BEGIN:VCALENDAR VERSION:2.0 CALSCALE:GREGORIAN PRODID:iCalendar-Ruby VERSION:2.0 BEGIN:VEVENT DESCRIPTION: DTEND:20160913 DTSTAMP:20160531T190509 DTSTART:20160709 GEO:52.50363;13.36666 LOCATION:BERLINARTPROJECTS\,Potsdamer Str. 61 \nBerlin\, Berlin 10785 SEQUENCE:0 SUMMARY:Katrin Korfmann - 665 km UID:419919 END:VEVENT BEGIN:VEVENT DTEND:20160708T200000 DTSTAMP:20160531T190509 DTSTART:20160708T180000 GEO:52.50363;13.36666 LOCATION:BERLINARTPROJECTS\,Potsdamer Str. 61 \nBerlin\, Berlin 10785 SEQUENCE:0 SUMMARY:Katrin Korfmann - 665 km UID:419920 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Designed to facilitate a v ariety of business interactions\, the basic conference room is by nature a space of latent potential. Though still in use today\, these blank\, dry-er ase infrastructures contain an aspect of outdated futurism. Their promised flexibility seems to lag behind a world of commerce that happens virtually and without discussion. Nonetheless\, these table-centric spaces persist\, raising the question: How might these seemingly arcane architectures be rep urposed? A ping-pong tournament? After-hours Karaoke parties? \;\n

Rachel Harrison uses a range of &l dquo\;materials\,&rdquo\; from store-bought objects to social mores\, as fo dder for formal humor and cultural commentary. Her latest exhibitions have included upright sculptures donning selfie sticks\, parachute chords anchor ed to gallery walls that act as framing devices\, and drawings that pair Am y Winehouse and art-historical figures. Abstract and painted forms\, posed with readymade accoutrements\, recur throughout her work\, which ranges fro m sculpture to photography\, drawing to video. Harrison has recently enlist ed cardboard boxes\, commonly used for postal delivery\, to change shape in the service of art.

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Kraupa- Tuskany Zeidler is situated on the 4th floor of an office block building at Berlin Alexanderplatz. For her first solo exhibition at the gallery\, Harr ison will make new work for the gallery space and an adjacent\, fully equip ped conference room used by other businesses in the building.

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Exhibition Text:

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Rachel Harrison. Express your F itness in Everyday Life

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We cannot ste p beyond the everyday. The marvelous can only continue to exist in fiction and the illusions that people share. \; It is assumed that the work mus t &ldquo\;speak for itself\,&rdquo\; as if the divine dogma of modernism we re able to deliver a clear and universal message to a uniform &ldquo\;famil y of man.&rdquo\; I&rsquo\;ve cracked cases like this with nothing to go on \, just by getting out and walking around at random. Make an effort to exha ust the subject\, even if that seems grotesque\, or pointless\, or stupid. You still haven&rsquo\;t looked at anything\, you&rsquo\;ve merely picked o ut what you&rsquo\;ve picked out long ago. All these fragments of perceptio n that lend themselves to pictures release something because they strike a chord\, and that chord is the artist&rsquo\;s life\, which\, like ours\, ke eps changing. Two things are happening at once. That&rsquo\;s all. It is an equivalence that is entirely ordinary. This atmosphere ends up making you better as an individual\, everybody knows your name\, everybody loves you\, and you&rsquo\;re part of something bigger than just getting a workout. Th ere is no escape. And yet we wish to have the illusion of escape as near to hand as possible. So we work to earn our leisure\, and leisure has only on e meaning: to get away from work. In affluent regions of the globe\, this h as occurred amid the dissolving of most of the borders between private and professional time\, between work and consumption. It is a fact that night b elongs to Michelob and Coke is real. It is a fact the color of your skin ma tters. It is a fact Crazy Eddie&rsquo\;s prices are insane. In order to sti mulate competition\, a powerful injection of aggressive energy is necessary \, a sort of permanent electrocution. It&rsquo\;s emotional\, it&rsquo\;s r aw\, it&rsquo\;s intense\, it&rsquo\;s incredible\, it&rsquo\;s awesome\, t he reward for doing well is the ability to express your fitness in everyday life. The acceleration of novelty production is a disabling of collective memory. What finally occupies attention is the management of the technical conditions: all the expanding determinations of delivery\, display\, format \, storage\, upgrades\, and accessories. The interference of all silence. T he sound of a machine\, a scratch\, dirt or its image. People walk through the door and say &lsquo\;hey\, where are all the machines?&rsquo\; We&rsquo \;re the machines.i

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Kirsty Bell

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iLefebvre\, Henri\; Gonzalez-Torres\, Felix\; Burroughs \, William S.\; Perec\, Georges\; Taussig\, Michael\; White\, Ian\; CrossFi t®\;\; Crary\, Jonathan\; Eddie\, Crazy\, consumer electronics NY\; Bera rdi\, Franco &lsquo\;Bifo&rsquo\;.

DTEND:20160625 DTSTAMP:20160531T190509 DTSTART:20160429 GEO:52.52448;13.41178 LOCATION:Kraupa-Tuskany Zeidler\,Karl–Liebknecht–Straße 29 4th floor\nBerli n\, 10178 SEQUENCE:0 SUMMARY:Depth Jump to Second Box\, Rachel Harrison UID:419809 END:VEVENT BEGIN:VEVENT DESCRIPTION:

DREAMING OF SHOPPING - TERRORRAUM\, 2016
Albert Markert
Ausstellung: 8.-21. Juni 2016
Vernissage: 7. Juni 2016 - 19 Uhr< br />Ö\;ffnungszeiten: Di-Fr 14-18 Uhr

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Die Rauminstallation DRE AMING OF SHOPPING - TERRORRAUM thematisieren das interdependente Zusammensp iel zwischen Terror und Terrorangst\, Konsum und Konsumverzicht\, Intimsph& auml\;re und Intimitä\;tsverlust in den sozialen Medien. Albert Markert nahm fü\;r seine Arbeit eine Textstelle aus der Geschichte von AUGUSTI NAselbst als Inspirationsfunken in der die Protagonistin in ihrem Traum mit "Nachrichten" aus unserer Realitä\;t konfrontiert wird. Diese stellt s ich aus dem Blickwinkel ihrer Traumwelt als erschreckende\, wild vermixte I nformationsflut dar\, die sich unmittelbar zu manifestieren droht.

DTEND:20160621 DTSTAMP:20160531T190509 DTSTART:20160607 GEO:52.4945849;13.4001012 LOCATION:G.A.S-station\, Tempelherrenstr. 22\nBerlin\, 10961 SEQUENCE:0 SUMMARY:DREAMING OF SHOPPING - TERRORRAUM\, Albert Markert UID:419542 END:VEVENT BEGIN:VEVENT DTEND:20160607T220000 DTSTAMP:20160531T190509 DTSTART:20160607T190000 GEO:52.4945849;13.4001012 LOCATION:G.A.S-station\, Tempelherrenstr. 22\nBerlin\, 10961 SEQUENCE:0 SUMMARY:DREAMING OF SHOPPING - TERRORRAUM\, Albert Markert UID:419543 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Peres Projects is p leased to present Wild Style: Exhibition of Figurative Art\, a gro up exhibition exploring depictions of the human figure by contemporary arti sts and unidentified African artists active from 200 BC to the present.&nbs p\;Wild Style invites the viewer to experience the exhibition in a horizont al as opposed to a vertical manner\, where contemporary works of art stand as equals with works from different cultures and periods. \; \;

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The works on view highlight t he invisible link that exists between the mind of the 21st century artist a nd the minds of artists of prior generations. However\, this shared affinit y is not to say that the works are actually connected in one way or another . On the contrary\, at times the distance may be more profound than the sha red affinities between these works and artists\, yet by pairing them we may gain new understandings about ourselves\, and our fascination with the hum an form.

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A fully illustrat ed catalog will accompany this exhibition.

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Artists: \;

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Dan Attoe
Brian Calvin
Alex Da Corte
Cé\;cil e B. Evans
Donna Huanca
Dorothy Iannone
Melike Kara
Dwight Mackintosh
William J. O&rsquo\;Brien
Athena Papadopoulo s

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Major works of classic A frican sculpture:

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Dan\, Li beria/Cote d&rsquo\;Ivoire
Eket\, Nigeria
Fang\, Gabon
Ib ibio\, Nigeria
Igbo\, Nigeria
Ijo\, Nigeria
Jukun\, Niger ia
Kaka\, Nigeria
Mumuye\, Nigeria
Nok\, Nigeria

DTEND:20160805 DTSTAMP:20160531T190509 DTSTART:20160610 GEO:52.5172369;13.4389213 LOCATION:Peres Projects\,Karl-Marx-Allee 82 \nBerlin\, 10243 SEQUENCE:0 SUMMARY:Wild Style: Exhibition of Figurative Art\, Dan Attoe\, Donna Huanca \, Dorothy Iannone\, Melike Kara\, Alex Da Corte\, Brian Calvin\, Cécile B. Evans\, Dwight Mackintosh\, William J. O’Brien\, Athena Papadopoulos UID:419468 END:VEVENT BEGIN:VEVENT DTEND:20160610T200000 DTSTAMP:20160531T190509 DTSTART:20160610T180000 GEO:52.5172369;13.4389213 LOCATION:Peres Projects\,Karl-Marx-Allee 82 \nBerlin\, 10243 SEQUENCE:0 SUMMARY:Wild Style: Exhibition of Figurative Art\, Dan Attoe\, Brian Calvin \, Alex Da Corte\, Cécile B. Evans\, Donna Huanca\, Dorothy Iannone\, Melik e Kara\, Dwight Mackintosh\, William J. O’Brien\, Athena Papadopoulos UID:419469 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Lets play fast and loose. Lets let the air out of our over-puffed tires for a minute. Lets shake a bit as we slide and blur across the floor. Lets be inchoate and atmospheric. That &rsquo\;s how Lesley Vance is doing it in these new watercolors in which co lor justifies itself and a kind of automatic drawing evolves stroke into sh ape and then the increasingly delicate description of space. The artist exp lores her own miasmic looseness. Sitting flat on top of (rather than absorb ed into) smooth\, vellum-like surfaces\, the liquefied pigment looks still- watery and alive seeming. Brushwork is aleatory and intuitive\, meandering line-work somewhat reminiscent of late de Kooning or Brice Marden with his inked stick. Contrapuntally\, the flow of watercolor is sliced with the sci ssored sharpness of collage\, cut and arranged with an equally nimble sensi tivity. She&rsquo\;s been thinking a lot about Krasner&rsquo\;s collaged pa intings\, full of internal disjunction\, distance\, and great graphic power . These paintings embody alertness\, a responsiveness to those fragile gift s of chance that can happen on the drawing table\, or off\, if you&rsquo\;r e paying close attention. She is in thrall to that magic moment when form a nd a new kind of visual sense first take hold\, emergent out of static webs and fields of color. The sudden birth\, the surprise invention of shapes h as a lot to do with the feeling and pleasure in these works\; they tap the surging energy of her oil paintings in their early\, private stages. Form o ften appears through subtractive wiping away and erasure. Vance&rsquo\;s pi ctures want to be several things at once: they want to bleed\, spill\, stre ak\, and be messed up whenever they want and also be taut\, tight\, precise \, and slanted on point. Her planes&mdash\;painted and collaged&mdash\;inte rlock in weird ways and cast spells of momentary optical confusion that mer ge and reorder layers. They say\, lets slip and slide. Lets play fast and l oose.

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Text: Sarah Lehrer-Graiwer

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The work of Lesley Vance (b. 1977\, Milwa ukee\, Wisconsin) has been the subject of solo exhibitions at the Bowdoin C ollege Museum of Art\, Brunswick\, Maine (2012)\; the FLAG Art Foundation\, New York (2012)\; and the Huntington Library\, Art Collections\, and Botan ical Gardens\, San Marino\, California\, with Ricky Swallow (2012). Recent group exhibitions featuring her work include Variations: Conversations in a nd Around Abstract Painting\, Los Angeles County Museum of Art (2014)\; Pai nter Painter\, Walker Art Center\, Minneapolis (2013)\; Difference\, Dallas Museum of Art (2012)\; and 2010 Whitney Biennial\, Whitney Museum of Ameri can Art\, New York. Vance's work is included in the public collections of t he Los Angeles County Museum of Art\, the Hammer Museum\, Los Angeles\; the San Francisco Museum of Modern Art\; the Milwaukee Art Museum\, Wisconsin\ ; the Museum of Modern Art\, New York\; and the Whitney Museum of American Art\, New York\, among others. Her work is currently included in the exhibi tion Campaign for Art at the San Francisco Museum of Modern Art through Sep tember 2016. Vance lives and works in Los Angeles.

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Lassen wir mal alle Rü\;cksichten und Konventione n fallen. Lassen wir mal kurz die Luft aus unseren ü\;bermä\;ß \;ig aufgepumpten Reifen raus. Lassen wir uns mal leicht ins Schwanken gera ten wä\;hrend wir ü\;ber den Boden schlittern und dabei bis zur Unk enntlichkeit verschwimmen. Lassen wir uns mal amorph und atmosphä\;risc h sein. So macht es Lesley Vance in diesen neuen Aquarellbildern\, in denen die Farbe die eigene Rechtfertigung liefert und der Pinselstrich durch ein e Art automatisches Zeichnen zur Form und dann zur zunehmend filigranen Bes chreibung von Raum wird. Die Kü\;nstlerin erkundet somit die eigene\, d iesig-dunstä\;hnliche Formlosigkeit. Das verflü\;ssigte\, eher flac h auf den glatten\, pergamentä\;hnlichen Flä\;chen liegende als von ihnen absorbierte Pigment wirkt noch - wä\;sserig\, lebendig. Die Pins elfü\;hrung ist aleatorisch und intuitiv\, wobei die mä\;andernde L inienfü\;hrung etwas an den spä\;ten de Kooning oder an den in Tusc he getü\;nchten Stift eines Brice Marden erinnert. Kontrapunktisch wird der Fluss der Wasserfarbe mit der Scherenschä\;rfe einer Collage aufge schnitten\, abgeschnitten und mit gleichermaß\;en flinker Sensibilit&a uml\;t neu angeordnet. Intensiv reflektiert hat die Kü\;nstlerin die co llagierten Gemä\;lde von Krasner\, die voller interner Brü\;che und Distanz sind und von denen eine ungeheure graphische Macht ausgeht. Diese Gemä\;lde verkö\;rpern eine Alertheit\, eine Empfä\;nglichkeit fü\;r jene zerbrechlichen Geschenke des Zufalls\, die sich auf &ndash\; oder fern von &ndash\; dem Zeichentisch ergeben\, wenn man nur besonders w achsam ist. Lesley Vance arbeitet im Banne jener magischen Momente\, in den en eine Form und eine neuartige Sichtweise sich erst herauskristallisieren\ , sich aus statischen Farbnetzen und -feldern herauslö\;sen. Diese pl&o uml\;tzliche Genese\, die ü\;berraschende Erfindung von Formen\, hat vi el mit der Gefü\;hlslage und Freude zu tun\, die diesen Werken innewohn en &ndash\; sie speisen bereits in den frü\;hen\, privaten Stadien des Kreierens von der in den Ö\;lgemä\;lden ü\;berbordenden Energie . Dabei entsteht Form oft aus einem subtraktiv entfernenden Wegwischen und Tilgen. Vances Bilder wollen mehreres auf einmal sein &ndash\; sie wollen b luten\, ü\;berschwappen\, zucken\, sich vollschmieren\, wann immer sie nur mö\;chten\, aber auch perfekt straff\, stramm\, exakt und abgeschr& auml\;gt sein. Ihre Bildflä\;chen &ndash\; ob gemalt oder collagiert &n dash\; verschrä\;nken und verzahnen sich auf ungewohnte Art und Weise\, wobei sie den Betrachter in den Bann einer vorü\;bergehenden optischen Irritation ziehen\, die Schichten ineinander fließ\;en lä\;sst un d neu ordnet. Sie sagen: Lassen wir uns mal schlittern und schliddern. Lass en wir mal alle Rü\;cksichten und Konventionen fallen.

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Text: Sarah Lehrer-Graiwer

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Werke von Lesley Vance (*1977\, Milwaukee\, Wisconsin\, USA) wa ren Gegenstand von Einzelausstellungen im Bowdoin College Museum of Art\, B runswick\, Maine (2012)\, in der FLAG Art Foundation\, New York (2012) sowi e in der Huntington Library\, Art Collections and Botanical Gardens\, San M arino\, California\, mit Ricky Swallow (2012). Zu den neueren Gruppenausste llungen\, in denen ihre Werke zu sehen waren\, gehö\;ren: Variations: C onversations in and around Abstract Painting\, Los Angeles County Museum of Art (2014)\; Painter Painter\, Walker Art Center\, Minneapolis (2013)\; Di fference\, Dallas Museum of Art (2012)\; und 2010 Whitney Biennial\, Whitne y Museum of American Art\, New York. Werke von Vance sind ebenfalls u.a. in den ö\;ffentlichen Sammlungen des Los Angeles County Museum of Art\; d es Hammer Museum\, Los Angeles\; des San Francisco Museum of Modern Art\; d es Milwaukee Art Museum\, Wisconsin\; des Museum of Modern Art\, New York\; und des Whitney Museum of American Art\, New York vertreten. Gegenwä\; rtig werden Werke von ihr in der Ausstellung Campaign for Art im San Franci sco Museum of Modern Art bis Ende September 2016 gezeigt. Vance lebt und ar beitet in Los Angeles.

DTEND:20160730 DTSTAMP:20160531T190509 DTSTART:20160603 GEO:52.50235;13.39078 LOCATION:Meyer Riegger\,Friedrichstr 235 \nBerlin\, SEQUENCE:0 SUMMARY:Paintings\, On Paper\, Lesley Vance UID:419466 END:VEVENT BEGIN:VEVENT DTEND:20160603T200000 DTSTAMP:20160531T190509 DTSTART:20160603T180000 GEO:52.50235;13.39078 LOCATION:Meyer Riegger\,Friedrichstr 235 \nBerlin\, SEQUENCE:0 SUMMARY:Paintings\, On Paper\, Lesley Vance UID:419467 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20160830 DTSTAMP:20160531T190509 DTSTART:20160603 GEO:52.52191;13.38248 LOCATION:Johnen Galerie\,Marienstraße 10 \nBerlin\, 10117 SEQUENCE:0 SUMMARY:Solo Exhibition\, Karin Sander UID:419462 END:VEVENT BEGIN:VEVENT DTEND:20160603T200000 DTSTAMP:20160531T190509 DTSTART:20160603T180000 GEO:52.52191;13.38248 LOCATION:Johnen Galerie\,Marienstraße 10 \nBerlin\, 10117 SEQUENCE:0 SUMMARY:Solo Exhibition\, Karin Sander UID:419463 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20160710 DTSTAMP:20160531T190509 DTSTART:20160605 GEO:52.50073;13.40052 LOCATION:Johann König\,Alexandrinnenstr. 118 - 121 \nBerlin\, 10969 SEQUENCE:0 SUMMARY:Towards Universal Pattern Recognition\, Jeremy Shaw UID:419458 END:VEVENT BEGIN:VEVENT DTEND:20160604T210000 DTSTAMP:20160531T190509 DTSTART:20160604T180000 GEO:52.50073;13.40052 LOCATION:Johann König\,Alexandrinnenstr. 118 - 121 \nBerlin\, 10969 SEQUENCE:0 SUMMARY:Towards Universal Pattern Recognition\, Jeremy Shaw UID:419459 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20160724 DTSTAMP:20160531T190509 DTSTART:20160604 GEO:52.50073;13.40052 LOCATION:Johann König\,Alexandrinnenstr. 118 - 121 \nBerlin\, 10969 SEQUENCE:0 SUMMARY:Solo Exhibition\, Jorinde Voigt UID:419456 END:VEVENT BEGIN:VEVENT DTEND:20160604T210000 DTSTAMP:20160531T190509 DTSTART:20160604T180000 GEO:52.50073;13.40052 LOCATION:Johann König\,Alexandrinnenstr. 118 - 121 \nBerlin\, 10969 SEQUENCE:0 SUMMARY:Solo Exhibition\, Jorinde Voigt UID:419457 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20160730 DTSTAMP:20160531T190509 DTSTART:20160603 GEO:52.506264;13.397666 LOCATION:Galerie Nordenhake GmbH - Berlin\,Lindenstrasse 34 \nBerlin \, DE- 10969 SEQUENCE:0 SUMMARY:Put the Cobwebs Back in Place\, Christian Andersson UID:419455 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Additional performances every Saturday from 11 - 6pm (except 18 June)
and by appointment

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East of Eden is a collaborative project between New York based artists Grear Patterson and Yves Scherer which takes its tit le from John Steinbeck&rsquo\;s novel published in 1952. Conceived as an ex hibition series\, this project unfolds over multiple stages and cities in t he month of June and Galerie Guido W. Baudach is pleased to present its fir st chapter.

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For this the artists take over the back space of the gallery\, usually reserved for private viewings by collectors\, with an immersive environment inspired by a recent trip of the artists across the USA down to Mexico and their experience of shared l iving in the northern part of the Bronx.

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This installation is extended into the entrance area of the gallery whi ch has been turned into a waiting room\, offering seats and distraction to the visitors. \;Here you will be welcomed by the inhabitant of the spac e\, Anahid\, who takes over the role of the host and of the emcee. \;As you follow her through the narrow corridor you enter a rather domestic set ting. There is a little kitchen table\, some candles and there is rainbow m otif on the wall. Take a cookie from the bowl\, they&rsquo\;re home made\, and some tea too. It&rsquo\;s like the oracle&rsquo\;s place\, a transition area where dimensions meet\, an interface. Sit down and have a little chat with the medium if you feel like. It&rsquo\;s your time.

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In the back corner of the space you will find an area of comfort\, that&rsquo\;s where the magic happens. Anahid will guide you t o it\, help you with the glasses and start the program.

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Erö\;ffnung mit Performance: Freitag\, 3. Ju ni 2016\, 18 bis 21 Uhr
zusä\;tzliche Performances immer samstags von 11 &ndash\; 18 Uhr (ausgenommen 18. Juni)
und nach Vereinbarung

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East of Eden in eine Gemeinschaftsproje kt der beiden in New York lebenden Kü\;nstler Grear Patterson und Yves Scherer. Der Titel stammt von John Steinbecks gleichnamiger Erzä\;hlung aus dem Jahr 1952. Konzipiert als Ausstellungsreihe\, die sich im Laufe de s Monats Juni in mehreren Stufen und an verschiedenen Orten entfaltet\, f&a uml\;llt der Galerie Guido W. Baudach das Vergnü\;gen zu\, Schauplatz d es ersten Kapitels zu sein.

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Dazu &uum l\;bernehmen die Kü\;nstler den Hinterraum der Galerie\, welcher sonst der gesonderten Prä\;sentation von Kunstwerken vor Sammlern vorbehalten ist\, und unterziehen diesen einer umfassenden Neudefinition\, die von ein er kü\;rzlich durchgefü\;hrten Reise durch die USA nach Mexiko und die Erfahrung des Zusammenlebens in der nö\;rdlichen Bronx inspiriert i st.

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Die Installation umfasst aber auc h den Eingangsbereich der Galerie\, der in ein Wartezimmer verwandelt ist\, in dem eintreffenden Besuchern neben Sitzgelegenheiten auch verschiedene Z erstreuung angeboten wird. Hier wird man von der Bewohnerin der Rä\;uml ichkeiten begrü\;ß\;t\, Anahid\, die die Rolle der Gastgeberin und Zeremonienmeisterin innehat. Folgt man ihr durch den schmalen Flur vorbei an der kleinen Kü\;chenzeile\, und betritt das eigentliche Hinterzimmer \, so wird die Einrichtung gleich viel wohnlicher. Da gibt es einen kleinen Kü\;chentisch\, ein paar Kerzen und ein Regenbogenmotiv an der Wand. N imm Dir einen Keks aus der Schale\, sie sind hausgemacht\, und Tee dazu. Es ist der Ort des Orakels\, ein Ü\;bergangsbereich\, an dem die Dimensio nen aufeinandertreffen\, eine Schnittstelle. Setz Dich und halte eine klein en Plausch mit dem Medium\, wenn Dir danach ist. Es ist Deine Zeit.

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In der hinteren Ecke des Raumes befindet sic h ein besonders behaglichen Platz. Hier ist es\, wo die Magie stattfindet. Anahid wird dich hinfü\;hren\, Dir mit der Brille helfen und das Progra mm starten.

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DTEND:20160723 DTSTAMP:20160531T190509 DTSTART:20160604 GEO:52.5019764;13.3651086 LOCATION:Galerie Guido W. Baudach\,Potsdamer Straße 85 \nBerlin\, D-10785 SEQUENCE:0 SUMMARY:East of Eden UID:419453 END:VEVENT BEGIN:VEVENT DTEND:20160603T210000 DTSTAMP:20160531T190509 DTSTART:20160603T180000 GEO:52.5019764;13.3651086 LOCATION:Galerie Guido W. Baudach\,Potsdamer Straße 85 \nBerlin\, D-10785 SEQUENCE:0 SUMMARY:East of Eden UID:419454 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20160702 DTSTAMP:20160531T190509 DTSTART:20160604 GEO:52.5270315;13.3972275 LOCATION:Galerie EIGEN + ART (Berlin)\,Auguststrasse 26 D - 10117\nBerlin\ , SEQUENCE:0 SUMMARY:Solo Exhibition\, Neo Rauch UID:419449 END:VEVENT BEGIN:VEVENT DTEND:20160604T200000 DTSTAMP:20160531T190509 DTSTART:20160604T110000 GEO:52.5270315;13.3972275 LOCATION:Galerie EIGEN + ART (Berlin)\,Auguststrasse 26 D - 10117\nBerlin\ , SEQUENCE:0 SUMMARY:Solo Exhibition\, Neo Rauch UID:419450 END:VEVENT BEGIN:VEVENT DESCRIPTION:

carlier | gebauer is pleased t o announce Free\, a solo exhibition of new paintings by the Finnish artist Marianna Uutinen. This will be her third solo exhibition with the gallery. Over the years\, the artist has developed a signature technique that fuses thick layers of acrylic paint to create a skin-like structure that she drap es across the surface of a traditional canvas. While her previous work was distinguished by sweeping folds\, a bold palette\, and an opulent aesthetic \, the paintings in the current exhibition strike a quieter\, more contempl ative tone.

Throughout her practice\, Uutinen&rsquo\;s restle ss experimentation underscores how painting can be a vehicle for new thinki ng and breaking with old habits. The new works explore how the medium of pa inting can convey that which is invisible and immaterial. Shimmering and tr anslucent\, these dramatically reduced compositions are the most recent exa mples of the ethereal visual language that the artist has been developing o ver the course of a year. A vital instability prevails in Uutinen&rsquo\;s new works. The pearlescent hues of each canvas vary dramatically depending on where one stands in relation to them. What at first glance appears like a soft cream color pans to dusty rose as you walk past. While Uutinen has l ong considered painting to be a non-expressive physical accumulation of her actions\, this new body of work forms the most striking example of the art ist&rsquo\;s treatment of painting as a time-based medium\, which in this c ase extends not only to the accumulation of time as represented in the arti st&rsquo\;s mark-making\, but the time of perception as well. In other word s: the time of the viewer.

The dynamic surfaces of these canv ases materially attest to the variability of experience and individual natu re of perception. Although Uutinen does not approach painting as an express ive act\, through the instability of the materials this new body of work be comes quite personal. The ever-changing celestial color palette nods toward s a spiritual bent in the work\, yet Uutinen hasn&rsquo\;t lost her sense o f humor despite such ethereal associations. The artist&rsquo\;s material en gagement with questions of the feminine\, kitsch\, sensuality and sexuality seethe just beneath the plastic surfaces\, like another sparkling thing. T hese serene works oscillate between abundance and restraint\, redirecting h er signature dramatic excess into strategic eruptive flourishes.

Uutinen (b. 1961\, Pieksä\;mä\;ki) lives and works in Berlin. H er paintings have been included in numerous public collections such as Mode rna Museet (Stockholm\, Sweden)\, Louisiana Museum (Denmark)\, the Malm&oum l\; Art Museum (Sweden)\, Seoul Museum (South Korea)\, The National Museum of Contemporary Art (Norway)\, Kiasma Museum of Contemporary Art\, Helsinki \, Finland and the Helsinki City Art Museum (Finland). Her work was shown a t the Louisiana Museum (Denmark)\, Moderna Museet (Malmö\;\, Sweden)\, the Kiasma Museum of Contemporary Art in (Helsinki)\, the Ludwig Museum (Ko blenz)\, Moderna Museet (Stockholm)\, and the Venice Biennale (1997).

DTEND:20160730 DTSTAMP:20160531T190509 DTSTART:20160604 GEO:52.50582;13.39388 LOCATION:carlier | gebauer\,Markgrafenstraße 67 \nBerlin\, D-10969 SEQUENCE:0 SUMMARY:Free\, Marianna Uutinen UID:419445 END:VEVENT BEGIN:VEVENT DTEND:20160603T210000 DTSTAMP:20160531T190509 DTSTART:20160603T180000 GEO:52.50582;13.39388 LOCATION:carlier | gebauer\,Markgrafenstraße 67 \nBerlin\, D-10969 SEQUENCE:0 SUMMARY:Free\, Marianna Uutinen UID:419446 END:VEVENT BEGIN:VEVENT DESCRIPTION:

carlier | gebauer is pleased t o announce a solo exhibition of recent works by the French artist Guillaume Leblon. This will be his second solo exhibition with the gallery. Leblon&r squo\;s sculptural installations adopt a poetic relationship to space &mdas h\; embracing an active\, mobile\, open relationship with the world. Known for choreographing compelling spatial narratives\, Leblon&rsquo\;s current exhibition exudes a potent sense of ephemerality and the uncanny.
A tension between absence and form pervades the exhibition. Upon enter ing the space\, visitors will confront a foam carpet that covers the entire floor and the lower part of the wall. The delicate skin sheathing the spac e will accumulate traces of wear from the visitors&rsquo\; movement over th e course of the exhibition: a visible imprint of the absent human form. Thi s interplay between absence and the body is a key motif that carries throug hout the artist&rsquo\;s most recent work.

A blank face witho ut features\, detached arms without hands\, a clothed torso. Each of these evocative sculptures comprises a sort of shell or envelope for an absent bo dy\, a hollow core that speaks to questions of memory\, dreams\, fragmentat ion\, and possibility. This new body of work marks a transition in process and materials for Leblon. Over the years\, the artist has shifted from work ing with found materials\, remnants\, and organic matter to foundry work in materials like aluminum\, marble\, and sand. Always invested in temporal c oncerns\, Leblon sees this mutation in process as a transformation of the w ork&rsquo\;s relationship to time.

Leblon&rsquo\;s 3-D printed plastic sculptures will be accompanied by blown glass sculpture and a new series of collage. Leblon describes the collages as a connection between ev ery day life and the news\, a sort of portal between two worlds. Combining crumbled newspapers with paint\, plastics\, and everyday found objects thes e works bristle with an abject materiality.

Leblon (b.1971\, Lille) lives and works in New York. He has had solo exhibitions at venues s uch as Contemporary Art Gallery\, Vancouver\; MassMoCA\, North Adams\; Inst itut d&rsquo\;Art Contemporain (IAC) Villeurbanne\, Fondation Paul Ricard\, Paris\; MUDAM\, Luxembourg\; and Culturgest\, Porto\, Kunstverein Dusseldo rf. Leblon has participated in group exhibitions at Fondation d&rsquo\;entr eprise Hermè\;s\, Paris\; Centre Pompidou\, Paris\; Fundació\; Joan Miró\;\, Barcelona\; Biennale de Lyon\; Secession\, Vienna\; B&e acute\;tonsalon\, Paris\; Kunsthalle Saint-Gallen\; Museum MARTa\, Herford\ ; Fridericianum\, Kassel\; and CAC Vilnius\, among others.

DTEND:20160730 DTSTAMP:20160531T190509 DTSTART:20160604 GEO:52.50582;13.39388 LOCATION:carlier | gebauer\,Markgrafenstraße 67 \nBerlin\, D-10969 SEQUENCE:0 SUMMARY:There is a Man\, Guillaume Leblon UID:419443 END:VEVENT BEGIN:VEVENT DTEND:20160603T210000 DTSTAMP:20160531T190509 DTSTART:20160603T180000 GEO:52.50582;13.39388 LOCATION:carlier | gebauer\,Markgrafenstraße 67 \nBerlin\, D-10969 SEQUENCE:0 SUMMARY:There is a Man\, Guillaume Leblon UID:419444 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Neuer Berliner Kunstverein\, p resents the British video artist and Turner Prize winner of 2012\, Elizabet h Price\, in her first institutional solo exhibition in Berlin. After a car eer as a pop singer and engaging herself in sculpture\, in 2006\, Price beg an to work with video and has since developed an independent and distinctiv e body of work. In her process-oriented practice she questions the signific ance of cultural artifacts\, collections and archives. She often uses archi ve images and documents\, and discharges them of their original meaning and categorization\, so that they develop a life of their own and through the reorganization of the narration in the video obtain spatial and temporal di mensions. The piece The Woolworths Choir of 1979 (2013) is a 20-minute\, rh ythmic video collage that combines shots of Gothic choir stalls in medieval cathedrals\, an appearance of the girl band The Shangri-Las in the 1960s a nd a department store fire in a Woolworth branch in Manchester in 1979 and structures them on the sound level with finger snapping and clapping. Price &rsquo\;s main interest here is the question of the autonomy of images and sounds\, and the nature of the conventions by which both are interrelated. She creates fragile connections between disparate motifs and in this way co nsistently makes use of the &ldquo\;elasticity&rdquo\; (Price) of digital v ideo technology. In the title of the piece\, she replaces the word &ldquo\; Fire&rdquo\; with &ldquo\;Choir&rdquo\; and\, in doing so\, reproduces her visual practice at a semantic level.

Elizabeth Price (b. 1966 i n Bradford) lives and works in London. In 2012\, she received the Turner Pr ize. Solo exhibitions include: The Model\, Sligo (2016)\; Ashmolean Museum Oxford (2016)\; Turku Art Museum (2015)\; Kunsthalle Winterthur (2014)\; Ju lia Stoschek Collection\, Dusseldorf (2014)\; Musé\;e d&rsquo\;art co ntemporain de Montré\;al (2013)\; Contemporary Art Society\, London ( 2013)\; Tate Britain\, London (2012\, 2010)\; Bloomberg SPACE\, London (201 2)\; The Baltic\, Newcastle (2011)\; New Museum\, New York (2011)\; Spike I sland\, Bristol (2009).

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Der N eue Berliner Kunstverein stellt die britische Videokü\;nstlerin und Tur ner-Preis-Trä\;gerin von 2012 Elizabeth Price in ihrer ersten instituti onellen Einzelausstellung in Berlin aus. Nach einer Karriere als Pop-Sä \;ngerin und nach der Beschä\;ftigung mit Skulptur begann Price 2006 mi t Video zu arbeiten und entwickelt seither ein eigenstä\;ndiges und unv erwechselbares Werk. In ihrer prozessorientierten Praxis hinterfragt sie di e Bedeutung von kulturellen Artefakten\, Sammlungen und Archiven. Oft verwe ndet sie Archivbilder und Dokumente und enthebt sie ihrer ursprü\;nglic hen Bedeutung und Kategorisierung\, sodass sie ein Eigenleben entwickeln un d durch die Neuordnung der Narration im Video eine rä\;umliche und zeit liche Ausdehnung erfahren. Die Arbeit The Woolworths Choir of 1979 (2013) i st eine 20-minü\;tige\, rhythmisierte Videocollage\, die Aufnahmen goti schen Chorgestü\;hls in mittelalterlichen Kathedralen\, einen Auftritt der Girl-Band Shangri-Las aus den 1960er Jahren und einen Kaufhausbrand in einer Woolworth-Filiale in Manchester im Jahre 1979 kombiniert und durch Fi ngerschnipsen und Klatschen klanglich strukturiert. Prices Hauptinteresse g ilt dabei der Frage nach der Eigenstä\;ndigkeit von Bildern und Tö\ ;nen und dem Wesen der Konventionen\, durch die beides miteinander in Bezie hung gebracht wird. Sie schafft fragile Verbindungen zwischen disparaten Mo tiven und macht sich so die &bdquo\;Elastizitä\;t&ldquo\; (Price) der d igitalen Videotechnik immer wieder neu zunutze. Im Titel der Werks ersetzt sie das Wort &bdquo\;Fire&ldquo\; (Feuer) durch &bdquo\;Choir&ldquo\; (Chor ) und vollzieht damit auf semantischer Ebene ihre visuelle Praxis nach.

Elizabeth Price (*1966 in Bradford) lebt und arbeitet in London. 2 012 erhielt sie den Turner Preis. Einzelausstellungen u. a.: The Model\, Sl igo (2016)\; Ashmolean Museum Oxford (2016)\; Turku Art Museum (2015)\; Kun sthalle Winterthur (2014)\; Julia Stoschek Collection\, Dü\;sseldorf (2 014)\; Musé\;e d&rsquo\;art contemporain de Montré\;al (2013)\; Contemporary Art Society\, London (2013)\; Tate Britain \, London (2012\, 2010)\; Bloomberg SPACE\, London (2012)\; The Baltic\, Newcastle (2011)\; N ew Museum\, New York (2011)\; Spike Island\, Bristol (2009).

DTEND:20160729 DTSTAMP:20160531T190509 DTSTART:20160531 GEO:52.5279191;13.3860443 LOCATION:Neuer Berliner Kunstverein\,Chausseestrasse 128 -129 \nBerlin\, 10 115 SEQUENCE:0 SUMMARY:Showroom: Elizabeth Price\, Elizabeth Price UID:419441 END:VEVENT BEGIN:VEVENT DTEND:20160527T210000 DTSTAMP:20160531T190509 DTSTART:20160527T190000 GEO:52.5279191;13.3860443 LOCATION:Neuer Berliner Kunstverein\,Chausseestrasse 128 -129 \nBerlin\, 10 115 SEQUENCE:0 SUMMARY:Showroom: Elizabeth Price\, Elizabeth Price UID:419442 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Artist talk and film screening with René\;e Green (artist\, professor MIT Program in Art\, Culture &\; Technology (ACT)\, Somerville / Massachusetts and New York) and Andr é\; Rottmann (art historian\, college research group BildEvidenz\, Fr eie Universitä\;t Berlin)

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Kü\;nstleringesprä\;ch und Filmscreening mit René\;e Green ( Kü\;nstlerin\, Professorin MIT Program in Art\, Culture &\; Technolo gy (ACT)\, Somerville / Massachusetts und New York) und André\; Rottm ann (Kunsthistoriker\, Kolleg-Forschergruppe BildEvidenz\, Freie Universit& auml\;t Berlin)

DTEND:20160601T200000 DTSTAMP:20160531T190509 DTSTART:20160601T190000 GEO:52.5279191;13.3860443 LOCATION:Neuer Berliner Kunstverein\,Chausseestrasse 128 -129 \nBerlin\, 10 115 SEQUENCE:0 SUMMARY:Other Planes of There\, Renée Green UID:419440 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Film projection and discussion with the directors Gerd Conradt and Hartmut Jahn\, moderated by Siegfried Zielinski (media theorist\, rector of the State Academy of Fine Arts Karlsr uhe)

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Filmprojektion und Disku ssion mit den Regisseuren Gerd Conradt und Hartmut Jahn\, moderiert von Sie gfried Zielinski (Medientheoretiker\, Rektor der Staatlichen Hochschule f&u uml\;r Gestaltung Karlsruhe)

DTEND:20160623T200000 DTSTAMP:20160531T190509 DTSTART:20160623T190000 GEO:52.5279191;13.3860443 LOCATION:Neuer Berliner Kunstverein\,Chausseestrasse 128 -129 \nBerlin\, 10 115 SEQUENCE:0 SUMMARY:Über Holger Meins – ein Versuch\, unsere Sicht heute (1982)\, Cleme ns von Wedemeyer UID:419438 END:VEVENT END:VCALENDAR