BEGIN:VCALENDAR VERSION:2.0 CALSCALE:GREGORIAN PRODID:iCalendar-Ruby VERSION:2.0 BEGIN:VEVENT DESCRIPTION:

Das mehrjährige Ausstellungs- und Archivprojekt zeigt über 2 50 Film- und Foto-Dokumente der feministisch inspirierten und genderkritisc hen Performancepraxis im transkulturellen Kontext. Der Fokus liegt auf Arbe iten aus den 1960er bis frühen 1980er Jahren sowie zeitgenössischen Positio nen. Es sind Arbeiten von bekannten Künstlerinnen und Neuentdeckungen aus O st- und Westeuropa und den USA sowie aus Ländern Lateinamerikas und des Mit tleren und Nahen Ostens zu sehen.
Über die Festschreibung eines Kanon s hinaus wird die Vielfalt performativer Strategien hervorgehoben und das k omplexe Verhältnis von Live-Performance\, Dokumentation und Rezeption befra gt.

DTEND:20130818 DTSTAMP:20141219T173447 DTSTART:20130622 GEO:52.5184793;13.346289 LOCATION:Akademie der Künste - Hanseatenweg\,Hanseatenweg 10 \nBerlin-Tierg arten\, D-10557 SEQUENCE:0 SUMMARY:re.act.feminism #2 – a performing archive UID:281302 END:VEVENT BEGIN:VEVENT DTEND:20130622T200000 DTSTAMP:20141219T173447 DTSTART:20130622T110000 GEO:52.5184793;13.346289 LOCATION:Akademie der Künste - Hanseatenweg\,Hanseatenweg 10 \nBerlin-Tierg arten\, D-10557 SEQUENCE:0 SUMMARY:re.act.feminism #2 – a performing archive UID:281303 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Zu Ehren des Bildhauers Rolf Szymanski\, 1974 bis 1983 und 1 986 bis 1997 Direktor der Sektion Bildende Kunst sowie Akademie-Vizepräside nt (1983–1986) unter Günter Grass\, werden mit einer kleinen Auswahl seiner lebensgroßen und kleinen Plastiken aus fünf Jahrzehnten die Höfe und der G lasgang des Akademie-Gebäudes am Hanseatenweg bespielt. Das zentrale Thema von Szymanskis Bronze- und Eisenplastiken ist die menschliche Figur. Seine dauerhaften und stetig in Verwandlung befindlichen Arbeitsprozesse oszillie ren zwischen traditioneller Bildhauerei und organischen Wachstumsprozessen. So entstehen stets Menschenbilder\, die von einer „lebendigen\, pulsierend en Energie des Kreatürlichen“ (Jörn Merkert) erfüllt sind und gleichzeitig in einer offenen\, widersprüchlichen und verletzten Form erscheinen.

DTEND:20131103 DTSTAMP:20141219T173447 DTSTART:20130628 GEO:52.5184793;13.346289 LOCATION:Akademie der Künste - Hanseatenweg\,Hanseatenweg 10 \nBerlin-Tierg arten\, D-10557 SEQUENCE:0 SUMMARY:Plastiken am Hanseatenweg\, Rolf Szymanski UID:281304 END:VEVENT BEGIN:VEVENT DTEND:20130628T200000 DTSTAMP:20141219T173447 DTSTART:20130628T110000 GEO:52.5184793;13.346289 LOCATION:Akademie der Künste - Hanseatenweg\,Hanseatenweg 10 \nBerlin-Tierg arten\, D-10557 SEQUENCE:0 SUMMARY:Plastiken am Hanseatenweg\, Rolf Szymanski UID:281305 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Es ist nicht nur ein weitverbreitetes Gefühl\, sondern eine Tatsache\, dass sehr viel falsch läuft in unserer Welt. Grund genug\, den g lobalen Problemen mit allen zur Verfügung stehenden Möglichkeiten Aufmerksa mkeit zu verschaffen. Unter dem Motto „Mut zur Wut“ initiierte der Heidelbe rger Grafikdesigner Götz Gramlich zusammen mit Marcello Lucas einen Plakatw ettbewerb. Eine internationale Jury wählt jährlich die 30 aussagekräftigste n Motive aus\, die anschließend produziert und im öffentlichen Raum präsent iert werden. Die internationalen Arbeiten nehmen unter anderem Stellung zu Umweltverschmutzung\, Krieg\, Ausbeutung und Verletzung von Menschenrechten . In der Akademie der Künste werden ausgewählte Wettbewerbsergebnisse der l etzten drei Jahre präsentiert. Zur Eröffnung sprechen Klaus Staeck und Götz Gramlich.

DTEND:20130731 DTSTAMP:20141219T173447 DTSTART:20130117 GEO:52.51583;13.37961 LOCATION:Akademie der Künste - Pariser Platz\,Pariser Platz 4 \nBerlin\, 10 117 SEQUENCE:0 SUMMARY:Mut zur Wut – Internationaler Plakatwettbewerb UID:254171 END:VEVENT BEGIN:VEVENT DTEND:20130117T200000 DTSTAMP:20141219T173447 DTSTART:20130117T110000 GEO:52.51583;13.37961 LOCATION:Akademie der Künste - Pariser Platz\,Pariser Platz 4 \nBerlin\, 10 117 SEQUENCE:0 SUMMARY:Mut zur Wut – Internationaler Plakatwettbewerb UID:254172 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The gallery alexander levy is very pleased to present new wo rks from the sculptor
Gereon Krebber.
In his second solo exhibit\ , hülluhollo\, the Cologne-based artist will be showing
sculptures of melted film\, concrete and other building materials which he has
modif ied and transformed in surprising ways.
In the middle of the room is a n ensemble of sack-like film sculptures\,
accompanied by concrete cast s and works of worm-like expanding foam.
Between amorphous forms and b ulges\, clean edges and hanging tentacles\,
shapes that are difficult to classify\, irregular and only conditionally plannable come
into bei ng – as playful and consciously indefinite as the title of the exhibit.
"Given the artistic world of Gereon Krebber\, it is quite obvious that th e priority is
not only the development of appropriate perspectives or interpretations\, but much
more so to initially and fundamentally asce rtain what we are even seeing in front of
us. The objects recorded by Gereon Krebber in his sketches or as realized as
sculptures are both e ntirely present for the senses and strangely unapproachable.
They are located in an ontological field of tension between thing\, shape and
i mage\, without it being possible to entirely capture them in one of thesecategories.
As visibly artificial formations\, they are undoubtedl y at home in the sphere of art\,
and also qualify as images in a gener al sense\, in that they are primarily oriented to
being experienceable in visual re-enactment. However\, they are also defined by
their evid ently object-like quality\, and are also present as bodies in a world that is
understood and constituted in material terms. It is particularly th is material
physicality that takes on its own meaning in Krebber's app roach\, to the extent that
it here becomes a significant element of th e appearance and it is no longer
possible to abstract the shapes from the contingency of their material."
(Cited from: Reinhard Buskies: WYS IWYG – Gereon Krebber. Catalog for the
exhibit in the Kunstverein Boch um 2013\, p. 12)
Gereon Krebber (born 1973 in Oberhausen) studied at t he Kunstakademie
Düsseldorf and at the Royal College in London. He liv es and works in Cologne and
has been professor for sculpture at the Ku nstakademie Düsseldorf since 2012.
Works of Gereon Krebber can current ly be seen in the exhibit Die Bildhauer (The
sculptors) in the Kunstsa mmlung Nordrhein-Westfalen K20 and in the exhibit
WYSIWYG in the Kunst verein Bochum. Krebber will soon erect the large public
sculpture Blob ster in Gelsenkirchen.
Krebber recently received commissions for both the Gesundheitscampus NRW
and for the Sparkasse KölnBonn.

DTEND:20130810 DTSTAMP:20141219T173447 DTSTART:20130622 GEO:52.50698;13.39138 LOCATION:alexander levy\,Rudi-Dutschke-Strasse 26 \nBerlin\, 10969 SEQUENCE:0 SUMMARY:hülluhollo\, Gereon Krebber UID:281728 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The ambiguity in the sculptures by Gregor Gaida (* 1975 in C horzów\, Poland) is the result of an apparent concurrence of figuration and abstraction. He manages this through a variety of artistic strategies: thr ough reflections and repetitions\, through breaks and gaps and by means of the play with the ambivalent associations which his works evoke.
Gaida utilises reflections – such as with the aluminium sculpture Polygonales Pf erd II (Polygonal Horse)\, which is installed in front of the gallery in th e outer room – by selecting part of the horse’s body and duplicating it so often in the rotation around one axis until a new\, cohesive whole emerges. Through this repetition of a fragment the formerly familiar body becomes a n ornamental object that not only seems ambiguous\, but also strange\, like an immovable\, non-viable mutation. In this way there is no evaluation of a specific perspective as with Elementarz: two owls in flight\, which are n ot fragmented\, although linked with one another in order to revolve around one reference point in the room. Smaller objects featuring various materia ls\, entitled Membran (Membrane)\, depict delicately modelled animals which seem to vanish in polygons: mutilated\, geometric-organic composite beings are created\, even if one tries to ‘imagine’ the missing pieces.
But the use of reflecting surfaces within the sculptures also causes a disrupti on of the view\, which from such a possible meaning distinguishes the form and the spatial relationship of individual parts of the figure from each ot her. Gaida modelled the Dornauszieher (Boy with Thorn) – a sculpture create d by Gustav Eberlein during 1879-86 according to a classical model – in acr ylic resin. However\, the thorn which the boy wants to pull from his left f oot in the original and the dynamic turning of his body become subordinate here\, because five long thorns pierce the body through the head\, back and knee\, and deprive him of the right leg and left arm. These long\, straigh t gaps featuring dark wood outside and mirrored inside now give the figure more than merely a foothold. The way in which Eberlein’s original is intent ionally deprived through the model in the new work is depicted in a downrig ht destructive manner.
A grey flag mounted on the gallery wall\, with a silvery Rococo curlicue from which filaments seem to sprout\, is not only neutral due to its colour. The emotions\, the symbolic content\, the pathe tic character of a flag\, all positive and negative associations are invali dated through this manner of representation and leave nothing behind but am bivalence. However\, Gaida does not formulate this artistically here\, but leaves the interpretation up to the viewer in a thoroughly ironic way.
Gaida’s three metre high sculpture Reichstagsfiale (Reichstag Pinnacle) al so remains without pathos. Here he reproduces – true to scale – that part o f the Reichstag building’s architecture on which a Red Army soldier mounted a Soviet flag at the end of the war. This is a scene which became quite fa mous due to the photograph by Yevgeny Khaldei. However\, the new isolated p innacle is not a realistic copy\; in addition to the material remoteness (s oft wood against the hard sandstone) and the concept as solitary\, not the actual architecture but the well-known photograph turns out to be the model . It involves the media process in which the artist takes the picture and i mmediately becomes detached from it again with his sculpture. The traces of work\, the furrows of the chain saw remain visible and transfer the object into a state of autonomy in terms of its form and its materiality.
Pe rsonal sentiments and memories are not the thematic basis of his works. Gai da makes use of generally available\, mostly photographic models. The choic e of his motifs is characterised by influences of art history as well as so cietal and media-cultural aspects. Since Gaida dispenses with any narration \, the viewer’s aesthetic reflection becomes the focal point of his works.< /p> DTEND:20130720 DTSTAMP:20141219T173447 DTSTART:20130614 GEO:52.50492;13.39335 LOCATION:ALEXANDER OCHS PROJECTS\,Besselstraße 14 \nBerlin\, 10969 SEQUENCE:0 SUMMARY: ELEMENTARZ\, Gregor Gaida UID:280536 END:VEVENT BEGIN:VEVENT DTEND:20130613T210000 DTSTAMP:20141219T173447 DTSTART:20130613T190000 GEO:52.50492;13.39335 LOCATION:ALEXANDER OCHS PROJECTS\,Besselstraße 14 \nBerlin\, 10969 SEQUENCE:0 SUMMARY: ELEMENTARZ\, Gregor Gaida UID:281052 END:VEVENT BEGIN:VEVENT DESCRIPTION:

ARNDT Berlin is proud to present Cycle No. 3\, the first sol o exhibition of Indonesian artist Agus Suwage in the city of Berlin.

\n< p>Agus Suwage is one of the most important Indonesian contemporary artists. He has been actively engaged in local and international art scenes since t he late 1980&rsquo\;s. His works have been shown in many major art events i n Indonesia and abroad. He is prolific and expansive in his artistic practi ce\, making drawings\, paintings\, sculpture\, installations\, using variou s kinds of medium and materials.

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CYCLE #3 is the final part of an e xhibition showing a series of Agus Suwage&rsquo\;s works entitled CYCLE. Tw o preceding parts have been exhibited in Jakarta (Nadi Gallery\, 17-30 Apr 2012) and New York (Tyler Rollins Fine Art\, 28 Feb-13 Apr 2013).

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T he exhibition title and the works presented here relate to three aspects of a cycle. Firstly: the circle of life as a theme. Life and death has been a major underlying theme addressed in Suwage&rsquo\;s earlier work and conti nues to figure strongly in his recent works. Departing from this\, the seco nd aspect of cycle relates to the notion of rotation: the visual motifs tha t the artist has worked with in the past\, and still currently being redeve loped\, and perhaps will be in the future. And finally\, cycle (or recycle rather) as the artist&rsquo\;s predilection for incorporating found materia ls or used objects in his work.

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Figures of skulls\, skeletons\, and black out of charcoal dominate the works in this exhibition. But of course \, in the faç\;ade of death\, we are actually having a chance to gaze at life\, face to face. This is Suwage&rsquo\;s way to confront the act of living with its end point\, when all action\, belief and faith in life sha ll meet the final condition to be faced whether we like it or not.

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A series of works in CYCLE were indeed asserting Agus Suwage&rsquo\;s main modus of working all this time: to deliver various personal reflections tow ard myriad social situations surrounding him. He is not analyzing it\, to h astily give opinion and solution at the end. As he is not judging all he ha d perceived and discussed. On the other hand\, he invites us to follow his contemplation by arraying various problems at once in a seemingly ironic\, even incoherent relationship. All he delivers in a mere dark visualization\ , shrouded by a bitter sense of humor.

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Anxiety toward numerous matt ers in life confronting the personal with the social in this sort of tensio n is certainly neither a unique nor exclusive experience that can only be f ound in Indonesia. Up to this day\, various conflicts and illogical atrocit ies are constantly recurring: from the shooting of a young girl Malala Yous ufzai in Pakistan\, bombing at Boston Marathon\, to the death of a number o f people caused only by careless and messy building and workplace arrangeme nt in Bangladesh. These sorts of incidents are indeed not elating\, nor nou rishing our faith of human savvy and conscience\, able to construct a life together. In front of these myriad violence affairs and victims that are co ntinuously tumbling following the absurdity of life\, we are all in fact fa cing an identical destiny. We may wish that life would take another path\, to undergo a new cycle.

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In facing all of it\, Suwage seems to be sk eptical\, also towards himself that keep questioning and concerning any kin ds of things. What if what he seeks and waits for\, say it an enlightenment of together life\, is an ideal that continuously hiding in nowhere afar? S hould we be sustained and faithful as Estragon and Vladimir awaited the sti ll-not-coming Godot\, just like in the play by Samuel Beckett. Or should we need to promptly gritty seeking the eternal flame of truth\, flying close even to the sun\, and in the end burn and fall\, like Icarus?

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Enin Supriyanto
Curator

DTEND:20130831 DTSTAMP:20141219T173447 DTSTART:20130608 GEO:52.50222;13.36446 LOCATION:Arndt\,Potsdamer Strasse 96 \nBerlin\, D-10557 SEQUENCE:0 SUMMARY: Cycle No. 3\, Agus Suwage UID:279340 END:VEVENT BEGIN:VEVENT DTEND:20130608T190000 DTSTAMP:20141219T173447 DTSTART:20130608T160000 GEO:52.50222;13.36446 LOCATION:Arndt\,Potsdamer Strasse 96 \nBerlin\, D-10557 SEQUENCE:0 SUMMARY: Cycle No. 3\, Agus Suwage UID:280249 END:VEVENT BEGIN:VEVENT DESCRIPTION:

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4 Weeks – 8 courses – 120 Gue sts – Berlin

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The ACSA will be taking place this year in its new AU TOCENTER location in the very heart of Berlin. The 2013 program will offer participants a rich combination of practical and theoretical knowledge in a wonderful atmosphere and setting\, and in personal encounter and discussio n with a wide selection of international experts drawn from all fields of t he arts. In addition\, the ACSA will provide manifold insights into the art world\, its institutions and its discourses.

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For ACSA 2013\, an ex citing 4-week program has been drawn up. Participants can choose themselves how long they wish to attend\, choosing one of the two weekly classes. The two courses per week are run by major international artists. In each week- long course\, 15 participants will have the opportunity of developing their artistic practice and theory in interchange and interaction with their tea cher – while at the same time being able to immerse themselves in one of th e most exciting city art scenes in the world.

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In addition to the cl asses\, each week’s schedule includes two lectures and an art-tour in the c ompany of experts\, journalists\, collectors and curators. The guided tours will enable visits to studios\, galleries and art institutions and to the various other stunning sites Berlin has on offer. At the end of every week\ , an exhibition will be held\, presenting the resultant artistic work to a broader public.

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DTEND:20130713 DTSTAMP:20141219T173447 DTSTART:20130617 GEO:52.51135;13.39975 LOCATION:Autocenter\,Leipziger Strasse 56 \nBerlin\, 10117 SEQUENCE:0 SUMMARY:autocenter summer academy UID:280547 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Written symbols are omnipresent in our culture. They open up the universe of the written word and give us directions in everyday life. But the distinct message inherent in their appearance is often only noticed subliminally. &lsquo\;ON&ndash\;TYPE: Texts on Typography&rsquo\; conveys the fascination of type design and shows classics from twentieth-century ty pographic history along with recent examples. The exhibition gathers togeth er theses\, manifestos and stocktaking accounts from twentieth-century typo graphy in the German-speaking countries. It also presents type specimens an d insiders&rsquo\; typography magazines\, and discusses the central protago nists and important debates in the history of typography regarding legibili ty\, use of small letters in German\, and the effects of digitization.

DTEND:20130811 DTSTAMP:20141219T173447 DTSTART:20130508 GEO:52.5060693;13.3527672 LOCATION:Bauhaus-Archiv Museum of Design\,Klingelhöferstraße 14 \nBerlin\, 10785 SEQUENCE:0 SUMMARY:ON-TYPE: Texts on Typography UID:274222 END:VEVENT BEGIN:VEVENT DTEND:20130508T170000 DTSTAMP:20141219T173447 DTSTART:20130508T100000 GEO:52.5060693;13.3527672 LOCATION:Bauhaus-Archiv Museum of Design\,Klingelhöferstraße 14 \nBerlin\, 10785 SEQUENCE:0 SUMMARY:ON-TYPE: Texts on Typography UID:274223 END:VEVENT BEGIN:VEVENT DESCRIPTION:

For Gallery Weekend\, Berlin Art Projects proudly presents t wo young\, Turkish artists in two exhibitions in their spaces at Mehringdam m 33. Yasam Sasmazer and Ismail Necmi both belong to the gallery’s regular program\; both live and work in Istanbul and Berlin and represent important artistic positions in the Turkish art scene. The exhibitions will both be on view from Friday\, April 26 at 6 pm to Monday\, April 29 at 7pm. The ope ning is on Saturday\, April 27 from 2 – 5 pm in presence of the artists.

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Yasam Sasmazer ǀ Doppelgänger

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We are delighted to pres ent Sasmazer’s “Doppelgänger” figures – made especially for the artist’s fi rst museum exhibition at the Künstlerhaus Marktoberdorf in the summer of th e previous year – for the first time in Berlin. The series\, which consists of five sculptures and groups of sculptures\, is based on the literary mod el of the double. Building on earlier works\, particularly the “shadow” scu lptures created directly before these\, Sasmazer’s figures (at first childr en\, then youths) have grown up. The model is the artist herself. Her woode n “doubles” now stand life-sized in front of the viewer – disturbing\, unca nny and immediate. The artist refers to her new project as an “attempt to l ook in a mirror“. With it\, she follows the theories outlined by Lacan\, po ints to C. G. Jung’s archetypes and draws reference to “the uncanny” descri bed by Sigmund Freud. In the shadow series\, she was primarily interested i n a confrontation with one’s own dark side\, or thoughts and feelings that society considers negative though they belong to the whole of a personality . In the “Doppelgänger”\, Sasmazer confronts her own mirror image\, though her figures are not studies of her own character. Instead\, they show the d ifferent aspects and characteristics that make up a character\, like the in dividual “puzzle pieces” that come together to form every whole personality . For her\, it is about identity\, the perception of others and of oneself.

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Ismail Necmi | Should I really do it?

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 After the fi rst solo exhibition by photographer and filmmaker Ismail Necmi\, in which w e showed black and white shots from his series “Stills from Unmade Films” o n the occasion of the 2011 Berlinale\, we are pleased to present this film debut “Should I really do it?” (2009). The film\, which Necmi realized as i ts screenwriter\, director and producer in one\, has been shown in numerous film festivals and awarded prizes. It tells the story of Petra\, a German living in Istanbul – thus ironically reversing the typical path of the Turk ish migrant. Petra’s life takes so many unexpected twists and turns that in some places\, the film appears to be pure fiction. But what we see is noth ing more and nothing less than a life lived – a story as only she could wri te it. In her meetings with Herold\, a masked\, mysterious character\, Petr a reveals her life to him and us\, a tale told with impressive sincerity ab out her existence and experience of two cultures: of Istanbul\, Germany\, o f family and friends of drug use and death. Can reality be more surprising than fiction? Just as we see in the parallel selection of "Stills from Unma de Films"\, Necmi effortlessly trespasses the boundaries between reality\, fantasy and art.  He leads the viewer to the thin line of a difficult-to-gr asp\, liminal world in which everyone can live as they want without explana tion or compromise.

DTEND:20130809 DTSTAMP:20141219T173447 DTSTART:20130426 GEO:52.50363;13.36666 LOCATION:BERLINARTPROJECTS\,Potsdamer Str. 61 \nBerlin\, Berlin 10785 SEQUENCE:0 SUMMARY:YASAM SASMAZER ǀ DOPPELGÄNGER & ISMAIL NECMI | SHOULD I REALLY DO I T?\, Yasam Sasmazer\, Ismail Necmi UID:270840 END:VEVENT BEGIN:VEVENT DTEND:20130427T170000 DTSTAMP:20141219T173447 DTSTART:20130427T140000 GEO:52.50363;13.36666 LOCATION:BERLINARTPROJECTS\,Potsdamer Str. 61 \nBerlin\, Berlin 10785 SEQUENCE:0 SUMMARY:YASAM SASMAZER ǀ DOPPELGÄNGER & ISMAIL NECMI | SHOULD I REALLY DO I T?\, Ismail Necmi\, Yasam Sasmazer UID:270841 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The Berlin painter\, graphic artist and fil mmaker KP Brehmer (1938&ndash\;1997) soon made visualising socio-political processes a focal concern of his work. In the 1960s\, under the influence o f Fluxus and Pop Art\, he turned his attention to daily life and the growin g presence of the media in Western consumerist society. His early works qua lify as examples of the so called &ldquo\;capitalist realism&rdquo\;.

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In subsequent years Brehmer cultivated his diagra mmatic and cartographic work. He would take data and maps found in books or magazines and transform them &ndash\; sometimes subtly\, sometimes severel y &ndash\; into paintings or prints. With carefully chosen touches\, Brehme r thwarts the flow of information from illustrations and maps designed to c onvey their message directly. In &ldquo\;Die ausreichend versorgten Gebiete der Welt&rdquo\; [&ldquo\;Regions of the world with adequate provisions&rd quo\;]\, for example\, he erases an entire continent. He highlights the pot ential power of scientific visualisations by applying similar selection and generalisation techniques to data and thereby subverting it. In his infogr aphics\, maps and statistics\, Brehmer exposes the ways in which scientific illustrations\, commonly seen as &ldquo\;objective evidence&rdquo\;\, can manipulate data.

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This KP Brehmer presentatio n drawn from our collection has been put together by the Berlinische Galeri e&rsquo\;s trainee curators Anne Bitterwolf\, Clemens Klö\;ckner\, Chri stina Korzen and Isabelle Lindermann.

DTEND:20130812 DTSTAMP:20141219T173447 DTSTART:20130130 GEO:52.503478;13.398227 LOCATION:Berlinische Galerie\,Alte Jakobstraße 124-128 \nBerlin\, 10969 SEQUENCE:0 SUMMARY:Diagrammatic and cartographic works\, KP Brehmer UID:285522 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Berlin was reinstated as the German capital when the Federal Republic of Germany and the German Democratic Republic reunited. The feder al government\, the parliament and almost all diplomatic missions moved to the country’s new political hub. Following a number of competitions for urb an and architectural design\, the districts of Mitte and Tiergarten became home to a new government district and some embassies of notable design qual ity.

Models\, drawings and photographs from our collection\, com plemented by loans\, illustrate these competition entries – some implemente d and others not – as options for the expression of power. They also stand\ , however\, as works in their own right\, embodying conceptual creativity a nd exploiting construction techniques. The projects on display range from t he German Foreign Office\, Reichstag and official residences of the German Chancellor and President to embassies for countries such as India\, Mexico\ , the Netherlands and Turkey.

DTEND:20130930 DTSTAMP:20141219T173447 DTSTART:20130221 GEO:52.503478;13.398227 LOCATION:Berlinische Galerie\,Alte Jakobstraße 124-128 \nBerlin\, 10969 SEQUENCE:0 SUMMARY: The New Berlin - International designs for public buildings and e mbassies since 1990\, Gottfried Böhm\, Stephan Braunfels\, Georg Bumiller\, Santiago Calatrava\, Sir Norman Foster\, Candida Höfer\, OMA/Rem Koohlhaas \, KSV Krüger Schuberth Vandreike\, Leon Wohlhage Wernik\, Gonzalez de Leon and Francisco Serrano\, nsh architekten\, Axel Schultes\, Charlotte Frank\ , Arto Sipinen\, Francis Soler UID:254179 END:VEVENT BEGIN:VEVENT DTEND:20130221T180000 DTSTAMP:20141219T173447 DTSTART:20130221T100000 GEO:52.503478;13.398227 LOCATION:Berlinische Galerie\,Alte Jakobstraße 124-128 \nBerlin\, 10969 SEQUENCE:0 SUMMARY: The New Berlin - International designs for public buildings and e mbassies since 1990\, nsh architekten\, Gottfried Böhm\, Stephan Braunfels\ , Georg Bumiller\, Santiago Calatrava\, Gonzalez de Leon and Francisco Serr ano\, Sir Norman Foster\, Charlotte Frank\, Candida Höfer\, OMA/Rem Koohlha as\, Axel Schultes\, Arto Sipinen\, Francis Soler\, KSV Krüger Schuberth Va ndreike\, Leon Wohlhage Wernik UID:254180 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Artist and Berlin resident Katja Strunz (*1970 Ottweiler) ha s won the “Vattenfall Contemporary 2013”. Her sculptures and site-related i nstallations of shaped metal\, steel and wood are minimalist constructions which unfold in space. Her rigorous\, objectless formal canon derives from the appropriation and reformulation of various abstract movements from Cons tructivism to Minimal Art. By adding random objects and rendering visible t races or origin and wear\, she reflects the ephemeral fragility of works of art and the materials of which they are made.

The Jury was impr essed by Katja Strunz’s masterful treatment of space\, which she has alread y demonstrated at a number of exhibitions. This experience will enable her\ , in the Jury’s opinion\, to conquer the challenge presented by the exhibit ion hall at the Berlinische Galerie\, which is 10 metres high and 40 metres long. Her reflected references to constructive avant-garde forms\, combine d with an awareness of the transitory nature of art\, convinced the Jury th at this is an independent position within contemporary art.

The prize is a reconceived edition of the “Vattenfall Kunstpreis Energie”\, ins tituted in 1992 and since awarded annually. In 2010 it was redesigned toget her with the Berlinische Galerie. It has since been bestowed on artists of international renown living and working in Berlin. The award entails a pers onal exhibition at the Berlinische Galerie\, the production of an exhibitio n catalogue and a purchase for the Vattenfall collection. Previous winners were Julian Rosefeldt (2010)\, Angela Bulloch (2011) and Michael Sailstorfer (2012).

The members of the Jury were: Torsten Meyer (management of Vattenfall)\, Anne-Katrin Reinecke (mana ger of Local Partnerships Benelux\, Central Europe\, Nordic\, Vattenfall)\, Petra Roettig (Gallery of Contemporary Art\, Hamburger Kunsthalle)\, Micha el Sailstorfer (winner of Vattenfall Contemporary 2012)\, Thomas Köhler (Di rector of the Berlinische Galerie)\, Heinz Stahlhut (Head of the Fine Arts Collection\, Berlinische Galerie)

DTEND:20130902 DTSTAMP:20141219T173447 DTSTART:20130426 GEO:52.503478;13.398227 LOCATION:Berlinische Galerie\,Alte Jakobstraße 124-128 \nBerlin\, 10969 SEQUENCE:0 SUMMARY: Vattenfall Contemporary 2013\, Katja Strunz UID:263953 END:VEVENT BEGIN:VEVENT DTEND:20130426T180000 DTSTAMP:20141219T173447 DTSTART:20130426T100000 GEO:52.503478;13.398227 LOCATION:Berlinische Galerie\,Alte Jakobstraße 124-128 \nBerlin\, 10969 SEQUENCE:0 SUMMARY: Vattenfall Contemporary 2013\, Katja Strunz UID:263954 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The foyer of the Berlinische Galerie will r esonate for a year with the sound of an aria. Chamber Music (Vestibule) – a music installation by Ari Benjamin Meyers has been composed by the artist especially for this space. It is sung by Nicole Chevalier (soloist at the K omische Oper Berlin).

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Meyers reflects on the trans ient moment of entering and leaving the museum\, playing at the same time w ith the perceptions of its visitors. How far the work unfolds and whether i t can be heard at all depend on the behaviour of each guest and the overall activity in the space.

DTEND:20140428 DTSTAMP:20141219T173447 DTSTART:20130428 GEO:52.503478;13.398227 LOCATION:Berlinische Galerie\,Alte Jakobstraße 124-128 \nBerlin\, 10969 SEQUENCE:0 SUMMARY: Chamber Music (Vestibule)\, Ari Benjamin Meyers UID:269005 END:VEVENT BEGIN:VEVENT DTEND:20130427T200000 DTSTAMP:20141219T173447 DTSTART:20130427T170000 GEO:52.503478;13.398227 LOCATION:Berlinische Galerie\,Alte Jakobstraße 124-128 \nBerlin\, 10969 SEQUENCE:0 SUMMARY: Chamber Music (Vestibule)\, Ari Benjamin Meyers UID:269006 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Works by Henning Bohl rarely stand alone. They are usua lly clustered around a common theme to create arrangements. Literary snippe ts and extracts from artistic biographies are so inextricably combined with stylistic quotes and cited motifs that they are hard to disentangle. To th is inexhaustible reservoir of existing forms Henning Bohl adds that minimal touch of his own\, generating new\, surprising elements and consciously de fying any overhasty decoding or clear-cut attributions.

The paintings\, collages and staged object s in this exhibition were made between 2003 and 2006. They constitute a bod y of work that has been held in the Berlinische Galerie collection since 20 11 and is now being shown for the first time in this form\, conceived toget her with the artist.

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Henning Bohl was born in Old enburg in 1975. From 1997 to 2000 he studied at the Kunsthochschule in Kass el and from 2000 to 2004 under Thomas Bayrle at the Stä\;delschule in F rankfurt am Main. \;

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Die Arbeiten Henning Bohls stehen selten fü\;r sich allein. Meist fü\;gen sie sich zu Arrangements\, die um ein gemein sames Thema kreisen. In ihnen vermischen sich literarische Fundstü\;cke und Verweise auf Kü\;nstlerbiografien mit Stil- und Motivzitaten\, der en Verflechtung nur schwer wieder aufzulö\;sen ist. Aus dem unersch&oum l\;pflichen Fundus bereits existierender Formen stellt Henning Bohl mit min imalem Aufwand neue und ü\;berraschende Bezü\;ge her\, die sich dem vorschnellen Entschlü\;sseln oder einer eindeutigen Zuordnung bewusst entziehen.

Die in der A usstellung gezeigten Gemä\;lde\, Collagen und inszenierten Objekte ents tanden zwischen 2003 und 2006. Sie bilden einen Werkkomplex\, der sich seit 2011 in der Sammlung der Berlinische Galerie befindet und in dieser &ndash \; mit dem Kü\;nstler gemeinsam konzipierten &ndash\; Form erstmals zu sehen ist.

Henning Bohl ist 1975 in Oldenburg geboren. Von 1997-2000 studierte er an der Kunsthochs chule Kassel und von 2000-2004 bei Thomas Bayrle an der Stä\;delschule in Frankfurt am Main.

DTEND:20130923 DTSTAMP:20141219T173447 DTSTART:20130521 GEO:52.503478;13.398227 LOCATION:Berlinische Galerie\,Alte Jakobstraße 124-128 \nBerlin\, 10969 SEQUENCE:0 SUMMARY:From the Collection\, Henning Bohl UID:281308 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Over the course of a year\, the IBB Video L ounge will present twelve artists who have recently attracted attention wit h an innovative approach to the film or video medium. Documentary technique s will feature alongside strategies for challenging the medium and testing new formats for cinematic narrative. Other artists we invite to participate will stand out for the way they explore aesthetic issues\, use film or vid eo to record performances\, or experiment around audio-visual questions.

The format is designed to include both established names in contem porary video art and young artists whose works have rarely been shown in mu seums. A new programme composed of different works will be launched every m onth.

This project has been facilitated by Investitionsbank Berl in (IBB).

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Artists June to August 2013

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Ju mana Manna\, 05.06.&ndash\;01.07.2013
Andy Graydon\, 03.07.&ndash\;29. 07.2013
Laura Horelli\, 31.07.&ndash\;26.08.2013

DTEND:20140623 DTSTAMP:20141219T173447 DTSTART:20130605 GEO:52.503478;13.398227 LOCATION:Berlinische Galerie\,Alte Jakobstraße 124-128 \nBerlin\, 10969 SEQUENCE:0 SUMMARY: 12×12 The IBB-Videolounge in the Berlinische Galerie\, Jumana Ma nna\, Andy Graydon\, Laura Horelli UID:281307 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Artist Tobias Zielony (*1973 Wuppertal)\, who lives in Berlin\, is one of the most talke d-about German photographers of his generation. In a major one-man show\, t he Berlinische Galerie will be the first venue to exhibit his latest projec t “Jenny Jenny” (2011-2013)\, which includes two photo-animations. Also on show will be the series “Trona” (2008)\, which Berlin’s museum of modern ar t was fortunate to acquire for its Photography Collection.

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For more than ten years now\, Tobias Zielony has been taking portraits of young people encountered on the urban and social margins of Western welfare states. This is where he finds his t hemes\, in places where the achievements of the modern age are falling apar t and the promise of a community founded on solidarity has lost its enchant ment: teenagers in night-time Los Angeles trying to carve out a space in th e shadow zones of the city (The Cast\, 2007)\, descendants of the Canadian First Nations on reserves in Manitoba whose cultural traditions have been s hattered along with their prospects for the future (2009)\, Camorra familie s whose children pose for the camera in what was once an avant-garde reside ntial development\, the “Vele” in Naples (2010). For the benefit of Zielony ’s camera\, they all seem keen to place themselves in the right light in or der to project a self-assured\, proud image of themselves\, knowing that th ese images will be open to challenge.

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The 18-part series “Trona” (2008) depicts young people fr om the desert community of that name not far from Los Angeles. When the for mer industrial town began falling apart in the wake of economic changes\, m any of its residents resorted to crystal meth as a drug to numb their sense s. Trona is typical of many impoverished towns in rural America. Zielony as ks what happens when social and institutional structures break down and peo ple are thrown back on their own resources.

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His latest project is called “Jenny Jenny”. The subjects are young w omen\, some of whom earn their money by selling sex. But the facts are flui d\, and so are the roles – both those adopted by the women themselves and t hose attributed to them by society. The idea that the true essence of a per son or moment in time will be revealed is a myth. Zielony has evidently dra wn clear conclusions about both the authenticity of the subject and the obj ectivity of the documentary image: neither is ever free of staging.

DTEND:20130930 DTSTAMP:20141219T173447 DTSTART:20130621 GEO:52.503478;13.398227 LOCATION:Berlinische Galerie\,Alte Jakobstraße 124-128 \nBerlin\, 10969 SEQUENCE:0 SUMMARY:„Jenny Jenny“\, Tobias Zielony UID:274224 END:VEVENT BEGIN:VEVENT DTEND:20130621T180000 DTSTAMP:20141219T173447 DTSTART:20130621T100000 GEO:52.503478;13.398227 LOCATION:Berlinische Galerie\,Alte Jakobstraße 124-128 \nBerlin\, 10969 SEQUENCE:0 SUMMARY:„Jenny Jenny“\, Tobias Zielony UID:274225 END:VEVENT END:VCALENDAR