BEGIN:VCALENDAR VERSION:2.0 CALSCALE:GREGORIAN PRODID:iCalendar-Ruby VERSION:2.0 BEGIN:VEVENT DESCRIPTION:

The major series of eight paintings on show in the exhibitio n Window Shopping was made in 1996 during one of the most creative phases i n Martin Kippenberger&rsquo\;s life. That same year he also created two oth er series of paintings &ndash\; Jacqueline: The Paintings Pablo Couldn't Pa int Anymore and The Raft of Medusa.

Capitain Petzel is presentin g all the works in the series Window Shopping\, which has never before been shown in its entirety as a group.

Martin Kippenberger selected his source materials for Window Shopping from Flowers\, a set of fashion ph otographs shot by his wife Elfie Semotan for the French magazine View on Co lour. Unlike the two other series from 1996 &ndash\; Jacqueline and The Raf t of Medusa &ndash\; which are based on black-and-white photographs\, the W indow Shopping series was based on colour slides\, which inspired the artis t to paint in an often translucent and\, for him\, unusually colourful mann er. The idiosyncratic aesthetic of these motifs is taken to a particular ex treme in one painting: Kippenberger &lsquo\;removed&rsquo\; the chair from underneath one of the models (the style of the image is a homage to the roc k band &lsquo\;Leningrad Cowboys&rsquo\;) but makes up for it by adding a t hird leg. The only self-portrait in this series shows Martin Kippenberger w earing a dress by Issey Miyake. All these paintings were done in Martin Kip penberger&rsquo\;s studio in Burgenland\, Austria\, and were amongst the la st works he completed.

The eight paintings in this series &ndash \; plus an additional eight drawings &ndash\; were shown in January 1997 at Galerie Hubert Winter in Vienna as Window Shopping Until 2 a.m. Moreover p assers-by could see into a room in the gallery where each of the eight pain tings was displayed\, in succession\, for a few days\, along with all eight drawings presented on a shelf bought specifically for that purpose.
The order in which the paintings were shown was listed on the exhibition po ster\, designed by Martin Kippenberger. The image on the poster is a half-p ortrait of the artist\, recalling Elfie Semotan&rsquo\;s famous shot of the fashion icon\, Helmut Lang. The original fashion photographs by Elfie Semo tan &ndash\; from her series of Flowers &ndash\; complement the paintings a nd drawings in this exhibition.

The exhibition is accompanied b y the publication Martin Kippenberger. Window Shopping.


Pr ess Contact I Capitain Petzel
Svenja Schuhbauer I Telephone: +49 30 24 0 88130 I Email: schuhbauer@capitainpetzel.de
Opening hours: Tuesday-S aturday\, 11am - 6pm

DTEND:20141025 DTSTAMP:20140830T081202 DTSTART:20140917 GEO:52.51998;13.42534 LOCATION:Capitain Petzel\,Karl-Marx-Allee 45 \nBerlin\, 10178 SEQUENCE:0 SUMMARY:Window Shopping\, Martin Kippenberger UID:353666 END:VEVENT BEGIN:VEVENT DTEND:20140917T203000 DTSTAMP:20140830T081202 DTSTART:20140917T180000 GEO:52.51998;13.42534 LOCATION:Capitain Petzel\,Karl-Marx-Allee 45 \nBerlin\, 10178 SEQUENCE:0 SUMMARY:Window Shopping\, Martin Kippenberger UID:353667 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The major series of eight paintings on show in the exhibitio n Window Shopping was made in 1996 during one of the most creative phases i n Martin Kippenberger&rsquo\;s life. That same year he also created two oth er series of paintings &ndash\; Jacqueline: The Paintings Pablo Couldn't Pa int Anymore and The Raft of Medusa.

Capitain Petzel is presentin g all the works in the series Window Shopping\, which has never before been shown in its entirety as a group.

Martin Kippenberger selected his source materials for Window Shopping from Flowers\, a set of fashion ph otographs shot by his wife Elfie Semotan for the French magazine View on Co lour. Unlike the two other series from 1996 &ndash\; Jacqueline and The Raf t of Medusa &ndash\; which are based on black-and-white photographs\, the W indow Shopping series was based on colour slides\, which inspired the artis t to paint in an often translucent and\, for him\, unusually colourful mann er. The idiosyncratic aesthetic of these motifs is taken to a particular ex treme in one painting: Kippenberger &lsquo\;removed&rsquo\; the chair from underneath one of the models (the style of the image is a homage to the roc k band &lsquo\;Leningrad Cowboys&rsquo\;) but makes up for it by adding a t hird leg. The only self-portrait in this series shows Martin Kippenberger w earing a dress by Issey Miyake. All these paintings were done in Martin Kip penberger&rsquo\;s studio in Burgenland\, Austria\, and were amongst the la st works he completed.

The eight paintings in this series &ndash \; plus an additional eight drawings &ndash\; were shown in January 1997 at Galerie Hubert Winter in Vienna as Window Shopping Until 2 a.m. Moreover p assers-by could see into a room in the gallery where each of the eight pain tings was displayed\, in succession\, for a few days\, along with all eight drawings presented on a shelf bought specifically for that purpose.
The order in which the paintings were shown was listed on the exhibition po ster\, designed by Martin Kippenberger. The image on the poster is a half-p ortrait of the artist\, recalling Elfie Semotan&rsquo\;s famous shot of the fashion icon\, Helmut Lang. The original fashion photographs by Elfie Semo tan &ndash\; from her series of Flowers &ndash\; complement the paintings a nd drawings in this exhibition.

The exhibition is accompanied b y the publication Martin Kippenberger. Window Shopping.


Pr ess Contact I Capitain Petzel
Svenja Schuhbauer I Telephone: +49 30 24 0 88130 I Email: schuhbauer@capitainpetzel.de
Opening hours: Tuesday-S aturday\, 11am - 6pm

DTEND:20141025 DTSTAMP:20140830T081202 DTSTART:20140917 GEO:52.51998;13.42534 LOCATION:Capitain Petzel\,Karl-Marx-Allee 45 \nBerlin\, 10178 SEQUENCE:0 SUMMARY:Flowers\, Elfie Semotan UID:353662 END:VEVENT BEGIN:VEVENT DTEND:20140917T203000 DTSTAMP:20140830T081202 DTSTART:20140917T180000 GEO:52.51998;13.42534 LOCATION:Capitain Petzel\,Karl-Marx-Allee 45 \nBerlin\, 10178 SEQUENCE:0 SUMMARY:Flowers\, Elfie Semotan UID:353663 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Podbielski Contemporary presents for the second time the Isr aeli artist Ohad Matalon with his most recent project\, a series of images entitled Across a dark Land\, shown for the first time in Berlin. Ohad Matalon is one of the most acclaimed and respected Is raeli lens-based artists (http://theculturetrip.com). On this occasion Prof essor Martina Corgnati of the Accademia Albertina-Torino has written an in- depth essay.

\n

Ohad Matalon takes us into a Land of Darkness\, with n o people\, almost no life and no daylight. All that attracts the artist&rsq uo\;s attention are single buildings or structures\, even fragmented things \, sometimes isolated trees\, lonely and solitary. They seem to be leftover s of a disappeared world. A strangeness made stronger thanks to the night\, that is\, in itself\, a &ldquo\;different&rdquo\;\, meaningful dimension: beloved by Romantics and Surrealists\, the dark\, obscure night is a metaph or of perdition\, transgression and departure from reason. Choosing residua l elements\, abandoned in space in front of a vague\, open\, blurred and bo rderless horizon\, specifically shot at night\, Matalon doesn&rsquo\;t only force his viewer but also photography itself to face strangeness\, to be o ut\, excluded from a more typical and familiar dimension.

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So let&rs quo\;s get closer: we are\, clearly at least in some images\, in a war zone . Target ii\, Zeelim and A Safety Hou se\, Urim\, look like riddled buildings\; innumerable shots\, or blows\, pulled the plaster out\, wrecked the walls\, broke the partitio ns down. Even the war itself seems to have abandoned them. These images do not inform\, do not side with\, nor take a stand. The media world and the i nformation channels\, especially today\, are literally cannibalizing the Mi ddle East greedily waiting for an image that denounces\, blames\, and disti nguishes between good and bad.

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Ohad Matalon&rsquo\;s work generates questions and problems\, and distressing ones. It does not give any answer . His images undoubtedly portrait fragments of reality. So\, this is in fac t the reality of someone who lives on a bleeding border and is constantly u nder pressure or under attack.

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Matalon does not hide the political\ , military and even openly violent evocation that his subjects carry\, but nevertheless he bestows on them a very theatrical aura\, entirely artificia l\, that tackles the very nature of the photographic image. It is a fragmen t of reality but also a set\, a stage. Where are we? What do we want to be told? What are we looking for? Violence\, beauty\, history\, spectacularity ? Ohad Matalon&rsquo\;s images refer openly to the classic\, XVIII century aesthetic concept of sublime but they propose a new\, convincingly contempo rary version of it.
 \; The exhibition at Podbielski Contemporar y is part of the 6th European Month of Photography Berlin\, beginning on the 16th October &ndash\; on this occasion we will have a special event. Ohad Matalon exhibits his recent works in a solo show at the Tel Aviv Museum of Art in November 2014.< br />
(Text by Prof. Martina Corgnati\, edited by Martina Burgwinkel )

DTEND:20141115 DTSTAMP:20140830T081202 DTSTART:20140919 GEO:52.5278809;13.3984671 LOCATION:PODBIELSKI CONTEMPORARY\,KOPPENPLATZ 5 \nBERLIN\, D-10115 SEQUENCE:0 SUMMARY:Across a dark Land\, Ohad Matalon UID:353543 END:VEVENT BEGIN:VEVENT DTEND:20140918T210000 DTSTAMP:20140830T081202 DTSTART:20140918T190000 GEO:52.5278809;13.3984671 LOCATION:PODBIELSKI CONTEMPORARY\,KOPPENPLATZ 5 \nBERLIN\, D-10115 SEQUENCE:0 SUMMARY:Across a dark Land\, Ohad Matalon UID:353544 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Ein Projekt des Kunstraum Kreuzberg/Bethanien
Der Kunst raum Kreuzberg/Bethanien wird erstmals seit Jahren seine Kunstsammlung &oum l\;ffnen\, sichten und ö\;ffentlich zugä\;nglich machen. Die Ausste llung ist eine schrittweise Annä\;herung an die Arbeiten der Sammlung\, die sowohl Ankä\;ufe aus den Jahren 1949 bis 1988\, Schenkungen und Na chlä\;sse umfassen. Die Sammlung reicht von Werken der Sezessionskü \;nstler Hans Baluschek und Erich Bü\;ttner zu Positionen migrantischer Kü\;nstler aus den 1980er Jahren.
Die Ausstellung ist prozessual angelegt und bietet die Gelegenheit\, einen ersten Blick auf die Sammlung zu werfen\, Verbindungen zu knü\;pfen und verschiedene Ordnungen auszup robieren. Sie ist zunä\;chst eine Bestandaufnahme\, ö\;ffnet aber d en Raum fü\;r eine spä\;tere systematische kuratorische\, kü\;n stlerische oder kunsthistorische Betrachtung.

DTEND:20141026 DTSTAMP:20140830T081202 DTSTART:20140830 GEO:52.50349;13.42497 LOCATION:Kunstraum Kreuzberg / Bethanien\,Mariannenplatz 2 \nBerlin\, 10997 SEQUENCE:0 SUMMARY:Hängen und Ordnen (Eine Bestandsaufnahme der Kunstsammlung des Kuns traum Kreuzberg/Bethanien – Work in Progress)\, Christl Alschtner\, Ulrich Baehr\, Hans Baluschek\, Manfred Beelke\, C. Breitbach\, Carl Büttner\, Er ich Büttner\, Rolf Curt\, S. Danco\, Walter Danne\, Helmut Diekmann\, Ilse Dress\, Fritz Ebeling\, Uwe Ehmke\, Christa Eichler\, Joachim Fechner\, Ric hard Gohlke\, Luise Grimm\, Erhard Groß\, Mehmet Güler\, Sarah Haffner\, Ho rst Heinen\, W. Hermann\, Roland Kraus\, Lothar Lehmann\, Rudi Lesser\, Fra nk Lothar\, Barbara Meyer\, Clément Moreau (alias Carl Meffert)\, Curt Mühl enhaupt\, Charlotte Pfeil\, Rüdiger Preissler\, Christian Röckenschüss\, Pe ter Sauernheimer\, Levi Scherer-Sellschopp\, Klaus Schöning\, Joachim Schme ttau\, Heinz Schmidt-Berdt\, Hans Sünderhauf\, Frank Suplie\, Theodor Werne r-Schröder\, Peter Ursinus\, Johannes Vennekamp\, Klaus Vogelsang\, Wolfgan g Wölfer\, Hanefi Yeter UID:353541 END:VEVENT BEGIN:VEVENT DTEND:20140829T210000 DTSTAMP:20140830T081202 DTSTART:20140829T190000 GEO:52.50349;13.42497 LOCATION:Kunstraum Kreuzberg / Bethanien\,Mariannenplatz 2 \nBerlin\, 10997 SEQUENCE:0 SUMMARY:Hängen und Ordnen (Eine Bestandsaufnahme der Kunstsammlung des Kuns traum Kreuzberg/Bethanien – Work in Progress)\, Christl Alschtner\, Ulrich Baehr\, Hans Baluschek\, Manfred Beelke\, C. Breitbach\, Carl Büttner\, Er ich Büttner\, Rolf Curt\, S. Danco\, Walter Danne\, Helmut Diekmann\, Ilse Dress\, Fritz Ebeling\, Uwe Ehmke\, Christa Eichler\, Joachim Fechner\, Ric hard Gohlke\, Luise Grimm\, Erhard Groß\, Mehmet Güler\, Sarah Haffner\, Ho rst Heinen\, W. Hermann\, Roland Kraus\, Lothar Lehmann\, Rudi Lesser\, Fra nk Lothar\, Barbara Meyer\, Clément Moreau (alias Carl Meffert)\, Curt Mühl enhaupt\, Charlotte Pfeil\, Rüdiger Preissler\, Christian Röckenschüss\, Pe ter Sauernheimer\, Levi Scherer-Sellschopp\, Joachim Schmettau\, Heinz Schm idt-Berdt\, Klaus Schöning\, Hans Sünderhauf\, Frank Suplie\, Peter Ursinus \, Johannes Vennekamp\, Klaus Vogelsang\, Theodor Werner-Schröder\, Wolfgan g Wölfer\, Hanefi Yeter UID:353542 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20141101 DTSTAMP:20140830T081203 DTSTART:20140912 GEO:52.5071861;13.3925043 LOCATION:Buchmann Galerie\,Charlottenstrasse 13 \nBerlin\, D-10969 SEQUENCE:0 SUMMARY: Paintings\, Martin Disler UID:353537 END:VEVENT BEGIN:VEVENT DTEND:20140912T210000 DTSTAMP:20140830T081203 DTSTART:20140912T180000 GEO:52.5071861;13.3925043 LOCATION:Buchmann Galerie\,Charlottenstrasse 13 \nBerlin\, D-10969 SEQUENCE:0 SUMMARY: Paintings\, Martin Disler UID:353538 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Buchmann Galerie Berlin is pleased to announce an exhibition of a new set of
drawings by Fiona Rae (*1963\, lives in London).
The works presented in this exhibition form a decided and intensely
c oncentrated body of work. Never before has Fiona Rae focused so closely on< br />the medium of drawing.
The major part of her painterly work makes extensive use of bold colour. What
makes this exhibition of drawings stand out is the fact that Fiona Rae has
set aside her broad colour pa lette to focus exclusively on black charcoal.
Drawing with charcoal se ems almost like a liberation\, opening up the
potential to give the is sue of form and background\, space\, areas and lines a
new level of co ncentrated dynamism. Fiona Rae&rsquo\;s signature is clearly legible
i n these works. In a very loose form\, they show the visual codes that she h as
developed in her painting oeuvre over the past years using fragment s culled
from the internet\, from films\, from advertising and pop cul ture in the
broadest sense or from the work of Albrecht Dü\;rer or Hieronymus Bosch. Fiona
Rae avoids appropriating these sources\, usin g them instead as windows onto
her own distinctive pictorial lexicon.
The charcoal drawings are immediate\, expressive and at the same time
fascinatingly calculated\, creating unique dreamscapes\, which reflec t the
artist&rsquo\;s personal strength and dynamism. The end result i s a direct and
spontaneous gesture on paper that\, in turn\, is based on insight gained in
previous work and which gives these drawings thei r inescapable explosiveness.

DTEND:20141101 DTSTAMP:20140830T081203 DTSTART:20140912 GEO:52.50899;13.3921 LOCATION:Buchmann Box\,Charlottenstr. 75 \nBerlin\, 10117 SEQUENCE:0 SUMMARY:Zeichnungen\, Fiona Rae UID:353535 END:VEVENT BEGIN:VEVENT DTEND:20140912T210000 DTSTAMP:20140830T081203 DTSTART:20140912T190000 GEO:52.50899;13.3921 LOCATION:Buchmann Box\,Charlottenstr. 75 \nBerlin\, 10117 SEQUENCE:0 SUMMARY:Zeichnungen\, Fiona Rae UID:353536 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20141001 DTSTAMP:20140830T081203 DTSTART:20140905 GEO:52.5015208;13.3330171 LOCATION:Kunsthandel Jörg Maaß\,Rankestraße 24 \nBerlin\, 10789 SEQUENCE:0 SUMMARY:Malerei\, Gerda Lepke UID:353530 END:VEVENT BEGIN:VEVENT DTEND:20140904T200000 DTSTAMP:20140830T081203 DTSTART:20140904T180000 GEO:52.5015208;13.3330171 LOCATION:Kunsthandel Jörg Maaß\,Rankestraße 24 \nBerlin\, 10789 SEQUENCE:0 SUMMARY:Malerei\, Gerda Lepke UID:353531 END:VEVENT BEGIN:VEVENT DESCRIPTION:

On 4 September 2014\, Galerie EIGEN + ART is going to open p ainter David Schnell's solo show from 5 &ndash\; 9pm. This will also be on show during the Berlin Art Week.

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&ldquo\;The flexibility and noncha lance he has shown over the last fifteen years in manipulating and combinin g identifiable elements with 'pictorial' data disconnected from any recogni sable reality make him the perfect representative of a 'free and easy' pain ting approach no longer bothered by the idea of belonging to a particular n arrative or tendency. \;[&hellip\;] Schnell's style is not only deliber ately impure\; it also invariably runs up against a tangle of contradiction s that the artist does not necessarily espouse\, but at the very least acce pts responsibility for. His works are indeed contradictory\, 'in the sense\ ,' he comments\, 'that even though I strive for a high degree of abstractio n in my paintings\, I still engage with nature\, which I could theoreticall y photograph. And yes\, perhaps also contradictory in the sense that I occa sionally try not only to cite various art-historical periods but to make th em my own and to translate them into my painterly visual language.' True\, the degree of hybridisation of his pictures allows him to summon up success ively\, not to say simultaneously\, complementary sources and references fi tting with a deprioritised approach in which 'noble'\, 'trivial' and 'popul ar' particulars\, often taken from a Gamekultur\, are mixed in tog ether. Some of them\, such as the references to seventeenth-century Netherl andish landscape painting\, are obvious. Others require decoding\, sometime s referencing specific events and memories which\, like the pictures in thi s exhibition\, draw on the artist's time in Rome. This is case of the churc h interiors Schnell soaked up there\, and of a palette inspired by time-war p postcards and superannuated tourist brochures. It is left to each viewer to graft on his own fields of reference and survivals from the past. And to spot art history greats re-emerging in a given painting\, as when\, contem plating a number of recent pictures\, he finds himself thinking of Clyfford Still's jagged\, atomised surfaces. Whatever the case\, Schnell's works em body his ability to to find a precarious but nonetheless precise b alance between play with illusionistic depth and a handling of surface that intensifies the picture's flatness. This balance\, it must be said\, has b een crucial to the medium at every period in its history\, and every painte r past and present has come up with his own response to it.&rdquo\; \;( Eric Verhagen)

DTEND:20141018 DTSTAMP:20140830T081203 DTSTART:20140904 GEO:52.5270315;13.3972275 LOCATION:Galerie EIGEN + ART (Berlin)\,Auguststrasse 26 D - 10117\nBerlin\ , SEQUENCE:0 SUMMARY: (particolare)\, David Schnell UID:353526 END:VEVENT BEGIN:VEVENT DTEND:20140904T210000 DTSTAMP:20140830T081203 DTSTART:20140904T170000 GEO:52.5270315;13.3972275 LOCATION:Galerie EIGEN + ART (Berlin)\,Auguststrasse 26 D - 10117\nBerlin\ , SEQUENCE:0 SUMMARY: (particolare)\, David Schnell UID:353527 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20141011 DTSTAMP:20140830T081203 DTSTART:20140913 GEO:52.49949;13.43839 LOCATION:Laura Mars Gallery\,Sorauer Str. 3 \nBerlin\, 10997 SEQUENCE:0 SUMMARY:Las Wita Was\, Vitek Marcinkiewicz UID:353284 END:VEVENT BEGIN:VEVENT DTEND:20140912T230000 DTSTAMP:20140830T081203 DTSTART:20140912T200000 GEO:52.49949;13.43839 LOCATION:Laura Mars Gallery\,Sorauer Str. 3 \nBerlin\, 10997 SEQUENCE:0 SUMMARY:Las Wita Was\, Vitek Marcinkiewicz UID:353285 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20140906T200000 DTSTAMP:20140830T081203 DTSTART:20140906T180000 GEO:52.49949;13.43839 LOCATION:Laura Mars Gallery\,Sorauer Str. 3 \nBerlin\, 10997 SEQUENCE:0 SUMMARY:Last View\, Jan-Holger Mauss UID:353279 END:VEVENT BEGIN:VEVENT DESCRIPTION:

"One day\, I saw a red flower floating in the waves at the c oast. Will this flower drift away from here to some far place? I wondered. And I thought of the day when these flowers\, long ago\, drifted here from the continent across the sea. Where will they go\, the flowers I cast into the sea? Will they eventually arrive somewhere?" \;
With these wor ds the Japanese artist Shimabuku commented his film Sea and Flowers (2013) in his new catalogue of works from Noto (Japan). In Sea and Flowers he pour s a basket of bright pink petals into the sea. The film\, without sound and commentary\, only shows the movement of the leaves on the water as they di sappear further and further. \;
Experiences with nature\, animals\ , eating habits\, forms of behavior\, the details of daily life and the cul tural techniques in different areas of life and societies in which Shimabuk u lives and travels\, are the subject of his art. All works by Shimabuku or iginate in the exact observing and interacting\, they are a mixture of resp ect and curiosity for the new and strange. So he learned site-specific tech niques and crafts and used some results for his exhibition Noto\, for examp le\, the production of iron\, building of special racks for drying fruits a nd manufacturing wind catchers of bamboo on the road. The products and manu facturing techniques were part of his exhibition at the prestigious 21st Ce ntury Museum of Contemporary Art\, Kanzawa in 2013.

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In his first so lo exhibition in our gallery Shimabuku shows\, next to the movie Sea and Fl owers\, the installation Something that Floats / Something that Sinks (2010 )\, which illustrates that fruits or vegetables of the same kind partly sin k\, partly float when placed in water. \;
Photograph wearing rain boots (2013) shows a photograph from the Okinawa sea\, the area where his f amily comes from. It is mounted on a simple wooden plate and stands on rubb er boots. \;
The installation A Great Day (2011)\, which consists of many different objects and a film\, is documenting an experience of Shim abuku in Moscow: "One day on the street of Moscow\, I had kept watching a s treet seller who sold nothing for long time. Many people passed by in front of him\, but nobody stopped there. I started to think how much he can sell in one day. I wondered if ever there will come the day when he sells every thing. After a while\, I decided to buy everything from such seller on the street."
Shimabuku bought the entire offer from the street trader and shows it as a sculpture in the gallery.

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 \;

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Shimabuku ( * 1969 in Kobe\, Japan) lives and works in Berlin. \;
His last maj or solo exhibition in Europe was in 2014 at the Kunsthalle Bern. \;
In the fall of 2014 Shimabuku will take part in the Taipei Biennale curat ed by Nicolas Bourriaud\, with the title: The Great Acceleration\, Art and Its New Ecosystem: A Global Set of Relations.

DTEND:20141031 DTSTAMP:20140830T081203 DTSTART:20140903 GEO:52.5056221;13.3653184 LOCATION:Wien Lukatsch Galerie und Buchhandlung für Kunstbücher\,Schöneberg er Ufer 65 \nBerlin\, 10785 SEQUENCE:0 SUMMARY:Sea and Flowers\, Shimabuku UID:353158 END:VEVENT BEGIN:VEVENT DTEND:20140903T200000 DTSTAMP:20140830T081203 DTSTART:20140903T180000 GEO:52.5056221;13.3653184 LOCATION:Wien Lukatsch Galerie und Buchhandlung für Kunstbücher\,Schöneberg er Ufer 65 \nBerlin\, 10785 SEQUENCE:0 SUMMARY:Sea and Flowers\, Shimabuku UID:353159 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The exhibition merges themes of identity and concepts of ano nymity: layers which shape identities. \;These are positioned within th e context of &lsquo\;margins&rsquo\;. The exhibition will be an extension o f the \;SUBCULTURE magazine. Using immersive filmic techniques\, all of the individual works represent an \;inspired exchange which focuses on socio p olitical discourse\, unique philosophies\, and individual \;ex periences.

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&lsquo\;Crossings&rsquo\; by Arko Datto represents a civ ilization- or culture- constructed in an empty space. Highlighting \;in frastructures of power\, it offers a reflection on the anonymous but someho w very personal patterns of \;migration and manipulated labour. Positio ned in a room by itself\, at the end of a long corridor\, the book \;wi ll be deconstructed\, displayed on acetate paper and illuminated on a light box.

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The corridor which leads to this room\, will present another photographic series entitled &lsquo\;Puberty&rsquo\; by Sven \;Daeren a nd Leo Ritz. The series captures movements of anonymous adolescents coming in and out of \;shot. Here\, there is a physical border created when ob serving a moving action. The term &lsquo\;puberty&rsquo\; is a \;genera l statement which encapsulates coming-of-age connotations: experiences whic h are varied and \;are an integral stage in establishing identity. Here is the link to the series.

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Other works include projected documenta ry video installations in the main room. One film by Jazmina \;Figueroa focuses on the layers of identity of the musician and visual artist\, Blac k Cracker\, who is \;integrated into the Berlin queer scene.

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Th e other is a moving image portrait entitled &lsquo\;The Allure of Objects&r squo\; by Rosie Carr. It traces the daily life \; \;surroundings of Edward Nowill. Nowill is &lsquo\;an analogue technology expert\, small gau ge film enthusiast\, \;collector of objects\, and maker of remarkable t hings&rsquo\;. The film uses conversational dialogue between the \;arti st and subject as a starting point to explore methods of filmmaking and tru th seeking. This evokes a \;sense of Edwards &lsquo\;world&rsquo\; in w hich he absents himself from a capitalist\, consumer driven existence and&n bsp\;instead chooses to build his own reality.

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DTEND:20140830T220000 DTSTAMP:20140830T081203 DTSTART:20140830T180000 GEO:52.50013;13.44517 LOCATION:Mindpirates Projektraum\,Schlesische Strasse 37 Haus F (3rd Hinter hof) \nBerlin \, 10997 SEQUENCE:0 SUMMARY:MARGINS\, Jazmina Figueroa\, Leo Ritz\, Sven Daeren\, Black Cracker \, Rosie Carr\, Arko Datto UID:353157 END:VEVENT BEGIN:VEVENT DESCRIPTION:

At eye level

Under the title &ls quo\;Passagem de Ní\;vel&rsquo\; [Level Crossing]\, Rui Calç\;a da Bastos presents a set of works that have as their main motif an itinerar y that is guided by chance\, by encounters and by an indiscipline of the ga ze\, an itinerary that does not fulfill itself at its point of arrival. Ove r time\, his work has developed a multiplicity of approaches intent on ques tioning the image as the correlate of an event\, or as a recording of a par ticular\, identified and named reality. However\, this diversity of means a nd open-field approach bring us again into contact with a kind of absurdity we find in elements from our everyday life that inspire a certain disfunct ionality\, such as the photograph Untitled that features an interrupted lin e which we recognise as a road centre line\, which has been irregularly pai nted by accident. Besides that\, Calç\;ada Bastos reutilises subjects and contexts from his work as means to explore poetical and sociopolitical transitions that confront us with that infinite itinerary\, in the sense t hat each image conveys the absence and consequent increase in value of a ce rtain object\, as if the path to reach the object was the object itself\, a s the addressee of a poetics that moves towards an expanded field and takes over the mediation once left to visual means. The sculpture Level crossing that was built in the gallery&rsquo\;s space is itself an instance of the artist&rsquo\;s contradictory approach. The marks on the wall indicate that a stairway was once there. These marks\, which we may immediately associat e with memory\, also reveal a moment in time\, a duration\, as well as a se nse of change and transitoriness that is sublimated by that architectural e lement as it reconnects spaces and various levels of the body&rsquo\;s tran sit. The opposite side of the sculpture offers to the viewer the projection of a work on video\, Another sequence of events. This contradiction betwee n the past and its reconstruction from the fragment and real-time footage i s what draws us to use forms of recording and organising memory.
The e xpanded poetics I have mentioned focuses on the disordered movements of thi ngs in the world without\, however\, searching for an answer or a purpose i n them. It is\, in Rui Calç\;ada Bastos&rsquo\; work\, an indisciplin e focused on finding again itineraries and paths that thus attain a new eye level.

Joã\;o Silvé\;rio

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Joao Silv&ea cute\;rio is a Lisbon based curator currently working as curator for the Ar t Collection of the Luso-American Development Foundation (www.flad.pt). Cre ated the independent project EMPTY CUBE in October 2007. Currently Vice &nd ash\; President of AICA (International Association of Art Critics) Portugue se section.
DTEND:20141018 DTSTAMP:20140830T081203 DTSTART:20140905 GEO:52.49067;13.42059 LOCATION:Invaliden1\,Schönleinstr. 25 \nBerlin\, Berlin 10967 SEQUENCE:0 SUMMARY:Passagem de Nível \, Rui Calçada Bastos UID:353153 END:VEVENT BEGIN:VEVENT DTEND:20140904T200000 DTSTAMP:20140830T081203 DTSTART:20140904T180000 GEO:52.49067;13.42059 LOCATION:Invaliden1\,Schönleinstr. 25 \nBerlin\, Berlin 10967 SEQUENCE:0 SUMMARY:Passagem de Nível \, Rui Calçada Bastos UID:353154 END:VEVENT BEGIN:VEVENT DESCRIPTION:

No Games Inside the Labyrinth features five artists based in New York\, who for the most part have not previously been shown i n Berlin.Â\; \; They include Antoine Catala\, Melanie Gilligan\, M att Keegan\, Josh Tonsfeldt\, and Karin Schneider with Abraham Adams. Organ ized by John Miller\, the show treats the gallery as a topological site in which the possibility of play might unfold\; rather than requesting specifi c works\, Miller asked the artists he invited to respond to each other and the works they present.

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Antoine Catala's kinetic sculpture\, which represents an emoticon\, literally enacts a topological exploration by awkw ardly crawling over the floor.Â\; \;It is propelled by 3-D renditi ons of the characters that comprise an emoticon that represents googly eyes .These rotate on a steel stem driven by a small electric motor.  \;As t hey rub against the floor\, they push the entire contraption forward. The e xact path of the sculpture is unpredictable. In this respect\, it resembles a robotic vacuum cleaner  \;except that\, for the emoticon\, corners c ould pose an insurmountable challenge. In contrast\, the prospect of concre tization spins off in different directions. Catala describes them as langua ge devoid of language\, like a skeleton of language created to communicate an emotion.  \;Does a pictogram make meaning more concrete? What happen s when the symbols command real space\, with seemingly their own agency? Ca tala's second work is an inflatable logo\, one that belongs to a set of log os for\, as he put it\, every moment in one's life\,i.e.\, getting an ice c ream\, taking a shower\, and so on.

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In Melanie Gilligan's three-par t video\, Self Capital\, economic factors appear as somatic sympto ms in a middle-aged woman.Â\; \; As the narrative unfolds it becom es clear that\, in a David-Lynch-like multiplication of personae\, the same actor plays all the parts: both analyst and analysand\, both customer and clerk\, etc.  \;Gilligan suggests that political economy operates both inside and outside the body\, As a patient in therapy\, [the protagonist] r epresents both the capitalist system as a whole and a person affected by co ntemporary economic crisis all at once. The work follows Global Economy\, a .k.a. the capitalist social body\, as she progresses through a series of un orthodox body-oriented techniques\, suggesting that effects of the crisis s uch as job losses and governmental austerity measures are felt on a materia l and corporeal level\, but also that worryingly contemporary psychological and political subjects are also increasingly reduced to and treated in ter ms of their bodily materiality today.

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Matt Keegan's Father & \; Son extends the theme of doubling initiated by Gilligan\, but in an Oedipalized context. The images come from a costume makeup guide where\, i n this instance\, the son appears to mimic his father. Both wear faded jean s and coral colored t-shirts.  \;The son's fake moustache emulates his dad's real version as does his temporary tattoo. A text\, appearing in Germ an and English\, complements these: Father and son.  \;Who is old and w ho is young? Two real sturdy guys. Mother's choice will now be a difficult one. Difficult indeed! The photograph in Keegan\,s second work\, Baby\, is drawn from a collection of images used by his mother to teach Engl ish as a second language.  \;One of the things he found curious about h is mother's flash cards is the ideological surplus embedded in such picture s.  \;As such\, they approach the didactic status of stock photographs minus their professional streamlining.

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Josh Tonsfeldt will produce his work partly in situ\, in response both to the gallery as a geographical site with a particular history and to the installation of other artists &n bsp\;work.  \;His approach will include gathering materials locally tha t he will incorporate or intermingle with his other photographs and sculptu re. The images and materials will initiate a chain of associations\, which in turn will help decide an improvisational process vis-Ã\; \;-vi s a means of display. Tonsfeldt's photographs split the difference between their physical composition and what they represent. His interventions are t ypically subtly poetic\, yet point to the ideological function of the galle ry as an institutional frame.

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Karin Schneider &\; Abraham Adams'  \;work is envisioned in homage to Michael Asher\, the recently decease d conceptual artist from Los Angeles. Reflecting Schneider's dialog with As her\, elements of the work will include an Andy Warhol print\, Barnett Newm an's painting materials\, a documentation of the dismantling of a Dan Graha m pavilion at the Marion Goodman Gallery in New York\, plus elements derive d from John Knight's work. Schneider &\; Adams note that Graham and Knig ht were Asher's peers and that their practice\, like his\, shifted the focu s from the work to social architecture and frameworks\, i.e.\, to distribut ion systems. In relation to this\, the form of the homage is phantasmatic. Accordingly\, as the artists write\, Affirming negation as one the  \;m aterialities this spectral exercise will be arranged as fragmented elements displayed in the gallery's interior\, situating historical relationships a nd multiple signs of how they operate/control our thinking process. ...Spec ific works\, derivatives\, and documentation of these artistic productions will be on display\, entangling their imbricated networks of social geometr y and geometric praxis.â\;&euro\; The conversation Homage to Mich ael Asher creates an environment for a photograph taken by John Miller . This photograph is available by mail only. The work can be sold with deta iled instructions for its installation with the exception of the Warhol\, w hich is not for sale. After this presentation the Warhol can be substituted by any Warhol under the condition that it always be displayed lying face-d own on the floor.

DTEND:20141031 DTSTAMP:20140830T081203 DTSTART:20140902 GEO:52.496825;13.4182648 LOCATION:Galerie Barbara Weiss\,Kohlfurter Strasse 41/43 \nBerlin\, 10999 SEQUENCE:0 SUMMARY:No Games Inside the Labyrinth\, Abraham Adams\, Karin Schneider\, J osh Tonsfeldt\, Matt Keegan\, Melanie Gilligan\, Antoine Catala UID:353150 END:VEVENT BEGIN:VEVENT DTEND:20140830T220000 DTSTAMP:20140830T081203 DTSTART:20140830T200000 GEO:52.496825;13.4182648 LOCATION:Galerie Barbara Weiss\,Kohlfurter Strasse 41/43 \nBerlin\, 10999 SEQUENCE:0 SUMMARY:No Games Inside the Labyrinth\, Abraham Adams\, Antoine Catala\, Me lanie Gilligan\, Matt Keegan\, Karin Schneider\, Josh Tonsfeldt UID:353532 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Two core questions crystallize in the architectural work of& nbsp\;Clemens Nuyken \;and \;Christoph von Oefele: How does man behave in relation to nature and how in rela tion to other men? At \;N-V-O\, their Munich office\, matters of style and formal references take a back \;seat to these ques tions\, which engage the architects at all levels\, \;from urban planni ng to doorknob details. The resulting architectural \; approach does no t live by the sum of the individual solutions at each \;level\, but by their mutual potentiation. \;

On August 28th\, editor \; David Kasparek \;and DAZ Creative Director \;Matthias Bö\;ttger
 \;will present the current issue of& nbsp\;der architekt \;and talk with Clemens Nuyken and Christo ph von Oefele about their work. Discussion will be enjoyed over drinks.

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DTEND:20141010 DTSTAMP:20140830T081203 DTSTART:20140829 GEO:52.5091995;13.4235413 LOCATION:Deutsches Architektur Zentrum DAZ\,Köpenicker Straße 48/49 \nBerli n\, 10179 SEQUENCE:0 SUMMARY:neu im club 4/14: N-V-O\, Christoph von Oefele\, Clemens Nuyken UID:353148 END:VEVENT BEGIN:VEVENT DTEND:20140828T220000 DTSTAMP:20140830T081203 DTSTART:20140828T200000 GEO:52.5091995;13.4235413 LOCATION:Deutsches Architektur Zentrum DAZ\,Köpenicker Straße 48/49 \nBerli n\, 10179 SEQUENCE:0 SUMMARY:neu im club 4/14: N-V-O\, Clemens Nuyken\, Christoph von Oefele UID:353149 END:VEVENT BEGIN:VEVENT DESCRIPTION:

There's a club\, if you'd like to go
You could meet som ebody who really loves you
Excerpt from The Smiths\, &ldquo\;How Soon Is Now&rdquo\;\, 1984

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We are pleased to present &bdquo\;How S oon Was Now&ldquo\; &ndash\; A Brief History of CFA &ndash\; with artistsCecily Brown\, Georg Baselitz\, Georg Herold\, Thomas Kiesewetter\, Chr is Ofili\, Tal R\,
Anselm Reyle\, Christian Rosa\, Julian Schnabel\, D ana Schutz\, Katja Strunz\, Jü\;rgen Teller
and Gert &\; Uwe To bias\, who have been connected to the gallery throughout its life.
&ld quo\;How Soon Was Now&rdquo\; &ndash\; an exhibition celebrating 20 years o f gallery operation &ndash\; is to be
more an atmospheric snapshot tha n a nostalgic retrospective of the gallery&rsquo\;s history.
Partly de veloped for the exhibition\, partly selected by the gallery for presentatio n\, aside
from the occasion itself and title &ndash\; there was no the matic\, curatorial parameter for the
show. The artists will be present ed showcasing their diversity and individuality\, outlining
the &lsquo \;character&rsquo\; of the gallery and the heterogeneity of its programme.< br />The artists are united neither by medium\, nor by style or technique\, but rather by an
attitude toward the world\, to art and to life.

DTEND:20140927 DTSTAMP:20140830T081203 DTSTART:20140902 GEO:52.5193428;13.3973396 LOCATION:Contemporary Fine Arts\,Am Kupfergraben 10 \nBerlin\, D - 10117 SEQUENCE:0 SUMMARY:A BRIEF HISTORY OF CFA\, Cecily Brown\, Georg Baselitz\, Georg Hero ld\, Thomas Kiesewetter\, Chris Ofili\, Tal R\, Anselm Reyle\, christian Ro sa\, Julian Schnabel\, Dana Schutz\, Katja Strunz\, Jürgen Teller\, Gert To bias\, Uwe Tobias UID:353147 END:VEVENT BEGIN:VEVENT DTEND:20140830T160000 DTSTAMP:20140830T081203 DTSTART:20140830T120000 GEO:52.5193428;13.3973396 LOCATION:Contemporary Fine Arts\,Am Kupfergraben 10 \nBerlin\, D - 10117 SEQUENCE:0 SUMMARY:A BRIEF HISTORY OF CFA\, Georg Baselitz\, Cecily Brown\, Georg Hero ld\, Thomas Kiesewetter\, Chris Ofili\, Tal R\, Anselm Reyle\, christian Ro sa\, Julian Schnabel\, Dana Schutz\, Katja Strunz\, Jürgen Teller\, Gert To bias\, Uwe Tobias UID:353432 END:VEVENT END:VCALENDAR