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Preview: 2 May 2015\, 11 AM - 6 PM Gallery Weekend Berlin special opening hours: Sunday\, 3 May 20 15\, 11 AM - 6 PM

The exhibition The Unreliable Nar rator consists of new installation and video works by London-based art ists Karen Mirza and Brad Butler.
The Unreliable Narrator is part of the artistic duo's cornerstone project The Museum of Non Partic ipation which focuses on the danger of the unreflected consumption of mass-media narration.

DTEND:20150627 DTSTAMP:20150331T064244 DTSTART:20150502 GEO:52.53002;13.3831 LOCATION:Campagne Première Berlin\,Chausseestrasse 116 \nBerlin\, 10115 SEQUENCE:0 SUMMARY:The Unreliable Narrator\, Karen Mirza and Brad Butler UID:378802 END:VEVENT BEGIN:VEVENT DTEND:20150502T180000 DTSTAMP:20150331T064244 DTSTART:20150502T110000 GEO:52.53002;13.3831 LOCATION:Campagne Première Berlin\,Chausseestrasse 116 \nBerlin\, 10115 SEQUENCE:0 SUMMARY:The Unreliable Narrator\, Karen Mirza and Brad Butler UID:378803 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The foundation for Nikita Kadan&rsquo\;s body of works &ldqu o\;Limits of Responsibility&rdquo\; is a series of color slides by
the Ukrainian artist. They document the protests against the scheduled removal of the protesters&rsquo\; camp on Independence Square in Kiev in the sprin g of 2014. In the series\, the focus is on the &ldquo\;Maidan
gardens& rdquo\; that activists planted around their tents and barricades during the ir months of occupation\,
cultivating vegetables\, grains and herbs in the contested Kiev ground. They cultivated the occupied
area to survi ve\, to sustain themselves self-sufficiently\, while simultaneously carryin g out their
resistance\, highlighting their presence\, and literally r ooting their claim deep in the earth of Maidan.
Cabbage and lettuce\, onions and tomatoes grow and ripen amongst the monuments\, improvised
homesteads\, flags and barricades. A garden stretches its fingers between t he instruments of protest\, a slice of domesticated nature. Nature -- where metamorphosis and the potential for change have always been inscribed -- g rows in the gardens of Maidan in safe\, orderly\, labeled rows\, marking th e square as a habitat and its very earth as taken and occupied. In the mult imedia exhibition &ldquo\;Limits of Responsibility&rdquo\; -- the artist&rs quo\;s first solo exhibition in the Germanspeaking realm -- the observer en counters not only various forms of resistance\, conquest and occupation\, b ut also various strategies of visual representation and argumentation. The aesthetics of the exhibited color slides are reminiscent of those found wit hin the mass-media system of social media platforms\, of viral snapshots th at circle the globe\, inspiring and agitating. Nikita Kadan&rsquo\;s waterc olors\, on the other hand\, call to mind academic textbooks of biology or a natomy. But where such textbook illustrations present idealized details of one organic object\, Kadan&rsquo\;s works combine plant bodies with human o nes\, and nature with architecture. Roots\, tubers and buds end in bones or melt into architectural elements. Things that do not naturally connect gra dually dissolve into one another\, their unions creating new entities. The artists&rsquo\; play on and with the image takes on a sculptural form in a 1.7 x 3 meter object of lacquered white plywood and a square flowerbed of l ettuce and herbs\, built according to an illustration from a 1979 Soviet Ag itprop publication\, in which constructions of that kind are promoted as an ideal way to display agricultural achievement. While the sculpture&rsquo\; s construction and materials have their roots in instructional purposes\, i ts illustrative function is missing. The display boards are painted opaque white\, their lack of text and image conveying nothing but a reference to p ropaganda presentation strategy. The artist connects this relic of totalita rianism\, robbed of its function\, with a space for plants -- a bed of gard en growth which\, in being brought up-to-date\, has been liberated from its ideological underpinnings and today serves the autarchy of protesters and survivors. Excluded from the commercial exchange of goods\, their responsib ility is limited to their immediate surroundings.
Nikita Kadan&rsquo\; s &ldquo\;Limits of Responsibility&rdquo\; is not a rejection of the image\ , but an exploration of its
conditions. In his choice of motif\, in hi s aesthetic examinations of media and material\, the artist reveals ideolog ically potent and system-strengthening image strategies\, makes them his ow n\, decontextualizes and undermines them. Reference and transmission unmask the original\, making it recognizable for what it is.

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Text: Nina Lucia Groß\;

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DTEND:20150117 DTSTAMP:20150331T064244 DTSTART:20141115 GEO:52.53002;13.3831 LOCATION:Campagne Première Berlin\,Chausseestrasse 116 \nBerlin\, 10115 SEQUENCE:0 SUMMARY:Limits of Responsibility\, Nikita Kadan UID:378778 END:VEVENT BEGIN:VEVENT DTEND:20141114T200000 DTSTAMP:20150331T064244 DTSTART:20141114T190000 GEO:52.53002;13.3831 LOCATION:Campagne Première Berlin\,Chausseestrasse 116 \nBerlin\, 10115 SEQUENCE:0 SUMMARY:Limits of Responsibility\, Nikita Kadan UID:378779 END:VEVENT BEGIN:VEVENT DESCRIPTION:

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come and be astonished \;

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DTEND:20150503 DTSTAMP:20150331T064244 DTSTART:20150501 GEO:52.5091215;13.3882931 LOCATION:galerie son\,Mauerstr. 80 \nBerlin\, 10117 SEQUENCE:0 SUMMARY:OH\, at Gallery Weekend Berlin !?\, Junggeun OH UID:378646 END:VEVENT BEGIN:VEVENT DESCRIPTION:

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The work of Junggeun Oh is centered around t he unusual balance between two surfaces.

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Junggeun Oh has been worki ng for several years now on the Interspaces\, taking the silhouett e of buildings against the sky from his own subjective viewpoint in differe nt cities and so creating a very personal map of this town. In countless va riations he goes in pursuit of a shape\, which he might have found in the u rban reality\, but which he uses to create the most abstract form dividing surfaces from each other. He leaves the viewer marvelling at the strange ba lance between the two\, where none overweighs the other and where there is no foreground and background but just plain surface.

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Oh uses strong colours with a deep glow and without relation to the motive. He especially favours the colour red\, which is shown in endless variations\, from very bright to a very dark brownish hue. Black is also a favorite of his\, from charcoal to lacquer. The contrast between the areas in his pictures might b e also between very smooth areas and very rough areas formed by a lot of sm all brushstrokes.

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The continuous repetition of gestures and the era sing of the individual handwriting gives his work a meditative trait. It go es way beyond the reflection on the individual defining himself in the bord ers and bounds of architecture and society and has a stern mathematical bea uty about it. In his late works\, surfaces are cut out and canvas contrasts with flimsy fragile cardboard\, with a small interstice between the two. A nd he leaves the square frame\, choosing unusual contours also for the oute r border of his pictures.

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His paintings have a special hermetic ele gance about them\, they become flat sculptures.

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web : ->\; \;galerie-son.com

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catalogue raisonne: ->\; junggeun-oh.com

DTEND:20150523 DTSTAMP:20150331T064244 DTSTART:20150321 GEO:52.5091215;13.3882931 LOCATION:galerie son\,Mauerstr. 80 \nBerlin\, 10117 SEQUENCE:0 SUMMARY:OH\, the New York Interspaces !\, Junggeun OH UID:378645 END:VEVENT BEGIN:VEVENT DESCRIPTION:

As part of Gallery Weekend Berlin 2015\, ŻAK | BRANICKA is proud to present a major exhibition by world-renowned artist Magdalena Abak anowicz (b. 1930) at St. Elisabeth Church.

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Since the 60&rsquo \;s Magdalena Abakanowicz created the monumental\, three-dimensional and ha nd-woven forms named Abakans\, who helped the artist achieve international fame. These works triggered a revolution concerning the view on sculptural art and were awarded the Grand Prix at the São Paulo Biennale in 1965. In the second half of the 70&rsquo\;s\, the artist started molding heads\, fig ures and animals from cast resin\, sisal\, burlap and adhesive\, which then became her trademark. These were later followed by sculptures made out of bronze\, stone\, wood and steel. A popular example is the group Agora (2006 ): a permanent monument at Chicago&rsquo\;s Grant Park\, comprising of 106 cast-iron figures.
Abakanowicz&rsquo\;s works have already been exhibi ted at renowned venues all over the world. The solo- exhibition at St. Elis abeth Church marks the artist&rsquo\;s Berlin debut\, as there has never be fore been a show of this magnitude in the German capital. The centrepiece o f the exhibition is a monumental installation titled Bambini\, consisting o f 83 life-sized sculptures\, which was shown in venues such as the Metropol itan Museum of Art in New York (1998)\, the Jardins du Palais Royal in Pari s (1999)\, or the Reina Sofía in Madrid (2008). Bambini is a unique crowd of concrete-humans of whom none equals the other. &ldquo\;I have introduced the concept of the crowd into the sculpture&rdquo\;\, says the artist. &ld quo\;They constitute a sign of lasting anxiety\, a warning. I do not make e ditions. Every figure is individuality. There is also another aspect of qua ntity: the law of nature\, which concerns us also. A crowd of people or bir ds\, insects or leaves\, is a mysterious assemblage of variants of a certai n prototype. A riddle of nature&rsquo\;s abhorrence of exact repetition or inability to produce it. Just as the human hand cannot repeat its own gestu re. I invoke this disturbing law\, switching my own immobile herds into tha t rhythm.&rdquo\; Besides the group Bambini\, there will be other sculpture s from the series Backs\, Bella I and Bella II\, on display.

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Abakanowicz is often put together with artists of Arte Povera\, with Joseph Beuys and Eva Hesse. During the same period\, they were working with the s ame poor\, organic materials and were concerning themselves with the relati on between the human and the mass\, shedding light on the human condition. For the audience\, its own disappearance in a mass of biomorphic shapes\, h eadless figures\, animals\, or abstract forms becomes an experience of exis tential depth.

DTEND:20150504 DTSTAMP:20150331T064244 DTSTART:20150430 GEO:52.532484;13.3973246 LOCATION:ŻAK | BRANICKA\,Invalidenstr. 3 \nBerlin\, 10115 SEQUENCE:0 SUMMARY:Magdalena Abakanowicz\, Magdalena Abakanowicz UID:378466 END:VEVENT BEGIN:VEVENT DESCRIPTION:

As part of Gallery Weekend Berlin 2015\, ŻAK | BRANICKA is pleased to announce The Body of Words\, a solo-exhibition by Agnieszka Pols ka: an emerging artist from the younger generation\, who is rapidly growing in the contemporary art scene.

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The artist&rsquo\;s visual la nguage is unique and unprecedented: seen once\, her style will always be re cognized again. The source materials for most of her non-narrative video pi eces are pictures from books and stock photographs\, which she animates in order to create an absorbing\, hypnotic atmosphere. In her films and collag es of recent years\, Polska has often addressed the issues of responsibilit y and social influence of the artist and furthermore she was examining vari ous stances of the processes of legitimization or exclusion: in the field o f art history\, history\, language and consciousness.

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The exh ibition The Body of Words\, consisting of three new film installations by t he artist\, employs itself with the influence language has on human percept ion and the limits it sets. Polska describes the processes of materializati on of language and words\, which take place on many different levels: from the direct\, physical influence of sound on the body of a listener\, analog ies between the rules of language and the laws of physics\, to wondering ab out the processes of naming.

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In the video I Am the Mouth (201 4)\, a big\, animated mouth describes how the words\, in the form of a soun d wave\, are finding their way through various materials\, including the bo dy of the listener. Through the representation of a "mouth" that talks\, Po lska analyzes the artist&rsquo\;s possibilities of having an influence on h is or her surroundings. In the work that literally "speaks for itself"\, on e can find references to Samuel Beckett's monodrama "Not I"\, as well as to the Internet phenomenon ASMR (Autonomous Sensory Meridian Response: videos made with the aim of producing a "brain massage" sensation in the viewer).

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Watery Rhymes (2014)\, with music written specially by the A merican musician Sun Araw\, presents a poetic vision of language being driv en by the same forces and rules as physics. Just like the particles of matt er\, verbs\, nouns and adjectives\, floating in the colorful liquid\, follo w the laws of quantum mechanics. This video presents the universe as a spac e limited to what can be described in words.

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The last video o f the triptych\, The Talking Mountain (2015)\, created especially for the s how at ŻAK | BRANICKA\, is an imaginary journey that Polska and her artist friend Sara van der Heide made\, with the aim of finding the &ldquo\;Talki ng Mountain&rdquo\;: a legendary hill able to answer any question. In their dialogue\, the ubiquitous travellers focus on humanities&rsquo\; need to l ook for spiritual essence in inanimate objects\, as well as on the notion o f name giving as an act of creating reality.

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Additionally\, a new series of collages will be shown during the exhibition.

DTEND:20150620 DTSTAMP:20150331T064244 DTSTART:20150501 GEO:52.532484;13.3973246 LOCATION:ŻAK | BRANICKA\,Invalidenstr. 3 \nBerlin\, 10115 SEQUENCE:0 SUMMARY:Agnieszka Polska | The Body of Words\, Agnieszka Polska UID:378460 END:VEVENT BEGIN:VEVENT DTEND:20150501T210000 DTSTAMP:20150331T064244 DTSTART:20150501T180000 GEO:52.532484;13.3973246 LOCATION:ŻAK | BRANICKA\,Invalidenstr. 3 \nBerlin\, 10115 SEQUENCE:0 SUMMARY:Agnieszka Polska | The Body of Words\, Agnieszka Polska UID:378461 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Where Nature Runs Riot \;is an exhibition of new work by Cyprien Gaillard. The core of the s how is a major new film made by the artist over the last three years\, and shot on locations in Berlin\, Cleveland and Los Angeles. \;

Through these locations\, which have all featured in Gaillard's previous wo rk\, the artist reflects upon ideas and phenomena that have held his intere st since the beginning of his artistic practice: the dis- and relocation of landmarks and vegetation\, misguided urban planning and cultural vandalism \, and the anachronisms that constitute the world around us. Combining an a dvanced film technology with a documentary visual language\, Gaillard creat es a hypnotic experience as a meditation on the dynamics of history. \;

A new series of double-exposure Polaroids and sculptural works will also be exhibited on the first floor of the gallery. \;

Moving between photography\, film and installation\, Gaillard embarks upon a search for artefacts\, monuments and architectural landmarks\, as well a s natural and urban landscapes that feature historical or modern ruins in s tates of neglect or reconstruction. This process allows the artist to inves tigate the effects and origins of social change. Entropy is an important th eme for Gaillard: his works allude to the forms and techniques of Land art and Process art. The subcultures and youth movements that pervade public sp aces also influence the artist. Gaillard transfers cultural materials and s ymbols into other contexts\, rearranging images and ideas to critically exa mine the history of colonialism\, thus inscribing his work with an enormous variety of cultural forms and symbols drawn from sources worldwide. The ar tist then engages these to examine the forces driving destruction and decay \, as he observes and marks a continual disappearance of different cultures . \;


Sprü\;th Magers Berlin is concurrently presen ting the solo exhibition \;The Symmetry Argumen t \;by Marcel van Eeden. \;

DTEND:20150718 DTSTAMP:20150331T064244 DTSTART:20150502 GEO:52.52413;13.39714 LOCATION:Sprüth Magers Berlin\,Oranienburger Straße 18 \nBerlin\, D-10178 SEQUENCE:0 SUMMARY:Where Nature Runs Riot\, Cyprien Gaillard UID:378434 END:VEVENT BEGIN:VEVENT DTEND:20150501T210000 DTSTAMP:20150331T064244 DTSTART:20150501T180000 GEO:52.52413;13.39714 LOCATION:Sprüth Magers Berlin\,Oranienburger Straße 18 \nBerlin\, D-10178 SEQUENCE:0 SUMMARY:Where Nature Runs Riot\, Cyprien Gaillard UID:378435 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Marcel van Eeden begins every project by looking at images that predate his own birth (1965). For \;< em>The Symmetry Argument\, his exhibition at Sprü\;th Magers Berli n\, van Eeden researched a cultural phenomenon that occurred in his hometow n of Den Haag throughout the 1930s and 40s. During this period of upheaval and crisis\, there was a huge interest in spiritualism and occultism. In pa rt\, the wave of spiritualism emerged amidst the threat of war and the fail ing materialism of the era\, but it was also a result of The Netherlands' r elationship to the colony of Indonesia. With many bureaucrats returning fro m the island country\, they brought with them interest in exotic spiritual traditions\, including &lsquo\;guna-guna&rsquo\;\, or black magic. The city teemed with spiritualists and occultists\, all advertising their services in the press and on posters. Taking photographs from the era as his startin g point\, van Eeden draws them in his trademark black chalk and\, a new med ium for the artist\, oil pastel. The title of the show\, \;The Symm etry Argument\, is an idea drawn from the poem \;The Nature of Things \;by Lucretius\, who made the Epicurean argument that one shouldn&rsquo\;t fear death because it is merely a return to the eternity t hat existed before your birth. \;

Sprü\;th Magers Berlin is concurrently presenting the solo exhibition \;Where Nature Runs Riot \;by Cyprien Gaillard. \;

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Marcel van Eeden beginnt jedes Projekt mit der Betrachtung von Bildern\, die aus einer Zeit vor seiner eigenen Geburt (1965) stammen. Fü\;r \;The Symmetry Argument\, seiner Ausstellung bei Spr ü\;th Magers Berlin\, untersuchte van Eeden ein kulturelles Phä\;no men\, das wä\;hrend der 1930er und 40er Jahre in seiner Heimatstadt Den Haag zu beobachten war. In dieser unruhigen\, krisengeschü\;ttelten Ze it gab es ein riesiges Interesse an Spiritismus und Okkultismus\, einem Tre nd\, der sich teilweise mit dem drohenden Krieg und dem Kollabieren der Kon sumkultur erklä\;ren lä\;sst\, aber auch aus der Verbindung der Nie derlande zur Kolonie Indonesien resultierte. Viele Administratoren\, die au s dem Inselstaat zurü\;ckkehrten\, brachten ein Interesse an exotischen spirituellen Traditionen mit\, wie zum Beispiel an &bdquo\;Guna Guna&ldquo \; oder schwarzer Magie. Die gesamte Stadt wimmelte von Spiritualisten und Okkultisten\, die ihre Dienste in der Presse und auf Plakaten anboten. Van Eedens Ausgangspunkt sind Fotografien aus dieser Zeit\, die er in Zeichnung en in schwarzer Kreide\, seinem Markenzeichen\, sowie in Ö\;lpastell\, einer fü\;r ihn neuen Technik\, umsetzt. Die Idee zum Titel der Ausstel lung\, \;The Symmetry Argument\, entstammt dem Gedicht \;< em>De Rerum Natura \;(Ü\;ber die Natur der Dinge) von Lukrez. In seinem Werk befasst sich dieser mit der Lehre Epikurs\, die besagt\, das s der Tod nicht zu fü\;rchten ist\, da er nichts anderes als eine R&uum l\;ckkehr in eine vor der Geburt existierende Ewigkeit bedeutet. \;

Zeitgleich zeigt Sprü\;th Magers Berlin die Ausstellung \;< em>Where Nature Runs Riot \;von Cyprien Gaillard. \;

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DTEND:20150718 DTSTAMP:20150331T064244 DTSTART:20150502 GEO:52.52413;13.39714 LOCATION:Sprüth Magers Berlin\,Oranienburger Straße 18 \nBerlin\, D-10178 SEQUENCE:0 SUMMARY:The Symmetry Argument\, Marcel van Eeden UID:378432 END:VEVENT BEGIN:VEVENT DTEND:20150501T210000 DTSTAMP:20150331T064244 DTSTART:20150501T180000 GEO:52.52413;13.39714 LOCATION:Sprüth Magers Berlin\,Oranienburger Straße 18 \nBerlin\, D-10178 SEQUENCE:0 SUMMARY:The Symmetry Argument\, Marcel van Eeden UID:378433 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150424 DTSTAMP:20150331T064244 DTSTART:20150407 GEO:52.50158;13.36206 LOCATION:Galerie Tanja Wagner\,Pohlstraße 64 \nBerlin\, 10785 SEQUENCE:0 SUMMARY:Vidéothèque\, Ulf Aminde\, Sejla Kameric\, Anna Witt UID:378430 END:VEVENT BEGIN:VEVENT DTEND:20150407T210000 DTSTAMP:20150331T064244 DTSTART:20150407T180000 GEO:52.50158;13.36206 LOCATION:Galerie Tanja Wagner\,Pohlstraße 64 \nBerlin\, 10785 SEQUENCE:0 SUMMARY:Vidéothèque\, Ulf Aminde\, Sejla Kameric\, Anna Witt UID:378431 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150418 DTSTAMP:20150331T064244 DTSTART:20150321 GEO:52.5027199;13.3587297 LOCATION:Galerie Micky Schubert\,Genthiner Strasse 36 \n Berlin\, 10785 SEQUENCE:0 SUMMARY:Group Exhibition\, Lydia Gifford\, Graham Fagen\, Thea Djordjadze\, Marieta Chirulescu\, Jankel Alter\, Ketuta Alexi-Meskhishvili\, Manuela Le inhoß\, BARRY MACGREGOR JOHNSTON\, Alan Michael\, Scott Olson\, Gerda Schee pers\, Benedicte Gyldenstierne Sehested\, Daniel Sinsel\, Stephen Sutcliffe \, Sung Tieu\, Sue Tompkins\, Mark Van Yetter\, Maximilian Zentz Zlomovitz UID:378429 END:VEVENT END:VCALENDAR