BEGIN:VCALENDAR VERSION:2.0 CALSCALE:GREGORIAN PRODID:iCalendar-Ruby VERSION:2.0 BEGIN:VEVENT DESCRIPTION: DTEND:20141101 DTSTAMP:20140917T094252 DTSTART:20140920 GEO:52.5253966;13.4108843 LOCATION:Lars Friedrich\,Rosa-Luxemburg-Strasse 22 \nBerlin\, 10178 SEQUENCE:0 SUMMARY:Passive Vibration Isolation\, Park McArthur UID:356928 END:VEVENT BEGIN:VEVENT DTEND:20140919T210000 DTSTAMP:20140917T094252 DTSTART:20140919T180000 GEO:52.5253966;13.4108843 LOCATION:Lars Friedrich\,Rosa-Luxemburg-Strasse 22 \nBerlin\, 10178 SEQUENCE:0 SUMMARY:Passive Vibration Isolation\, Park McArthur UID:356929 END:VEVENT BEGIN:VEVENT DESCRIPTION:

(scroll down for English version)

Abstrakte\, nic ht-gegenstä\;ndliche Kunst nutzt eine visuelle Sprache aus Form\, Farbe und Linie. Daraus schafft sie Kompositionen\, die von der Welt um uns heru m unabhä\;ngig zu sein scheinen. Sie verweigert sich der Mimesis\, der illusionistischen Nachahmung vom Bestehenden. Erreichte die abstrake Kunst in den 50er Jahren ihren ideologischen und theoretischen Hö\;hepunkt\, gehö\;rt ihr Formenschatz heute zum Repertoire der Ausdrucksvarianz vie ler Kü\;nstler.

Die Kunstsaele freuen sich\, mit PANORAMIC A VE. &ndash\; wenn auch keinen Gesamtü\;berblick &ndash\; so doch eine s ubjektive Auswahl an persö\;nlichen Favoriten und Lieblingskü\;nstl ern aus den Sammlungen und von Leihgebern prä\;sentieren zu kö\;nne n. Ein besonderes Augenmerk liegt dabei auf dem Moment\, in dem sich eine s cheinbar rein abstrakte Arbeit durch ihre Titelgebung\, die Erzä\;hlung ihrer Genese\, die Herkunft des Materials oder andere narrative Einschreib ungen verä\;ndert und eine oder mehrere konzeptuelle Gesten der Narrati on auf formale Reduktion treffen.

1974 entscheidet Claude Rutaul t (*1941) von nun an seine Bilder\, in der Farbe der Wand\, auf der sie h&a uml\;ngen oder umgekehrt\, die Wand nach der Farbe der Bilder die sie trage n\, zu streichen. Dazu erzä\;hlt das in der Ausstellung zu sehende "pai nting suicide" eine ganz eigene\, dramatische Geschichte: 1978 neben sieben anderen kreiert\, entschloss der Kü\;nstler\, die Oberflä\;che des 100 x 100 cm groß\;en Gemä\;ldes jedes Jahr um 1/8 zu beschneiden &ndash\; bis es entweder nach 25 Jahren\, reduziert auf 12\,5 cm Kantenl&a uml\;nge\, gä\;nzlich zerstö\;rt oder vor dem Ablauf dieses Viertel jahrhunderts einen neuen Besitzter gefunden hat. Glü\;cklicherweise ere ilte das hier zu sehende Exemplar &ndash\; im Gegensatz zu drei artverwandt en &ndash\; nicht dieses Schicksal\, sondern wurde nach 13 Jahren aufgenomm en.

Ironisch beruft sich Blinky Palermo (1943-1977) auf seine su prematistischen Vä\;ter. Die Installation und Wandmalerei "Blaues Dreie ck"\, ein mit Farbe und Schablone aufgemaltes Dreieck\, ist ü\;berreich an kunsthistorischen Referenzen (und vielleicht vom Kü\;nstler als Ers atz fü\;r ein Hirschgeweih gemeint). Die Anweisung\, die der Schablone beiliegt\, lautet: &bdquo\;Malen Sie mit Hilfe der Schablone ein blaues Dre ieck ü\;ber eine Tü\;r. Verschenken Sie dann das Original Blatt&ldq uo\;.

Die Architektur und den Ort seiner Installation thematisie rt auch Imi Knoebels monochrom bemaltes Trapez. Auf den flü\;chtigen Bl ick eine homogene Oberflä\;che\, offenbart sich bei nä\;herer Betra chtung eine prä\;zise aufgetragene Farbschicht mit einem linear-rhythmi schen Profil. Eine Stauchung\, die aus der vermeintlich zweidimensionalen A rbeit ein in den Raum tretendes Farbfeld werden lä\;sst. So ö\;ffne t sich die Flä\;che hin zum Raum\, als ob sie in Anspruch nehmen wolle\ , diesen zu gliedern.

Das Betrachten von abstrakten Bildern verl angt eine Prä\;zision\, die das Formale der Strukturen und Relationen s ucht und erkennt und sich nicht durch die klassische Fixierung auf das Ikon ografische und Narrative ablenken lä\;sst. Die Arbeiten in der PANORAMI C AVE. verschrä\;nken meist eben jene Aspekte. Auf dieses ein-und aussc hwingen\, heran- und zurü\;cktreten laden wir Sie herzlich ein.
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Abstract\, non-figurative art uses a visual language of form\, color and line\, thereby reaching compositions that appear to be independent from the world around us. It refuses mimesis and the illusioni stic emulation of the extant. While abstract art reached its ideological an d theoretical peak in the 50s\, its wealth of forms is still essential to t he repertoire of many contemporary artists.

With the exhibition PANORAMIC AVE.\, Kunstsaele is proud to present a subjective selection of p ersonal highlights and favorite artists from the collection as well as from lenders. The exhibition gives special attention to the moment in which a w ork of seemingly pure abstraction is changed\, either by its titling\, the story of its genesis\, the origin of its materials or other inscriptions of narrative\, so that the work's conceptual gestures of narration are taken to a point of formal reduction.

In 1974 Claude Rutault (*1941) d ecided that from that point forward\, all of his paintings should be painte d to mimic the color of the wall on which they hung\, or vice-versa\, the w all should be colored to mimic the painting. The seven-piece series 'painti ng suicide'\, an example of which is on view in the exhibition\, imparts a unique and dramatic history: In 1978 the artist decided that the 100 x 100 cm surface of each painting should be cut down by 1/8\, until either\, afte r 25 years and reduced to only 12\,5 cm\, it was completely destroyed\, or was rescued by a new owner. The exhibited piece\, unlike three unlucky othe rs\, did not meet this destructive fate\, but was bought by a collector aft er 13 years.

Blinky Palermo cites his Suprematist forefathers wi th irony. The installation and wall painting 'Blaues Dreieck'\, a stencil-p ainted triangle\, is inundated with art historical references (and possibly intended by the artist as a substitute for the hunting trophy). The instru ctions that accompanied the stencil state: "Paint\, with the help of the st encil\, a blue triangle over a door. Then\, give away the original sheet."< br />
Architecture and the site of installation are also engaged by Im i Knoebel's monochrome trapezoid. What appears at first glance to be an hom ogenous surface reveals itself upon closer inspection to be a precise layer of paint applied in a linear-rythmic form. This compression allows the pur portedly two-dimensional work to transform into a color field that enters s pace. The surface opens in to the room\, laying claim to the structuring of space as well.

The viewing of abstract images requires a precis ion that seeks out and recognizes formal structures and their relationships and does not allow itself to be refracted through the classical fixation u pon iconography and narrative. The works in PANORAMIC AVE. intertwine these two perspectives. You are cordially invited to join us for this experience of approaching and retreating\, focusing and blurring\, exposing and evadi ng.

DTEND:20141108 DTSTAMP:20140917T094252 DTSTART:20140920 GEO:52.49888;13.36055 LOCATION:Kunstsaele\,Bülowstrasse 90 \nBerlin\, 10783 SEQUENCE:0 SUMMARY:Panoramic Ave\, Angela De La Cruz\, Friederike Feldmann\, K.O. Götz \, Gerhard Hoehme\, Franka Hörnschemeyer\, Raimer Jochims\, Imi Knoebel\, M euser\, Blinky Palermo\, Manfred Pernice\, Peter Rogiers\, Claude Rutault\, Karin Sander\, Emil Schumacher\, Geerten Verheus\, Franz Erhard Walther UID:356926 END:VEVENT BEGIN:VEVENT DTEND:20140919T220000 DTSTAMP:20140917T094252 DTSTART:20140919T190000 GEO:52.49888;13.36055 LOCATION:Kunstsaele\,Bülowstrasse 90 \nBerlin\, 10783 SEQUENCE:0 SUMMARY:Panoramic Ave\, Angela De La Cruz\, Friederike Feldmann\, K.O. Götz \, Gerhard Hoehme\, Franka Hörnschemeyer\, Raimer Jochims\, Imi Knoebel\, M euser\, Blinky Palermo\, Manfred Pernice\, Peter Rogiers\, Claude Rutault\, Karin Sander\, Emil Schumacher\, Geerten Verheus\, Franz Erhard Walther UID:356927 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150116 DTSTAMP:20140917T094252 DTSTART:20140920 GEO:52.52817;13.39566 LOCATION:Kicken Berlin\,Linienstrasse 161a \nBerlin\, D - 10115 SEQUENCE:0 SUMMARY:1974... 40 years\, 40 Photographs UID:356925 END:VEVENT BEGIN:VEVENT DESCRIPTION:

With the SEPTEMBER SHOW\, Galerija Gregor Podnar is pleased to present selected works by the artists of the gallery.

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Following the origins of the gallery system as a kind of salon presentation\, some la rger works\, such as the earliest sculptures of Tobias Putrih from the Cine ma solution series (2001) or the latest large-scale carpet work of Ariel Sc hlesinger\, are contrasted smaller delicate works of other artists.

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With the selection of the works\, the artistic line of Galerija Gregor Pod nar is clearly stated. The works featured in the exhibition are not committ ed to any patterns of generation\, and yet follow certain aesthetic premise s\, spanning from 1970 to the present day. Although many of our historic ar t positions feed on the artistic practices of the late 60s and early 70s\, these are in line with the quality standards of the younger artists&rsquo\; contemporary art production.

DTEND:20141108 DTSTAMP:20140917T094252 DTSTART:20140920 GEO:52.50648;13.39802 LOCATION:Galerija Gregor Podnar\,Lindenstrasse 35 \nBerlin\, 10969 SEQUENCE:0 SUMMARY:SEPTEMBER SHOW \, PRIMOZ BIZJAK\, Irma Blank\, Attila Csörgő\, Vad im Fiškin\, ION GRIGORESCU\, Alexander Gutke\, Irwin\, Yuri Leiderman\, Ann e Neukamp\, Marzena Nowak\, Dan Perjovschi\, Goran Petercol\, Tobias Putrih \, Ariel Schlesinger\, Goran Trbuljak\, Francisco Tropa\, B. Wurtz UID:356923 END:VEVENT BEGIN:VEVENT DTEND:20140919T210000 DTSTAMP:20140917T094252 DTSTART:20140919T180000 GEO:52.50648;13.39802 LOCATION:Galerija Gregor Podnar\,Lindenstrasse 35 \nBerlin\, 10969 SEQUENCE:0 SUMMARY:SEPTEMBER SHOW \, PRIMOZ BIZJAK\, Irma Blank\, Attila Csörgő\, Vad im Fiškin\, ION GRIGORESCU\, Alexander Gutke\, Irwin\, Yuri Leiderman\, Ann e Neukamp\, Marzena Nowak\, Dan Perjovschi\, Goran Petercol\, Tobias Putrih \, Ariel Schlesinger\, Goran Trbuljak\, Francisco Tropa\, B. Wurtz UID:356924 END:VEVENT BEGIN:VEVENT DESCRIPTION:\n\n\n\n\n
The exhibition&rsquo\;s title refers to interrelations of time \, movement and consolidation\, links between past with the present on vari ous levels and the interrelations of space and form. With a variety of scul ptures and precisely placed interventions\, Andreas Blank engages and re-in terprets the order of the exhibition space itself.
A large wall blocks the entrance of the gallery\, obst ructing the view into the exhibition. A giant tower of seemingly random cra tes\, pedestals\, pallets\, office cabinets and boxes rises up behind it. A simple shelf housing a skull is installed in the back of the gallery\, a s ingle lightbulb is attached to wall of an otherwise empty room.
What seems casual and random\, cold and d istant\, are rather rare stones from quarries around the world\, processed and carved in a tedious working process. Utilizing classical sculptural tec hnique\, Blank creates marble\, alabaster\, sandstone and limestone sculptu res resembling everyday objects. In the discourse of image and likeness\, t hey lose their functional purpose\, transcending into pure\, formalistic ob jects. Historically intended primarily for political representation or reli gious devotion\, Andreas Blank&rsquo\;s stone sculptures question a (post) modernist nihilism.
As part of a group- and dialogue series of exhibitions at \; the gallery this yea r\, Andreas Blank invited 5 artists for an exhibition on the subterannean l evel of the gallery: Benjamin Bernt\, David Murphy\, Johannes Vetter\, Kath arina Schilling and Bä\;rbel Schulte Kellinghaus take part in a common visual discussion of drawing\, sculpture and painting taking the exhibition to another\, more psychological level.
Andreas Blank was born in Ansbach (West) Germany in 1976. He atte nded the Karlsruhe State Academy of Art (Staatliche Akademie der Bildenden Kü\;nste) and was Meisterschü\;ler under Harald Klingelhö\;ller . He has been accredited with a German National Academic Foundation scholar ship\, and received his MFA from the Royal College of Art in London. In 200 9 he was a finalist for the New Sensations Award by Channel 4 and the Saatc hi Gallery. Blank lives and works in London\, Berlin and Franconia.< /td>\n
DTEND:20141025 DTSTAMP:20140917T094252 DTSTART:20140912 GEO:52.5261976;13.3869727 LOCATION:Galerie Christian Ehrentraut\,Friedrichstraße 123 \nBerlin\, 10117 SEQUENCE:0 SUMMARY:"The imprint of the space someone used“\, Andreas Blank
 UID:356921 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20141025 DTSTAMP:20140917T094252 DTSTART:20140919 GEO:52.5056221;13.3653184 LOCATION:Esther Schipper\,Schöneberger Ufer 65 \nBerlin\, D-10785 SEQUENCE:0 SUMMARY:ANARCHEOLOGY\, Christoph Keller UID:356919 END:VEVENT BEGIN:VEVENT DTEND:20140919T220000 DTSTAMP:20140917T094252 DTSTART:20140919T180000 GEO:52.5056221;13.3653184 LOCATION:Esther Schipper\,Schöneberger Ufer 65 \nBerlin\, D-10785 SEQUENCE:0 SUMMARY:ANARCHEOLOGY\, Christoph Keller UID:356920 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20141025 DTSTAMP:20140917T094252 DTSTART:20140919 GEO:52.5056221;13.3653184 LOCATION:Esther Schipper\,Schöneberger Ufer 65 \nBerlin\, D-10785 SEQUENCE:0 SUMMARY: DAYS\, BETWEEN PLACING AND DISPLACING\, Jean-Pascal Flavien UID:356917 END:VEVENT BEGIN:VEVENT DTEND:20140919T220000 DTSTAMP:20140917T094252 DTSTART:20140919T180000 GEO:52.5056221;13.3653184 LOCATION:Esther Schipper\,Schöneberger Ufer 65 \nBerlin\, D-10785 SEQUENCE:0 SUMMARY: DAYS\, BETWEEN PLACING AND DISPLACING\, Jean-Pascal Flavien UID:356918 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20141101 DTSTAMP:20140917T094252 DTSTART:20140920 GEO:52.50582;13.39388 LOCATION:carlier | gebauer\,Markgrafenstraße 67 \nBerlin\, D-10969 SEQUENCE:0 SUMMARY: Half A Shadow\, Julie Mehretu UID:356915 END:VEVENT BEGIN:VEVENT DTEND:20140919T220000 DTSTAMP:20140917T094252 DTSTART:20140919T180000 GEO:52.50582;13.39388 LOCATION:carlier | gebauer\,Markgrafenstraße 67 \nBerlin\, D-10969 SEQUENCE:0 SUMMARY: Half A Shadow\, Julie Mehretu UID:356916 END:VEVENT BEGIN:VEVENT DESCRIPTION:

&hellip\; Wenn man Krickes Schö\;pfungen lä\;nger an sieht und ihren Rhythmus in sich aufnimmt\,
so kommen sie zu Ruhe. In diesem ruhenden Mittelpunkt ist eine groß\;e Stille. Und in dieser St ille
ist etwas gesagt worden &ndash\; ü\;ber das Leben der Mensch en &ndash\; ihr Schicksal &ndash\; etwas ü\;ber das All&hellip\;
J ohn Anthony Thwaites\, 1953

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September erö\;ffnet Aurel Scheible r eine Ausstellung\, die dem Bildhauer und Zeichner Norbert
Kricke (1 922-1984) gewidmet ist. Mit dieser Ausstellung wird das Werk eines der bahn brechendsten und ichtigsten Bildhauer der Nachkriegszeit erstmals in einer Einzelausstellung in Berlin vorgestellt. Die Ausstellung konzentriert sich auf Skulpturen und Zeichnungen der 1950er und der 1970er Jahre und gibt dem Zusammenhang der frü\;hen Arbeiten mit dem Spä\;twerk seine eigene Bedeutung. Die Erö\;ffnung ist am Freitag\, dem 19. September 2014\, v on 19.00 bis 22.00 Uhr. Die Ausstellung lä\;uft bis Sonntag\, den 30. N ovember.
Wä\;hrend der abc art berlin contemporary (18. bis 21. S eptember) hat die Galerie gesonderte Ö\;ffnungszeiten (Details siehe we iter unten).
Geboren 1922 in Dü\;sseldorf\, gehö\;rt Kricke d er Generation von Kü\;nstlern an\, die sich nach dem zweiten Weltkrieg auf die Suche nach einem Neuanfang machte. Abhä\;ngig von Kontext\, Hin tergrund und persö\;nlichen Umstä\;nden reagierte diese Generation ganz unterschiedlich auf die wiedererlangte Freiheit. Entscheidende Anregun gen empfing Kricke von Kandinsky\, den Kü\;nstlern des Konstruktivismus und Kasimir Malewitsch. Er ö\;ffnete die Plastik fü\;r weiterf&uum l\;hrende Entwicklungen in einer Zeit\, die weitgehend noch mit der Rezepti on des Expressionismus befasst war. Anfang der 1950er Jahre gelingt es Kric ke\, die Kompaktheit\, das Volumen\, das die Bildhauerei lange geprä\;g t hatte\, aufzubrechen. Ab diesem Zeitpunkt gestaltet er lineare\, manchmal farblich akzentuierte Strukturen. Sie suggerieren Schwerelosigkeit und Bew egung. Damit wird der Raum fü\;r die
Wahrnehmung des Betrachters geö\;ffnet. Kricke findet zu jener Problematik\, die sein Denken von nu n an nahezu ausschließ\;lich bestimmen sollte: die Auseinandersetzung mit den Phä\;nomenen von Bewegung und Raum.
Wä\;hrend Calder die reale Bewegung in seinen Mobiles einbrachte\, galt es fü\;r Kricke von Anfang an\, die den Raum erschließ\;ende Bewegung in der Plastik z u gestalten. Seine kü\;nstlerische Intention formulierte Kricke wie fol gt: &ldquo\;Mein Problem ist nicht Masse\, ist nicht Figur\, sondern es ist der Raum\, und es ist die Bewegung &ndash\; Raum und Zeit. Ich will keinen realen Raum und keine reale Bewegung (Mobile)\, ich will Bewegung darstell en. Ich suche der Einheit von Raum und Zeit eine Form zu geben.&rdquo\;

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Von der Linie ausgehend\, erschließ\;t er durch rechtwinkligen Ri chtungswechsel den Raum. Die Linie begrenzt nicht\, sie zeigt den Raum als offen und entzieht ihn jedem Versuch einer Definition oder Messbarkeit.
Die Zeichnungen\, die neben dem bildhauerischen Werk entstehen\, versteht Kricke nie als Skizzen oder Vorstudien zu Skulpturen\, sie formen vielmehr einen autonomen und wichtigen Teil seines kü\;nstlerischen \;Schaf fens. Es ist das Zeichnen\, die Handlung des Zeichnens\, das ihn am direkte sten und am tiefsten mit dem Element verbindet\, welches der Kern seines We rkes ist: der Linie. In Krickes Arbeit hat die Linie sinnliche Prä\;sen z\, sie suggeriert Bewegung und Raum\, Dynamik und Fü\;lle. Die Quelle dieser Linie und letztendlich der Ursprung von Krickes gesamtem Schaffen\, ist der Kö\;rper als reine Inkarnation vom Spiel der Bewegung. Es ist d er Kö\;rper\, der unsere Koordinaten fü\;r das Raumerlebnis setzt u nd Kricke nutzt diese Grundvoraussetzung bewusst als Referenzpunkt fü\; r die Kreation seiner Skulpturen und seiner Zeichnungen. Folgt man seinen L inien\, dann folgt man der Bewegung seines zeichnenden Armes\, wie er metho disch und rhythmisch ü\;ber das Blatt schweift um Energie\, Tiefe\, Wac hheit und Spannung hervorzurufen. Zwischen Skulptur und Zeichnung besteht < br />keine Hierarchie\, fü\;r Kricke existieren sie gleichberechtigt ne beneinander. Beide verwandeln das Schwere in Leichtigkeit. Beide bieten die existentielle Erfahrung unseres `Seins in der Welt´\; und letztlich e in Gefü\;hl der Freiheit.

DTEND:20141130 DTSTAMP:20140917T094252 DTSTART:20140920 GEO:52.5054324;13.3926482 LOCATION:Aurel Scheibler\,Schöneberger Ufer 71 \nBerlin\, 10785 SEQUENCE:0 SUMMARY:Solo Exhibition\, Norbert Kricke UID:356913 END:VEVENT BEGIN:VEVENT DTEND:20140919T220000 DTSTAMP:20140917T094252 DTSTART:20140919T190000 GEO:52.5054324;13.3926482 LOCATION:Aurel Scheibler\,Schöneberger Ufer 71 \nBerlin\, 10785 SEQUENCE:0 SUMMARY:Solo Exhibition\, Norbert Kricke UID:356914 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Open Hours:

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Thu &\; Fri 2 - 6 pm

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Sat 11 a m - 6 pm + by appointment

DTEND:20141011 DTSTAMP:20140917T094252 DTSTART:20140913 GEO:52.50492;13.39335 LOCATION:ALEXANDER OCHS PROJECTS\,Besselstraße 14 \nBerlin\, 10969 SEQUENCE:0 SUMMARY:GOOD TASTE - HOPEFULLY \, Christoph Dettmeier\, Sven Drühl\, Wolfga ng Flad\, Frederik Foert\, Gregor Gaida\, Karsten Konrad\, Jan Muche\, Bett ina Scholz\, Stefan Sehler\, Lü Song\, Maik Wolf UID:356910 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The Croatian artist Dimitrije Ba&scaron\;ijevic (1921-1987) made his first appearance under the pseudonym Mangelos in a 1968 exhibition in Belgrade. Early text-based work in the form of notebooks from the 1940s \, in which the artist scrawled black marks to represent friends and neighb ors killed in war\, as if they had been stricken from a list\, foretells an interest in written language that would persist throughout Mangelos&rsquo\ ; career. In the 1950s and 60s\, his primary materials were notebooks\, sla tes and globes\; readymades which he transformed and reinterpreted by inscr ibing on them letters\, words\, sentences\, Cyrillic or Glagolithic charact ers and sometimes longer texts in Latin. \;

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With the aim of dev eloping an art that freed itself from metaphorical readings\, Mangelos crea ted objects that represented their own negation. His &bdquo\;No-Art&ldquo\; arose. Through the non-representation of the represented\, as in Nè\ ;gation de la peinture (neg.d.p. IX) (1951-56)\, by painting over and cross ing out existing contexts\, a practice that runs through his entire oeuvre\ , as well as through the use of individual letters and words that\, ripped from their context\, lose their communicative content\, as in glagolitic le tter N (1970)\, Mangelos endeavored to\, in his own words\, &bdquo\;negate the painting by creating it in the form of words&ldquo\; and &bdquo\;negate the word by painting it.&ldquo\; This later work is thus more descriptive than prescriptive\, and could also be understood as pictorial art criticism .
These issues are at the core of the exhibition documenta - ?\, whic h presents works produced primarily in the 1970s and thereby provides an ov erview of this central create phase of the artist&rsquo\;s
career. In this period Mangelos frequently manipulated found newsprint and constructe d self-composed manifestos. These manifestos are today the most significant source of information regarding the groundwork of his philosophies and his understanding of art. --
Dimitirije Ba&scaron\;ičević (died 18th Dece mber 1987 in Zagreb) held a PhD in art history in addition to his practice as an art critic\, curator and artist. In his writing he regularly advocate d for the advancement of abstract art in his home country of Croatia. He co ntributed to the implementation of Salon 54\, the inaugural exhibition of a bstract art in Yugoslavia\, and was the first director of the Gallery of Pr imative Art in Zagreb. His artistic works\, produced under the pseudonym &l squo\;Mangelos&rsquo\; and as part of the art historian and artist collecti ve Gorgona\, remained hidden from the public for the majority of his life. Today his works can be found in numerous prestigious collections such as th e Centre Georges Pompidou (Paris)\, the Tate Modern (London) as well as MOM A / Museum of Modern Art (New York)

DTEND:20141108 DTSTAMP:20140917T094252 DTSTART:20140920 GEO:52.49888;13.36055 LOCATION:Aanant & Zoo\,Bülowstrasse 90 \nBerlin\, 10783 SEQUENCE:0 SUMMARY: documenta - ?\, Dimitrije Basicevic (Mangelos) UID:356908 END:VEVENT BEGIN:VEVENT DTEND:20140919T220000 DTSTAMP:20140917T094252 DTSTART:20140919T190000 GEO:52.49888;13.36055 LOCATION:Aanant & Zoo\,Bülowstrasse 90 \nBerlin\, 10783 SEQUENCE:0 SUMMARY: documenta - ?\, Dimitrije Basicevic (Mangelos) UID:356909 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20141007 DTSTAMP:20140917T094252 DTSTART:20140920 GEO:52.5037168;13.3058226 LOCATION:Galerie Michael Schultz\,Mommsenstrasse 34 \nBerlin\, D-10629 SEQUENCE:0 SUMMARY: IM GLEITFLUG\, Helge Leiberg UID:356906 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20141007 DTSTAMP:20140917T094252 DTSTART:20140920 GEO:52.5037168;13.3058226 LOCATION:Galerie Michael Schultz\,Mommsenstrasse 34 \nBerlin\, D-10629 SEQUENCE:0 SUMMARY:GAME OVER: THE DYSFUNCTION OF STATUS QUO\, Sabina Sakoh UID:356901 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The Royal Prussian Phonographic Commission was founded in 19 15 with the goal of documenting the language and music of foreign soldiers interned in German prison camps. Among the holdings of the Berlin Phonogram Archive in the Ethnologisches Museum\, the wax cylinder collection "Phonog raphische Kommission (Phonographic Commission)" with some 1000 cylinders re mains the most extensive of the historical collections. The sound documents consist exclusively of music recordings.

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Photographs from the hold ings of the Museum Europä\;ischer Kulturen from the Wü\;ns-dorf and Zossen prison camps near Berlin complete the sound recording collection. T hese prisoners received special treatment from the Germans\, who wanted to "re-educate" them to serve in the German ranks. To this end\, the photograp hs taken by Otto Stiehl for the camp commandant's office were also used for propaganda.

DTEND:20150406 DTSTAMP:20140917T094252 DTSTART:20141010 GEO:52.4573169;13.2928777 LOCATION:Museum Europäischer Kulturen\,Lansstraße 8 \nBerlin\, 14195 SEQUENCE:0 SUMMARY:Phonographed Sounds - Photographed Moments.- Sound and image docume nts from WWI German prison camps UID:356693 END:VEVENT BEGIN:VEVENT DTEND:20141010T180000 DTSTAMP:20140917T094252 DTSTART:20141010T100000 GEO:52.4573169;13.2928777 LOCATION:Museum Europäischer Kulturen\,Lansstraße 8 \nBerlin\, 14195 SEQUENCE:0 SUMMARY:Phonographed Sounds - Photographed Moments.- Sound and image docume nts from WWI German prison camps UID:356694 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The richly decorated faç\;ade of the early Islamic des ert palace of Mshatta was presented as a gift from the Ottoman sultan to th e German emperor in 1903\, when it was trasported from the Jordanian desert to Berlin\, where it now forms the centrepiece of the Museum fü\;r Isl amische Kunst's collection\, on show in the Pergamonmuseum. Its accession h istory began with a series of photographs of the faç\;ade which circu lated among European archaeologists and art historians around the turn of t he century and eventually also landed in the hands of Kaiser Wilhelm II.&nb sp\;

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Photographs would also later play a pivotal role in the archae ological and museological study of Mshatta. Photographic records were made at several key moments in its recent history: before and during the facade' s dismantling\, after the structure was hit by a bomb in World War II\, and during its subsequent restoration in the 1950s. Photographic documentation also formed the basis for recurring debates surrounding the facade's recon struction and museum display.

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The Mshatta Facade is about to be transported once again\, as the Pergamonmuseum prepares for extensive renovation\, and the Museum of Islamic Art now presents selected highlights from the remarkable photographic biography of this unique monum ent.

DTEND:20150315 DTSTAMP:20140917T094252 DTSTART:20141010 GEO:52.5213458;13.4008097 LOCATION:Pergamonmuseum\,Bodestraße 1-3 \nBerlin\, 10178 SEQUENCE:0 SUMMARY:Mshatta in focus. The Jordanian desert palace in historical photogr aphs UID:356691 END:VEVENT BEGIN:VEVENT DTEND:20141010T180000 DTSTAMP:20140917T094252 DTSTART:20141010T100000 GEO:52.5213458;13.4008097 LOCATION:Pergamonmuseum\,Bodestraße 1-3 \nBerlin\, 10178 SEQUENCE:0 SUMMARY:Mshatta in focus. The Jordanian desert palace in historical photogr aphs UID:356692 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Sticks and Stones \;is a prologue to the renovation of N eue Nationalgalerie\, which will be carried out by David Chipperfield Archi tects beginning in 2015. For three months from October to December\, 2014\, the British architect David Chipperfield (born in 1953) will transform the universal space of the upper glass hall into a hall of columns consisting of 144 tree trunks. From the English children's rhyme \;Sticks and ston es may break my bones\, but words will never hurt me\, Chipperfield borrows the first words to refer to the basic elements of Mies van der Rohe's buil ding and of architecture in general: sticks and stones.

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Fifty years after its completion\, Ludwig Mies van der Rohe's (1886-1969) building con tinues to impress with its modern stringency\, shaped primarily by its spec ial roof construction. The steel roof\, which seems suspended in air\, is b orne by eight steel columns on the outside\, thus allowing for a column-fre e interior space of 2\,500 square meters. With barked spruce trunks that in a dense grid stretch the eight meters from the granite flooring to the ste el roof structure\, David Chipperfield directs attention to the basic theme s of architecture in general.

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Between nature and architecture\, a f ield stretches that embraces the long cultural history of the column. Again st the backdrop of the immanent restoration of Neue Nationalgalerie\, the f orest of columns also pays homage to the great predecessor Mies van der Roh e and serves as a metaphor for a temporary construction site.

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The v isitors to this accessible installation are offered a spatial experience wi th a strongly evocative power. At the center of the forest of columns is a meadow\, 200 square meters in size\, where architectural\, interdisciplinar y shows will take place\, including the Festival of Future Nows by artisit Ó\;lafur Elí\;asson.

DTEND:20141231 DTSTAMP:20140917T094252 DTSTART:20141002 GEO:52.5063918;13.3683582 LOCATION:Neue Nationalgalerie\,Potsdamer Straße 50 \nBerlin\, 10785 SEQUENCE:0 SUMMARY: Sticks and Stones. An Intervention\, David Chipperfield UID:356689 END:VEVENT BEGIN:VEVENT DTEND:20141002T200000 DTSTAMP:20140917T094252 DTSTART:20141002T100000 GEO:52.5063918;13.3683582 LOCATION:Neue Nationalgalerie\,Potsdamer Straße 50 \nBerlin\, 10785 SEQUENCE:0 SUMMARY: Sticks and Stones. An Intervention\, David Chipperfield UID:356690 END:VEVENT END:VCALENDAR