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

Ingeborg Luescher
''300 Million Years&ldquo\;
6.9.-1.10.2014

You are warmly invite d to Ingeborg Luescher's first solo show at Campagne Première. After her c ontribution of historical works from the 1970s to the group exhibition "Tra nsformations &ndash\; Ingeborg Luescher\, Ana Mendieta\,Teresa Murak" in th e spring\, with "300 Million Years" she will now introduce a new photo seri es.

Since the start of her artistic practice in the late 1960s\, Ingeborg Luescherʼs work has been revolving around everyday objects\, expe riences and impressions from her immediate enviroment. Besides objects and installations\, this has also yielded photography\, paintings\, texts and & ndash\; since the 1990s &ndash\; video art. The artist frequently produces serial work. Although her oeuvre is rooted in conceptual art\, she has also satirized the underlying governing principles of strictness and order. She juxtaposes the dispersion of a motif or idea in a series with forms that a re influenced by autobiographical factors. The personal and specific\, whic h are frequently interwoven with the artistʼs memories and stories\, build a stark contrast with the unspecific\, repetitive and serial nature of her work.

Since 2011\, Ingeborg Luescher has produced a large volume of analog photographs in and around her hometown in the Tessin region\, Sw itzerland. She has taken these works through an extensive process of select ion and modification. With this procedure\, the artist has made her motifs &ndash\; images of lichens on stones &ndash\; blurred and imprecise. Luesch er may have chosen photography as the principal medium for her current work \, but she has broken one of its main rules: the sharpness of representatio n. Through the selection of a segment of the photo and subsequent enlargeme nt of the print\, the lichens enlace into a picturesquely hazy\, organic wh ir. The motifsʼ lack of sharpness befits the equally unspecified pictorial space. The decision to modify the photographs in this manner\, combined wit h the exhibition title\, underscores the idea that the oldest organic micro structures also reflect macrocosmic reality.

Ingeborg Luescher r elates her images of lichens to questions and observations of a scientific as well as of a metaphysical nature. Spirituality and irrationality are fun damental components in Luescherʼs work. She ascribes her images of lichens to a statement by Werner Heisenberg\, which deals with the ambivalence of t he natural sciences\, as well as the impossibility to separate them from me taphysics. By addressing metaphysics\, the artist colonises those territori es that lie beyond objectivity\, where she actively practices her workʼs in herent irrationality. The exhibition presents her most recent photographs a longside the 2003 video work "Frozen River - who killed Jerusalem". This wo rk\, with its insurgent soundtrack of the great outdoors\, also reveals how an inconspicuous recording of Nature can be charged with meaning.

Ingeborg Luescher (1936\, Freiberg\, Saxony) has been a part of numerous national and international exhibitions ever since her participation in the 1968 Grosse Kunstausstellung at the Haus der Kunst in Munich. Large solo e xhibitions of her work were held at\, amongst others\, the Haags Gemeentemu seum in The Hague\, Museum Wiesbaden\, MaRT Museo di Arte Moderna e Contemp oranea\, Rovereto\, NCCA National Center of Contemporary Art in Moscow and at the Kunstsammlungen Chemnitz. Her work was presented at Documenta 5 and IX as well as during the Venice Biennale of 1980 and 1990. In 2011\, Ingebo rg Luescher was awarded the Meret Oppenheim Prize. Her most recent solo exh ibitions took place at Kunstmuseum Luzern\, CH (2010)\, ZKM Center for Art and Media\, Karlsruhe\, DE (2011)\, Hamburger Bahnhof - Museum for Contempo rary Art\, Berlin (2012) and Situation Kunst (for Max Imdahl) Ruhr Universi ty\, Bochum (2013). An extensive retrospective exhibition is planned at the Kunstmuseum Solothurn for 2016.


Galerie Campagne Premi&egra ve\;re

DTEND:20141001 DTSTAMP:20140902T170756 DTSTART:20140906 GEO:52.53002;13.3831 LOCATION:Campagne Première Berlin\,Chausseestrasse 116 \nBerlin\, 10115 SEQUENCE:0 SUMMARY:''300 Million Years''\, Ingeborg Luescher UID:354349 END:VEVENT BEGIN:VEVENT DTEND:20140905T210000 DTSTAMP:20140902T170756 DTSTART:20140905T180000 GEO:52.53002;13.3831 LOCATION:Campagne Première Berlin\,Chausseestrasse 116 \nBerlin\, 10115 SEQUENCE:0 SUMMARY:''300 Million Years''\, Ingeborg Luescher UID:354350 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Thanasis Moutsopoulos\, Art Historian\, Critic\, Writer\, As . Prof. at TUC\,

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GR notes: &ldquo\;Artistic duo Kalos &\;Klio utilizes a unique technique to produce

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complicated c ompositions which crush the real world into a chaos of the

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most ext reme objects possible. The hybrid-Matrix world of Kalos&\;Klio

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i s both immaterial because it originates from cyberspace and material

\n< p>because it comes into fruition as a luxury impression on the most

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precious materials. The Matrix of Kalos&\;Klio is ever expanding and as it

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enlarges it appears to take on a consciousness of its own. Kalo s&\;Klio&rsquo\;s

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post- psychedelic works refers to our world as a melting pot that chews

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everything\, from architectural elements to body parts and artificial

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constructio ns. The Matrix extends..&rdquo\;

DTEND:20140921 DTSTAMP:20140902T170756 DTSTART:20140918 GEO:52.5147455;13.43856 LOCATION:BERLINER LISTE\,Postbahnhof Straße der Pariser Kommune 8\nBerlin\, 10243 SEQUENCE:0 SUMMARY: Kalos&Klio |ALMA Contemporary Art Gallery | booth G 1.11 | 11th B erliner Liste | 18 - 21 September 2014\, Kalos & Klio UID:354347 END:VEVENT BEGIN:VEVENT DTEND:20140917T100000 DTSTAMP:20140902T170756 DTSTART:20140917T180000 GEO:52.5147455;13.43856 LOCATION:BERLINER LISTE\,Postbahnhof Straße der Pariser Kommune 8\nBerlin\, 10243 SEQUENCE:0 SUMMARY: Kalos&Klio |ALMA Contemporary Art Gallery | booth G 1.11 | 11th B erliner Liste | 18 - 21 September 2014\, Kalos & Klio UID:354348 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20141101 DTSTAMP:20140902T170756 DTSTART:20140913 GEO:52.5275403;13.3934469 LOCATION:Mila Kunstgalerie\,Linienstrasse 154 \nBerlin\, 10115 SEQUENCE:0 SUMMARY: IL BUCO\, Andrea Salvino UID:354159 END:VEVENT BEGIN:VEVENT DTEND:20140913T210000 DTSTAMP:20140902T170756 DTSTART:20140913T180000 GEO:52.5275403;13.3934469 LOCATION:Mila Kunstgalerie\,Linienstrasse 154 \nBerlin\, 10115 SEQUENCE:0 SUMMARY: IL BUCO\, Andrea Salvino UID:354160 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20141101 DTSTAMP:20140902T170756 DTSTART:20140912 GEO:52.531027;13.38491 LOCATION:Mehdi Chouakri\,Invalidenstraße 117 Edison Höfe\nBerlin\, 10115 SEQUENCE:0 SUMMARY:1979\, Martin Disler UID:354018 END:VEVENT BEGIN:VEVENT DTEND:20140912T200000 DTSTAMP:20140902T170756 DTSTART:20140912T180000 GEO:52.531027;13.38491 LOCATION:Mehdi Chouakri\,Invalidenstraße 117 Edison Höfe\nBerlin\, 10115 SEQUENCE:0 SUMMARY:1979\, Martin Disler UID:354019 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20141018 DTSTAMP:20140902T170756 DTSTART:20140905 GEO:52.5019764;13.3651086 LOCATION:Galerie Guido W. Baudach\,Potsdamer Straße 85 \nBerlin\, D-10785 SEQUENCE:0 SUMMARY:Effects of Stimulus-Range and Anchor Value on Psychophysical Judgem ent (The Laerdal Rehearsals)\, Thomas Zipp UID:354016 END:VEVENT BEGIN:VEVENT DTEND:20140905T210000 DTSTAMP:20140902T170756 DTSTART:20140905T180000 GEO:52.5019764;13.3651086 LOCATION:Galerie Guido W. Baudach\,Potsdamer Straße 85 \nBerlin\, D-10785 SEQUENCE:0 SUMMARY:Effects of Stimulus-Range and Anchor Value on Psychophysical Judgem ent (The Laerdal Rehearsals)\, Thomas Zipp UID:354017 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:20140902T170756 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:20140902T170756 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:20140902T170756 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:20140902T170756 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.

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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:20140902T170756 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:20140902T170756 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:20140902T170756 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:20140902T170756 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:20140902T170756 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:20140902T170756 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:20140902T170756 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:20140902T170756 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:20140902T170756 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:20140902T170756 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:20140902T170756 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:20140902T170756 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:20140902T170756 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:20140902T170756 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:20140902T170756 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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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:20140902T170756 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:20140902T170756 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 END:VCALENDAR