BEGIN:VCALENDAR VERSION:2.0 CALSCALE:GREGORIAN PRODID:iCalendar-Ruby VERSION:2.0 BEGIN:VEVENT DESCRIPTION: DTEND:20151031 DTSTAMP:20150831T215300 DTSTART:20150916 GEO:52.52191;13.38248 LOCATION:Johnen Galerie\,Marienstraße 10 \nBerlin\, 10117 SEQUENCE:0 SUMMARY:Bilder und Steine von 1967 bis 2015\, Raimer Jochims UID:394308 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Aurel Scheibler gives Wolfgang Wittrock CARTE BLANCHE for the exhibition: Matthias Mansen - Potsdamer Str aß\;e.

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This is the first present ation of Matthias Mansen&rsquo\;s new woodcuts\, made in Berlin between 201 1 and 2015. The geographical coincidence is striking: Matthias Mansen&rsquo \;s studio as the production site (Am Karlsbad)\, the venue of the presenta tion at Galerie Aurel Scheibler (Schö\;neberger Ufer)\, and Mansen&rsqu o\;s source of inspiration Potsdamer Straß\;e are all in close proximi ty to one another.

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Carving motifs into the printing blocks involves working against resistance. Each motif r equires a new engagement with the material and the form that is to be broug ht about. That is the essence of Mansen&rsquo\;s art: creating abstract gri d structures that form an image in the eyes of the beholder. His current se ries deals with Potsdamer Straß\;e\, where he now feels very much at h ome. &ldquo\;Things have to become so familiar to me that they become insig nificant. It is only then that I can work with them.&rdquo\; This also appl ies to the view from his studio\, an old factory faç\;ade. Countless circular grooves let an image emerge from the wooden surface. Or as Mansen puts it\, \; &ldquo\;I don&rsquo\;t cut lines\, I cut light.&rdquo\;

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(Henni Kristin Wiedemann\, Berlin)

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Matthias Mansen was born in Ravensbu rg in 1958. After studying painting at Karlsruhe&rsquo\;s Akademie der Bild enden Kü\;nste from 1978 to 1984\, he turned almost exclusively to the medium of woodcut. Mansen is not interested in reproducing existing motifs or images\, but rather in developing complex pictures in a great number of variants. His serial explorations of motifs update a traditional medium &nd ash\; the woodcut &ndash\; and traditional genres such as the landscape. A picture emerges before the eye of the beholder that always also refers to t he conditions of its creation &ndash\; fragments of reality\, consisting of light and shade.

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Matthias Mansen&rsq uo\;s work has won numerous prizes\, among them the Kunstpreis Junger Weste n Recklinghausen. Comprehensive monographic exhibitions of his work have be en held in Germany and around the world: Work in Progress\, Cabinets d&lsqu o\;arts graphiques\, Musé\;e d&lsquo\;Art et d&lsquo\;Histoire\, Gene va (2012/13)\; Land und See\, Mannheimer Kunstverein\, Hamburger Kunsthalle \, Kunstsammlungen Chemnitz (2007)\; Editionen\, Museum Folkwang\, Essen (2 001)\; About The House\, Stä\;dtische Galerie im Spendhaus Reutlingen\, Kunstverein Gö\;ttingen\, Kunsthalle Recklinghausen\, MIT List Visual Arts Center\, Cambridge\, Massachussetts (1996&ndash\;98). Currently\, work s by (Matthias) Mansen are on view at the exhibition &bdquo\;ich bin eine P flanze\, Naturprozesse in der Kunst&ldquo\;\, Kunstmuseum Ravensburg. His w ork is also featured in the collections of institutions such as Museum of F ine Arts Boston\; Kupferstichkabinett\, Staatliche Kunstsammlungen\, Dresde n\; Hamburger Kunsthalle\; The Museum of Modern Art\, New York\; and the Na tional Gallery of Art\, Washington\, DC.

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In 2014\, Berlin&rsquo\;s Kupferstichkabinett\, Staatliche Museen zu Be rlin was able to acquire a triptych from the series &bdquo\;Potsdamer Stra& szlig\;e&ldquo\; (2012) for its permanent collection with support from the city of Berlin\, Senate Chancellery for Cultural Affairs.

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Aurel Scheibler gibt Wolfgang Wittrock CARTE B LANCHE fü\;r die Ausstellung: Matthias Mansen - Potsdamer Straß\;e .

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Dies ist die erste Prä\;sentati on der neuen Holzschnitte von Matthias Mansen\, entstanden 2011 bis 2015 in Berlin. Spannend ist die Koinzidenz der Orte: das Atelier von Matthias Man sen als Produktionsort (Am Karlsbad)\, der Ort der Prä\;sentation in de n Rä\;umen der Galerie Aurel Scheibler (Schö\;neberger Ufer) und di e Potsdamer Straß\;e\, die Quelle der Inspiration\, liegen nur wenige Meter voneinander entfernt.

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Den D ruckstö\;cken Motive einzukerben\, bedeutet auch\, sich an Widerstä \;nden abzuarbeiten. Jedes Motiv erfordert eine neue Auseinandersetzung mit dem Material und der Form\, in die es gebracht werden soll. Das ist fü \;r Mansen die Kunst: abstrakte Rasterstrukturen zu schaffen\, die sich dur ch die Augen des Betrachters zu einem Bild formen. Seine aktuelle Serie bef asst sich mit der Potsdamer Straß\;e\, in deren Gegend er sich mittler weile zu Hause fü\;hlt. &bdquo\;Die Dinge mü\;ssen mir so vertraut werden\, dass sie bedeutungslos sind. Erst dann kann ich mit ihnen arbeiten .&ldquo\; So auch der Blick aus seinem Atelier\, die Ansicht einer alten Fa brikfassade. Unzä\;hlige kreisrunde Einkerbungen lassen aus der Holzfl& auml\;che ein Bild heraustreten. Bei Matthias Mansen klingt das so: &bdquo\ ;Ich schneide keine Linien\; ich schneide eher&sbquo\; Licht&rsquo\;&ldquo\ ; (Henni Kristin Wiedemann\, Berlin)

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Matthias Mansen wurde 1958 in Ravensburg geboren. 1978 bis 1984 hat er an der Akademie der Bildenden Kü\;nste Karlsruhe Malerei studiert. Sei ther arbeitet er fast ausschließ\;lich im Medium Holzschnitt: Mansen g eht es nicht um die Reproduktion bereits vorhandener Motive oder Bilder\, s ondern um die Entwicklung komplexer Bilder in einer groß\;en Zahl von Varianten. Seine seriellen Untersuchungen zum Bild aktualisieren ein tradit ionelles Medium &ndash\; den Holzschnitt &ndash\; ebenso wie traditionelle Gattungen &ndash\; etwa die Landschaft. Vor dem Auge des Betrachters ersche int ein Bild\, das immer auch auf die Bedingungen seines Entstehens verweis t &ndash\; \; Realitä\;tsfragmente aus Licht und Schatten.

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Matthias Mansens Arbeit wurde vielfach ausge zeichnet\, unter anderem mit dem Kunstpreis Junger Westen Recklinghausen. G roß\;e monografische Ausstellungen zu seinem Werk fanden im In- und Au sland statt: &bdquo\;Work in Progress&ldquo\;\, Cabinets d&lsquo\;arts grap hiques\, Musé\;e d&lsquo\;Art et d&lsquo\;Histoire\, Genf (2012/13). &bdquo\;Land und See&ldquo\;\, Mannheimer Kunstverein\, Hamburger Kunsthall e\, Kunstsammlungen Chemnitz (2007)\; &bdquo\;Editionen&ldquo\;\, Museum Fo lkwang\, Essen (2001)\; &bdquo\;About The House&ldquo\;\, Stä\;dtische Galerie im Spendhaus Reutlingen\, Kunstverein Gö\;ttingen\, Kunsthalle Recklinghausen\, MIT List Visual Arts Center\, Cambridge\, Massachusetts (1 996-98).

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Aktuell sind Werke von Mans en im Kunstmuseum Ravensburg in der Ausstellung &bdquo\;Ich bin eine Pflanz e\, Naturprozesse in der Kunst&ldquo\; zu sehen. \; Reprä\;sentativ e Werke befinden sich in den Sammlungen vieler groß\;er Kupferstichkab inette und Institutionen\, wie Museum of Fine Arts\, Boston\; Kupferstichka binett\, Staatliche Kunstsammlungen\, Dresden\; Hamburger Kunsthalle\; Muse um of Modern Art\, New York\; National Gallery of Art\, Washington\, D.C.\; Das Kupferstichkabinett\, Staatliche Museen zu Berlin konnte 2014 mit Hilf e der Kü\;nstlerfö\;rderung des Landes Berlin ein Triptychon aus de r Serie &bdquo\;Potsdamer Straß\;e&ldquo\;\, 2012 in die Sammlung inte grieren.

DTEND:20150905 DTSTAMP:20150831T215300 DTSTART:20150829 GEO:52.5054324;13.3926482 LOCATION:Aurel Scheibler\,Schöneberger Ufer 71 \nBerlin\, 10785 SEQUENCE:0 SUMMARY:Potsdamer Straße\, Matthias Mansen UID:394298 END:VEVENT BEGIN:VEVENT DTEND:20150829T130000 DTSTAMP:20150831T215300 DTSTART:20150829T110000 GEO:52.5054324;13.3926482 LOCATION:Aurel Scheibler\,Schöneberger Ufer 71 \nBerlin\, 10785 SEQUENCE:0 SUMMARY:Potsdamer Straße\, Matthias Mansen UID:394299 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Blain|Southern Berlin is delig hted to present new and recent photographs by Wim Wenders\, the artist&rsqu o\;s first exhibition in his hometown in over half a decade. The exhibition brings together images of Germany and America &ndash\; the two countries t hat have most influenced the artist throughout his career.

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The exhibition&rsquo\;s title Time Capsules. By the side of the road alludes to the relationship between memor y and photography\, highlighting the ability of photographs to act as a med ium that captures an essence of the past and preserves it for the future.\n

In the gallery&rsquo\;s main space\, u rban and natural landscapes exist in dialogue\, as panoramic photographs of the countryside surrounding Berlin stand in relation to images of the city in flux during the early 1990s. The jungle of cranes\, metal and concrete in Potsdamer Platz (1995) is starkly mirrored by the dense foliage depicted in Forest in Brandenburg (2014).

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Landscape near Wittenberge\, Germany (2014) recalls the mood of Romantic paintings from the 18th and 19th Century\, with trees akin to those of Camille Corot or Caspar David Friedrich. Growing up in Du sseldorf in the post-war period\, Wenders was surrounded by rubble and the traces of destruction\, and remembers the prints of French and Dutch landsc ape paintings that lined his parents&rsquo\; walls\, &ldquo\;which showed a whole unknown aspect of the world&rdquo\; to him. Another photograph\, The Elbe River near Dö\;mitz (2014)\, depicts the reverse angle of a river as captured by Wenders forty years ago in his film &lsquo\;In the Course o f Time&rsquo\; (Im Lauf der Zeit).

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The artist describes how the scale of these works aims to &ldquo\;tr ansport people to those places in the world that I found and liked\; photog raphs give me a chance to take the places to them&rdquo\;. As such his newe st panorama\, at four and a half metres in width\, depicts the epic landsca pe of the American West &ndash\; an area that Wenders has extensively and f amously examined through both film and photography.

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Several of the works in the exhibition feature places that h ave long-since changed\, the images themselves therefore becoming portals i nto lost moments or spaces. Wenders speaks of how: &ldquo\;I see myself as an interpreter\, as a translator\, a guardian [&hellip\;] of stories that p laces tell me.&rdquo\;

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In the upstair s gallery\, smaller-scale prints depict multifarious stories from Germany a nd America\; a giant mountain of salt overlooks an eerily-quiet town\; a pe rforated cinema screen stands disused and abandoned\; a woman rests alone a t the end of an American saloon bar.

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The exhibition fosters a dialogue between the two countries in which Wender s has spent extensive periods of time living and working: &ldquo\;I think I had wide-open eyes for America\, and &lsquo\;the American landscape&rsquo\ ; in a general sense seemed extremely attractive to me\, both as a photogra pher and filmmaker. Maybe the long absence from Germany of 15 years has ena bled me to see places here with the same wide-open eyes. What has remained the same: in those landscapes\, German or American\, I&rsquo\;m still looki ng for the traces of civilization\, of history\, or people.&rdquo\;

DTEND:20151114 DTSTAMP:20150831T215300 DTSTART:20150917 GEO:52.5019746;13.3662125 LOCATION:Blain|Southern Berlin\,Potsdamer Straße 77-87 \nBerlin\, 10785 SEQUENCE:0 SUMMARY:Time Capsules. By the side of the road.\, Wim Wenders UID:394060 END:VEVENT BEGIN:VEVENT DTEND:20150916T210000 DTSTAMP:20150831T215300 DTSTART:20150916T180000 GEO:52.5019746;13.3662125 LOCATION:Blain|Southern Berlin\,Potsdamer Straße 77-87 \nBerlin\, 10785 SEQUENCE:0 SUMMARY:Time Capsules. By the side of the road.\, Wim Wenders UID:394061 END:VEVENT END:VCALENDAR