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'what do you write when men are puking into plastic bags' pr oposes works characterized by an interest in pattern and materiality and it s lyrical expansive idea of how surfaces can be treated. \;

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a b lue plastic bag flying in the blue sky
a nivea sun bed and a group of swedish tourists
colorfield painting with crumbs
a red plastic bag flying in the blue sky
Dot
spoken surfaces are neither ill usions nor utopias
they breathe mathematically
they hack the so ftware beneath the architecture
what is the end sad storyteller ?
Dots

DTEND:20140830 DTSTAMP:20140728T224641 DTSTART:20140718 GEO:52.5008884;13.4415364 LOCATION:Chert\,Skalitzerstrasse 68\, entrance second courtyard U-1 Schles isches Tor\nBerlin\, 10997 SEQUENCE:0 SUMMARY:WHAT DO YOU WRITE WHEN MEN ARE PUKING INTO PLASTIC BAGS\, Paul Bran ca\, Marco Bruzzone\, Jagna Ciuchta\, Nuri Koerfer\, Anouk Kruithof\, Elise Lamer\, Lauris Paulus\, Fabio Marco Pirovino\, Sarah Schoenfeld\, Cléménce Seilles\, Jesper List Thomsen\, Thomas Adank\, Vanessa Safavi UID:348289 END:VEVENT BEGIN:VEVENT DESCRIPTION:

This year\, the Museum Europä\;ischer Kulturen's annual season of European Culture Days is devoted to Georgia. To mark the occasion \, the museum is presenting an exhibition from the National Museum of Georg ia entitled "Wine - Culture."

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Wine has been made in the Caucusus re gion for 8000 years. Its cultural importance for Georgia and the Georgian p eople is still so significant that in 2013 UNESCO included the special tech nique of fermenting wine in amphora in its List of the Intangible Cultural Heritage of Humanity.

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The exhibition displays photographs by one of Georgia's foremost photographers\, Dimitri Ermakov (1846-1916)\, illustrat ing the wine-making process in the 19th and early 20th centuries. Implement s for wine-making and vessels from the ethnographic collection of the Natio nal Museum of Georgia complete the picture of "Wine - Culture".

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The Georgian Culture Days are supported by the Georgian Embassy in Germany\, t he Georgian Ministry for Culture and the Preservation of Historic Monuments \, the National Museum of Georgia\, and other partners in Georgia and Germa ny\, and include not only this exhibition\, but a wide programme of events dedicated to Georgia's festivals\, its traditions of music and dance and it s contemporary literature.

DTEND:20141005 DTSTAMP:20140728T224641 DTSTART:20140801 GEO:52.4573169;13.2928777 LOCATION:Museum Europäischer Kulturen\,Lansstraße 8 \nBerlin\, 14195 SEQUENCE:0 SUMMARY:Wine - Culture. Georgian Culture Days\, Dimitri Ermakov UID:347969 END:VEVENT BEGIN:VEVENT DTEND:20140801T180000 DTSTAMP:20140728T224641 DTSTART:20140801T100000 GEO:52.4573169;13.2928777 LOCATION:Museum Europäischer Kulturen\,Lansstraße 8 \nBerlin\, 14195 SEQUENCE:0 SUMMARY:Wine - Culture. Georgian Culture Days\, Dimitri Ermakov UID:347970 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Following on in its series 'Cabinet in the Gallery'\, the Ku pferstichkabinett now presents a new one-room show in the Neue Nationalgale rie to coincide with the gallery's collection display 'Expansion of the Com bat Zone\, 1968-2000\, the Collection\, Part 3'. The Kupferstichkabinett's show features some 35 prints\, drawings\, and a three-dimensional object by the Saxon-born artist and thinker Carlfriedrich Claus.

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Based on hi s experimental use of language in visual poetry\, Claus developed\, in the early 1960s\, the new visual format of the \;Sprachblatt\, or 'speak sh eet'\, in which his thoughts took shape in a blend of drawing and writing. Well versed in the writings of Karl Marx\, Rudolf Steiner\, Ernst Bloch\, a nd other sources in the Judeo-Christian and Far-Eastern intellectual canon\ , Claus professed - in spite of his own experiences under the dogmatic stat e socialism of the GDR - a firm belief in a communist society\, in which th e 'naturalized individual' lives in harmony with a 'humanized natural world '. His text-drawings\, often executed on both sides of transparent sheets\, feature visually arresting\, spindly forms that illustrate both the proces sual and dialectal (2 pages: thesis + antithesis = synthesis). Their length y titles\, decipherable text passages\, and recurring emblem-like motifs\, such as eyes and hands\, corners\, and beams bring the viewer no closer to understanding their hidden meaning.

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The works on display here are o n loan from a private Berlin collection. From the Kupferstichkabinett's own collection are a selection of sheets from the artist's two most important graphic works\, the portfolios 'Aurora' (1977) and 'Aggregate K' (1988).

DTEND:20141005 DTSTAMP:20140728T224641 DTSTART:20140723 GEO:52.5063918;13.3683582 LOCATION:Neue Nationalgalerie\,Potsdamer Straße 50 \nBerlin\, 10785 SEQUENCE:0 SUMMARY:1930-1998. Mental Landscapes\, Carlfriedrich Claus UID:347968 END:VEVENT BEGIN:VEVENT DESCRIPTION:

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In commemoration of t he outbreak of the First World War\, the Martin-Gropius-Bau is presenting a n exhibition entitled The World c. 1914. Colour Photography Before the Great War\, which features nearly forgotten colour photographs and fil ms commissioned by the French banker Albert Kahn (1860-1940) before the Fir st World War. As the nations of Europe were already arming themselves for b attle\, Kahn\, who was excited by the Lumiè\;re Brothers&rsquo\; colo ur photography process\, dispatched photographers out into the world to dev elop a unique photo archive. Over 70\,000 colour photos have survived in th is collection. They represent an immense ethnographic treasure and were als o intended to perform a mission of peace: Bringing the outside world closer to home. Kahn&rsquo\;s activities were intended to help secure the fragile peace. The exhibition brings this treasure trove of images from a long for gotten world to light.

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For Al bert Kahn\, knowledge of peoples\, buildings\, landscapes and lifestyles wa s directly related to his desire for global peace: People who know and resp ect one another\, and who encounter one another face to face\, do not need to wage war.

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In 1908/09\, excited by the new autochrome process of the brothers August and Louis Lumiè\;re \, Kahn commissioned his photographers to document the world with the goal of assembling an archive of colour photographs from Europe\, Asia and Afric a. They photographed local scenes and people in typical clothing as well as monuments of cultural history.

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From this global treasure trove\, more than 160 images have been selected for th is exhibition. The autochromes from the Kahn archive form the centrepiece. The exhibition also displays images and projections by Adolf Miethe (1862 & ndash\; 1927) and Sergei M. Prokudin-Gorskii (1863 &ndash\; 1944).

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Adolf Miethe\, the inventor of a panchromatic film-coating process and thus the creator of three-colour printing\, playe d a significant role in the development of colour photography. His presenta tion before the Kaiser led to a commission to create a colour documentation of German landscapes for the St. Louis World&rsquo\;s Fair. His work also enjoyed great popularity as collectible pictures sold with chocolate bars. This resulted in the &ldquo\;Stollwerck Album&rdquo\; &ndash\; Germany&rsqu o\;s first coloured photographic album.

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Moreover\, the Miethe Process inspired the Russian photographer Sergei M ikhailovich Prokudin-Gorskii. His work is present in the form of approximat ely twenty-five colour prints and fifty projected photos. A special item is on loan from the German Museum in Munich: The original projector with whic h Sergei Prokudin-Gorskii exhibited his work to Nicholas II\, the last tsar . In 1909\, as a result of this presentation\, Prokudin-Gorskii received a commission to record the Russian Empire in 10\,000 photos. Between 1909 and 1915\, Gorskii made several thousand photographs of great brilliance. He d ocumented the cultural diversity of the tsarist empire from the Crimean Pen insula to Siberia.

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DTEND:20141102 DTSTAMP:20140728T224641 DTSTART:20140801 GEO:52.5066485;13.3819377 LOCATION:Martin-Gropius-Bau\,Niederkirchnerstraße 7 \nBerlin\, DE-10963 SEQUENCE:0 SUMMARY:The World c. 1914. Colour Photography Before the Great War\, Albert Kahn\, Sergej M. Prokudin-Gorskii\, Adolf Miethe UID:347964 END:VEVENT BEGIN:VEVENT DTEND:20140801T190000 DTSTAMP:20140728T224641 DTSTART:20140801T100000 GEO:52.5066485;13.3819377 LOCATION:Martin-Gropius-Bau\,Niederkirchnerstraße 7 \nBerlin\, DE-10963 SEQUENCE:0 SUMMARY:The World c. 1914. Colour Photography Before the Great War\, Albert Kahn\, Adolf Miethe\, Sergej M. Prokudin-Gorskii UID:347965 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Up to eight hours lasts her exhausting working process at a time. The paintings develop a subtle\, unfamiliar threedimensionality\, rev ealing a shimmering experience of nature. A ten-day summer jaunt with perfo rmance\, talk and concert. We open the short summer exhibition with an outs tanding performance by Junko Wada and famous artist Takehito koganezawa\, w ho exhibited at Haus am Waldsee already in 2011.

DTEND:20140824 DTSTAMP:20140728T224641 DTSTART:20140814 GEO:52.4418957;13.2389992 LOCATION:Haus am Waldsee\,Argentinische Allee 30 \nBerlin\, 14163 SEQUENCE:0 SUMMARY: Summer Visitor\, Junko Wada UID:347960 END:VEVENT BEGIN:VEVENT DTEND:20140814T213000 DTSTAMP:20140728T224641 DTSTART:20140814T193000 GEO:52.4418957;13.2389992 LOCATION:Haus am Waldsee\,Argentinische Allee 30 \nBerlin\, 14163 SEQUENCE:0 SUMMARY: Summer Visitor\, Junko Wada UID:347961 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20140825 DTSTAMP:20140728T224641 DTSTART:20140719 GEO:52.50379;13.30531 LOCATION:Woeske Gallery\,Mommsenstr. 35 \nBerlin\, 10629 SEQUENCE:0 SUMMARY:ANNIVERSARY SHOW\, Marck\, Sebastian Mögelin\, Sebastian Herzau\, R oy Nachum\, Daniela Kovacic\, Feng Lu\, Marc Pätzold UID:347941 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Jens Jensen
geboren 1940
lebt und arbeitet in Berl in und Paris

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Jens Jensen bearbeitet ein weites Feld der druckgraphi schen Techniken: die Lithographie\, die einen raschen malerischen oder zeic hnerischen Duktus erlaubt und mit der er strahlende Farbfeste veranstaltet\ , die Kaltnadeltechnik und als umfangreichsten Teil seines druckgraphischen Werks\, die Radierung.

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Jens Jensen
born in 1 940
lives and works in Berlin and Paris

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Jens Jensen processes further fields of printmaking techniques: Lithography\, which allows a fast drawing or painting style with which he hosts a radiant celebration of col our\, and the broadest techniques in his graphic work: Drypoint-etching and Metal Etching.

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Hannes Meinhard

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geboren 1937
l ebt und arbeitet in Barsinghausen

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Hannes Meinhard ä\;hnelt in s einer Haltung am ehesten Dieter Roth.
Wie Roth konzentriert er sich ni cht auf die Ausformulierung einer Stilrichtung\, sondern transformiert Impu lse seiner Erfahrungsebene unmittelbar ins Werk.
Aus ihnen heraus w&au ml\;chst seine Welt der Obzession am Material Eisen als anarchistisch es Se gment in unsere sich digital vernetzten Gegenwart\, formt sich die Skulptur mitunter aus einer einzigen konzentrierten Einschmiedung ins Werkstü\; ck\, wuchern die Inszenierungen raumgreifender Assemblagen aus Zahlreichen Fundstü\;cken und Materialfragmenten.

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Hannes M einhard
born in 1937
lives and works in Barsinghausen

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Han nes Meinhard&rsquo\;s artistic attitude resembles most closely that of Diet er Roth.
Like Roth\, he doesn&rsquo\;t concentrate on the articulation of a style\, but transforms impulses and experience into his work\, out of which grows his world of obsessions using iron as an anarchistic segment i n our present digital age. The sculpture develops out of one concentrated p iece of machinery wrought or forged into spatial assemblages consisting of multiple found objects and fragments. Here the borders between art and life have been radically lifted.

DTEND:20140913 DTSTAMP:20140728T224641 DTSTART:20140725 GEO:52.505649;13.367583 LOCATION:GALLERY BORN BERLIN\,Potsdamer Str. 58 \n Berlin\, 10785 SEQUENCE:0 SUMMARY: Druckgrafik & Schmiedungen\, Jens Jensen\, Hannes Meinhard UID:347940 END:VEVENT BEGIN:VEVENT DESCRIPTION:

From \;July 18 until September 13\, 2014\, CAMERA \; WORK presents »\;The Official Formula 1 Opus Exhibition«\;. The e xhibiton shows a fine selection of 40 portraits of the greatest legends fro m the history of Formula 1 &ndash\; created by the artist Zenon Texeira usi ng a unique camera.

DTEND:20140913 DTSTAMP:20140728T224641 DTSTART:20140718 GEO:52.50491;13.32441 LOCATION:CAMERA WORK\,Kantstrasse 149 \n Berlin\, 10623 SEQUENCE:0 SUMMARY:The Official Formula 1 Opus Exhibition\, Zenon Texeira UID:347939 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20140910 DTSTAMP:20140728T224641 DTSTART:20140801 GEO:52.5261078;13.4116762 LOCATION:GALERIE NAGEL DRAXLER\,Weydingerstrasse 2/4 \nBerlin\, 10178 SEQUENCE:0 SUMMARY:New Works\, Anna Fasshauer UID:347937 END:VEVENT BEGIN:VEVENT DTEND:20140731T220000 DTSTAMP:20140728T224641 DTSTART:20140731T190000 GEO:52.5261078;13.4116762 LOCATION:GALERIE NAGEL DRAXLER\,Weydingerstrasse 2/4 \nBerlin\, 10178 SEQUENCE:0 SUMMARY:New Works\, Anna Fasshauer UID:347938 END:VEVENT BEGIN:VEVENT DESCRIPTION:

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Mit der Gruppenausstellung & bdquo\;Der Kubist Marcel Duchamp mag nicht malen&ldquo\; setzt Michael M&uu ml\;ller seine mehrteilige Suche nach dem\, was Kunst heute ist oder sein k ann\, in den Rä\;umen der Galerie Thomas Schulte fort. Der Ausgangspunk t ist auch fü\;r diesen zwö\;lften Teil des Ausstellungszyklus&lsqu o\; der Roman &bdquo\;Der Mann ohne Eigenschaften&ldquo\; von Robert Musil\ , dessen Handlung \;im Jahr 1913 spielt. 1913 ist auch das Jahr\, in de m Marcel Duchamp das sein erstes Readymade schuf und damit die Geschichte d er Bildenden Kunst revolutionierte\, wä\;hrend er gleichzeitig erstmals fü\;r seine frü\;here kubistischen Malerei ö\;ffentlich Anerke nnung erhielt.

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Michael Mü\;ller versammelt in dieser von ihm or ganisierten Schau Beiträ\;ge zeitgenö\;ssischer Kü\;nstler und kultureller Akteure\, die sich mit diesem fü\;r die Kunst noch heute wi rksamen historischen Moment beschä\;ftigen und auf je eigene Weise mit grö\;ß\;tenteils speziell fü\;r diese Ausstellung entstandenen Arbeiten darauf reagieren. So unterschiedliche Positionen wie die Malerei von Michael Kunze oder Friederike Feldmann treffen hierbei auf konzeptuelle Interventionen von Luis Camnitzer und Karin Sander\, eine Performance von Jochen Dehn begegnet dem Beitrag des Sammler-Kü\;nstlers Wilhelm Sch&uu ml\;rmann oder kuratorischen Eingriffen von Ellen Blumenstein und Lukas T&o uml\;pfer. Auß\;erdem mit dabei: Athanasios Argianas\, Wolfgang Betke\ , Angela de la Cruz\, Martin Dammann\, Ryan Gander\, Bethan Huws\, Vlado Ma rtek\, Ray K. Metzker\, David Schutter\, Nedko Solakov und Raphael Zarka.\n

Im Rahmen der abc art berlin contemporary findet am Mittwoch\, dem 1 7. September\, von 18 bis 22 Uhr ein Empfang mit einer Performance von Joch en Dehn statt. Zudem hä\;lt Ellen Blumenstein gegen Ende des Tages eine Einfü\;hrungsrede zum Duchamp&rsquo\;schen Einfluss im Werk Michael M& uuml\;llers.

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Michael Mü\;ller continues his extensive search fo r what art is or can be in the space of Galerie Thomas Schulte with the gro up exhibition\, "Der Kubist Marcel Duchamp mag nicht malen". Once again\, t his twelfth part of the exhibition cycle revolves around the year 1913 in w hich Robert Musil's novel\, "The Man without Qualities"\, is set. This was the very year\, in which Duchamp created his first Readymade and\, thus\, s et a revolutionary milestone in art history\, while at the same time he rec eived much critical acclaim for his early Cubist paintings.

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For his show\, Michael Mü\;ller gathers contributions from contemporary artist s and culturally involved individuals\, who deal with this historic moment in art\, to create works specifically for the exhibition. Such diverse posi tions as the paintings of Michael Kunze or Friederike Feldmann hereby meet the conceptual interventions of Luis Camnitzer and Karin Sander. Jochen&nbs p\;Dehn's installation encounters the contribution of the collector-artist\ , Wilhelm Schü\;rmann\, or the curatorial interferences of Ellen Blumen stein and Lukas Tö\;pfer. Also participating: Athanasios Argianas\, Wol fgang Betke\, Angela de la Cruz\, Martin Dammann\, Ryan Gander\, Bethan Huw s\, Vlado Martek\, Ray K. Metzker\, David Schutter\, Nedko Solakov\, and Ra phael Zarka.

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On Wednesday\, September 17\, in context of the abc ar t berlin contemporary\, a reception will be hosted from 6 to 10 pm\, includ ing a performance by Jochen Dehn. Ellen Blumenstein will also give an intro duction to the Duchampian influence in Mü\;ller's work. \; \; DTEND:20140827 DTSTAMP:20140728T224641 DTSTART:20140816 GEO:52.5101298;13.3920657 LOCATION:Galerie Thomas Schulte\,Charlottenstraße 24 \nBerlin\, D-10117 SEQUENCE:0 SUMMARY:Der Kubist Marcel Duchamp mag nicht malen\, Michael Kunze\, Frieder ike Feldmann\, Michael Müller\, Athanasios Argianas\, Wolfgang Betke\, Ange la De La Cruz\, Martin Dammann\, Ryan Gander\, Bethan Huws\, Vlado Martek\, Ray K. Metzker\, David Schutter\, Nedko Solakov\, Raphaël Zarka\, Wilhelm Schürmann\, Ellen Blumenstein\, Lukas Töpfer\, Luis Camnitzer\, Karin Sande r\, Jochen Dehn UID:347929 END:VEVENT BEGIN:VEVENT DTEND:20140917T220000 DTSTAMP:20140728T224641 DTSTART:20140917T180000 GEO:52.5101298;13.3920657 LOCATION:Galerie Thomas Schulte\,Charlottenstraße 24 \nBerlin\, D-10117 SEQUENCE:0 SUMMARY:Der Kubist Marcel Duchamp mag nicht malen\, Athanasios Argianas\, W olfgang Betke\, Ellen Blumenstein\, Luis Camnitzer\, Angela De La Cruz\, Ma rtin Dammann\, Jochen Dehn\, Friederike Feldmann\, Ryan Gander\, Bethan Huw s\, Michael Kunze\, Vlado Martek\, Ray K. Metzker\, Michael Müller\, Karin Sander\, Wilhelm Schürmann\, David Schutter\, Nedko Solakov\, Lukas Töpfer\ , Raphaël Zarka UID:347930 END:VEVENT BEGIN:VEVENT DESCRIPTION:

To think alone is to think poorly. Philosophy begins with th e dialogue: it was through conversations that Plato (and his millions of re aders) came to understand the world. Before long\, though\, philosophy beca me a succession of monologues. Still\, good philosophy has arisen mostly fr om conversations: Marx and Engels\, Horkheimer and Adorno\, Deleuze and Gua ttari. In Greek\, dialogos means 'conversation' and refers to logos - reaso n\, language - that doesn't make itself absolute and instead is the outcome of discussion. The result: thinking and speaking 'live'.

In the best cases\, interviews are conversations. The old-fashioned understanding that an interviewer is ignorant and the interviewee full of knowledge has resulted in interviews that are stiff\, boring documents of one-way communi cation. For Tom Kummer\, that's never the case. Kummer doesn't do interview s with people - he speaks to them\, which is both easier and more difficult . Easier because it breaks up the unnaturalness of the situation - a situat ion where one person is repeatedly challenged while having to smile back at another. A situation where the journalist can always retreat to the positi on of asker: elegant\, sitting on an armchair\, his microphone as weapon\, the legitimating power of the media behind him. But harder\, too\, because when the questioner becomes an equal conversation partner\, he also waives his right to those privileges. Such a journalist doesn't hide himself behin d his questioning\, but rather brings himself completely into the conversat ion. This is the genesis of dialogues and - more important still - good tex ts.
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To speak with celebrities\, for the most part\, is to speak with people who have given thousands of interviews. People for whom the transfer of information has become routine and who\, just like journali sts\, have resigned themselves to their roles. These people are surprised w hen met with a conversation partner and not an interlocutor. They are surpr ised and threatened at the same time.
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A celebrity who spe aks with Tom Kummer learns - and as you can see\, it's also fun for many of them. From Pamela Anderson to Johnny Lydon\, from Sharon Stone to Quentin Tarantino.
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Anyone familiar with the meticulous nature of the preparation done by Kummer before each interview knows that these dialo gues are hard work. They begin with a scrupulous accumulation of knowledge\ , rising to the highest concentration during the interview\, ending with st ylistic honing while transcribing the tapes. These texts are created by mea ns of a double tongue: the converser's as well as Kummer's own. Only those who take seriously the language of the other and try as authentically as po ssible to capture it can understand what dialogues are: texts with two auth ors.

DTEND:20140805 DTSTAMP:20140728T224641 DTSTART:20140726 GEO:52.4993459;13.3644244 LOCATION:Tanya Leighton Gallery\,Kurfürstenstraße 156 \nBerlin\, 10785 SEQUENCE:0 SUMMARY:CELEBRITY INTERVIEWS WITH TOM KUMMER\, Pablo Larios UID:347595 END:VEVENT BEGIN:VEVENT DTEND:20140725T210000 DTSTAMP:20140728T224641 DTSTART:20140725T190000 GEO:52.4993459;13.3644244 LOCATION:Tanya Leighton Gallery\,Kurfürstenstraße 156 \nBerlin\, 10785 SEQUENCE:0 SUMMARY:CELEBRITY INTERVIEWS WITH TOM KUMMER\, Pablo Larios UID:347596 END:VEVENT BEGIN:VEVENT DESCRIPTION:

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Lars Dittrich und Andr&eacut e\; Schlechtriem freuen sich die erste Einzelausstellung &bdquo\;First Work s&ldquo\; von \;Fresh White \;zu prä\;sentieren. \ ;Fresh White \;ist ein fiktives Unternehmen\, das sich zur Auf gabe macht das berü\;hmteHOLLYWOOD \;Sign \;u nd alle Reproduktionen dieser Abbildung frisch weiß\; zu streichen. Da raus ergibt sich eine auß\;erordentliche archivarisch-forschende und k ü\;nstlerische Tä\;tigkeit der Firma \;Fresh White\, d ie uns die ikonografische und pop-kulturelle Tragweite der Idee \;H OLLYWOOD \;vor Augen fü\;hrt.

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Die ersten drei Stufen d es fortlaufenden Projekts werden dabei in der aktuellen Ausstellung in ihre r konstitutiven und diskursiven Genese einander gegenü\;bergestellt. Di e erste Stufe zeigt ein fundamentales Archiv des mit weiß\;er Ö\;l farbe ü\;bermalten \;HOLLYWOOD \;Signs \; auf allerlei Objekten\, wie Postkarten\, Werbeflä\;chen\, Plattencovern und Filmplakaten. Diese groß\;e Dokumentsammlung historisiert und ill ustriert die Interaktionen und Korrelationen des Zeichens \;HOLLYWO OD \;mit unserer Gesellschaft\, sowie untersucht die Genese des Ph ä\;nomens amerikanischer pop-kultureller Ikonografie. Der zweite Teil d es Projektes wiederum zeigt drei mit Sprü\;hfarbe bemalte weiß\;e Wellbleche &ndash\; das Material des \;HOLLYWOOD \;Sig ns. Der in der ersten Stufe archivarisch veranschaulichte Schriftzug\, wird hier von seiner starken semiotischen Prä\;gung auf ein rein minim alistisches Objekt dekonstruiert und bietet auch in dieser Verbindung viele Interpretationsmö\;glichkeiten. Fresh Whites dritter Strang zeigt ein Foto des Zeichens \;HOLYWOOD \;auf der Spitze eines Berges bei dem serbischen Dorf Mutanj. Die variierte Mimesis\, die den amerikanis chen Film-Geist auf Serbien reproduzieren soll\, aber ein \;L& nbsp\;weniger hat\, wird von dem Unternehmen in kommender Zeit in weiß \;er Ö\;lfarbe erneuert werden. Die Reise wird fortgesetzt und zwar nac h Los Angeles zu der Ü\;bermalung des Urbilds.

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Hinter \;Fresh White \;steht der Kü\;nstler Xavier Stentz. Er wurde 19 83 in Frankreich geboren und lebt und arbeitet seit 2006 in Berlin. Stentz ist Absolvent der É\;cole Nationale Supé\;rieure d&rsquo\;Art d e Bourges. Danach schloss er ein weiterfü\;hrendes Studium an der &Eacu te\;cole Nationale Supé\;rieure d&rsquo\;Art de Lyon ab. Unter seinem bü\;rgerlichen Namen stellte er bereits bei zahlreichen internationale n Gruppen- und Einzelausstellungen aus.

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\n< p>Lars Dittrich and André\; Schlechtriem are pleased to present the s olo-exhibition &ldquo\;First Works&rdquo\; of \;Fresh White.Fresh White \;is a fictive corporation that aims to repaint the& nbsp\;HOLLYWOOD \;sign and all its multiplied visual reproduct ions. Hence\, this project results in an exceptional archive and research p ractice by \;Fresh White\, illustrating the iconographic and p op cultural significance of the concept \;HOLLYWOOD.

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T herefore\, the exhibition features the first three steps of the ongoing pro ject\, which will be contrasted in their constitutive and discursive format ion. The first strand shows a fundamental archive of the \;HOLLYWOO D \;sign each painted over with white oil paint on a variety of ob jects like postcards\, advertisements\, album covers and movie posters. The large body of documents historicizes and illustrates the interactions and correlations of the sign \;HOLLYWOOD \;within society\, sc rutinizing the formation of the phenomenon of American pop-cultural iconogr aphy. The second part of the project exposes three corrugated steel sheets &ndash\; the material of theHOLLYWOOD \;sign\, each spray-pain ted in white. The archival exemplification of the lettering as a strong sem iotic object is here deconstructed to a pure minimalist object\, however st ill enabling many potential interpretations in this connection. \;F resh White&rsquo\;s third strand shows a photograph of the sign \; HOLYWOOD \;on top of a mountain near the Serbian village Mutan j. The varied mimesis\, which intends to reproduce the American movie-spiri t on Serbia and misses one \;L\, will be repainted in white in the near future by the corporation. The journey will continue\, heading to wards the repainting of the archetype sign in Los Angeles.

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The arti st behind \;Fresh White \;is Xavier Stentz\, who was born in France in 1983 and lives and works in Berlin since 2006. Stentz graduate d from the É\;cole \;Nationale Supé\;rieure d&rsquo\;Art de Bourges and completed the post-graduate program at the É\;cole Natio nale Supé\;rieure d&rsquo\;Art de Lyon in 2012. He previously exhibit ed in various international solo and group shows under his real name.

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DTEND:20140913 DTSTAMP:20140728T224641 DTSTART:20140724 GEO:52.5267826;13.3935183 LOCATION:DITTRICH & SCHLECHTRIEM\,Tucholskystraße 38 \nBerlin\, 10117 SEQUENCE:0 SUMMARY:FRESH WHITE - FIRST WORKS\, Xavier Stentz UID:347593 END:VEVENT BEGIN:VEVENT DTEND:20140723T200000 DTSTAMP:20140728T224641 DTSTART:20140723T180000 GEO:52.5267826;13.3935183 LOCATION:DITTRICH & SCHLECHTRIEM\,Tucholskystraße 38 \nBerlin\, 10117 SEQUENCE:0 SUMMARY:FRESH WHITE - FIRST WORKS\, Xavier Stentz UID:347594 END:VEVENT END:VCALENDAR