Guest curator Arne Reimann shows two artistic positions that interact with the gallery space\, the first on a sculptural level\, the se cond on a pictorial one. Whilst the two artists&rsquo\; approach to their r espective subject matter differs greatly at first sight\, one senses a shar ed interest in blurring formal and iconographic information in their work. Despite their abstract appearance\, the starting point for both Thomas Muse hold&rsquo\;s (*1982) and Markus Saile&rsquo\;s (*1981) drawings\, sculptur es and paintings remains the figure.

Thomas Musehold&rsquo\;s s culptural work draws on found objects which he uses as a visual aid and tur ns into sculpture. He analyses and processes these objects\; visually throu gh drawings and formally by modifying them by hand or through chemical trea tments. For instance\, he employs sculptures made of carved wood which ofte n exhibit pastoral or religious motifs and were commonly found in bourgeois sitting rooms of the 1950s. He also works with objects found in nature suc h as archaic-looking cones or undated glass.

These objects serve as a starting point for further investigation\; Musehold begins to chip aw ay at sections\, to enter into the material\, to shape\, to carve and to cu t\, to form and to cast it. He highlights these newly found forms by finish ing the surface in a way that corresponds to the individual object\, using commonplace procedures such as shellac polishing or flip flop varnish.

The presentational structures specially developed by Musehold echo the gallery&rsquo\;s architecture\, adapting to the reflective surfaces of the space as well as relating to Markus Saile&rsquo\;s paintings hanging on the walls.

Saile&rsquo\;s painterly work contains traces of th e object and clear formal brushstrokes that\, however\, virtually dissolve in the multiple transparent layers of pigment on the canvas\, interacting c ontinually with shades of light and tonal values. Only rarely can the lands capes\, spatial relations and half-remembered forms be descried in between the layers. Every greatly diluted layer of paint is followed by a process o f washing out\, overlapping\, erasing and amassing. The chalk gesso that Sa ile employs has a long tradition in art history\; indeed\, it is the oldest and most durable priming technique and has been used for over 1000 years. It also possesses a certain luminosity as the colour is absorbed by the bas e\, thus supporting the artist&rsquo\;s glazing process. The colours used a lso have historical connotations\, recalling the scarlet hues of the sovere igns of historical paintings.

The paintings do not have a flat s urface\, however\; the pearls\, ridges and welts created by the gesso and t he subsequent layers of colour make the works expand into space\, confirmin g their status as objects and linking them back to Musehold&rsquo\;s sculpt ures which\, in turn\, are presented in an installation-like manner.
< br />In the process-oriented development of Musehold and Saile&rsquo\;s wor ks\, the information necessary to decode motifs is largely lost\, whittled down\, eroded. It is only in the tactile qualities of both the sculptures&r squo\; and the paintings&rsquo\; surfaces that the remaining traces are sti ll tangible\, piquing the curiosity of the viewer.

The title of the show &ndash\; corraxoma &ndash\; gives expression to both artists&rsqu o\; practices\, linking chance\, deterioration and analytical interest. The artificial word is composed of &ldquo\;corrasion&rdquo\;\, a geomorphologi cal term for the process of the mechanical erosion of the earth&rsquo\;s su rface through wind and rain\, and &ldquo\;xoma&rdquo\; which references alc hemistical components in a pseudoscientific way.

DTEND:20150808 DTSTAMP:20150707T002418 DTSTART:20150702 GEO:52.51031;13.39773 LOCATION:Galerie Koal\,Leipziger Strasse 47 \nBerlin\, 10117 SEQUENCE:0 SUMMARY:corraxoma\, THOMAS MUSEHOLD / MARKUS SAILE UID:388979 END:VEVENT BEGIN:VEVENT DESCRIPTION:

KÖ\;NIG GALERIE is pleased to present new works by Johannes Wohnseifer in the Chapel of the former St . Agnes Church. Two new series of pictures are on view in the downstairs ga llery\, the erstwhile St. Mary&rsquo\;s Chapel. Very different in facture\, the two series are nonetheless closely related on the level of content.

The six-part Colony Collapse Disorder explicitly addresses the e pidemic of beehives dying out. The words MONEY\, HONEY\, MOMONEY\, MOHONEY\ , LOTSOFMONEY\, and LOTSOFHONEY appear in the pictures\; rather than being painted into them\, they were generated by removing paint by means of laser marking. Each picture is composed of a variety of materials such as canvas \, felt\, and printed fabrics and held by a stainless-steel frame whose int erior faces are mirror-polished to reveal the picture&rsquo\;s painted edge s. These frames prominently delimit the pictures\, some of which recognizab ly allude to landscapes\, horizons\, and seascapes\, while others demonstra tively elaborate on the words.

The three pictures in the Megay acht Paintings consist of powder-coated aluminum profiles. Their overall lo ok plays on the design of the enormous luxury yachts that cruise the Medite rranean Sea in the summer months and put in at exclusive coastal resorts. I n the past several years\, Johannes Wohnseifer has often resorted to the mo de of industrial painting\, usually selecting powder-coated aluminum elemen ts\, as in the Lightweight paintings (2005&ndash\;)\, the Beyoncé\; p ictures (2007&ndash\;2009)\, Close Call (2008)\, the Container pictures (20 08&ndash\;)\, Shutter Stutter (2009)\, and the Nisennenmondai series (2015& ndash\;). He uses these industrially manufactured elements without reworkin g them\, but combines them with wall paintings\, prints\, or pictures on ca nvas. In this instance\, they appear in isolation\, forming schematic profi les of the ships. Austerely formalist\, the pictures deliberately mimic lux urious minimalist design and may be read both as scale models of the origin als and as templates for large-format paintings.

Johann es Wohnseifer (*1967) lives and works in Erfstadt\, North Rhine-Westphalia. His recent exhibitions include (un)mö\;glich at Marta Herford\, Indivi dual Stories at Kunsthalle Wien and All the World's A Stage at Gö\;tz C ollection\, Barcelona. In September\, Johannes will have a solo show at Par khaus Malkastenpark\, Dü\;sseldorf. Works by Wohnseifer are part of pro minent collections\, such as Boros Collection\, Harald Falckenberg\, Susan and Michael Hort\, Saatchi and Julia Stoschek.




KÖ\;NIG GALERIE freut sich\, in der Kapelle der St.-Agnes-Kirche neue Arbeiten von Johannes Wohnseifer zu prä\;sentieren. Im unteren Ausstellungsraum\, d er ehemaligen Marienkapelle\, sind zwei neue Bilderserien zu sehen. Beide B ilderserien sind sehr unterschiedlich in ihrer jeweiligen Herstellungsweise \, stehen aber in einem direkten inhaltlichen Zusammenhang.

I n der sechsteiligen Serie Colony Collapse Disorder wird explizit das Sterbe n von Bienenvö\;lkern aufgegriffen. Die Worte MONEY\, HONEY\, MOMONEY\, MOHONEY\, LOTSOFMONEY und LOTSOFHONEY sind auf den Bildern zu lesen. Diese Worte sind nicht auf die Bilder gemalt\, sondern durch die Wegnahme von Fa rbe mittels einer Lasergravur erzeugt worden. Alle Bilder sind aus untersch iedlichen Materialien wie Leinwand\, Filz und bedruckten Stoffen zusammenge setzt. Sie sind jeweils von einem Edelstahlrahmen umgeben\, dessen spiegelp olierte Seite nach innen zeigt\, so dass die bemalten Seiten der Bilder sic htbar werden. Durch diese Form der Rahmung werden die Bilder markant begren zt. Bei einigen Bildern ergeben sich deutliche Anspielungen auf Landschafte n\, Horizont und Meeresblicke\, andere verarbeiten demonstrativ die Worte.

Die drei Bilder der Serie Megayacht-Paintings sind aus pulver beschichteten Aluminiumprofilen zusammengesetzt. Ä\;uß\;erlich gre ifen sie die Gestaltung von riesigen Luxusyachten auf\, die im Sommer im Mi ttelmeer kreuzen oder an exklusiven Badeorten sichtbar sind. Johannes Wohns eifer wä\;hlt seit mehreren Jahren in seiner Arbeit immer wieder den Mo dus einer industriellen Malerei. Hierfü\;r verwendet er meist pulverbes chichtete Aluminiumelemente\, wie z.B. in der Serie der Lightweight-Paintin gs (2005&ndash\;)\, den Beyoncé\;-Bildern (2007&ndash\;2009)\, Close Call (2008)\, den Container-Bildern (2008&ndash\;)\, Shutter Stutter (2009) und der Nisennenmondai-Serie (2015&ndash\;). Die industriell gefertigten B ildelemente werden ohne weitere Ü\;berarbeitung eingesetzt\, aber mit W andmalerei\, Drucken oder Leinwandbildern kombiniert. In diesem Fall stehen die Elemente fü\;r sich und bilden schematische Profile der Schiffe ab . In ihrer formalen Reduktion bedienen sich diese Bilder bewusst eines luxu riö\;s\, minimalistischen Gestaltungsprinzips und kö\;nnen sowohl a ls modellartige Darstellung ihrer Vorbilder wie als Muster fü\;r gro&sz lig\;formatige Malerei verstanden werden.

Johannes Wohnseifer (*1967) lebt und arbeitet in Erfstadt. Zu seinen Ausstellungen in diesem J ahr zä\;hlten (un)mö\;glich im Marta Herford\, Individual Stories i n der Kunsthalle Wien und All the World's A Stage der Sammlung Gö\;tz i n Barcelona. Im September diesen Jahres erö\;ffnet er eine Einzelausste llung im Parkhaus im Malkastenpark\, Dü\;sseldorf. Werke von Wohnseifer befinden sich in den Sammlungen Boros\, Harald Falckenberg\, Susan und Mic hael Hort\, Saatchi und Julia Stoschek.

DTEND:20150705 DTSTAMP:20150707T002418 DTSTART:20150605 GEO:52.50073;13.40052 LOCATION:Johann König\, St. Agnes\,Alexandrinnenstr. 118 - 121 \nBerlin\, 1 0969 SEQUENCE:0 SUMMARY:Honey and Money\, Johannes Wohnseifer UID:388872 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150912 DTSTAMP:20150707T002418 DTSTART:20150804 GEO:52.5270315;13.3972275 LOCATION:Galerie EIGEN + ART (Berlin)\,Auguststrasse 26 D - 10117\nBerlin\ , SEQUENCE:0 SUMMARY:Summer Group Show UID:388871 END:VEVENT BEGIN:VEVENT DTEND:20150804T200000 DTSTAMP:20150707T002418 DTSTART:20150804T180000 GEO:52.5270315;13.3972275 LOCATION:Galerie EIGEN + ART (Berlin)\,Auguststrasse 26 D - 10117\nBerlin\ , SEQUENCE:0 SUMMARY:Summer Group Show UID:388873 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Confrontation and transgressio n are important elements for many contemporary artists who\, by basing thei r work on this conflict\, end up bringing to it a belligerent static connot ation. This happens in ways that are abrupt at times\, and imposing at othe rs\, carrying an infinite range of premises for them to affirm themselves i n the world. As such\, creation takes shape according to aesthetic as well as moral questions\, germinating an identity enclosed in its own narrative and thus depriving us of the wonders of contact with the range of artistic thought. \;


These are the binds\, which Paulo Nazareth\, in his inside-out logic\, breaks from his interpret ation of stories he comes across along his path. He objectifies a social co nnection through which he subtly reorganizes the time of things by contempl ation. This\, perhaps the most important element in his creation\, is what actually forms the cognitive meaning that elevates him above the dissonance and affirms himself on a spiritual platform capable of giving birth to his ideas. Nazareth's connections are based in a realm of mutual transparency\ , where a kind of radar that captures our indifference\, points us toward w hat we have forgotten along the way.


In the exhibition &ldquo\;Genocide in Americas\,&rdquo\; Paulo Nazareth sai ls across one of those rivers upon which we calmly lay forgetting about tim e and human tragedy. In his own way\, he lucidly condenses action and thoug ht\, narratively outlining the various models of genocide that have disgrac ed the history of the Americas. Day after day\, they consolidate themselves in paradoxical outlines. From the brutal extermination that came from colo nization\, to the enslavement of black Africans who forcibly taken to this new continent were robbed not only of their familial and spiritual ties\, b ut also of their basic humanity. These are themes of which Nazareth subtly reminds us along this tainted timeline.


His video works enable our senses to perceive the solitude and excruciat ing violence of modern cities in a kind of protest that reverberates in the silence but echoes in our souls. His objects are ordinarily organized on w hite paper\, which emanates lightness so we can see the richness of what in itially strikes as shabby. They make us reflect on the logic of the appropr iation of capital\, on an identity and culture that don't belong to us. A s imple empty plastic bag takes on new significance in the noble symbolism of the artist who seeks to reclaim the status of what was profaned for being formatted for the commercialization of a sacred symbolism. The crafting of these objects\, in the hands of the artist\, denote an agonizing and true s tudy whose objective is to find the most fitting reparation of damages.&nbs p\;


Nazareth also guides us across th e spectrum of these inheritances through his own clear investigation. He sp ans alarmingly inhumane statistics of the murders of black\, mixed race and indigenous people that have become routine in many countries in the Americ as\, and Brazil especially. Thus\, we focus on this country where police vi olence (the same as the &ldquo\;Capitã\;es-do-mato&rdquo\;1) is sanctioned by an elite who gives carte blanche for the annihilation o f marginalized peoples. In an unique informative process\, the artist often comically portrays the paths of a culture that leads to caricature. \;


Like a declaration of the purity of his spirit\, Nazareth strives for the transmutation of dense energies\, pro viding them with a lyrical quality. This is perhaps reflected by his nomina tion as high priest\, responsible for transmitting the oral culture of the Guarani-Kaiowa People The indigenous people who were in Venice in 2013 repr esenting the artist in his installation\, were in no way\, simple ornaments &ndash\; or elements of performance &ndash\; as they were constantly descr ibed. First and foremost\, Valdomiro Flores and Genito Gomes are human bein gs who went there to recount their history to passersby. A very respectful and genuine exchange\, for Valdomiro &ndash\; who is a spiritual\, religiou s and philosophical leader &ndash\; knew that by leaving his land\, sanctif ied by his ancestors\, he would be open to constructing a new perspective o f the world. Nazareth makes us understand that both sides deserve respect. This wisdom\, typical of those who recognize ancestry as a fundamental base for ethnic&rsquo\;s survival\, is explored in the dialogue. \;


The exhibition Genocide in Americas intends to produce parallel sensations to what happened in Venice\, but in a way that viewers make contact with new perspectives. In order for them t o be understood\, it is necessary to approach the contemplative dimension i n which Paulo has reconstituted his oral and visual tradition. In this reco nstitution we identify with the features and tranquility loaded with the si lence and signs of a mother in her fruitless search for meaning in the loss of her child\, abducted by the Guatemalan army. In this report there is a lamentation\, which\, if it does not paralyze us\, impels us to take a posi tion and\, at this point\, find the key to a passage that was never hidden. By granting us access to his research\, he kindly guides us toward an esse nce that is analogous to his ancestors and takes us to another level.


Paulo Nazareth is first and foremost an in tellectual who demystifies the methods of European acculturation that has e dited his culture and the education of his peers. The abstract networks by which he softly advances with bare feet\, provide the foundation for the ba ses of his academic thought. A dense penetration of the realms of his exhib ition allows us to go a bit further in our own failings. Whether through th e knowledge of history\, or the identification with a struggle that is\, ab ove all\, human in the broadest sense that this term could possibly embody.  \;


1Capitã\;o-do-mato: literally &ldquo\;captain of the fo rest\,&rdquo\; a term used in colonial Brazil for the leaders of special mi litias. They were recruited from among the slaves and/or village inhabitant s familiar with the trails of the forest. Their mission was to capture runa way slaves or suppress indigenous uprisings\, provoked by the arrival of wh ite colonists occupying the villages. They were usually black or of mixed r ace\, but lost touch with their racial identity from spending so much time with the slave owners\, even seeing themselves as white (unlike their peers ) and part of the ruling class.

DTEND:20150808 DTSTAMP:20150707T002418 DTSTART:20150707 GEO:52.50235;13.39078 LOCATION:Meyer Riegger\,Friedrichstr 235 \nBerlin\, SEQUENCE:0 SUMMARY:Genocide in Americas\, Paulo Nazareth UID:388869 END:VEVENT BEGIN:VEVENT DTEND:20150704T210000 DTSTAMP:20150707T002418 DTSTART:20150704T180000 GEO:52.50235;13.39078 LOCATION:Meyer Riegger\,Friedrichstr 235 \nBerlin\, SEQUENCE:0 SUMMARY:Genocide in Americas\, Paulo Nazareth UID:388870 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150912 DTSTAMP:20150707T002418 DTSTART:20150627 GEO:52.50447;13.31896 LOCATION:Galerie Volker Diehl\,Niebuhrstrasse 2 \nBerlin\, 10629 SEQUENCE:0 SUMMARY:Das Wohltemperierte Barock\, Constantin Flondor UID:388868 END:VEVENT BEGIN:VEVENT DESCRIPTION:

In 2010 My Lonely Days Are Gone brought together ten contemporary artists to explore the potenti al of a given physical space to generate wall works that commented on the r ole of \;abstraction.

Part 2 of My Lonely Days Are Gone< /em> continues to explore the connection among edge to edge images and the ready-made architectural set-up of the space. Each of the commissioned work s in this exhibition focuses on a number of approaches to painting\, drawin g\, collaging and printing. These non-permanent\, site specific pieces juxt apose\, at times\, several techniques to probe the impact of specific inter ventions interacting with each other and within the space.

In re thinking the usual passive role of the wall as an area where to hang works\ , the artists have created artworks exclusively for each of the public wall s as well as the floor of the gallery. My Lonely Days Are Gone \;Pa rt 2 proposes both an active dialogue among the pieces and a special a wareness of architecture as a receptacle for temporary images.

F rom its inception abstraction has had many meanings. Its history\, ramifica tions and impact on our visual culture are still essential to contemporary art and artists. In this exhibition an emphasis on nonfigurative works cons iders the efficacy and potential of the practice of abstraction\, and its c omplex relation between its autonomy and interdependency with references in the world. The differences between abstraction and figurative art are toda y less defined\, more fragmented\, openly cross- contaminated. It is precis ely this pliable language that informs the exhibition allowing representati onal\, theoretical and abstract pictorial strategies to be juxtaposed in in terconnected ways. In this age of fundamental changes\, abstraction continu es to represent alternative sources and realities that address the visual i nvestigation and conceptual research of contemporary artists. An underlying temporality is part of My Lonely Days Are Gone\, as all works wil l be painted over after the exhibition ends.

DTEND:20150801 DTSTAMP:20150707T002418 DTSTART:20150703 GEO:52.5018305;13.3649248 LOCATION:Galerie Arratia Beer\,Potsdamer Str. 87 \nBerlin\, Berlin D 10785 SEQUENCE:0 SUMMARY:My Lonely Days Are Gone / Part 2\, Caroline Kryzecki\, Carla Arocha & Stéphane Schraenen\, Claudia Comte\, Friederike Feldmann\, Matt Mullican \, Christine Streuli\, Tatjana Doll\, Lily van der Stokker UID:388864 END:VEVENT BEGIN:VEVENT DTEND:20150702T210000 DTSTAMP:20150707T002418 DTSTART:20150702T180000 GEO:52.5018305;13.3649248 LOCATION:Galerie Arratia Beer\,Potsdamer Str. 87 \nBerlin\, Berlin D 10785 SEQUENCE:0 SUMMARY:My Lonely Days Are Gone / Part 2\, Claudia Comte\, Tatjana Doll\, F riederike Feldmann\, Caroline Kryzecki\, Matt Mullican\, Carla Arocha & Sté phane Schraenen\, Christine Streuli\, Lily van der Stokker UID:388865 END:VEVENT END:VCALENDAR