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

Wie aus der Form geratene Tafelbilder hängen\, hintereinande r aufgereiht\, zwei Gruppen gewölbter und in sich verdrehter Gummigebilde i n einer Art Ständer. Aus verbogenen geometrischen\, schwarzen und weißen Fl ächen zusammengesetzt\, versprühen die einzelnen Formen (oder Anti-Formen) eine latent perverse Sinnlichkeit. Die nüchterne\, fast pedantische Schlich theit des „klassischen“ Formalismus wird durch den suggestiven Umgang mit d en Gummiflächen aufgebrochen. Wie im Lager oder Modehaus hängen die Werke a uf der Stange und bilden\, zusammengedrängt\, ein Meta-Werk: „Hängung“ von Geerten Verheus.

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Zwischen Anti-Hommage und Hommage sind auch die We rke von Vlado Martek verortet\, dessen Mitte der 70er Jahre gegründeter „Gr upa šestorice“ (Group of Six) die Ausstellung ihren Titel verdankt. (Neben Martek waren Mladen und Sven Stilinović\, Fedor Vučemilović\, Boris Demur u nd Željko Jerman Mitglieder des Zagreber Kollektivs.) Auf flüchtig gezeichn eten Landkarten stehen die Namen berühmter Musiker\, Dichter und anderer qu asi „staatstragender“ Kulturschaffender der jeweiligen Länder. Dort\, wo Pa ris zu erwarten wäre\, hat Mallarmé seinen Platz gefunden. Polen wird von C hopin dominiert. Kunst und Kontext fallen zusammen. Wie so oft bei Martek s ind Banalität und Bedeutung kaum voneinander zu trennen: ein Kuddelmuddel a us Hochkultur und mitunter politisch verstandenem Nonsense.

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„ATTRIB UTES OF MODIFICATION (Hill Arches)”\, eine Installation von Max Schaffer\, besteht aus großformatigen bedruckten Planen\, die ein Werk von Henry Moore zeigen. Jeden Winter werden die „Hill Arches“ auf dem Wiener Karlsplatz fü r mehrere Monate eingerüstet und durch Bilder ersetzt\, die die monumentale Bronze in vier Ansichten zeigen. In „A Group of Six Artists“ werden die An sichten ineinander verschachtelt und die Flächen in eine räumliche Konfigur ation übersetzt\, in der Hinten und Vorne\, Innen und Außen kaum noch zu un terscheiden sind und die öffentliche Skulptur zum Galerieraum in Beziehung tritt.

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Die konzentrischen Kreis- und Kreissegmentformen in den Bild ern Michael Dreyers bezeugen deutlich sichtbar den handwerklichen Prozess i hrer Entstehung. „Fehler“ werden in Kauf genommen und bisweilen gezielt her vorgebracht. Die vollkommene Form des Kreises bekommt einen handschriftlich en Zug. Durch die Zusammenfügung von unterschiedlichen\, offenen wie geschl ossenen Kreisbahnen\, die mithilfe eines Faden- oder Stangenzirkels gezogen werden\, entstehen pulsierende Konstellationen von überzeugender Lebendigk eit zwischen Mandala und Maßwerk\, Form und Gestalt\, Malerei\, Mechanik un d Handschrift.

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Mit Channa Horwitz und Luis Camnitzer sind zwei bede utende Vertreter der frühen Conceptual Art in „A Group of Six Artists“ vert reten. Im Zentrum des Werks von Horwitz stehen seit Anfang der 1960er Jahre grafische Partituren und Notationen von Bewegungen und Tönen („Sonakinatog raphies“). Auf Grundlage einer logischen Ordnung wird die Zeit im Medium Ze ichnung fixiert und in grafische Rhythmen und serielle Strukturen übersetzt . Bis heute entstehen gleichermaßen strenge und exakte wie – im Rahmen der selbstgesetzten Ordnung – spielerische Kompositionen.

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Die Installat ion „S.S. Atlantus“ von Luis Camnitzer besteht aus drei Elementen: dem Groß druck einer Postkarte mit der Abbildung eines havarierten Schiffs\; einem B etonblock\, der am Boden einer Wasserschale liegt\; und einer Messingplatte \, auf der in einfachen Worten Folgendes geschrieben steht: „S.S. Atlantus. Remains of experimental concrete ship\, one of twelve during World War I. Proved impractical after several transatlantic trips because of weight. Tow ed and sunk here as wharf in 1926.“ Wie aus der Zeit gefallen\, erzählt die „Atlantus“ von den Träumen der Vergangenheit\, von den Irrwegen der modern en Technik und der Hybris vor dem verheerenden Krieg. Am Ufer schwimmt\, ni cht weit entfernt\, ein schlichtes\, kleines Ruderboot\, das dem müde gewor denen Ungetüm melancholisch zuzuzwinkern scheint.

DTEND:20130616 DTSTAMP:20141001T223806 DTSTART:20130426 GEO:52.49888;13.36055 LOCATION:Aanant & Zoo\,Bülowstrasse 90 \nBerlin\, 10783 SEQUENCE:0 SUMMARY:A Group of Six Artists\, Luis Camnitzer\, Michael Dreyer\, Channa H orwitz\, Vlado Martek\, Max Schaffer\, Geerten Verheus UID:272003 END:VEVENT BEGIN:VEVENT DTEND:20130426T200000 DTSTAMP:20141001T223806 DTSTART:20130426T180000 GEO:52.49888;13.36055 LOCATION:Aanant & Zoo\,Bülowstrasse 90 \nBerlin\, 10783 SEQUENCE:0 SUMMARY:A Group of Six Artists\, Luis Camnitzer\, Michael Dreyer\, Channa H orwitz\, Vlado Martek\, Max Schaffer\, Geerten Verheus UID:272004 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Art and culture have in many ways become key motors of innovative and su ccessful urban design and planning\, without which the world&rsquo\;s metro poles would no longer be worthy of the name. The exhibition Culture:City en courages us to think consistently about the future of our cities from this perspective. The architectural exhibition curated by Matthias Sauerbruch fo r the Akademie der Kü\;nste takes a critical eye to the relationship be tween architecture and the social reality of the 21st century and shows the impact of art and culture on cities and architecture.

< span style="font-size: small\;"> The selection of international examples pr esented &ndash\; ranging from spectacular architectural and art projects\, via the creative reuse of empty buildings and city areas\, through to citiz ens&rsquo\; initiatives &ndash\; opens up a panorama of constructed concret isation of culture thus allowing us not only to take stock of the surroundi ngs but also to evaluate and assess each individual case. Does the social\, cultural and architectural rootedness in the city work and does this lead to new forms of cultural production? Or does the construction project merel y represent a symbol strong on marketing\, yet another island in a city&rsq uo\;s public spaces characterised by increasing fragmentation?

Beyond the physical presentation o f plans and models\, this exhibition also offers its visitors a special ins ight: video tours complete with commentary as well as in-depth background i nformation on tablet computers. These films d&rsquo\;auteur have been prepa red by graduates of the German Film and Television Academy in Berlin. In th is manner\, it is possible to gain three differing perspectives in the exhi bition room: that of the architect\, that of the curator and that of the fi lmmaker.

The debate th us triggered is continued in the exhibition in the form of lectures\, film screenings\, concerts\, sound installations and conferences.
< br /> Accompanying the exhibition\, a comp rehensive catalogue will be published by Lars Mü\;ller Publishers\, Zur ich\, edited by Wilfried Wang for the Akademie der Kü\;nste and include s essays by Kaspar Kö\;nig\, Richard Sennett\, Michael Mö\;nninger and William J.R. Curtis.

With this exhibition Culture:City\, the Architecture Section of the Aka demie der Kü\;nste continues one of the Academy&rsquo\;s key thematic t hreads: the debate about Public Spaces. It follows on the heels of the proj ect Return of landscape from 2010\, a subject used by the Academy to point out that the city of the future can only be developed from within the lands cape.

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Kunst und Kultur sind in vielfacher Weise zu entscheidende n Motoren innovativer und erfolgreicher Stadtgestaltung und -planung geword en\, ohne die sich die Metropolen der Welt nicht mehr behaupten kö\;nne n. Die Ausstellung Kultur:Stadt denkt die Zukunft unserer Stä\;dte kons equent aus dieser Perspektive. Die von Matthias Sauerbruch fü\;r die Ak ademie der Kü\;nste kuratierte Architekturausstellung durchleuchtet kri tisch das Verhä\;ltnis zwischen Architektur und sozialer Wirklichkeit i m 21. Jahrhundert und zeigt auf\, wie Kunst und Kultur Stadt und Architektu r prä\;gen.

Die Au swahl der internationalen Beispiele &ndash\; von spektakulä\;ren Archit ektur- und Kunstprojekten ü\;ber die kreative Umnutzung leerstehender B auten und Stadtareale bis hin zu Bü\;rgerinitiativen &ndash\; erö\; ffnet ein Panorama gebauter Konkretisierung von Kultur und erlaubt damit ni cht nur eine Bestandsaufnahme\, sondern gleichermaß\;en eine Bewertung und Einschä\;tzung des jeweiligen Einzelfalls. Gelingt die soziale\, k ulturelle und architektonische Verankerung in der Stadt und fü\;hrt die se zu neuen Formen von kultureller Produktion? Oder stellt das Bauprojekt n ur ein marketingstarkes Wahrzeichen dar\, eine weitere Insel in einem von z unehmender Fragmentierung gekennzeichneten ö\;ffentlichen Stadtraum?

Die Ausstellung bietet i hren Besuchern ü\;ber die physische Prä\;sentation von Plä\;nen und Modellen hinaus eine besondere Auseinandersetzung an: auf Tablet-Compu tern sind kommentierte Videotouren sowie vertiefende Hintergrund-Informatio nen einzusehen. Ergä\;nzt werden diese durch Autorenfilme von Absolvent en der Deutschen Film- und Fernsehakademie Berlin zu den einzelnen Architek tur-Projekten. Somit kö\;nnen im Ausstellungsraum drei Sichtweisen vers ammelt werden: die des Architekten\, die des Kurators und die eines Autoren filmers.

Die in der A usstellung angestoß\;ene Debatte wird wä\;hrend der Laufzeit in Vo rträ\;gen\, Filmscreenings\, Konzerten\, Soundinstallationen und Konfer enzen fortgesetzt.

Beg leitend zur Ausstellung erscheint bei Lars Mü\;ller Publishers\, Zü \;rich ein umfangreicher Katalog\, herausgegeben von Wilfried Wang fü\; r die Akademie der Kü\;nste\, mit Beiträ\;gen von u.a. Kaspar K&oum l\;nig\, Richard Sennett\, Michael Mö\;nninger und William J.R. Curtis.

Mit der Ausstellung K ultur:Stadt setzt die Sektion Baukunst einen wichtigen Themenstrang der Aka demie der Kü\;nste fort: Die Debatte um den Ö\;ffentlichen Raum. Si e folgt damit dem Projekt Wiederkehr der Landschaft\, mit dem die Akademie 2010 aufzeigte\, dass die Stadt der Zukunft nur aus der Landschaft heraus z u entwickeln ist.

DTEND:20130526 DTSTAMP:20141001T223806 DTSTART:20130315 GEO:52.5184793;13.346289 LOCATION:Akademie der Künste - Hanseatenweg\,Hanseatenweg 10 \nBerlin-Tierg arten\, D-10557 SEQUENCE:0 SUMMARY:Kultur:Stadt\, Hans Scharoun\, Peter Celsing\, Cedric Price\, Colin Fournier\, Lina Bo Bardi\, Frank O. Gehry\, Herzog & de Meuron\, Peter Coo k\, Zaha Hadid\, OMA / LMN\, Max Dudler\, SANAA\, Giancarlo Mazzanti\, Laca ton Vassal\, Jürgen Mayer H.\, Patrick Bouchain\, Loïc Julienne\, Gerhard S pangenberg\, Michael Maltzan Architecture\, Architecture karhard\, Kate Dau ghdrill\, J. Hernandez\, Staab Architects\, Peter Eisenman\, Norman Foster and Partners\, Nieto Sobejano\, EM2N\, Mecanoo\, Neutelings Riedijk\, Sauer bruch Hutton Architects\, Richard Rogers\, Renzo Piano\, Patrik Schumacher UID:258690 END:VEVENT BEGIN:VEVENT DTEND:20130315T200000 DTSTAMP:20141001T223806 DTSTART:20130315T110000 GEO:52.5184793;13.346289 LOCATION:Akademie der Künste - Hanseatenweg\,Hanseatenweg 10 \nBerlin-Tierg arten\, D-10557 SEQUENCE:0 SUMMARY:Kultur:Stadt\, Sauerbruch Hutton Architects\, Staab Architects\, Mi chael Maltzan Architecture\, Lina Bo Bardi\, Patrick Bouchain\, Peter Celsi ng\, Peter Cook\, Kate Daughdrill\, Herzog & de Meuron\, Max Dudler\, Peter Eisenman\, EM2N\, Colin Fournier\, Frank O. Gehry\, Jürgen Mayer H.\, Zaha Hadid\, J. Hernandez\, Loïc Julienne\, Architecture karhard\, OMA / LMN\, Giancarlo Mazzanti\, Mecanoo\, Norman Foster and Partners\, Renzo Piano\, C edric Price\, Neutelings Riedijk\, Richard Rogers\, SANAA\, Hans Scharoun\, Patrik Schumacher\, Nieto Sobejano\, Gerhard Spangenberg\, Lacaton Vassal UID:258691 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Music Section\, Akademie der Künste 

Has music has retreated into a cloud\, which follows us wherever we go? It seems to b e always available from the cloud. In the context of this exhibition\, the "music in the cloud" project offers a broad spectrum of things that show ho w sound and urban space can interact on an artistic level.

Th e program presents compositions specially created for eight cultural locati ons in Berlin\, where they can only be heard on smartphones and GPS. The ci ty can also be explored from the perspective of an ear in sound installatio ns and a listening room at Hanseatenweg (8th to 19th May). Ludger Brümmer’s "urban voice" installation can be heard on the foyer staircase during the exhibition. Two evening concerts on 17th and 18th May examine selected loca tions\, their aura and atmosphere in a unique way\, augmented by lectures a nd discussions with experts and artists.
 
In collaboration wi th ZKM | Institut für Musik und Akustik\, DISK Berlin\, radio aporee\, raum labor berlin
 
Curated by the members of the Music Section < /b>
Ludger Brümmer\, Nicolaus A. Huber\, Enno Poppe\, Manos Tsangaris as well as Evelyn Hansen and Carsten Seiffarth
 
 
15th March – 26th May
Sou nd installation "urban voice" by Ludger Brümmer
 
1st – 31st May
Music from the Cloud: eig ht site-specific acoustic performances for smartphone Places: Tempelhofer F eld / Prinzessinnengärten Moritzplatz / Mellowpark / ZK/U Zentrum für Kunst und Urbanistik / ExRotaprint / DOCK 11 EDEN***** / RADIALSYSTEM V/ Kotti-S hop u.a. projects at Kottbusser Tor  www.wolkenmusik.de
 
8th – 19th May
Audio space: "atm ospheres" by a number of composers\, and sound installations by Peter Ablin ger\, Christina Kubisch
 
17th May
7pm
Lecture: Gernot Böhme "Klang-A tmosphären in Stadt und Architektur"\,
[Sound Atmospheres in Cities a nd Architecture] Discussion with Gernot Böhme\, Peter Ablinger\, and Matthi as Sauerbruch
Discussion hosted by Raoul Mörchen

17th May
9pm
C oncert
Films\, videos and works by Walter Ruttmann / Pierre Henry\, Thomas Köner\, Robert Lippok
 
18th May
5pm
Lecture: Manos Tsangaris\, "Diffe rent Conceptions of the Public"
Discussion with Manos Tsangaris\, Car sten Stabenow\, Arno Brandlhuber
Discussion hosted by Raoul Mörchen
18th May                             
7pm
Concert 
Compositions by Ond rej Adámek\, Mark Andre\, Georges Aperghis\, Georg Friedrich Haas\, Nicolau s A. Huber\, Bernhard Lang\, Luigi Nono\, Hans Wüthrich – Kammerensemble Ne ue Musik Berlin

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< span style="font-size: small\;">Installation im Eingangsbereich zur Aus stellung „Kultur:Stadt“

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< span style="font-size: small\;">Die Organisation städtischen Lebens stellt eine besondere Kulturleistung der Menschheit dar mit all den dazu nötigen E lementen wie Architektur\, Technologie und sozialem Verhalten. Insbesondere die Gemeinsamkeit\, die Synchronisation und Verständigung\, aber auch das Wechselspiel zwischen Individuation und Gemeinschaft\, zwischen Realität un d Ideal bilden die notwendige Voraussetzung für die Entstehung solch komple xer\, selbst entwickelter Lebensumgebungen\, wie Städte es sind. Die Essenz der urbanen Realität liegt für mich in der Kultur und also auch in der Kun st. Die Musik und die Stimme\, die sich hier über die Architektur als akust ische Grundlage aufbauen\, geben ihr Ausdruck.
In diese Klanglandschaft sind Fragmente aus einem Werk d es Renaissance-Komponisten Carlo Gesualdo montiert\, die verschiedene Aggre gatzustände durchlaufen. Von der Menge bis zur Einzelstimme\, von der Fläch e bis zum artikulierten Rhythmus repräsentieren sie die Grundformen menschl icher Kommunikation\, die Voraussetzung städtischen Lebens.
(Ludger Brümmer)

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The organizat ion of urban life\, with all its requisite elements such as architecture\, technology\, and social behavior\, constitutes a unique cultural achievemen t of humanity. Those conditions\, necessary for the development of such com plex\, self-evolving living environments as our cities\, are formed\, in pa rticular\, through communality\, synchronization and communication\, but al so through the interaction of individuation with community\, and of reality with ideals. For me\, the essence of urban reality lies in culture\, and t herefore also in the arts. This essence is given expression through music a nd the voice\, in this case taking architecture as an acoustic base.
In this soundscape fragments of a work by the Renaissance composer\, Carlo Gesualdo\, are assembled into a series of different aggregate states. From the many to the single voice\, from the surface to the articulated rhythm\, they depict basic forms of human communication\, prerequisites for urban l ife.
(Ludger Brümmer)

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Ludger Brümmer
Geboren 1958 in Werne / Nordrhein-Westfalen\, studierte Komposition b ei Nicolaus A. Huber und Dirk Reith an der Folkwang Hochschule Essen. Er wa r als musikalischer Leiter am Theater tätig und komponierte die Musik für d ie international aufgeführten Ballette "Ruhrort" (Susanne Linke Kompanie) u nd "!Tristan und Isolde!" (Nederlands Dans Theater\, Den Haag\, Choreograph ie Susanne Linke).  Seit 1996 arbeitet er mit dem Installationskünstler und Architekten Christian Moeller zusammen u.a. für Ausstellungen in Tokio\, L issabon und London. 1991-1993 Stipendiat des DAAD am "Center for Computer R esearch in Music and Acoustics" an der Stanford Universität Kalifornien. Di e dort begonnene Arbeit setzte er unter anderem mit dem NeXT Computer Netz am Zentrum für Kunst und Medien (ZKM) Karlsruhe sowie am Institut für Compu termusik und elektronische Medien (ICEM) der Folkwang Hochschule Essen fort . Seit 1993 nimmt er einen Lehrauftrag am ICEM wahr und seit 1997 an der Ho chschule für Gestaltung in Karlsruhe. Zahlreiche Vorträge führten ihn durch Europa und Nordamerika. 2000/2002 war er Dozent bei den Darmstädter Frühja hrskursen und Research Fellow an der Kingston University. 2002 übernahm er eine Professur am Sonic Art Research Centre der Queens University Belfast. Seit 2003 ist Ludger Brümmer Leiter des Instituts für Musik und Akustik am ZKM\, Karlsruhe. 2009 wurde er zum Mitglied der Akademie der Künste\, Berli n gewählt.

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Auszeichnungen und Preise (Auswahl): 1989 Folkwang Preis der Folkwang Hochschule Essen und Preis für „Riti Contour“ für großes Orche ster beim Forum junger Komponisten des WDR. 1990 Busoni-Kompositionspreis d er Akademie der Künste\, Berlin. 1997 Larry Austin Preis der Internationale n Computer Music Association\, ICMA\, San Francisco. 2001 Pierre d'Or beim Wettbewerb für elektroakustische Musik in Bourges für das Werk Nyx. 2002 Pr eis für credoXrequiem beim Musica Sacre\, Friburg\, Schweiz. DTEND:20130526 DTSTAMP:20141001T223806 DTSTART:20130315 GEO:52.5184793;13.346289 LOCATION:Akademie der Künste - Hanseatenweg\,Hanseatenweg 10 \nBerlin-Tierg arten\, D-10557 SEQUENCE:0 SUMMARY:MUSIK IN DER WOLKE \, Ludger Brümmer UID:269003 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Walter Benjamin entwirft Bilder seiner Großstadtkindheit mit der Einsicht »in die notwendige gesellschaftliche Unwiederbringlichkeit de s Vergangenen«. In Vitrinen und einem Computerterminal sind ein Pharus-Plan mit den wichtigsten Orten\, Fotos und biografische Dokumente zu sehen\, fe rner Manuskripte\, die den Weg von der »Berliner Chronik« zur »Berliner Kin dheit« nachzeichnen: Berlin als Ort zum Schreiben\, als literarisches Thema und als Schicksal.

DTEND:20130630 DTSTAMP:20141001T223806 DTSTART:20121023 GEO:52.51583;13.37961 LOCATION:Akademie der Künste - Pariser Platz\,Pariser Platz 4 \nBerlin\, 10 117 SEQUENCE:0 SUMMARY:Archivfenster. Benjamin in Berlin \, Walter Benjamin UID:244620 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Es ist nicht nur ein weitverbreitetes Gefühl\, sondern eine Tatsache\, dass sehr viel falsch läuft in unserer Welt. Grund genug\, den g lobalen Problemen mit allen zur Verfügung stehenden Möglichkeiten Aufmerksa mkeit zu verschaffen. Unter dem Motto „Mut zur Wut“ initiierte der Heidelbe rger Grafikdesigner Götz Gramlich zusammen mit Marcello Lucas einen Plakatw ettbewerb. Eine internationale Jury wählt jährlich die 30 aussagekräftigste n Motive aus\, die anschließend produziert und im öffentlichen Raum präsent iert werden. Die internationalen Arbeiten nehmen unter anderem Stellung zu Umweltverschmutzung\, Krieg\, Ausbeutung und Verletzung von Menschenrechten . In der Akademie der Künste werden ausgewählte Wettbewerbsergebnisse der l etzten drei Jahre präsentiert. Zur Eröffnung sprechen Klaus Staeck und Götz Gramlich.

DTEND:20130731 DTSTAMP:20141001T223806 DTSTART:20130117 GEO:52.51583;13.37961 LOCATION:Akademie der Künste - Pariser Platz\,Pariser Platz 4 \nBerlin\, 10 117 SEQUENCE:0 SUMMARY:Mut zur Wut – Internationaler Plakatwettbewerb UID:254171 END:VEVENT BEGIN:VEVENT DTEND:20130117T200000 DTSTAMP:20141001T223806 DTSTART:20130117T110000 GEO:52.51583;13.37961 LOCATION:Akademie der Künste - Pariser Platz\,Pariser Platz 4 \nBerlin\, 10 117 SEQUENCE:0 SUMMARY:Mut zur Wut – Internationaler Plakatwettbewerb UID:254172 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The geopolitical change that took place in 1989 ushered in an era of worldwide biennales\, whose geography bid farewell to Western Ar t\, with its old contradiction between the centre and the periphery. The ex hibition project Nothing to Declare? now documents these global development s. The heart of this exhibition is a panorama room as a media installation\ , which illustrates the passage of time and the geographical expansion of t he global practice of art using a wide range of data. In so doing\, a devel opment becomes recognizable\, which is no longer to be interpreted only as pure art history\, but rather requiring multiple forms of re-narration – ge opolitical\, social\, economic and cultural. The creation of a new critical practice in the arts also corresponds to these structural changes. Western Modernism’s universal claim to validity has become untenable. This is illu strated in an exemplary manner by the contributions of contemporary art sel ected.
The research project Global Art and the Museum (GAM) at the < a href="http://www.zkm.de/">ZKM | Zentrum fü r Kunst und Medientechnologie (Centre for Art and Media) in Karlsruhe has dedicated itself to this theme since 2006. An initial interim rev iew was presented in the exhibition The Global Contemporary at the ZKM. This project is now continued in cooperation with the Academy. It places Berlin\, in particular\, as an art centre within the context of a de velopment that begins in 1989.

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Die geopoliti sche Wende 1989 eröffnete das Zeitalter der weltweiten Biennalen\, deren Ge ografie die Westkunst\, mit ihrem alten Gegensatz zwischen Zentrum und Peri pherie\, verabschiedete. Mit dem  Ausstellungsprojekt Nothing to Declare? w erden diese globalen Entwicklungen dokumentiert. Im Zentrum der Ausstellung steht ein Panorama-Raum als Medieninstallation\, der mithilfe umfangreiche r Daten den Zeitablauf und die geografische Ausbreitung der globalen Kunstp raxis anschaulich macht. Dabei wird eine Entwicklung erkennbar\, die nicht mehr nur als reine Kunstgeschichte zu lesen ist\, sondern vielfache Formen der Nacherzählung fordert\, geopolitische\, soziale\, wirtschaftliche oder kulturelle. Mit diesen strukturellen Veränderungen korrespondiert auch die Bildung einer neuen kritischen Praxis in den Künsten. Der universale Geltun gsanspruch der westlichen Moderne ist unhaltbar geworden. Exemplarisch zeig en das ausgewählte Beiträge der Gegenwartskunst.
Dem Thema hat sich das Forschungsprojekt Global Art and the Museum (GAM) seit 2006 am ZKM | Karlsruhe< /a> gewidmet. In der Ausstellung The Global Contemporary im ZKM wurde eine erste Zwischenbilanz gezogen. In Kooperation mit der Akademie w ird dieses Projekt nun fortgeführt. Es stellt insbesondere Berlin als Kunst zentrum in den Zusammenhang einer Entwicklung\, die mit 1989 beginnt.

DTEND:20130526 DTSTAMP:20141001T223806 DTSTART:20130201 GEO:52.51583;13.37961 LOCATION:Akademie der Künste - Pariser Platz\,Pariser Platz 4 \nBerlin\, 10 117 SEQUENCE:0 SUMMARY:Nothing to declare? – World maps of art since 89\, Christian Jankow ski\, Pieter Hugo\, Halil Altındere\, Rasheed Araeen UID:254173 END:VEVENT BEGIN:VEVENT DTEND:20130201T200000 DTSTAMP:20141001T223806 DTSTART:20130201T110000 GEO:52.51583;13.37961 LOCATION:Akademie der Künste - Pariser Platz\,Pariser Platz 4 \nBerlin\, 10 117 SEQUENCE:0 SUMMARY:Nothing to declare? – World maps of art since 89\, Halil Altındere\ , Rasheed Araeen\, Pieter Hugo\, Christian Jankowski UID:254174 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20130615 DTSTAMP:20141001T223806 DTSTART:20130427 GEO:52.50698;13.39138 LOCATION:alexander levy\,Rudi-Dutschke-Strasse 26 \nBerlin\, 10969 SEQUENCE:0 SUMMARY:Unfall am Mittelpunkt Deutschlands\, Julius von Bismarck UID:271969 END:VEVENT BEGIN:VEVENT DTEND:20130426T210000 DTSTAMP:20141001T223806 DTSTART:20130426T180000 GEO:52.50698;13.39138 LOCATION:alexander levy\,Rudi-Dutschke-Strasse 26 \nBerlin\, 10969 SEQUENCE:0 SUMMARY:Unfall am Mittelpunkt Deutschlands\, Julius von Bismarck UID:272890 END:VEVENT BEGIN:VEVENT DESCRIPTION:

In 2011\, Chinese artist Zhao Zhao (* 1982 in Xinjiang) crea ted the expansive sculpture of a still image of a police officer that had f allen and broken into many pieces. The fictional ‘service number’ 201143 on the jacket of the uniform could be interpreted as an indication of the dat e of Ai Weiwei’s abduction\; nonetheless the sculpture was exhibited in Bei jing for weeks without problems. In 2012\, the work was seized by Chinese a uthorities from the customs storage. An invoice with the sum of 300\,000 RM B was sent to the artist\, in order for him to pay the 'destruction' costs of the artwork he created. (Please see the article in DER SPIEGEL\, no. 34/ 2012.) Zhao Zhao\, who works in Beijing\, received a never officially formu lated exhibition ban\, but his sculpture remained 'untouched' and the balan ce of the invoice remained unpaid.
The title NOTHING INSIDE makes a di rect reference to the eponymous (and last) show in our Beijing gallery in s ummer of 2012. In that exhibition\, very few works were exhibited and these were absolutely secondary in context to the space. While completely darken ing the space\, the artist ostensibly went against the traditional exhibiti on design\, where artworks are the central element of one’s perception. The darkness ignored the paintings of the artist\; it even demoted these\, as it hid what should be seen. Through the targeted exclusion of artwork\, Zha o demonstrated the deprivation of their right to exist in a powerful way. T he result was a sculpture in space that did not exactly show lost perceptio ns\, but rather knew how to represent them.
The upcoming exhibition in Berlin is a sequel to exhibition NOTHING INSIDE and will partially reconst ruct the initial installation\, but this time the works themselves will be visible. Furthermore\, these works will be complimented by works that have been created since then.
One of which is a large-scale painting of the riding monk\, Xuanzang. It is based on Journey to the West\, a Chinese fol k epic dating back to the Ming Dynasty\, where a monk travels in the direct ion of the western sky to bring Buddhism to China\, and learns about suffer ing in many ways on his journey. Zhao depicted the monk from behind\, from eastern point of view while the monk still rides away. This classic novel i s still well known by most Chinese people today\, along with its iconograph y. Nevertheless this depiction must seem strange\, partly because the monk' s face is hidden\, and partly because what is usually depicted as a noble h orse is an ungraceful creature in this case.
This image was created in dark colours\, which can be said for most of Zhao’s works created after th e events of the past year. The smaller sized works usually show figurative and banal subjects\, such as peculiar deformed fruit\, or objects that are so difficult to decipher that they border on abstraction. They are sometime s barely visible\, or crossed out by white lines\, reminiscent of the priso n windows which bear reference to his situation and that of other critical artists in China.
The content\, form and media diversity of Zhao Zhao’ s work further express his critical attitude: in order to question construc ted meanings\, he tests the boundaries of reality and its ideological conve ntions\, as well as cultural stereotypes and the dominance of certain\, pri marily European categories of art history.
NOTHING INSIDE (II) is the third solo exhibition at the ALEXANDER OCHS GALLERIES BERLIN | BEIJING.

DTEND:20130608 DTSTAMP:20141001T223806 DTSTART:20130427 GEO:52.50492;13.39335 LOCATION:ALEXANDER OCHS PROJECTS\,Besselstraße 14 \nBerlin\, 10969 SEQUENCE:0 SUMMARY: NOTHING INSIDE II - PAINTINGS\, VIDEO + MUSIC \, Zhao Zhao UID:270727 END:VEVENT BEGIN:VEVENT DTEND:20130426T210000 DTSTAMP:20141001T223806 DTSTART:20130426T190000 GEO:52.50492;13.39335 LOCATION:ALEXANDER OCHS PROJECTS\,Besselstraße 14 \nBerlin\, 10969 SEQUENCE:0 SUMMARY: NOTHING INSIDE II - PAINTINGS\, VIDEO + MUSIC \, Zhao Zhao UID:270728 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Die Künstlergruppe Mwangi Hutter ist 1975 in Nairobi und Lud wigshafen geboren\, wo die Künstler Ingrid Mwangi and Robert Hutter auch ar beiten. Die Künstler selbst sprechen von einer Einheit\, wodurch eine Summi erung und Auflösung des Einen in den Anderen entsteht. Ihre Videos und Foto grafien reflektieren kontinuierliche Ereignisse in Afrika wie auch die Bezi ehungen zwischen Schwarzen und Weißen\, Frauen und Männern. Die Ökologie is t ebenso ein zentrales Thema wie Gender. Die Künstler spielen mit der Illus ion von Realität des bewegten Bildes und erweitern so die Grenzen der Wahrn ehmung. Oft wenden sie ihre visionäre Idee am eigenen Körper an\; der Körpe r wird zum Übermittler ihrer selbst und einer Welt des nicht Bewussten\, de r Körper also als Ort eines politischen\, sozialen und ökologischen Stateme nts.
Die Künstler sind derzeit in den Pitzer College Art Galleries\, C laremont\, CA\, USA\, im Smithonian Institution\, National Museum of Africa n Art (NMAfA)\, Washington DC\, USA\, sowie ab dem 25. Mai 2013 in der Auss tellung ‚VISIONS. An Atmosphere of Change‘ im MARTa Herford zu sehen.
Die Ausstellung SINGLE ENTITIES zeigt Video und Fotografie.

The artist group Mwangi Hutter was born in Nairobi and Ludwigshafen\, where the artists Ingrid Mwangi and Robert Hutter also work. The artists themselves speak of an entity\, in which the summation and dissolution of the one into the other is created. Their videos and photography continually reflect on events in Africa\, along with the relationship between blacks and whites\, as well as women and men. Ecology is as much a central theme as gender is. The artists play with the illusion of the reality of the moving picture\, a s they try to extend the borders of perception. Their visionary ideas are o ften practiced on their own bodies\; therefore the body becomes a carrier o f their selves and of a non-cognitive world. The body becomes a place for p olitical\, social and ecological statements.
The artists’ works can cu rrently be seen at the Pitzer College Art Galleries\, Claremont\, CA\, USA\ , the Smithonian Institution\, National Museum of African Art (NMAfA)\, Was hington DC\, USA. As of the May 25th\, 2013 works can also be seen in the e xhibition ‘VISIONS. An Atmosphere of Change’ at the MARTa Herford in German y.
The exhibition SINGLE ENTITIES consists of video and photography wo rks.

DTEND:20130608 DTSTAMP:20141001T223806 DTSTART:20130427 GEO:52.50492;13.39335 LOCATION:ALEXANDER OCHS PROJECTS\,Besselstraße 14 \nBerlin\, 10969 SEQUENCE:0 SUMMARY:SINGLE ENTITIES \, Mwangi Hutter UID:270729 END:VEVENT BEGIN:VEVENT DTEND:20130426T210000 DTSTAMP:20141001T223806 DTSTART:20130426T190000 GEO:52.50492;13.39335 LOCATION:ALEXANDER OCHS PROJECTS\,Besselstraße 14 \nBerlin\, 10969 SEQUENCE:0 SUMMARY:SINGLE ENTITIES \, Mwangi Hutter UID:270730 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The exhibition "Sip! Indonesian Art Today" and the accompany ing publication results from ARNDT’s recent focus on Southeast Asian art an d the new Asian and Pacific art markets. Over the past four years Matthias Arndt has worked in Indonesia and other parts of Southeast Asia. His resear ch\, the past shows of Southeast Asian artists and the opening of ARNDT Sin gapore\, the Asian showroom and office of ARNDT\, makes Matthias Arndt one of the leading experts for contemporary Indonesian and Southeast Asian Art in Germany and Europe.

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The exhibition "Sip! Indonesian Art Today"\, curated by Enin Supriyanto\, is the 10th show dedicated to Southeast Asian art ARNDT is hosting in Singapore\, Australia\, Great Britain and Berlin. The 150 page publication "Sip! Indonesian Art Today" edited by Matthias Arn dt and published at DISTANZ Verlag (ISBN 978-3-95476-007-7) is available in all bookstores.

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The public talk "The last three decades of artistic production in Indonesi a: 25 years of Cemeti Art House and the status of curating. with Enin Supriyanto (curator) and Mella Jaarsma (artist)\, moderated by Katerina Valdivia Bruch (curator / critic) will take place at ARNDT Berlin on 27 April 2013 at 4 pm.

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The exhibition pr esents over 40 works from all artistic mediums\, painting\, sculpture\, ins tallation\, photography and film\, by 16 contemporary artists from Indonesi a. They belong to a larger community of artists who are actively shaping In donesia’s dynamic developing contemporary art scene. If we consider their a ge and career development\, the artists here represent 3 generations of con temporary art practice dating back from the late 1970s: beginning first wit h FX Harsono\, one of the proponents of the Indonesian New Art Movement (Ge rakan Seni Rupa Baru) founded in 1975 followed by a group of artists who em erged at a time when Indonesia was undergoing major socio-political transfo rmations in its strive towards democracy during the late 1990s (Agung Kurni awan\, Agus Suwage\, Mella Jaarsma)\, the post-Reformasi (Reformation) gene ration of artists (Christine Ay Tjoe\, Entang Wiharso\, Rudi Mantofani\, Ha ndiwirman Saputra\, Eko Nugroho\, Syagini Ratna Wulan and Arin Dwihartanto Sunaryo)\, and finally a generation of artists who have been active in the past decade\, sophisticated operators of their own careers in a more or les s stable and democratic Indonesia (Wedhar Riyadi\, J. Ariadithya Pramuhendr a\, Wiyoga Muhardanto\, Indieguerillas and Tromarama).

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The generati onal differences do not only represent differing socio-political experience s in connection with the development of Indonesia’s society in the past thr ee decades but also illustrates the differing socio-political contexts of t he artists observations and artistic approaches that have changed and alter ed over the years.

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The word “Sip” in Bahasa Indonesia may be a simp le and modest one but it is full of meaning. While the origin of this word is unknown\, it is a word that is used by nearly everyone every day. “Sip” is the briefest way to state that something – whether an art work\, an even t\, an experience or anything – is good\, of good quality\, super or outsta nding even. Like this word\, and like the process of our ongoing global cul ture\, we do not question the origin of an idea\, but we consider how this idea can continue to grow and contribute to the interaction and civilizatio n of the world. In a way\, we can say that ‘Sip’ has no such thing as exoti c cultural background\, neither stereotypical cultural baggage. Whatever th e case\, the meaning is clear: good\, great\, outstanding.

DTEND:20130601 DTSTAMP:20141001T223806 DTSTART:20130427 GEO:52.50222;13.36446 LOCATION:Arndt\,Potsdamer Strasse 96 \nBerlin\, D-10557 SEQUENCE:0 SUMMARY: SIP! INDONESIAN ART TODAY / SENI RUPA INDONESIA KINI - The past t hree generations of Indonesian Contemporary Art\, FX Harsono\, Mella Jaarsm a\, Agung Kurniawan\, Entang Wiharso\, Christine Ay Tjoe\, Eko Nugroho\, We dhar Riyadi\, Arin Dwihartanto Sunaryo\, Syagini Ratna Wulan\, Agus Suwage\ , Wiyoga Muhardanto\, Indieguerrilas\, Tromarama\, Handiwirman Saputra\, Ru di Mantofani\, J. Ariadhitya Pramuhendra UID:272005 END:VEVENT BEGIN:VEVENT DTEND:20130426T210000 DTSTAMP:20141001T223806 DTSTART:20130426T180000 GEO:52.50222;13.36446 LOCATION:Arndt\,Potsdamer Strasse 96 \nBerlin\, D-10557 SEQUENCE:0 SUMMARY: SIP! INDONESIAN ART TODAY / SENI RUPA INDONESIA KINI - The past t hree generations of Indonesian Contemporary Art\, FX Harsono\, Indieguerril as\, Mella Jaarsma\, Agung Kurniawan\, Rudi Mantofani\, Wiyoga Muhardanto\, Eko Nugroho\, J. Ariadhitya Pramuhendra\, Wedhar Riyadi\, Handiwirman Sapu tra\, Arin Dwihartanto Sunaryo\, Agus Suwage\, Christine Ay Tjoe\, Tromaram a\, Entang Wiharso\, Syagini Ratna Wulan UID:272006 END:VEVENT BEGIN:VEVENT DESCRIPTION:

For Gallery Weekend Berlin\, edition 2013\, Aurel Scheibler will present Vorstoß ins Niemandsland (Advance into no man’s land)\, a conc entrated group of works by Curt Stenvert (1920 – 1992)\, which as ‘Gesamtku nstwerk’ strongly evokes the extremely individual\, committed and persuasiv e vein that distinguishes this oeuvre. The exhibition will run from April 2 7 until June 22 and will open on Friday April 26 from 6 p.m. to 9 p.m.
Active as filmmaker\, painter\, sculptor and object artist\, Stenvert’s va rious working methods made him one of the most adroit and agile artists of his time. A traditional education in painting and sculpting was complemente d with theatre studies and led him straight into the making of Austria’s fi rst avant-garde movie ‘Der Rabe’ in 1951. From there on\, Stenvert always w as ahead of his time\, not disconnected from it\, but on a quasi-parallel r oute. This enabled him to incorporate elements from past movements that ech oed his beliefs and concerns such as Dada and Surrealism\, and to blend the m with innovations that arose from his own very personal convictions and vi ews on life and art. From Edgar Allan Poe’s The Raven poem onwards\, litera ture meandered as a constant leitmotiv through his oeuvre and his poetic ti tles often are the key to the demystification of his work.
L’art pour l’homme is Stenvert’s credo - art for the individual\, art as awareness ini tiator\, art as instigator and saviour of the world. His works are modern a llegorical compositions\, which are intended to render renounced values and abstract concepts perceptible again to our senses. It was his intention to convert man through art\, to capacitate him again to live his life - an ap proach simultaneously highly romantic and highly pragmatic. He introduced f unctional art\, bio-cybernetic paintings\, and process-perspectives – conce pts connected to the realities of a constantly changing world – and conside red his work as a tool to elucidate existence through the eye. Art was a sp iritual process through which Stenvert wanted to gauge\, debate\, reveal co rrelations and highlight psychological and physical developments. Art was h is way to change humanity.
Curt Stenvert is a crossroads artist. A con temporary of Edward Kienholz\, H.C. Westermann and Paul Thek\, his work is clearly indebted to the Berlin Dada of Raoul Haussmann and John Heartfield\ , to George Grosz and Joseph Cornell. In turn\, Stenvert’s impetus reverber ates in the oeuvre of a later generation of artists such as Martin Kippenbe rger\, whose approach to life as well as art is characterized by a scathing criticism of societal behaviour and intense self-mockery so often derivati ve from an essentially romantic disposition.
Looking at Stenvert’s wor k today\, one realizes that his oeuvre makes as much sense / nonsense at
this point in time as it did decades ago and that the combination of ‘do uble-entente’\, verve and biting critique has lost nothing of its shocking quality.

DTEND:20130622 DTSTAMP:20141001T223806 DTSTART:20130427 GEO:52.5054324;13.3926482 LOCATION:Aurel Scheibler\,Schöneberger Ufer 71 \nBerlin\, 10785 SEQUENCE:0 SUMMARY: Vorstoß ins Niemandsland\, Curt Stenvert UID:269326 END:VEVENT BEGIN:VEVENT DTEND:20130426T210000 DTSTAMP:20141001T223806 DTSTART:20130426T180000 GEO:52.5054324;13.3926482 LOCATION:Aurel Scheibler\,Schöneberger Ufer 71 \nBerlin\, 10785 SEQUENCE:0 SUMMARY: Vorstoß ins Niemandsland\, Curt Stenvert UID:269327 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Die Werkstatt Rixdorfer Drucke wurde 1963 in einem
Kre uzberger Hinterhof unter dem Patronat des Berliner
Poeten Günter Brun o Fuchs (†1977) gegründet.
 
‘Rixdorf’ fanden sie als Namen so schön anrüchig
poetisch. Die Werkstatt besteht heute aus den vier
Künstlern Uwe Bremer\, Albert Schindehütte\, Johannes
Vennekamp un d Arno Waldschmidt.
 
Man pflegte in den 1960er Jahren das Imag e des Bürger–
schrecks. In Gruppenarbeit entstanden über die Jahre
ihre zeitkritischen\, provokanten\, witzigen und respekt–
losen W ort- und Bilderbögen.
 
Ihre Zusammenarbeit mit Dichtern und Sc hriftstellern
schrieb Literaturgeschichte.
 
Die Kalender \, Mappen\, Buchcover\, Illustrationen\, die
Kartenspiele und Leporel los mit der unverwechselbaren
Handschrift der „Rixdorfer” prägten die Ästhetik der
politischen Grafik.

DTEND:20130525 DTSTAMP:20141001T223806 DTSTART:20130419 GEO:52.473404;13.4517019 LOCATION:bauchhund salonlabor\,Schudomastr. 38 \nBerlin\, Berlin 12055 SEQUENCE:0 SUMMARY:Werkstatt Rixdorfer Drucke\, Uwe Bremer\, Ali Schindehütte\, Arno W aldschmidt\, Johannes Vennekamp UID:264312 END:VEVENT BEGIN:VEVENT DTEND:20130419T220000 DTSTAMP:20141001T223806 DTSTART:20130419T200000 GEO:52.473404;13.4517019 LOCATION:bauchhund salonlabor\,Schudomastr. 38 \nBerlin\, Berlin 12055 SEQUENCE:0 SUMMARY:Werkstatt Rixdorfer Drucke\, Uwe Bremer\, Ali Schindehütte\, Johann es Vennekamp\, Arno Waldschmidt UID:264313 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Written symbols are omnipresent in our culture. They open up the universe of the written word and give us directions in everyday life. But the distinct message inherent in their appearance is often only noticed subliminally. &lsquo\;ON&ndash\;TYPE: Texts on Typography&rsquo\; conveys the fascination of type design and shows classics from twentieth-century ty pographic history along with recent examples. The exhibition gathers togeth er theses\, manifestos and stocktaking accounts from twentieth-century typo graphy in the German-speaking countries. It also presents type specimens an d insiders&rsquo\; typography magazines\, and discusses the central protago nists and important debates in the history of typography regarding legibili ty\, use of small letters in German\, and the effects of digitization.

DTEND:20130811 DTSTAMP:20141001T223806 DTSTART:20130508 GEO:52.5060693;13.3527672 LOCATION:Bauhaus-Archiv Museum of Design\,Klingelhöferstraße 14 \nBerlin\, 10785 SEQUENCE:0 SUMMARY:ON-TYPE: Texts on Typography UID:274222 END:VEVENT BEGIN:VEVENT DTEND:20130508T170000 DTSTAMP:20141001T223806 DTSTART:20130508T100000 GEO:52.5060693;13.3527672 LOCATION:Bauhaus-Archiv Museum of Design\,Klingelhöferstraße 14 \nBerlin\, 10785 SEQUENCE:0 SUMMARY:ON-TYPE: Texts on Typography UID:274223 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Wilder\, more impetuous and more immediate than ever\, Jörg Lohse returns to the art world after an almost three-year hiatus from the B erlin art scene. In the rural seclusion of Upper Bavaria\, far from the sce ne and discourse\, the artist developed a series of new\, monumental works. The titles are provocative and loud as fanfare: “Tomorrow is over yesterda y”\, “It’s a shame that concrete doesn’t burn” and “My beginning is your en d” begging the question: To whom is this declaration of war directed? The b attle is being waged against lightness\, the easily-digested\, content itse lf – it is heavy fare\, not easy to swallow.  Jörg Lohse plunges into the a dventure of painting like a man obsessed\, for the sake of painting. He cre ates himself\, and he creates obstacles. For him\, it is about painting and only the painting – the painting that can exist and hopefully endure in th e eyes of the artist and viewer. Lohse paints his soul from his body and ho pes for a piece of immortality.

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His painting is rapid and extremely aggressive. Everything is massive\, loud and supremely colorful: subjects dissolve into abstract surfaces\; corrosive yellow and scrawled signatures disrupt and create and almost unbearable disharmony. The title and the depi cted often clash and run counter to one another. They negate any mutual rel ationship in terms of content\, and refuse to give even the illusion of a r eality. What remains are colors\, shapes and surfaces\; any content comes d irectly from the viewer’s own power of association.

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All of this is exactly as Lohse intended it. Lohse searches for and uses the element of su rprise\, rebels against traditional painting rules and ordinary viewing hab its. He does this without pause\, never asking himself the question: “Can I really leave it like that?” Lohse aims to irritate\, confuse\, overcome ob stacles and limitations and create something new. He consciously claims thi s freedom\, keeping a distance from the art world in order to create a spac e far away from the art market\, the scene\, discussions and critique - spa ce for his own\, independent artistic position. For all their provocation a nd irony\, Lohse's oil paintings reveal a deep and passionate commitment to painting. The omnipresent artist’s signature (“Herr Lohse”\, “Schorsch”) a lludes to the idea of the artist’s role and its meaning for the value of th e artwork. It dominates some of the works like a trademark. At the same tim e\, it also shows how seriously the artist takes it and to what degree he s ees himself as a painter among painters.

DTEND:20130604 DTSTAMP:20141001T223806 DTSTART:20130415 GEO:52.50363;13.36666 LOCATION:BERLINARTPROJECTS\,Potsdamer Str. 61 \nBerlin\, Berlin 10785 SEQUENCE:0 SUMMARY:I'D LOVE TO BE ALBERT OEHLEN'S FRIEND \, Jörg Lohse UID:270838 END:VEVENT BEGIN:VEVENT DTEND:20130413T190000 DTSTAMP:20141001T223806 DTSTART:20130413T160000 GEO:52.50363;13.36666 LOCATION:BERLINARTPROJECTS\,Potsdamer Str. 61 \nBerlin\, Berlin 10785 SEQUENCE:0 SUMMARY:I'D LOVE TO BE ALBERT OEHLEN'S FRIEND \, Jörg Lohse UID:270839 END:VEVENT BEGIN:VEVENT DESCRIPTION:

For Gallery Weekend\, Berlin Art Projects proudly presents t wo young\, Turkish artists in two exhibitions in their spaces at Mehringdam m 33. Yasam Sasmazer and Ismail Necmi both belong to the gallery’s regular program\; both live and work in Istanbul and Berlin and represent important artistic positions in the Turkish art scene. The exhibitions will both be on view from Friday\, April 26 at 6 pm to Monday\, April 29 at 7pm. The ope ning is on Saturday\, April 27 from 2 – 5 pm in presence of the artists.

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Yasam Sasmazer ǀ Doppelgänger

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We are delighted to pres ent Sasmazer’s “Doppelgänger” figures – made especially for the artist’s fi rst museum exhibition at the Künstlerhaus Marktoberdorf in the summer of th e previous year – for the first time in Berlin. The series\, which consists of five sculptures and groups of sculptures\, is based on the literary mod el of the double. Building on earlier works\, particularly the “shadow” scu lptures created directly before these\, Sasmazer’s figures (at first childr en\, then youths) have grown up. The model is the artist herself. Her woode n “doubles” now stand life-sized in front of the viewer – disturbing\, unca nny and immediate. The artist refers to her new project as an “attempt to l ook in a mirror“. With it\, she follows the theories outlined by Lacan\, po ints to C. G. Jung’s archetypes and draws reference to “the uncanny” descri bed by Sigmund Freud. In the shadow series\, she was primarily interested i n a confrontation with one’s own dark side\, or thoughts and feelings that society considers negative though they belong to the whole of a personality . In the “Doppelgänger”\, Sasmazer confronts her own mirror image\, though her figures are not studies of her own character. Instead\, they show the d ifferent aspects and characteristics that make up a character\, like the in dividual “puzzle pieces” that come together to form every whole personality . For her\, it is about identity\, the perception of others and of oneself.

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Ismail Necmi | Should I really do it?

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 After the fi rst solo exhibition by photographer and filmmaker Ismail Necmi\, in which w e showed black and white shots from his series “Stills from Unmade Films” o n the occasion of the 2011 Berlinale\, we are pleased to present this film debut “Should I really do it?” (2009). The film\, which Necmi realized as i ts screenwriter\, director and producer in one\, has been shown in numerous film festivals and awarded prizes. It tells the story of Petra\, a German living in Istanbul – thus ironically reversing the typical path of the Turk ish migrant. Petra’s life takes so many unexpected twists and turns that in some places\, the film appears to be pure fiction. But what we see is noth ing more and nothing less than a life lived – a story as only she could wri te it. In her meetings with Herold\, a masked\, mysterious character\, Petr a reveals her life to him and us\, a tale told with impressive sincerity ab out her existence and experience of two cultures: of Istanbul\, Germany\, o f family and friends of drug use and death. Can reality be more surprising than fiction? Just as we see in the parallel selection of "Stills from Unma de Films"\, Necmi effortlessly trespasses the boundaries between reality\, fantasy and art.  He leads the viewer to the thin line of a difficult-to-gr asp\, liminal world in which everyone can live as they want without explana tion or compromise.

DTEND:20130809 DTSTAMP:20141001T223806 DTSTART:20130426 GEO:52.50363;13.36666 LOCATION:BERLINARTPROJECTS\,Potsdamer Str. 61 \nBerlin\, Berlin 10785 SEQUENCE:0 SUMMARY:YASAM SASMAZER ǀ DOPPELGÄNGER & ISMAIL NECMI | SHOULD I REALLY DO I T?\, Yasam Sasmazer\, Ismail Necmi UID:270840 END:VEVENT BEGIN:VEVENT DTEND:20130427T170000 DTSTAMP:20141001T223806 DTSTART:20130427T140000 GEO:52.50363;13.36666 LOCATION:BERLINARTPROJECTS\,Potsdamer Str. 61 \nBerlin\, Berlin 10785 SEQUENCE:0 SUMMARY:YASAM SASMAZER ǀ DOPPELGÄNGER & ISMAIL NECMI | SHOULD I REALLY DO I T?\, Ismail Necmi\, Yasam Sasmazer UID:270841 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The Berlin painter\, graphic artist and fil mmaker KP Brehmer (1938&ndash\;1997) soon made visualising socio-political processes a focal concern of his work. In the 1960s\, under the influence o f Fluxus and Pop Art\, he turned his attention to daily life and the growin g presence of the media in Western consumerist society. His early works qua lify as examples of the so called &ldquo\;capitalist realism&rdquo\;.

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In subsequent years Brehmer cultivated his diagra mmatic and cartographic work. He would take data and maps found in books or magazines and transform them &ndash\; sometimes subtly\, sometimes severel y &ndash\; into paintings or prints. With carefully chosen touches\, Brehme r thwarts the flow of information from illustrations and maps designed to c onvey their message directly. In &ldquo\;Die ausreichend versorgten Gebiete der Welt&rdquo\; [&ldquo\;Regions of the world with adequate provisions&rd quo\;]\, for example\, he erases an entire continent. He highlights the pot ential power of scientific visualisations by applying similar selection and generalisation techniques to data and thereby subverting it. In his infogr aphics\, maps and statistics\, Brehmer exposes the ways in which scientific illustrations\, commonly seen as &ldquo\;objective evidence&rdquo\;\, can manipulate data.

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This KP Brehmer presentatio n drawn from our collection has been put together by the Berlinische Galeri e&rsquo\;s trainee curators Anne Bitterwolf\, Clemens Klö\;ckner\, Chri stina Korzen and Isabelle Lindermann.

DTEND:20130812 DTSTAMP:20141001T223806 DTSTART:20130130 GEO:52.503478;13.398227 LOCATION:Berlinische Galerie\,Alte Jakobstraße 124-128 \nBerlin\, 10969 SEQUENCE:0 SUMMARY:Diagrammatic and cartographic works\, KP Brehmer UID:285522 END:VEVENT END:VCALENDAR