Horizontal and Vertical Emptiness
09.09. – 24.09.2017
Opening: Friday, Sept. 8, 2017 at 7 pm
Christinenstr. 18/19, 10119 Berlin
Thursday - Sunday, 2 - 7 pm
For his “Horizontal and Vertical Emptiness” exhibition at the Meinblau project space, Andreas Burger will be showing two large wooden boxes that are normally used to transport works of art. They give the visitors the impression that they are attending an exhibition that is still in the process of being installed. At the same time, the imposing dimensions of the boxes conjure up in one’s mind how big the works of art packed in them might be, at the same time evoking associations of a correspondingly large studio and depot along with a whole crew of assistants. What the boxes contain, or whether they contain anything at all, is something that Burger deliberately does not reveal to the visitor, using them as cyphers to evoke a mind game.
Visible in the space are two sculptures by Andreas Burger, in which sculpture is intertwined with conceptual art and Appropriation Art. He adapts to a certain extent a work by Jonathan Monk, in which the latter immortalizes himself, with irony no doubt, in classical form, practically Caesar-like and with the tip of his nose knocked off. Andreas Burger copied Monk’s portrait bust and attached a cast of his own nose to his original replica. Monk, who is known to deliberately cite and take further the work of others – naturally of big players on the art market – himself now becomes the “victim” of a productive “plundering.”
In another sculpted portrait of Vincent van Gogh, Burger added a cast of his own left ear to the maimed world-famous artist. Burger deliberately celebrates this festival of piracy and citations of the works of Monk, who places himself contextually in a high sphere of art history with the way in which he pursues his work. He brings this method back down to earth when he applies his own nose and at the same time takes Monk’s game too far – with great irony – in his bust of van Gogh.
Text: Matthias Reichelt
Sponsored by Bezirksamt Pankow von Berlin - Amt für Weiterbildung und Kultur - Fachbereich Kunst und Kultur
18.08. — 03.09.2017
Opening: Thursday, 17.08.2017 at 7 p.m.
Auf dem Pfefferberg, Haus 5
Christinenstr. 18-19, 10119 Berlin
Opening Hours: Tue — Sun 2 — 7 p.m.
Organized by singuhr e.v. Supported by Bezirksamt Pankow von Berlin (Amt für Weiterbildung und Kultur, Fachbereich Kunst und Kultur) and the Hong Kong Arts Development Council (HKADC). With the kind support of Meinblau e.V.
by Juan Varela and Gonzalo Reyes Araos
OPENING: THURSDAY, 20. July 6 pm
Openinghours: Friday, 21.7. - Sunday, 23.7.2017
12:30 bis 19:00 (the artists will be there all the days)
As an extension of Social Geometrism ( presented during the Gallery Weekend 2017 at Reinbeckhallen ), we introduce Thresholds, an exhibition hosting the work of Juan Varela and Gonzalo Reyes Araos.
Thresholds displays a set of geometrical forms based on social phenomena. These artists investigate topics related to the body, - presence, distance, physical experience -, and its encounter facing concrete or virtual spaces.
Gonzalo uses elements borrowed from the everyday means of communication, - screens, videoconference devices -, in order to share natural events on digital media. His observations amplify the relationships we maintain with spiritual experiences through the technology.
Via simple instructions accompanying his installations and site-specific modifications in the public space, Juan's work invites the audience to experience paths in an attempt to uprise sculptural forms through the act of walking. Therefore, he re-objectifies the artwork suggesting that it is built in the act of using it.
In the main room, we find both artists in a singular dialogue. This space has been immersed in a red, blue and green colored environment falling from the ceiling. This artificial environment varnishes an x-like shape structure which invites the audience to interact with other people. Both works, make a reference to an intangible reality experimented in the daily human life. This act of placing them together disguises a dual meaning, an arrangement in which virtual and physical references meet in a single space.
Gonzalo Reyes Araos
Gonzalo Reyes Araos was born in Quilpué, Chile. He currently lives and works in Berlin. He studied Fine Arts at the School of Fine Arts of Valparaíso. He obtained several distinctions such as Special Mention in Juan Francisco Gonzalez painting prize (2005) and the first prize in the Mural Painting Competition at the Ex-Carcel Cultural Park in Valparaíso (2004). He received grants from the commission of support of book of Wallonie, Belgium (2011) and from the Council of Arts of Seoul, South Korea for an artist residency in late 2015. He has participated in several exhibitions in Germany, China, South Korea, Scotland, Belgium, Switzerland and Chile. His work can be found in public collections including Jinan Art Museum (China), Cultural Corporation of Viña del Mar (Chile), Culture House of Quillota (Chile) and in private collections in Germany, Brussels, Switzerland, South Korea and Chile.
Juan Varela was born in Ourense, Spain. He currently lives and works in Berlin. He studied at MFA (Universidad Complutense de Madrid). He has obtained several distinctions, among them the Grant Leonardo, Berlin (2005), Grant Novos Valores, Spain (2006), 1st Prize at Concurso Arte Joven Latina (Sculpture), 1st prize Concurso Jóvenes Creadores, Madrid. He has been showing his work in several exhibitions in Spain, Portugal, Germany, Japan.
10. Juni bis 2. Juli 2017 / 10th June to 2nd July 2017
Do bis So: 14 – 19 Uhr / Thurs – Sun: 2 – 7 p.m.
Eröffnung/Opening: Freitag, 9. Juni um 19.00 Uhr/Friday, 9th June at 7 p.m.
Performance von/by Soni Kum
Focus Female Korea: NEVER ENDING SONG
‘Is it not over yet?’
This is how Hee-Joong Lee’s ‘Never Ending Song’1 begins. Poems allow different thoughts and feelings depending on readers, but if read together with Jeong Hee-Jin’s “women starts from the beginning. They have to repeatedly respond to the ‘same’ oppression, and have to repeat the ‘same’ story”2, the phrases of this poem creates a rather strange point of contact between the long history of mistranslations about feminism and hate crimes against women which have recently become a huge issue in the Korean society.
The murder of a young female in Gangnam station which occurred at dawn in May 17, 2015, made this song repeat itself again. In the Korean society where a woman gets killed per 1.7 days or feels she’s under the threat of death3, a murder case like this no longer receives wide attention. However, waves of condolences spread swiftly and quickly through social media, and the news received unprecedented attention. This exhibition initiated from the new senses and feelings about feminism which recently awakened the Korean society. The humanity’s false conventional wisdom about women which are commonly found in the Eastern and Western civilizations is not only the characteristics unique to Asia including Korea. Yet, the awareness of feminism in the non-western country viewed through the eyes of the western world is often given a very unique perspective. This is because it cannot be explained using a single discipline called Women’s studies, and is based on wide-ranging knowledge production and historical recognition. Furthermore, such a perspective creates ‘political correctness’ in which the operation of ethics about ‘otherization’ is only rational if the focus of the debate is on the other, in other words, the victim. However, this exhibition does not focus on ‘Korean women’ who cannot be sampled based on such simple epistemology.
‘Focus Female Korea: Never Ending Song’ which will be held from June 10 to July 2, 2017 at MEIN BLUE shines new light on all kinds of personal values that were ruled out by the universal and cold hard rational judgments demanded by modern rationalism through the works of Soni Kum and Chansook Choi who restores the memories and experiences of individual women that were marginalized from (almost) the whole history in the form of aesthetic language based on the special historical facts of more recent Korean society. Moreover, rather than limiting the gender issues as simply stemming from the few hate crimes against women that made the headlines via SNS, it aims to expand the discourse through diverse views and perspectives based on history and the entire social structure.
Goeun Song (space O’NewWall Curator)
1Hee-Joong Lee, “Never Ending Song”, Truly Old Scissors, Munhakdongne, 2012, (p116-117)
2Jeong Hee-Jin, “Language Divides by Gender”, Did Somebody Say misogyny?’, Hyunsilbooks, 2015(p98)
3Analysis by Korea Women’s Hot Line which was the first NGO in Korea which adopted the provision of counseling for victims of violence toward women in 1983
Chan Sook Choi, Choi & You, single channel video and installation, 2017
Chan Sook Choi
Chan Sook Choi works in a wide range of media, which include installation, sound, video, photography, painting and drawing. She has also recently started writing. She was born in Seoul, Korea. She studied Fine Art in Korea and Experimental media-Art at the University of the Arts in Berlin, Germany. Since 2003 she has worked intensive with film and video installation in the fields of experimental and new media art: Works that expand the boundaries of classical and contemporary art. She tried to combine elements taken from diverse epochs, cultures, and genres in order to stimulate all the senses of audience. 2010/2011 she received a Promotion from the NaFöG of the Senate of Berlin and Nart Promotion of young artists from the Seoul Art Foundation and Arts Council Korea 2013. And she was a participant as a video artist at the national-brand production from National Theatre of Korea. 2012 she was selected as Artist for Tomorrow by Sungkok Art Museum in Korea and 2014 as New Rising Artist by Gallery LOOP, Seoul, Korea.
Soni Kum, Offering, seven boats, Performance and video, 2015
Soni Kum is an interdisciplinary artist who was born and raised in Tokyo, Japan as a third generation Korean. She grew up in North Korean Community in Japan and obtained South Korean citizenship in 2006. She works in a variety of mediums including film and video, installation, performance, writing, photography, drawing and dance. Her early artworks attempt to shed light on fragmented pieces of darkened history and realign itself into more complex and personal storytelling.
After working for activist art projects with North Korean migrants in South Korea for several years, she begun to explore the theme of ritual in her performance/ installation works. Her ongoing art project is to transform the relationship between living and dying in contemporary society by attaining ultimate healing within ourselves.
Soni Kum received a M.F.A. from California Institute of the Arts in the United States in 2005 and Doctor in Fine Arts from Tokyo University of Arts in 2011. Her work has been exhibited at numerous art spaces and film festivals around the world, which include USA, Japan, Korea, Brazil, Denmark, Germany, Philippines, China, Cuba, UK, and Myanmar. She has taught in several universities in South Korea for 4 years since 2011 and received Excellent Lecturer Award from Yonsei University. Currently she is based in London from April 2016 as part of an artist in residency funded by the Pola Art Foundation, Japan.
Song studied Painting at Sejong University in Korea, and received Kingston University London’s Art and Space M.A. degree. Since 2014 until present, Song has been working as the curator at SPACE O’NEWWALL, Korea. Recently, Song has contributed in organizing and writing in exhibitions Im Youngzoo Solo Exhibition: THEWESTERLIESWINDCOMESANDGOES (2016), Jaewook Lee Solo Exhibition: Treatise on Rhythm, Color and Birdsong (2016), Hesitation Form: Gone with the Beginning (2015), and The Smell of the Moon: Swiss New Media Art (2015), etc. Song’s interest in the various knowledge production methodologies in art has led to other projects and workshops including Sensible Residence (2016), and Right Then, Wrong Now: Curators’ Conversation (2015), etc.
13.05. — 28.05.2017
Opening: Friday, 12.05.2017 at 7 p.m.
Live-Peformance and Artist Talk: Friday, 19.05.2017 at 8 p.m.
Robert Lippok is primarily known as a protagonist of electronic music (»Ornament und Verbrechen«, »to rococo rot«). But Robert Lippok’s pieces also include sound-based installations in which he brings together elements from art, music, theatre, radio and film, as well as stage sets and objects. As early as 1989 he arranged self-made musical mechanisms, audiotape loops, electric motors and a piano keyboard into a playable installation. A few years ago, Lippok became acquainted with the oeuvre of American sound artist Joe Jones, whose »Music Machines« have continued to influence him, including while creating the instruments for his new sound installation »What is Dance?«. The installation consists of an arrangement of various sound objects (pieces of wood, cymbals, rotating plastic film) in the space, which are played mechanically in a predefined choreography, thus interpretating three dances of Henry Purcell’s opera »The Fairy Queen«.
During the exhibition, Robert Lippok will give an artist talk and a live performance (Fr, 19.05.2017 at 8 p.m.).
Opening Hours: Di — So 14 — 19 Uhr
For guided tours please contact: email@example.com
Organized by singuhr e.v. Supported by Bezirksamt Pankow von Berlin (Amt für Weiterbildung und Kultur, Fachbereich Kunst und Kultur) and Initiative Neue Musik Berlin e.V. Konzert des Deutschen Musikrates. With the kind support of Meinblau e.V.
Philipp Karl Moritz
Opening: Thursday, April 20, 2017, 6 pm
Finissage: Sunday, April 30, 2017, 2pm
170 cm x 140cm, oil on canvas 2017
duration: April 20 through April 30, 2017
Thur. - Sun., 2 - 7 pm
from Tuesday, 28.March - 9.April 2017 , 14h-19h
*3 Versuche das Lied zu singen* : Exhibition
2. Versuch by Demian Kern (until 2nd April)
3. Versuch by Julian Breuer (until 9th April)
FINISSAGE Saturday, 8th April, 19h
1. Regionales Hauptfest Berlin (artfair)
Opening Saturday, 25.March 2017 14 Uhr
Saturday and Sunday 25/26 March 14-22h
by Demian Kern
1. Regionales Hauptfest Berlin is part of
the show 3 Versuche Das Lied zu Singen
Round Table by Felix Oehmann
Touch Love Cooking by Lena Marie Emrich & Thomas Leo Chapman
Aktfotofix by Ali Altin & Jochen Görlach
Tombola Meisterstück, various prizes by various artists, selected by Katrin Plavčak & Ada Van Hoorebeke
Bad Reception Fine China by Zoë Claire Miller
Videos selected by Amelie Wedel in a Tent by Reto Pulfer
Honey by Jonathan Schneider & Peter Odinzow
PLUS WORKS BY
Alex Becerra — Özlem Altin — Octavio Garabello — Janes Haid-Schmallenberg — Philipp Dachsel — Shelley Tootell — AltinStarkJaJa!Merch
supervision: Demian Kern
Opening night: November 18th
November 17th – November 29th 2017, tuesday–sunday 2 p.m.–7 p.m.
Eunok Hwang, Fabian Bechtle, Jaewook Lee Jeonghan Kim, Konrad Mühe, Noa Im,
Sook Jin Jo
The basic ideas comprising the exhibition station MOVES are approached through relativity theory. This idea suggests that everybody has his or her own “temporal speed” (proper time). In our real lives in contemporary culture, speed is central, not only in portraying human lives and minds and realities, but also in in the advancement of modernity - technological development. However, conflicting human desires have cordoned off cultures, histories, and lives through physical barriers and political divisions. The resulting ideological barriers deform human truths.
People in cyberspace and the world of information have immense capacity to enjoy freedom, where borders interweave and lose power. Internet and new media technologies open up new possibilities and create a new “dialectic of unification”. These technologies steadily dissolve borders, previously experienced as rigid national and international boundaries. The supposedly simple truths of this ordered system manipulate people to compel obedience. These systems of 'correctness' demand we become good citizens in a competitive world of rank and capital. But in this new era of change, grand 'stations' of order disperse and differentiate with new media messages, with a theme of freedom: everybody has the right to negotiate their own space. Fixed forms of contemporary 'culture' disappear and movement, from each forum where people meet and communicate, is the first principle of global citizenship. As Aristotle put it long before the digital age, when something moves with its own propulsive force, even when it’s invisible it still has the power to change the world. Modern people, with an unbound ability to roam, are exercising this freedom, and transcending the boundaries that once cut them off from each other. This is leading us into a new world of “Unification”.
Organized by Yongdo Jeong / NON Berlin
Cooperated with MEINBLAU e.V.
Supported by Korea Arts Management Service
Curated by Jeong, Yongdo
Special Thanks to
ASIA CONTEMPORARY ART PLATFORM
Performance Art Festival
10 / 11 / 12 November 2016
Opening Night: Thursday, 10th November, 18h
Full Programm please click here!
Thursday 10th, 18-22h
Friday 11th, 18-22h
Saturday 12th, 18-22h + closing Party!!
Pfefferberg Haus 5
U2 Senefelder Platz
special thanks to
Jakob Ganslmeier, Robin Hinsch, Adelaide Ivánova, Hannes Wiedemann
21.10. – 6.11.2016
Vernissage 20.10.2016 19:00 Uhr
Finissage 6.11.2016 18:00 Uhr
photo: Jakob Ganslmeier
The FOG Platform is dedicated to photography situated at the intersection of the artistic and the documentary. The emphasis is on a multiplicity of themes, working methods and styles. The exhibition shows four positions from this year’s issue 3 of FOG Magazine. In his project Lovely Planet: Poland, Jakob Ganslmeier adopts the typical categories of a travel guide to formulate ironic comments on the structural changes taking place at Europe’s centre. Furrowed, barren landscapes form the backdrop for the series Kowitsch by Robin Hinsch, who took photographs that document the sites of conflict during the recent years of crisis in the Ukraine. For over ten years now, Adelaide Ivánova has been photographing her grandmother Adelaide, who lives in Brazil. The two women share more than just a first name, and their close relationship is reflected in humorous, playful portraits that are also honest. In Grinders, Hannes Wiedemann explores the self-experiments of the American DIY cyborgs, who work toward merging human and machine using the simplest of means.
Opening hours 21.10. – 6.11.2016
23 September–2 October, 2016
Tue through Sun, 2 - 7 pm
Thursday, September 22, 2016
from 6 pm
UTOPIA shows a series of balls and domes inspired by Bucminster Fuller´s geodesic structures. This form connects to an idea of climate change and different natural elements put inside a built surrounding and artificial structures. The elements of water; e.g. water drops, ice, steam and spectrum, deeply influences the architecture of geodesic structures. One reason to choose Bucminster Fuller's structural model is its popularity in architecture built by alternative communities, as well as its universal mathematic model, which can be found in Internet calculator technology. The project started by looking at different dome structures of the historic Rome combining modernistic structural utopias, as well as avantgarde architecture like Bruno Taut's beautiful glass dome from the 1920´s. The objects are artistical views of utopias or fragile shelters against the harder reality of a world within a climate change.
UTOPIA is shown both in Helsinki Gallery Sculptor and Berlin Meinblau projektraum in two different sets.
The objects were primarily made while attending two residencies:
Finland Institute of Rome, Villa Lante in Italy, and Künstlerhaus Schloss Wiepersdorf in Germany 2015.
10 September - 18 September 2016
Opening: Friday, 9 September 2016 at 7 pm
Lorena Mal's »Concrete« makes visible the acoustic relations that are hidden in the space. The sound installation produces no sound but instead solidifies the particular sonic reflections of the space using architectonic materials. This site-specific sculpture reproduces the dominant acoustic geometry that Lorena Mal found in the space through a study of reflections of a 1000Hz sonic wave. By it's mere presence, the installation changes the original acoustics, as an instrument that reflects the space itself.
In cooperation with Pablo Kobayashi
>>Saturday, 10 September 2016 12 am - 6 pm
Workshop »Concrete Acoustics«
with Lorena Mal and Pablo Kobayashi
The workshop is an extension of the processes undertaken for the development of the project which will continue to question, as the project does, the notion of space, representation and human perception through a sound investigation. The workshop’s platform will emphasize critical thinking explored through sound by using listening strategies, architectural materials and non-conventional techniques.
Registration via e-mail until 8 September: firstname.lastname@example.org
>>Tuesday, 13 September 2016 at 7 pm
with Lorena Mal and Pablo Kobayashi
singuhr — projekte
Auf dem Pfefferberg, Haus 5, Christinenstr. 18-19, 10119 Berlin
Open: daily 2 - 7 pm
For guided tours please contact email@example.com
Organized by singuhr e.v.
Part of singuhr's »Resonating Spaces« programme. In the framework of »entre límites / zwischen grenzen« — an exhibition and residency project by singuhr — projects and Goethe-Institute Mexico. A project of the dual year Mexico — Germany.
Supported by the Senatskanzlei — Kulturelle Angelegenheiten, the Bezirksamt Pankow von Berlin (Amt für Weiterbildung und Kultur) and the Mexican Embassy in Berlin. With the kind support of the Senatskanzlei Berlin in the framework of the city partnership Berlin — Mexico City and Meinblau e.v.
OPENING Friday, 5 Aug, 19.00h
Cali D. Kurlan, Caroline Goessling, Siying Zhou, Brooke Goldman, Sarah Moore, Megan Gorham, Abigail Taubman, Hui Hsien Ng, Lili Peper, Ali Paydar, Andrea Welton, Courtney Asztalos and Bobby Smith
The Final show for the PICTURE BERLIN Summer residents in the Summer Session 2016,
curated by Peggy Sue Amison
© Megan Gorham, PB 16 resident
6 Aug 2016 – 9 Aug 2016
Thuns-Sun 2-7 pm
PICTURE BERLIN, founded in 2009, is a not for profit artist-initiated hybrid residency/art academy. The show summarizes the work that the residents have been doing through the 7 week residency program in Berlin.
FRIDAY, 10th June
Filmscreening by Wibke Stark
Where are we now 2015 / Berlin / 20min / eng
// Four stories. One Night. One shot.
The audience is invited to follow KAI, LOTTE, FYNN & MIKE on their journey through Kreuzberg and witness seemingly random encounters revealing the characters interconnectedness.
26.Mai - 5. Juni 2016
Heidi Mumenthaler creates her paintings out of spontaneous gestures, her figures emerge in a scenic self talk in which the artist reflects both usual and unusual encounters. First her distiguished wild brushstrokes and splashes of acrylic paint cover the bare canvas. In breakneck speed colours and structures change and provide the underground for the grotesque figures in clear black contours. Often inspired by theatre plays she invents a unique world of creatures whose monologues continue in the head of the viewer.
Born 1963 in Basel the artist is trained as screenprinter and studies acting at Mozarteum in Salzburg. After her contribution in various theatre productions she focusses on painting since 1992, her works were shown in various solo and group exhibitions in Zürich, Basel, Hamburg, Wien, Berlin. For theatre productions she creates sketches for programmes and worked among others with the directors Barbara Frey, Heike M.Goetze, Gian Manuel Rau und Lars-Ole Walburg.
Friday 03.06.2016, 20h
My Mom is a Wolf, My Dad... by Camilla Graff Junior
A media performance on our inner and outer animals
“My mom is a wolf, my dad…” is a talk about healing processes. What do our inner animals tell us? How can we enter into a dialogue with them? Camilla Graff Junior, aka former punk-rock musician Mona Motel, shares her experience based on autobiographical material, photos, video clips, a collection of plastic animals and family stories.
In collaboration with Paolo Podrescu (media) and Tobias Stål (light and technique).
Julian Breuer, Christoph Berger, Alice Chardenet, Lena Marie Emrich, Jihye Hong,
Bassel Ibrahim, Demian Kern, Peter Odinzow, Pascal Reinhard, Robin Wagemann
6.- 21. May 2016
The collaborative project 2011 2012 is developed by the ten artists with intensive examination of the exhibition space. Their works begann in dialogs between each other, stay flexible and take shape in the process until the set up. The artistic approaches range from installation, sculpture, video to drawing or follow performative influences. As a joint project the exhibition reflects the variety of actual interpretations and extensions of the classical notion of sculpture.
Initiated by the artists of the sculpture department– year 2011/12, Berlin Weissensee Art Academy.
Meinblau Artists & friends
Curated by: Mango Sashimi
Free entrance, Cheap Champagne
Preview & Party
FRIDAY APRIL 29, 2016 from 7 PM
SATURDAY, APRIL 30, 11 AM – 7 PM
SUNDAY, MAY 1, 11 AM – 5 PM
Group Show Ostkreuz School for Photography | Seminar Thomas Meyer
13.–23. APRIL 2016
ANA CATALÁ | www.anacatala.com
OLIVIER COLIN | www.oliviercolin.com
CHRISTIAN DEMARCO | www.christiandemarco.com
NATALY DIETZ | www.analoghunter.format.com
STEFANIE LOOS | www.stefanieloos.de
PIOTR MARGIEL | www.piotrmargiel.com
MARKUS REIMANN | www.markus-reimann.photos
ANNETTE STREICHER | www.bildbrigada.de
The seminar at Ostkreuzschule Berlin, lead by photographer Thomas Meyer, has been discussing this complex dichotomy throughout the last year. From this, several unique works have emerged, inspired by the blurry boundary between what nowadays constitutes public and private space.
The photographic works span a wide range, among others: staged public space in private rooms by Nataly Dietz, a very magical photographic discussion about the suction of new media by Stefanie Loos, the portrayal of the intimate private universes of women by Ana Catalá, and the very private rooms found in the Tiergarten by Christian Demarco.
The spectrum of the ten presented series is astonishing and widens the perspective for that subject, that never was more relevant than today.
photo: Lukas Ebensperger
1. - 10. April 2016
Curated by: Peggy Atherton, Maria Bartolo, Ben Joiner, Teena Lange, Chiara Valci Mazzara
Jo Addison, Phil Allen, Louise Ashcroft, Peggy Atherton, Maria Bartolo, Renata Bandeira, Keith Bowler, Jörn J. Burmeister, David Cotterrell, Stuart Cumberland, Annie Davey, Judith Dean, Dolanbay, Marcia Farquhar, Kitty Finer, Doug Fishbone, Luke Gottelier, RJ Hinrichsen, Des Hughes, Anja Ibsch, Ben Joiner, Sharon Lifschitz, Brendan Lynch, Pete Owen, Sarah Pucill, Robert Rush, Raine Smith, Kerry Stuart, Pip Thompson, Demelza Watts, Mark Wiltshire, Keith Wilson.
Buffet d'art showcases an array of artists, all of whom have been invited to bring along a buffet size piece of work, to be perused on a plinth. The show will be a melee of mismatched yet aspiring works, some with delusions of grandeur, others grubby with spillage and monotonous repetition, set to a medley of smooth and relaxing music by Brendan Lynch, designed to whet the senses and heighten your experience of these buffet-inspired memories.
An exhibition concept by Peggy Atherton and Maria Bartolo.
Ira Schneider & Flaut M. Rauch
March 10.- 20. 2016
“modified diencaphalonic episodes” © Schneider I Rauch, 2016
The exhibition will show what the title promises:
Episodes, video incidents, image sequences, and installation happenings
presented by Ira Schneider, a video art pioneer, and Flaut M. Rauch,
an allround multi-media artist.
You are invited to enter their shared diencephalon
(also hypothalamus / interbrain), which, located between the cerebrem
and brain stem, fulfills important vegetative functions, such as keeping
the balance between the poles of the autonomic nervous system,
the sympathetic and parasympathetic nervous system, as well as
controlling the biorhythm. Like in science, which only discovered
about 1 percent of the diencephalon yet, Ira Schneider and Flaut M. Rauch
will rather show fragmentary and episodic details of their work,
which in their diversity and different processes modify to one creation.
The line between reality and fiction frequently blurs.
Similar to our brain processes, several sequences run simultaneously,
which can be observed in detail as well as in the large picture.
The consciousness and the artistically clouding of consciousness
leads you to the universe of the modified diencaphalonic episodes.
For further information about the artists please visit:
www.ira-schneider.com and www.flautrauch.com
Mario Asef, Bernhard Draz, Sven Kalden, Georg Klein, Joachim Seinfeld
March 3. - 12. 2016
!! Venue: NON Berlin, Chauseestraße 11/Eingang/Entrance Tieckstraße, 10115 Berlin !!
The exhibition Transitional Societies, initiated by NON in 2015, accesses the discourse about Transitional Justice, and transferres it with freely associated aesthetic, but politically motivated positions into a wider social context.
Georg Klein shows his interactive installation Na Na in the entrance area. Two opposing satellite dishes acoustically create the word ICH (I / ME), and its Korean equivalent NA, and abstracting it beyond recognition.
In his art work NEAR EAST SIDE GALLERY Sven Kalden transfers graffiti and paintings of the Berlin Wall onto concrete models of the Israeli boundary walls, which are built in the West Bank since 2002.
The Argentine artist Mario Asef broaches the issue of the abduction and murder of 43 Mexican students in 2014, and the grotesque public response to this atrocity, with his large-format photographic work: Acción Día de Muertos.
Joachim Seinfeld shows a cycle from his photo performance series: When Germans are funny – a docu-fiction. He offers an ironic reflection on the bourgeois, christian, right-winged, and also the leftist anti-Semitism in Germany.
Eventually, Bernhard Draz presents with Transitional Justice – Terminology, the words freedom - despotism - justice – control, in white neon letters against a gray background, togehther with its korean pendants as steel letters.
Transitional Societies is a cooperation project of NON Berlin - Asian Contemporary Art Platform and MEINBLAU projektraum, initiated by Anne Hölck, Chan Sook Choi and Ido Shin.
image credits: Georg Klein, Na Na, 2009 und Joachim Seinfeld, Wenn Deutsche lustig sind. Docufiction 2005-2016
Site Specific Sound Installation
von Mario de Vega
Opening Tuesday, 08.12. 2015, 7 pm
9.-20.December open daily 2-7pm
Time and again Mario de Vega's work venture to the boundaries of human perception. Psychoacoustic phenomena, infrasound, high-voltage systems and electromagnetic oscillation fields are components of his practice, questions of individual perception mechanisms dealt with just as much as global political and social developments. DOLMEN addresses the social effects of modern telecommunications technologies and visually confronts the observer with an integrated sensor system that translates radio waves directly dependent on the activity of the local mobile phone network and the visitor. The exhibition space becomes the resonant space of an omnipresent yet invisible technology whose social, political and health effects are as yet unclear. The »Usuarios (Users)« photo series is presented along with DOLMEN, which de Vega has been developing together with Víctor Mazón Gardoqui since 2003.
On Sunday December 20th there will be an artist talk in the exhibition (8 pm).
Exhibition - Performance - Conference
Opening Thursday, 19.11.2015 7pm
documentation of the exhibition : issuu.com/brandberlin/docs/tj_port_issu
WE remember ME by Chan Sook Choi
PungJungGak (Wind-Meaning Engraving) – by 11 Dance Project / Joowon Song
opening at 7:30 pm & finissage 29.11. at 5pm
Transitional Justice is a project that brings to the foreground the eponymous concept that is the attempt of a given society to come to terms with past abuses in order to establish accountability, justice and reach reconciliation. It follows as second part of a series of events regarding the issue “society in transition”, created by NON Berlin and HEKO e.V. The event consists of three parts, an exhibition, a performance and a conference.
The concept of transitional justice is employed since the 1990's and has been in use through different transitional societies. Coming to terms with a difficult and violent past, one can understand it as overcoming the past while working towards reconciliation. In that sense transitional justice does not solely focus on the past but also on shaping the future, engaging with victims and offenders.
The exhibition will present the work of CHAN SOOK CHOI* and a performance by 11 DANCE PROJECT**.
Artist Chan Sook Choi will present video works that are based on biographical transitions as motivated by upheavals of political systems and their influences on private life.
The „PungJungGak“-Series of 11 Dance Project is telling the universal story about humanity and the localisation of people.
**Opening hours daily**
Finissage 29.11. 5pm
Venue: Meinblau Projektraum, Christinenstr. 18/19, 10119 Berlin
This exhibition is the first collaboration between NON Berlin and Meinblau e.V., curated by Daniela Schmidtke.
Nordkorea im Wandel: Staatliches Unrecht, Aufarbeitung und Versöhnung
Samstag, 21.11. 5pm-9pm
Venue: NON Berlin, Chausseestr. 11 (Eingang über Tieckstr.), 10115 Berlin
The conference named North Korea in Transition: State injustice, processing and reconciliation. will discuss the possibility of a Korean reunification based on the example of reunited Germany.
* CHAN SOOK CHOI is born in Seoul (South Korea ) and works with various media, including Installation, sound, video, photography, painting and drawing. She lives and works in Berlin and Seoul. Choi studied Fine Art in Korea and Experimental Media Art at the UDK Berlin. Since 2003, she focuses on experimental film, film, video and mixed media installations. Here she is interested in expanding the boundaries of classical and contemporary art.
**11 DANCE PROJECT was established in 2004 by choreographer Joowon Song. 11 Dance Project extended their spectrum to community movement project group by collaborating with various artists from different genres. They research about urban surroundings, cooperate with poem, music, dance, stage art and film. This is represented through the dance project in urban space called „PungJungGak“- Series which aims to encourage and to connect the value of human life itself. Through this series, they hope to get close to the essence of life, inner peace against the fragmented modern life.
Opening: Friday, October 30th 2015, 7 - 9 pm
Welcome and introduction by: Anne Frechen, Direktorin Künstlerhaus Schloss Wiepersdorf
Music: Susanne Hardt (Violine), Sandra Schnappauf (Klarinette), Lorenz Trottmann (Posaune)
elffriede.aufzeichnensysteme, Sven Großkreutz, Mane Hellenthal, Juliana Hümpfner, Juliane Laitzsch, César Martins, Philipp Moritz, Kasper Muttonen, Adam Noack, Sylvia Pásztor, Tiina Raitanen, Tina Schulz, Andreas Seltzer, Marlene Thiesen, Mia Unverzagt, Barbara Wege, Rosmarie Weinlich, Miro Zahra und Jörg Piringer
Opening hours: 11 a.m. - 7 p.m.
Finissage Sonntag, 1.11.2015, Sunday, November 1,
4 p.m. artist talk with: Dorothée Bauerle-Willert und Mark Gisbourne
Ulrike Mohr invites artists coming from the fields of performance, sound and drawing for a collaboration to transform and dissolve her site-specific (char)coal work at project space Meinblau. Her new work will be the starting point and working material for each collaborating artist. The term „Wechselraum“ comes from relay race (Staffellauf) and defines the zone in which one runner hands off the baton to the next runner. In reference to traditional (char)coal making, ongoing for many days, the exhibition is planned as a non-stop process.
Isaac Chong, Florian Dombois, Franziska Furter, Alice Goudsmit, Ulrike Mohr, Moritz Nitsche, Katja Pudor, Silvia Ploner & Nicolas Perret, Max Sudhues
OPENING Thursday, 15. Oktober 2015, 19 Uhr
Opening hours Thurs-Sun, 2-7 pm
and by appointment tel: 0178-5493703
Thursday, 15. October 2015
19.00 – 21.00 Ulrike Mohr –
21.00 – open end Katja Pudor –
Friday, 16. October 2015
14.00 – 16.00 Uhr Franziska Furter –
16.00 – 17.00 Uhr Max Sudhues –
17.00 – 19.00 Uhr Silvia Ploner & Nicolas Perret –
Saturday, 17. October 2015
12.00 – 15.00 Uhr Alice Goudsmit –
15.00 – 17.00 Uhr Moritz Nitsche –
17.00 – 19.00 Uhr Florian Dombois –
Sunday, 18. October 2015
ab 14.00 Uhr geöffnet
17.00 – 19.00 Uhr Isaac Chong –
During the exhibition the composition Concrete PH, 1958 by Iannis Xenakis is running
and the ethnologicalfilm Le Charbon de bois (Holzkohle), 1984, 28 min. by Jean-Dominique Lajoux is shown.
The project is funded by Bezirksamt Pankow von Berlin.
A Soundinstallation by Lucy Powell
THURSDAY, 24th September, 7 pm
!!There will be special performances with a flying drone at regular intervals during the opening!!
The entrance is free
opening hours 25-27th September
Fri-Sun 2-7 pm
If we were smarter and had thought things through more
In the title of the exhibition, Lucy Powell refers to a proposal by Eliezer Yudkowsky that artificial intelligence (AI) should be entrusted with implementing humanity's 'coherent extrapolated volition' - i.e. all the things we would want were we people better all round. Of course the title can also be given a cautionary interpretation and thus neatly sums up both sides of the debate – one utopian, one apocalyptic – at the dawn of deep learning and burgeoning automation. AI is born of the marriage of information and technology, and with this as its focus the exhibition represents a further step in Powell's exploration of the cybernetic triangle of animal-human-machine.
100 Percent (2015) is the title of a new artist's book that plays with the notion of our ability to measure and know the world. Gathered over several years from the internet and other media outlets, it presents a string of statistics progressing from 1% all the way to 100. The logic it pursues, however, is a twisted one, as the mix of facts and factoids are entirely decontextualised and – the whole having been well and truly divorced from the sum of its parts – ultimately absurd.
The artist's enduring obsession with lists and loops is also reflected in the atrium-filling sound installation Marriage d'amour (2015). A computer voice intones a stream of terminological terms, triple-word combinations from various scientific and militaristic sources that reflect a dense complexity of information and accumulated knowledge. Also collected over many years, the list builds on an earlier artist book Cause&Effect (2013) featuring jargonesque word pairs that teeter on the edge of abstraction. The computer voice, which as it turns out, has rather touchingly been programmed to draw breath at irregular intervals, is accompanied by a self-playing piano, the very embodiment of the ghost in the machine. It relays the kitschy pathos of Marriage d'amour, a piece of music by Paul de Senneville and Olivier Toussaint, as well as the absent pianist's every interpretative gesture - over and over and over.
The piano in the exhibition has been generously by sponsored by PianoGalerie Berlin.
Lucy Powell www.lucy-powell.com
Lucy Powell is an artist whose practice is a broad ontological inquiry with a focus on scientific and philosophical perspectives on the intersection of human and non-human intelligence. She studied at Wimbledon Art School and Liverpool John Moores University and moved to Berlin in 1995. As an extension of her practice she she co-founded the Satellite Salon in 2011, a forum for art-science conversations based in Berlin and now in cooperation with Kunsthochschule Kassel. Recent exhibitions/screenings include On the Edge, Tieranatomisches Theater, Berlin; Inventing Temperature, Korean Cultural Centre, London; We, animals, Meinblau Berlin, Screening Nature, Whitechapel Gallery, London; The Animal Gaze Returned, SIA, Sheffield/John Cass Gallery, Metropolitan University, London; Amateurism, Kunsterverein Heidelberg; The Worldly House Archive, Documenta 13, Kassel.
A documentation on the trail of the Soviet Army
by Stefano Corso & Dario-Jacopo Laganà
Thursday, September 3, 2015, 7 pm
For more than 40 years the Soviet Red Army was stationed in the former GDR and for a short while also in the Eastern parts of Germany after the Wall was torn down. This part of German history does not belong to the official commemorative culture, and it's becoming more and more difficult to identify these historical fragments. The Italian photographers Stefano Corso and Dario-Jacopo Laganà started out on a photographical search for traces of its remains.
Thur-Sun 2-7 pm,
!! during Berlin Art Week (15th-20th Sept) everyday 2-9 pm !!
In the Frame of the Award for our Project Space this exhibition is part of
Thursday 18th June , 7 pm
8 pm // MAN OF DOG by Reut Shemesh & Hella Immler & Dounia Tinelli
7-22 pm // ANIMAL COMPANION by Hana Lee Erdman
Vera Drebusch, Nieves de la Fuente Gutierrez, Thomas Hawranke, Sara Hoffmann, Hörner /Antlfinger, Yvonne Klasen, Filip Kwiatkowski, Anna Mahendra, Nina Reble, Marthin Rozo, Reut Shemesh und Hella Immler, Qimeng Sun
Guest Artists :
Hana Lee Erdman / companionship by Xenia Dwertmann, Shelly Etkin, Keyon Gaskin, Alice Heyward, Roni Katz, Inna Krasnoper, Maya Weinberg
we, animals – transference (en)
For the 6th part of the series “we , animals ” a number of young artists explore the processes of mutual transference that take place during encounters between humans and animals. They uncover perfect spaces and ideal bodies, use medial artefacts and derivatives of taxonomies and they tell of projected expectations and adopted behaviour. The question of transference is not considered to be one-sided: Not only do humans transfer wishes and expectations onto animals, on the contrary the different works raise the question of animal expectations of us. This results in intimate moments that describe and negotiate everyday situations in the instant of a reaction. Artificially produced expectations give way to curiosity about the animal counterpart.
13 works and performances that deal with the wishes, constraints and inclinations inherent in relationships between human and non-human protagonists will be presented in the exhibition space. The works were developed in the Transmedial Space at the Academy of Media Arts Cologne and will be on show to the public for the first time.
Kindly supported by the Academy of Media Arts Cologne.
Opening Hours 19.06.-28.06.2015
Thur-Sun 2-7 pm
and by appointment with Anne Hölck
The exhibition is presented as part of the project series “we , animals – artistic positions on human animal relations”, curated by Anne Hölck at the Meinblau Projektraum
5th EDITION OF THE MONTH OF PERFORMANCE ART-BERLIN: ANTHOLOGY
with 300+ international participants
For the 5th and final edition MPA-B takes up residency at MEINBLAU PROJEKTRAUM for one month in May 2015. Here they will be hosting the majority of the MPA-B programme as well as a wealth of other events, coordinated activities and spontaneous actions.
3rd - 31th of May 2015
When programming at the MPA-HUB is ON:
14:00-till end of performances
When programming at the MPA-HUB is not ON:
except on May 22nd and May 23rd when the HUB will only open for the evening programme of performances
The Month of Performance Art-Berlin (MPA-B) is a 31-day, city-wide, non-profit and non-funded collaborative platform devoted to supporting and advancing independent performance art practices in Berlin, and from around the world.
THE 2015 EDITION OF THE MONTH OF PERFORMANCE ART-BERLIN IS ENTITLED ANTHOLOGY.
It showcases new work of artists, curators and organisers who have been involved in the incredible story called MPA–B at different junctions over the past five years. This edition marks the completion of the platform and the five year inquiry that stood at its outset back in January 2011: mapping, connecting and supporting the independent performance art scene in Berlin.
As a performance art platform, MPA-B embraces the task to imagine an infinite number of possible natures and to respect the integrity of all artists and their belief in what they do – that their art is a necessity. To see these performances is to witness them, and witnessing them over the years we develop a vocabulary to communicate and share our own thoughts and emotions with our fellow witnesses. We are thrilled to once again be initiators and participants in this process of building a language or, rather, many languages.
This year will, more than ever, challenge the participating venues throughout the city to confront their different views on the complex relations between economics, social context, and aesthetics. Our central location provides an example for this kind of discourse: the HUB or Second Temporary House of Performance Art chooses as its home the contested space of a White Cube. For our 5th and final edition we will take up residency at MEINBLAU PROJEKTRAUM for one month in May 2015. This is where we will be hosting the majority of the MPA-B programme as well as a wealth of other events, coordinated activities and spontaneous actions.
23.04.2015 ab 18 Uhr
22.04.2015 – 26.04.2015
täglich geöffnet von 14–20 Uhr
Ausstellung mit Videokunst und Installationen
Im Rahmen des 6. Arabisches Filmfestival Berlin
Badr el Hammami
10.4., 21 Uhr
Dance Habibi Dance
El Wad Na3 Na3 ( Beirut), Disko ya Hala (Kalakuta, Soul, Bochum)
Sa 14-20, So-Di 10-20, Mi 10-19, Führungen: Sa 16 Uhr, 18 Uhr, So 14 Uhr, 18 Uhr, Mo-Mi 18 Uhr
Der Titel der Ausstellung ist die Deklination einer echogenen Nonsens-Version eines erfundenen lateinischen Adjektivs, mit welchem der amerikanische Dichter Wallace Stevens sein Gedicht „On an old horn“ beendet.
Wie kann man einer Ausstellung, die Videoinstallationen aus unterschiedlichen kulturellen, ästhetischen, politischen und sozialen Hintergründen miteinander vereint, einen annähernd beschreibenden Titel geben? Das Entscheidende ist, den Künstlern eine Stimme zu geben, um ihre persönliche Sicht auf die Welt, auf Kunst und die Produktion von Bildern darstellen zu können, ohne das Echo durch ein vorgreifendes Thema zu erzwingen.
„Pipperoo, pippera, pipperum ... The rest is rot“ bezieht sich auf eine künstlerische Praxis im Kontext von Krisen - wie in der arabischen Welt, wo Künstler eine filmische Sprache und Ästhetik entwickeln, die Echos in Gedichten gleichen. Sie können lautmalerischen Experimenten einen Sinn geben, wenn sie gleichzeitig gelesen werden...
weitere Info unter:
Arabisches Filmfestival Berlin
sound art exhibition | concert | party
Georg Klein: Sprich mit mir (Installation)
Marcus Gammel / DeutschlandRadio: Buchpräsentation mit Georg Klein
Agnès Guipont / La Vie en Bô: French Experimental Songs
Wendelin Büchler / Corvo Records: DJ
Friday March 13th 2015
8 p.m. - open from 6 p.m.
The borderlines that shape our everyday lives play a central role in the work of the internationally acclaimed composer, sound and media artist Georg Klein. In his installations and interventions in the public space, he compresses visual and acoustic, situational and political components into a charged aesthetic space in which visitors interact with or participate in the works – in a way that is sometimes highly provocative and other times simply amusing, but always with a deeper meaning. Klein challenges his audience’s perceptual faculties, employing bordercrossing audiovisual constellations as well as political fakes that lead visitors onto shaky ground and make them question identities. Artistic boundaries are likewise transgressed here in an unsettling fashion: the borderline between art and reality as well as those between the artistic genres. This catalog brings together for the first time the artist’s works, many of which exist only temporarily, in order to discuss them within an art-theoretical framework.
Georg Klein’s work is highly unusual in both sound and new media art. In sound art there is no other artistic position that deals so intensively and rigorously with social reality and public urban space. While these themes are more widespread in new media art, one finds no other artists in that field who have given the musical and the auditory the same precedence, nor is there the same kind of connection to place that Klein has developed. These two aspects constitute the unique quality of this artist’s aesthetic thinking: The precision and sensitivity with which he chooses sounds, noises, images, poems and text compositions for a given project are as unusual as the site-specificity that forms the core of his aesthetic. (Prof. Sabine Sanio , UdK Berlin / Sound Studies)
Christinenstraße 18/19 (Haus 5)
Ludwig Abache, Olivier Colin, Benjamin Hörbe, Anke Krey, Pascal Miet, Peter Petzold, Doris Pemler, Monika Skolimowska, Nadine Thieme
Neun Fotografen, neun Themen, neun Welten.
Was sie verbindet: Ihr Interesse für Menschen
Die Arbeiten entstanden im Rahmen eines Seminars von Rudi Meisel an der Ostkreuzschule Berlin.
27. Februar, 19:00-21:30 Uhr
Donnerstags bis Sonntags 14:00–19:00 Uhr
Finissage: 8. März, 15:00–18:00 Uhr
The dark room
Andreas Burger, Bernhard Kubulus, Cap Grundheber, César Martins, Charlotte Menin,
Eric Strelow, Johanna Ulmschneider, Jule Kaiser, Sarah Thußbas, Severin Wohlleben,
13.02.2015 thru 15.02.2015
open daily from 2 - 7 pm (or by appointment)
THURSDAY FEBRUARY 12 2015, 7 PM
“Der dunkle Raum” / “The dark room”
The era of the Meinblau darkroom is drawing to an end. But before that is going to happen, we will turn on the lights one more time, and show selected works of the photographers that used to share the dark room work space within the last decade.
curated by mika mario minetti
akzidenz (DE), Lisette DeZoete (NL), Jenni Hiltunen (FI), Eemil Karila (FI), Ida Koitila (FI), Niina Lehtonen Braun (FI), Lola Lustosa (BR), Elena Nestorova (FI), Jukka Rusanen (FI), Janne Räisänen (FI)
12.12.2014 until 21.12.2014
open daily from 2 pm till 7 pm (and by appointment)
THURSDAY DECEMBER 11TH 2014
7 PM TO 11 PM
The opening night includes a one-time performance by dancer Simo Vassinen (FI), in collaboration with choreographer Vincent Bozek (FR). Berlin-based electronic artist ISLAJA (FI) will follow suit with an exclusive, site-specific concert, and Dj Antti Hiljá (FI) takes over the turntables.
Musterzimmer presents WINTER COLLAGE, an exhibition with ten international artists coming together for the first time to explore the art of collage. The history of collage dates back to the invention of paper more than two thousand years ago. In the visual arts, the technique of assembling different forms, materials and ideas became prominent among painters and sculptors during the early stages of 20th century modernism. Ever since, collage art has developed into new dimensions by means of photography, video and performance.
“Wer sucht, findet nicht, aber wer nicht sucht, wird gefunden.” –Franz Kafka
WITH SUPPORT FROM FINNISH CULTURAL FOUNDATION AND MARIMEKKO
akzidenz.com , lisettedezoete.nl , jennihiltunen.com , eemilkarila.net, idakoitila.com, niinabraun.com, lolalustosa.com, elenakrokotiili.portfoliobox.me, helsinkicontemporary.com/artist/jukkarusanen, janneraisanen.com,
Photography & Texts
22 nov - 7 dec 2014
thurs–sun, 2–7 mp
(and by appointment (0151 - 19657192))
Friday, 21 november 2014, 7 p.m.
The simplicity and spirit of optimism is already bygone.
The new metamorphose of the city seems to be ubiquitous and confirms the quote about Berlin:
it is condemed to always be changing and never stay still.
For a few years now, the photogapher Anja Gersmann follows the process of the urban change and finds places, which are changing every day. We see localities of ordinariness, immidiate vicinity and inconspiciuous backstreets. The pictures seem to catch the faded sense of life and the facades reflecting the changes of the inner life back to the outside.
The process and transformation give rise to the question: multifaced or one-sided? standardized or free? gently or brutal? With each other or even against each other?
And last but not least: Everything is new, but is it also satisfying?
Since the german reunification, Anja Gersmann lives and works in Berlin.
Fotographische Positionen der Studierenden von Bernhard Prinz,
Martha Friedel, Jens Gerber, Max Hänisch, Faye Hintke, Holger Jenss, Julia Kopylova, Max Sand, Kathi Seemann, Elisabeth, Jing Tang, Nicolas Wefers
Do–So, 14:00–19:00 Uhr
Preview: Donnerstag 30.10.2014 | 20:00 h
Eröffnung: Freitag 31.10.2014, 19:00 Uhr
Die traditionelle Vorstellung von Stadt und Region als geschlossene Einheit mit klar erkennbaren Eigenschaften existiert nicht mehr. Zunehmende Mobilität durch die Integration Europas führt zu einem Aufweichen von nationalen und kulturellen Grenzen. Fortschreitende transnationale Migrationsprozesse setzen neue Wertvorstellungen und Alltagswelten. Veränderte, raumgreifende Strukturen rücken sukzessive nach und die klassischen Gegensatzpaare von Stadt und Land, Zentrum und Peripherie haben ihre Gültigkeit verloren.Die Studierenden der Kunsthochschule Kassel untersuchen diese unerforschten Territorien.
Die komprimierten sozialen, ökonomischen und ästhetischen Strukturen werden zu ihrem zentralen Ausgangspunkt.
In assoziativen Gegenüberstellungen der jeweiligen Positionen werden Ausdrucksformen und Verhaltensnormen, Gesten, Übertragungsmuster und Zeichensysteme als vielfältige ästhetische und kulturelle Prägung offenbar. Unter der Oberfläche des vermeintlich Bekannten sind so neue Erkenntnisfelder zu entdecken, die sich einem humorvollen und ironischen Zugang nicht verschließen.
10.- 26.October 2014
Donnerstag, 9. October 2014, 19:00 Uhr
The exhibition shows visions of human-animal relations in immediate and distant future. Spatial installation, drawing, video animation and documentary outline scenarios of (re)animated unknown species, utopian landscapes of the food system, discover street dogs as companion species in cultural life, localise intelligence and feeling in unknown time and bodies.
curated by Anne Hölck
The exhibition we , animals – scenarios shows visions of human-animal relations in immediate and distant future. The anonymous artist’s collective NEOZOON transforms the space into a research laboratory in which „Bestia Recreata“, coat animals, are the subjects of a re-animation-experiment. The art activists Lissette Olivares and Cheto Castellano aka SIN KABEZA explore in their video-documentaries co-evolutionary relationships through primary footage of kiltros, dogs who live beyond the borders of domestic life in Santiago de Chile, and interviews with their companion species in nature-culture life. For the „Supernatural“ light-boxes Uli Westphal utilizes the methods of standard packaging design of large food discounters for the depictions of plants, animals and landscapes – endless, ever repeating, utopian sceneries that stand in harsh contrast to the actual makeup of the industrialized food system. donata kindesperk’s drawings from the series „ape revenge“ reflect the perspective and focus on moments of human anxiety captured by animal revenge.
In her video installation „We Are Here“ Lucy Powell gives voice to two individually animated talking cat heads that are projected on a level with those of the viewers eyes. Their words localise intelligence and feeling in unknown time and bodies.
sensorial room installation as an interface between art and neuroscience
rainer dunkel and Benjamin staude
27th sept.–3rd Oct.
monday to sunday 4 pm - 10 pm
Friday, 26.09.2014, 8 p.m-
Than the brain and its exploration
interactive lecture by neuroscientist Prof. Dr. Stefan Rotter,
Bernstein Center Freiburg
The artist Rainer Dunkel and neuroscientist Dr. Benjamin Staude Illuminate in its interdisciplinary installation sensory neuronal network correlates of aesthetic neuronal dynamics. Sensory stimulated activity pattern of the human cerebral cortex modeled simulation form the basis of artistic confrontation. Through interactive visualization and tone settings of neuronal impulses Dunkel and Staude try the most fascinating scientific issue of our time to approach: How do our brains out trillions of individual pulses of individual nerve cells-uniform states of mind such as perception, emotions, or consciousness? Far from trying to formulate clear answers to these questions, sensory neuronal network is rather an aesthetic confrontation of the visitor with the neural basis of its existence.
The spatio-cubist object of Rainer Dark is both receptive module and the projection
surface of the simulated neuron activity. The sensory abstraction generates
references to the smallest neural impulses: From Space Plane-line-to-point here is
themed reduction to the multiple multiplicity smallest neuro organic elements and their compounds.
The installation sensory neuronal network is developed in close cooperation with the Bernstein Center in Freiburg. At the Vernissage on 09/26/2014 its director, Prof. Dr. Stefan Rotter of the University of Freiburg in an academic lecture will describe basic problems of modern computerized brain research. A special feature of the presentation is, that the content, analogous to the processes in neurobiological network collectives, self-regulating modified: Impulse visitors are fed into an interactive simulation model and thus influence the lecture course.
With the kind support of:
Bernstein Center Freiburg:
Archimedes Exhibitions GmbH
artistic positions on the current debate on human-animal relations
Hörner | Antlfinger
curated by Anne Hölck
Opening: september 4th 2014, 7 pm
5th – 21st september 2014
wed-sun 2 pm – 7 pm
we , animals - biographies
How do animals create history?
The exhibition revolves around nonverbal communication, co-authorship – animal biographies.
The artists‘s works lay (auto)biographical trails and follow individual abilities of wild, domestic, liminal animals.
The audio guide Retrozoology by Uli Westphal gives a retrospective view of human perceptions of animals for the past 2,350 years. All quotations are marked by strange, sometimes erroneous conceptions and misinterpretations, resulting from primal encounters with unknown creatures. For Linimal Animal Lucy Powell collected whiskers shed by her cat over a number of years. Arranged on black velvet in a shellac frame the whiskers reference the way cats use their whiskers for spatial navigation. The sound installation Contact Call is a co-production by Hörner |Antlfinger and two African grey parrots who are extremely talented in adapting to the sounds of their social environment. Two other parrots of the same species are also the co-creators of daily sketches in the form of reworked magazines and newspapers. The photos are presented for the first time in the exhibition. In their video Two Homes Hörner |Antlfinger show human infringements on animal biographies. Found footage of a pet bird is intercut with images of a poultry farm.
The exhibition provides a first insight into the Open Archive Clever Hans. Conceived in collaboration with cultural theorist Stephan Zandt it will be continually updated. Clever Hans lived at Prenzlauer Berg Berlin from 1895-1916 and became famous as the horse that could count“. The open archive collects references to the history of Clever Hans and his particular talent for reading muscle movements.
The exhibition is part of the project series we, animals that features artistic positions on the current debate on human-animal relations.
It is funded by Kulturamt Pankow zu Berlin and Stiftung Kulturwerk der VG Bild-Kunst Bonn.
august 7th to 31th
Vernissage: wednesday, 6th august, 7 p.m.
Open Studio: thursday, 31st july 7 p.m.
Finissage: sunday, 31st august
Estonian artist Raul Keller belongs to a new generation of Eastern European artists who bring together composition and performance, media and sound art in their own unique way. His works virtuously move in the most varied areas of contemporary art. They encompass place-specific sound installations, performance and free improvisation, radio art, photography and video art as well as experimental rock music.
In July 2014 Raul Keller embarks on a one-month project residency as a guest of “singuhr – projects” @ Meinblau in order to realize an intensive work, discussion and experimental period.
The new exhibition project will be developed exclusively for this project space. This Thursday at 7 pm “singuhr – projects” will for the first time stage an “open studio” in which Raul Keller will offer insights into his working methods in both earlier projects and the current artistic production.
singuhr – projekte : Residency programme
Raul Keller’s exhibition launches the “singuhr – projects” new residency programme that we invited to Meinblau project space this year. Working and exhibiting in the same space artistic production becomes an even more prominent part of the work itself. Project residencies for national and international sound artists form the focal point of “singuhr – projects” in the next years, connected with talks and presentations and followed by a final exhibition project with a space-related sound installation.
Veranstaltet von singuhr e.V.
Mit Unterstützung des Bezirksamts Pankow von Berlin, der Initiative Neue Musik Berlin e.V., und Meinblau e.V.
Zeitgenössische Kunst aus dem amerikanischen Herzland
Künstler: Matt Christy, Brandon Donahue, Patricia Earnhardt, Kristi Hargrove, John Jones, Thomas Poolaw, Sabine Schlunk
14. Juni bis 6. Juli 2014
Vernissage 13. Juni 18 Uhr
19:30 Uhr: JJ Jones performs Songs from the Heartland in his Human Snow Globe
“heartlandish” ist eine Ausstellung von Künstlern aus den USA, die weit entfernt von Metropolen wie Los Angeles, Chicago oder New York City leben. Sie arbeiten im sogenannten Herzland (engl.: heartland), im südlichen Westen und den Südstaaten der USA. Ihre Kunst ist nicht vom rasanten Leben der Megastädte geprägt, sondern entspringt der Ruhe langer heißer Sommermonate und der Weite des Landes. Die Menschen haben Zeit, ihr Alltag ist langsamer. Diese Erfahrung spiegelt sich auch in der Arbeitsweise der Künstler wieder: Im Mittelpunkt steht nicht das fertige Produkt, sondern der schöpferische Prozess, der auch schon mal mehrere Jahre dauern kann. Abseits des Kunstmarkts mit seinen wechselnden Hypes, finden die Künstler in der Mitte des Landes viel Zeit und Raum, sich mit den Voraussetzungen ihres eigenen Daseins zu befassen – mit der Geschichte des Landes genauso wie mit ihrer persönlichen Geschichte. Sie haben einen teils indianischen, teils afro-amerikanischen Hintergrund oder sind Einwanderer erster, zweiter, dritter Generation.
Die Künstler sind Matt Christy, Brandon Donahue, Patricia Earnhardt, Kristi Hargrove, John Jones, Thomas Poolaw und Sabine Schlunk. Sie arbeiten mit so unterschiedlichen Kunstformen wie Zeichnung, Installation, Animation, Video, Fotografie, Malerei und Performance. Kuratiert und betreut wird die Ausstellung von der Berliner Fotokünstlerin Jule Kaiser und der deutsch-amerikanischen Künstlerin und Kuratorin Sabine Schlunk.
Öffnungszeiten: Do - Son 14–20 Uhr
Eine ortsbezogene Raumlandschaft aus Sound, Licht und kinetischen Skulpturen.
Künstler: Olivia Pils
7. Juni bis 8. Juni 2014
Eröffnung: am 6. Juni 2014 ab 19:00 Uhr
Wie sieht unsere aktuelle Vision einer perfekten Welt aus, wo doch die großen Utopien ausgedient haben und Gott abgeschafft wurde? Vielleicht wie ein mystischer Themenpark in dem Maschinen die Natur ersetzt haben? Die Künstlerin Olivia Pils inszeniert das Paradies im Jahre Null als surrealistisches Disneyland in weiß und pink. Die Bewegung im Raum entsteht durch Motoren von elektrischen Messern, Ventilatoren und Plattenspielern bestehen. Das Licht der Neonröhren, die Musikkomposition, die Stimme aus dem Megaphon, der Lärm der Motoren, die Skulpturen, die sich mechanisch bewegen: alles zusammen ergibt eine bizarre Vision dessen, wie eine perfekte Welt in der Zukunft aussehen könnte.
Olivia Pils ist seit 1992 in Berlin als Musikerin, Künstlerin und Veranstalterin im DIY-Bereich aktiv.In ihren Installationen beschäftigt sie sich mit Utopien und Dystopien und läßt sich dabei von science-ficition Autoren inspirien, wie Don DeLillo, J.G. Ballard, Aldous Huxley, Philip K. Dick u.a. Ihre environments zeigen bizarre und surrealistische Welten mit zahlreichen Bezügen: Themenparks, Kirmes, Louise Bourgeois, Massenproduktion, David Lynch, japanische Animes. Dazu benutzt sie vorzugsweise elektrische Haushaltsgeräte, Neonlicht und selbst komponierte Musik.
Zur Vernissage gibt es eine Performance von ANY (vocal noise music)
Öffnungzeiten: 7.6. und 8.6. 2014 15-20 Uhr
A site-specific sculptural landscape made of light, sound and kinetic sculptures.
What is our current vision for a perfect world? What does it look like now that our universal utopias have come into disuse, with God having been disestablished? Maybe it is a mystical theme park with automation as a substitute for nature?
In the year zero, the artist casts paradise as a surrealistic Disneyland in white and pink; the room is set alive by way of electronic machines made out of electric knives, ventilators, and record players. The neon light, the music composition, the voice from the megaphone, the sound of the motors, the sculptures that move mechanically: it all adds up to a bizarre vision, what a perfect world could look like in the future.
Since 1992 Olivia Pils has been active in Berlin as musician, artist and organiser in the DIY scene. In her installations she explores utopia and dystopia as inspired by Science Fiction authors such as Don DeLillo, J.G. Ballard, Aldous Huxley, and Philip K. Dick, amongst others. In her environment she creates bizarre, surrealistic worlds with numerous references: the theme park and the funfair, Louise Bourgeois and David Lynch, mass production and Japanese anime. The material she uses consists of electronic household devices, neon light, and her own musical composition.
Opening with performance by ANY (vocal noise music)
opening hours: 7.6. and 8.6. 2014 15-20 pm
9. Mai bis 1. Juni 2014
Mit der Saison 2013 beendete die singuhr – hoergalerie ihre kontinuierliche Ausstellungstätigkeit in den beiden historischen Wasserspeichern in Prenzlauer Berg. Die Ausstellung singuhr on paper lässt die Projekte der Galerie nun im Kunsthaus Meinblau, einem der wichtigsten Kooperationspartner der singuhr – hoergalerie in den letzten Jahren, noch einmal Revue passieren und thematisiert dabei gleichzeitig auch die Möglichkeiten der Dokumentation ephemerer Kunst.
Als visueller Anker werden erstmals sämtliche Plakate der singuhr – hoergalerie seit 1996 gemeinsam in einer Ausstellung präsentiert. Im Zentrum steht dabei die einzigartige Form der Vermittlung von Klangprojekten durch die visuelle Gestaltung. Plakate und Druckerzeugnisse der singuhr wurden vom grafischen büro cyan in enger Abstimmung mit den kuratorischen Konzeptionen entwickelt. Sie gewannen diverse Preise bei nationalen und internationalen Plakatwettbewerben. So wurden alle Plakate in die Liste der „100 besten Plakate des Jahres“ im deutschsprachigen Raum ausgewählt. Sie wurden bereits in Ausstellungen in Japan und Frankreich präsentiert, aber noch nie in einer Zusammenschau in Berlin.
Neben den Druckerzeugnissen bieten Mediapoints mit aufbereitetem Ton- und Bildmaterial einen Einblick in die einzelnen Ausstellungsprojekte. Klangkunst gilt als ephemere Kunst, ihre Werke als nicht reproduzierbar. Deshalb wurden alle Projekte der Galerie in und an den Wasserspeichern ausführlich in Bild und Ton dokumentiert. Auf diese Weise entstand ein umfangreiches Projektarchiv, das in singuhr on paper vorgestellt wird.
Öffnungszeiten: Mittwoch - Sonntag 14 bis 20 Uhr