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Bourouina Gallery is thrilled to present the very first solo exhibition by young German artist Marie Rief.

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The light goes throu gh the transparent paper - and the drawing on it -\, the glass and the tape ... When it reaches the photosensitive surface\, the trace of the different materials appears to form a dark and uneven space. The process by which th e works of Marie Rief is ruled does not appear at first glance. Their compo sition is mysterious: the photographic process is visible\, but only a ques tioning of that first perception reveals the primary drawing. On a backgrou nd composed of fuzzy and undefined elements\, the magnets and the folds lea ve white and sharp prints\; the light is dimly diffused without modelling a ny specific object. The drawing and its intensity marks were "flattened" in the laboratory\, but the general atmosphere of the work is given by this o riginal drawing: a space is created in which both artificial and natural li ght are equivalent. This shapeless space intrigues and leads thought to the origins of photography: the transformation of shadow into light.



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The apparent contrast between the intense personal work induced by the dra wing and the systematic nature of photography lays the foundation for a new interpretation of space and object. Marie Rief does not show her drawings but their photographic transfer\, and she creates so a space that neither o f these techniques alone might suggest. She reflects on the perception and the difference between drawing and photography\, in order to expand the con ceptual space of her work. By incorporating the "errors" occurred in darkne ss\, she wants to appropriate an unknown territory\, where knowledge disapp ears faced with the unexpected and the imperfect.

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Marie Rief was bo rn in Berlin in 1987\; from 2008 to the completion of studies as a master s tudent in 2014\, she worked in the class of Pia Fries\, briefly with Gregor y Cumins. 2015\, she received the Regina Pistor price and got nomi nated for the Proté\;gé\; Award of the President of th e UDK (Art University\, Berlin).

DTEND:20150228 DTSTAMP:20150128T041410 DTSTART:20150131 GEO:52.5069142;13.323912 LOCATION:Bourouina Gallery\,Carmertstrasse 11 \nBerlin\, 10623 SEQUENCE:0 SUMMARY:Lichte Schatten\, Marie Rief UID:371694 END:VEVENT BEGIN:VEVENT DTEND:20150130T210000 DTSTAMP:20150128T041410 DTSTART:20150130T180000 GEO:52.5069142;13.323912 LOCATION:Bourouina Gallery\,Carmertstrasse 11 \nBerlin\, 10623 SEQUENCE:0 SUMMARY:Lichte Schatten\, Marie Rief UID:371695 END:VEVENT BEGIN:VEVENT DESCRIPTION:
One Year of Filmm akers
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KOW's pr ogram 2015
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In 2015\, KOW&rsquo\;s programming will be dedicated to seven filmmak ers. It is hardly a secret that the medium of film has come to play a centr al role on the contemporary art stage\; over the past decades\, it has been instrumental to opening up new perspectives\, methods\, and subjects for t he visual arts. By interweaving documentation and a probing imagination\, d iscourse and suggestion\, reality check and dream factory\, the moving imag e has become indispensable to art as a whole.

Many artists have adopted filmmaking as one practice fully on a par with others. In some inst ances it complements other techniques&mdash\;see Tobias Zielony&rsquo\;s wo rk in film as well as photography&mdash\;while in others it is framed by sc ulptures and installations\, as in the work of Hito Steyerl and Clemens von Wedemeyer\, or subject to reflection in more intimate formats\, as in Barb ara Hammer&rsquo\;s drawings and collages. In the oeuvres of Chto Delat?\, Renzo Martens\, and Mario Pfeifer\, it figures as one component of a larger conceptual or performative project. What we will present in 2015 is not a film program: we want to highlight these entanglements of the medium and dr aw attention to the methodological diversity that filmmakers bring to conte mporary art. Hito Steyerl\, Renzo Martens and Chto Delat? will have their f irst monographic exhibition in a German gallery.  \; \;
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- See more at: http://www.kow-berlin.info/news/2014_programm_2015#st hash.hCF0LNMh.dpuf

DTEND:20150214 DTSTAMP:20150128T041410 DTSTART:20141206 GEO:52.53112;13.40054 LOCATION:KOW\,Brunenstrasse 9 \nBerlin\, D-10119 SEQUENCE:0 SUMMARY:Dream Lovers\, The Films 2008–2014\, Tobias Zielony UID:371590 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150207 DTSTAMP:20150128T041410 DTSTART:20150110 GEO:52.5091215;13.3882931 LOCATION:galerie son\,Mauerstr. 80 \nBerlin\, 10117 SEQUENCE:0 SUMMARY:Gerhard RICHTER - editions\, Gerhard Richter UID:371186 END:VEVENT BEGIN:VEVENT DESCRIPTION:

At the end of the 1980s\, the international world of art was introduced to the works of Michael Bach by the exhibition &ldquo\;Landscha ften/Landscapes&rdquo\; at Kunstverein fü\;r die Rheinlande und Westfal en in Dü\;sseldorf. In this exhibition\, Raimund Stecker explored the p resent and the future of the traditional landscape subject and invited Mich ael Bach\, Andreas Gursky\, Axel Hü\;tte\, Michael van Ofen and Andreas Schö\;n to present their take on new points of view.

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 \;Fr om the End of January to the end of April 2015\, the Heinz-Martin Weigand G allery presents works by Michael Bach from the last 3 decades.

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Mich ael Bach&rsquo\;s works feature views of cities\, houses and groups of buil dings and presents insights into train stations and building sites. Taking photographed images as their basis\, the views take on the appearance of mo del cities during the painting process. Using seemingly realistic paintings \, whose preformed point of departure is a technical view arrived at with t he help of photographs\, Bach creates new aesthetic structures\, which are turned into ideal landscapes.

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 \;Neither documentary depiction\ , as in architectural painting\, nor hyperrealism are of any interest to th e artist. Photographs function solely as sketches. The paintings give rise to new and self-composed objects\, which render the seeming realism inanima te. Any details which Bach considers unworthy are condensed afresh in the p ainting. People and life itself are now only present in the shape of the co nstructed architecture\, which is in this way turned into a relic. \;\n

By using predominantly muted colours and reducing colourfulness Bach creates an otherworldly atmosphere. This is how Hans-Ulrich Obrist put it when he compared Bach&rsquo\;s paintings with the theatre stage of Paul Del vaux. In his paintings\, smooth surfaces appear rigorous and anonymous. Mic hael Bach is concerned with the painterly aspects and the contemporary cond itions and potential \; of the medium of painting.

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Bach constru cts urban life with its apparent obviousness in an expressive\, painterly f ashion. In this way\, the distance to the objects is not spatial but atmosp heric\, arrived at using the means of painting.

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The traditional urb an space is questioned or even presented in an exaggerated way\, public spa ce is accentuated. The newly created views are turned into stage backdrops\ , emitting a stable turmoil.

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Martin Hentschel spoke of a world with out noise which functions akin to a world which has been taken out of servi ce.

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 \;Michael Bach was born in Sehma in the Erz Mountains in 1 953. He studied at Kunstakademie Dü\;sseldorf from 1975 to 1983\; 1975- 79 with Norbert Tadeusz at the Mü\;nster department\, 1979-83 with Gerh ard Richter. He was a Meisterschü\;ler of Gerhard Richter. Bach lives a nd works in Dü\;sseldorf.

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For more information please visit my website: http://weigand.info/en/kuenstler/michael-bach.htm l

DTEND:20150425 DTSTAMP:20150128T041410 DTSTART:20150123 GEO:52.505995;13.393621 LOCATION:Heinz-Martin Weigand Gallery\,Charlottenstr. 3 \nBerlin\, 10969 SEQUENCE:0 SUMMARY:Michael Bach "Urban Landscapes"\, Michael Bach UID:371168 END:VEVENT BEGIN:VEVENT DTEND:20150123T220000 DTSTAMP:20150128T041410 DTSTART:20150123T180000 GEO:52.505995;13.393621 LOCATION:Heinz-Martin Weigand Gallery\,Charlottenstr. 3 \nBerlin\, 10969 SEQUENCE:0 SUMMARY:Michael Bach "Urban Landscapes"\, Michael Bach UID:371169 END:VEVENT END:VCALENDAR