-American sentiments. In the exhibition showing historical photographs, C/O Berlin will for the first time document the location and its environment, which has undergone rapid changes overs the last 150 years – a local urbanization that is also symbolic of the developments in Berlin as a whole.</p> <p>First came the animals – in 1844 the Zoologischer Garten (Berlin Zoological Garden) was opened at the edge of the Tiergarten park and initially extended as far as the Hardenbergstraße. In the 1870s, work began on the construction of the city railway and in 1884 the station Bahnhof Zoo was opened. This made the neighbourhood appealing for a wide range of different new user groups on a long-term basis. On the site where the Amerika Haus would later stand, a master builder and an investor built a baroque villa. In addition, the area was enhanced by middle-class amusements such as a riding hall, a theme-based exhibition, a triumphal arch, panorama views and a skating rink. In 1899, modern art came to Charlottenburg. The art association "Berliner Secession", which included Max Liebermann, Max Slevogt and Lovis Corinth, moved into a building next to what is today the Theater des Westens (Theatre of the West).</p> <p>After the First World War, the villa was sold to an officer's association. The Hardenbergstraße did not remain just a residential street – it became livelier and more urban. Amusement, bars and night-life were the way of the future. In 1926, the officer association building was renamed and became a cabaret and dance venue, "Villa d'Este". In the golden twenties, on the site where the Amerika Haus was later built, the Berlin residents danced to their heart's content. In the 1940s, there was Nazi art instead of swing music and the "Berliner Kunsthalle" (Berlin Art Exhibition Hall) was built. At least ten exhibitions of Nazi art were held here – photography from Mussolini's Italy, Croatian photographic art and large portraits of political greats from the Third Reich, taken by Hitler's personal photographer Walter Frentz.</p> <p>At the end of the war, the villa d'Este was destroyed, together with the Kunsthalle. At the beginning of the 1950s, US allies discussed the idea of building Amerika Haus on this site – to intentionally provide a counterbalance to the location's Nationalist Socialist past. Initially, Walter Gropius was to design it, however he withdrew due to financial disagreements. As a result, the contract was awarded to the Berlin architect Bruno Grimmek, who had already built the Marshall Haus by the trade fair. Since 1957, Amerika Haus has housed a library specializing in US literature and magazines and has offered an extensive cultural programme including films, theatre, English courses and concerts. In the beginning, it was also a place for the re-education of the Germans during the time of the Berlin wall, and an institution for anti-communist propaganda, and since the 1970s it has increasingly become an ordinary, regionally-orientated cultural centre.</p> <p>At the end of the 1950s, Amerika Haus attracted more public attention, as the protests against the "American Imperialism" began here with demonstrations by the FDJ (Freie Deutsche Jugend, an organization for teenagers in the GDR). In 1966, the first anti-Vietnam demonstration headed for the building. For the first time, eggs were thrown at the façade – at later demonstrations it was stones and incendiary devices. The student demonstrations were followed by letters of apology by the rector of the Freie Universität to the US citizens and counter-demonstrations by the CDU. In the course of the anti-American protests since the 1960s and following the terror attacks on 11th September, Amerika Haus closed itself off more and more, becoming a fortress. US institutions increased their security measures to such an extent that only invited guests could visit the building – behind high fences, with rolling grilles in front of the windows and security doors. At the latest when the new American embassy opened at Brandenburger Tor and the ownership of the property was transferred to the state of Berlin in 2006, Amerika Haus fell into a deep slumber.</p> <p>Amerika Haus is currently being carefully renovated. The opening of the building is planned for spring 2014. <strong>C/O Berlin will present the first exhibitions as early as summer 2013 – while the building is still being refurbished. However, not in the Amerika Haus building itself, but open-air, in front of the building.</strong> 24 hours a day, seven days per week and accessible to everyone free of charge. In the upcoming months, on a large number of columns, C/O Berlin will present photographs that deal with the theme of the new location, the surrounding environment and the neighbours – a visual intermezzo that will last until the building is reopened.</p> Wed, 29 May 2013 00:27:10 +0000