BEGIN:VCALENDAR VERSION:2.0 CALSCALE:GREGORIAN PRODID:iCalendar-Ruby VERSION:2.0 BEGIN:VEVENT DESCRIPTION: DTEND:20160716 DTSTAMP:20160503T124243 DTSTART:20160521 GEO:52.50648;13.39802 LOCATION:Galerie Gebr. Lehmann\, Berlin\,Lindenstrasse 35 \nBerlin\, 10969 SEQUENCE:0 SUMMARY:Virus Form\, Geometrisches aus Dresden von 1920 bis 2016\, Karl-Hei nz Adler\, Hermann Glöckner\, Olaf Holzapfel\, Günther Hornig\, Friedrich K racht\, Manfred Luther\, Wilhelm Muller\, Ursula Sax\, Stefan Schröder\, In ge Thieß-Böttner\, Leoni Wirth\, als Gast\, A.R. Penck UID:417081 END:VEVENT BEGIN:VEVENT DTEND:20160521T210000 DTSTAMP:20160503T124243 DTSTART:20160521T180000 GEO:52.50648;13.39802 LOCATION:Galerie Gebr. Lehmann\, Berlin\,Lindenstrasse 35 \nBerlin\, 10969 SEQUENCE:0 SUMMARY:Virus Form\, Geometrisches aus Dresden von 1920 bis 2016\, Karl-Hei nz Adler\, als Gast\, Hermann Glöckner\, Olaf Holzapfel\, Günther Hornig\, Friedrich Kracht\, Manfred Luther\, Wilhelm Muller\, A.R. Penck\, Ursula Sa x\, Stefan Schröder\, Inge Thieß-Böttner\, Leoni Wirth UID:417082 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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Performance program accompanying the exhibit ion SECRET SURFACE. WHERE MEANING MATER IALIZES

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SUNRISE S UNSET with Anna Barham\, Auto Italia\, Lawrence Lek\, Naufus Ramí\;re z-Figueroa\, Emily Roysdon\, Marc Sabat mit Mareike Lee

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This 12-hour rhythm of performances with in the exhibition space and throughout the house and courtyard complements the exhibition&rsquo\;s main question: where does meaning materialize? What if live art was likewise superficial &ndash\; in the best sense of the wor d?

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The program mainly animates a sele ction of artworks from the exhibition with their makers&rsquo\; live interp retation\, but treats the artist&rsquo\;s presence as yet another surface f or reflection and refraction. It aims to literalize the moment of exchange between observer and observed and thus make the exhibition&rsquo\;s questio ns accessible also through participation. The program stages clashes betwee n seductive\, virtual spaces and the physical one\, each of which is an int erface\, or system\, for making sense of our surroundings.

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The day unfolds following a rhythm that refers to bio logical rhythms and natural changes of light\, which lays shadows and spotl ights upon different stage-like settings throughout KW. In the morning\, pe rformances and workshops guide interested viewers on further explorations o f texts and 3D environments presented in the show. Anna Barham leads THE MO DEL (2016)\, a live production reading group\, which processes familiar tex ts through repeated human performance and digital translation. Lawrence Lek takes over the controls on his virtual tour of a futuristic KW with a live performance of BERLIN MIRROR (2042 RETROSPECTIVE)\, made for the exhibitio n.

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In the afternoon\, these are joine d by interventions and at times surreal departures from thenworks on view. Auto Italia revisit their 2012 film MY SKIN IS AT WAR WITH A WORLD OF DATA by activating the original material through live\, but seemingly interchang eable human interactions.

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At sunset\, Marc Sabat and Mareike Lee present an interpretation of surface and depth in musical and architectural terms\, proposing an unfolding and shimmering of sound and light that remains suspended in the reflective cubes of Caf&ea cute\; Bravo\, recast as a membrane.

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The evening culminates with an acceleration of performances\, spreading to the courtyard and complemented by artist positions outside the exhibition. Naufus Ramí\;rez-Figueroa&rsquo\;s piece THE PRINT OF SLEEP (2015/16) concludes the day with a meditative\, dreamlike scene that combines printm aking\, varied human surfaces and bedtime rituals.

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The day&rsquo\;s pacing and spatial arrangement is developed in conversation with artist Emily Roysdon\, who proposes subjective stretch es and measures of time as part of her performance UNCOUNTED [PERFORMANCE 7 ] (2014&ndash\;ongoing). Roysdon and her collaborators intermittently perfo rm text excerpts from her numbered and randomized script in KW&rsquo\;s cou rtyard\, a central spot that connects the street with the institution&rsquo \;s various venues.

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Schedule for Satu rday\, 30.4.16:

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Please note: THE MODE L by Anna Barham requires pre-registration at em@kw-berlin.de

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11:00 h: Anna Barham\, THE MODEL\, registration re quired at em@kw-berlin.de
11:30 h: Auto Italia\, MY SKIN WAS AT WAR WITH A WORLD OF DATA
12:30 h: Lawrence Lek\, BERLIN MIRROR (2042 RET ROSPECTIVE)
13:30 h: Auto Italia\, MY SKIN WAS AT WAR WITH A WORLD OF DATA
14:00 h: Anna Barham\, THE MODEL\, registration required at em@ kw-berlin.de
15:30 h: Lawrence Lek\, BERLIN MIRROR (2042 RETROSPECTIV E)
16:00 h: Anna Barham\, THE MODEL\, registration required at em@kw- berlin.de
17:00 h: Auto Italia\, MY SKIN WAS AT WAR WITH A WORLD OF D ATA
19:00 h: Lawrence Lek\, BERLIN MIRROR (2042 RETROSPECTIVE)
19:30 h: Emily Roysdon\, UNCOUNTED (PERFORMANCE 7)\, featuring Karl Holmqvi st\, Ligia Lewis\, Manuel Pelmus\, and Agnieszka Polska
20:00 h Marc Sabat and Mareike Lee\, LIGHT GROUND
21:15 h: Naufus Ramí\;rez- Figueroa\, THE PRINT OF SLEEP

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All per formances are accessible with an exhibition ticket and may be viewed indepe ndently of each other.
Some performances overlap\, but repeat at oth er intervals throughout the day.

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THE PRINT OF SLEEP by Naufus Ramí\;rez-Figueroa is commissioned and produ ced as part of Corpus\, network for performance practice. Corpus is Bulegoa z/b (Bilbao)\, Contemporary Art Centre (Vilnius)\, If I Can&rsquo\;t Dance \, I Don&rsquo\;t Want To Be Part Of Your Revolution (Amsterdam)\, KW Insti tute for Contemporary Art (Berlin)\, Playground (STUK Kunstencentrum &\; M-Museum\, Leuven)\, and Tate Modern (London). UNCOUNTED (PERFORMANCE 7) b y Emily Roysdon has been developed as part of the first phase of Corpus. Co rpus is co-funded by the Creative Europe Programme of the European Union. w ww.corpus-network.org

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Curated by Cath erine Wood and Adela Yawitz

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DTEND:20160430T220000 DTSTAMP:20160503T124243 DTSTART:20160430T100000 GEO:52.5267544;13.3949724 LOCATION:KW Institute for Contemporary Art\,Auguststraße 69 \nBerlin\, 1011 7 SEQUENCE:0 SUMMARY:Sunrise Sunset: Performance Program UID:417080 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Ruey Shiann Shyu has been work ing on kinetic installations since the mid 1990s. His motor-driven sculptur es are constructions of a purely mechanical nature\; nevertheless\, the art ist succeeds brilliantly in conveying vitality\, feelings and emotions with his works\, as well as creating an atmosphere of wonder and nostalgia.

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The floor sculpture shown in the Kü\ ;nstlerhaus\, Writer&rsquo\;s Vessel (2011)\, was made for the fir st time in 1997\, when Shyu had begun to combine existing mechanical parts with finds from the natural world. It is a construction made from pigeon fe athers\, each one attached  \;to a metal ring\, in an arrangement resem bling spokes. A motor turns this like a wheel\, so that a kind of visual po etry is created by the feather quills scratching over a metal plate on the floor. Writer&rsquo\;s Vessel represents\, in an emblematic way\, the duality on which Shyu&rsquo\;s work as a whole is founded: while everyt hing seems to revolve around mechanical precision and control\, the delicat e bird&rsquo\;s feathers remind us of the fragility of living things and th e beauty of Nature.

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In addition\, Shy u is showing the space-consuming installation The River of Childhood (1999/ 2010)\, which consists of a large number of metal-framed construc tions connected by cables. It is the artist&rsquo\;s poetic-melancholic ref lection on childhood and its carefree ease\, which can never be regained.\n

Ruey-Shiann Shyu (Juei Hsien Hsu)  \;is receiving a grant from the Ministry of Culture\, R.O.C. (Taiwan) and t he Representation of Taipei in the Federal Republic of Germany.

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On the occasion of \;Gallery Weekend Berlin\, Kü\;nstlerhaus Bethanien is offering extended opening hours of t he current exhibitions by \;Gregor Hildebrandt \;a nd \;Ruey Shiann Shyu.

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On \;Saturd ay 30th April 2016\, the shows will be open as \;from 10 am \;already (until 7 pm).
On \;Sunday\, 1st May \;the regular opening hours will be from \;2 &ndash\; 7 pm.

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We are looking forward to your visit!

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Ruey Shiann Shyu besch& auml\;ftigt sich seit Mitte der 1990er Jahre mit kinetischen Installationen . \;Obschon seine motorgetriebenen Skulpturen Konstruktionen rein mecha nischer Natur sind\, gelingt es dem Kü\;nstler virtuos\, mit seinen Wer ken Lebendigkeit\, Gefü\;hle und Emotionen zu transportieren und eine A tmosphä\;re des Wundervollen und Nostalgischen zu schaffen.

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Die im Kü\;nstlerhaus gezeigte Bodenskulptur Writer&rsquo\;s Vessel (2011) entstand erstmals 1997\, als Shyu b egann\, vorgefundene mechanische Teile mit Fundstü\;cken aus der Natur zu kombinieren. Sie ist eine Konstruktion aus Taubenfedern\, die einzeln in speichenartiger Anordnung an einem runden Metallring angebracht sind. Dies er dreht sich mithilfe eines Motors wie ein Rad\, so dass durch die ü\; ber eine Metallplatte am Boden kratzenden Federkiele eine Art visuelle Poes ie entsteht. \;Writer&rsquo\;s Vessel reprä\;sentiert in e mblematischer Weise die Dualitä\;t\, die Shyus Gesamtwerk zugrunde lieg t: wä\;hrend alles um mechanische Prä\;zision und Kontrolle zu krei sen scheint\, gemahnen die zarten Vogelfedern doch zugleich an die Fragilit ä\;t des Lebendigen und die Schö\;nheit der Natur.

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Die ebenfalls gezeigte Installation The River of Childhood (1999/ 2010) \;ist eine raumgreifende\, poetisch-melanch olische Reflexion des Kü\;nstlers ü\;ber die Kindheit und deren unw iederbringliche Leichtigkeit.

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Ruey-Sh iann Shyu (Juei Hsien Hsu) ist \;Stipendiat des Kulturministeriums\, R. O.C. (Taiwan) und der Taipeh Vertretung \;in der Bundesrepublik Deutsch land.

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Anlä\;sslich des \;Gallery Weekend Berlin sind die aktuellen Ausstellungen von Gregor Hildebrandt und Ruey Shiann Shyu am Sams tag\, den 30. April 2016 bereits ab 10 Uhr ge&oum l\;ffnet (bis 19 Uhr).

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Am Sonntag\, den 1. Mai gel ten die regulä\;ren Ö\;ffnungszeiten (14 &ndash\; 19 Uhr).

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Wir freuen uns auf Ihren Besuch!

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DTEND:20160508 DTSTAMP:20160503T124243 DTSTART:20160413 GEO:52.49707;13.41897 LOCATION:Künstlerhaus Bethanien\,Kottbusser Straße 10 \nBerlin\, 10997 SEQUENCE:0 SUMMARY:Juei Hsien Hsu\, Ruey Shiann Shyu UID:417078 END:VEVENT BEGIN:VEVENT DTEND:20160412T210000 DTSTAMP:20160503T124243 DTSTART:20160412T190000 GEO:52.49707;13.41897 LOCATION:Künstlerhaus Bethanien\,Kottbusser Straße 10 \nBerlin\, 10997 SEQUENCE:0 SUMMARY:Juei Hsien Hsu\, Ruey Shiann Shyu UID:417079 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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In a one-day program\, contributors to the exhi bition and guests will reflect on the question of political and creative au tonomy in the digital age. In the gap between individual experience and agg regated data\, a crisis of values is emerging.

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Beneath narrowed fra mings such as privacy\, net neutrality and surveillance lie more fundamenta l questions of autonomy\, and the &ldquo\;fragile free spaces&rdquo\; that are essential for creativity\, experimentation\, and resistance to be possi ble.

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3&ndash\;5pm
Nervou s Models

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Welcome: Anselm Fra nke

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Ana Teixeira Pinto:
Feedback Form: Behaviorism\, Cybernetics\, Autopoiesis

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Seb Franklin:
Figuring the Nerves of Economy

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5.30‒8pm
The Good\, the Bad\, and the D ata

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Evgeny Morozov:
On Algorithmic Welfare: Silicon Valley as the Good Cop of Neoliberalism

\n< p style="text-align: justify\;">Lecture by Laboria Cuboniks

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Lecture by Franco &ldquo\;Bifo&rdquo\; Berardi

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Moderated by Diana McCarty

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Zur Technologie- und Diskursgeschichte der neuen Dat enö\;konomien: Fü\;nf Vorträ\;ge diskutieren die historischen W urzeln des gegenwä\;rtigen Kontrollsystems\, die kulturelle Logik der D igitalitä\;t und politisch-ideologische Konstellationen der letzten hun dert Jahre entlang der Metapher des &bdquo\;Nervensystem&ldquo\;.

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1 5-17h
Nervous Models

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Welcome: Anselm Franke

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Ana Teix eira Pinto:
Feedback Form: Behaviorism\, Cybernetics\, Autopoiesis

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Seb Franklin:
Figuring the Nerves o f Economy

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17.30‒20h
The Good\, the Bad\, and the Data

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Evgeny Morozov:
On Algorithmic Welfare: Silicon Valley as the Good C op of Neoliberalism

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Vortrag von Labor ia Cuboniks

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Vortrag von Franco &bdquo \;Bifo&ldquo\; Berardi

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Moderiert von Diana McCarty

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DTEND:20160508T200000 DTSTAMP:20160503T124243 DTSTART:20160508T150000 GEO:52.5185808;13.3651844 LOCATION:Haus der Kulturen der Welt\,John-Foster-Dulles-Allee 10 \nBerlin\, D-10557 SEQUENCE:0 SUMMARY:Finissage Lectures With Franco Berardi\, Laboria Cuboniks\, Evgeny Morozov\, Ana Teixeira Pinto and Seb Franklin UID:417077 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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When did popular music originate? Depending on the de finition\, it was somewhere between the years 822 and 1964. But\, then\, ar ound a hundred years ago the decisive transition occurred: wax cylinders an d\, later\, shellac records were able to preserve musical performances and radio was able to broadcast them\, thus beginning the era of recorded music .

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Pop 16 examines what style s\, manners of interpretation and performance praxes these new technologies encountered. What interactions arose as a result\, and what effects does a ll this have on today&rsquo\;s music? Many of the musical phenomena of the dawning twentieth century still live on today: Tin Pan Alley tunes by Irvin g Berlin and Jerome Kern\, French chansons and Argentinean tango. By contra st\, today\, styles such as Bambuco\, Konkoma and Melayu are more the subje ct matter of music ethnologists. At Pop 16 a broad variety of musi cians will look back at the beginnings of produced music in programs put together exclusiv ely for the festival: The highlife king Ebo T aylor will bring back the great days of Ghanaian Konkoma\, the Japanese Electropop experimenter Miharu Koshi w ill dream herself back to 1920s Europe\, the Colombian bassist and record c ollector Mario Galeano\, who performed at HKW previously with Ondatró\;pica and Los Pirañ\;as\, will dig up Colombian music treasures for his audiovisual Bambuco interpretation s. Plus: more commissioned productions\, installations\, lectures\, Berlin tours and the German premiere of American Epic\, a TV miniseries about the first record ing trips made by music producers across the United States.

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Supported by: 25 Jahre gute Nachbarschaft Deutsc hland-Polen\, cpb culturepartner berlin\, the Foundation for Arab Music Arc hiving &\; Research\, Iwalewahaus / Universitä\;t Bayreuth\, McIntir e Department of Music / University of Virginia\, Polnisches Institut Berlin \, Stiftung Stadtmuseum Berlin\, Stroever Schellack Bremen&bull\;Prä\;s entiert von zitty\, taz.die tageszeitung\, Berliner Fenster\, radioeins\, A skHelmut\, Exberliner\, Rolling Stone

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Pop 16 takes place as part of the HKW series 100 Years of Now.

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Wann entstand Popmusik? Je nach Definition irgendwann zw ischen 822 und 1964. Vor rund 100 Jahren jedoch kam der entscheidende Umbru ch: Wachswalzen und spä\;ter Schellackplatten konnten musikalische Darb ietungen konservieren\, der Rundfunk konnte sie verbreiten &ndash\; die &Au ml\;ra der produzierten Musik begann.

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Pop 16 will wissen\, welche Stile\, Interpretationsweisen und Auf fü\;hrungspraxen die neuen Technologien vorfanden. Welche Wechselwirkun gen ergaben sich daraus und welche Auswirkungen hat das alles auf die heuti ge Musik? Viele musikalische Phä\;nomene des beginnenden 20. Jahrhunder ts sind heute noch gegenwä\;rtig: die Broadway- Hits von Irving Berlin und Jerome Kern\, franzö\;sische Chansons und argentinischer Tango. Sti le wie Bambuco\, Konkoma oder Melayu hingegen sind heute eher Themen fü \;r Musikethnolog*innen. Bei Pop 16 blicken hö\;chst unterschi edliche Musiker*innen in exklusiv fü\;r das Festival erarbeiteten Programmen auf die A nfä\;nge der produzierten Musik: Highlife-Kö\;nig Ebo Taylor lä\;sst die groß\;e Zeit des ghanaisch en Konkoma wiederauferstehen\, die japanische Elektro-Pop-Experimentatorin Miharu Koshi trä\;umt sich ins Euro pa der 1920er Jahre\, der kolumbianische Bassist und Plattensammler Mario Galeano\, der mit Ondatró\;pica u nd Los Pirañ\;as bereits im HKW auftrat\, grä\;bt sich durch kolu mbianische Musikschä\;tze fü\;r seine audiovisuelle Interpretation des Bambuco-Stils. Und dazu: weitere Auftragsproduktionen\, Installationen\ , Lectures\, Berlin-Rundfahrten und die Deutschland-Premiere von American Epic\, einer TV-Mini-Serie ü\;ber die erste Aufnahmereise von Musikproduzenten quer durch die Vereinigten Staaten.

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Un terstü\;tzt von: &bdquo\;25 Jahre gute Nachbarschaft&ldquo\; Deutschlan d-Polen\, cpb culturepartner berlin\, The Foundation for Arab Music Archivi ng &\; Research\, Iwalewahaus / Universitä\;t Bayreuth\, McIntire De partment of Music / University of Virginia\, Polnisches Institut Berlin\, S tiftung Stadtmuseum Berlin\, Stroever Schellack Bremen·\;Prä\;sen tiert von zitty\, taz.die tageszeitung\, Berliner Fenster\, radioeins\, Ask Helmut\, Exberliner\, Rolling Stone

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Pop 16 findet im Rahmen von 100 Jahre Gegenwart statt.

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DTEND:20160501 DTSTAMP:20160503T124243 DTSTART:20160428 GEO:52.5185808;13.3651844 LOCATION:Haus der Kulturen der Welt\,John-Foster-Dulles-Allee 10 \nBerlin\, D-10557 SEQUENCE:0 SUMMARY:Pop 16: 100 Years of Recorded Music UID:417076 END:VEVENT BEGIN:VEVENT DESCRIPTION:

For their second solo show at WENTRUP\, Peles Empire has designed a large-scale installation which is bas ed on their many years of exploring the relationship between original and c opy\, and whose concrete starting point is the ensemble of spaces in the ga llery on Tempelhofer Ufer. Strategies of optical flattening out and illusio n\, the transformation from 3D to 2D and back to 3D\, and not least the que stion as to if and when a work can ever be understood to be completed &mdas h\; these are some of the motifs Peles Empire handles in their exhibition < em>1EYE 2EYES.

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Even while they were students at Frankfurt&rsquo\;s Stä\;delschule\, the duo Katharina Stö\;ver and Barbara Wolff began its research into Schloss Peles in Rom ania\, a project that is not merely preserved in their pseudonym Peles Empi re but actively continues. \;The castle\, an eclectic building in the s tyle historicism\, programmatically represents Stö\;ver and Wolff&rsquo \;s practices of appropriation and the re-staging of architectonic structur es.

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At WENTRUP\, the new show 1E YE 2EYES includes a complete re-staging of the gallery space. New scul ptures\, photographic wallpaper\, Jesmonite objects\, carpets printed with photographs\, and paintings form an all-embracing installation whose motifs have been generated from images previously recorded within the very same g allery space. For instance\, on some of the 2 x 3 m carpets\, photographs o f earlier stagings at WENTRUP or of leftover packing materials are visible. Peles Empirehere employs classical painterly techniques of trompe l&rs quo\;oeil\, but also combines them with more recent phenomena in the h istory of architecture and photography such as &ldquo\;forced perspective&r dquo\; images\, which redefine proportionalities within representation&mdas h\;reality relations.

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Their piece res ts sculpturally on the gallery topography and portrays it with itself &mdas h\; altered\, however\, in medium and material. \;A comparison with Jor ge Luis Borges&rsquo\;s well-known story &ldquo\;On Exactitude in Science&r dquo\; comes to mind\, in which the map of the world has attained the dimen sions of the world itself and suddenly original and copy lie spatially one on top of the other and the copy is identical to the original in every resp ect.

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In 1EYE 2EYES\, Peles E mpire particularlytakes spatiality and perspectival seeing as its point of departure\, transforming the spaces of the gallery through a seamless insta llation in such a way that the copy copied here emerges as an independent a nd therefore new original.

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Peles Empire has had solo shows at the Wilhelm-Hack-Museum\, Ludwigshafen\; S.A.L.T.S.\, Birsfelden (Switzerland)\ ; PRO/NUM\, London\; ten/pm\, Copenhagen (all 2015)\; GAK Bremen\, Bremen ( 2014)\, Cell Project Space\, London\; Kunstmuseum Stuttgart and the GSS in Glasgow (all 2013). It participated in group shows at the Kunstverein Braun schweig\, Braunschweig\; Kunstwerke\, Berlin (all 2015)\, The Moving Museum \, Istanbul (2014)\, Shanaynay\, Paris\, NKV Wiesbaden\, Bundeskunsthalle B onn (all 2013)\, the Temple Bar\, Dublin\; V22\, London and &lsquo\;Bold Te ndencies&rsquo\; in London (all 2012).

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In 2011\, Peles Empire was selected for Frieze Projects at the Frieze Art Fair in London. Shows in 2009 included ORTON.nl\, Rotterdam. In 2007 the M AK Center for Art and Architecture invited Peles Empire to the Schindler Ho use\, Los Angeles\, as part of its artist-in-residence program.

DTEND:20160616 DTSTAMP:20160503T124243 DTSTART:20160430 GEO:52.4985087;13.3817055 LOCATION:Wentrup\,Tempelhofer Ufer 22 \nBerlin\, 10963 SEQUENCE:0 SUMMARY:Eye 2 Eyes\, Peles Empire UID:417071 END:VEVENT BEGIN:VEVENT DTEND:20160429T210000 DTSTAMP:20160503T124243 DTSTART:20160429T180000 GEO:52.4985087;13.3817055 LOCATION:Wentrup\,Tempelhofer Ufer 22 \nBerlin\, 10963 SEQUENCE:0 SUMMARY:Eye 2 Eyes\, Peles Empire UID:417072 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Gallery Weekend 2016

DTEND:20160625 DTSTAMP:20160503T124243 DTSTART:20160430 GEO:52.4993459;13.3644244 LOCATION:Tanya Leighton Gallery\,Kurfürstenstraße 156 \nBerlin\, 10785 SEQUENCE:0 SUMMARY:Bulls Without Horns\, Aleksandra Domanovic UID:417069 END:VEVENT BEGIN:VEVENT DTEND:20160429T210000 DTSTAMP:20160503T124243 DTSTART:20160429T180000 GEO:52.4993459;13.3644244 LOCATION:Tanya Leighton Gallery\,Kurfürstenstraße 156 \nBerlin\, 10785 SEQUENCE:0 SUMMARY:Bulls Without Horns\, Aleksandra Domanovic UID:417070 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Gallery Weekend Ber lin 2016

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Peres Projects is pleased to present Bounty by American artist Mike Bouchet on the occasion of Gallery Weekend Berlin 2016. Bouchet presents a new series of o il paintings alongside an installation of large-scale glass sculptures.

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With \; Bounty ( a word which connotes a generous surplus of amounts)\, Bouchet investigates our society&rsquo\;s collective materialism and consumer habits within the aesthetic confines and supposed safe boundaries of painting. This new body of works on canvas is based on original photographs of collapsing human tr ash and waste taken by the artist at the municipal water treatment plant We rdhoelzli in Zurich. As vibrantly painted visual tableaux\, Bouchet capture s solid waste in the fragile instant before it is processed to become homog enous sludge. These dynamic\, chiaroscuro compositions of decomposing and n early formless matter are seductively beautiful\; despite being images of o ur own waste and symbols of overconsumption\, they leave the viewer feeling no sense of repulsion.

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Th ere is a familiarity to the tumbling masses that fill the canvases\, as the shapes and textures recall everyday products\, but only as mere impression s. The turbulence\, chaos and colors recall fantastic scenes from 17th and 18th century Baroque painting\, while the organic forms convey the luminosi ty and textures of a Dutch Golden Age still life.

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Also on view are Bouchet&rsquo\;s new sculptures\, Keglon\, oversized 14 liter glass cola bottles standing atop artwo rk shipping crates. These isolated figures of consumerism are full of contr adictions. Bouchet creates a surreal homage to the ubiquitous plastic Ameri can 2 liter cola bottle\, appropriating them as art. These delicate yet blo ated sculptures become both a proposal for new\, bigger and better &ldquo\; king sized&rdquo\; beverage but\, due to their apparent emptiness\, are per haps about to be thrown away.

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The exhibition Bounty is related to the artist&rsquo\;s upcomi ng presentation\, The Zurich Load\, at the Migros Museum of Contem porary Art\, Zurich for Manifesta 11\, curated by Christian Jankowski. Bouc het will present an eighty-ton sculptural installation made of human sludge collected from the city of Zurich&rsquo\;s municipal water treatment plant Werdhoelzli.

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Mike Bouchet lives and works in Frankfurt\, DE. Bouchet has participated in the 30th S& atilde\;o Paulo Biennial\, Brazil\, the 53rd Biennale di Venezia in Venice\ , IT\, the 2nd Moscow Biennial\, Moscow\, RU\, among others. Bouchet recent ly presented an exhibition at the Portikus Museum in Frankfurt with Paul Mc Carthy and will participate in the upcoming 10th Montreal Biennale in Montr eal\, Canada.

DTEND:20160602 DTSTAMP:20160503T124243 DTSTART:20160429 GEO:52.5172369;13.4389213 LOCATION:Peres Projects\,Karl-Marx-Allee 82 \nBerlin\, 10243 SEQUENCE:0 SUMMARY:Bounty\, Mike Bouchet UID:417067 END:VEVENT BEGIN:VEVENT DTEND:20160429T210000 DTSTAMP:20160503T124243 DTSTART:20160429T180000 GEO:52.5172369;13.4389213 LOCATION:Peres Projects\,Karl-Marx-Allee 82 \nBerlin\, 10243 SEQUENCE:0 SUMMARY:Bounty\, Mike Bouchet UID:417068 END:VEVENT BEGIN:VEVENT DESCRIPTION:

mare nostrum &ndash\; in and b eyond late antiquity\, this term with its manifold political origins descri bed the totality of all people included within\, and at the same time the c laim to power asserted by the Imperium Romanum\, which has left its mark on European life right down to our day. In the autumn of last year\, the Ital ian naval operation of the same name &ndash\; which had been called into li fe in 2013 in the wake of the Lampedusa tragedy to rescue refugees in the M editerranean &ndash\; was terminated. It comes as no surprise that the Swis s artist Miriam Cahn has chosen this title both for her group of works and for her overall exhibition\, in which new\, large-format works and smaller drawings created from the 1980s on are put on display. Topics such as war\, violence and people fleeing from conflict have found expression in her wor k from the very beginning and reveal both her precise observation of the wo rld around her and her ongoing concern for her own history.

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The exhibition\, however\, is not to be seen solely as an autobiographic retrospect: the forthright inclusion of current-day so cietal circumstances reveals Miriam Cahn&rsquo\;s work to be also a testimo ny to political developments\, which are broached directly in her paintings from a personal perspective and are submitted for discussion and debate in the exhibition environment.

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mare nostrum &ndash\; Vielfach im politischen Sinne entstanden\, beschrieb diese Bezeichnung ü\;ber die Spä\;tantike hinaus die Zusammenfassun g aller Menschen und zugleich den Herrschaftsanspruch des Imperium Romanum\ , das bis heute das europä\;ische Leben prä\;gt. Im Herbst letzten Jahres wurde die gleichnamige italische Marineoperation &ndash\; nach der T ragö\;die von Lampedusa 2013 ins Leben gerufen &ndash\; zur Rettung von Flü\;chtlingen im Mittelmeer beendet. Es verwundert nicht\, dass die S chweizer Kü\;nstlerin Miriam Cahn diesen Titel sowohl fü\;r ihre We rkgruppe als auch fü\;r ihre Ausstellung\, die neue groß\;formatig e Arbeiten sowie kleinere Zeichnungen seit den 80er Jahren zeigt\, gewä \;hlt hat. Themen wie Krieg\, Gewalt sowie Flucht finden seit jeher Ausdruc k in ihren Arbeiten und zeigen Miriam Cahns genaues Beobachten ihrer Umwelt sowie die Auseinandersetzung mit der eigenen Geschichte.

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Die Ausstellung ist nicht nur als autobiografischer R& uuml\;ckblick zu betrachten: der direkte Einbezug aktueller Gesellschaftsve rhä\;ltnisse lä\;sst Miriam Cahns Werk auch als Zeugnis politischer Entwicklungen erscheinen\, die aus persö\;nlicher Sicht in ihren Bilde rn unmittelbar ausgesprochen und in der Ausstellung zur Diskussion gestellt werden

DTEND:20160528 DTSTAMP:20160503T124243 DTSTART:20160429 GEO:52.50235;13.39078 LOCATION:Meyer Riegger\,Friedrichstr 235 \nBerlin\, SEQUENCE:0 SUMMARY:mare nostrum\, Miriam Cahn UID:417063 END:VEVENT BEGIN:VEVENT DTEND:20160429T210000 DTSTAMP:20160503T124243 DTSTART:20160429T180000 GEO:52.50235;13.39078 LOCATION:Meyer Riegger\,Friedrichstr 235 \nBerlin\, SEQUENCE:0 SUMMARY:mare nostrum\, Miriam Cahn UID:417064 END:VEVENT BEGIN:VEVENT DESCRIPTION:

On the occasion of Gallery Wee kend Berlin\, Mehdi Chouakri is pleased to present its second exhibition of Philippe Decrauzat. The artist has envisioned a large-scale installation c onsisting of a new architecture\, a wall work spanning the entire gallery s pace\, a film\, and paintings. He continues his exploration of the mechanis ms of vision by camouflaging the entirety of the walls with a black-and-whi te checkerboard. Applied on partitions that shape new paths in the gallery\ , the repeated pattern is either blown up or minimized through changes of s cale\, immersing the beholder in an environment of visual distraction.

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The exhibition opens with the film 20 Figures\, a two-channel projection on screens mirroring each other in the first room. Decrauzat observes a cup of coffee in close up\, recording the hot liquid spiraling\, bubbling\, foaming\, and\, indeed\, building hy pnotic abstract landscapes projected onto grey monochrome canvases. In the process\, perception is slowly enveloped by the black void\, switching back and forth between different scales &ndash\; microscopic and macroscopic &n dash\; reflected by the synchronized double projection of the same film. Li ke the checkerboard\, Decrauzat uses the surface of the coffee as a sort of dé\;jà\; vu mental space\, taking this close-up as the ultimat e subjective view.

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In the second room \, the artist&rsquo\;s paintings of the same checkerboard in different grad ations are hung as such that the works are interwoven into the architecture . The paintings gently fade from black to white or vice versa\, mixing in s ubtle shades of grey that dim the stark contrast. These shifts in black on black and white on white evoke states of transition\, sources of light\, or even the act of erasure. The checkerboard is not only a timeless pattern ( used widely from antiquity to the avant-gardes)\, but also a physiological image that belongs to subjective visual phenomena generated by the eye unde r certain stimulations\, as revealed by the scientist J.E. Purkinje in the 19th century.

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That is\, it is the st arting point of possible images\, both real and virtual\, as it is potentia lly present in our retina and as the neutral background in imaging software s.

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Transformed into an oversized ches sboard\, the gallery then becomes a hybrid\, neither white cube nor dark ci nema: Decrauzat&rsquo\;s installation merges both concepts into a room for projection. Like a screen that continuously shifts from one backdrop to ano ther\, the artist invites the beholder into an unexpected field of vision b eyond abstraction and reality that flattens the film\, the paintings\, and the architecture onto the same plane.

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Philippe Decrauzat (b. 1974\, Lausanne\, Switzerland) lives and works in P aris. His works have been recently exhibited at Le Plateau FRAC Î\;le- de-France\, Paris (2015)\, Le Magasin &ndash\; Centre National d&rsquo\;Art Contemporain\, Grenoble (2014)\, Centre Culturel Suisse\, Paris (2014)\, M useum of Modern Art\, New York (2013) and MUAC &ndash\; Museo Universitario Arte Contemporá\;neo\, Mexico City (2013)\, among others. Parallel t o Gallery Weekend Berlin\, they are also on view at the Kunsthalle Wien\, V ienna\, in the group show &ldquo\;The Promise of Total Automation&rdquo\; ( March 11 &ndash\; May 29\, 2016).

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&nb sp\;

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Gallery Weekend Berlin

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Friday\, April 29\, 11am &ndash\; 9 pm

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Saturday\, April 30\, 11 am &ndash\; 7 pm

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Sunday\, May 1\, 11 am &ndash\; 7 pm

DTEND:20160611 DTSTAMP:20160503T124243 DTSTART:20160429 GEO:52.531027;13.38491 LOCATION:Mehdi Chouakri\,Invalidenstraße 117 Edison Höfe\nBerlin\, 10115 SEQUENCE:0 SUMMARY:bright phase\, dark phase\, Philippe Decrauzat UID:417061 END:VEVENT BEGIN:VEVENT DTEND:20160429T210000 DTSTAMP:20160503T124243 DTSTART:20160429T180000 GEO:52.531027;13.38491 LOCATION:Mehdi Chouakri\,Invalidenstraße 117 Edison Höfe\nBerlin\, 10115 SEQUENCE:0 SUMMARY:bright phase\, dark phase\, Philippe Decrauzat UID:417062 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Basim Magdy talks with Lauren Cornell about his work and exhibition projects. \; Lauren Cornell is a curator and Associate Director\, Technology Initiatives at \; the New M useum New York. In 2015\, she curated the New York Triennial \; »\ ;Surround Audience«\; together with Ryan Trecartin\, in which Basim Ma gdy \; was represented.

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B asim Magdy im Gesprä\;ch mit Lauren Cornell ü\;ber sein Werk und se ine \; Ausstellungsprojekte. Lauren Cornell ist Kuratorin und Associate Director\, \; Technology Initiatives am New Museum New York. 2015 co-k uratierte sie \; gemeinsam mit Ryan Trecartin die New York Triennial &r aquo\;Surround Audience«\;\, \; in der auch Basim Magdy vertreten war.

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Basim Magdy im Gesprä\;ch mit Lauren Cornell ü\;ber sein Werk und seine
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Ausstellungsprojekte. Lauren Cornell ist Kuratorin und Associate Director\,
\n
Technology Initiatives am New Museum New York. 2015 co-kuratierte sie\n
gemeinsam mit Ryan Trecartin die New York Triennial &ra quo\;Surround Audience«\;\,
\n
in der auch Basim Ma gdy vertreten war.
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Basim Magdy talks with Lauren Cornell about his work and exhibition projects.
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Lauren Corn ell is a curator and Associate Director\, Technology Initiatives at
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the New Museum New York. In 2015\, she curated the New York Triennial
\n
»\;Surround Audience«\; togethe r with Ryan Trecartin\, in which Basim Magdy
\n

was represented

DTEND:20160429T200000 DTSTAMP:20160503T124243 DTSTART:20160429T190000 GEO:52.51662;13.3909 LOCATION:KunstHall - Deutsche Bank\,Unter den Linden 13/15 \nBerlin\, 10117 SEQUENCE:0 SUMMARY:Artist Talk: Basim Magdy\, Basim Magdy UID:417060 END:VEVENT BEGIN:VEVENT DESCRIPTION:

We live\, as the science ficti on writer William Gibson puts it\, in a culture addicted to the future. No matter whether it looks like a hightech paradise or a post-apocalyptic wast eland\, the future is always the setting for a new beginning. At first glan ce\, the title of Magdy&rsquo\;s »\;Artist of the Year«\; 2016 ex hibition at the Deutsche Bank KunstHalle seems to fit into this scheme: &ra quo\;The Stars Were Aligned for a Century of New Beginnings.«\; But th e exact opposite is the case. It is an ironic allusion to humanity\, which untiringly makes the same mistakes. All of the nameless and bodiless protag onists of Magdy&rsquo\;s films and the survivors who explore futuristic bui ldings in his works on paper are forced to reenact their history again and again. The societies he portrays in his 2014 filmtrilogy »\;The Many C olors of the Sky Radiate Forgetfulness\,«\; »\;The Everyday Ritua l of Solitude Hatching Monkeys\,«\; and »\;The Dent«\; are b ankrupt\, entangled in absurd rituals of preserving the past or megalomania c projects. His installation »\;In the Grave of Intergalactic Utopia&l aquo\; (2006) in the studio of the KunstHalle is a swan song of dreams of r eaching the stars and the space race in the postwar era. The journey ends w ith a slapstick-like crash landing.

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< strong>Artist of the Year

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After Wangechi Mutu (2010)\, Yto Barrada (2011)\, Roman Ondák (2012)\, Imran Qureshi (2013)\, Victor Man (2014) and Koki Tanaka (2015)\, Basim Ma gdy is now Deutsche Bank&rsquo\;s seventh »\;Artist of the Year.« \; The award goes to contemporary artists who have created a substantial bo dy of work\, in which works on paper and photography play a role. The award focuses on artistic positions that deal with social themes in an individua l way and take new formal paths. At the same time\, the award honors impetu s emanating from the new art centers of Africa\, Asia\, South America and E astern Europe. It is not a purely financial award\, but firmly embedded in Deutsche Bank&rsquo\;s art program. It supports new positions and promotes the acquisition of works for the corporate collection. The highlight is the »\;Artist of the Year«\; solo exhibition at the Deutsche Bank Ku nstHalle\, which is accompanied by a major catalogue. Subsequently\, the sh ow travels on to other international venues. The artist is also invited to design a special edition for the KunstHalle. Artists are chosen within the framework of the Global Art Advisory Council\, which is comprised of the re nown curators Okwui Enwezor\, Hou Hanru\, Udo Kittelmann and Victoria Noort hoorn.

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Wir leben\, wie es der Science-Fiction Autor William Gibson formuliert\, in einer zukunftssü\ ;chtigen Kultur. Ganz egal\, ob sie wie ein High-Tech-Paradies oder eine po st-apokalyptische Einö\;de aussieht\, immer ist die Zukunft der Schaupl atz eines Neubeginns. Auf den ersten Blick scheint der Titel von Magdys Aus stellung als »\;Kü\;nstler des Jahres«\; 2016 in der Deutsche Bank KunstHalle in dieses Schema zu passen: »\;Die Sterne standen gut fü\;r ein Jahrhundert des Neubeginns«\;. Doch genau das Gegenteil ist der Fall. Er ist eine ironische Anspielung auf eine Menschheit\, die u nverdrossen ihre Fehler wiederholt. Die namen- und kö\;rperlosen Protag onisten in Magdys Filmen\, die ü\;berlebenden\, die auf seinen Papierar beiten futuristische Bauten erkunden &ndash\; sie alle sind gezwungen\, Ges chichte immer wieder nachzuspielen. Die Gesellschaften\, die er in seiner 2 014 entstandenen Filmtriologie »\;The Many Colors of the Sky Radiate F orgetfulness«\;\, »\;The Everyday Ritual of Solitude Hatching Mon keys«\; und »\;The Dent«\; schildert\, sind bankrott\, verwi ckelt in absurde Rituale der Vergangenheitsbewahrung oder grö\;ß\; enwahnsinnige Projekte. Seine Installation »\;In The Grave of Intergal actic Utopia«\; (2006) im Studio der KunstHalle ist ein Abgesang auf d ie Sternenträ\;ume und den Wettlauf ins All der Nachkriegszeit. Die Rei se endet mit einer slapstickartigen Bruchlandung.

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Kü\;nstler des Jahres

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Nach Wangechi Mutu (2010)\, Yto Barrada (2011)\, Roman Ondák (2012 )\, Imran Qureshi (2013)\, Victor Man (2014) und Koki Tanaka (2015) ist Bas im Magdy der siebte »\;Kü\;nstler des Jahres«\; der Deutschen Bank. Diese Auszeichnung richtet sich an aktuelle Kü\;nstlerInnen\, di e bereits ein substanzielles Werk geschaffen haben\, in dem auch Papier und Fotografie eine Rolle spielen. Im Fokus stehen Positionen\, die gesellscha ftliche Themen auf individuelle Weise ansprechen und formal neue Wege besch reiten. Zugleich wü\;rdigt die Auszeichnung Impulse\, die aus den neuen Kunstzentren in Afrika\, Asien\, Sü\;damerika oder Osteuropa kommen. F est im Kunstprogramm der Deutschen Bank verankert\, ist sie nicht mit einem Geldpreis dotiert. Stattdessen setzt sie auf Vermittlung von Gegenwartskun st und Ankä\;ufe von Arbeiten fü\;r die Unternehmenssammlung. H&oum l\;hepunkt ist die Einzelausstellung des »\;Kü\;nstler des Jahres& laquo\; in der Deutsche Bank KunstHalle\, die von einem Katalog begleitet u nd anschließ\;end in weiteren internationalen Museen prä\;sentiert wird. Zusä\;tzlich realisiert der Kü\;nstler eigens fü\;r dies en Anlass eine Edition. Ausgewä\;hlt werden die Kü\;nstler im Rahme n des Global Art Advisory Councils der Deutschen Bank\, dem die renommierte n Kuratoren Okwui Enwezor\, Hou Hanru\, Udo Kittelmann und Victoria Noortho orn angehö\;ren.

DTEND:20160703 DTSTAMP:20160503T124243 DTSTART:20160429 GEO:52.51662;13.3909 LOCATION:KunstHall - Deutsche Bank\,Unter den Linden 13/15 \nBerlin\, 10117 SEQUENCE:0 SUMMARY:The Stars Were Aligned for a Century of New Beginnings\, Basim Magd y UID:417059 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Early Man \;revol ves around the fold\, a recurring motif in the work of the artist. The fold describes the pictorial and symbolic entanglement of seemingly opposing qu alities and production modes. Inside and outside\, organic and synthetic\, hand crafted and industrially produced interweave in \;Early Man \;to become a complex system of signs. A mysterious dramaturgy deter mines the independent lives of the works presented in the exhibition. \ ;

Striving in its horizontal orientation beyond the gallery spac e\, the work \;Burial \;describes a formation of four rock s resting in a black desert of polystyrene regrind. In geology\, folds are wavelike foldings of rock strata that occur under high pressure. \;The rock surfaces relate to this natural phenomenon and similarly erode it thro ugh their digitally mediated \;materiality. In the interior of the obje cts\, the material is not compressed to a hard core\, there is a hollow spa ce instead. From this perspective\, the rock formation ofBurial&nb sp\;also appears as an array of sarcophagi.

Channer's pencil and gouache drawings \;Membrane\, Filters\, Inhaler\, Fine Particles\, NOx \;and \;CO 2 \;relate to the surface texture of \;Burial. Consisting of \;Silk Cut \;cigarette ash\, water-soluble s ynthetic polymers and polyethylene microspheres from the cosmetics industry \, Channer&rsquo\;s drawings depict volatile material states. \;
< br />Interior and exterior in Channer's work are inseparable from each othe r. Finiteness unfolds into the infinite. In this way\, \;First Rebi rth \;resolves the choreography of lost and regained physicality i nitiated by Burial. Here\, complex\, procedural dramaturgy is used to merge human relics and industrial fragments to an anthropomorphic-techn oid distilled form. \;

Channer's folds describe a threshold state. Through their production\, shapes\, associations and materials are f ragmented\, wiped out and \;buried\, and at the same time\, cr eated\, united and \;reborn. Channer&rsquo\;s works deal with a vague middle ground. The artistic attitude behind them is decisive and cl ear. \;

Excerpt from an essay by Mara-Johanna Kö\;lmel.& nbsp\;

Early Man \;will be accompanied by two speci ally commissioned texts - an essay by Mara-Johanna Kö\;lmel and a ficti onal story by Dietmar Dath. \;

Alice Channer lives and works in London. Solo exhibitions include among others \;R  \;o c k f a l l \; at Aspen Art Museum\, Aspen\, Colorado\, 2015\;  \;Half-life \;at Lisa Cooley\, New York\, 2015\; \;Soft Shell
 \;at Kunstverein Freiburg\, Germany\, 2013\; \;Invertebrates \;at Hepworth Wakefield\, UK\, 2013\; \;Ou t Of Body \;at South London Gallery\, London\, 2012. Channer also participated in the 55th Venice Biennale.

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Alice Channers Ausstellung \;Early Man \;spie lt mit dem Motiv der Falte\, ein immer wieder zitiertes Thema in ihrem Werk . Die Falte verweist auf die bildliche und sinnbildliche Verschrä\;nkun g sich scheinbar rivalisierend gegenü\;ber stehender Qualitä\;ten u nd Produktionsweisen. Innen und Auß\;en\, Organisches und Synthetische s\, Handgefertigtes und industriell Produziertes verweben sich in \;Early Man \;zu einem komplexen Zeichensystem. Eine geheimnisvolle Dramaturgie bestimmt das Eigenleben der in der Ausstellung prä\;sentie rten Arbeiten.

Die in ihrer horizontalen Ausrichtung ü\;ber den Galerieraum hinaus strebende Arbeit \;Burial \;beschre ibt eine aus vier monumentalen Steinen bestehende Felsformation\, die in ei ner schwarzen Wü\;ste von Polystyrol Regranulat ruht. Falte nennt man i n der Geologie die sich unter Druck wellenfö\;rmig Verformung von Geste insschichten. \;Die Oberflä\;chen verweisen auf dieses natü\;rl iche Phä\;nomen und untergraben es zugleich durch ihre von digitalen Tr ansformationsprozessen vermittelte Materialitä\;t. Im Innern der Objekt e verdichtet sich das Material nicht zu einem harten Kern sondern befindet sich ein hohler Innenraum. Unter diesem Blickwinkel erscheint die Steinform ation von \;Burial \;zugleich wie eine Anordnung von Sarko phagen.

Die Oberflä\;chentextur von \;Burial&nb sp\;nimmt Bezü\;ge zu Channers Zeichnungen \;Membrane\, Filters \, Inhaler\, Fine Particles\, NOx \;u nd \;CO2 \;auf. Mit Zigarettenasche de r Marke \;Silk Cut \;sowie wasserlö\;slichen\, synthet ischen Polymeren und Polyethylen-Mikroperlen aus der Kosmetikindustrie verb ildlicht Channer in ihren Zeichnungen sich verflü\;chtigende Materialzu stä\;nde.

Innen und Auß\;en sind in Channers Arbeiten u ntrennbar miteinander verschrä\;nkt. Die Endlichkeit in die Unendlichke it gleichsam eingefaltet. So beschließ\;t \;First Rebirth  \;die von \;Burial \;initiierte Choreographie verlore ner und wieder gewonnener Formen. Hier verschmelzen mittels komplexer\, pro zessualer Dramaturgie menschliche Relikte und industrielle Fragmente zu ein em anthropomorph-technoiden Formendestillat.

Channers Faltungen beschreiben einen Schwellenzustand. In ihren Produktionen werden Formen\, A ssoziationen und Materialien fragmentiert\, ausgelö\;scht und \;beerdigt\, \;zugleich erschaffen\, vereint sowie \;wieder geboren. \;Ihre Arbeiten thematisieren ein unbestimmtes Dazwischen . Die kü\;nstlerische Haltung dahinter ist entschieden und klar.
< br />Auszug aus dem Essay von Mara-Johanna Kö\;lmel.

Ear ly Man \;wird von zwei extra in Auftrag gegebenen Texten begleitet \, einem Essay von Mara-Johanna Kö\;lmel und einer Erzä\;hlung von Dietmar Dath.

Alice Channer lebt und arbeitet in London. Als Ein zelausstellungen wä\;ren unter anderen zu nennen:

R o c k f a l l \;at the Aspen Art Museum\, Aspen\, Colorado\, 2015\;&nb sp\;Half-life \;at Lisa Cooley\, New York\, 2015\; \;S oft Shell \;at Kunstverein Freiburg\, Germany\, 2013\; \;I nvertebrates \;at Hepworth Wakefield\, UK\, 2013\; \;Out O f Body \;at South London Gallery\, London\, 2012. Auß\;erdem nahm Channer an der 55. Biennale in Venedig teil.

DTEND:20160618 DTSTAMP:20160503T124243 DTSTART:20160429 GEO:52.50648;13.39802 LOCATION:Konrad Fischer Galerie\,Lindenstrasse 35 \nBerlin\, 10969 SEQUENCE:0 SUMMARY:Early Man\, Alice Channer UID:417057 END:VEVENT BEGIN:VEVENT DTEND:20160429T210000 DTSTAMP:20160503T124243 DTSTART:20160429T180000 GEO:52.50648;13.39802 LOCATION:Konrad Fischer Galerie\,Lindenstrasse 35 \nBerlin\, 10969 SEQUENCE:0 SUMMARY:Early Man\, Alice Channer UID:417058 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Johnen Galerie is pleased to p resent Martin Honert&rsquo\;s fifth solo exhibition with the gallery. The e xhibition will be on view from April 26 and continue through May 28\, 2016. A special opening reception concurrently with 2016 Gallery Weekend Berlin will take place on Friday April 29 from 6&ndash\;9 PM.

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Since the early 1990&rsquo\;s\, Martin Honert (b. 1953 in Bottrop\, Germany) has been redefining the possibilities of contemporary s culpture. Honert attended Fritz Schwegler&rsquo\;s master class at the Acad emy of Fine Art Dü\;sseldorf in the 1980s and\, like his fellow student s Katharina Fritsch and Thomas Demand\, has redefined the concept of medium specificity. This has resulted in an extremely varied oeuvre: for each wor k the artist develops an individual process and materiality. Honert first a ttracted international attention when his work was exhibited in the German Pavilion at the 46th Venice Biennial in 1995 (with Katharina Fritsch and Th omas Ruff). In 2012\, Honert was the subject of a major retrospective at th e Hamburger Bahnhof in Berlin. The following year\, a large survey of Honer t&rsquo\;s work\, co-curated by Jeff Wall\, was exhibited at the Vancouver Art Gallery.

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Honert works in his stud io over a period of several years producing each of his works by hand. Pain stakingly crafted and elaborately staged three-dimensional works capture th e ambivalence associated with memories from childhood\, to understand the p erseverance of an image whose significance is not immediately apparent\, no t even to the artist himself. Commenting on the centrality of childhood to his work\, Honert has said\, &ldquo\;My childhood was no doubt just as dull and boring as anyone else&rsquo\;s. What&rsquo\;s important to me is to ex plore things that may well have happened a long time ago but continue to ex ist for me as an image\, a memory.&rdquo\;

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The exhibition will include three works: two new large-scale installa tions\, VSG-Gruppe 2015&ndash\;16\, Ziegelei 2015&ndash\; 16 and Schlafsaal\, Modell 1:5\, 2013.

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VSG-Gruppe\, is an abbreviation for Versehrten-Sport-Ge meinschaft (and can be translated literally as &ldquo\;sports group of the maimed&rdquo\;). Honert has extracted six life-size figures seated on woode n bleachers from a poignant black and white photograph dating from 1956. Th e men\, most of whom bear some kind of amputation\, are depicted relaxing a t an outdoor bathing site. Given the date of the photograph\, their injurie s are most likely war-related. Hollow-cast from transparent polyurethane to which sand has been added\, Honert thinly glazes and paints the surface to further heighten the appearance of a vintage photograph with its faded and grainy resolution. VSG-Gruppe vividly recalls daily life in Germa n post-war society in which the wounds of World War II remained visible.

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Ziegelei is based on the artis t&rsquo\;s memories of playing in an old brickyard near his childhood home of Bottrop. The work reconstructs the regularly spaced rows of the brickyar d as a diorama-like set. Behind the dark towering drying racks\, a backlit vintage photograph with a bright blue sky and the roofs of a row of modest suburban houses can be seen. The rows are slightly distorted to align in su ch a way as to force a specific perspective on the viewer&mdash\;that of a small child looking out from a hideout. Distortions of scale and perspectiv e in Honert&rsquo\;s works call into question any claim to verisimilitude\, opting instead for emotional truth. The sculptures are not meant to be mer e representations but are rather akin to recaptured impressions.

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Based on an original photographic negative\, Schlafsaal\, Modell 1:5 refers to a dormitory from Honert&rsquo\;s b oarding school days. The model emulates the effect of a photographic negati ve by reversing light and shade: a bright glow emanates from below the dorm itory beds with their blue frames and light orange mattresses. Honert addre sses photography as a medium\, making visible in three-dimensional form eff ects closely associated with photographic images.

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Martin Honert\, born 1953 in Bottrop\, Germany. He lives and w orks in Dusseldorf and Dresden. The artist studied at the Academy of Fine A rts in Dusseldorf. He represented Germany in the 1995 Venice Biennial and h olds a professorship at the Academy of Fine Arts in Dresden since 1998.

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His work has been the subject of major r etrospectives at Hamburger Bahnhof &ndash\; Museum fü\;r \; Gegenwa rt in Berlin in 2012 and at the Vancouver Art Gallery in 2013. The artists& rsquo\;s selected solo exhibitions include: Martin Honert\, Kunsth alle im Lipsiusbau\, Staatliche Kunstsammlungen\, Galerie Neue Meister\, Dr esden (2007)\; under cover &ndash\; aus dem Verborgenen\, Kunsthal le Dü\;sseldorf\, Dusseldorf (2006) and Martin Honert\, Landes museum fü\;r Kunst- und Kulturgeschichte\, Mü\;nster (2005).

\n< p style="text-align: justify\;">Selected group exhibitions include: For mes Biographiques\, Carré\; d&rsquo\;art. &ndash\; Musé\;e d&rsquo\;art. Contemporain\, Nî\;mes (2015)\; Enlight my Space. A rt after 1990\, Kunsthalle Bremen\, Bremen (2015)\; lens-based scu lpture - The transformation of sculpture through photography\, The Ber lin Academy of Arts\, Berlin (2014)\; Sculpture at the Duesseldorf Art Academy: 1945 to the Present\, Kunstsammlung Nordrhein-Westfalen (2013 )\; The Promised Land\, Albertinum\, Dresden (2010)\; Vertraut es Terrain. Aktuelle Kunst in &\; ü\;ber Deutschland\, ZKM\, Ka rlsruhe (2008) and Spielrä\;ume\, Wilhelm Lehmbruck Museum\, Duisburg ( 2005).

DTEND:20160528 DTSTAMP:20160503T124243 DTSTART:20160429 GEO:52.52191;13.38248 LOCATION:Johnen Galerie\,Marienstraße 10 \nBerlin\, 10117 SEQUENCE:0 SUMMARY:Solo Exhibition\, Martin Honert UID:417055 END:VEVENT BEGIN:VEVENT DTEND:20160429T200000 DTSTAMP:20160503T124243 DTSTART:20160429T180000 GEO:52.52191;13.38248 LOCATION:Johnen Galerie\,Marienstraße 10 \nBerlin\, 10117 SEQUENCE:0 SUMMARY:Solo Exhibition\, Martin Honert UID:417056 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20160605 DTSTAMP:20160503T124243 DTSTART:20160427 GEO:52.49034;13.38592 LOCATION:Galerie Neu (Mehringdamm)\,Mehringdamm 72 \nBerlin\, 10961 SEQUENCE:0 SUMMARY:Solo Exhibition\, Victor Man UID:417013 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Gerhardsen Gerner is pleased t o announce the Scottish artist Jim Lambie&rsquo\;s second solo show with Ge rhardsen Gerner in the Berlin gallery on the occasion of the GALLERY WEEKEN D BERLIN 2016. For this event the musicians Parra for Cuva and the duo Tras h Lagoon\, both based in Berlin\, will release a new LP. The record is also an art work by Jim Lambie\, who designed the cover.

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Sourcing his material directly from the modern world\, Jim Lambie references popular culture\, often drawing his subject matter from m usic and iconic figures. He makes use of everyday objects and materials &nd ash\; both as reference points and as original objects\, transforming them into new sculptural forms\, re-energizing them and giving them with an alte rnative function. With each element constructed from found objects he creat es sculptures that are steeped in the spirit of the UK punk explosion with garish tones\, bold display\, and references to both bands and songs from a n array of movements.

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Lambie explores the potential of everyday materials and objects sourced from charity shops \, like old suitcases\, mirrors and popular books\, as well as industrially manufactured materials like gaffer tape and potato bags. This use of ordin ary objects reflects the DIY nature of the post-punk scene\, where zealous participants created a subculture out of materials that were perceived as b roken\, obsolete\, or undesirable. In his sculptures and installations\, he embraces each object&rsquo\;s right to meaning while also prioritizing the act of looking. His works acknowledge that the viewer comes with an unders tanding\, a pre-existing history with the component materials that adds to their experience of it as an artwork. According to Lambie\, the things we r ecognize&mdash\;paint\, potato bags\, color&mdash\; &ldquo\;set up a re verberation between them and our possibly unconscious previous visual exper ience with them. These works don&rsquo\;t want to create a new world into w hich we can escape\, they want to bounce the world back to us\, encouraging us to look at it again.&rdquo\;

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Jim Lambie?s approach to art making is informed by a few fundamental ideas . A rock musician before he became a visual artist\, he uses color in a way that is deeply rooted in color theory and specifically relates to the conc ept of synesthesia\, an analogous experience between music and the color spectrum in which the stimulation of one sensory or cognitive pathwa y leads to automatic\, involuntary experiences in a second sensory or cogni tive pathway. Colors are harmonies and pattern and repetition form rhythms.

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Different from his rather esoteric p redecessors\, Lambie?s choice of color composition is determined by a sense of directness and everyday availability. The modern world seems his source and palette. Which sheds light onto Lambie?s other basic feature\, his Gla swegian origin. Lambie is deeply immersed in the history of a place charact erized by the tension between industrialization and liberation movements su ch as William Morris? utopianism and socialism and the Arts and Crafts move ment at large. The Glasgow School of Art\, designed by Scottish architect a nd fellow Arts and Crafts member Charles Rennie Mackintosh\, and also Lambi e?s place of study\, is an incarnation of such utopian ideas. Echoing Macki ntosh\, Lambie?s concern is to build around the needs of people: people see n\, not as masses\, but as individuals who needed not a machine for living in but a work of art. Lambie shows how we can maintain a sense of self in a n over-commodified world of sameness.

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Jim Lambie (b.1964\, Glasgow) is most well known for his mixed-media sculp tures and dazzling floor installations using industrial materials\, found o bjects\, and other cultural detritus. He represented Scotland&rsquo\;s inau gural pavilion at the 2003 Venice Biennale and was nominated for the 2005 T urner Prize.

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Recent solo exhibitions include Zero Concerto\, Roslyn Oxley9 Gallery\, Sydney\; Sun R ise\, Sun Ra\, Sun Set\, Rat Hole Gallery\, Tokyo\; Answer Machine \, Sadie Coles HQ\, London\; and The Fruitmarket Gallery\, Edinburgh.
Recent group shows include Eyes on the Prize\, The Travelli ng Gallery\, Various cities (Turner Prize)\; Summer Exhibition 2015\, The Royal Academy of Arts London\; A Secret Affair: Selections from the Fuhrman Family\, FLAG Art Foundation\, New York\; 20 Years of Collecting: Between Discovery and Invention\, Zabludowicz Collection\ , London\; Color Fields\, Bakalar &\; Paine Galleries\, Massach usetts College of Art and Design\, Boston\; Schlaflos &ndash\; Das Bett in Geschichte und Gegenwartskunst\, Ö\;sterreichische Galerie Belvedere\, 21er Haus\, Vienna\; Private Utopia: Contemporary Wor ks from the British Council Collection\, Okayama Prefectural Museum of Art\, Okayama.

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Lambie&rsquo\;s work is represented in institutional and private collections worldwide\, includi ng The Pace Foundation\, San Antonio\; Museum of Modern Art\, New York\; Ha ra Museum of Contemporary Art\, Tokyo\; Hirshhorn Museum and Sculpture Gard en\, Washington\; Gallery of Modern Art\, Glasgow\; Rosa and Carlos de la C ruz\, Miami\; Rubell Family Collection\, Miami\; Scottish National Gallery of Art\, Edinburgh\; and TATE\, London.

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Gerhardsen Gerner freut sich sehr\, in der Berliner Galerie zum GALLERY WEEKEND BERLIN die zweite Einzelausstellung mit dem schottischen K& uuml\;nstler Jim Lambie ankü\;ndigen zu kö\;nnen. Die Berliner Musi ker Parra for Cuva und das Duo Trashlagoon werden zu diesem Anlass eine neu e Schallplatte verö\;ffentlichen. Die Platte ist ein Kunstwerk von Jim Lambie\, der das Plattencover gestaltet hat.

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Jim Lambie bezieht sich in seiner Arbeitsweise auf die heutige\, mo derne Welt und setzt allerlei Verweise zur Pop-Kultur\, vor allem Musik und Popikonen charakterisieren sein Schaffen. Er verwendet Alltagsobjekte und &ndash\;materialien\, ü\;berfü\;hrt sie als Skulpturen in den Berei ch der Kunst\, und verleiht ihnen so eine alternative Funktion. Aus Teilen der vorgefundenen Materialien schafft der Kü\;nstler\, vom Geist der br itischen Punktbewegung durchdrungene Skulpturen: grelle Farbschattierungen\ , gewagte Prä\;sentation und eine Bandbreite von Referenzen zu Musikgru ppen sowie Songs aus zahlreichen Musikstilen.

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Alte Koffer\, Spiegel oder Bü\;cher aus der Sparte der Trashli teratur\, aber auch industriell gefertigte Materialien wie Duct-tape und Ka rtoffelsä\;cke: Lambie erkundet das ü\;berwä\;ltigende Potentia l der\, gerne in Second-Hand&ndash\;Lä\;den gefundenen \; Alltagsob jekte. Seine Herangehensweise spiegelt die Do-it-Yourself Haltung der post- punk Szene\, deren Mitglieder eine Subkultur geschaffen haben\, die sich &u uml\;ber kaputte\, veraltete oder schlichtweg hä\;ssliche Materialien d efinieren. So feiert Lambie mit seinen Skulpturen und Installationen das Re cht jedes Objektes auf Bedeutung und priorisiert den Vorgang des Sehens. Da s Werk des Kü\;nstlers rä\;umt den Vorstellungen des Betrachters un d der Geschichte der verwendeten Materialien Platz ein und lä\;sst dies in die Erfahrung des Betrachters mit dem Kunstwerk miteinfließ\;en. L ambie findet\, dass die Dinge\, die wir wahrnehmen &ndash\; Farbe\, Kartoff elsä\;cke\, Farbschattierungen &ndash\; &bdquo\;zwischen sich und u nserer\, mö\;glicherweise vorausgegangenen\, unbewussten visuellen Erfa hrung eine Resonanz bilden. Diese Werke wollen keine neue Welt erschaffen\, in welche wir uns flü\;chten kö\;nnen\, sie mö\;chten die Welt in unsere Richtung bringen und uns so dazu ermutigen\, nochmals hinzuschau en.&ldquo\;

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Jim Lambies Herangeh ensweise an das Kunstschaffen ist von einigen wenigen\, wichtigen Ideen gep rä\;gt. Lambie war\, bevor er bildender Kü\;nstler wurde\, Musiker. Farbe nutzt der Kü\;nstler gemä\;ß\; der Farbtheorie und bezi eht sich auf das Konzept der Synä\;sthesie\, ein analoges Verfahren zwi schen Musik und dem Farbspektrum\, in welchem die Stimulation einer bestimm ten\, sensorischen oder kognitiven Bahn zu automatischer\, unbewusster Erfa hrung auf einer zweiten\, sensorischen oder kognitiven Bahn fü\;hrt. Fa rben formen Harmonien und \; Muster\, Wiederholungen werden zu Rhythmen .

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Im Unterschied zu seinen eher esote rischen Vorgä\;ngern geht Lambies Wahl der Farbkompositionen von der Un mittelbarkeit und alltä\;glichen Verfü\;gbarkeit aus. Die moderne W elt dient sowohl als Inspirationsquelle als auch Palette. Dieser Punkt f&uu ml\;hrt hin zu Lambies anderer wichtiger Besonderheit: seine Glasgower Herk unft. Der Kü\;nstler ist tief verwurzelt in der Geschichte dieses\, dam als von Industrialisierung und Befreiungsbewegungen wie den Sozialutopien v on William Morris oder der gesamten Arts &\; Crafts Bewegung gespaltenen Ortes. Die Glasgow School of Art\, von schottischen Architekten und Arts & amp\; Crafts Anhä\;nger Rennie Mackintosh entworfen und auch Lambies Au sbildungsort\, ist eine Brutstä\;tte solcher utopistischer Ideen. Im Si nne Mackintoshs ist es auch Lambies Anliegen\, die Bedü\;rfnisse der Me nschen in den Mittelpunkt zu rü\;cken: die Menschen sollen nicht als Ma sse\, sondern als Individuen gesehen werden\, die keine Maschine zum Leben brauchen\, sondern ein Kunstwerk. Lambie macht vor wie wir in dieser ü\ ;ber-kommerzialisierten Welt des Eintö\;nigkeit und des Immergleichen e in Gefü\;hl fü\;r uns selbst bewahren kö\;nnen.

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Jim Lambie (1964 in Glasgow geboren) ist bekannt gew orden mit seinen mixed-media Skulpturen und beeindruckenden Fuß\;boden -Installationen\, fü\;r die er industrielle Materialien\, vorgefundene Objekte und anderen kulturell aufgeladenen Detritus nutzt. Im Jahr 2003 war er Vertreter Schottlands auf der Biennale von Venedig und 2005 wurde er f& uuml\;r den Turner Preis nominiert.

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E inzelausstellungen: Zero Concerto\, Roslyn Oxley9 Gallery\, Sydney \; Sun Rise\, Sun Ra\, Sun Set\, Rat Hole Gallery\, Tokyo\; An swer Machine\, Sadie Coles HQ\, London\; and The Fruitmarket Gallery\, Edinburgh.

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Gruppenausstellungen: Eyes on the Prize\, The Travelling Gallery\, Various cities (Turner P rize)\; Summer Exhibition 2015\, The Royal Academy of Arts London\ ; A Secret Affair: Selections from the Fuhrman Family\, FLAG Art F oundation\, New York\; 20 Years of Collecting: Between Discovery and In vention\, Zabludowicz Collection\, London\; Color Fields\, Ba kalar &\; Paine Galleries\, Massachusetts College of Art and Design\, Bo ston\; Schlaflos &ndash\; Das Bett in Geschichte und Gegenwartskunst\, Ö\;sterreichische Galerie Belvedere\, 21er Haus\, Vienna\ ; Private Utopia: Contemporary Works from the British Council Collectio n\, Okayama Prefectural Museum of Art\, Okayama.

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Lambies Werke sind in zahlreichen institutiuonen und priva ten Sammlungen vertreten\, darunter The Pace Foundation\, San Antonio\; Mus eum of Modern Art\, New York\; Hara Museum of Contemporary Art\, Tokyo\; Hi rshhorn Museum and Sculpture Garden\, Washington\; Gallery of Modern Art\, Glasgow\; Rosa and Carlos de la Cruz\, Miami\; Rubell Family Collection\, M iami\; Scottish National Gallery of Art\, Edinburgh\; and TATE\, London.

DTEND:20160604 DTSTAMP:20160503T124243 DTSTART:20160429 GEO:52.52881;13.3986933 LOCATION:Gerhardsen Gerner\,Linientraße 85 \nBerlin\, 10119 SEQUENCE:0 SUMMARY:Solo Exhibition\, Jim Lambie UID:417011 END:VEVENT BEGIN:VEVENT DTEND:20160429T210000 DTSTAMP:20160503T124243 DTSTART:20160429T190000 GEO:52.52881;13.3986933 LOCATION:Gerhardsen Gerner\,Linientraße 85 \nBerlin\, 10119 SEQUENCE:0 SUMMARY:Solo Exhibition\, Jim Lambie UID:417012 END:VEVENT END:VCALENDAR