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Since 2009\, Vadim Zakharov and Niklas Nitschke have worked together under the name OBAMAINBERLIN travelling though the German-Polish b order regions\, which they explore as a “dead zone” by way of absurd\, open -ended acts. The exhibition at the Showroom of Neuer Berliner Kunstverein p resents video documentations of actions\, photographic works\, and artifact s created as part of these artistic explorations.

Vadim Zakharo v (b. 1959) lives in Moscow and Berlin. He is one of the best-known artists of Moscow Conceptualism and will represent Russia at this year’s Venice Bi ennale. Zakharov works with video\, photography\, installation\, performanc e\, typography\, and computer graphics\, consciously avoiding any clear int erpretation. He works with fictional characters\, most recently with the “s tupid Father Zond from Cologne\,” which he sets in relationship to one anot her with constantly shifting perspectives to create complex narratives. Lik e the Russian literature of the nineteenth century\, the motif of failure i s a constant motif in these humorous (self) stagings.

Niklas Nit schke (b. 1970) is currently based in Breslack\, Brandenburg. He develops h is artistic system of reference not only using his own works\, but also wit h works of others. In the process\, he isolates certain elements that he do ubles in his complex\, in part ephemeral work\, achieving the absence of th e object\, and freeing the work from representation.

DTEND:20130426 DTSTAMP:20141030T144856 DTSTART:20130305 GEO:52.5279191;13.3860443 LOCATION:Neuer Berliner Kunstverein\,Chausseestrasse 128 -129 \nBerlin\, 10 115 SEQUENCE:0 SUMMARY:OBAMAINBERLIN\, Vadim Zakharov\, Niklas Nitschke UID:260269 END:VEVENT BEGIN:VEVENT DTEND:20130301T210000 DTSTAMP:20141030T144856 DTSTART:20130301T190000 GEO:52.5279191;13.3860443 LOCATION:Neuer Berliner Kunstverein\,Chausseestrasse 128 -129 \nBerlin\, 10 115 SEQUENCE:0 SUMMARY:OBAMAINBERLIN\, Niklas Nitschke\, Vadim Zakharov UID:260270 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20130427 DTSTAMP:20141030T144856 DTSTART:20130427 GEO:52.5015208;13.3330171 LOCATION:Kunsthandel Jörg Maaß\,Rankestraße 24 \nBerlin\, 10789 SEQUENCE:0 SUMMARY:MEISTERBLÄTTER - NEU ENTDECKT Graphik des Expressionismus\, Max Be ckmann\, Lyonel Feininger\, Conrad Felixmuller\, Walter Gramatte\, Erich He ckel\, Max Kaus\, Ernst Ludwig Kirchner\, Wilhelm Laage\, Otto Lange\, Wilh elm Morgner\, Otto Mueller\, Emil Nolde\, Hermann Max Pechstein\, Christian Rohlfs\, Karl Schmidt-Rottluff UID:273979 END:VEVENT BEGIN:VEVENT DTEND:20130427T200000 DTSTAMP:20141030T144856 DTSTART:20130427T180000 GEO:52.5015208;13.3330171 LOCATION:Kunsthandel Jörg Maaß\,Rankestraße 24 \nBerlin\, 10789 SEQUENCE:0 SUMMARY:MEISTERBLÄTTER - NEU ENTDECKT Graphik des Expressionismus\, Max Be ckmann\, Lyonel Feininger\, Conrad Felixmuller\, Walter Gramatte\, Erich He ckel\, Max Kaus\, Ernst Ludwig Kirchner\, Wilhelm Laage\, Otto Lange\, Wilh elm Morgner\, Otto Mueller\, Emil Nolde\, Hermann Max Pechstein\, Christian Rohlfs\, Karl Schmidt-Rottluff UID:273980 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Blain|Southern Berlin is delighted to present a new group of video works by Douglas Gordon during the 63rd Film Berlinale\, 2013. Gordo n is one of the most important and influential artists of his generation. I n addition to films and video installations\, his work embraces photography \, the written word\, sculpture and music.

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For Sharpening Fanta sy\, 2012 Gordon travelled to Tangier\, where he filmed traditional kn ife grinders in different locations within the Kasbah of the seaport city. The viewer watches as the effortlessly repeated movements of the men are se t to the soundtrack of their day’s work. Following the recent large-scale\, site-specific works by Jannis Kounellis and Lawrence Weiner\, the installa tion transforms the former production hall of Der Tagesspiegel new spaper into an experiential\, audio-visual space. The work presents collisi ons between Europe and the ‘Orient’\, perception and prejudice\, desire and fear.

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Unlike the films of snake charmers in Natural Historie o n the Parapet and Natural Historie on the Altar\, which Gordo n recorded in Marrakech four years previously\, Sharpening Fantasy\, 20 12 blurs the boundaries between the different sensory perceptions\, be tween reality and fairy tale\, between dramatic imagination and a more mute d gaze.

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Douglas Gordon has long been affiliated with Berlin\; he wo n a DAAD scholarship in 1998 and has lived and worked there since 2008.

DTEND:20130428 DTSTAMP:20141030T144856 DTSTART:20130207 GEO:52.5019746;13.3662125 LOCATION:Blain|Southern Berlin\,Potsdamer Straße 77-87 \nBerlin\, 10785 SEQUENCE:0 SUMMARY: Sharpening Fantasy\, 2012\, Douglas Gordon UID:256742 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20130428 DTSTAMP:20141030T144856 DTSTART:20130118 GEO:52.50648;13.39802 LOCATION:Galerie Berinson\,Lindenstraße 34 \nBerlin\, 10969 SEQUENCE:0 SUMMARY:Photography\, Alexander Rodtschenko UID:255521 END:VEVENT BEGIN:VEVENT DTEND:20130118T210000 DTSTAMP:20141030T144856 DTSTART:20130118T180000 GEO:52.50648;13.39802 LOCATION:Galerie Berinson\,Lindenstraße 34 \nBerlin\, 10969 SEQUENCE:0 SUMMARY:Photography\, Alexander Rodtschenko UID:255522 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Galerie Mario Mazzoli and the N eue Berliner Räume are delighted to present the first solo exhibition of Gu ido Canziani Jona in Berlin. The main focus in the work of Canziani Jona is the merging of sound\, painting and video into one central work\, with the idea of vitalizing the static one of his main concerns. For this\, Canzian i Jona finds an artistic form of expression in the invariably stronger inte rconnection of video\, painting and sound. The process of fusion is not con cealed with Canziani Jona. Quite the opposite\, it has more to do with crea ting and making visible those areas of tension that arise in the merging of autonomous elements. In this process\, the sound is the complete penetrati on of the picture and the picture is the full counterpart of the sound. Thi s total synchronicity\, this absolute merging of all parts into a work that is literally charged with tension is the goal of this artistic process.

DTEND:20130428 DTSTAMP:20141030T144856 DTSTART:20130319 GEO:52.49896;13.3621 LOCATION:Galerie Mario Mazzoli\,Potsdamer Strasse 132 \nBerlin\, 10783 SEQUENCE:0 SUMMARY:A Synthesis. Emerging as one.\, Guido Canziani Jona UID:264464 END:VEVENT BEGIN:VEVENT DTEND:20130316T210000 DTSTAMP:20141030T144856 DTSTART:20130316T190000 GEO:52.49896;13.3621 LOCATION:Galerie Mario Mazzoli\,Potsdamer Strasse 132 \nBerlin\, 10783 SEQUENCE:0 SUMMARY:A Synthesis. Emerging as one.\, Guido Canziani Jona UID:264465 END:VEVENT BEGIN:VEVENT DESCRIPTION:

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On the occassion of Gallery Weekend Berlin visitors will have the chance to see the full room installation "Frame Theatre" by Franco Maurina even on a Sunday - combining old and new techniques\, music and visualization into a unique experience of moving art.

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watch this:

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recommended by berlin er-art.com

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DTEND:20130428 DTSTAMP:20141030T144856 DTSTART:20130426 GEO:52.5091215;13.3882931 LOCATION:galerie son\,Mauerstr. 80 \nBerlin\, 10117 SEQUENCE:0 SUMMARY:Gallery Weekend Berlin: Frame Theatre\, Franco Maurina UID:272315 END:VEVENT BEGIN:VEVENT DESCRIPTION:

“Popsicle” ist die Urform von Wassereis am Stil und ein Wort spiel aus soda
pop und icicle\, also Limonade und Eiszapfen.
Der 11jährige Frank Epperson mixte sich 1905 auf der Terrasse seines Elternhauses in San Franzisko Brause und ließ das Getränk samt Mixstab
dort stehen. In dieser Nacht erreichten die Temperaturen ein Rekordt ief und
der Junge entdeckte am nächsten Morgen ein gefrorenes Getränk am Stil.
Das pinkfarbene Wassereis wurde zu einer Marke\, die in Eng lisch sprachigen
Ländern als „popsicle” bekannt ist.

Der „frozen moment in time”\, der „eingefrorene Augenblick” beleuchtet in
Bildern das Flüchige. Energie wird sichtbar.
Wie visualisiert sich diese wichtigste Ressource einer Generation zwischen
burn-out und Hoc hleistung in Informationsverarbeitung in Bildern?

Die Arbeiten der beteiligten 6 KünstlerInnen thematisieren Energie und ihre
Kompr imierung in Computeranimation\, Installation und Malerei.


'Popsicle'\, a portmanteau of soda pop and icicle was discovered in 1905 .
Eleven-year-old Frank Epperson was mixing a powdered flavoring for< br /> soda and water out on the porch. He left it there\, with a stirring s tick still
in it. That night\, temperatures reached a record low in S an Francisco\,
and the next morning\, the boy discovered the drink ha d frozen to the stick\,
inspiring the idea of a fruit-flavored pink p opsicle.

In still images it is the “frozen moment in time” tha t shows transitory
movement. Energy becomes visual.
How is this important resource of a generation between burn-out and
high perform ance in information processing visualized?

The work of all 6 p articipating artists addresses energy and their
compression in comput er animation\, installation and painting.

DTEND:20130428 DTSTAMP:20141030T144856 DTSTART:20130426 GEO:52.50349;13.42497 LOCATION:Kunstraum Kreuzberg / Bethanien\,Mariannenplatz 2 \nBerlin\, 10997 SEQUENCE:0 SUMMARY:popsicle \, Ralf Dereich\, Simone Lanzenstiel\, Gerhard Mantz\, Eli sabeth Sonneck\, Marianna Uutine\, Michaela Zimmer UID:273678 END:VEVENT BEGIN:VEVENT DTEND:20130425T210000 DTSTAMP:20141030T144856 DTSTART:20130425T190000 GEO:52.50349;13.42497 LOCATION:Kunstraum Kreuzberg / Bethanien\,Mariannenplatz 2 \nBerlin\, 10997 SEQUENCE:0 SUMMARY:popsicle \, Ralf Dereich\, Simone Lanzenstiel\, Gerhard Mantz\, Eli sabeth Sonneck\, Marianna Uutine\, Michaela Zimmer UID:273679 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Dresden war neben Berlin und Leipzig eines der wichtigsten K unstzentren der DDR. Zu Beginn des 20. Jahrhunderts hatte sich die Elbmetro pole durch Künstler wie die Brücke-Gemeinschaft oder Otto Dix zu einem bede utenden Ort der Graphik entwi-ckelt. Zahlreiche in Dresden ausgebildete Kün stler belebten nach dem Ende des Zweiten Weltkriegs diesen Schwerpunkt mit stilistischer Vielfalt neu.

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Die Studioausstellung zeigt mit einer A uswahl von rund 30 graphischen Arbeiten der sechs in Dresden wirkenden Küns tler Wilhelm Rudolph (1889-1982)\, Hermann Glöckner (1889-1987)\, Wilhelm L achnit (1899-1962)\, Hans Theo Richter (1902-1969)\, Hans Körnig (1905-1989 ) und Gerhard Kettner (1928-1993) einen kleinen Ausschnitt des umfassenden Bestands des Berliner Kupferstichkabinetts an Kunst-werken aus der DDR.

DTEND:20130428 DTSTAMP:20141030T144856 DTSTART:20130115 GEO:52.5063918;13.3683582 LOCATION:Neue Nationalgalerie\,Potsdamer Straße 50 \nBerlin\, 10785 SEQUENCE:0 SUMMARY:Dresdener Graphiker in der Nachkriegszeit Studioausstellung des Kup ferstichkabinetts in der Neuen Nationalgalerie\, Wilhelm Rudolph\, Hermann Glöckner\, Wilhelm Lachnit\, Hans Theo Richter\, Hans Körnig\, Gerhard Kett ner UID:254207 END:VEVENT BEGIN:VEVENT DTEND:20130115T180000 DTSTAMP:20141030T144856 DTSTART:20130115T100000 GEO:52.5063918;13.3683582 LOCATION:Neue Nationalgalerie\,Potsdamer Straße 50 \nBerlin\, 10785 SEQUENCE:0 SUMMARY:Dresdener Graphiker in der Nachkriegszeit Studioausstellung des Kup ferstichkabinetts in der Neuen Nationalgalerie\, Hermann Glöckner\, Gerhard Kettner\, Hans Körnig\, Wilhelm Lachnit\, Hans Theo Richter\, Wilhelm Rudo lph UID:254208 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Ursula Biemann (born in 1955) is an artist\, theorist\, and curator. Since 2002 she has been researching at the Institute for Theory at Zurich University for the Arts. Biemann was awarded an honorary doctorate by the University of Umeå (2008) and the Prix Meret-Oppenheim (2009). Latel y her works were exhibited at: Alexandria (2012)\; LENTOS Museum\, Linz (20 12)\; Center for Art and Media Karlsruhe (2011)\; Cooper Union\, New York ( 2011) and 7th Shanghai Biennale (2008)\; 10th Istanbul Biennale (2007)\; Li verpool Biennale (2004)\, among others.

The exhibition Egyptian Chemistry – Deep Weather – Sahara Chronicle at Neuer Berliner Kunstverein p resents a selection of Biemann’s large-scale projects in spatial staging\, focusing on two current works that are shown for the first time on the Euro pean continent: the single channel projection Deep Weather (2013)\, which o ffers insights into the global causes and impacts of climate change\, and E gyptian Chemistry (2012)\, an installation with a water laboratory and a fi ve channel video that sheds light on the hybrid ecology of Egypt and the ro le of the Nile in this system. To complement the two new works\, Sahara Chr onicle (2006–2009) investigates clandestine migration within northern Afric a\, but also the points where migration routes and the extraction of resour ces like uranium and fisheries intersect.

Subtle and profound\, Biemann’s work makes use of existing knowledge\, reflecting upon correlatio ns and subjective impressions and combining them with academic findings. Bi emann’s artistic approach creates a new way of organizing knowledge and pro vides a platform for all actors upon which they can leave aside their class ical roles as victim and enter into a differentiated dialogue on a par with the beholders. The non-linear narrative structure that characterizes Biema nn’s works presents a narrative and visual mosaic of impressions that ultim ately compose a complex image. For this reason\, her impressive works are n ot documentaries in the representative sense\, but rather coalesce subjecti ve statements of eyewitnesses with academic questions and contrast knowledg e from the public media with surprising images and contrary viewpoints from politics\, history\, culture\, and sociology.

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The exhibition is ac companied by the catalog Ursula Biemann: Mission Reports—Künstlerische Prax is im Feld\, published by Verlag für moderne Kunst Nürnberg\, with a prefac e by Marius Babias\, Simon Maurer\, and Stella Rollig and contributions by Ursula Biemann\, T. J. Demos\, Brian Holmes\, and Jörg Huber\, in German la nguage\, 208 pages with numerous color illustrations.

DTEND:20130428 DTSTAMP:20141030T144856 DTSTART:20130302 GEO:52.5279191;13.3860443 LOCATION:Neuer Berliner Kunstverein\,Chausseestrasse 128 -129 \nBerlin\, 10 115 SEQUENCE:0 SUMMARY: Egyptian Chemistry – Deep Weather – Sahara Chronicle\, Ursula Biem ann UID:260267 END:VEVENT BEGIN:VEVENT DTEND:20130301T210000 DTSTAMP:20141030T144856 DTSTART:20130301T190000 GEO:52.5279191;13.3860443 LOCATION:Neuer Berliner Kunstverein\,Chausseestrasse 128 -129 \nBerlin\, 10 115 SEQUENCE:0 SUMMARY: Egyptian Chemistry – Deep Weather – Sahara Chronicle\, Ursula Biem ann UID:260268 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Für nur 10 Tage wird die Ausstellung "Marcel Eichner | Die V illa Schöningen Bilder" gezeigt: Vom 18.04. bis zum 28.04.2013. Wir laden S ie herzlich zur Vernissage am 17.04.2013 um 18 Uhr in der Villa Schöningen ein.

DTEND:20130428 DTSTAMP:20141030T144856 DTSTART:20130418 GEO:52.41371;13.08757 LOCATION:Villa Schöningen\,Berliner Straße 86 Potsdam \nBerlin\, 14467 SEQUENCE:0 SUMMARY: Die Villa Schöningen Bilder\, Marcel Eichner UID:271340 END:VEVENT BEGIN:VEVENT DTEND:20130417T200000 DTSTAMP:20141030T144856 DTSTART:20130417T180000 GEO:52.41371;13.08757 LOCATION:Villa Schöningen\,Berliner Straße 86 Potsdam \nBerlin\, 14467 SEQUENCE:0 SUMMARY: Die Villa Schöningen Bilder\, Marcel Eichner UID:271341 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Vicente B. Ballestar\, born in Barcelona in 1929\, is a Span ish illustrator known worldwide for his genre-defining dark pulp and supern atural realist illustrations. Throughout his long career\, he has been belo ved by aficionados of the genre worldwide\, especially for his cover illust rations for Geisterjäger\, John Sinclair (Ghosthunter\, John Sinclair). Fro m the beginning of the series in the 70s to his retirement in 2007\, Balles tar created almost one thousand striking scenes in his preferred medium wat ercolour\, giving the adventures of John Sinclair their unmistakable graphi c character and certainly greatly contributing to its cult status. In the h orror detective fiction series\, published weekly since 1973\, Scotland Yar d chief inspector John Sinclair is the eponymous protagonist of the German pulp fiction written by Helmut Rellergerd under the pen name Jason Dark.
In his unique style\, characterised by a masterful command of light and dark and dynamic linework\, exploring the many nuances of shadows and extre me emotions in the figures’ facial expressions and postures in eerie settin gs\, danger always lurking nearby\, the master watercolourist Ballestar cap tured the uncanny universe of the series. His dramatic illustrations made t he hero and his battles with demonic and undead opponents come to life\, le ap off the pages and populate the readers’ imagination.
For over thirt y years\, Ballestar has also painted the background scenes of Spanish bullf ighting posters. His vi-vid scenes have become synonymous with the breathle ss tense energy\, physical rigour and captivating danger of the arenas.
Ballestar has collaborated widely with international publishers such as B astei (Germany)\, Robert Hale (England)\, Clevalend (Austria)\, Semic (Fran ce and Sweden)\, Winthers (Denmark) and more. As a writer\, he has publishe d several titles on drawing and painting techniques.

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DTEND:20130501 DTSTAMP:20141030T144856 DTSTART:20121019 GEO:52.52944;13.40316 LOCATION:The Wall at In:Surgo! Berlin\,Torstrasse 110 \nBerlin\, 10119 SEQUENCE:0 SUMMARY:Ghosthunter\, Vicente B. Ballestar UID:242576 END:VEVENT BEGIN:VEVENT DTEND:20121019T200000 DTSTAMP:20141030T144856 DTSTART:20121019T130000 GEO:52.52944;13.40316 LOCATION:The Wall at In:Surgo! Berlin\,Torstrasse 110 \nBerlin\, 10119 SEQUENCE:0 SUMMARY:Ghosthunter\, Vicente B. Ballestar UID:242577 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Digital prints on paper and video animations on monitor

DTEND:20130502 DTSTAMP:20141030T144856 DTSTART:20130420 GEO:52.4945849;13.4001012 LOCATION:G.A.S-station\, Tempelherrenstr. 22\nBerlin\, 10961 SEQUENCE:0 SUMMARY: "LOOP"\, \, Johann Büsen UID:272583 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20130504 DTSTAMP:20141030T144856 DTSTART:20130421 GEO:52.51135;13.39975 LOCATION:Autocenter\,Leipziger Strasse 56 \nBerlin\, 10117 SEQUENCE:0 SUMMARY:"stand alone\, by my side" - Conference 1\, Marc Bijl\, Peggy Fran ck\, Lena Henke\, Ada van Hoorebeke\, Jana Müller\, Björn Wallbaum UID:270600 END:VEVENT BEGIN:VEVENT DTEND:20130420T220000 DTSTAMP:20141030T144856 DTSTART:20130420T200000 GEO:52.51135;13.39975 LOCATION:Autocenter\,Leipziger Strasse 56 \nBerlin\, 10117 SEQUENCE:0 SUMMARY:"stand alone\, by my side" - Conference 1\, Marc Bijl\, Peggy Fran ck\, Lena Henke\, Jana Müller\, Ada van Hoorebeke\, Björn Wallbaum UID:270601 END:VEVENT BEGIN:VEVENT DESCRIPTION:

An astrological age lasts for approximately 2\,15 0 years – the time it takes for the vernal equinox to move from one constel lation of the zodiac into the next. In our era\, this is a procession from Pisces to Aquarius. Some believe that such changes affect mankind\, influen cing the rise and fall of civilizations or cultural tendencies: The age of Aquarius is said to be associated with love\, unity\, integrity\, freedom\, modernization\, rebellion\, veracity and transparency. Its colors are silv er\, aqua\, purple\, electric pink and blue. But no one can agree whether t his age has already arrived or if it is still far away.* Have we experience d a new dawn for mankind or are we still under the sign of the Piscean valu es - power and control? Can we pin our hopes on the stars? The works in thi s exhibition paint a picture of cosmic and earthly desires\; they invoke ot her possible worlds and in some cases reject them. This Age of Aquarius cat alogues artists’ wrestling with hope and doubt\, questioning the effectiven ess of new age symbolism in the 21st century.

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Shezad Dawood (b.1974) trained at Central St Martin’s and th e Royal College of Art before undertaking a PhD at Leeds Metropolitan Unive rsity. Dawood works across many different forms of media\, looking at a dis cursive model of practice that takes in both mystical and literary/historic al narratives. Often drawing on his complex heritage\, his projects have be en influenced by Sufism as much as Samuel Beckett and his large-scale inter ventions often work with musicians\, actors and other collaborators across a breadth of global locations: including the Middle East\, Europe\, India a nd the Americas. Recent projects include ‘Waiting (Insha’allah)’\, a restag ing of Samuel Beckett’s ‘Waiting for Godot’\, working with children of Arab immigrants in Milan and ‘Until the End of the World’\, a large-scale neon installation at The Third Line in Dubai (both 2008)\, which was subsequentl y acquired by the Museum of Modern Arab Art in Qatar. Dawood is one of the winners of the 2011 Abraaj Capital Art Prize. His work has been exhibited i nternationally\, including as part of ‘Altermodern’\, curated by Nicolas Bo urriaud\, at Tate Britain\, the 53rd Venice Biennale (both 2009) and the Bu san Biennale in Korea (2010). His further extensive exhibitions include pro jects in cities such as Dubai\, Mumbai\, New Delhi\, Fribourg\, Amsterdam\, Sydney and Winnipeg. Future projects include a new feature-length science- fiction film to be exhibited in a solo show at Modern Art Oxford (2012) and a collaboration with contemporary dance choreographer Jasmin Vardimon at S adler’s Wells in London (2013). Dawood currently lives and works in London\ , where he is Senior Lecturer and Research Fellow in Experimental Media at the University of Westminster.

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James Howard (b. 1981) is fascinated with spam emails whose intent is fraudulent or which attempt to sell questionable consumer products.  A student of internet scam strategie s and an aficionado of the low-grade communication often associated with th em\, his recent work samples texts and images hijacked from real emails in his junk folder. The resulting collages are displayed as posters and screen grabs . The effect is a litany of enticement\, preying on our perceived in securities \, and a garish portrait of the background/marginal commercial c ommunication of our day. His work has recently been exhibited at the Saatch i Gallery and at the Frankfurter Kunstverein.

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Juliana Ce rqueira Leite (b. 1981) engages the history of figurative art\, re-formulat ing representation to reflect volition in form. Her practice explores notio ns of control over matter and the body’s physical translation of will and d esire\, investigating how form is produced through repeated intention. Prim arily a sculptor Leite makes use of traditional sculptural processes and ma terials while breaking away from the historical syntax of figurative repres entation. Leite makes use of physically demanding activities such as diggin g\, rolling\, climbing\, and falling\, to resolve sculptural concerns\, app roaching these themes also through drawings\, photography and video. Leite’ s practice unites performance and sculpture to represent the physical mutab ility at the core of everyday being. Juliana Cerqueira Leite completed an M FA Sculpture at London’s Slade School of Fine Art in 2006\, followed by an MA in Drawing at Camberwell College of Art. She has since exhibited her wor k internationally with recent group shows in Lithuania\, California and Lon don including Newspeak at the Saatchi Gallery\, Bold Tendencies IV at the H annah Barry Gallery\, the 4th Marrakech Biennial and recently a solo show a t Galleria Lorcan O’Neill in Rome. Juliana is recipient of the 2006 Kenneth Armitage Sculpture Prize and the 2010-11 A.I.R. Gallery Fellowship. She wa s also in residence in 2009 at the Banff Arts Center in Alberta Canada. Her work is held in private collections in New York and London.

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Shana Moulton’s (b.1976) installation and performance practice begins with her fictional alter- ego\, Cynthia\, a hypochondriac housewife fixated upon miracle cures \, tv- shopping products and New Age rituals. Although Cynthia believes in the unity of the universe\, she lives in a social vacuu m. Nevertheless\, the sculptural setting in which the videos are presented involve the viewer in her vision. For a brief moment the audience par takes of her low- tech Pop fantasy life in which objects and consumer products a re at once banal and uncanny. Her video work has been screened and exhibite d internationally\, including at Art in General\, New York \, Migros Museum \, Zurich\; Contemporary Museum of Ar t \, Uppsala\; Rencontres internation ales Paris /Berlin\, Paris\; Aurora\, Edinburgh\; Darklight Festival\, Dubl in\; Impakt Festival\, Utrecht \; Internationale Kurzfilmtage\, Oberhausen\ ; Broadway 1602\, New York \; and Gimpel Fils \, London. Moulton‘s performa nces have been presented at venues including The Kitchen\, New York \; PERF ORMA 09\, New York \; Aurora Picture show\, Houston\; Electronic Arts Inter mix\, New York \; The Bluecoat \, Liverpool\; Socrates sculpture Park \, Ne w York \; among others .

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Matthew Stone (b. 1982) is an a rtist and shaman. These two interconnected roles are defined by his activit ies as photographer\, sculptor\, performance artist\, curator\, DJ\, Optimi st and cultural provocateur. He has shot covers for i-D magazine\, Dazed &a mp\; Confused\, Clash and GQ Style and directed music videos for These New Puritans and others. His recent exhibitions and performances have taken pla ce at the Baltic\, the Royal Academy\, the ICA\, the 4th Marrakech Biennale and Tate Britain.

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Mark Titchner (b. 1973) Working acros s a number of media including digital print\, wall drawing\, video\, sculpt ure and installation\, Titchner’s practice explores systems of belief\, bot h secular and spiritual\, often focusing on the marginalized\, discredited or forgotten ideologies and objects we place our faith in. Using the impers onal language of the public realm\, ranging from the quasi-mysticism of cor porate mission statements to the maxims of revolutionary socialism\, his wo rk exhorts us to believe in it. Motifs taken from advertising\, religious i conography\, club flyers\, trade union banners\, prog-rock and political pr opaganda all vie for our attention. The common denominator of this quest fo r idealism is a quest for enlightenment\; a desire for some form of transce ndence\; and yet\, abstracted from its original context\, the message appea rs drained of meaning. We know that we are being asked to respond but the p urpose is unclear\, leaving us only with the formal means of exhortation an d our own desire for meaning.

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Margo Trushina (b. 1981) w orks with the mechanisms of perception and the complexities of our relation ship to space. Her practice includes interactive installations and outdoor sculptures\, that invite us to consider how build spaces function as social \, psychological and perceptual environments. Trushina studied Photography at the Moscow State University and Institute of Problems of Contemporary Ar t under Josef Bakhstein in Moscow. She then went to obtain her MA in Fine A rt from the Chelsea College of Art in London. Since 2006 she has shown in v arious exhibitions in Russia\, Europe and the UK. In addition to gallery sh ows\, her works recently featured in a number of public exhibitions\, inclu ding at Castello De Rivoli Museo D’Arte Contemporanea\, Turin\, Italy\, Mul ti-Media Art Museum\, Moscow\; Chelsea Parade Ground\, London\; Archstoyani e Land Art Festival\, Moscow\, and others. Trushina will be participating i n the Young Art Biennial 2012 in Moscow and Summer Exhibition at the Royal Academy\, London.

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Nadim Julien Samman read Philosophy at University College London before completing a doctorate at the Courtauld institute of Art. He has written for publications including Third Text\, The Art Newspa per\, Art review\, Contemporary\, Asian Affairs\, Art india\, Artchronika\, Erotic review\, Naked Punch\, Under/current and WestEast. in 2011 he was C o-curator of One of a Thousand Ways to Defeat Entropy – an Official Collate ral Project of the 54th Venice Biennale\, and in 2012 he curated the 4th Ma rrakech Biennale with Carson Chan. He is a member of the international Asso ciation of Art Critics (AICA).

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DUVE Berlin will be open throughout the Berlin Gallery Weekend.
This weekend the gallery hours are:

< /span>Friday\, April 26: 10 - 6
Saturday\, April 27: 12 - 4
Sunday\, April 28: 12 - 4

DTEND:20130504 DTSTAMP:20141030T144856 DTSTART:20130309 GEO:52.49859;13.40097 LOCATION:DUVE Berlin\,Gitschinerstrasse 94/94a \nBerlin\, 10969 SEQUENCE:0 SUMMARY:New Age of Aquarius\, Shezad Dawood\, James Howard\, Juliana Cerque ira Leite\, Shana Moulton\, Matthew Stone\, Mark Titchner\, Margo Trushina UID:264271 END:VEVENT BEGIN:VEVENT DTEND:20130309T200000 DTSTAMP:20141030T144856 DTSTART:20130309T180000 GEO:52.49859;13.40097 LOCATION:DUVE Berlin\,Gitschinerstrasse 94/94a \nBerlin\, 10969 SEQUENCE:0 SUMMARY:New Age of Aquarius\, Shezad Dawood\, James Howard\, Juliana Cerque ira Leite\, Shana Moulton\, Matthew Stone\, Mark Titchner\, Margo Trushina UID:264272 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Mit STANDPUNKT (punto di vista) präsentiert das Kunsthaus ME INBLAU neue Arbeiten des italienischen Künstlers Alessandro Lupi (*1975\, G enua).

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Uhrzeiger\, die das Zeitgefühl durcheinanderbringen\, ein S piegel\, der das Ich grundsätzlich in Frage stellt\, Schatten\, die Illusio nen erschaffen – in Alessandro Lupis Spiel mit Licht und Schatten\, im Expe rimentieren mit Farbe\, Licht und Raum offenbart sich sein zentrales Intere sse: die Entstehung und Veränderlichkeit von Wahrnehmung. Von jeher interes siert an der Idee der Umkehrung\, bietet der Künstler dem Besucher durch di e Täuschung seiner Erwartung die Möglichkeit\, den eigenen Blickwinkel zu ü berprüfen und eine andere Perspektive einzunehmen. Begleitend zur Ausstellu ng findet ein interdisziplinärer Workshop statt\, der Experten aus Bereiche n wie der Philosophie\, Physik\, Informatik und dem Kochen zusammenbringt\, um eine gemeinsame Installation zu entwickeln. Präsentiert wird diese währ end einer Abschlussfeier am 26. April 2013 um 19 Uhr\, mit einer Soundperfo rmance von True West.

DTEND:20130504 DTSTAMP:20141030T144856 DTSTART:20130420 GEO:52.5322474;13.4100981 LOCATION:Meinblau\,Christinenstr 18/19 \nBerlin\, 10119 SEQUENCE:0 SUMMARY:STANDPUNKT \, Alessandro Lupi UID:266926 END:VEVENT BEGIN:VEVENT DTEND:20130419T200000 DTSTAMP:20141030T144856 DTSTART:20130419T180000 GEO:52.5322474;13.4100981 LOCATION:Meinblau\,Christinenstr 18/19 \nBerlin\, 10119 SEQUENCE:0 SUMMARY:STANDPUNKT \, Alessandro Lupi UID:266927 END:VEVENT BEGIN:VEVENT DESCRIPTION:

ESPACES COMPLEXES/KOMPLEXRAUM

Der Begriff "complexe" wird hier im etymologischen Wortsinn gebraucht als etwa s\, das in einer Folge von Verkettungen und Verschachtelungen miteinander v erwoben ist.
KOMPLEXRAUM bezieht sich implizit auf den Begriff der Dialogik\, der von Edgar Morin eingeführt und entwickelt worden ist\, als die "Vereinigung zweier Prinzipien\, ohne dass sich die Dualität in dieser Einheit verliert oder verunklärt. (…) Die Aufgabe besteht darin\, ge gensätzliche Begriffe zu vereinen\, um gestalterische und kreative Prozesse in Gang zu setzen."

Indem wir dieses vertraute Prinzip a ufgreifen\, verfolgen wir unsere Überlegungen zum Ort des Werkes im Prozess der Ausstellung und seinen Bezug zu einem kuratorischen Konzept.
In diesem Zusammenhang zeigen wir eine mehrteilige Ausstellung mit dem Titeln "KOMPLEXRAUM #1\, #2\, #3\, #4"\, #... Die Summe der Teile konstituiert ei ne kollaborative\, experimentelle Ausstellung.

Künstlerinnen und Künstler werden nacheinander eingeladen\, sich auf den Ort einzulassen\ , den Galerieraum einzunehmen und ihrerseits einen Künstler oder eine Künst lerin einzuladen\, mit ihm/ihr gemeinsam die Konzeption einer Ausstellung z u entwickeln. Der Kurator macht lediglich die Vorgabe dieser Spielregel\, d ie die künstlerische Autonomie respektiert in Bezug auf ihre theoretischen\ , ästhetischen und formalen Implikationen und die Auseinandersetzung mit ei nem Gegenüber initiiert. Auf diese Weise wird das Objekt der kuratorischen Auswahl zum agierenden Subjekt.

Es ist die den Werken der aus gewählten Künstlerinnen und Künstler zugrundeliegende Beziehung zwischen fo rmalen und konzeptuellen Gesichtspunkten\, an der sich die Auswahl und Zusa mmensetzung der Gruppe orientiert hat.
Für Komplexraum #5\, wurde Ka ne Do eingeladen. Er lud wiederum Wolf von Kries ein.
 
Komple xraum ist ein Projekt von Mj Ourtilane.

DTEND:20130505 DTSTAMP:20141030T144856 DTSTART:20130420 GEO:52.53389;13.41232 LOCATION:General Public\,Schönhauser Allee 167c \nBerlin\, 10435 SEQUENCE:0 SUMMARY:komplexraum#5\, Kane DO\, Wolf von Kries UID:274921 END:VEVENT END:VCALENDAR