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The Buchmann Galerie is delighted to present a Wax Room by W olfgang Laib at the
Gallery Weekend Berlin 2014.
To date\, the ar tist has made only three of these free-standing Wax Rooms\, and rarely doart lovers get the opportunity to actually see and experience one.
The outside of the white cube\, which is covered in plasterwork\, gives no indication of
the interior shape. A narrow passageway leads into the chamber\, where one is surrounded
by fragrant\, golden-yellow beeswax. The sensuous and physical presence of the room\,
which is completely covered in slabs of beeswax up to 5 cm thick\, is exceptionally
concen trated. For this fleeting moment in time the external world seems to disapp ear.
Wolfgang Laib&rsquo\;s first Wax Room was built in 1988 in Berlin for the exhibition Zeitlos\,
which was curated by Harald Szeemann\, a t the Hamburger Bahnhof. The free-standing room
&ldquo\;Fü\;r eine n anderen Kö\;rper/ For Another Body&rdquo\; is one of the first beeswa x pieces by
Wolfgang Laib and it has a similar\, almost rectangular ba sic shape.
In the following years\, the artist created more Wax Rooms\ , all of which have a
concealed interior which is not visible from the outside. A narrow opening in an
otherwise unbroken wall allows the sp ectator to enter the windowless chamber. The shape
of the basic layout is roughly an elongated rectangle\, but each interior chamber is
indi vidual\, with some tapering to a narrow point and others bulging in the mid dle.
Wax Rooms from this period can be found in the collections of the Kunstmuseum
Stuttgart\, the Kunstmuseum Bonn\, the DePont Foundation Tilburg and MoMA New York. Last
year\, Wolfgang Laib installed a Wax R oom in the Phillips Collection Washington\, where
it is on permanent d isplay.
Wolfgang Laib spent several years searching in the Pyrenees fo r a suitable place to
install a Wax Room in the open. In 2001\, he fou nd the location he was looking for and
built a Wax Room on the Roc del Maure near Marcevol. The nearly four-metre long and
three-metre high chamber was hewn into the rock and the beeswax was applied direct to
t he stone by hand. &rsquo\;La Chambre des Certitudes/The Room of Certitudes& rsquo\; is accessible
only after a one-hour walk up the mountainside a nd it offers a very intense experience
of the work and a view over to the Massif du Canigou.

DTEND:20140712 DTSTAMP:20140424T183117 DTSTART:20140502 GEO:52.5071861;13.3925043 LOCATION:Buchmann Galerie\,Charlottenstrasse 13 \nBerlin\, D-10969 SEQUENCE:0 SUMMARY:Ailleurs - La chambre des certitudes\, Wolfgang Laib UID:333759 END:VEVENT BEGIN:VEVENT DTEND:20140502T210000 DTSTAMP:20140424T183117 DTSTART:20140502T180000 GEO:52.5071861;13.3925043 LOCATION:Buchmann Galerie\,Charlottenstrasse 13 \nBerlin\, D-10969 SEQUENCE:0 SUMMARY:Ailleurs - La chambre des certitudes\, Wolfgang Laib UID:333760 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20140531 DTSTAMP:20140424T183117 DTSTART:20140503 GEO:52.5031898;13.3894331 LOCATION:croy nielsen\,Weydingerstraße 10 \nBerlin\, 10178 SEQUENCE:0 SUMMARY:Solo Exhibition\, Hugh Scott-Douglas UID:333754 END:VEVENT BEGIN:VEVENT DTEND:20140502T210000 DTSTAMP:20140424T183117 DTSTART:20140502T180000 GEO:52.5031898;13.3894331 LOCATION:croy nielsen\,Weydingerstraße 10 \nBerlin\, 10178 SEQUENCE:0 SUMMARY:Solo Exhibition\, Hugh Scott-Douglas UID:333755 END:VEVENT BEGIN:VEVENT DESCRIPTION:

We are delighted to present the second solo exhibition of Ti llmann Terbuyken at KM\, Berlin. In his central spatial installation\, the artist continues working with a display he created for the exhibition proje ct Anfang gut. Alles gut in 2011. Since then Terbuyken regularily updated t his body as a stage for presenting his own works.
&ldquo\;A plywood bo ard can have a rectangular shape. It can be lacquered white or painted with dispersion paint. It can be placed somewhere. The surface may also be gray or dove blue. One surface can be subdivided into several surfaces by means of different colors. It can hang on the wall as a plywood board or as slat s covered with fabric\, or screwed to a frame made of thin roof battens. Th e surface is in turn framed\, or not\, and perhaps it is no longer a surfac e\, because a hole or an incision breaks through it. Or a circle is painted on the surface that only pretends to have a hole.
A rectangle with id entical edge lengths is a square. If it hangs on the wall and its surface i s black\, its author could have been Kazimir Severinovich Malevich. A squar e can hang on the wall with a surface or a shape extending past its edges a nd making use of the carrier wall. A surface needn&rsquo\;t be a square or a rectangle. It can be rounded off or part of a polygon or\, as a panel\, p art of a wall standing upright and supported by a lath construction. A surf ace needn&rsquo\;t be painted and a panel needn&rsquo\;t be made of glued l ayers of thinly cut wood.
If a short piece of lath was screwed under a frame covered with fabric and both were painted dark green\, it could be a writing tablet. If this element is hanging askew on the wall\, which consi sts of four differently painted plywood boards\, then it is a composition. One of the boards can be opened like a window\, its rear side painted white is lined with pastel-like purple. It is the manifestation of a postconcept ual dealing with the picture carrier\, this purple-colored frame around the immaculate or at least grounded plywood. However\, this manifestation is t he rear side of a foldable surface next to an obliquely attached writing ta blet above a three-dimensional extremity of unpainted plywood supporting th e foldable module.
Because this wall-picture-composition is standing i n space\, it requires a body. Tillmann Terbuyken lends it a body with the b asic form of a scalene triangle tipped to the side. He gives the volume of this body a window in its facade\, and the facade is a facade because its r ear side\, the actual inner life of the body\, was folded upwards and the l arge frame covered with fabric is now supported by two assembled and partia lly varnished laths.
In his work\, Tillmann Terbuyken gathers hinges o f the doors that have been repeatedly opened to reflect upon the medium of painting. The illusory image has a carrier\, it hangs on the wall\, it is a surface\, an icon in itself\, its carrier is a body\, it has an edge\, it is a detail\, a horizon\, an architecture in itself\, and furnishes represe ntative states of the notions of what a picture is and what it institutes. If its institution is clear\, its borders are definable and an alleged revo lution against them takes place. Once\, a second time a bit differently\, a nd at one point the border transgression comes out as an emptied and idle a ssertion. Terbuyken presents the wear of border transgressions as an ideal medium for actions that cover the art-intrinsic dealing with the picture ca rrier like a texture.&rdquo\;
Marcel Hiller
Tillmann Terbuyken (* 1978) lives and works in Hamburg. He has been a member of Friends and Lover s in Underground since 2011. Selected exhibitions: changing &\; growing\ , KM\, Berlin (2012)\, Anfang gut\, Alles gut\, Basso\, Berlin / KUB Arena\ , Kunsthaus Bregenz (2011)\, Straß\;engedanken Revisited\, Kö\;lnb erg Kunstverein\, Cologne (2009)\, Schatten und Statuen\, Kunstverein Harbu rger Bahnhof (2008)\, Folded Shadows\, The Hex\, London (2007).
From J une 15 through July 13\, 2014\, works by Tillmann Terbuyken will be on view in the solo show Wenn Du es gleich siehst\, wird es schon anders sein at G alerie der Wassermü\;hle Trittau.

DTEND:20140531 DTSTAMP:20140424T183117 DTSTART:20140425 GEO:52.5508762;13.3728194 LOCATION:KM Galerie\,Martin-Opitz-Straße 23 \nBerlin\, 13357 SEQUENCE:0 SUMMARY: ohne funktion - utopie \, Tillmann Terbuyken UID:333751 END:VEVENT BEGIN:VEVENT DTEND:20140424T200000 DTSTAMP:20140424T183117 DTSTART:20140424T180000 GEO:52.5508762;13.3728194 LOCATION:KM Galerie\,Martin-Opitz-Straße 23 \nBerlin\, 13357 SEQUENCE:0 SUMMARY: ohne funktion - utopie \, Tillmann Terbuyken UID:333752 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Das Thema der Ausstellung von Georges Adé\;agbo (*1942 Cotonou\, Benin) ist "Les artistes et l&lsquo\;é\;criture"..! - Die Kü\;nstler und das Schreiben.

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Wie immer bezieht sich Adé\ ;agbo direkt auf den Ort\, an dem er arbeitet und ausstellt &ndash\; und di e Zeit\, in der die Installation entsteht. Zuerst ist es sein Leben und sei n Alltag in Cotonou in Benin\, wo er lebt. Dort fä\;ngt er an\, das The ma\, das er sich vorgenommen hat\, zu entwickeln &ndash\; er schreibt Texte \, er gibt Bilder in Auftrag\, sammelt afrikanische Holzfiguren\, Zeitungsa usschnitte und vom Strand und der Stadt aufgelesene Fundstü\;cke und f& auml\;ngt in seinem Hof an\, die Dinge wie Assoziationsketten aneinander zu reihen. Seine eigenen Texte und ausgewä\;hlte Bilder aus Bü\;chern lä\;ß\;t er vom Schildermaler "Esprit petit frè\;re" auf Le inwä\;nde oder Plastikplanen malen &ndash\; und hat damit eine Form der ganz eigenen\, afrikanischen Konzeptkunst entwickelt. Er schickt dann all diese gesammelten Materialien zu der Galerie\, von der er eingeladen ist. < br /> Parallel schaut er sich den Ort an\, an dem er ausstellen wird &ndash \; in diesem Fall Berlin. Wie ein Ethnologe betrachtet er dort die Lebensbe dingungen und -gewohnheiten\, in denen sich die Anderen eingerichtet haben. Er sammelt Schallplatten\, Bü\;cher\, Kleider\, Schuhe\, Merkwü\;r digkeiten auf den Berliner Flohmä\;rkten &ndash\; also\, wenn man so wi ll\, den Mü\;ll und die Reste der Berliner. Relikte der DDR\, einer and eren untergegangenen Kultur\, die auf den Flohmä\;rkten zu finden sind\ , durchziehen das ganze Ensemble &ndash\; z.B. Schallplatten von Therese Gi ehse oder Bertolt Brecht. Daneben stehen die Ü\;berbleibsel der West-Ku ltur &ndash\; Schallplatten von Mireille Mathieu\, oder deutschen Schlagerh eroen wie Roland Kaiser &ndash\; in nä\;chster Nä\;he zur sogenannt en Hochkultur. All das Material wird in raumfü\;llenden Installationen aneinandergereiht und zieht sich ü\;ber Wä\;nde und Bö\;den. Die formalen und gedanklichen Ketten bilden eine nicht hierarchische A nordnung der Dinge: high und low / afrikanische und westliche Kultur / Kits ch und Philosophie &ndash\; alles besteht gleichzeitig.
Weitere Theme n in diesem Teppich der Assoziationen sind die politische Indoktrination un d der latente und offene Rassismus in den Medien\, die Politik der Aparthei d\, die Geschichte der Unabhä\;ngigkeit afrikanischer Lä\;nder\, di e Systematiken der Geschichtsschreibung und die Welt der Philosophie\, das Kü\;nstler-Sein\, das Schreiben und das Lernen\, der Zusammenhang von B ildung und Macht. Adé\;agbos Identitä\;t als afrikanischer Kü \;nstler und Schriftsteller wird ebenso intensiv besprochen wie politische Fragen zur postkolonialen Entwicklung Afrikas und die Geschichte religi&oum l\;s motivierter Kriege.

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Das Schreiben von Adé\;agbo zeichnet sich durch eine essayistisch-literarische Form aus. Es ist aphoristisch\, manchmal sprunghaft und immer repetitiv. Gedanken werden in Varianten und W iederholungen ausgefü\;hrt\, die an die Methoden von Gertrude Stein eri nnern. Die Texte haben keine belehrende Funktion\, sie stellen Fragen\, bes prechen Probleme durch Parabeln und bieten\, wenn ü\;berhaupt\, verr&au ml\;tselte Antworten.

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In der Ausstellung haben wir Adé\;agbos franzö\;sisch geschriebene Texte ins Deutsche und Englische ü\;ber setzt und wie alles\, was wä\;hrend der Entwicklung der Ausstellung ent steht\, werden auch diese Ü\;bersetzungen Teil der Wandinstallation. Au ch der Galeriealltag und die Geschichte der Galerie und Buchhandlung tauche n in der Arbeit "Les artistes et l&lsquo\;é\;criture"..! auf.

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Georges Adé\;agbo wurde 1942 in Cotonou (Benin) geboren. Er lebt und arbeitet in Cotonou und Hamburg. Nach seinem Jurastudium in Abidjan (Elfen beinküste) und Rouen (Frankreich) kehrte Adé\;agbo Ende der 60er nac h Benin zurück. Bis er 1993 von dem Kurator Jean-Michel Rousset durch Zufa ll entdeckt wurde\, machte er tä\;glich komplexe Installationen in sein em Hof\, ohne sich als Künstler zu verstehen. 1994 wurde er zu seiner erst en Ausstellung "La Route de l&lsquo\;art sur la Route des esclaves" nach Be sanç\;on eingeladen. Ab diesem Zeitpunkt setzt er seine ortspezifisch en Installationen mit einem Team von Handwerkern in Benin um. 1999 nahm er an der Biennale von Venedig teil und erhielt für seine Installation auf de m Campo Arsenale als erster Künstler aus Afrika den Preis der Jury. Sp&aum l\;testens seit 2002\, als Adé\;agbo im Rahmen der von Okwui Enwezor kuratierten documenta 11 in Kassel eine In-Situ-Installation prä\;senti erte\, die spä\;ter in modifizierter Form in die Sammlung des Museum Lu dwig in Kö\;ln überging\, gehö\;rt Adé\;agbo zu den renommie rtesten Künstlern Afrikas. Seine Werke sind in internationalen Sammlungen zu finden\, Philadelphia Museum of Art\, Toyota City Museum\, Museum Ludwig Kö\;ln\, KIASMA Helsinki\, MUSAC Leó\;n usw.

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Die Ausstel lungen werden unterstützt und kuratorisch betreut von Stephan Kö\;hler (Kulturforum Süd-Nord Hamburg-Cotonou).

DTEND:20140725 DTSTAMP:20140424T183117 DTSTART:20140502 GEO:52.5056221;13.3653184 LOCATION:Wien Lukatsch Galerie und Buchhandlung für Kunstbücher\,Schöneberg er Ufer 65 \nBerlin\, 10785 SEQUENCE:0 SUMMARY: " Les artistes et l' écriture " ..!\, Georges Adéagbo UID:333525 END:VEVENT BEGIN:VEVENT DTEND:20140502T190000 DTSTAMP:20140424T183117 DTSTART:20140502T160000 GEO:52.5056221;13.3653184 LOCATION:Wien Lukatsch Galerie und Buchhandlung für Kunstbücher\,Schöneberg er Ufer 65 \nBerlin\, 10785 SEQUENCE:0 SUMMARY: " Les artistes et l' écriture " ..!\, Georges Adéagbo UID:333526 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20140628 DTSTAMP:20140424T183117 DTSTART:20140429 GEO:52.4993459;13.3644244 LOCATION:Tanya Leighton Gallery\,Kurfürstenstraße 156 \nBerlin\, 10785 SEQUENCE:0 SUMMARY:Joint Exhibition\, Robert & Trix Haussmann\, Friedrich Kuhn UID:333523 END:VEVENT BEGIN:VEVENT DTEND:20140502T210000 DTSTAMP:20140424T183117 DTSTART:20140502T180000 GEO:52.4993459;13.3644244 LOCATION:Tanya Leighton Gallery\,Kurfürstenstraße 156 \nBerlin\, 10785 SEQUENCE:0 SUMMARY:Joint Exhibition\, Robert & Trix Haussmann\, Friedrich Kuhn UID:333524 END:VEVENT BEGIN:VEVENT DESCRIPTION:

In the early 1990s\, Philip-Lorca diCorcia made five trips t o Los Angeles\, where he drove along Santa Monica \;Boulevard and nearb y neighborhoods on the lookout \;for male prostitutes. The artist would then strike a deal: he \;offered each prostitute his normal rate\, ask ing only to take their photograph. The resulting series\, today \;calle d \;Hustlers\, \;was both a breakthrough for the artist an d a key episode in the now familiar mode of photography that \;occupies a semi-fictive space between street \;and stage. The historical specif icity and taxonomic \;impulse of the project are declared in the title of each photograph: the subject is identified by his name\, age\, place of& nbsp\;birth\, and the money he \;received for agreeing to pose.

Philip-Lorca diCorcia predetermined each setting\, posing his assista nt to prepare the lighting and set up before returning with a man to make t he final photograph. Hotel rooms\, parking lots\, curbs\, cafes\, backyards and bus stops all offer potential backdrops for the pictures. Chris\, 28 years old\, Los Angeles\, California\, $30 (1990-92)\, shows a man seated on an elevated motel walkway\, the metal guardrails receding into sp ace\, his arms reaching up to clutch the highest rail. He might be lost in thought\, yet the picture also conveys a sense of entrapment. Tim\, 27 years old\, Orange County\, California\, $30 (1990-92) depicts a shirt less man bathed in warm light\, gingerly approaching an open door as if he couldn&rsquo\;t quite tell whether it offered an escape or an alluring dead -end. The subjects convey a range of emotions or attitudes\, from dignified beauty to desperation\, lending poignancy to the elegiac mood of the serie s.

Conceived amid the AIDS crisis and during the &lsquo\;cultu re wars&rsquo\; of the early 1990s\, an era fuelled by the censorious rheto ric of figures such as Jesse Helms\, the photographs come out of a particul arly tense historical moment. In 1989\, diCorcia received a grant from the National Endowment for the Arts\, and this money allowed him to embark on t he Hustlers project\, not to mention pay the prostitutes in the ph otographs. "None of these guys were free"\, writes diCorcia in a new steidl dangin book to mark the twentieth anniversary of the first exhibition of Hustlers\, at MoMA\, in 1993. "They charged for their services\, for a faked sense of what passes for intimacy in the realm they left behind. T hey barely found a place to sleep or get high afterwards\, but they accompl ished the most sublime trade\, their artistry: Nothing for Nothing. That's what was so perfect for me. It summed it all up."

Philip-Lorca diCorcia (born 1951\, Hartford\, USA) studied at the School of the Museum of Fine Arts\, Boston\, and at Yale University\, where he is currently a Se nior Critic. He was awarded the Artist Fellowship of the National Endowment for the Arts three times\, as well as the Infinity Award for Applied Photo graphy by the International Center of Photography and the Eisenstaedt Award by Life Magazine. Solo exhibitions include the Hepworth Wakefield (2014)\, Schirn Kunsthalle Frankfurt and Museum de Pont\, Tilburg (both 2013)\, the LACMA\, Los Angeles (2008)\, the Institute of Contemporary Art\, Boston (2 007)\, the Museo Nacional Centro de Arte Reina Sofí\;a\, Madrid (1997 )\, and MoMA\, New York (1993). His series A Storybook Life was ex hibited at Whitechapel Art Gallery\, London\, before travelling to the Cent re National de la Photographie\, Paris\; Museum Folkwang\, Essen\, Germany\ ; Magazin 3\, Stockholm Konsthall\; Fondazione Bevilacqua La Masa\, Venice\ , and the Centro de Artes Visuais\, Coimbra\, Portugal\, in 2003/2004.

Philip-Lorca diCorcia will discuss his work with the cultural crit ic and writer Ulf Erdmann Ziegler at the American Academy\, Berlin\, 7:30 p m\, 30 April 2014.

DTEND:20140621 DTSTAMP:20140424T183117 DTSTART:20140502 GEO:52.52413;13.39714 LOCATION:Sprüth Magers Berlin\,Oranienburger Straße 18 \nBerlin\, D-10178 SEQUENCE:0 SUMMARY:Hustlers \, Philip-Lorca diCorcia UID:333521 END:VEVENT BEGIN:VEVENT DTEND:20140502T210000 DTSTAMP:20140424T183117 DTSTART:20140502T180000 GEO:52.52413;13.39714 LOCATION:Sprüth Magers Berlin\,Oranienburger Straße 18 \nBerlin\, D-10178 SEQUENCE:0 SUMMARY:Hustlers \, Philip-Lorca diCorcia UID:333522 END:VEVENT BEGIN:VEVENT DESCRIPTION:

In seltener Konsequenz gelingt es Mucha seit Jahrzehnten\, f ormale Strenge und konzeptionelle Klarheit mit witziger Ironie\, mit Reicht um und Zartheit der malerischen und bildhauerischen Details zu verbinden. I n seinem Werk kreuzen und durchschneiden sich Momente der Zeitgeschichte un d der persö\;nlichen Geschichte\, des eigenen bisherigen Werks\, des Di skurses der Kunst und weiterer gesellschaftlicher Systeme. Den Fran kfurter Block\, eine Reprise seiner Ausstellung Schaffnerl os von 2012\, unterzieht Mucha in gewohnter Virtuositä\;t eine r raumspezifischen Metamorphose\, ergä\;nzt durch weitere solitä\;r e Stü\;cke der letzten Jahre.


DTEND:20140830 DTSTAMP:20140424T183117 DTSTART:20140502 GEO:52.52413;13.39714 LOCATION:Sprüth Magers Berlin\,Oranienburger Straße 18 \nBerlin\, D-10178 SEQUENCE:0 SUMMARY:Frankfurter Block. Arbeiten am Hohlkasten 1981-2014 \, Reinhard Muc ha UID:333519 END:VEVENT BEGIN:VEVENT DTEND:20140502T210000 DTSTAMP:20140424T183117 DTSTART:20140502T180000 GEO:52.52413;13.39714 LOCATION:Sprüth Magers Berlin\,Oranienburger Straße 18 \nBerlin\, D-10178 SEQUENCE:0 SUMMARY:Frankfurter Block. Arbeiten am Hohlkasten 1981-2014 \, Reinhard Muc ha UID:333520 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20140830 DTSTAMP:20140424T183117 DTSTART:20140502 GEO:52.52413;13.39714 LOCATION:Sprüth Magers Berlin\,Oranienburger Straße 18 \nBerlin\, D-10178 SEQUENCE:0 SUMMARY:Eine Ansammlung von Gegenständen\, Peter Fischli\, David Weiss UID:333517 END:VEVENT BEGIN:VEVENT DTEND:20140502T210000 DTSTAMP:20140424T183117 DTSTART:20140502T180000 GEO:52.52413;13.39714 LOCATION:Sprüth Magers Berlin\,Oranienburger Straße 18 \nBerlin\, D-10178 SEQUENCE:0 SUMMARY:Eine Ansammlung von Gegenständen\, Peter Fischli\, David Weiss UID:333518 END:VEVENT BEGIN:VEVENT DESCRIPTION:

On occasion of the Gallery Weekend Berlin\, Sommer&\; Koh l are pleased to present new works by Andreas Eriksson (*1975\, Sweden).

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Andreas Eriksson&rsquo\;s solo exhibition Roundabouts is currently touring from Bonniers Konsthall\, Stockholm (SE) to Trondhei m Kunstmuseum (NO)\; Centre Pasqu'art\, Bienne (CH) and Reykjavik Kunstmuse um (IS). A catalogue accompanying the exhibition has been published by Koen ig Books in London\, with texts by Sara Arrhenius\, Kirsty Bell\, Pontus Ky ander and Camilla Larsson. We will launch this book in our gallery on 3 May at 3 pm.In 2013 Eriksson has been invited by the Michel Majerus Estate to curate a dialogue between Majerus&rsquo\; works and is own\; in 2012 his wo rks were included in the Sao Paulo Biennale and in 2011 he represented Swed en in the Nordic Pavilion at the 54. Biennale di Venezia\, (IT). His works are included in collections such as Bonniers Konsthall\, Stockholm (SE)\; L ouisiana Museum\, Humlebaek (DK)\; Centre Pompidou\, Paris\, (FR)\;Rubell F amily Collection\, Miami Beach (US).

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DTEND:20140614 DTSTAMP:20140424T183117 DTSTART:20140502 GEO:52.4993042;13.3668176 LOCATION:Sommer & Kohl\,Kurfürstenstrasse 13/14 \nBerlin\, 10785 SEQUENCE:0 SUMMARY: Klotz\, Andreas Eriksson UID:333516 END:VEVENT BEGIN:VEVENT DTEND:20140502T210000 DTSTAMP:20140424T183117 DTSTART:20140502T180000 GEO:52.4993042;13.3668176 LOCATION:Sommer & Kohl\,Kurfürstenstrasse 13/14 \nBerlin\, 10785 SEQUENCE:0 SUMMARY: Klotz\, Andreas Eriksson UID:333757 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20140531 DTSTAMP:20140424T183117 DTSTART:20140503 GEO:52.5090673;13.4232941 LOCATION:PSM gallery\,Köpenicker Strasse 126\, \nBerlin\, 10179 SEQUENCE:0 SUMMARY: Le jardin est un tapis \, Nadira Husain UID:333512 END:VEVENT BEGIN:VEVENT DTEND:20140502T210000 DTSTAMP:20140424T183117 DTSTART:20140502T180000 GEO:52.5090673;13.4232941 LOCATION:PSM gallery\,Köpenicker Strasse 126\, \nBerlin\, 10179 SEQUENCE:0 SUMMARY: Le jardin est un tapis \, Nadira Husain UID:333513 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20140621 DTSTAMP:20140424T183117 DTSTART:20140502 GEO:52.5172369;13.4389213 LOCATION:Peres Projects\,Karl-Marx-Allee 82 \nBerlin\, 10243 SEQUENCE:0 SUMMARY: Emotional Paintings\, David Ostrowski UID:333511 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20140628 DTSTAMP:20140424T183117 DTSTART:20140501 GEO:52.5019054;13.3654296 LOCATION:Nolan Judin\,Potsdamer Strasse 83 \nBerlin\, 10785 SEQUENCE:0 SUMMARY: Berlin Noir\, Adrian Ghenie UID:333509 END:VEVENT BEGIN:VEVENT DTEND:20140430T210000 DTSTAMP:20140424T183117 DTSTART:20140430T180000 GEO:52.5019054;13.3654296 LOCATION:Nolan Judin\,Potsdamer Strasse 83 \nBerlin\, 10785 SEQUENCE:0 SUMMARY: Berlin Noir\, Adrian Ghenie UID:333510 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20140621 DTSTAMP:20140424T183117 DTSTART:20140502 GEO:52.531027;13.38491 LOCATION:Mehdi Chouakri\,Invalidenstraße 117 Edison Höfe\nBerlin\, 10115 SEQUENCE:0 SUMMARY: MONOFORM\, Gerold Miller UID:333507 END:VEVENT BEGIN:VEVENT DTEND:20140502T200000 DTSTAMP:20140424T183117 DTSTART:20140502T180000 GEO:52.531027;13.38491 LOCATION:Mehdi Chouakri\,Invalidenstraße 117 Edison Höfe\nBerlin\, 10115 SEQUENCE:0 SUMMARY: MONOFORM\, Gerold Miller UID:333508 END:VEVENT BEGIN:VEVENT DESCRIPTION:

On the occasion of Gallery Weekend 2014 Johnen Galerie will show three new works by
Belgian artist David Claerbout.
The idea for Travel dates back to 1996\, but it was only in 2013\, that the technica l
capabilities to actually realize this work were available. The work is based on a
composition by Eric Breton from 1980\, an early realizat ion of therapeutic music\, which
is supposed to alleviate stress and h ave soporific effects. Claerbout drew on one of the
most striking moti fs\, that are being associated with relaxation and tranquility: the
wo ods. The entirely artificial synthesizer music corresponds to the impressio ns of
nature\, that have been created on the computer with great atten tion to detail. Claerbout
offers a highly suggestive environment\, tha t captivates the viewer in an indissoluble
tension of banality\, hypno sis and critical self- reflection.
Oil workers is based on an internet photo. It shows oil workers in Africa taking shelter
from the rain un der a bridge\, being in a state of waiting. The water masses inspired
Claerbout to an image that is flowing ambiguously between social documentat ion\,
waiting\,viewing (while the oil workers reflect the situation of the viewer)\, and pictorial
abstraction. The motif of waiting also re flects a very ambivalent human condition. It can
evoke boredom\, frust ration\, reflectiveness and feelings of freedom.
Highway Wreck also is based on a photograph: after a complete traffic standstill\, people
a re leaving their cars to observe the cause for the traffic jam: a damaged c ar\, and
rescue workers at the side of the road. The attention is focu sed on the accident. It is not
the emergency though that is at the cor e of this work\, but rather the contrary: an over
70 year old photogra ph. Nevertheless\, the viewers are attracted to the here and now of
th e disaster and remain in voyeuristic rigidity\, like spectators of a motion picture.
Highway Wreck is an attempt to disarm this spectacle.
R ecent exhibitions of David Claerbout's works include Tel Aviv Museum of Art (2012)\,
MoMA San Francisco (2011)\, Pinakothek der Moderne\, Munich (2010) and many others.
David Claerbout (b. 1969) lives and works in A ntwerp and Berlin.

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