The exhibition Mask at Kuttner Siebert Gallery is comprised of works on paper by Terry Haggerty, who has in recent years become known to a wide audience with his site-specific wall pieces and his paintings on canvas. His recent exhibition gives an insight into his drawings for the very first time. Monolithic forms, painted in black acrylic on plain, gridded paper are framed by fine, colourfully outer contours.
As Ursula Ströbele writes in the accompanying catalogue: “The partly entwining and overlapping black bands of colour conjure up associations with topological figures, much in the manner of the renowned Moebius band. The flowing transitions from inner to outer, from front to back, and the refusal to provide any concrete anchoring points, evoke an instance of disorientation upon first glance. Repeated observation is required in order to comprehend the entirety of the form across a succession of perspectival shifts. (…) They recall sculptural artefacts and space-bursting installations such as Max Bill’s Unendliche Schleife [Infinite Loop] or Richard Serra’s Matter of Time. As they disallow any definition of beginning and end, the gaze becomes drawn, during its search, into the folds to be consumed by the opaque and indifferent darkness. (…) On the whole, the drawings are founded upon a rough, dynamic style of paint application within the bounds of the outer contours, instead of the thoroughly professionalised, meticulously perfected surface glazes—requiring a myriad of precisely coordinated working steps—that have been characteristic of his work in the past. These present works allow for a spontaneous mode of working and the development of new formal concepts.”
31 March – 12 May, 2012
Galerie Suvi Lehtinen present Gravity, Money, Concrete, Fabric, an exhibition that creates an encounter with an array of different media and examines matter as dynamic, significant and tense. Approaching the world as an assemblage where there are no innocent and self-evident objects and in which the agents are not always human.
Chador-dadar by Haleh Anvari, Live installation documentation, slide show
If the chador is the icon for Iran, let it meet the icons for some other nations. Chado- dadar became a live installation in every city it was photographed and ultimately revealed as much about the nature of the people it visited that it did about itself. We made it to Dubai, to Taj- Mahal, the Amber Fort in Jaipur,we went to London and joined a peace protest, we visited Big Ben, then onto Paris, the Louvre, where we were thrown out because the Hejab is a hot button issue and to Istanbul where the only model I could find wouldn’t wear the Chador because she was a secularist, so in Istanbul I became a model and she photographed!
Ihr könnt auch scheitern (You can also fail) by Sarah Michelle Harrison & Lydia Hymen, video.
The works deal with the disindentification, with the production of the self as a distinct individual and the value of systems of cultural capital. In the video, a human body undresses itself from different things and identities while staying thing-like itself.
Sticks: class B by Martin Kohout, different sticks made of aluminium, rubber, leather and other materials – varios lengths-.
This series of fairly similar sticks have handles with straps that you could slip around the hand as with a ski pole. In order to get s better grip, in order to fail: flail the air, exercise, produce pain, produce pleasure, break something. They seem pleasant to be hold, it is hard to resist touching them (because one must touch the handle). However they scape a particular use, they are tools for nothing or they are just almost: almost whips, almost sports equipments.
Contemplating the concept of trust-A script for a lecture by Mikko Kuorinki & Topi Äikäs, booklet, 10cm3 of matter, possibly for practical use, concrete.
It is a script for a performance that took place in Pori, Finland. It deals with trust: how it is born, what its conditions are and its necessity for being able to act. The performer must trust the audience and the audience the perfomer, but also there must be trust for the structures in the performance space, that the concrete around endures. In addition, the work examines the relation between money and trust as well as money as a requirement for artistic activity (that money comes from grants and fees, but mostly from other jobs or family)
Juego de Cama by Almudena Lobera, ink, pencil and collage on paper 34,2 x 25,5.
In Almudena Lobera’s drawing, Juego de cama there is a small trampoline and above it a cloth that gums on the trampoline or is about to land on it for the first time. The trampoline is static and looks almost like an instruction picture: here is a trampoline. It is anchored into gravity and the vibration and elasticity of the mat are always attached to the metal frame. It enables the movements of other things and bodies while staying tightly attached to the ground. In the work, the cloth bundles, opens, flutters and jumps, merging into the air, almost without gravity, nearly a ghost. It carries with it the art story of portraying folds (not the manual, never). There is a tense relationship between the trampoline and the both, they act and move in relation to one another (the movement has either just happened or is about to happen and almost inevitably repeats itself, it is a feature of the trampoline). In Lobera’s drawing, the trampoline and the cloth are material agents, their thingness is vibrant.
Curated by Vappu Jalonen
March 31 – April 21, 2012
Feudal splendour and colourful patina – Robert Polidori’s search for vestiges of the past in the Palace of Versailles, the Kremlin and Havanna
The comprehensive exhibition will allow for an in-depth look into Robert Polidori’s impressive oeuvre. Fascinating photographs of the Palace of Versailles, the Kremlin and the Cuban capital Havanna will be presented next to selected works from the series »Zones of Exclusion: Pripyat and Chernobyl« and »After the Flood« with photographs from New Orleans after hurricane »Katrina«. In addition to these series, the exhibition will feature selected architectural photographs by Robert Polidori from New York, Los Angeles and Berlin.
The focus of the exhibition is on Polidori’s extensive photographic documentation of the rebuilding and restauration of the Palace of Versailles which he followed for over 25 years. The magnificent rooms, the elaborate renovation work on the palace during the 1980s and the portraits of noblemen and -women in golden frames that constitute Polidori’s subjects give the viewer an idea of the past of this historic place, conserving it meticulously. At the same time, history coalesces with the present and allows for a new aesthetic experience of this lavishly adorned, regally decorated and yet forgotten world. The fractals of his photographs, moreover in the paintings, make the work even brighter.
Gold embellishments, polished wood inlays and glittering chandeliers as far as the eye can see characterize Polidori’s photographs of the Kremlin in Moscow, which used to be the home of the of czars and other rulers and is the seat of the Russian government again today. These complex, quiet images complete the circle between yesterday and today.
The ravages of time are also evident in Polidori’s photographs from Havanna. They depict crumbling, flaking, cracking structures, while simultaneously fascinating the viewer with their brilliant, rich colours and contrasts.
Traces of history in Robert Polidori’s architectural photography
Polidori’s photographs are distinguished by their graceful silence, their precise aesthetic composition and their colourful complexity and power. Though printed in very large formats, the images do not sacrifice their accuracy of detail, which allows the viewer to almost sense the structure of shapes and surfaces through his eyes: the complex photographs let us experience the pictured spaces in a new way.
The point of contact between old and new is a recurring motive in Polidori’s work. The rooms that he photographs, although completey void of any human presence, tell their manifold stories through their unique patina and their palatial splendour. In 2009, he photographed the »Neues Museum« in Berlin, which was elaborately restored and redesigned by British architect David Chipperfield, adding new features to the old structures while deliberately conserving those parts in which the ravages of time were clearly visible.
Polidori’s testimony to destruction: Nuclear exclusion zones and natural disasters
In his work, Robert Polidori also documents the often devastating effects of human interference with the environment, as he did in his photo series about the nuclear reactor disaster in Chernobyl. He has also portrayed the disastrous damage done to the city of New Orleans by hurricane »Katrina« in 2005. Selected works from both series will be presented in the exhibition. Polidori, portraying not only the palaces of the world, but also scenes of destruction and tragedy, thus uses architectural photography as a means to make the recipient think about the pictured places in a different way. His photographs of the Hotel Ambassador in Los Angeles, one of which will be shown in the exhibition, can be read in a similar way. The hotel won notoriety when it became the scene of the assassination of Robert Kennedy in 1968. It was torn down in 2005.
Polidori’s substantial oeuvre has also been featued in several publications, among others the three-volume photo book »Parcours Muséologique Revisité« with the monumental photographic documentation of the Palace of Versailles, which was awarded the Liliane Bettencourt Prix de la Photographie.
Four rooms, 500 m2 exhibition space, CWC (CAMERA WORK CONTEMPORARY) GALLERY is the second gallery in a Berlin building that is steeped in history: the Ehemalige Jüdische Mädchenschule Berlin (former Jewish girls’ school). The construction by architect Alexander Beer was finished in 1928, its facade combining features of late expressionism and New Objectivity. CWC GALLERY, in keeping with the name CAMERA WORK CONTEMPORARY, will show contemporary positions in photography, painting and sculpture in comprehensive retrospectives, conceptual group exhibitions or cooperations with private collectors and art institutions. The elegance and purism visible on the outside of the building are mirrored in the four spacious, well-lit rooms on the first floor as well as in the generous hallways of the CWC GALLERY. A reduced, stylish design, a sophisticated arrangement and a clear language of form produce a unique atmosphere, in which the ample spaces take full effect in allowing the visitor to enjoy an exceptional experience of reception.
Andreas Schulze paintings open up a colorful, simplified strange world. The large sizes inflate what makes up the idyllic everyday life of middle-class. He only pays attention to things -“indifferent domed” shapes, as he even noted on sketches- which are the protagonists in a story in where humans have no place.
In the 1980s he moved around the Mülheimer Freiheit and Jungen Wilden, from he took the ‘sound’ of expressive brushstrokes but not the importance of the artistic subject. With seething flow and planar, thin paint, he does nothing contrary to prevailing artistic trends as combative. Set in the seemingly random references to his works as modern art works, whil eradiating an “offensive gentle kindness”, he emptied the clarity and rigor of these approaches. “I wanted to be misunderstood. As when someone who is familiar with modern art and has not prejudices, tries to paint a modern picture”, said Schulze in a interview in 1987.
Innocent as it seems, in the 1980s, his painting presents a minimalistic body in perspective amateurishly executed, while Donald Judd conjures with his specific objects (1965), the abandonment of anyillusionistic effect. In some paintings he adds small items, such as an apple or a pair of glasses, as someone that have lost in thought on the theory to put heavy object. They become fixtures, simple things, which humorously Schulze also gives attention in his later work. He paints sections of terraced houses, home-style living room furniture, combining landscapes with imaginary, biomorphic-abstract objects. Not only on the canvas, but also with large-scale installations and murals he created this human blank retreats. A bizarre coziness, which is in its seemingly naive obliviousness, unsettling.
The Berlin KUNSTSAELE showed a small selection of Schulze’s works. Even in this small collection, it contain various creative periods. It becomes clear how Schulze for years has remained true to his style and not tried any other adaptation. “Abstract Composition” a painting of the early 80s, denied itself by its size (2 x 4 meters) to be placed above the living room couch as a focal point. Like many of his works, it consists of several composite screens. With repetitive compositions of simple planar shapes from the background (spheres, cubes, or, as in the picture, ovals) let the piece as a reminiscence of ornamentation. In later works , as the four exhibited watercolors (each 70 x 90 cm), he takes again from those repetitive patterns, backgrounds and figurative elements. In other of the paintings, some objects can be seen at first glance as flowers or cars.
Kunstsaele Berlin combines gallery, collection and SALON-talks at one place. The exhibitions are made up of altering shows from „Sammlung Bergmeier“ and „Sammlung Oehmen“, now opened for public exploration, and of positions of conceptual and minimalistic art, which will be shown by the gallery Aanant & Zoo. The events of the SALON – a project conceived by THE OFFICE and Arthur Berlin – is an experimental space for discourse on art and related, current topics.
Text source: free translation by me from original in German in http://www.kunstsaele.de/?com=exhibition&id=33
With the works in the exhibition “Reversed Limbo”, Ryan Mosley continues to examine historical sources, which has already been an approach in his earlier works. The singular images crafted by Mosley, works that range from the wondrous to the monstrous, often rest on the artist’s transgressive attitude to the classical genres of painting. Still life, landscape, and portraiture collapse in on each other, as studies of shoes morph into human likenesses, and botanical renderings become strangely animated and threatening scenes. Mosley’s interest in the anthropomorphic potential in various forms and characters, from top hats to cacti, means that in spite of his often grotesque hybridities (which include limbs with afros and snakes in drag), a sincerely human presence is never far from the canvas.
Motivated by a sense of the carnivalesque, Ryan Mosley’s canvases offer up a surreal world of invented characters and rituals that are simultaneously archaic and futuristic.
„In one of Mosley’s latest paintings called Heavy Nelson two figures (or, are they figures) are seen from the back, whereas the one on the left with harlequin-diamond garb and stable legs, is distinct from the figure on the right who seems to be constituted of pitchers or ewers perched on strange spindly legs that mimic the accompanying foliage. Beyond is a forward-facing male figure that appears to be wearing a puritan’s hat and presenting a bottle. You look again and realise they also create an overall visual effect of a mask or grotesque head, since teeth appear between the legs of the foreground figures that constitute a mouth. The edges of the painting have a pictorial framing with foliage derivative of the palm or cacti forms familiar from Mosley’s earlier paintings. But here they actively function as framing arabesques, remembering that the ‘arabesque’ itself is derived from the classical or antique concept of the grotesque. At the same time the spatial depth is constantly shifting between a theatrically staged offering, a grotesque mask, a strange frieze-like convention, or even a Mexican carnival event. But it is these constantly shifting uncertainties that create the very qualities that vindicate Mosley’s continuous use of pictorial references to a carnival aesthetic.” Mark Gisbourne, from: Carnival of the Senses, exhibition catalogue
29 March – 19 May 2012
The Michael Fuchs Galerie inaugurates its new spaces in the former Jewish Girls’ School with the exhibition HANG ON, presenting over fifty artworks comprised of painting, works on paper, installation, video art and performance. The idiomatic title offers diverse associations, ranging from the literal hanging of the exhibition’s works, which stem from various art historical eras, to the suggestion that this exhibition signifies the building’s revival and continuation as a central exhibition platform.
While the 4th Berlin Biennial (2006) featured installations and videos that recalled the building’s multifaceted history (among other themes), the current exhibition reflects painting styles of various epochs, their allusions to historical paragons and the splintering of these genres in new artistic dimensions. Arising from the artists’ individuality, these unique positions represent our contemporary times, contextualizing artistic creation in an eclectic formal language.
Video below: John Bock, FixKosten
10 February – 21 April 2012
Gala to support the exhibition projects
Press release: The Walden gallery artists need support and invite you to a Charity Gala. We want to implement artistic and social visions and need your help and support in this. On this occasion we invite you to a Charity Gala and a journey through the history of the art project, which is shaped by old and new companions.
Over 17 years, with a diverse exhibition program we have made fine art publicly visible. As a venue, we are a typical, but also wayward niche product in Berlin culture and excellently trained in “no budget” productions and situations. In October 2011, the last private resources have gone, which were covering all running costs. Therefore, we are in the need to start a new action to support the gallery, which is to build up a circle of friends for Walden art exhibitions.
During the evening, we want to present you a small Crowdfunding model and ask anyone, which may make it possible, to participate. We would be pleased also, if this action might be an inspiration for other cultural projects and artists. Million of thanks to Freies Museum in Berlin for the consistent support and the additional exhibition space, and everyone, who help us to host this Gala.
Participating artists: b-AGE-ritz ®©™,Bewegung Nurr, Bndberlin, Frank Diersch, Manfred Eichhorn, Dominik Eggermann, Evol, Reinhold Gottwald, Jenny Löbert, Edmund Piper, Henrik Jacob, Uwe Jonas, Nicholas Kashian, Marius D. Kettler, Werner Kernebeck, Manfred Kirschner, Karen Koltermann, Markus Krieger, Alexander Krohn, Veronika Schumacher, Gisela Wrede
In the slideshow, works followed by name of the artist