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Healing Beauty 01.05.2017 - 24.05.2017 Mike Dargas (GER) - solo show WHITECONCEPTS gallery is delighted to present the first solo show of German artist Mike Dargas in Berlin. The young painter is renowned for his masterly painted realistic works. He dedicates himself to oil painting and creates spectacular large-scale portraits outstanding with their detailed illustration. Can art actually make a difference in the lives of the people who look at it? German artist Mike Dargas believes in it. Looking at his fascinating portraits of some of the most beautiful women it is easily understandable how concepts of beauty have changed over time imposed by society. Inspired by artists such as Dalí, Caravaggio and H.R.Giger, Mike Dargas studied various techniques and since his youth developed a passion for realism, which he refined over and over. The artist analyses his subjects with such intensity,that each portrait gives witness of increasing intimate closeness. The perfection of his technique serves his goal to understand the nature of a human being and to question our own emotional perception. The works of Mike Dargas elude a clear temporal distinction. Even if the representations can stand as indications of a contemporary Western zeitgeist, the images lose their temporal determine ability through their static transience and acquire an essence of infinity. The artist plays with the effect on the observer right from the beginning. Although the works appear to be photographs from a distance, on closer observation the large scale of the portrait establishes the microscopically precise observation of the artist and his masterly intercourse with color shading and color shift rich with nuances, that sharpen the view of the picturesque. Mike Dargas (* 1983 in Cologne/GER) started making paintings with oil paint from a very young age, and exhibited his talent publicly, like drawing old master paintings with pastel and chalk on the pavement in front of the Cologne cathedral. Shortly after he got accepted in an art school, from which he graduated after a year and a half, the only child in a class of adults. There, he learnt different techniques, and received a training that led him to master three dimensional arts, like wooden sculptures. In his early twenties he built himself a solid reputation in the tattoo scene and won numerous prizes and awards. His works are part of numerous collections around the world. They were exhibited in Germany, Austria, Great Britain, Belgium, Spain, Turkey, and in the USA. Press: |
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Fresh Paint art fair 28.03.2017 - 01.04.2017 with Ruthi Helbitz Cohen and Christoph Both-Asmus Booth P 21 . The Steinhardt Museum of Natural History . Klauzner Street . Tel Aviv/Israel |
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Inhaling Nature 03.03.2017 - 15.03.2017 Christoph Both-Asmus (GER) - solo show Ritual performance: 10.03.2017, 7 – 8:30 PM The Activation Of The Protector Of The Forest Spirit performed by the artist, Valentin B-A (vinyls), Lan Hungh (drums), Felipe Amaya (dance) and others. Artist Talk: 14.03.2017, 7 PM between Christoph Both-Asmus and Tiny Domingos (Director of the project space rosalux) WHITECONCEPTS gallery is proud to present the second solo show, titled “Inhaling Nature”, of young German artist Christoph Both-Asmus. The exhibition presents recent works by the multimedia artist, particularly large-scale paper works, objects and photographs in the interplay between the themes of sustainability, environmentalism as well as nature cults. In recent years we have been part of a transformative change. People are becoming more and more aware of global changes and the interconnection of almost all aspects of our life. Christoph is an artist and an environmentalist, and he is willing to raise awareness for the ecosystem’s fragility and the importance of protecting the primary rainforest, the lungs of our planet. Christoph’s so far most extensive project “The Tree Walker” led him meet with artists in Central Africa last year. He spent three weeks in different countries climbing trees and making paper works directly in the rainforest. His collaborations with the renowned botanist Prof. Francis Hallé and Cameroonian artist Hervé Youmbi gave him a deep insight into the meanings of the forest. According to the artist, the top of a tree can be understood as a boundary between worlds, places and states of mind. Therefore a special event at the gallery will be organized aiming at “The Activation Of The Protector Of The Forest Spirit”. This collaborative ritual performance can be seen in the context of “The Tree Walker”. Based on Hervé Youmbi’s commissioned traditional African mask (with hidden magic powers), Christoph is going to activate it together with performance artists and friends at the gallery. With his transdisciplinary approach, the artist seeks out the relationship between knowledge and non-knowledge and makes positions significant in his sensitively explored artworks. Christoph received his M.A. from the Sandberg Institute of Fine Arts in Amsterdam in 2010. He received numerous awards and grants for his work, including the Mondriaan Fond Amsterdam. His work has been presented in exhibitions throughout Germany, Netherlands, Poland, UK, Portugal, Greece, Cameroon, Gabon, Egypt, Japan, and the USA, p.e. at the Haus der Kulturen der Welt, Berlin/DE, Center for Polish Sculpture Oronsko/PL, Leipziger Baumwollspinnerei, Leipzig/DE, Coda Museum Apeldorn/NL, Serralves Museum, Porto/PL. |
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Vanishing Objects 24.01.2017 – 30.01.2017 Muriel Gallardo (CL-IT) Workshop: 28.01.2017, 11:00 - 12:30 by Simon Guendelman, neuroscientist, doctorate at the Berlin School of Mind & Brain/Humboldt University Berlin With the exhibition ‘Vanishing Objects’ it is intended to generate an aesthetic experience of the vanishing quality of things, highlighting the hidden aspects of reality, opening sense on the shadow of things, uncovering the constructed and empty nature of things, and questioning the malleability of our reified worlds. The artworks by young Chilean artist Muriel Gallardo represent an ongoing discovery of space from bodily experience. She highlights the instability and composite nature of reality by the use of diverse materials and techniques. Combining her training in fine arts and aesthetics, with notions from literature, she particularly refers to the book “In praise of shadows” by Junichiro Tanizaki. Especially for this project, she based her work on the paradigm of enactivism - a theoretical approach to understanding the mind and reality proposed by Francisco Varela.* Muriel engages in a theoretical collaboration with Simon Guendelman. He articulates his background from psychiatry/psychology (psychoanalysis), cognitive science (embodiment), contemplative philosophy (Buddhism and mindfulness) into a theoretical and experiential elaboration of the notion of emptiness. Finally, in this exhibition art methods are used as vehicles for expressing the very “essence” of the problem of the vanishing quality of objects. Concepts from humanistic and scientific disciplines are displaced into artworks, generating a mixture and a tension between scientific and art languages. The exhibition is inspired in the notion of emptiness, merging the borders between disciplines like philosophy, aesthetics and psychology converging on art. It generates a reflexive experience of the vanishing quality of objects, exposing the inherent ungraspability of the empty nature of things, highlighting its shadow, accounting for the deep and inexplicable dimension of life. The presented installations, drawings and sculptures are built from selected materials and techniques giving form to emptiness. They “materialize” in a subtle manner, respecting its ominous and vanishing quality, representing the tangible as well as its illusory unity. An experimental workshop will offer the opportunity to further engage in experiential and reflexive explorations of emptiness, including notions from western and eastern traditions. In ‘Vanishing Objects’ the aesthetic of the shadow represent the elegance and beauty of emptiness, uncovering the inapprehensible and startling nature of things. The vanishing quality of objects intends to highlight the process of creation, starting from the primordial idea and how it is finally brought into form as a final artwork. In all this process, the intention of apprehension or appropriation of a given concept or idea is interweave with the appropriation of a quality of the space, in this way bringing forth the world or reality of a given artwork on their own. This interdisciplinary project intends to instantiate a critical perspective regarding the build-up nature of world’s perception. It aims at awaking a reflection in the spectator about the construction of the world, looking for avoiding the extremes of the solipsistic self sufficient world (only mind exists) and a purely materialistic account. In this sense, a middle path paradigm offers a new perspective on the borders between the body and the environment and can understand the mind and its processes as something in between the “internal” body and “external” world. The project includes different conceptualizations of emptiness which inspired each artwork, inviting the spectator to actively engage with and intersperse his or her own experience and perception with different pieces of the exhibition. *proposed using the term enactive to designate this view of knowledge, to evoke the view that what is known is brought forth, in contraposition to the more classical views of either cognitivism or connectionism." In: The Tree of Knowledge: The Biological Roots of Human Understanding by Francisco Varela,1992, p. 255. MURIEL GALLARDO (*1980 Chile) combines objects, drawings, photographs, texts and videos into complex series of works, which always have a background of philosophical inquiry, interweaving concepts from different disciplines into the creation of artworks. She holds an M.A. in Fine Arts from the University of Chile, and is currently a master student in the department of Design of Textiles and Surfaces at the Weissensee Academy of Art in Berlin. She has completed residencies programs as Bloc and Glogauair and will start in the Künstlerhaus Bethanien program during 2017. Muriel’s works have been presented in exhibitions in important museums, galleries and institutions in Germany, France, Spain, Italy, Switzerland, Austria, USA, Mexico, Argentina, Brazil, Uruguay, and Peru such as Luis Adelantado, Valencia (Spain), Jadite Gallery, NYC (USA), Borges Cultural Center, Buenos Aires (Argentina), Florence Biennial, Florence (Italy), ZK/U, Berlin (Germany). SIMON GUENDELMAN (Berlin, Chile) is a psychiatrist, psychoanalytic psychotherapist and a doctorate researcher in the Berlin School of Mind & Brain / Humboldt University Berlin. His research focuses on emotions and sociality, and the impact of contemplative practice in mental health and brain-bodily functions. He is a lecturer at the Alice Salomon Academy. Since 2009 he has been teaching workshops on the intersection of Western and Eastern psychology in Chile, USA and Germany, and has collaborated in various interdisciplinary projects between philosophy and art. |
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The intricate detail - Symbols in Contemporary Art 23.12.2016 – 23.01.2017 with Sara Berti, Christoph Both-Asmus, Finn Lafcadio O’Hanlon, Wanda Stang, Andy Wengel “One only sees what one already knows and understands." noted in a letter from Johann Wolfgang von Goethe to Friedrich von Müller, 1819 Symbolism is still an important artistic tool. Originally symbols had been used as a pictorial representation of a recognizable motif or a situation, which were later developed into fonts. Today we find visible metaphors such as pictograms in the public space. Artists use this universal language to the present to express themselves cosmopolitically. The current exhibition at WHITECONCEPTS gallery shows five positions, which are characterized by the use of symbols. The multimedia artist Sara Berti uses different materials and has built art in public space. She primarily deals with the body based on the long tradition of Italian masters. Her bronze sculptures show the imprint of the artist in the material and proclaim the connection with vital energy. She is “modelling the performative nature of becoming against the static nature of being." László Győrffy Berti’s fragile figures are not abstract representations, but correspond to transcendent projections of the body in the domain of metaphysics - the intersection of the converging lines is the seat of the mind (both are related to cognitive abilities as well as to the soul). Sara Berti (* 1982 Bologna/IT) graduated as a sculptor at the Accademia di Belle Arti in Bologna in 2006. Since 2015 she has been living and working in Sharjah/United Arab Emirates. Exhibitions took her to Italy, Hungary, Germany, Austria, Denmark, Serbia, Turkey, United Arab Emirates and in the USA. She also represented Italian art in Hungary for the Italian pavilion at the 54th Venice Biennale. Besides painting and drawing the work of Wanda Stang includes performance, object and installation. Often her exhibitions are staged as a space of experience related to different time, material and spatial ideas focusing on the reconnection of dreams into reality. Her paintings are composed directly onto the canvas, without any preliminary drawing. The artist sometimes becomes conscious of connections later. At the center of her painting "Dark Hands" we see a young woman, with her black - probably oil - smeared - hands holding her face as if she were thinking about the catastrophic effects of oil and other environmental pollution. Before Wanda Stang (*1985 Bad Saarow/DE) graduated in the visual arts in Baden-Württemberg she graduated in Fine Arts and Education for Waldorf schools. This was followed by studies of painting as well as the textile and surface design at the Art Academy Berlin-Weißensee. In 2015 she completed her studies as a master student of Prof. Tristan Pranyko. 2006-2007 she was involved in the restoration on the occasion of the reopening of the New Museum in Berlin. In 2011 her way led to London, where she was appointed for the label Alexander McQueen. Back in Berlin, she participated in solo and group exhibitions in Germany, the Netherlands and Hungary. The multimedia artist Christoph Both-Asmus questions our relationship to nature and the environment. His work includes all kinds of media like performance, video, photography, sculpture and Land Art as well as installations, painting and drawing. He mainly uses natural materials such as live and dead animals, plants, ice, earth and fire. The photograph is based on a ritual live-performance by the artist. Charcoal pieces are set on the chest of the artist and placed around the stalks of beautiful bouquet of flowers. The title “Green Cross” refers to Joseph Beuys‘ figures of crosses symbolizing abstract thinking and thus freedom. Christoph reconnects our feelings for the animated nature, to stop its ever-increasing plunder and destruction. Christoph (*1984 in Bad Soden-Salmünster/DE) received his M.A. from the Sandberg Institute of Fine Arts in Amsterdam in 2010. He received numerous awards and grants for his work, including the Mondriaan Fond Amsterdam. His work has been presented in exhibitions throughout Germany, Netherlands, Poland, UK, Portugal, Greece, Japan, Canada, USA, Cameroon, Congo, Gabon. Finn Lafcadio O’Hanlon works in a variety of media including ink and collage on paper, photography, stone engraving, and site-specific sculpture. The 24-year-old British artist explores classical and historical imagery, syncretic religious and ‘pop´ iconography, cartography and lexicology. His finely detailed monochromatic works deal with an exotic, decaying dystopia giving a critical perspective of current political and social issues. Finn (*1992 Brighton/UK) was born to an Australian father and an Hawaiian-Cherokee mother. He grew up among creative, nomadic types in Tulsa, Oklahoma, and Los Angeles/USA before returning as a teenager to Sydney/AUS. Having spent a year in France, Finn has been living in Berlin since 2013. His work has been exhibited in Germany, Australia, United Kingdom and Hungary. Andy Wengel addresses the themes of self-similarity, complexity and time and began developing ideas for the series “Power” in 2013. The advent of the Industrial Age saw the realm of towering structures, previously the sole preserve of rulers or religious institutions, taken over by mostly privately funded skyscrapers as symbols of power. Andy’s work focuses on the subjective effect of giant buildings on the ground, detached from pure observation of the architecture. Converging verticals and extreme perspectives reinforce the monumental impact of the buildings and are employed as stylistic devices. The reduced visual language together with the juxtaposition allow for a concentrated analysis on a detailed and mid level, forming a steel portrait of our time. Andreas Wengel (*East-Berlin/DE) had already developed a strong interest for visuals and science in primary school. Traveling through all continents shaped his photographic and general perception. While working at the Humboldt University he was responsible for photographic reproduction and darkroom processes where he first begun photographic experiments. His works have been shown in Germany, Hungary, Singapore and the USA. |
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Berliner Art Prize 2016 Kazuo Ooka (USA) Award Ceremony and Opening: 12.12.2016, 7-10pm Exhibition: 12.12.2016 - 17.12.2016 Curator: Gabriela Caranfil In collaboration with Art Management Berlin and aquabitArt |
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Previous 04.11.2016 - 22.11.2016 Elmar Hess - solo show Kindly sponsored by GIGANT Creating an image of a surreal-fictional world, the German artist Elmar Hess makes a distinctive contribution to the progress of the filmic medium in visual arts. Through the combination of found footage and reenactments, he seeks to remove the classic mode of the functioning of film. His work includes film and video works as well as multimedia installations consisting of thematically interlinked rooms. They provide a chapter structure comparable to the dramaturgical sequence of a film. The exhibition focuses on videos, photographs and objects from Hess´ installation "La Mère Perdue". The starting point is a historical event: The portrait of the "Mona Lisa" was shipped to an exhibition in the USA in 1962 - aboard the ocean liner SS "France". In Hess´ installation the event is related to an autobiographical experience of the artist, an encounter with the "France", decades later. The personal significance of the defining moment is reflected on the general cultural value of the “Mona Lisa” and to the extent to which values and cultural meanings are objectifying. “The equating of the Mona Lisa and the child’s model kit of the France gets to the provocative core of this relationship: on the one hand, the life-shaping, subjective significance of a lonely birthday party, and, on the other, the cultural, seemingly objectified value of Leonardo da Vinci’s Mona Lisa. Already heading toward its demise, the France links both of these things together, transforming it here into a real and symbolic transporter of general cultural values as well as an autobiographical, private experience. (…)” Stephan Berg in: Elmar Hess, DISTANZ-Verlag, Berlin. In addition to "La Mère Perdue", the exhibition "Previous" presents a selection of Hess´ latest work "Einen Frieden später", which was shown at the Kunsthalle Rostock in summer 2016, as well as of his film debut "Kriegsjahre – War Years" from1996. Elmar Hess (* 1966) lives and works in Berlin and Hamburg. His works were shown in numerous exhibitions p.e. "Man Son” (Hamburger Kunsthalle; Villa Merkel, Esslingen) as well as "German Open" (Kunstmuseum Wolfsburg), "Surfing Systems" (Kunstverein Kassel), "Lost Paradise" Kunstraum Wien-Museumsquartier), "La Mère Perdue" (Europäisches Kulturforum, Berlin). Hess was a scholarship to the Villa Massimo in Rome and the German Kunstfonds. His films have been shown across Europe, among others at the Moscow Film Festival, the International Film Festival Oberhausen, and the documentary film festival in Cannes. |
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Art Photo Budapest 2016 13.10.2016 - 16.10.2016 with photographs by Elmar Hess (GER), Katrin Korfmann (GER-NL) and Andy Wengel (GER) LOCATION: Building D/Booth P307, Millenaris Park, Budapest/HU |
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Art Market Budapest 2016 13.10.2016 - 16.10.2016 ART MARKET BUDAPEST - Central and Eastern Europe’s emerging contemporary art fairwith Denesh Ghyczy (GER-HU), Finn Lafcadio O´Hanlon (UK), PSJM (ES), Wanda Stang (GER) LOCATION: Building B/Booth G002, Millenaris Park, Budapest/HU Kindly supported by  |
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The Plague Year 22.09.2016 – 30.09.2016 Finn Lafcadio O’Hanlon (UK) - solo show OPENING: 21.09.2016, 18:30 - 21:30 The 24-year-old British artist, Finn Lafcadio O’Hanlon, returns to the city’s WHITECONCEPTS gallery with a solo exhibition of new pen and ink drawings and collages. Titled ´The Plague Year´, Finn’s second exhibition in Berlin will expand his exploration of classical and historical imagery, syncretic religious and ‘pop´ iconography, cartography and lexicology – this time, within an exotic, decaying dystopia detailed in more than 25 very finely detailed monochromatic works. Apparent within these new works is also a jaundiced, critical perspective of current political and social issues. Finn’s last exhibition at WHITECONCEPTS, two years ago, was one of the most successful openings for a young artist in Berlin that year. Introduced by the stellar German artist, Jonathan Meese, the entire show sold out within 48 hours. Born in Brighton, England, to an Australian father and an Hawaiian-Cherokee mother, Finn Lafcadio O´Hanlon grew up among creative, nomadic types in Tulsa, Oklahoma, and Los Angeles before returning as a teenager to Sydney. He is a grandson of the late best-selling novelist, Morris West. Having spent a year in France, Finn moved to Berlin at the beginning of 2013, where he established a studio to work in a variety of media including ink and collage on paper, photography, stone engraving, and site-specific sculpture. Press: Sicklit Magazine, 31.08.2016 |
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Positions Berlin art fair / BERLIN ART WEEK 2016 15.09.2016 - 18.09.2016 Wanda Stang (DE) LOCATION: Stand 1.21 . Postbahnhof am Ostbahnhof Straße der Pariser Kommune 8 . 10243 Berlin 
Press:
artprice.com, 09.09.2016 |
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WHO WANTS TO DIE? 14.09.2016 - 28.10.2016 Marta Antoniak, Malte Bartsch, Christoph Both-Asmus, Krzysztof Debicki, Milosz Flis, Jakob Grebert, Rafael Ibarra, Janosa Mike, Teresa Otulak, Urszula Pieregonczuk, Jovana Popic, Wlodzimierz Pozniak, Dominik Ritszel, Martin Schwarze, Anna Siekierska, Wanda Stang, André Uerba, Ivar Veermäe OPENING: 13.09.2016, 19:00 - 21:00 LOCATION: rk Gallery . Möllendorffstraße 6 . 10367 Berlin
PROGRAM
Opening 13.09.2016, 19:00 - 21:00 Panel discussion 14.09.2016, 18:30 - 20:30 Long Night of the pictures in Lichtenberg 16.09.2016, 18:00 - 23.00 Ritual Performance ´Requiem´ by Christoph Both-Asmus 17.09.2016, 14.00-18.00 The social, political and economic situation in Europe has galvanized a young generation (of artists) to create politically engaged art that poses questions and stimulates and fosters discussion, using this interdisciplinary language to reflect the prevailing crises. Shown for the first time during Berlin Art Week, the exhibition project “WHO WANTS TO DIE?” presents „Pacifism nowadays“ as the central motif and constituent moment of a sociocritical, probing, exploratory, actionistic and abstract artistic debate about the social order and its transformation. More particularly, the question concerning the current meaning of “pacifism” is at the center of the panel discussion. The first showing of the exhibition features the work of young graduates from Polish and German art academies and includes artistic media such as video, sculpture, painting, photography, and performance. The exhibition curator Nicole Loeser got her inspiration for this project during a visit to the 7th Young Triennial at the Center for Polish Sculpture in Oronsko, Poland. The title of that exhibition, curated by Leszek Golec, was borrowed from Daria Malicka’s work "Kunszt" (art + craft + skill). The name reflected one of the main motifs of the exhibition: The significance of artisanal craft in contemporary art and its placement in scientific and social contexts. The works of 25 artists, selected from more than 30 Polish art academies, gave topics such as religion, ecology and pacifism a highly professional treatment. This enabled them to demonstrate the involvement of contemporary art in political and social aspects. Some of the Polish works will now be shown in the context of the exhibition "WHO WANTS TO DIE?” where they will be complemented by young artists based in Berlin, Kiel and Leipzig. In cooperation with the Centre for Polish Sculpture and WHITECONCEPTS. Curated by Nicole Loeser and co-curated by Leszek Golec. Kindly supported by Kunsthochschule Berlin-Weissensee, Institut für Raumexperimente/Universität der Künste, Berlin and Galerie Nord -Kunstverein Tiergarten. |
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Embodiments 01.08.2016 - 07.08.2016 Artists: Muriel Gallardo (Berlin/Chile), Valentina Berthelon (Berlin/Chile), Julia Elsas (New York), Rachel Bernstein (New York), Fernanda Antola Porto (Berlin/Brazil), Veronika Witte (Berlin), Katarina Riesing (New York), Gina Eickers (Berlin) OPENING: 01.08.2016, 19:00
PANEL: 06.08.2016, 14:00 - 18:00 (RSVP)
Joerg Fingerhut (HU Berlin / Berlin School of Mind and Brain): "The artifactual body - Neuroaesthetics and its limits" Jesse Prinz (CUNY, Einstein Visiting Fellow at Berlin School of Mind and Brain): "Embodiment, Emotion, Empathy, and Art" Elena Agudio (Art historian Berlin, Artistic Director AoN): tba Embodiments takes inspiration from recent debates about embodied cognition: the idea that thinking and perceiving depend on bodily interactions with the world. Here we transcend the standard exhibition format by bringing theoretical talks and psychological studies into the exhibition space. We will encourage lively exchange between artists, theorists, viewers on the role of the body in art production and art perception – by, for example, measuring viewers’ experiences as they explore work in the gallery. On August 6th there will be talks from distinguished speakers from the fields of art theory and philosophy, engaging the works on display and incorporating perspectives from artists and gallery visitors. Kindly supported by Berlin School of Mind and Brain, Humboldt-Universität zu Berlin, Einstein Stiftung Berlin Press: Philosophycommons, 03.07.2016 Berlin School of Mind and Brain, 11.07.2016 Berliner Woche, 17.07.2016 Deutschlandradio Kutur, 07.08.2016 ARD Mediathek, 07.08.2016 |
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THE UNIVERSE IN ALL WE TOUCH 11.07.2016 - 28.07.2016 Greg Murr (USA) OPENING: 13.07.2016, 18:00 - 20:00 Greg Murr is fascinated by the outer reaches and the minutiae of the physical world, things so extremely beyond the reference of human scale, that if it weren´t for the sciences, we would be left uncomprehending. In something as seemingly facile as a peony bloom, he finds suggestions of radial motion, radial symmetry, compression and expansion, levity versus mass, corporeality versus immateriality―characteristics reminiscent of so many properties pertaining to both cosmological phenomena and quantum physics. Understanding little, one can nevertheless marvel at the wonders of tangible phenomena, where a simple blossom—and all else that exists—transcends taxonomy as its constituent atoms are traced back nearly 13.8 billion years to the beginning of our space-time universe. The easily accessible subject matter of blossoms, superimposed or otherwise re-orchestrated, here addresses such cosmological phenomena as dark matter/ dark energy that fills what was formerly perceived as empty space, gravitational lensing caused by galactic superclusters, and the cosmic microwave background radiation that speaks to the geometry of the universe. These pictures are meant to address the observable world outside the threshold of our everyday awareness with the hope that an expanded perspective will ultimately enable us a more humbled, if collective, view of our humanity. Greg Murr is a visual artist concentrating in drawing, painting and print media. Responding to local phenomena, he looks at discrete systems that make up our surroundings and how their structures shape our perceptions, ideas, and behavior. Murr´s work has appeared in exhibitions at the Austin Museum of Art (2011), the Arkansas Art Center (2008) and the Whitney Museum of American Art (2005). He has twice served as a Visiting Artist/ Instructor at the Scuola Internazionale di Grafica in Venice, and has been a Resident Fellow at the MacDowell Colony, the Robert M. MacNamara Foundation and the Morris Graves Foundation. His work is in permanent collections that include the Philadelphia Museum of Art, the Sheldon Museum of Art, the Museum of Fine Arts in Santa Fe and the Whitney Museum of American Art. Tamarind Institute and Flatbed Press have published editions of his work. Murr received a Master of Fine Arts degree from the University of New Mexico (1997) and a Bachelor of Arts degree from Wake Forest University (1993). |
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Power Part 1+2 Part II 10.08.2016 - 24.08.2016 Part I 03.06.2016 - 30.06.2016 Andy Wengel (DE) - solo show
With the series “power” the artist continues to address the themes of self-similarity, complexity and time. The advent of the Industrial Age saw the realm of towering structures, previously the sole preserve of rulers or religious institutions, taken over by mostly privately funded skyscrapers.
Andy Wengel‘s work focuses on the subjective effect of giant buildings on the ground, detached from pure observation of the architecture. Converging verticals and extreme perspectives reinforce the monumental impact of the buildings and are employed as stylistic devices. Time and place are nullified by the composition, the dimensions blur. The use of hybrid techniques suspends reality and artificiality for the viewer. It is not about reality, but rather about the representation of an isolated truth, perceptible only through photography. Recurring forms and materials, the absence of people create a mysterious, anonymous impression – the purpose, hidden behind glass. The buildings appear as monuments of power – inaccessible, impregnable, and sterile. The gloomy sky emphasizes this effect. The reduced visual language together with the juxtaposition allow for a concentrated analysis on a detailed and mid level, forming a steel portrait of our time. |
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KunstRAI Amsterdam 01.06.2016 - 05.06.2016 Deenesh Ghyczy, Seet van Hout, Uwe Poth, Wanda Stang OPENING: 01.06.2016, 15:00 (by invitation only) LOCATION: Europaplein, 1078 Amsterdam/NL |
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Monstrodamus 04.05.2016 - 08.05.2016 We Dance Like Monsters (WDLM) - An international collective of 27 artists OPENING: 04.05.2016, 17:00 In collaboration with Pictoplasma Festival We Dance Like Monsters (WDLM) present Monstrodamus – an international group exhibition exploring the relationship between monsters and humans at the WHITECONCEPTS Gallery, Berlin. Monsters exist all over the world, woven into the fabric of our global culture. They inhabit the universe and the far reaches of the human imagination in a multitude of forms. The WDLM collective draws together documentation from its creative members to give an international perspective on monsters – both fun and fearsome. For the WDLM artists, ‘monster’ is a mechanism to reveal a mix of contemporary issues and dilemmas combined with character design which is at the core of their practice. The artists play with the idea that while some monsters are inherently evil, others are indicators of an imbalance within the natural order of our environment, or signal discord within our social and cultural beliefs. From New Zealand comes an avatar for the human intervention in nature, and monsters by artists in Thailand and Australia challenge both identity and femininity. WDLM artists also communicate the idea of monsters appearing in our social and cultural conscience as guides for social attitudes and behaviour, such as the monsters of prejudice and fear revealed in comics and storytelling from Finland. A multifarious selection of traditional and modern monster associations are integrated in the form of portraits, stories, battles, worlds and even monster news. Mythological and metaphorical monsters manifest within insignia and motifs; amulets from Bolivia have been crafted to ward off evil and to bring good, while bold Peruvian masks bear monstrous faces. From angels who connect humanity to the mythical underworld to fortunetellers predicting the future, this exhibition is a diverse and vibrant monster mix, including sculpture, automata, illustration, painting, print and fashion. WDLM – is a global group of 27 talented character obsessed illustrators, graphic designers, sculptors and provocateurs from more than 20 countries spanning from South America to New Zealand, through Far East Asia, Finland and the Russian Federation. Thrown together for the 2014 Pictoplasma Academy, from a chaos of creation, they are continuing their impact on the world as an international collective. Press: PAGE, 06.04.2016 art goes public, 13.04.2016 creative city Berlin, 13.04.2016 form, 19.04.2016 Jitter Magazin, 03.05.2016 Artrabbit, 04.05.2016 PAGE, 09.05.2016 |
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The affective turn or the skin is faster than the word 03.03.2016 - 30.03.2016 Veronika Witte (DE), Mika Karhu (FI) OPENING: 03.03.2016, 19:00 Contemporary Present Time Compositions by Johanna Wu (vl) and Harri Sjöström (ss) FINISSAGE: 30.03.2016, 19:00 Performance by Rafal Dziemidok Please find English press release here! Wie lässt sich jene unkontrollierte halbe Sekunde zwischen Reiz und Reaktion - bevor sie zur Sprache wird - mit skulpturalen und malerischen Portraits visualisieren? Die Ausstellung in der Galerie WHITECONCEPTS stellt neue Skulpturen von Veronika Witte mit dem Titel „ghosted bodies“ und Tuschebilder der Serie „Anatomie of Pain“ von Mika Karhu gegenüber. Beide Künstler transformieren Portraits, die aus Kombinationen und Überlagerungen ausgewählter Bildvorlagen wie Fotos, Zeichnungen und Footage entstehen. Die künstlerischen Positionen begegnen sich in der Befragung von gesellschaftlichen Phänomenen. Im Fokus steht das Denken durch und über den Körper, um die Zukunft sowohl in einem theoretisch-abstrakten Referenzsystem als auch kollektive Projektionen, Affekte und subjektive Desiderate in einem anthropologischen Sinn, anhand konkreter Bilder und Visionen greifbar werden zu lassen. Thematisiert werden Affekte auf soziale Spannungen wie Vertreibung, Flucht und Terrorismus sowie das Phänomen der gleichzeitigen Virtualisierung, Technisierung und Entprivatisierung des (sozialen) Körpers. Denn im Angesicht der Instrumentalisierung der Ängste, die im „closed circuit“ der Medien an zynischer Schärfe und unverhohlenem Einsatz zugenommen hat, wird ein „affective turn“ erzeugt, der eine analytische Herausforderung für die Kunst und Disziplinen wie Philosophie, Biotechnologie, Neurowissenschaften, Psychologie, politischen Ökonomie und Kulturkritik darstellt. Bei Veronika Witte stehen immer wieder öffentliche Befragungen am Beginn der Recherche, die in Videoarbeiten, Installationen und partizipative Kunstprojekte münden. Wissenschaftlich anmutende Fragebögen bestimmen in vielen Arbeiten Versuchsanordnungen zu Identität, Subjektkonstituierung und Zukunftsperspektiven. Die Künstlerin befragt ihre Probanden nach dem eigenen subjektiven Empfinden, nach Zukunftsvorstellungen zu ihrem Körper, nach den zu erwartenden sozialen Entwicklungen und auch nach der Zukunft des Menschlichen generell. Deren anonymisierte Ergebnisse über zukünftige Körpervorstellungen werden durch künstlerische Filter zu Skulpturen verarbeitet. Sie sondiert damit in einem ersten soziologisch angelegten Arbeitsschritt die Grenzbereiche zwischen Subjekt und Gesellschaft, zwischen individueller und kollektiver Utopie und bezieht überdies das Verhältnis von Kultur und Ästhetik in ihre Überlegungen ein, wenn sie an ihren „Portraits“ der Gegenwartsgesellschaften und deren Projektionen arbeitet. Denn die Frage ist ja nicht allein, was wir tun werden, wenn wir uns verändern, sondern wie wir etwas tun und worin sich der Sinn zukünftiger, fragmentierter oder gesampelter Körperselbstbildnisse - die ein Produkt von Jahrtausenden alter, evolutionärer und kultureller Prozesse darstellen - präsentieren und äußern. Ihre neuen Skulpturen „ghosted bodies“ (2015-2016) basieren auf die in ihrer Langzeitfeldforschung generierten Zeichnungen des ISF. Diese werden über digitale Prozesse manipuliert. Ihre Zeichnungen zeigen hybride Kreaturen, die von Witte immer wieder als Quelle und Vorlage für skulpturale Verkörperungen genutzt werden. Im Vergleich zu den früheren Arbeiten scheinen sie weniger kühl, amorph, molekular flüssig, spiegelnd lackiert, sondern eher roh, verzerrt, affektgeladen, grausam, grotesk und ambivalent. In expressionistischen Farben gebrannt - die sich auf ihre Umfrageergebnisse beziehen - tarieren die Skulpturen Gegensätze wie Grauen und Komik, Lächerlichkeit und Bedrohung, Zierlichkeit und Monstrosität aus – eine künstlerische Sprache, die in der Vielfältigkeit und allen konzeptuellen Ansätzen in Wittes Arbeiten immer hervorscheint. Die Berliner Künstlerin Veronika Witte (*1962) studierte an der Ecole Nationale Supérieure des Beaux-Arts in Paris Skulptur, Installation und Video. Ihr Oeuvre umfasst Videos, Skulpturen und Installationen sowie interdisziplinäre Projekte. Insbesondere untersucht Witte, welche Rollen der biologische Körper für zukünftige Gestaltungen in der Gesellschaft z.B. als Ressource spielt. Am Ende ihrer Forschung stehen oft skulpturale Produktionen mit Videos und Objekten als auch szenische Installationen für Theater und Oper. Witte wurde mehrfach für ihr Werk ausgezeichnet. Ihre Arbeiten wurden in zahlreichen Ausstellungen in ganz Europa als auch in Vietnam präsentiert. Seit 1999 zeichnet sie auch für Kooperationen mit Theatern verantwortlich (Staatsbank Berlin, Saarländisches Staatstheater, Staatstheater Bielefeld). Mika Karhu wählt für seine dunklen Tuschebilder Portraits, historische Fotos sowie biografisches Material als Vorlage, um diese schichtweise, in altmeisterlicher Maltechnik zu verwenden. Seine Bilder, Installationen und Zeichnungen erforschen das Zukunftsbild der Gesellschaft, das mit bedrohlichen Faktoren gezeichnet wird. Unter Bezugnahme auf wissenschaftliche Erkenntnisse und philosophische Theorien erforscht Mika Karhu bereits seit vielen Jahren die Folgen von sehr starken emotionalen Erfahrungen im Hinblick auf die Persönlichkeitsentwicklung und soziale Interaktionsmuster. Als Künstler und Theoretiker untersucht er das politische Kalkül der Macht über gesellschaftliche Unsicherheit mit den daraus resultierenden Affekten und konzentriert sich dabei vor allem auf die Angst. Im Mittelpunkt seiner künstlerischen Arbeit steht die Auseinandersetzung mit der emotionalen Spannung struktureller Schutzlosigkeit und deren Anwesenheit in Form von Angst als unbewusstes Konstrukt – konstruierte Angst vor dem Fremdem, das sie begleitende Unheil, Furcht vor der möglichen Misere und vor der Verschiebung von Wertvorstellungen. Paradoxerweise erhöht die Bemühung um eine sichere Gesellschaft die Anzahl der potentiellen Quellen der Bedrohung. Durch die steigende Anzahl der Verbote und Regeln, wird das ehemals zum „normalen Verhalten gehörende“ als Bedrohung empfunden. Diese diffuse Bedrohung wird zum Instrument der gesellschaftlichen Macht, die Auswirkungen auf das Leben eines jeden Normalbürgers hat. Denn die Vorstellung von Bedrohung verstärkt das Gefühl der Schutzlosigkeit und evoziert Unsicherheit und Unberechenbarkeit. Karhu hinterfragt zudem auch kommerzielle Anwendungen, die in der Ökonomie der Angst mittels Überwachung und Schutzlosigkeit erzeugenden Bedrohungen ermöglicht werden. Seine Arbeiten bewegen sich in der Welt der schwarz-weißen Tonwerte - eine Metapher für die Welt des Lichtes und der Dunkelheit. In ein und demselben Bild zeigen sich Variationen vom tiefen Schatten, glühendes Licht, Kreuzlicht und dem erstickendes Grau. Dr. Mika Karhu (*1969 Joensuu, Finnland) studierte neben Bildender Kunst und Grafik theoretische Philosophie, Mikrobiologie und Neuropsychologie. Er arbeitet als internationaler Künstler, Wissenschaftler, Kurator sowie als Dozent für Kunst und Design an der Aalto Universität in Helsinki und wurde mehrfach für sein Werk ausgezeichnet. Karhus Arbeiten wurden in Ausstellungen in ganz Europa vorgestellt und sind in zahlreichen öffentlichen und privaten Sammlungen vertreten. Press: ART@Berlin, 05.03.2016 Tagesspiegel/Ticket, 08.03.2016 |
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ART KARLSRUHE 2016 18.02.2016 - 21.02.2016 Mike Dargas (DE), Michael Stalherm (DE) OPENING: 17.02.2016, 14:00 LOCATION: Hall 3 . Stand J 33 . Messeallee 1 . 76287 Rheinstetten |
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Framing Space - The Jerusalem Project 04.12.2015 - 29.12.2015 Susanne Kessler (DE-IT) - solo show OPENING: 03.12.2015, 7 - 9 pm Introduction by PhD Hans Hoffmann, historian WHITECONCEPTS gallery is pleased to present the solo show of Susanne Kessler focusing on the city Jerusalem. Her tour started in March 2015 with "The Seven Hills of Jerusalem", curated by Vincenzo Mazzarella and Paolo Bielli, in the church Santa Lucia del Gonfalone in Rome followed by “The Jerusalem Project" in April 2015 during the Off Course - Art Fair Brussels organized by curator Antonio Nardone. On November 7th her installation “Jerusalem”, curated by Jack Rasmussen, will be opened at the American University Museum at the Katzen Art Center in Washington/DC. Susanne Kessler became known with her volumetric, organically staged installations. Since the early 1980s she has been searching for new possibilities to make paintings or drawings three-dimensional. Extending her investigation of the metaphysical and organic substrate that infuses and shapes human action, Susanne Kessler´s installation, Jerusalem, brings a prophetic voice to consideration of this sacred and troubled city. Kessler´s fascination with the transformation of human culture has been shaped and cultivated by her experience of living for the past 30 years in the ancient city of Rome that was founded like Jerusalem on seven hills. Like Rome, Jerusalem is a city of layers that has undergone continual transformation. A geographical gateway between East and West, it is home to the three great religions of Judaism, Islam, and Christianity – the source of both its greatest gifts and its most intractable challenges. What is this city that it can somehow attract, distill and focus such profound insight into the great mysteries, while simultaneously provoking some of the world’s most intense suffering? Text by Sarah Bliss The book "Framing Space", recently released by the German publisher Distanz, gives a retrospective overview of the artist’s most important sculptures and installations created in the last thirty years. The book containing contributions by Achille Bonito Oliva, Vincenzo Mazzarella and Johannes Nathan is available in the gallery. Susanne Kessler was born 1955 and is currently living and working in Rome and Berlin. She studied at the University of Fine Arts (UdK) in Berlin and at the Royal College of Art in London (MA). Her work has been shown in more than 60 solo shows. Among her awards are the DAAD-stipend, the Paul-Strecker-Award of the city Mainz and the nomination for the Kaiserring-Grant of the city Goslar. Her manifold travel grants took her throughout Europe, to India, Pakistan, Mali, Ethiopia, Guatemala, and to the USA. In 2001 and 2002 she hold an associate professorship for installation and drawing at the University of California, followed in 2010 by an associate professorship to the Art Academy Riga/Latvia, and in 2011-2013 to the City University New York, USA. Her works are represented in numerous public collections in Europe and America, and in multitudinous private collections. Press: Tip Magazin, Ausgabe 25/2015 ArtatBerlin, 30.11.2015 |
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Art Market Budapest 2015 08.10.2015 - 11.10.2015 Central and Eastern Europe’s emerging contemporary art fair with works by Christoph Both-Asmus, Deenesh Ghyczy, Jovana Popic, Wanda Stang LOCATION: Building B/Booth G102, Millenaris Park, Budapest/HU with photographs by Andy Wengel at Art Photo Budapest LOCATION: Building D/Booth P403, Millenaris Park, Budapest/HU  |
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Unearthly Realities 01.10.2015 - 23.10.2015 Franziska Rutishauser (CH) - solo show OPENING: 01.10.2015, 7 - 9 pm Introduction by PhD Harriet Häussler, art historian WHITECONCEPTS is pleased to announce Franziska Rutishauser’s first solo exhibition with the gallery. Franziska Rutishauser‘s oeuvre is influenced by physical, philosophical and aesthetic developments of our time. In taking care new knowledge about our universe, her paintings, drawings and photographs can better be understood in its total entirety. In this exhibition works of three large cycles are presented which are directly related to currently discovered insights in physics. The four selected oil on canvas paintings which are part of the series „Dark light matter“ date from 2010 until 2014. Their title is related to the concept of “dark matter”. In integrating the word “light” the artist plays on words and meanings. Today’s scientists believe that the “dark matter”, the absolute and relative darkness in universe, keeps in itself about a quarter of the energy of the non-lightning and therefore for a human being non-visible material. With “light” the artist points to the fact that there is something even in the assumed naught. Only the human eye is not capable of recognizing this element. An accumulation of driftwood in “Nest – Dark light matter”, which the artist has discovered, transforms into an image of the universe, leaves of plants in “Calm 1 and 2 – Dark light matter” obtain a special aesthetic because of the strong light shadow contrasts so that the viewer can associate animal and human forms with them. These associations also appear in the second large cycle in the exhibition. In the “Berliner Sandberge” (Sand Mountains of Berlin) – a series of 83 photographs in total from 2012, out of which the artist has made a selection of twelve light boxes and two imprints – Franziska Rutishauser makes something visible to the human eye which exists without being obvious. When the artist explores the ground of the former barracks in Berlin-Karlshorst, she discovers numerous formations in the sandy terrain which remind of human structures. The documentation of the construction site turns into a symbolic trip for the native Swiss and newly settled in Berlin artist. “Berlin is not a house” – she explains – “It is a plate, without protecting borders. A huge flat urban region, built on sand. A place of permanent changes.” The last cycle „Anthropomorphisms“, eight drawings from 2010, impresses again by its precision in the visualization and by the strong black and white contrasts. It relates to forms in nature, mostly found in Southern France, in which faces and human fragments of the body seem to be hidden. Once more Franziska Rutishauser makes the invisible visible. She presents images to the visitor of the exhibition which are not only pictorial but also sensually perceptible. The Swiss artist Franzsika Rutishauser (* 1962 in Münsingen) lives and works in Berlin since 2010, besides her studios in Berne and Nice. Since that year a remarkable body of paintings and photographs arose which deals with its direct natural surroundings. This year she has another solo exhibition at the Kunstverein Solingen and participates at further exhibitions in Berne, Karlsruhe and Bad Salzdetfurth. Her monograph of works from 2006 until 2014 has just been released by the publisher Kerber in Bielefeld and is available at the gallery. |
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KARMAWERK 11.09.2015 - 23.09.2015 OPENING: 11.09.2015, 6 - 10pm & PERFORMANCE 8:30pm: The Fall by Karma, Vera Schrankl (vc), Yatziv Caspi (tbl) and Max Pela (dr) WHITECONCEPTS gallery is pleased to present the first Berlin solo mixed-media exhibition of Canadian/Trinidadian artist KARMA. The show will feature new paintings/sculpture, digital art/video that explore the universal themes of life/death, disintegration/ re-incarnation, the mundane/ the transcendent in the artist’s highly expressive, personal, idiosyncratic way. The exhibition title, KARMAWERK is a ’made up,’/ (compound) German word, composed of the concept of Karma + work. Though the notion of Karma is often defined in Western popular culture as fate/destiny or action/reaction, work is also another of its multitudinous definitions. Philosophically, work functions as a key socio-cultural political and religious component in German culture. More playfully, the made-up word, KARMAWERK refers to of one on the artist’s favorite German innovators of electronic music, KRAFTWERK. Metaphorically and esoterically, work can also refer to a mystical, alchemical ‘work’ that ultimately mirrors the simplest definition of art - a manipulation of materials to produce a transformation. KARMA’s art, is not only informed by her attempts to understand the meaning of her culturally and spiritually complex name, but also by the need to investigate the enigmatic questions that result from doing so. The artist’s personal obsessions combined with this quest create her own personal mythos. These varied preoccupations range from such dichotomies, as high vs. subculture, identity/culture, east/west, spirituality/mysticism, mythology/reality, alchemy/science, philosophy/ psychology, nature/space, to the past/future. Inherently, the exhibition KARMAWERK explores the idea of the Gesamtkunstwerk. Each artwork acts as part of the whole. Aesthetically the ‘WERK’ pays homage to various art historical movements ranging from Modernism, Surrealism, German Expressionism, Abstract Expressionism, Minimalism, Conceptualism, to Video Art and Performance. Ultimately, by utilizing seemingly conflicting colours, materials, styles, and techniques, the artist seeks to create work that she thinks of as ‘hybrid.’ These are works that suggest the interstices and junctions that occur when opposites collide. Born in Trinidad and Tobago, (of mixed East Indian, Scottish, and North African heritage) to a father who was a poet and part of the black power movement, and Brahmin student of linguistics, KARMA left a southern colony to move to a northern one, Canada. True to her chameleon nature and practice, the artist trained at a young age formally at a performing and visual arts middle- high school as a ballet and modern dancer, and in music, and drama, before making the decision in her last year of her studies to become a Visual Arts major. She received the Visual Art graduation prize. Upon returning to Toronto, the artist co-founded her own artists collective, SYNDICATE. Later, at Concordia University in Montreal, she studied with the titans of Canadian Abstract Expressionism, and Minimalism. During her studies she won the Ruth Louise Scholarship for Excellence in Visual Art, and graduated with distinction winning the Graduating Prize for Painting and Drawing. Since then, KARMA has shown her work internationally at museums, galleries, and screenings in Canada, USA, India, Brazil, South Africa, the Caribbean, UK, France, the Netherlands, Austria, and Germany, including shows at art institutions like the Power Plant Contemporary Art Gallery, the Museum for Contemporary Art /TO, The Art Gallery of Ontario, CANADA Gallery and D.U.M.B.O./NYC, Roberts and Tilton/LA, TAO Gallery/Mumbai, as well as the ARTFORUM Berlin. KARMA has been featured in numerous art magazines and catalogues as well as newspapers. Her work has been collected by universities, curators, and internationally respected designers. True to her nomadic blood she has lived in Jamaica, Saskatchewan, Toronto, and Montreal. KARMA has also been active as an art curator, organizer, and educator. She writes poems, songs and short stories. KARMA now lives and works in Berlin and at the Baltic Coast. “I have not only always felt myself to be a ‘stranger in a strange land’ *, but in actuality an alien on a strange planet. I am somehow OTHER. I have always existed in the in-between, never really joining, but open to all and to every influence.” Karma *Stranger in a Strange Land is a 1961 science fiction novel by American author Robert A. Heinlein. |
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Racking focus 30.07.2015 - 02.08.2015 by Ampersand collective (Oier Gil & Abel Jiménez Rivas) curated by PSJM as part of their Berlin Workshop supported by the Spanish Embassy |
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The Ecstasy of Saint Theresa 16.07.2015 - 10.08.2015 with Manzur Kargar (AF-DE), Finn O´Hanlon (AUS), Wanda Stang (DE) |
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Rivers and Trees 01.06.2015 - 03.07.2015 Christoph Both-Asmus (GER) - solo show ARTIST TALK between Christoph Both-Asmus and David Medalla (artist and director of the London Biennale): 09.06.2015, 6 PM Ritual performance "Requiem for a dying planet": 26.06.2015, 22:30 PM Both-Asmus´ blood will be flowing freely over a landscape made of Japanese papier mache and soil, creating its own rivulets and tributaries and leaving an ever darker and bloodier stain. After this, the blood-river landscape will be displayed as a finished piece of art work. Can you feel your blood pulsing through your body? When was the last time you saw your own blood, or the blood of someone else? For Both-Asmus it was essential to use his own blood rather than that of a cow or pig to demonstrate his allegiance to living creatures, human and otherwise, whose blood has been spilt unnecessarily. Blood flowing outside of the body is associated with violence, death and killing, as in the 1994 genocide in Rwanda, where the rivers ran red. Flowing water leaves its mark on the landscape, flowing blood its mark on our soul and psyche. In parallel to this work the gallery will be used as a workspace for the team of THE TREE WALKER project, initiated by Christoph Both-Asmus. Based on a daydream (2009) Christoph saw himself walking over the thinnest branches of the rainforest. Since then he was convinced that he wanted to realize the poetic image „balancing between earth and sky“, going over the edge, almost flying. During the development process he has been successfully experimenting different ways of tree climbing to reach the tree tops. As the artist’s interest for the biodiversity in the canopy has grown, THE TREE WALKER has taken another dimension with the collaboration of world widely known French scientists and botanists (p.e. Operation Canopy - botanist Francis Halley und pilot Dany Clayet-Marrel and ANPN, Gabon/Africa). On the occasion of the exhibition the project team is once a week showcasing different ideas of the project and giving insight into his large-scale installations and performances portraying the sublime of nature and the uniqueness of our existence. Christoph Both-Asmus (b. 1984, Germany) is currently living and working in Berlin. In 2010 he completed his MFA at the Sandberg Institute for Fine Arts in Amsterdam (NL). In 2011 and 2012 he got funded by the Mondriaan Fund Amsterdam. His interdisciplinary work mainly focuses on performance, video, mixed media installation and site-specific sculpture, often created with natural artifacts or even living organisms. He exhibited amongst the greatest art shows around Europe, including Art Pie Amsterdam, Istanbul Art Fair and Re:Rotterdam. In recent years the artist exhibited together with fellow documenta artist and director of the London Biennale David Medalla and Venice Biennale artist Pedro Calapez. |
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Battlefield Love Live 08.05.2015, 3pm, Askanischer Platz, Berlin Battlefield Love Live - peace performance with Nikolaus Eberstaller, WHITECONCEPTS, Youth LeadeR, 11wiedu, Fedor, many young people and supporters 02.05.2015 - 03.05.2015 Battlefield Love Transport - special performance during the gallery weekend with Nikolaus Eberstaller and engaged partners The project BATTLEFIELD LOVE MEMORIALS, initiated by Austrian artist Nikolaus Eberstaller (*1968), is both a participant-strong peace performance, held on 8 May 2015 on the 70th anniversary of the end of World War II in Berlin, and a life-sized, spectacular 3.500 m2 installation of a battlefield in public space, hosted by the European Capital of Culture 2016, Wrocław (PL). For the world, from the youth The peace rally as an art performance is created for sending a positive signal to mankind – highlighting the real treasures, true values of our society: peace, human love, and understanding among nations. Both events include a focus on youth powers to transform the world with creative optimism, free spirit, fearlessness, and an inspiring influence on the adult world. Art as a social statement Art outside the museal perception embraces its responsibility for questioning society´s aims as well as stimulating, uplifting conversations. The rigid, concrete battlefield installation is preceded by the living sculpture interpretating the fluid transformation from escalation to de-escalation through citizen´s power. Grounded in history, the installation takes a positive look at creating a peaceful, sustainable present and future through the inspirational examples of teenage hero/ines leading wildly successful social and environmental initiatives around the globe. Schools worldwide are invited to interact with them, contribute to their causes and join a global community through our educational partner Youth-LeadeR. The project BATTLEFIELD LOVE MEMORIALS also collaborates with outstanding young artists. 11 WIE DU (Germany´s leading “positive change” youth band and UNICEF Junior Ambassadors) and FEDOR (Hip Hop) bring the musical spirit of the Change Generation on stage. The project is being developed in cooperation with WHITECONCEPTS, Youth LeadeR and the Cultural Foundation Forum Castle Kraskow. We are grateful for the support of the Cultural Secretary Tim Renner, Kulturprojekte Berlin, the city of Breslau, Technical University Berlin, betonwerkstatt, LASERLINE, GRACE, contemas websolutions, Scan3D, aalborgportland, Gardemann, Barufke Handelsservice, Jugend Theater Werkstatt Spandau, Marc Bogaerts, Mathilde Lossin, 11WieDu, Filming for Change, Verein der Visionäre, Friedensfestival and many other dedicated partners and participating schools in Berlin. The performance is part of the program »May 45 - Spring in Berlin«, organized by Kulturprojekte Berlin. |
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Spanische Malerei 01.04.2015 - 30.04.2015 PSJM (ES) - solo show OPENING: 02.04.2015, 7-9 PM Spanische Malerei [Spanish Painting] is a painterly portrait of Spain’s reality rendered geometrically. In this new series, PSJM develops a line of “social geometry” using statistics to determine a variety of geometric compositions. PSJM creates these pieces by strictly adhering to painting materials. In a more or less explicit manner, a reflection on painting has permeated the team’s trajectory. Spanische Malerei is their creative output from 2013, a year immersed in the most severe financial crisis people have been forced to experience. Demands for austerity somehow make themselves felt in the production process, now removed from resplendent industrial surfaces. Thus, the hard times faced by the cultural sector are seen in a direct and honest way. Just like the political, financial and social reality which shall be brought to the fore in these mathematical reflections rendered in acrylic on canvas. Notwithstanding the handcrafted nature of these paintings, the precision and neatness of their finish reminds us of the implacable hand of the machine. The industrial primary colours are drastically applied following radical compositions that take the figure of the acurate triangle as a prevailing motif. Removed from any decorative pretence, these “paintings which can be read” suggest a harsh reality that has been objectivised through the flow of impersonal information. Data and colours that conceal personal dramas, hegemonic ideological trends and social unrest. PSJM is is an artistic team made up in 2003 by Pablo San José (Mieres, 1969) and Cynthia Viera (Las Palmas, 1973), based in Berlin. PSJM acts as a commercial cutting-edge art brand, raising questions about the art market, consumer communication and artistic quality. Making use of the communicative strategies of spectacular capitalism they demonstrate the relevance of the paradoxes being produced by its schemed, but chaotic development. PSJM has often been invited and extensively exhibited throughout Europe and America. On the occassion of the 56th La Biennale di Venezia PSJM is participating in the colateral event "Beyond the tropics", a group show curated by Imma Prieto. The work of PSJM is included in many publications p.e. “Younger than Jesus. Artist Directory. The essential handbook to the future of art” of the New Museum of New York, published by Phaidon; and "among the 100 most representative artists of international political art" in the book “Art & Agenda: Political Activism and Art,” published by Gestalten. |
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Art Karlsruhe 2015 05.03.2015 - 08.03.2015 with Frauke Bergemann (DE), Isabel Glathar (CH-AT), Franziska Rutishauser (CH), Michael Stalherm (DE) LOCATION: Hall 3 / Stand J 33, Messeallee 1, 76287 Rheinstetten |
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If its not too dark 16.02.2015 - 28.02.2015 Raha Rastifard (IR) - solo show Opening in presence of the artist: 18.02.2015, 7 PM Kindly supported by Gigant Print Works In a very subtle, remarkable way Raha Rastifard’s works deal with traditional and contemporary issues of Iran as well as with the cultural background of the artist. WHITECONCEPTS gallery is delighted to present two new series relating to well-known Persian poet and mystic Hafez. His poems inspired the artist’s approach while reflecting on his philosophical thoughts and ideas about the meaning of life. The mixed-media series, titled „Book of Longing”, are a visual interpretation of Hafez’ poetry. They create a poetic dimension that mirrors the artist‘s emotions and her understanding of the ancient lines. Already Goethe had become acquainted with Hafez´ works and described it as: “the celestial perfume of the East and invigorating breeze of eternity that was being blown from the plains and the wastelands of Persia, and I came to know an extraordinary man whose personality completely fascinated me.” Goethe’s great masterpiece "West-Östlicher Diwan" left a lasting impression everywhere in Europe. When Goethe founded his great "social philosophy", he considered the time as ripe to think of a humanistic world philosophy, irrespective of nationality and creed. He believed that the East and the West were not really separate from each other and should approach each other. In furthering this philosophy he also envisaged a world literature, and proposed that the greatest poets of the East i.e. Sa´adi and Hafez should become members of it, which Raha defines and states now within her exhibition. The photographic series, “If it is not too dark”, are dealing with faith in equity and the trust in a world without violence, with deep understanding of inter-culture and inter-media. Using her body as a symbol against violence the photographs function as a constant reminder of the cause and effects of violence. Raha utilized a beautiful Ghazal (lyric) from Hafez to title her work, because his poetry is full of messages against violence and full of peace and love. By the help of meditation, he and other Sufis found the source of knowledge in their own hearts: Poetry full of light and shade, line and color, poetry full of feelings. The whole contemporary trend of the poetry of Hafiz is to awaken that appreciation and love of beauty, the only means by which to experience that bliss which is the purpose of our life. The Iranian artist Raha Rastifard is based in Stockholm/Sweden. She studied at the National Art University of Tehran, Iran and at the Free University Berlin, Germany, and holds a master degree in European Art History and in Iranian Culture and Literature. In 2009 she was awarded as finalist for “Freedom to Create” Prize, organised by the Victoria & Albert Museum London, UK. Until today Rastifard’s works were part of solo and group shows in Germany, Sweden, USA, Japan, Iran, China, and India and have been shown at various art fairs. |
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The J Line 02.02.2015 - 15.02.2015 Pietro Celesia (IT) - solo show Opening in presence of the artist: 06.02.2015, 7 PM Live jazz performance by Florian Menzel (tr) and Igor Spallati (db) from The Major Minors We are pleased to present the first solo exhibition in Berlin of Italian artist Pietro Celesia. The exhibition, consisting of photography, video and sound installation by live musicians, represents a selection of Celesia’s artistic spectrum. Based on an inspirational subway tour from legendary New York’s John F. Kennedy Airport to Wall Street, Pietro Celesia began exploring the different suburbs. The result of capturing the city on infrared film shows the city as in a dreamlike reality – a strong imagery rotating between spaces, energies and rhythms. While Miles Davis´ jazz was always accompanying his moves along the J line, he felt as he was being on a journey through time as well as stuck in a vibrant present of a melting pot; its streets and tunes linked the present and the past with the architecture and visions of the American dream, immortalized by photographers and avant-garde filmmakers a long time ago. For the show at WHITECONCEPTS gallery Pietro’s photographs are additioned by a soundtrack. The J line music created by the young German jazz musicians Florian Menzel & Igor Spallati reflects on mirrors and echoes, the daydream-feel of the pictures. Usually in the band The Major Minors - which won the German Film Prize (Deutscher Filmpreis) for the soundtrack of German blockbuster “Oh Boy” in 2013 - will be performing the J Line music live at the opening night. Understanding architecture as a narration of society The J line reflects on a city of immediacy, and of downright business, but also on a space of urban intimacy, where one can feel at ease, free of fear or tensions. Within the different media shown in this exhibition The J line manifests ideas of inter-connections, coexistence and interdependence or how Pietro describes his project:”The whole, however, can only exist because of all the parts.” Press: indieberlin, 10.02.2015 ilmitte, 06.02.2015 |
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Compositions 04.12.2014 - 22.01.2015 Frauke Bergemann (GER) - solo show Frauke Bergemann realisiert hyperreale Fotokompositionen. Ihre Werke von eigenartiger Künstlichkeit beschäftigen sich mit räumlichen Beziehungen, die die Wirklichkeit durch den Lauf der Zeit, der Bewegung, aber auch durch Unschärfen und Wahrnehmungsfelder abbilden. Basierend auf dem Prinzip der komplexen Fotomontage wirken ihre Darstellungen atmosphärisch aufgeladen und lebendig. Der Bildaufbau, der an die Gemälde alter Meister oder an das Prinzip surrealer Fotografien denken lässt, eröffnet ungewohnte Perspektiven auf reale Räume. Der beglaubigende Charakter des fotografischen Dokuments ermöglicht es Bergemann, eine imaginäre Welt zu evozieren. |
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Ensembles assembled Katrin Korfmann - solo show 01.10.2014 - 30.10.2014 OPENING and ARTIST TALK: 17 Oct 2014, 19:00 h In the context of the European Month of Photography Berlin  The focus of Katrin Korfmann’s new work group is on collective rituals that blur individual identity and connect people to their community. The ‘magical moment’ invoked here reveals the presence of a ritual in which people form a larger organism through common activities. These works, rich in detail, are composed from an archive of digital images that serve as a social-realist documentation of an euphoric utopianism. The artist travelled all around Europe to take these pictures: to the Castells (human towers) in Catalonia, the Cascamorra festival, in which black paint applied to the body plays a key role, and the Els Enfarinats festival in Ibi, which entails the use of flour and eggs. The visual record consists of monochromatic and patterned masses of people whereby each individual protagonist is equal. The coloration, corporeality, and clothing frame references to art history while reflecting the present time. Katrin Korfmann grew up in Berlin/Germany and lives and works in Amsterdam/The Netherlands. She studied at the Gerrit Rietveld Academie in Amsterdam, where she specialized in photography and continued her research with residencies at the Rijksakademie in Amsterdam, Cittadellarte in Biella/Italy and the Chinese European Art Centre in Xiamen/China. She won several prizes for her work, including the RADO Star Prize (CH), Prix de Rome (IT, 2nd prize) and the Esther Kroon Award (NL). She also received grants from international institutions like the Robert Bosch Foundation, the Akademie der Künste Berlin (GER), and the Mondriaan Fund (NL). Since the late 1990s her work has been internationally exhibited in galleries, museums, alternative art institutions and public spaces. Her work is represented in numerous private and public international collections. |
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Conference of Visionaries/ The inner wealth 31.10.2014 - 30.11.2014 with Christoph Both-Asmus, Nikolaus Eberstaller, Deenesh Ghyczy, Thorsten Goldberg, Susanne Kessler, Jovana Popic, Uwe Poth, PSJM, Wanda Stang, Seet van Hout, André Wagner, Veronika Witte LOCATION: Essentis Hotel . Weiskopffstrasse 16/17 . 12459 Berlin Um das inhaltliche Programm der „Konferenz der Visionäre“ visuell zu unterstützen, präsentiert WHITECONCEPTS die Gruppenausstellung „Der innere Reichtum“ mit Arbeiten aus den Bereichen Fotografie, Malerei, Zeichnung und Videoinstallation. Wie reagieren Künstler auf zeitgenössische gesellschaftliche Phänomene? Wie inspirieren Künstler ihr eigenes sowie das Bewusstsein in der Öffentlichkeit? Wie fördern künstlerische Werke sogar den Willen nach Veränderungen in der Gesellschaft? Ausgewählte Arbeiten international tätiger Künstler stärken in der themenorientierten Ausstellung das Bewusstsein für aktuelle gesellschafts- und umweltorientierte Themen und setzen sich mit Fragen hinsichtlich gemeinsamer Rituale, Spiritualität sowie der Konstruktion von Identität auseinander. Wachsamkeit, Kritik, Naturverbundenheit und Selbstverantwortung spiegeln sich in allen Kunstwerken wider. Die „Konferenz der Visionäre“bringt visionäre Pilotprojekte, Wissenschaftler, engagierte Vereine, Konzepte und Initiativen zusammen. Sie teilt mit dem Publikum Inspiration, Erfahrung und Aktionsmöglichkeiten in Vorträgen, Workshops und Standpräsentationen. |
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Art Market Budapest 2014 09.10.2014 - 12.10.2014 OPENING: 08.10.2014 Building B/Booth G102: Seet van Hout, Deenesh Ghyczy, Thorsten Goldberg, Jovana Popic, Uwe Poth, PSJM Building D/Booth P204: Katrin Korfmann, André Wagner Central and Eastern Europe’s emerging contemporary art fair LOCATION: Millenaris Park, Budapest/ Hungary |
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Wanderlust 22.05.2014 - 30.07.2014 Wanda Stang (GER) - solo show LOCATION: nhow Gallery . Stralauer Allee 3 . 10245 Berlin (24 h open, entrance through the lobby)
OPENING and PERFORMANCE: 21.05.2014, 7 PM
Introduction by Nicole F. Loeser WHITECONCEPTS in cooperation with nhow Gallery is pleased to present the exhibition WANDERLUST by Wanda Stang (*1985). The large-scale installation includes three-dimensional paper objects, spatial drawings and paintings. In the nhow Gallery the young artist creates a surreal experience of different levels of time, material and spatiality. Up to now, drawings serve to artists as the most effective medium to sketch their ideas. In the works of Wanda Stang, especially the hand drawing functions as an important medium to capture her thoughts and visions. The experimental character of a drawing allows her to convert between different levels of sensations, explorations and inventions. Since 2010, Wanda Stang has been creating works that are inspired by the literary classic of Jules Verne “Around the World in 80 Days” forming the core of her multilayered oeuvre of drawings, performances, objects and installations. Verne’s belief in progress, his visionary ideas and the essence of Romanticism exerted a strong impression on the artist. This presented series of artworks is primarily based on illustrations and artistic examination with original forms from nature. Through the stylistic device of the ornament, Stang succeeds to build a connection with almost all cultures of the world. Besides her surreal paintings, shaped by the encounter with young cosmopolitan people from the far corners of the earth, her Gesamtkunstwerk called “Wanderlust” represents a new approach. Her works, so far bent on paper or canvas, are now being continued by three-dimensional paper works in-situ. Back-bonding of dreams into reality and from that possibility space to an ambiguous surreal level is unique. While Stang develops an imaginative world based on journey descriptions of people she met personally, she uses the opulence of handmade clothing to stimulate a new patterns of thinking and designing. Visitors of the exhibition will be part of her site-specific installation. On one hand they can wander through thoughts and experiences of the artist and her protagonists, or on the other, with the aerodynamic object “Skyward Balloon” they can create their own real context for their associations. Wanda Stang is currently a Meisterschüler of Prof. Tristan Pranyko at the University of Art Berlin-Weißensee, where she graduated from the classes of painting and textiles and surface design. Before that she completed her studies in Painting and Pedagogy for Waldorf schools as well as the studies of Fine Arts in Baden Württemberg. From 2006 to 2007 she was involved in the restoration work due to the re-opening of the New Museum in Berlin. In 2011 her path led her to London, where she was involved in preparing the Paris Fashion Show of the label Alexander McQueen. Back in Berlin, she participated in solo and group exhibitions and dedicates herself to a surreal production for her first major solo show. Images by Mark Nelson Press: ontai blog, 10.05.2014 Kulturpur, 10.05.2014 chased magazine, 14.05.2014 Mit Vergnügen, 14.05.2014 Berliner Abendblatt, 24.05.2014 qiez.de, 31.05.2014 paperblog, 31.05.2014 the new york optimist, 05.06.2014 |
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Red Greenhouse 10.06.2014 - 30.06.2014 Seet van Hout (NL) - solo show Please scroll down for English version „Das Wunder, wenn man es erlebt, ist nie vollkommen. Erst die Erinnerung macht es dazu.“ Erich Maria Remarque Die Galerie WHITECONCEPTS freut sich, die erste Einzelausstellung in Berlin der niederländischen Künstlerin Seet van Hout zu präsentieren. Die Ausstellung umfasst ca. 20 Arbeiten, die eine Auswahl ihres künstlerischen Spektrums von Malerei und Zeichnung über Textilbilder hinzu Objektkunst und Keramiken darstellt. Zentrales Thema im Werk der renommierten Künstlerin ist die Erinnerung, die eine geistige Identität, ein denkendes Wesen, formt. Einerseits spannt sich ihr Untersuchungsfeld von Fragmenten aus, die plötzlich vor dem inneren Auge erscheinen, andererseits wandelt sich die komplexe Identität eines Menschen während seines Lebens und seinem Umgang mit den Dingen in der Welt, für die er sich in der Gegenwart entscheidet. Ihr experimenteller Ansatz, der das Lebendige, Interdependente, Serendipitäre in den Mittelpunkt stellt, reicht von abstrakter Kunst über informelle und surreale Elemente hinzu allegorischen Darstellungen. Sie verbindet, differenziert, ergänzt, ordnet, bildet, fühlt und spürt und bietet oft dem Zufall freien Zugang zu ihrem Werk. Kunst dient ihr dabei als transformatives Medium auf unterschiedlichen Bewusstseinsebenen. Ihre raumgreifenden Installationen zeigen einen holistischen Ansatz und verbinden Zitate der Philosophie, Wissenschaft und Religion mit den Erfahrungen und Bildnissen der Mystiker, der modernen Forschung und dem Alltäglichem. Der Titel der Ausstellung „Red Greenhouse“ verweist auf die HIngabe zur Farbe und zur Natur, wobei ihr pflanzliche Motive als Symbol für Wachstum und Vergänglichkeit dienen, einem Prozess, dem alles Lebendige, auch der Mensch in seinen Selbstfindungsprozessen unterworfen ist. Dabei schöpft Seet van Hout einerseits ihre akribische "Nadelarbeit" aus dem kontemplativen Dialog von grafischen, an der Linie orientierten Impulsen und objekthaften Fadengebilden, die eine Verbindung zum dreidimensionalen Raum herstellen. Andererseits verwebt sie chemische Farb-Experimente mit neurowissenschaftlichen und spirituellen Vorstellungen. Vielleicht ganz im Sinne des höchsten Ziels der Alchemie, das in der "Erlösung" (von der Materie) besteht, in der Vollkommenheit und Läuterung der Seele. Dementsprechend hält sich die Künstlerin an die Parzen, die Schicksalsgöttinnen. Sie halten die Lebensfäden der Menschen in den Händen, wobei die erste den Faden spinnt, die zweite ihn abmisst und die dritte ihn abschneidet. Seet van Hout’s Arbeiten wurden in zahlreichen Ausstellungen in Galerien und Museen weltweit gezeigt u.a. in der Bibliotheca Alexandria/Ägypten, Xi´An Academy Museum/China, Stedelijk Museum Amsterdam/Niederlande. Ihre Werke sind in wichtigen privaten und öffentlichen Sammlungen vertreten wie z.B. ABN AMRO Sammlung,Gelderland-Kunstsammlung, Museumssammlung des Kyoto Institute of Technology, Sanders Sammlung oder des Stedelijk Museums. 2011 erschien der gleichnamige Katalog mit Beiträgen von Prof. Mieke Bal, Dr. Martin Gesing, Suzanna Heman, Martin Rehkopp und Wouter Weijers. English version „The miracle is never perfect when it happens. Only the memory makes it so.“ Erich Maria Remarque The Gallery WHITECONCEPTS is pleased to present the first exhibition in Berlin of Dutch artist Seet van Hout. The exhibition is comprised of about 20 works, which represents a selection of her artistic spectrum, consisting of paintings, drawings, textile works, objet d’art and ceramics. The central theme in the work of the renowned artist is the memory which forms a spiritual identity, a thinking being. On one hand, her field of study expands from fragments that appear in front of the inner eye, on the other, the complex identity of a person is created throughout their life and their manner, through dealing with things in the world, then influences their choices in the present. Van Hout’s experimental approach reflects the vivid, interdependency and serendipity of the world throughout abstract art, with informal and surreal elements toward allegorical depiction. She combines these elements, differentiates, complements, arranges, forms, feels, senses and so allows space for coincidences to affect her work. Art serves her as a transforming and transcendent medium on different levels of consciousness. Large-scale installations, two-dimensional works and ceramics present an holistic approach, which connect together philosophy, science and religion with experiences and her portraits of the mystics, of modern research and everyday life. The title of the exhibition “Red Greenhouse” refers to her love for color and nature. Her floral motifs sustain a symbol of growth and mortality, a process to which all living beings in their journeys of self-discovery are subjugated. At WHITECONCEPTS gallery Seet van Hout exhibits precise “needle work”, which comes from a contemplative dialogue between graphics and on-the-line oriented impulses, as well as object-like filament structures that connect to three-dimensional space. In other artistic processes she interweaves chemical color experiments with neuroscience and spiritual ideas. In the spirit of the ultimate goal of alchemy, her work inspires and transcends the being toward the perfection and purification of the soul. Accordingly, the artist accepts the three goddesses of fate and destiny. They hold the threads of peoples’ lives in their hands: the first spins the thread, the second measures it and the third cuts it off. In 2011 a catalog titled “Red Greenhouse” was published including essays by Prof. Mieke Bal, PhD Martin Gesing, Suzanna Heman, Martin Rehkopp and Wouter Weijers. Press: aviva Berlin, 05.06.2014 |
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History Puts A Saint In Every Dream 26.05.2014 - 08.06.2014 Finn Lafcadio O´Hanlon (UK) - solo show OPENING: 28.05.2014, 6:30 - 9:30 PM Introduction by Jonathan Meese The young British artist, Finn Lafcadio O’Hanlon, will present his first-ever European exhibition at WHITECONCEPTS gallery in Berlin. The exhibition, titled ´History Puts A Saint in Every Dream´, will feature his intricately drawn works in ink on paper. Although the title is drawn from a lyric by Tom Waits, there is an immediate sense of the weird and medieval in these drawings. References to tattoo and ´lowbrow´ outsider art, as well as the intricate sci-fi/fantasy of French bandes dessinées are apparent but they are incidental to a visual structure clearly derived from early Renaissance religious art, notably ecclesiastical stained glass windows. These are works that are best read as ´psychogeographic maps´, tracing the passage of an individual psyche through a series of alternative realities that are often in conflict. Densely drawn, determinedly monochromatic and richly textured, with obscure, syncretic mythological and pop cultural references, negative space is eschewed with almost obsessive determination in order to amplify a dystopian claustrophobia. In some ways, Finn´s work recalls the cartography of Grayson Perry, notably Perry´s ´Map Of Nowhere´ (2008) and ´Map Of An Englishman´ (2004), in which layers of symbolism and narrative weave the surreal (and spiritual) with the intimately personal, social and political. The viewer is left to interpret this complex territory on their own terms (as Alfred Korzybski reminds us, the map is not the territory). But under Finn’s hands, the territory is emphatically a re-connection of traditional forms and techniques with contemporary qualms and urban iconography. It manages to be, at once, emphatically of this time – uneasy, post-technological – and hauntingly ancient. It is certainly work that in its intellectual depth and technique belies the artist’s young age. Born in Brighton, England just 22 years ago, to an Australian father and an Hawaiian-Cherokee mother, Finn Lafcadio O´Hanlon grew up among creative, nomadic types in the UK, then Tulsa, Oklahoma, and Los Angeles, before returning as a teenager to Sydney´s northern beaches. He is a grandson of the late best-selling novelist, Morris West. chased magazine, 04.06.2014 (English) wild culture, 03.06.2014 (English) |
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This being : That becomes 05.05.2014 - 25.05.2014 Mark Nelson (UK) - solo show Kindly supported by Nielsen Bainbridge Group. The works of British photo artist, Mark Nelson, reflect magical moments of clarity and completeness. As he describes his state of mind while photographing: “These images come from a place inside…”. The created imagery is like frames from an imaginary movie with a sense to something, which is about to happen, or has just happened. Like photographs of a wanderer across the favourite cities of the world they show sceneries of various places such as Venice, Paris, Berlin, Brighton as well as New York, New Jersey and San Gimignano. Being a Buddhist, Nelson links the perspective to the idea of true self, a rich well of natural creativity and vibrancy. In Nelson’s show, This being: That becomes, the thread of similarities of his images over a long period of time seems to point toward a common source, of ‘water drawn from the same well’. In addition to his presented works from the last 30 years sound textures, meant to be a soundtrack to the show, will be an obvious catalyst for visitors as it was for the artist, helping to recreate the dreamlike landscape of the inner self. Impressed by Abstract Expressionist movement in art, invented in the late 1940s in New York, Mark Nelson has been drawn toward shapes and signs. Revealed as a reaction against the horrors of the Second World War, the process of making art was considered to be more important than the final object. In the photographs of Nelson you often find triangles and arrows pointing to other parts of the image, in a sense of leading us to another place, to a point of reference in the image. Whether his black and white or his colour works his imagery has certain painterly qualities, showing a moment in an eternal buzz of change. Mark Nelson began his photographic career in London in 1980, as a professional printer to some of the UK’s top photographers. His professional darkroom became ‘First Light Studios’ which is now based in Brighton UK. From 1985, after observing the potential of the photographic printing medium as an art form, he began to discover his own ability to create photographic works in his own style, and continues to do so. He has exhibited worldwide and his works are held in many private collections in the UK, France and the USA. He has worked for ECM records, American Express and was the first photographer to have exhibitions on 300 British Airways aeroplanes simultaneously. Press: Profifoto, 02.04.2014 Berliner Abendblatt, 22.04.2014 SlamXHype, 24.04.2014 Berlinlist, 05.05.2014 Photopresse, 12.05.2014 |
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Just fair 01.05.2014 - 04.05.2014 with Sara Berti, Thorsten Goldberg, Elmar Hess, Seet van Hout, Susanne Kessler, Jovana Popic, Uwe Poth, PSJM, Michael Stalherm, Wanda Stang, André Wagner, Veronika Witte Opening hours during the Gallery Weekend: Thursday - Saturday 11 AM - 8 PM; Sunday 12 PM - 4 PM
During the gallery weekend the gallery WHITECONCEPTS shows together with its partner gallery aquabit a selection of its program.
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Spectral 01.04.2014 - 15.04.2014 OPENING: 04.04.2014, 7 PM Deenesh Ghyczy (HU/DE) and Greg Murr (USA) WHITECONCEPTS presents an exhibition of paintings about our reliance on vision as a means of understanding ourselves and our environment. Spectral, a two-person exhibition of paintings features the works of Deenesh Ghyczy (HU-GER) and Greg Murr (USA). In this show, both artists employ visual aberrations that address the limits of our perceptual capacities and draw connections between everyday phenomena and the unobservable frameworks that govern reality. Sight is for most the dominant faculty among our five senses. Without vision, navigating quotidian life would require a notably altered approach.Yet for all our reliance upon it, our eyes are nevertheless a finite tool that manufactures a very particular experience of reality via a spectrum of light waves. What happens, then, when we probe vision´s boundaries to explore the distortions and threshold of this perceptual apparatus? And how can we engage our awareness of optical mechanics to explore comparatively intangible contexts such as the interior wonders of the human psyche or, outwardly, the physical laws of nature? Deenesh Ghyczy uses traditional media to make paintings that would at first glance seem rooted in contemporary technology, given their multi-faceted and sometimes surreal appearance. Figurative subjects, attentively rendered in oil on linen, are fractured into multiple fragments that induce a sense of double- or triple-vision. What some might suspect a digitally based device is actually the diffraction of his subject through a simple prism. At once familiar, disorienting, and at moments haunting, Ghyczy´s rather conventional portraits are turned on their head, as it were, so that we can once more see the components that comprise a face without ever concisely establishing one´s identity. Like hearing a foreign language we can only hope to understand through its phonetic attributes, we´re challenged to look at Ghyczy´s images through the eyes of a child that studies the elements of line, shape, value and hue for the first time, not quite making sense of the whole. The absence of the whole may initially be the most evident thread of continuity bridging these two artists. Through intentionally disarming studies of one particular peony blossom as viewed from multiple perspectives, Greg Murr similarly probes notions of incompleteness versus manifestation. Vacant holes of canvas replace portions of an otherwise highly rendered floral bloom. White spaces act as place-markers for something once present—now a specter of what had been. And the blossom itself, reiterated in four or five adjacent variations, makes a discrete reference to the cosmological phenomenon of gravitational lensing, (largely attributed to Einstein and his general theory of relativity), where the light of a distant galaxy is distorted and multiplied by the ´lens´ of intense gravitational forces that stand between it and the observer. Whether with regard to the geometry of the universe, however, or the more earthly notion of the biological life-cycle itself, these meticulously painted perennials captivate with their intrinsic structure, rhythm and animus. Both artists encourage us to reflect upon the act of seeing, indulging us with visual harmony and a taste of the familiar, without fulfilling our expectations or offering full resolution. |
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ART KARLSRUHE 2014 13.03.2014 - 16.03.2014 with Frauke Bergemann, Deenesh Ghyczy, Jacqueline Heer, Melanie Schmidt, Michael Stalherm LOCATION: Hall 3 / Stand J 33, Messeallee 1, 76287 Rheinstetten |
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Take a place 22.01.2014 - 21.02.2014 Jovana Popic (CRO/RS) - solo show Artist Talk: 12.02.2014, 7pm Please scroll down for English version. I think that ideas exist outside of ourselves. I think somewhere, we`re all connected off in some very abstract land. David Lynch Um Fragen der Spurensuche, der Manifestation von Identität kreisen die Arbeiten der jungen Multimediakünstlerin Jovana Popic. Spuren des Ortes, der Erinnerung, der Ideen, der Zeit. Spuren einer Lebensgeschichte, die von Menschen, der Kultur geprägt sind, die sich für einen Moment oder eine gewisse Zeit verdichten. Die mehrfach ausgezeichnete serbisch-kroatische Künstlerin macht Energien eines Ortes sichtbar. Sie bezeichnet ihre Arbeiten als Heterotopien, die nach Michel Foucault „wirkliche Orte, wirksame Orte, die in die Einrichtung der Gesellschaft hinein gezeichnet sind, sozusagen Gegenplatzierungen oder Widerlager, tatsächlich realisierte Utopien… gewissermaßen Orte außerhalb aller Orte, wiewohl sie tatsächlich geortet werden können“. Überaus beeindruckend an ihren Installationen ist das kontroverse Spiel von materialem Raum und flüchtig wirkenden Arbeiten. Sie umfassen Zeichnungen, Reliefs, Objekte aus zum Teil phosphoreszierenden Polyester, Skulpturen, Videos und Soundinstallationen. 2012 übersetzte sie ihr künstlerisches Wirken in eine Performative Installation für 6 Stimmen für das Choregie Festival in Maribor. In der opernartigen Inszenierung spiegelt sie einen Erfahrungsraum durch die Identitätsstiftung durch Musik, Film und Theater anhand der Interpretation durch Vertreter zweier aufeinander folgenden Generationen wider. Die Ausstellung „Take a place“ bei WHITECONCEPTS zeigt neben einigen bekannten Arbeiten auch eigens für diese Ausstellung entstandene Werke und setzt sich vorrangig mit dem Gefühl von Bewegung auseinander. Nur in der Bewegung gelingt es uns zu unterscheiden, uns ein Bild zu machen. Wir können nicht in die Vergangenheit zurück, sondern müssen uns immer wieder neu verorten. Dies nimmt die große Wandarbeit „Heterotopia“, die aus zahlreichen Gipsreliefs besteht, auf. Erst das Spiel zwischen Licht und Schatten lässt die Spuren sichtbar werden. Für die Bestimmung der Identität durch konkret erfahrbare Spuren nimmt Jovana Methoden der Archäologie, Ethnologie oder Soziologie in ihre Kunst mit auf. Sie verweist auf existenzielle Fragen des Menschseins, auf Vergänglichkeit und Phänomene der Sozialisierung. Subjektive wie assoziative Zugänge ihrer Installationen dienen ihrer Umwelterforschung, in der der Rezipient in ihre Arbeit mit eingebunden wird, denn „erst durch die Rekonstruktion eines Sinnzusammenhangs, auf den die Spuren verweisen, konstituiert sich das eigentliche Kunstwerk.“ (Christian Boltanski) Jovana Popic (*1977 CRO/RS) erhielt das Stipendium des Vereinigten Norwegischen Königreichs und studierte danach mit dem Serbischen Staatlichen Stipendium für Wissenschaft- und Kunsttalente von 1999 bis 2003 an der Fakultät der Bildenden Künste in Belgrad. 2006 nahm sie das Begabtenstipendium der Friedrich Naumann Stiftung entgegen. Schon während ihres Studiums war sie 2003 bei der 50. Biennale in Venedig vertreten. 2008 erhielt sie der Preis der Ulrich und Burga Knispel Stiftung. Nach einem weiterführenden Studium an der Universität der Künste in Berlin in der Klasse von Rebecca Horn schloss sie 2009 als Meisterschülerin ihr Studium ab und wurde mit dem Meisterschülerpreis des Präsidenten der Universität der Künste ausgezeichnet. Ebenfalls im Jahr 2009 ging sie mit dem Stipendium des Goethe Instituts nach Nowosibirsk, dem ein Arbeitsstipendium („Medea Electronique-Mixmedia Lab Residencies“) in Athen und Sellasia in Griechenland folgte. Von 2010 bis 2012 erhielt sie das Stipendium der Karl-Hofer Gesellschaft e.V., Berlin. Ausstellungseinladungen führten die Multimedia-Künstlerin Jovana Popic bereits durch Deutschland, Österreich, Schweiz, Japan, Russland, Serbien, Kroatien und die USA. English version I think that ideas exist outside of ourselves. I think somewhere, we’re all connected off in some very abstract land. David Lynch The works of multimedia artist, Jovana Popiæ, are about the manifestation of identity and the innumerable fragments of information that contribute to it. They´re about traces—traces of place, of memory, of ideas and of time, traces of a culturally shaped life story that together comprise something of recognition, meaning, and value. Her intent is to make the energy of a place visible. Popiæ describes her works as heterotopias, akin to those that Michel Foucault sees as “real places, places that do exist and that are formed in the very founding of society – which are something like counter-sites, a kind of effectively enacted utopia…places outside of all places, even though it may be possible to indicate their location in reality.” Engaging the medium that best serves her project ideas, Popiæ makes drawings on phosphorescent polyester resin, reliefs, large scale sculptures, video and sound installations. Perhaps most impressive about her work is the paradoxical pairing of ephemeral objects with a palpably material quality of space. In 2012 she translated her artistic work into a performative installation for six voices, presented at the Choregie Festival in Maribor. This operatic and trance-like production employed film, theater, and a rich vocal arrangement to foster a unique and haunting experience of identity for its viewers. The exhibition, Take a Place, asks its viewers so many questions: can we associate ourselves with certain places? Does this association constitute a vital source of both individual and cultural identity and security? Can a certain place be a point of departure from which we orient ourselves to the world? Or, did we become universal contemporary nomads who spend their lives in a migration between places, whereby the experience of the journey, or of movement, is more important than the experience of the place itself? If places are not relational or historical or otherwise not concerned with identity such as airports, crossroads, and supermarkets, they are called “non-places”. They are the real factors of our existence. In her work titled Take a Place, Jovana Popiæ invites us to reconsider how we individually navigate the world in which we live. She argues that places are still important and profound centers of human experience, and that the conscious experience of movement is also deeply connected to them. The large-scale spatial installation, Heterotopia, consisting of plaster reliefs, contemporary orientation marks and sound, pits notions of place with non-place. It illustrates the tension between thoughts concerned with the universal versus the territorial, an issue of global interest today, more than ever before. For the determination of identity through concrete experiential traces, Jovana includes methods of archeology, anthropology and sociology in her art. She poses questions of human existence, on transience and phenomena of socialization. Subjective as associative access to her installations serve her research of environment, in which the recipient is involved, because “only through the reconstruction of a sense of connection, which refer to the traces, [is] the actual artwork constituted.” (Christian Boltanski) Jovana Popiæ (*1977, CRO-RS) began her formal art studies at the Faculty of Fine Arts in Belgrade under the Serbian State Scholarship for Science and Art Talents. In 2006, she she received the Friedrich Naumann Foundation Scholarship and later the President´s Prize toward her master´s degree under Rebecca Horn at the Universität der Künste-Berlin. Upon completion, she traveled to Novosibirsk on a research grant funded by the Goethe Institute, and then to Athens, Greece to participate in the Medea Electronique-Mixmedia Lab Residencies. Other awards include scholarships/grants from the United Kingdom of Norway, the Ulrich and Burga Knispel Foundation, and the Karl Hofer Gesellschaft e.V., Berlin. Popiæ has exhibited her work in Germany, Austria, Switzerland, Italy, the United States, Japan, Russia, Serbia and Croatia. She presently lives in Berlin. Press: Radio Funkhaus Europa, 20.02.2014 Cicero Magazin, 15.02.2014 FluxFM Radio, 06.02.2014 Berlinonline, 24.01.2014 |
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Money Works 23.11.2013 - 01.12.2013 OPENING: 22.11.2013, 7-9 PM with André Boitard, Nikolaus Eberstaller, EMESS, Thorsten Goldberg, Dominique Gras, Manuel Gras, Julia Herfurth, Elmar Hess, Wulfried Hengstenberg, Norbert Hinterberger, Timo Klöppel, Christin Lahr, Armin Lindauer, Chen Linggang, Marok, Philip Metz, Wolfgang Nieblich, Maria & Natalia Petschatnikov, PSJM, Stefan Rinck, Markus Schaller, Sebastian Siechold, Klaus Staeck, Michael Stalherm, Philip Topolovac, Jakob Zoche curated by Nicole Loeser and Tina Sauerländer presented by Haupt Collection and WHITECONCEPTS kindly supported by aquabit
SPECIAL
27.11.2013, 19:30h Presentation of the collection book »Dreissig Silberlinge – Kunst und Geld« In collaboration of Sammlung Haupt and Verlag Edition Braus VENUE: King Size Bar ADDRESS: Friedrichstrasse 112b, 10117 Berlin afterwards: Artist Night Party Image: Manuel Gras, Geldgaumenfreuden 56, Acryl auf Dollar, 18 x 24 cm, 2013 Press: Berlin Art Link, 20.11.2013 artmagazine.cc,21.11.2013 Artparasites, 21.11.2013 xtrART,21.112013 |
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ART MARKET BUDAPEST 2013 28.11.2013 - 01.12.2013 Central and Eastern Europe’s emerging contemporary art fair with Jovana Popic (CRO-RS) and Thorsten Goldberg (DE) LOCATION: Stand G104, Millenaris Park, Building B / 2nd District of Budapest/ Hungary SPECIAL: 28 November, 6 PM ´LA GRANDE MIGRATION´ MIGRATION is the main theme in 2013 at Art Market Budapest; more specifically, the program focuses on the artistic representations of, and reflections upon, the phenomenon of migration. The panel aims to circumscribe current issues that emerge around migration. The speakers reveal the contemporary aspects of migration as well as motivations and challenges migrants are facing. The relationship of art and migration is examined in a wider framework. Speakers: Dr. Lilla HáRDI – Medical Director of the Cordelia Foundation for the Rehabilitation of Torture Victims András KOVáTS – Director of the Menedék Hungarian Association for Migrants Nicole LOESER – Independent Curator, Director of Whiteconcepts Gallery (Berlin) Carlos NOGUEIRA – Visual Artist (Portugal) Moderator: Délia VéKONY – Art Historian Népszabadság, 25.04.2013 octogon.hu, 05.06.2013 prae, 21.11.2013 Flash Art, 22.11.2013 artportal, 22.11.2013 |
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Die Entdeckung - The discovery 22.11.2013 - 07.12.2013 R.O.M. Guest artists: Joachim Seinfeld, Thomas Kilpper VENUE: Stasi-Zentrale . Ruschestraße 103 . 10365 Berlin |
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fotofever paris 2013 15.11.2013 - 17.11.2013 André Wagner - solo show VENUE: CARROUSEL DU LOUVRE (Stand Y7 . 99 Rue de rivoli . 75001 Paris/F)  |
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Stills 07.10.2013 – 31.10.2013 Elmar Hess - solo show OPENING: 10.10.2013, 7 PM English version below Die Ausstellung STILLS liefert Einblicke in Elmar Hess’ fulminantes Werk und zeigt Filmstills sowie Videos und Filme seiner Installationen “Freedom is not for free”, “Relation Ship”, “cis”, “Kriegsjahre” und “Cold War”. Mit seiner surreal-fiktionalen Bilderwelt liefert der Künstler Elmar Hess einen unverwechselbaren Beitrag zur Entwicklung des filmischen Mediums in der Bildenden Kunst. Durch die bühnenartige Installation sowie die Kombination von Found footage und Reenactments untersucht er die klassische Funktionsweise des Films aufzuheben. Historische Ereignisse wie der Kalte Krieg und seine Akteure verbinden sich mit der heutigen, alltäglichen Erfahrungswelt zu einem persönlichen Bezugssystem. Hess strebt auf diese Weise das Aufdecken medial vermittelter gedanklicher Systeme und der daraus resultierenden gesellschaftlichen Verhaltensweisen an. Seine multimedialen Installationen bestehen aus thematisch ineinander greifenden Räumen. Dabei erweisen sich die inszenierten Beziehungsdramen als Resultat systembedingter Zugzwänge. Sie zeichnen ein Tableau sozialer Landschaft in einer entseelten Welt, wobei das subjektive Geschehen in Hess’ Arbeit zumeist einer Fantasiekaskade geschichtlicher Ereignisse gleichgesetzt wird. Menschen werden in geistige Quergänge seriös anmutender Kommentarstimmen gedrückt, erscheinen eingebunden in ein mechanisiert ablaufendes Alltagsleben oder sind Akteure eines metaphorischen Kriegsgeschehens, das im Vakuum zwischen sozialen, historischen und dinglichen Beziehungen tobt. Elmar Hess (*1966) lebt und arbeitet in Berlin und Hamburg. Er war vertreten in den Ausstellungen „Man Son 1969 – Vom Schrecken der Situation“ (Hamburger Kunsthalle/ Villa Merkel, Esslingen), sowie „German Open“ (Kunstmuseum Wolfsburg), „Surfing Systems“ (Kunstverein Kassel), „Lost Paradise“ (Kunstraum Wien–Museumsquartier) u.v.a. Er war Stipendiat der Villa Massimo in Rom und des Deutschen Kunstfonds. Seine filmischen Arbeiten wurden europaweit gezeigt u.a. auf dem Filmfest Moskau, den Filmfestspielen in Oberhausen und dem Dokumentarfilm-Festival in Cannes. Seine jüngste Ausstellung in Berlin, “La Mère Perdue”, fand im März 2013 in der Saarländischen Galerie – Europäisches Kunstforum” statt. English version How do we create political systems and how do they form us? How do we deal with history, which is still touching us in the present - These are questions raised by the impressive productions of German artist Elmar Hess and which the gallery WHITECONCEPTS will pursue in its exhibition STILLS. Creating an image of a surreal-fictional world, Elmar Hess makes a distinctive contribution to the development of the filmic medium in visual arts. By means of stage-like installations and through combining found footage and re-enactments, he abolishes the classical functionality of films. Historical events such as the Cold War and its protagonists mingle with today’s everyday life of experience and lead to a personal reference system. Through his work Hess aims to reveal mental systems which are mediated via mass-media and social behavioral patterns. The exhibition STILLS provides insights into Hess´s fulminatory work showing film stills as well as videos and films of his installations "Freedom is not for free”, “Relation Ship”, “cis”, “Kriegsjahre” and “Cold War”. His multimedia installations often consist of a production of thematically interfering rooms. The installation itself gives us a chapter structure equal to the dramaturgically constructed sequence of a film. Each individual room examines sub-themes leading through various combinations to a super ordinate statement. Staged as romantic dramas, Hess’s work reveals itself as a systemic pressure to act. It draws the picture of a social landscape in a dehumanized world, in which subjective happenings are mostly equated to a fantasy cascade of historical events. People are either pushed in sophisticated effectuations stated by apparently serious voices of commentators. They seem to be integrated in a mechanized everyday life or are protagonists of a metaphoric warfare blustering in the vacuum of social, historical and real relations. Elmar Hess (*1966) lives and works in Berlin and Hamburg. He took part in the exhibitions “Man Son 1969 – Vom Schrecken der Situation” (Hamburger Kunsthalle/ Villa Merkel, Esslingen), “German Open” (Kunstmuseum Wolfsburg), “Surfing Systems” (Kunstverein Kassel), “Lost Paradise” (Kunstraum Wien–Museumsquartier) and many more besides. He was a stipendiary of the Villa Massimo in Rome and of the German Art Fonds. His filmic works have been showed all over Europe, e.g. Moscow International Film Festival, Oberhausen Film Festival and Cannes Documentary Film Festival. Hess´s most recent exhibition, “La Mère Perdue”, took place in March 2013 at the “Saarländische Galerie – Europäisches Kunstforum”. |
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PREVIEW BERLIN with André Wagner and Deenesh Ghyczy 19.09.2013 - 22.09.2013 LOCATION: Booth 13, Opernwerkstätten Berlin Zinnowitzer Straße 9 . 10115 Berlin |
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Born in Iran 07.09.2013 - 05.10.2013 Samira Hodaei & Nina Ansari paintings and installations OPENING: 06.09.2013, 7 PM In cooperation with AB GALLERY Zurich and kunstundhelden |
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Portraits 09.08.2013 - 28.08.2013 Linde Bischof, Mika Ceron, Manzur Kargar, Duna Rolando, Wanda Stang paintings and photographies OPENING: 08.08.2013, 7 -9 PM LECTURE by Johannes Einfalt from his new book "Glossy": 27.08.2013, 6:30 PM In collaboration with aquabit English version below Auf den Spuren des Porträts – Zeugt das künstlerische Bildnis des Menschen von Kritik oder Idealisierung? Kann das künstlerische Porträt trotz medialer Bilderflut und unendlichen Selbstporträts durch Digitalkameras heutzutage noch jemanden faszinieren und überzeugen? Die Galerien aquabitArt und WHITECONCEPTS hinterfragen in ihrer gemeinsamen Sommerausstellung „Portraits“ künstlerische Darstellungen und Methoden der Porträtmalerei bzw. Porträtfotografie. Dafür haben sie fünf KünstlerInnen eingeladen, deren Stilistik Elemente des Ursprungs der Malerei, ihrer Entwicklung durch die Jahrhunderte bis in die Gegenwartskunst aufweist. Die Darstellung der menschlichen Figur gehört sicher zu den ältesten Motiven der Geschichte der Malerei. Oft hatten die Bildnisse, die in Auftrag gegeben wurden, einen religiösen, spirituellen, einen repräsentativen oder idealisierenden Charakter. Parallel dazu gab es aber auch realistische Darstellungen, die die Künstler zum Teil von ihrem Bekanntenkreis anfertigten. Eines der berühmtesten Porträts ist wohl das der Mona Lisa, welches Anfang des 16. Jahrhunderts von Leonardo da Vinci als Andenkenbild für Ippolito de Medici gemalt wurde, so sagt es jedenfalls eine Theorie. Der Auftraggeber Giuliano II. de Medici wollte seinem unehelichen Sohn das Bild als tröstenden Mutterersatz schenken. Was aktuell die Absicht bzw. die Herangehensweise eines Künstlers ist, zeigt exemplarisch die Ausstellung „Portraits“. Denn während der Menschheitsgeschichte ist die Porträtbildnerei vor allem eine Annäherung eines Künstlers an eine Person und deren Persönlichkeit. Teilnehmende KünstlerInnen Linde Bischof ist Malerin und Grafikerin. Sie wurde 1945 in Wasungen geboren und studierte Malerei und Grafik an der Kunsthochschule Berlin-Weißensee. Dem Malen von Bildnissen in fast abstrakter Manier gilt ihr besonderes Interesse. Mit tiefem Blick, viel Farbe und nur wenigen Strichen formt sie ihre Figuren. Sie portraitierte bereits viele Persönlichkeiten u.a. Hans Mottek, Wilhelmine Schirmer-Pröscher, Ruth Werner und Wieland Herzfelde. Mika Ceron ist Künstler und Fotograf. Er wurde 1974 in Berlin geboren und studierte Philosophie an der Freien Universität Berlin und Fotografie am Lette Verein Berlin. In der freien Kunst nimmt er mit seinen Triptychen an internationalen Ausstellungen teil, während er im angewandten Bereich Kampagnen für Modefirmen fotografiert und bereits Persönlichkeiten wie Rolando Villazòn, Bela B, Roger Cicero, Nadja Michael, David Gimenéz Carreras, Katharina Witt, Giovanni Parodi, Sido, Horst Buchholz u.v.m. porträtiert hat. Am meisten interessiert Mika in der Fotografie die Inszenierung besonderer Menschen, ob nur mit Licht oder darüber hinausgehend mit Requisiten. Auch Mode und Musik bieten ihm Möglichkeiten und Freiheiten, Vorhandenes zu ändern, in ein anderes Licht zu tauchen und Geschichten zu erzählen. Manzur Karger ist Maler und Musiker. Er wurde 1965 in Kabul/Afghanistan geboren und lebt und arbeitet seit 1996 in Berlin, New York und Los Angeles. Er studierte Malerei an der HBK Braunschweig und der UdK Berlin und beschäftigt sich seit Beginn seiner künstlerischen Tätigkeit mit der menschlichen, speziell der weiblichen Figur. Sein Hauptinteresse liegt in der idealisierten Menschendarstellung. Inspiriert von der griechischen Antike über das „Quatrociento“ (Renaissance) bis hin zu den heutigen Erscheinungsformen in den gängigen Massenmedien zeigen seine Portraits das Idealbild eines Gesichts. Duna Rolando ist Malerin und Filmemacherin. Sie wurde 1964 in Buenos Aires/ARG geboren, zog 1990 nach Deutschland und lebt und arbeitet seit 1998 in Berlin. Sie studierte 1982-1988 Malerei und Skulptur an der Escuela Nacional de Bellas Artes und an der Universidad Popular de Belgrano “Alfredo Fazio” und 1988-90 an der Universidad Politécnica in Valencia/ES. Dunas Interesse am Portrait gilt den unsichtbaren, versteckten und unbewussten Gefühlen des Menschen. Ihre realistische Darstellung zeigt ihre Sicht auf den „Kern“ des Porträtierten. Wanda Stang ist Malerin und Textildesignerin. Sie wurde 1985 in Bad Saarow geboren und studierte bis 2013 Freie Kunst und Textil- und Flächendesign an der Kunsthochschule Berlin-Weißensee. Für Wanda ist der Mensch das Maß aller Dinge und in einem Porträt lässt sich alles vereinen, so dass die Seele eines Menschen auf Papier gebannt werden kann. Ihre Zeichnungen und Gemälde zeigen neben dem Porträt illusionistische Momente, die die Realität um eine surreale Ebene erweitern. Schon während der Ausstellungseröffnung sowie im Verlauf der Ausstellung kann man mit den KünstlerInnen ins Gespräch kommen und nach Absprache auch ein Bildnis von sich oder anderen anfertigen lassen. English version In the footsteps of the portraiture - Is the artistic image of people showing criticism or idealization? Can the artistic portrait despite the flood of media images and endless self-portraits by digital cameras nowadays still fascinate and impress someone? In their summer exhibition "Portraits" the galleries aquabitArt and WHITECONCEPTS question artistic representations and methods of portrait painting and portrait photography. For this they have invited five artists whose stylistic elements include the origin of the painting, its development through the centuries to the present day art. The representation of the human figure is certainly one of the oldest motives in the history of painting. Often the portraits were commissioned, showing a religious, spiritual, or a representative idealized character. In parallel, there were realistic renderings made by the artists as part of their circle of acquaintances. One of the most famous portraits is probably the Mona Lisa, which was painted in the beginning of the 16th century by Leonardo da Vinci as a souvenir picture for Ippolito de ´Medici, as one of the theories says. The client Giuliano de Medici II wanted to give his illegitimate son the image to comfort his mother substitute. Some examples what the current intention or the approach of an artist is today, shows the exhibition "Portraits". Throughout human history the portraiture is a multidimensional approach of an artist to a person and especially to his or her personality. Participating artists Linde Bischof is a painter and graphic artist. She was born 1945 in Wasungen and studied painting and graphics at the Art Academy Berlin-Weissensee. For her particular interest in portrait painting Linde developed an abstract style. With deep look, lots of colors and only a few strokes she forms her characters. She already portrayed many celebrities including Hans Mottek, Wilhelmine Schirmer-Pröscher, Ruth Werner and Wieland Herzfelde. Mika Ceron is an artist and photographer. He was born in Berlin in 1974 and studied philosophy at the Free University of Berlin and photography at Lette Verein Berlin. In the contemporary art field, he took part with his triptychs in international exhibitions, while he photographed campaigns for fashion companies and has portrayed famous personalities like Rolando Villazon, Bela B, Roger Cicero, Nadja Michael, David Gimenéz Carreras, Katarina Witt, Giovanni Parodi, Sido , Horst Buchholz and more. Mika is most interested in staged photography of specific people, whether with light or going beyond with requisites. Also, fashion and music offer him opportunities and the freedom to change existing life diving it in a different light or telling ambigous stories. Manzur Karger is a painter and musician. He was born in 1965 in Kabul / Afghanistan. Since 1996 he has been living and working in Berlin, New York and Los Angeles. Manzur studied painting at the Braunschweig University of Art and the University of Arts Berlin. Since the beginning of his artistic activity his work deals with the human, especially the female figure. His main interest lies in the idealized figure. Inspired by the ancient Greeks or by the "Quatrociento" (Renaissance) to the present-day manifestations in popular mass media his portraits show the ideal image of a face. Duna Rolando is a painter and filmmaker. She was born in 1964 in Buenos Aires / ARG, moved to Germany in 1990 and lives and works in Berlin since 1998. 1982-1988 she studied painting and sculpture at the Escuela Nacional de Bellas Artes at the Universidad Popular de Belgrano "Alfredo Fazio" and 1988-90 at the Universidad Politécnica in Valencia / ES, Duna’s interest in the portrait is the invisible, hidden and unconscious feeling of the person she portrays. Her realistic representation shows her view of the "core" of the person. Wanda Stang is a painter and textile designer. She was born in 1985 in Bad Saarow / Germany and studied until June 2013 fine arts and textile and surface design at the Art Academy Berlin-Weissensee. For Wanda, the person is the measure of all things, and in a portrait everything can be combined so that a person´s soul can be captured on paper. Beside the illusionistic portrait moments her drawings and paintings are expanding the reality to a surreal level. During the exhibition opening and for the duration of the exhibition, you can join the conversation with the artists and can also let make a portrait of yourself or others by appointment. |
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Visions of Time 03.06.2013 - 10.07.2013 André Wagner - solo show opening & book launch: 07.06.2013, 19 h introduction by Thomas Bauer-Friedrich, author and curator of Museum Gunzenhauser/ Kunstsammlungen Chemnitz.
On th occassion of the 55th La Biennale di Venezia André Wagner is participating in the group show „Personal Structures“, curated by Francesca Crudo, Sarah Gold, Carol Rolla, Valeria Romagnini.
The exhibition is organized by the Global Art Affairs Foundation. An exhibition catalogue is accompanying the exhibition. OPEN DAILY (except Tuesdays) 11.00 - 18.00 h La Biennale di Venezia - The 55th International Art Exhibition LOCATION: Palazzo Bembo, Riva del Carbon #4793, 30124 Venezia, Italy Press reviews: kunstmagazin, 01.06.2013 PresseEcho.de, 01.06.2013 photography-now, 04.06.2013 Cicero, 05.06.2013 |
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Around the world in 80 days 27.06.2013 - 12.07.2013 Wanda Stang - solo show drawings, paintings and objects OPENING: 27.06.2013, 18 - 20:30h In cooperation with AOK Bundesverband LOCATION: ATRIUM, Rosenthaler Strasse 31, 10178 Berlin |
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THE SOLO PROJECT ARTFAIR 12.06.2013 - 16.06.2013 Manzur Kargar - solo show paintings and installation LOCATION: Booth G1, St. Jakobshalle, Brüglingerstrasse 19-21, CH-4052 Basel  |
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Alles wird gut. Everything will be fine. 12.04.2013 - 28.04.2013 Eberstaller - solo show Artist Talk: 27.04.2013, 2 pm Featuring Eberstaller and Matthias Planitzer (Author, Castor&Pollux, Kunstmagazin) Opening: 12.04.2013, 7 pm With a talk featuring Eberstaller, Dr. Stefan Haupt (Collector, Sammlung Haupt) and Nicole Loeser
English version below
Im Jahr 2010 schuf der österreichische Multimedia-Künstler Nikolaus Eberstaller (*1968) die großformatige Skulptur Battlefield (s. Abb). Nun wird er erstmalig sein neues Projekt BATTLEFIELD LOVE MEMORIAL Berlin präsentieren. „Es wird schwierig. Gut so. Ich bin zu alt, um bedingungslos ja zu sagen. Und zu jung, um es nicht trotzdem mit Hingabe zu versuchen. Das Signal, das Berlin mit BATTLEFIELD LOVE MEMORIAL in die Außenwelt senden könnte, wäre dieser Stadt und ihrer Geschichte würdig. Die einzige Bedingung, die ich stelle: Keine öffentlichen Gelder.“ Nikolaus Eberstaller „Die Aussagen der Kunstwerke Eberstallers sind bipolar, sie leben aus dem Spannungsfeld der Gegensätze, die nicht unvereinbar sind, sondern deutlich machen, dass jeder Aspekt eine positive und eine negative Seite umfasst ... Das Kunstwerk bringt auf subtile Weise zum Ausdruck, dass scheinbar unauflösbare Gegensätze sich verändern, auseinander hervorgehen können, dass sich aus Liebe ein Schlachtfeld und aus einem Schlachtfeld Liebe entwickeln kann.“ Univ.-Doz. Dr. Achim Gnann, Kunsthistoriker und Kurator der Wiener ALBERTINA über Battlefield. Parallel dazu zeigen wir MARIE COCHON, Performanceschwein (ein Werk von Nikolaus Eberstaller und Barbara Eberstaller-Wendelin). Ein mit Geld ausgestopftes Schwein wanderte 2012 durch Wien. Medien aus 13 Ländern berichteten, darunter das Wall Street Journal, Die Zeit und Paris Match. 2013 gewannen Nikolaus Eberstaller und Barbara Eberstaller-Wendelin für Marie Cochon einen LICC-Award in London für die beste Performance. Marie Cochon protestiert mit ihrer Performancekunst gegen das sozial unverträgliche Übermaß – die Gier auf Kosten anderer. Marie will den Menschen, denen gegenüber sie sich mit ihrer Kritik loyal erweist, auf der Straße begegnen. Deswegen bereist sie die Welt. Während ihrer Stadtwanderungen tauscht sie sich aus, teilt ihr nährstoffloses Futter mit Bedürftigen und erweitert ihr Weltbild. Vor Ort reflektiert sie über Luxus, Exklusivität, Reichtum. Und ob all das zwingend nur mit Geld zu erreichen ist. www.marie-cochon.com -- English Version In 2010 the Austrian multimedia artist Nicholas Eberstaller (* 1968) created the large-scale sculpture Battlefield (see picture above). Now, he presents his new project BATTLEFIELD LOVE MEMORIAL Berlin. „It will be difficult. Fine. I‘m too old for saying yes unconditionally. And too young to surrender. The signal that Berlin could send to the world with Battlefield Love Memorial would be worthy of this city and its history. The only condition I ask for: No public money.“ Nikolaus Eberstaller about his project. “Eberstallers artworks are bipolar, they live in an area of conflict filled with extremes, which are not contradicting, but it becomes apparent that every aspect includes a positive and a negative side ... Battlefield expresses subtle, that seemingly unsolvable differences change, that they can emerge from within, that out of love a battlefield can develop and out of a battlefield love.” Dr. Achim Gnann, Art historian and curator at the ALBERTINA (Head of Department Italian Art of the 14th -19th Century) in Vienna about Battlefield. In parallel we show the work by MARIE COCHON, Performance pig (a project by Nikolaus Eberstaller and Barbara Eberstaller-Wendelin) A money-stuffed pig wandered through Vienna in 2012. Renowned media reported from over 13 countries, including the Wall Street Journal, Time and Paris Match. Currently Nikolaus Eberstaller and Barbara Eberstaller-Wendelin won a LICC Award in London for the best performance. Marie Cochon protests with her performance art against the social irreconcilable exorbitance – the greed at the expense of others. Marie wants to meet the human, with against whom she proves her loyalty, on the street. Therefore she travels the world. During her private city tours she compares notes, shares her nutrition-free food with the needy and broadens her view of the world. On location she reflects on luxury, exclusivity, abundance. And if that all is compulsory only achieved by money. At work she has two assistants at her side: Nikolaus and Barbara Eberstaller. www.marie-cochon.com Press review: Cicero Magazin, 10.04.2013 iGNANT, 28.04.2013 |
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La Mère Perdue 15.03.2013 – 28.04.2013 Elmar Hess - solo show Artist Talk: 25.04.2013, 7 pm with Dr. Britta Schmitz, Curator, Nationalgalerie im Hamburger Bahnhof, Staatliche Museen zu Berlin Opening: 14.03.2013, Introduction at 7 pm by Dr. Sabine Maria Schmidt, Curator, Kunsthalle Bremen LOCATION: Saarländische Galerie – Europäisches Kunstforum e.V. Am Festungsgraben 1, 10117 Berlin In Elmar Hess’ artistic works private conflicts are seen to be the consequence of compulsory actions conditioned by technology and the system. The individual occurrence is placed on a par with a cascading fantasy of political-historical events. Hess’ works include films and videos as well as multi-media installations consisting of thematically intertwining, staged spaces. These provide the installations a primary structure much like the dramatic sequences of a film. At the same time, the individual spaces address sub-issues formulated by the overarching theme. Created especially for the exhibition at the Saarländische Galerie – Europäisches Kunstforum, the installation “La Mère Perdue” addresses to what extent value systems and cultural meaning can be quantified. An historical event provides the work its point of departure: in 1962 the portrait of “Mona Lisa” was brought to the US for an exhibition – on board the ocean liner “France”. In Hess’ installation, the event is related to one of the artist’s own autobiographical events, an encounter with the “France”, decades later. The work contrasts the personal significance of this formative moment with the Mona Lisa’s general cultural importance. Elmar Hess lives and works in Berlin and Hamburg. He has participated in numerous group exhibitions including Lost Paradise (Kunstraum Wien), German Open (Kunstmuseum Wolfsburg), Surfing Systems (Kunstverein Kassel), Man Son 1969 – The Horror of the Situation (Hamburger Kunsthalle), and others. Hess was a recipient of the Deutschen Kunstfonds Bonn and the Deutsche Akademie Villa Massimo in Rome/Italy. The exhibition “La Mère Perdue” is sponsored by the Schering Foundation, Berlin, the Rudolf Augstein Stiftung, Hamburg, the Karin Abt-Straubinger Stiftung, Stuttgart, Kohlpharma, Merzig and the State Representative of Saarland in Berlin. |
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prelude 25.03.2013 - 08.04.2013 Sculptures by Sara Berti/IT Paintings by Wanda Stang/DE |
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ART KARLSRUHE 2013 07.03.2013 - 10.03.2013 with Michael Stalherm (One Artist Show) Frauke Bergemann, Hadmut Bittiger, Wanda Stang LOCATION: Hall 3 / Stand J 33, Messeallee 1, 76287 Rheinstetten WHITECONCEPTS präsentiert auf der Kunstmesse art Karlsruhe 2013, die in diesem Jahr ihr 10-jähriges Bestehen feiert, eine Auswahl an Arbeiten von Michael Stalherm, Zeichnung, Malerei (One Artist Show) Frauke Bergemann, Fotografie Hadmut Bittiger, Objektkunst Wanda Stang, Malerei. Öffnungszeiten: Preview, 06.03.2013, 14 - 19 Uhr, mit Einladung Do – Sa 12 – 20 Uhr, So 11 – 19 Uhr -- WHITECONCEPTS cordially invites you to the art fair art Karlsruhe. You find us at booth J33 in hall 3. We present a One Artist Stand showing works by German painter Michael Stalherm and a fine selection by the photographer Frauke Bergemann, object art by Hadmut Bittiger as well as paintings by Wanda Stang. PREVIEW and VERNISSAGE, MARCH 6th, 2013, 2 – 9 pm, on invitation Open daily 12 – 20 h, Sun 11 – 19 h Press: 09.03.2014, Kunstmagazin |
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54°24 min. 16.02.2013 - 07.04.2013 Thorsten Goldberg - solo show Centrum Sztuki Współczesnej Łaźnia (Laznia - Center for Contemporary Art) LOCATION: ul. Strajku Dokerów 5, Gdańsk-Nowy Port/PL
The exhibition presents works of the artist from the last two years that refer to popular idyllic visions or the nostalgia for paradise, and introduces some of his latest public art works in Germany, Norway and Poland.
The exhibition was developed for three stations: Started with 54°4min at the Gerisch-Foundation in Neumünster, curated by Dr. Martin Henatsch, now on display 54°24min at the New Łaznia Centre for Contemporary Art, Gdansk, curated by Eulalia Domanowska and will be followed by 51°15min at City Gallery in Park Viersen, hosted by Jutta Pitzen. An extensive catalog sums up twenty years of the artistic career of the artist, containing drawings, installations, video works and his numerous public works as well as unrealized projects for public space: 54°4min - Thorsten Goldberg was published by DISTANZ Verlag Berlin. Photos by ©Krzysztof Miekus - Laznia CCA Press: O.pl, 09.02.2013Obieg, 26.02.2013 |
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Jimi Hendrix and the Love & Peace Festival A documentation by Frauke Bergemann 30.10.2012 - 20.01.2013 In context of the European Month of Photography In cooperation with nhow Gallery
OPENING: 30.10.2012, 6PM
Special event on the occasion of Jimi Hendrix´s 70th birthday: 27.11.2012, 6PM READING: Kalle Freynik CONCERT: THE PLASTIC VOODOO BAND (Berlin) FILM: Jimi & das Fehmarn Festival (GER 2010, 89 min, by Rasmus Gerlach, Wolfgang Neitzel, Paul Kulms) LOCATION: nhow Gallery, Stralauer Allee 3, 10245 Berlin-Kreuzberg “When the power of love overcomes the love of power, the world will know peace.” Jimi Hendrix WHITECONCEPTS in Kooperation mit der nhow Galerie freuen sich, die Ausstellung JIMI HENDRIX UND DAS LOVE-AND-PEACE-FESTIVAL - eine Dokumentation von Frauke Bergemann anlässlich des 5. Europäischen Monats der Fotografie in Berlin zu präsentieren. Jimi Hendrix (James Marshall Hendrix) war eines der größten kreativsten und innovativsten Talente seiner Zeit. Von vielen Musikkritikern wird er als der beste Gitarrist der Welt geschätzt und revolutionierte die Rockmusik vor allem klanglich durch die E-Gitarre. Am 27.11.2012 hätte er seinen 70. Geburtstag gefeiert. Anlässlich des Jubiläums zeigt die Künstlerin Frauke Bergemann bisher unveröffentlichte Fotos, die das historische Ereignis, das letzte Konzert von Jimi Hendrix, lebendig werden lassen. Zudem vermitteln die Fotos Einblick in die Lebensrealität der deutschen Hippie-Bewegung, als 1970 tausende Musikbegeisterte auf die Ostseeinsel Fehmarn strömten, in der Erwartung dort ihr deutsches Woodstock zu erleben. Dauerregen und Sturm verhinderten allerdings diverse Auftritte der angekündigten, mittlerweile legendären Bands. Die Fans ließen sich jedoch nicht abschrecken und hielten auch die Präsenz der sich selbst zu Ordnungshütern ernannten Rockergruppen aus Hamburg aus, die nicht nur die Gäste an den Einlässen, sondern auch die Veranstalter unter Druck setzten. Als Jimi Hendrix am letzten Tag bei strahlendem Sonnenschein endlich auftrat – es sollte sein letztes Konzert sein, bevor er eine Woche später 27-jährig am 18.09.1970 unter tragischen Umständen in London starb –, waren die misslichen Begleiterscheinungen wie weggeblasen und der Trip auf die Insel blieb den meisten als unvergessenes Musikhighlight in Erinnerung. eng In 1970, thousands of music enthusiasts flocked to the Baltic Sea island of Fehmarn in the hope of a German Woodstock. But incessant rain and storms prevented some of the famous bands on the bill from appearing. The presence of motorcycle gangs from Hamburg as self-appointed security staff not only frightened guests at the entrances but also put pressure on the organisers. When Jimi Hendrix finally appeared on the final day, in bright sunshine – for his last concert before his death a week later in London – all the annoyances became irrelevant, and the trip to the island remains an unforgettable musical experience for most of those who attended. Frauke Bergemann presents previously unpublished photos that bring the historic event to life and offer insights into the reality of the German hippie movement. Press reviews: Neue Osnabrücker Zeitung, 26.11.2012 Schwäbische Post, 26.11.2012 radioeins, 26.11.2012 Rheinische Post, 22.11.2012 WDR, 20.11.2012 Berliner Morgenpost, 9.11.2012 Dandy Club, 31.10.2012 R Love, 31.10.2012 cicero Magazine, 30.10.2012 radioeins, 30.10.2012 CORSO/Deutschlandfunk, 30.10.2012 images by Dani Rodriguez and Nicole Loeser |
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art market budapest 08.11.2012 - 11.11.2012 Central and Eastern Europe’s emerging contemporary art fair with André Wagner and Sara Berti LOCATION: Stand G204 / Millenaris Park, Building B / 2th District of Budapest/ Hungary
SPECIAL: round table discussion
11.11.2012, 15:00h CONTEMPORARY PHOTOGRAPHY: A PHOTO BECOMES YESTERDAY´S ART PIECE FOR TOMORROW / INSIDE ART Speakers: Anna FABRICIUS – artist, Orsolya KŐRÖSI – director of the Hungarian House of Photography, Mihály SURáNYI – director of Nessim Gallery, Dejan SLUGA – director of Photon Gallery, Ljubljana, André WAGNER – photographer, Berlin, Moderator: Zoltán SOMHEGYI art historian |
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imPOSSIBLE? Video works of Chinese contemporary artists 02.11.2012 - 17.11.2012 In the context of the project “Chinese Fall - Chinesischer Herbst” for the Chinese Culture Year in Germany With Lu Chunsheng (Shanghai), Xing Danwen (Beijing), Yingmei Duan (Braunschweig/London), Ni Haifeng (Amsterdam), Shi Yong (Shanghai), Michael Zheng (San Francisco/Beijing), Yang Zhenzhong (Shanghai) In cooperation with aquabit and Kühlhaus Berlin VENUE: Cultural Center Kühlhaus Berlin - Seven Floors of Art What is the state of Video Art in China today? And how do artists reflect their artistry in the present? Where is the art drifting toward? And by what standards do we evaluate art? Based on two shows entitled "imPOSSIBLE!", that were shown 2009 at the San Francisco Arts Commission Gallery and MISSION 17, the new show was re-curated by the curatorial team of Nicole Loeser and Irina Ilieva. In the context of the project "Chinese Fall" at the Kühlhaus the curators picked up these questions for their exhibition. The artists in “imPOSSIBLE?” engage strategies that include using humor that is slightly dark and often times ironic creating absurd or impossible scenarios, and confront highly exaggerated aesthetic and conceptual sensibilities. In a situation where radical change becomes an everyday experience, the artists found that by engaging these strategies they were able to create works that reconcile the past with the present and highlight the pace of contemporary life in China. At that time, the artists used especially absurd statements questioning the art-making process and the shows were highly recognized. Will their works have after three years a similar effect? What was then considered impossibility through the rapid changes in living conditions, through technology and global trade which now seems normal? From the improbability has it become a reality? With special thanks to Directors Lounge and Ulrich Schäfer. Press: |
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fotofever brussels 2012 04.10.2012 - 07.10.2012 Photography Art Fair André Wagner - solo show LOCATION: Tour & Taxis, Avenue du port 86c, B-1000 Brussels
fotofever brussels, the first European art fair for contemporary photography and video
After a first acclaimed edition in Paris in November 2011, fotofever followed the European adventure and launched its first edition in Brussels. On this occasion, fotofever takes a stand before the European month of Photography. From Berlin to Madrid, from London to Moscow, the European creation will be in the spotlight. |
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the solo project artfair 13.06.2012 - 17.06.2012 André Wagner - solo show LOCATION: Booth G4, St. Jakobshalle, Brüglingerstrasse 19-21, CH-4052 Basel Please scroll down for Germn verion "Close to nature, mythological and thoughtful; spiritually and technologically significant sites (...) attract the photographic journeys of André Wagner, and add a new level of meaning to his visually striking images. In fact, the landscape often remains in the background; the light and its presence are in the main role." Mindaugas Kavaliauskas, director of the Festival PHOTO KAUNAS, Lithuania André Wagner was born in 1980 in Burgstädt (Saxony) and ended his apprenticeship as a photographer in 2001. Since 2004 he lives and works in Berlin. He deals with his camera virtuously and investigates the possibilities of lighting situations. He stages photographs in great detail and creates authentic images that are not digitally manipulated. He succeeds in a remarkable way in perceiving internal and external phenomena of a situation. Standing in the tradition of Laszlo Moholy-Nagy, Wagner sees photography as an ideal means of expression, with which he can transfer attitudes and beliefs. His painterly, poetic landscape photos can be seen as a reinvention of the traditional genres. This is mainly caused by the light-interpretation because Wagner photographs usually by means of long-time exposure and the use of various light sources, causing an interaction of associative thought patterns. Each and every moment seems loaded with content, rising above the purely aesthetic message. "In his work André Wagner plays with the viewing habits and expectations of the viewer. Staged image advertising spaces are familiar to us. While they are embedded in a narrative context, and must be explained in a few seconds, we are first disoriented in their artistic interpretation of Wagner’s staged adaptation. Only in the stepwise analysis of the image content we can solve the puzzle and see the artistic quality of the subject. Playing with the perception of spatial conditions as well as of the conscious subject like in discussions of inner and outer spaces of the real or unreal or even mental spaces is a well-known topos of art history, especially of the 20th Century. (...) When asked which artists inspire him André Wagner replied, "If art makes you feel, despite staging a reality, then the person behind the art is an interesting person." In order to satisfy his own demand, this is one of the special qualities of artistic creation by André Wagner." Thomas Bauer-Friedrich, curator of Kunstsammlungen Chemnitz, Germany Numerous exhibitions have already taken André Wagner throughout Europe, China, New Zealand and the United States. He has won several awards for his work and is represented in public collections. German version „Naturbezogen, mythologisch, gedankenvoll, spirituell und technologisch bedeutsame Orte (…) ziehen die fotografischen Reisen André Wagners an, und fügen seinen visuell eindrucksvollen Bildern eine neue Bedeutungsebene hinzu. In der Tat bleiben die Landschaften oft nur im Hintergrund, die Hauptrolle übernimmt das Licht und seine Gegenwart.“ Mindaugas Kavaliauskas, Direktor des KAUNAS PHOTO Festival, Litauen Für seine malerischen Fotografien von Landschaften lässt sich André Wagner (*1980 Burgstädt) von fernen Orten, der Zeit und der Nacht inspirieren. Dem jungen deutschen Fotokünstler gelingt es auf bemerkenswerte Art, innere und äußere Phänomene einer Situation wahrzunehmen. Virtous erzeugt er authentische Bilder, die nicht digital verfremdet sind. Der dargestellte Moment, der eine vielschichtige Welt von Emotionen, Stimmungen und Spiritualität reflektiert, wird bewusst mit Inhalten aufgeladen, die sich über das rein ästhetische Resultat hinweg erheben. Diese Wirkung wird nochmals verstärkt, wenn Wagner mit sehr langen Belichtungszeiten arbeitet und auch das Material sprechen lässt. Wir zeigen eine Auswahl seiner detailreichen und stark kontrastierenden Arbeiten, die in ihrer Poesie eine Neigung zur Romantik zeigen und einen Eindruck von „Altmeisterlichkeit“ entstehen lassen. Einige Werke, die der Werkgruppe "Romance of Elements" zugeordnet sind, stellen das Resultat der künstlerischen Idee dar, die metaphysische Energie von Feuer sichtbar zu machen. Inspiriert von der vorgefundenen Situation stellt André Wagner eine Kombination verschiedener Stile wie Land Art, Performance, Feuerzeichnungen und Fotografie zu einem ungewöhnlichen Selbstportrait zusammen. In der Tradition eines Lászlo Moholy-Nagy stehend, sieht Wagner die Fotografie als ein ideales Ausdrucksmittel, mit dem er Geisteshaltungen und Weltanschauungen transferieren kann. Dabei bilden die ausgestellten Werke performative Handlungen ab, die oft von dem Fotografen selbst ausgeführt werden. Seine Arbeiten lassen sich neben daneben auch als eine meditative Innenschau interpretieren. Wagner verleiht damit der Natur in Form der Landschaft mehrdeutige Ebenen, indem er, z.B. mittels der Einschreibung der Bewegungen des Feuers oder des Sternenhimmels in das Zelluloid, unsichtbare Energien sichtbar werden lässt. „Das abgebildete Licht ist mein Weg durch die Zeit“, beschrieb er es einmal und fordert den Betrachter heraus, sich seinem Werk intuitiv zu nähern, um sich dann in einem Universum von philosophischen Verknüpfungen zu bewegen. Zahlreiche Ausstellungen führten André Wagner bereits durch Europa, nach China, Neuseeland und die USA. Er wurde mehrfach für sein Werk ausgezeichnet und ist in öffentlichen Sammlungen vertreten. |
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60°N 05°E (encased waterside) 15.06.2012 Inauguration of the outdoor sculpture by Thorsten Goldberg Bergen/NOR A shiny silver panel lying on the landscape measuring 450 m² has been covering since June 2012 the stony shore of an inner city fjord in Bergen / Norway. The Berliner artist Thorsten Goldberg, well-known for his work in public space, has exactly aligned his new work 60°N 05°E (encased waterside) to the earth’s coordinate system. It describes the area between 60°22´52.55"N / 60°22´51.8"N and 05°20´01.24"E / 05°20´02.32"E. Composed of 800 individual polished stainless steel triangles it perfectly adapts to the topography of the ground. In that place now all elements seem to dissolve into each other. By changing tides the often faceted surface is partially covered by water, and reflects both the water and the sky. Once the object is provided with a pulse of light at dusk, the panel seems to be transferred to a glider. On June 15th, 2012 at noon the outdoor sculpture 60°N 05°E (encased waterside) by Thorsten Goldberg was inaugurated as part of the “Bybanen Art Program” in Bergen / Norway. Kindly supported by The City of Bergen; Hordaland County; KORO (Public Art Norway). On July 15th, 2012 the Gerisch Foundation in Neumünster, Germany opened Thorsten Goldberg’s solo exhibition 54°4min (Exhibition: 15/07/2012 – 10/02/2013), which is touring then in 2013 to additional exhibition venues (Laznia - Center for Contemporary Art, Gdansk and Municipal Gallery Viersen). Press: Thorsten GOLDBERG, 60°N 05°E (2012), www.art-public.com, 29.06.2012 Parallel to his exhibitions a comprehensive catalog of works titled ‘54°4min’ will be published by DISTANZ Verlag. Content: Localization in Paradise: Coordinates of the Utopian. The work of Thorsten Goldberg (b. Dinslaken 1960; lives and works in Berlin) represents an important contribution to the evolution of art in the public sphere, whose classical localization he suspends by removing crucial determinants in favor of a utopian dimension. 54°4min. tells the story of a journey to places that embody the yearnings of our time. By proffering definitions of places that are as specific as they are deliberately incomplete, Goldberg unfolds the spectrum of his artistic reflection before us: from the historic Land of Cockaigne to the virtual palm-lined beach adorning a screensaver, from directions guiding us along the 54th parallel to far-off islands and the radiant cloud we might follow to reach remote paradises. The exhibition, which will be on display at three exhibition institutions in Germany and Poland, represents the first major retrospective of the oeuvre of this multimedia artist. The book offers glimpses of Goldberg´s work in several media; it portrays realized as well as unrealized works in public space, objects, photographs, drawings, and video works. With contributions by Jadwiga Charzynska, Kristin Danger, Eulalia Domanowska, Martin Henatsch and Nicole Loeser. About the artist: The visual artist Thorsten Goldberg lives in Berlin and is realizing projects in public space throughout Europe. He taught at art academies in Münster, Munich, Linz, and most recently as Professor of Art and Media in Kiel. As a member of various committees for public art, he is involved in selection and organization of competitions and of documentation and archiving of art projects in public space. Thorsten Goldberg is a member of the Advisory Committee on Art in Berlin, spokesman for the Bureau of art in public space of the cultural work of the BBK Berlin and is the founder and co-editor of "Public Art Wiki, an imagined library", the Internet lexicon of art in public space. |
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Neue Räume entdecken - Synergie von Kunst und Wirtschaft 05.06.2012, 18 h Reception+ Art Event Photography by Frauke Bergemann LOCATION: Immanuelkirchstr. 34, 10405 Berlin - Prenzlauer Berg In cooperation with Berliner Raumpiloten Berliner Raumpiloten laden ein, neue Räume zu entdecken. Neben dem Betrachten realer Räume, möchten wir dabei auch einer gedanklichen Auseinandersetzung zu neuen Kooperationsmöglichkeiten zwischen Wirtschaft und Kunst Raum geben. Mit WHITECONCEPTS und dessen Gründerin Nicole F. Loeser (Kuratorin und Kulturmanagerin) haben wir einen Partner gefunden, der zeitgenössische Kunst in aufschlussreicher Art vermittelt und Unternehmen bei Ihrem Engagement für Kunst und Kultur berät und unterstützt. Die Ausstellung mit den Fotografien von Frauke Bergemann ist ein idealer Anlass, unsere Besucher direkt auf unser Anliegen hin anzusprechen. An verlassenen Orten hat die Künstlerin „mit großem Gespür für raumdehnende Bildkonstruktion“ (Thea Herold) geheimnisvolle Lebensgeschichten verschiedener Zeitschichten eingefangen. Ihre malerisch anmutenden Fotografien entfalten nun ihre einzigartige Kraft in unseren Geschäftsräumen. |
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The road series 28.04.2012 - 09.06.2012 Photography by Jia/CN In cooperation with aquabit
LOCATION: Auguststrasse 35, 10119 Berlin
Official introduction by Drew Hammond, The Art Economist: 31.05,2012, 7pm. The talk will be given in English. Drew Hammond will be speaking on the nature of the rise of engaged abstraction as a recent development in Chinese contemporary art; the critique of consumerism implicit in Jia’s photo series; and the work’s kinship with traditional Chinese landscape painting. Press: ARTINVESTOR, 03/2012 Theme “Auf nach Asien!” Essay by JIA by Drew Hammond “Das Streben der Anderen”, p. 82. About the artist Born in Beijing in 1979, Jia made her first trip to the West in 2007, and began her ongoing photo project, The Road Series, in 2009, always shooting from moving automobiles in mist or rain, and in nine Western countries. The artist prints photos from The Road Series as she first shot them without any ex post facto modification of the original shot. Despite an overt formal aspect that is predominantly abstract, The Road Series is consistent with a general tendency of contemporary Chinese art to be socially engaged by means of themes of critical negation. For the artist, a dark consequence of the rapid economic growth of China has been a generalized obsession the acquisition of material goods and the fetishization of Western designer brands. Nowhere are these consumerist aspirations more evident than in the mania for automobiles, and the false sense of social standing afforded their owners. The automobile, like the Chinese vision of West itself, is a metonym for false consumerist values that have eclipsed traditional ideas of virtue. In The Road Series, the widespread aspiration of sightseeing in the West occurs in such a way that the automobile becomes a prism through which we perceive the world. This vision seems attractive, but it is so distorted that we cannot even tell which country we are in, or even whether it is day or night. This form of artificial vision has a theoretical precedence in the technique of traditional Chinese landscape painting that would use rain and mist in order to generate distortions that posed a radical departure from reality, but which nevertheless seemed pleasing to the eye. By means of photography, the very medium that most “relies on what is already there”, The Road Series creates overtly pretty visions of things that are not already there, but which belie our distraction from any authentic awareness—not merely awareness of hazardous weather conditions, but of the more profoundly dangerous epistemic blindness of consumerist fantasy. In this sense, The Road Series is a cautionary tale for China that warns against learning too well the lessons of the West. Drew Hammond/ Senior International Correspondent, The Art Economist Young and unique artist JIA is represented in many well known public and private collections (amongst others Frederick R. Weisman Foundation Art Collection, Sammlung Gregor von Bismarck, Sigg Collection). |
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nature 28.04.2012 - 24.05.2012 Recent drawings by Greg Murr/USA WHITECONCEPTS – BERLIN is pleased to present new drawings by Greg Murr. The show’s title, Nature, points not just to the domain of flora and fauna, as conventionally distinguished from humanity. Adorned with material evidence of high society and culture, this collection of drawings addresses a sort of essence or nature typically deemed human, yet fundamentally primal and animal in character. With a keen sense of self-awareness and a nod to good fun, all this is presented in seamless compositions that combine everyday dogs, countless strands of pearls, and other accoutrements leftover from an absent cultural elite. Watercolors on paper and highly rendered drawings in graphite and acrylic on canvas comprise the approximately fourteen works in the show. All works depict dogs and other various subjects in white spaces. As such, they make reference to incomplete studies in a sketchbook, and likewise remain just vague enough that we can’t definitively pin them to one place, time or context. In one work, a wolf draped in pearls stands before a framework resembling a church’s rosette window or a Buddhist mandala. In another, two dogs wrestle among scattered white flowers. Animated with tangles of pearls, some images might be construed to pose wealth itself as a living entity, growing and unfolding in conjunction with any animal and plant there to bear witness. Together, this selection of finely drawn and surreal works invites us to reevaluate how we define nature with respect to our values and lives today. German version WHITECONCEPTS - BERLIN freut sich, zur Ausstellung mit neuen Zeichnungen von Greg Murr einzuladen. Der Titel der Ausstellung „ nature“ verweist nicht nur auf das Gebiet der Flora und Fauna, wie sie üblicherweise der Menschheit gegenübersteht. Ornamentiert mit materiell wertvollen Objekten der Oberschicht, stellt Murrs Sammlung von Zeichnungen eine Art Essenz der Natur des Menschen, mittels verschiedener Aspekte seines Ur- und Tier-Charakters dar. Mit feinem, ironischen Gespür für das menschliche Selbst-Bewusstsein zeigt er nahtlos ineinander übergreifende Kompositionen, die die Alltäglichkeit in Form von Hunden, unzähligen Perlenketten und anderen Requisiten als Überbleibsel einer abwesenden kulturellen Elite kombinieren. Seine vierzehn Werke, die in der Ausstellung präsentiert werden, umfassen Aquarelle auf Papier und filigrane Zeichnungen in Graphit und Acryl. Alle Arbeiten zeigen bereits zitierte Hunde und verschiedene andere Sujets auf weißem Grund. Damit nehmen sie Bezug auf unvollständige Studien in einem Skizzenbuch und bleiben vage genug, um sie nicht endgültig an einen Ort, eine Zeit oder einen Kontext festzuschreiben. So begegnet uns auf einem Blatt ein Wolf mit Perlen drapiert vor einem Rahmen, der sowohl einem Kirchenrosettenfenster als auch einem buddhistischen Mandala ähnelt. Auf einem anderen ringen zwei Hunde in einem Meer aus verstreuten, weißen Blüten. Dass sich Reichtum als eine lebendige Einheit darstellen lässt, zeigt uns Murr durch die Darstellung von haufenartigen Formen von Perlen. In Verbindung mit vielgestaltigen Tier-und Pflanzenarten lässt er sie auf dem Papier wachsen und sich entfalten. Greg Murrs surreale Werken laden uns zu einer Neubewertung der Definition von Natur ein, vor allem in Bezug auf unsere derzeit gelebten Werte. |
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Der Goldene Käfig – The Golden Cage 31.03.2012 - 19.05.2012 Barton Lidice Benes, Joseph Beuys, Bewegung NURR, Nikolaus und Barbara Eberstaller, Thomas Eller, Ruth Erdt, Maria Fisahn, Esther Shalev Gerz, Thorsten Goldberg, Jan Henderikse, Elmar Hess, Bruno Jamaica, Peter Kees, Christin Lahr, Marcel Mieth, Michael Najjar, PSJM, Philipp Ruch, Tom Schmelzer, Stephanie Senge, Gil Shachar, Société Réaliste, Daniel Spoerri, Klaus Staeck, Timm Ulrichs, Eva Vuillemin, Petrus Wandrey, George O. Dewitte The exhibition is organized in cooperation with KunstBüroBerlin and art&culture international e.V. With special thanks to Sammlung Haupt, Berlin
The project is curated by Nicole Loeser, Ruth Martius and Katharina Buncke
English version (Please scroll down for German version) OPENING: 30.03.2012, 19 h Panelists: How do you manage one crisis after another? Despite sustained financial crisis and its devastating impact on private sectors and all government budgets and systems the globalized financial industry produces uncontrollable amounts of money. Hardly bothered or prosecuted it creates opaque and risky transactions while not only virtual results cause a decline in values, but the real world. In addition interactive events such as guided tours, artist talks and panel discussions with representatives of different fields and positions will introduce the general public on the issues and facilitate the reception of the processes associated with globalization, including the impact on their design and execution. German version Ergänzend ermöglichen interaktive Veranstaltungen wie Führungen, KünstlerInnengespräche und Podiumsdiskussionen mit VertreterInnen unterschiedlicher Fachgebiete und Positionen den Meinungs- und Erfahrungsaustausch, z. B. wie gerechtere Zukunftssysteme zu denken, zu leben und zu handeln sind. Das Projekt wird eine breite Öffentlichkeit an das Thema bzw. Teilaspekte heranzuführen und die Rezeption der mit der Globalisierung einhergehenden Prozesse samt des Einflusses auf deren Gestaltung und Abwicklung erleichtern. SPECIAL: Diskussionsforum "Der Goldene Käfig - The Golden Cage": 10.05.2012, 20 h LOCATION: Humboldt-Viadrina, Wilhelmstr. 67, 10117 Berlin Es diskutieren: Prof. Dr. Gesine Schwan, Politikwissenschaftlerin Thema: HAT DER WERT DER KUNST EINEN PREIS? In freundlicher Zusammenarbeit mit der Humboldt-Viadrina, Berlin
With special thanks to Dr. Herrmann Büchner, Anna Dietz, Christoph Lexow, Patricia Caspari and Volker Huetten. Press review: |
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art Karlsruhe 2012 08.03.2012 - 11.03.2012 with Joseph Ramirez-Dalton (One Artist Stand) André Wagner, Frauke Bergemann, Wolfgang Siesing LOCATION: Booth H1-V02, Messeallee 1, 76287 Rheinstetten |
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The universe is built on a plan... 21.01.2012 - 10.02.2012 with Jovana Popic/CRO-SER, Raha Rastifard/IR, André Wagner/DE, Veronika Witte/DE, Michael Zheng/CN-USA In cooperation with SAVVY Contemporary
OPENING: 21.01.2012, 19 h
19:30h Vocal performance by Zvezdana Novakovic on an object by Jovana Popic FINISSAGE & Catalog Launch: 10.02.2012, 19 h LOCATION: Richardstraße 43/44, 12055 Berlin Please scroll down for German version Nicole Loeser has invited artists to consider notions of spirituality and inspiration with regard to studio practice today. The choice of artists is based on SAVVY Contemporary´s aim to examine the relationship and explore the borders between Western and non-Western art, and to investigate notions of ‘otherness’. THE UNIVERSE IS BUILT ON A PLAN ... engages diverse cultural idiosynchrasies and perspectives to explore how these particular themes shape studio practice today. To what extent does art assume its own life, whether through cross-cultural intervention or through recording and representing life? How does art both fulfill the autonomy of the individual and address the challenges of society as a whole? Posing these and other questions, the exhibition investigates the spiritual and inspirational drives within art-making today, and attempts to formulate questions about what kind of life-quality can be developed in this collaborative era. Jovana Popic (*1977, Zadar/CRO) explores in addition to a specific location the transcendent level of existence. Extremely impressive in its facilities is the intimate interplay between material, space and the fleeting acting work, which is composed of drawings, objects of phosphorescent polyester, videos or sound installations. The focus of her work is the visitor involved with his/her feelings and thoughts being able to empathize with dedication to the artistic and cultural history of the place and also to nature. Jovana studied painting and multimedia at the University of Belgrade/RS and at the University of Fine Art in Belgrade. She was often awarded (recently in 2011 with the Meisterschüler Award of the University of Arts) and participated in 2003 at the Venice Biennale. The idea of juxtaposing one´s self with the spirituality of another person has been an instrument used by Raha Rastifard (*1975, Tehran/IR). The Iranian, Berlin based, artist looks at history through her own desires. The series ´I and...´ shows the artist melting her personality together with another person´s spirituality. With people who inspired her, no matter where they come from, she presents a pure moment between the past and the present. Raha Rastifard studied photography, painting and art history at the National University of Art Tehran/IR and at the Free University of Berlin/DE. She participated in numerous international exhibitions, in 2011 her work has been shown in Berlin, Tehran/IR, Shanghai/CN and Delhi/IND. Trained as a photographer and interested in Hindu spirituality André Wagner (*1980, Burgstädt/DE) creates photos that are informed by social movements, architecture and especially nature. He photographs the natural movement of light producing a surrealistic effect of energy that when combined with the rotation of the earth, as André puts it “leads man to delve into the mystic knowledge down deep in his soul.” His unique gift is the sensual way of perceiving internal and external phenomena of a situation. André Wagner has entered prestigious competitions and won several distinguished prizes. Exhibitions have taken the photographer so far throughout Europe, China, New Zealand and the USA. Veronika Witte (*1962, Ahaus-Wessum in Westfalen/DE) creates a reflexive place, which shows identity as a complex construct. Originating in classical sculpture, Veronika Witte works on an enlarged „portrait concept“, which she pursues in a multi-disciplined scheme, thereby creating a space where art, theatre and science meet and referring to subjects like identity construction or new developments influencing our „social body“. she invents questionnaires, interviews and surveys. On the occasion of a residence on the island Phu Quoc in Vietnam she made a survey with inhabitants and tourists concerning the „concept of an island“, and the subjectively perceived ecological-social state of the island. Locals and tourists were questioned about geographical proportions and relations, as well as their personal reliable points of view on the island. They were invited to use only their internal sense of physical measurement and subjective imagination. This method was evolved into a so-called “individual mapping“. The installation “Coconut island” combines a video projected towards a rice field on the ground, representing in its shape the outline of all the drawings like a fictional island itself, onto which the projected drawings float like a fluidamorphous organism from border to border of the rice field. Veronika Witte studied at the Ecôle Nationale Supérieure des Beaux-Arts in Paris/FR. The multimedia artist has been invited to numerous exhibitions thoughout Europe and received several awards. Since 1999 she has been working closely with theaters (1999-2005 staatsbankberlin) and created stage design for the Saarland State Theater/DE and the State Theater Bielefeld/DE). Michael Zheng’s (*1965, Fujian/CN) works are inspired by both the eastern and western world and take a look at social systems, , for which he prefers to provide a new order. He often creates situations that challenge established positions and question, so that new perspectives are created. On July 27, 2004, the artist made a performance at the Geographical Center of Europe in Lithuania. Standing between the two official monuments that mark the Center(s) of Europe (the younger is a bit further away next to the older one), he whistled out the phrase “CENTER OF EUROPE” repetitively in Morse Code. As part of the piece, this event was broadcast on the Lithuanian National Public TV Nightly news. Michael Zheng is a performance and conceptual artist. After being a software engineer at Silicon Valley, he studied at the San Francisco Art Institute and the Skowhegan School of Painting and Sculpture. Exhibitions led the artist already all over the world. In 2010 his work was exhibited at the Marina Abramovic Institute in San Francisco. 2009-2011 he was a participant in the Vancouver Biennale in Canada. German version Nicole Loeser lädt für die erste Ausstellung bei SAVVY Contemporary in 2012 fünf KünstlerInnen ein, sich mit dem Thema Spiritualität und Inspiration auseinander zu setzen. Basis für die Wahl der KünstlerInnen ist- ähnlich dem Konzept der Projektgalerie, das die Grenze zwischen „West-Kunst“ und "Nicht-West- Kunst“ erforscht – die Perspektive auf das jeweilige Fremde zu lenken. THE UNIVERSE IS BUILT ON A PLAN… untersucht den inspirativen Einfluss auf künstlerisches Schaffen, der durch Begegnung und Erfahrung in fremden Kulturen entstanden ist. Hinterfragt wird unter anderem, inwieweit Kunst eine Lebensform repräsentiert, als interventionistische Praxis Strategien ergreift oder sich in einer dokumentarischen Weise hierzu stellt. Um sowohl der Autonomie eines Einzelnen als auch den Herausforderungen der Weltgemeinschaft begegnen zu können, versucht die Ausstellung Fragen zu formulieren, welche Lebensqualität sich im kollaborativen Zeitalter entwickelt lässt. Jovana Popic (* 1977, Zadar/CRO) erforscht an einem spezifischen Ort die transzendente Ebene der Existenz, denn auch unausgesprochene Gedanken bleiben oft in Erinnerung. Extrem beeindruckend ist das intime Zusammenspiel von unterschiedlichen Medien, Material und Raum und der flüchtigen Arbeit des Betrachters, Ihre Werke bestehen zum Teil aus Zeichnungen, Objekten und phosphoreszierendem Polyester, Videos oder Sound-Installationen. Im Fokus ihrer Arbeit steht der Mensch, der sich mit seinen Gefühlen und Gedanken engagieren muss, um sich ihrer künstlerischen Hingabe an die Kultur und Geschichte des Ortes und auch an die Natur einfühlen zu können. Jovana studierte Malerei und Multimedia an der Universität in Belgrad/RS und an der Universität der Künste in Berlin. Sie wurde mit dem Meisterschüler Preis der UdK 2011 ausgezeichnet und beteiligte sich 2003 an der Biennale in Venedig. Die Idee der Gegenüberstellung eines Fotos von sich selbst mit dem einer anderen Person ist ein Instrument, das Raha Rastifard (*1975, Teheran/IR) in ihrer Kunst verwendet. Die aus dem Iran stammende Künstlerin, die in Berlin lebt und arbeitet, betrachtet Geschichte mit einer ihr eigenen Wunschvorstellung geprägten Haltung. Die Serie "Ich und ..." zeigt das Verschmelzen ihrer Persönlichkeit mit der einer anderen, deren spirituelle Haltung sich bereits in deren Wirken zeigte. Mit inspirierenden Menschen, gleich welcher Kultur sie entstammen, verbunden zu sein, manifestiert sie einen magischen Moment zwischen Vergangenheit und Gegenwart. Raha Rastifard studierte Fotografie, Malerei und Kunstgeschichte an der National University of Art Teheran/IR und an der Freien Universität Berlin. Sie nahm an zahlreichen internationalen Ausstellungen, im Jahr 2011 wurde ihre Arbeit in Berlin, Shanghai/CN, Teheran/IR und Delhi/IND gezeigt. Ausgebildet als Fotograf und interessiert an der spirituellen Ordnung der Hindus schafft André Wagner (*1980, Burgstädt) Bilder, die sich mit sozialen Prozessen, der Architektur und vor allem der Natur beschäftigen. Er fotografiert die natürliche Bewegung des Lichts und erzeugt damit eine surrealistische Wirkung von Energie, die, kombiniert mit der Rotation der Erde "den Menschen dazu führt, das mystische Wissen über seine Seele tief zu ergründen." André Wagners einzigartige Gabe, auf sinnliche Art und Weise interne und externe Phänomene einer Situation wahrzunehmen, gibt ihm die Freiheit, malerische Fotografien zu entwickeln, die mittels Langzeitbelichtung eine tieferliegende Struktur der Realität abzubilden. André Wagner hat an prestigeträchtigen Wettbewerben teilgenommen und wurde mit zahlreichen Preise ausgezeichnet. Ausstellungen haben den Fotografen bisher durch Europa, China, Neuseeland und den USA geführt. Veronika Witte (*1962, Ahaus-Wessum in Westfalen) schafft einen reflexiven Ort, der Identität als komplexes Konstrukt widerspiegelt. Ausgehend von der klassischen Skulptur arbeitet sie an einem erweiterten "Portrait-Begriff. Mittels einer multi-disziplinären Arbeitsweise schafft sie einen Raum, in dem sich Kunst, Theater und Wissenschaft begegnen und der Themen wie Identitäts- konstruktion oder Entwicklungen unseres "sozialen Körpers" verhandelt. Dazu arbeitet sie beispielsweise mit Hilfe von Fragebögen, Interviews und Umfragen, wie für ihre Arbeit „Coconut Prison“, eine 1-Kanal-Videoprojektion auf ca.30 kg Reis, die bei ihrem Aufenthalt in Vietnam 2008 entstand. Bewohner der Insel Phu Quoc wurden nach ihrer subjektiven Sicht bzgl. der ökologisch-sozialen Situation der Insel gefragt und eingeladen, für die Künstlerin „ihre“ Insel zu zeichnen und damit verbundene wichtige Orte aufzuzeigen. Das Video zeigt individuelle Kartographien, die sich ununterbrochen zu ungewöhnlichen amorphen Formen vermischen und verändern. Veronika Witte studierte an der Ecole Nationale Supérieure des Beaux-Arts in Paris/FR. Die Multimedia-Künstlerin wurde zu zahlreichen Ausstellungen in Europa eingeladen und erhielt wichtige Auszeichnungen. Seit 1999 arbeitet sie eng mit Theatern zusammen (1999-2005 staatsbankberlin, Künstlerische Leiterin). Zuletzt in 2010/2011 schuf sie Bühnenbilder für das Saarländische Staatstheater und das Staatstheater Bielefeld. Michael Zhengs (*1965, Fujian/CN) Arbeiten werden sowohl von der östlichen als auch westlichen Welt inspiriert und werfen einen Blick auf gesellschaftliche Systeme, für die er vorzugsweise eine neue Ordnung schafft. So kreiert er Situationen, die etablierte Positionen herausfordern und hinterfragen, so dass neue Perspektiven ermöglicht werden. Am 27. Juli 2004 stellte der Künstler eine Performance an der geo-graphischen Mitte Europas in Litauen dar. Zwischen beiden offiziellen Denkmälern stehend (ein jüngeres steht etwas weiter entfernt neben dem älteren), die das Zentrum Europas markieren, pfiff er das Wort "Mitte Europas" wiederholt in Morse-Code. Als Teil des Stückes, wurde diese Arbeit im Fernsehen auf dem Sender Lithuanian National Public TV Nightly News gesendet. Michael Zheng ist ein Performance-und Konzeptkünstler. Nach seiner Tätigkeit als Software-Ingenieur bei Silicon Valley, studierte er am San Francisco Art Institute und der Skowhegan School of Painting and Sculpture. Ausstellungen führten den Künstler bereits durch die ganze Welt, wichtige Stationen waren die Einzelausstellung 2010 am Marina Abramovic Institute in San Francisco sowie seine Teilnahme 2009-2011 an der Vancouver Biennale in Kanada. |
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Red concepts for right collectors 24.11.2011 - 02.03.2012 PSJM (ES) - solo show Artist Talk: 24.02.2012, 6pm
WHITECONCEPTS is proud to present a selection of the Berlin-based Spanish duo’s works under the title, Red Concepts for Right Collectors, a solo exhibition which combines powerful theoretical content with careful formal execution, leading the audience towards social reflection. In many cases, PSJM’s ironic and aesthetic objects belong to larger projects, but now they are presented alone, demonstrating their autonomy as independent artworks and preserving the strength of their meaning. For example, their wallpaper titled, Marx®, refers to a project in which the artists registered a particular wallpaper design as a brand and displayed a full selection of comparably branded products. Likewise, the light-boxes of the censured Project Asia and Made by Kids for Kids series each question the corporate underlying practice of exploiting workers and children in developing nations, and the drawings from a series titled, Struggle, depicts citizens as insignificant individuals fighting against powerful trademarks. You are a commodity, the outcome of a PSJM public intervention in Berlin (2010) will also be shown on the gallery’s wall.
Brand marketing and global economics play a critical role in PSJM´s work. Their pseudo-Hollywood Corporate Armies trailer describes a world ruled by corporations: marketing and totalitarianism unite in a dystopian scenario which shows how the world would be if capitalism was unconstrained and liberated from any limit that democratic institutions impose upon it. Corporate Armies also features a sculpture obtained through 3D digital technology. Next to the 3D animation, a black and white ´historical drawing´ further pushes the reference to mass culture and its fascination for the so-called beauty of war. The video-animation, Capitalism, shows two towers made of coins; one tower is permanent while the other continuously topples and is rebuilt. Its clean and minimal execution makes clear reference to issues of economic fluctuation, perpetually impending crises and most obviously 9/11, the tragic event that has come to define the new century and incite global terror. This video, which has been shown on large screens as a video-installation before, is now presented as a small video-object made of stainless steel. The exhibition is completed with works of two series belonging to a line of visual investigation that PSJM calls ‘social geometry’, where they create arrangements with an emphatic formal reduction based on statistical data: two fine art prints on cotton paper from their series, American Colors, that use the 5 conventional colors applied to the races of the world. Its composition is based on the population census percentage, the percentage of populations in prison and the poverty percentage in the USA as organized by race. Another 3D animation, Class Geometry, in which divisions are established between rotating schematic volumes, represents different social classes (upper class, middle class, and lower class). The video shows two possibilities for the development of the global social object: one is utopian and the other is dystopian. Perhaps not surprisingly but no less discouraging, it is the latter that matches the current trend toward eradicating the middle class population. Recently, PSJM was included among the ‘100 Most Represented International Political Artists’ in the book, Art & Agenda / Political Art and Activism (published by Gestalten, Berlin 2011). Review By Zitty Magazine, Berlin, 11.01.2012 Politkunst : Red Concepts For Right Collectors by Michael Nungesser Review by Neues Deutschland, Berlin, 23.02.2012 Mit den eigenen Waffen by Anouk Meyer |
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Preview Aftershow with Nikolaus Eberstaller/AT, Thorsten Goldberg/DE, Jovana Popic/CRO-RS, Veronika Witte/DE 12.09.2011 - 04.11.2011 Artist Talk: 15.09.2011, 6pm We are delighted to present Veronika Witte/D, Jovana Popic/CRO-SER, Thorsten Goldberg/D und Nikolaus Eberstaller/AT at PREVIEW BERLIN 2011 and cordially invite you to visit us at Hangar 2 / Booth 59. After the art fair works by the presented artists are shown in our showroom. An artist talk is to take place on 09/15/2011 by 6 PM The works by Jovana Popic (*1977 CRO-SER), Veronika Witte (*1962 DE), Nikolaus Eberstaller (*1969 AT) and Thorsten Goldberg (* 1961 DE) are based on the extension of the term from portrait and sculpture, to performative strategies. Occuring in a moment of physical and psychological ambiguity, how can identity be marked? How do we orient ourselves, if perspectives appear disjointed, fragmented and relative? Which vanishing points do we create or which center? Documentaries and staged images are linked together via various media questioning the concept of action by artists. In addition to emotional transfer it comes to vision of the future, expansion of consciousness and reflection of the actor. In this respect, artistic sensibility is organized into a movement that can result from an informal moment between a new form. The utopian component gives the work its transformative power, which expands the imagination and desire to awaken visions, aspirations and ideals. Nikolaus Eberstaller (*1968, Klosterneuburg/ AT) is a multimedia artist who was often awarded. Exhibitions took him throughout Europe and the USA. In 2011 he entered the prestigious competition of Charlatan Ink Collective, where he is now under the first 25 finalists (decision in October 2011). His multifaceted work encircles the "Big Five" of his world theatre: dream, our so called reality, social criticism, beauty and ugliness. Thorsten Goldberg (*1960, Dinslaken/DE) studied at the Art Academy in Stuttgart and lives in Berlin since 1990. He is initiator and co-editor of Public Art Wiki, an imaginary library, the internet encyclopedia for art in public space. In collaboration with the Office for Art in Public Space of the ´Kulturwerk´ and as a member of various committees he is involved in selecting and organizing competitions and documentaries on public art. Since 2011 he is a member of the advisory committee of art (BAK) to advise the Culture Senate in matters of art in architecture and art in urban space in Berlin. Since 2001 he was also lecturer and visiting professor at the Alice-Salomon University of in Berlin and at Art Colleges Art Academy Muenster, AdBK Munich, UfG Linz/AT, most recently as professor of fine arts and media at the Art Academy in Kiel. Jovana Popic (*1977, Zadar/CRO) studied painting and multimedia at the University of Belgrade/SER and at the University of Fine Arts in Berlin with Rebecca Horn. She works with different artistic media including sculpture, drawing, photography, video as well as scenography and performance. She was often awarded and participated in 2003 at the Venice Biennale. Numoerous exhibitions took her throughout Europe, Russia and Japan. Veronika Witte (*1962, Mannheim/DE) studied at the Ecôle Nationale Supérieure des Beaux-Arts in Paris/FR. Often rewarded the multimedia artist has been invited to numerous exhibitions throughout Europe. Since 1999 she has been working closely with theaters (1999-2005 staatsbankberlin) and created stage design for the Saarland State Theater/DE and the State Theater Bielefeld/DE. |
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PREVIEW BERLIN 2011 with Nikolaus Eberstaller/AT, Thorsten Goldberg/DE, Jovana Popic/CRO-RS, Veronika Witte/DE 09.09.2011 – 11.09.2011 OPENING: 08.09.2011, 6pm LOCATION: Airport Berlin Tempelhof/Hangar 2/Booth 59, Columbiadamm 10 - 12101 Berlin |
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The end of the dream (comes too soon) 31.08.2011 - 03.09.2011 with Robert Barta / Jérémie Bennequin / Luk Berghe / Eberhard Bosslet / Marcel Buehler / Matthew Burbidge / Anton Burdakov / Youngjoo Cho / Sébastien Delvaux / Nikolaus Eberstaller / Nezaket Ekici / Megumi Fukuda / Stephanie Gerner / Elmar Hess / Maja Josifovic / Peter Kees / Tessa Knapp / Via Lewandowsky / Ari Benjamin Meyers / Jenny Michel / Greg Murr / Hajnal Németh / Sophia Pompéry / Jovana Popic / Joseph Ramirez / Raha Rastifard / Karen Scheper / Johanna Thompson / Mehran Tizkar / André Wagner / Hans Winkler / Veronika Witte / Seoung Won Won / Michael Zheng In cooperation with Mica Moca berlin project e.V.
Bankrupt states, extreme weather patterns, nuclear accidents, polar ice melt - everything seems to suggest an imminent crash, and one of our own manufacture. Are we too passive in simply putting together economic and aid packages, or can we overcome the apparently vicious cycle? And can art itself serve to form a new position and even create a new vision? Or is art relegated to the confines of commercial enterprise, to the creation of products by which individuals are exalted for a market-savvy one-upmanship?
The End of the Dream features over 30 internationally renowned artists and three co-curators, invited by curator, Nicole Loeser. From 31/08/2011 to 03/09/2011 their work will be installed in a former safe factory in Wedding. In addition to an exhibition of paintings, videos and installations, the program will include performances, artist talks and lectures. Realizing the dream of an independent experiment, the goal of the Mica Moca Project-Berlin and now Nicole Loeser is to create a place for utopian dreams and alternate worlds. Wedding is currently in transition; with respect to other parts of Berlin, this ungentrified area with vast offerings of open space is now being bought up and commercialized more and more - plastered figuratively as much as literally. In the end of September the site of this exhibition will also be converted into lofts and offices. Following a sort of rude awakening from the dream of capitalism and the recent months’ market economy, will it be possible for us to dream a new dream? (Text by Patricia Caspari) OPENING HOURS: 31/8/2011 6 – 10 pm, 1/9/2011 + 2/9/2011 2 – 7 pm, 3/9/2011 4 – 8 pm LOCATION: Lindower Strasse 22 - 13347 Berlin PROGRAM: 31.08.2011, Opening |18 - 22h Performance - Michael Zheng | 19:30h until 03.09.2011 18 hours-Perfomance | Hajnal Nemeth (performed by István Dankó / singer and Thomas Fischer / car mechanic 31.08.2011 Opera: “The Semele Project” | 20:00h 01.09.2011 Concert "OLGAR Intermedial Doubletrio : ANALOG vs. DIGITAL" | 21:30h 02.09.2011 Concert „Artists on Horses“ | 21:30h later on "Sleep Laboratory" with Johanna Thompson 03.09.2011 Sunrise-Performance „Esaetpirts“ | Johanna Thompson Workshop "Artist Village" | 17h CURATOR: Nicole Loeser CO-CURATORS: Jung Me Chai, Maud Piquion, Judith Souriau, Veronika Witte An invited project "Prints" curated by Maud Piquion and Judith Souriau with Jérémie Bennequin / Sébastien Delvaux / Megumi Fukuda / Jenny Michel / Michael Zheng An invited project curated by Jung Me Chai with Youngjoo Cho / Seoung Won Won Coordination: Nicole Loeser, Iris Gamradt-Ruge, Berlind Wagner, Esther Kratz Press Contact: Anne Przybyla Technical Management: Mathias Dick Kindly supported by Klangschneider&Schneider, Gigant Print Works, acut logistics, Artekuranz, Director´s Lounge, Kunstverein Tiergarten/Galerie Nord, Blood Orange East, HIFI im Hinterhof, Galerie Wedding, Quartiersmanagement Pankstrasse Media Partner: AVIVA Berlin.de  Kindly supported by Jahn-Mack & Partner, Uferhallen, Wedding/Kulturfestival, Zucker-Museum, Anti-Kriegs-Museum, Gallery Andrae Kaufmann With special thanks to our friends and families, the fantastic team of MicaMoca, Dr. Matthias Birkholz, Lena Brandt, Bernd Gehrig, Irene Rossini, Serena Eltri, Christoph Lexow, Horst Wengel, Wolfgang Schulz Press Reviews: Berliner Morgenpost, 31.08.2011 (german) Die Welt, 31.08.2011 (german) cronicascronicasvariasvarias.blogspot (spanish) elizabethdelfs.blogspot (english) Castor&Pollux (german) Kunstmagazin Berlin (german) iheartberlin (english) Monopol Magazin (german) catonbed (photos) kunstgeschichteportal (german) tip Berlin Magazin (german) MicaMoca Blog (english) http://micamoca.com/wordpress/?p=489 http://micamoca.com/wordpress/?p=527 http://micamoca.com/wordpress/?p=519 |
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I look to the sky and miss the ceiling. Michael Zheng (USA-CN) - solo show 24.06.2011 - 19.08.2011 Artist Talk: 13.07.2011, 5 pm
WHITECONCEPTS is pleased to present the first solo exhibition of Chinese artist Michael Zheng in Berlin. From 24 June - 19 August 2011 new photographic works and sculptures next to videos will be exposed in the exhibition "I LOOK TO THE SKY AND MISS THE CEILING".
The performance and conceptual artist studied first computer science at Tsinghua University in China, then moved to San Francisco, where he worked more than 10 years as a software designer in Bay Area / Silicon Valley. After that he decided to study at the San Francisco Art Institute with Paul Kos, Tony Labat and John Roloff. He also studied with Nari Ward and Patty Chang at Skowhegan School of Painting and Sculpture. His work shows traces of interventionist thinking studying cultural and social dependence on institutional and existential levels. With his conceptual approach, which is steeped in sincerity, absurdity and humor, he creates situations, questioning the established positions so that new perspectives can be experienced. His works are characterized by a performative character and are often shown in the form of photographs, video and sculptural installations. Exhibitions led the artist already all over the world. In 2010 he had an exhibition at the Marina Abramovic Institute in San Francisco, which is dedicated to profiling and documentation of performance art. In 2009 Michael Zheng was a participant in the Vancouver Biennale in Canada. From 2 July - 28 August 2011 works by Michael Zheng are to be seen in the group exhibition "Nomadic Settlers - Settled Nomads" in the artspace Kreuzberg / Bethanien Berlin. |
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Paintings Ailinger (DE) 28.04.2011 - 10.06.2011 In collaboration with GABRIELE SCHAUF |
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art Karlsruhe 2011 André Wagner - One Artist Show 10.03.2011 - 13.03.2011
LOCATION: Booth H4-L 08, Messeallee 1, 76287 Rheinstetten
At the fair art Karlsruhe WHITECONCEPTS shows a fine selection of the oeuvre by German artist Andre Wagner (*1980). Romantic inclined and picturesque in their effect atmospheric landscape photographs are confronted with impressive architectural works, some of them are presented for the first time at the fair. Wagner succeeds in a remarkable way of perceiving internal and external phenomena of a situation. With virtuoso camera technology he produces authentic images that are not digitally manipulated. Wagner often summarizes single works into series. The moment depicted is deliberately loaded with content that rise above the purely aesthetic result. This effect is further enhanced when Wagner is working with very long exposure times and lets the material also speak. Exhibitions and study tours have taken the young emerging artist so far thoughout Europe, to China, New Zealand and the USA. Press 13.3.2011: ...Unter anderen nehmen WHITE CONCEPTS mit der Nachwuchsgaleristin Nicole Löser, die sich bereits als Kuratorin einen Namen in Berlin gemacht hat... Press 14.3.2011: ...Zum letzten Mal war der vom Senat geförderte “Berliner Block”, ART FROM BERLIN, dabei, etwa mit White Concepts. Gerade dieses Projekt zeitigt große Erfolge... |
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Laterna Magica Ruth Biller 24.02.2011 - 30.04.2011 Opening: 23.02.2011, Introduction: 7pm Location: EnBW Showroom, Schiffbauerdamm 1, 10117 Berlin-Mitte |
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The eye of... - Receptions of input Daniel Belasco Rogers and Sophia New - plan b, Eberhard Bosslet, Florian Freier, Philipp Geist, Thorsten Goldberg 28.01.2011 – 15.04.2011 In cooperation with DAS weekend, transmediale, club transmediale (CTM) + Create Berlin
The exhibition explores artistic ideas about the self and strange observation, which has changed enormously with the available digital media.
Questions about the nature of reality are raised and studied in detail, subjective and objective reality. Are perception and reality actually congruent? Information can hardly even concentrate. Illusion, reality and fiction mingle. How we use reality today? Targeted monitoring as the surveillance by cameras are received with mixed feelings, what do they really record and who evaluates the data? Is Orwell´s idea of 1984 "big brother is watching you" realized here? On one hand, private should remain private when it comes not on Google Street View to land. On the other hand, the company secures copyrights. Where we lay a contradiction, and whose data we just delete? In relation to the Internet platform Wikileaks, the question is precisely of what information we need today, and how the collective consciousness form. How can we control our thoughts to hold the actual course of things, if we do not want to subject a permanent illusion? Monitoring as a self-defense or to protect others? The ridge is very narrow. With electronic media, it is now possible to make data available, thus raising questions for which the international community must find an answer. Because even today, can be manipulated with all available technical achievements opinions and relationships covered up in the small and large scale. The exhibition questions our relationship to it. |
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STUMP STOOLS Eberhard Bosslet (DE) 01.12.2010 - 17.01.2011 In cooperation with Humboldt-University Berlin
LOCATION: Invalidenstraße 42, 10115 Berlin
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Count for Nothing Katrin Korfmann (NL) 19.11.2010 - 20.01.2011 In cooperation with Gallery Kai Hilgemann, Berlin/DE Supported by 2X2 PROJECTS, Amsterdam/NL   In the context of the European Month of Photography Berlin LOCATION: Zimmerstrasse 90/91, 10117 Berlin Katrin Korfmann focuses on the apparently ordinary. Her emphatically neutral vision suggests a high degree of objectivity, while at the same time taking us into a fictional world. In a process embracing a variety of materials and media, she documents daily situations with the photographic or video camera and combines the individual shots subsequently into a complete work. A carefully planned choreography makes it possible for the artist to control the perception of her pictures. She places the evanescence of an event at the centre of observation, brings different moments in time to a single point and so gives the impression of a kind of ‘magical moment’. The viewer becomes the victim of illusion – the more secure you imagine yourself to be, the more persistently effective the artist’s manipulation. The fascination of Korfmann’s pictures lies in her creation of an illusory simultaneity, which unfolds into a world of details. The exhibition is accompanied by a catalogue published by d´jonge hond, Amsterdam/NL. The full colour catalogue is published in English and consists of 128 pages with texts by Tina Rahimy, Nicole Loeser, Rogério Taveira. Available for 28 EUR. Order here SPECIAL: 28.11.2010 PHOTO.OPEN (Finissage of European Month of Photography) „László Moholy-Nagy“, „Count for Nothing“ and „Creative Destruction“, Start from the Berlinische Galerie |
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Television André Wagner (DE) 20.10.2010 – 20.11.2010 In cooperation with Gallery Horst Dietrich In the context of the European Month of Photography Berlin LOCATION: Giesebrechtstrasse 19, 10629 Berlin André Wagner (*1980) is in search of the primeval forces of nature. Inspired by the situations he finds, sometimes supplemented by imaginative staged scenarios, he captures powerful impressions of people and places. The exhibition shows two series from the year 2010. The central theme of these works is the overlap of different levels of time and space. With a sure sense of ‘the simultaneity of the non-simultaneous’ (Ernst Bloch), Wagner catches moments of privacy that are determined by the atmosphere of the room. The portrait of a man meditating on a roof is juxtaposed with the view of an interior that is illuminated only by the light of a television set. In Wagner’s work every moment seems to be loaded with content which goes beyond the purely aesthetic message. This effect is enhanced still further when the photographer works with long exposures. ‘The light imaged is my path through time,’ as he once described it. The exhibition is accompanied by a catalogue published by Darling Publications, Cologne/DE. Full coloured and published in German and English it consists of 50 pages with an essay by Arne Rautenberg. Available for 30 EUR. Order here SPECIAL: 28.10.2010, 5 - 9pm, „after work“ walkaroundcharlottenburg< |
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Grammar of the Douro Recent works by Greg Murr (USA) 20.09.2010 - 18.10.2010
Artist Statement
In 2005 I began making pictures using recombined satellite photos. I had been living in New York City for several years and took periodic trips along the Hudson River to points north. In hopes of connecting with the outside world while carrying forward my interest in dynamics, I chose water as my principal building material and subject. I parsed a satellite image of the Hudson into twenty-six pieces and reconfigured its segments, transcribing these individual shapes in pencil onto watercolor paper. The initial result was a vaguely suggestive plant form, every reach of the river overlapping another and growing upward into the white of the page. |
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NIGHT SHOTS - art movies going 360° Jerome Symons, Station Rose, Roland Fuhrmann, Philipp Geist, Yuki Jungesblut, Michiel Brand, SPTA 05.09.2010 - 06.10.2010 In cooperation with HomeBase Lounge and Cinegraphy LOCATION: Köthener Str. 44, 10963 Berlin SPECIAL: 360° Panorama-Screen, 9-Channel-Video-Projections, Interactive Installations On the occasion of artforum invited international artists will be presenting the decomposition of the borders between art and cinematography, with unexpected medial potentials... SPECIAL GUEST: "Artists on Horses" live on stage 06.10.2010, 10 pm |
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constructing clouds Thorsten Goldberg (DE) - solo show 20.08.2010 - 10.10.2010 In cooperation with Piecunia LOCATION: Chausseestraße 13, 10115 Berlin SPECIAL EVENT: 18.06.2010 Cumulus Berlin Inauguration of the sculpture of Thorsten Goldberg for the Federal Ministry of Food, Agriculture and Consumer Protection, Berlin/DE LOCATION: Wilhelmstraße 54, 10117 Berlin A stylized white and shiny cumulus cloud is set rotatable on the very tip of a traversable mast with arm inside the newly build garden of The Federal Ministry of Food, Agriculture and Consumer Protection (BMELV), Wilhelmstrasse in Berlin. The cumulus is made of glass-fibre reinforced plastic (GRP) Size of the cloud ca. 3,5 x 2,5 x 2,5m. The chrome surfaced mast is slewable by wind and via a steel handle by hand ca. 200° around the corner of the building. Mast height ca. 11m with 6m arm. Thorsten Goldberg is well-known for his architectural art projects. Dealing intensivly with science and environment and inspired by the relation between people and nature he creates poetic sculptures. „Cumulus Berlin“ combines the playful easiness of a child’s mind with serious considerations of an adult. The careful handling with ressources affects at the same time our thoughts referring to trancendency and Utopia. On the occasion of the realization of the sculpture „Cumulus Berlin“ the exhibition "Constructing Clouds" at the Borsig-Villa shows drawings, sketches and other cloud objects. |
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cities in flux Group show with Susanne Kessler (DE/IT), Karen Lebergott (USA), Greg Murr (USA), Mayumi Okabayashi (JP), Michael Yuen (AUS/CN) 22.06.2010 - 15.08.2010 Lecture "cities: what is a city? city in flux." by Michael Yuen: 21.06.2010, 4:30pm
Cities of flux are places of infinite possibilities. They begin as infinite chaos. They occur at the birth of a nation: post war Tokyo or New York, during 1860, during the steam boat era or present day Beijing are examples. In these cities we can test philosophy and reality. Here, when we make an intervention the stakes are higher than in a stable city, the repercussions greater. Within these cities of flux, we find rapidly changing social structures and built environments with no clear direction. And, in them it is not enough tomerely describe and document, but rather it is important to find tools for acting in them. Ideas from Europe and America which have been for a long time useful in the city, no longer fit comfortably with the reality of Asia´s mega cities. By testing it and by intervening into it, what might we learn from the city of flux? By living in it.
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The artist and the forty thieves Michael Yuen (AUS), Marcin Kowalik (PL) 11.06.2010 - 14.06.2010 In cooperation with Gallery Absence of Art, Berlin/DE The exhibition was stolen from WHITECONCEPTS. After their daring escape and high speed car chase, the thieves planned to install the exhibition in another space 3 km away. The thieves worked while the gallery was open and right in front of the gallery visitors´ eyes. The brazeness and arrogance of the thieves was evident by the poster they left behind illustrating the amount of the heist that had been completed, when the gallery had become empty. A video fed of the thieves at work and the heist in progress was displayed. Entwined in this robbery is the exhibition of Michael Yuen. It documents many of his projects, which were carried out in public space. His interventions into the city work across a range of mediums including sound, light and performance. As the show continues to run till 15th of June Marcin Kowalik and the other 39 thieves will rebuild and copy pieces from Whiteconcepts in the Absence of Art gallery. The exhibition, in its rebuilt state, will be a product of artists´ collaboration. Further, the concept for the exhibition could be extended to include the swapping of the entire content of Whiteconcepts and The Absence of Art objects such as furniture and other stuff. Also the exhibition can be downloaded illegally via internet by Chilean group of artists. |
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Freedom Calling Leonore Stern (UK), ATW (DE/USA) 08.04.2010 - 05.06.2010 |
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Waking Night Daniela Finke (DE) 12.02.2010 - 06.04.2010 In cooperation with PG Lab |
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Christmas Palm Group show curated with Marcin Kowalik (PL) OPENING: 20.12.2009 LOCATION: Potsdamer Str. 91 - 10785 Berlin-Schoeneberg In cooperation with Freies Museum, Berlin/DE Supported by Beznadziejna Gallery, Warsaw/PL |
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Feminine Soul Hybrids Su Ling Gyr (CH/UK), Manzur Kargar (AF) 05.11.2009 - 20.11.2009 Booklaunch: "Jeunette World" works by Su Ling Gyr with texts by Edy Poppy (NOR) LOCATION: Alexandrinenstraße 1a - 10969 Berlin-Kreuzberg Supported by Rechtsanwälte Weis&Partner and C. & A. VELTINS |
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SPACE MATRIX (INVENTION OF SPACES 01) Eberhard Bosslet (DE), Thorsten Goldberg (DE), Katrin Korfmann (NL), Christian Liebermann (DE), Greg Murr (USA), Mayumi Okabayashi (JP), Joachim Seinfeld (DE-ISR), Veronika Witte (DE) 26.09.2009 - 27.09.2009 LOCATION: Bluecherstr. 32 - 10961 Berlin-Kreuzberg Supported by select berlin properties and ATELIERLOFTS |
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WAITING FOR JULIA (3X10MIN) Katrin Korfmann (NL) 16.01.2009 - 07.02.2009 Gallery artMbassy Berlin |
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Drawings and small formats Group exhibition with 30 international artists 11.12.2008 – 10.01.2009 Gallery artMbassy Berlin |
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TimeLines Edward Mapplethorpe (USA) First solo show in Germany 18.10.2008 – 20.11.2008 Gallery artMbassy Berlin
TimeZones
Edward Mapplethorpe (USA) 18.10.2008 – 10.11.2008 In cooperation with Ketterer Kunst Berlin In the context of the European Month of Photography Berlin Press: undo, 22.10.2008 |
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Preview Berlin 2008 with artMbassy Berlin 30.10.2008 – 02.11.2008 with Christian Liebermann (DE), Edward Mapplethorpe (USA), Alessia von Mallinckrodt (USA), Greg Murr (USA), Pietro Ruffo (IT) |
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Change the position Part 1 Greg Murr (USA), Jan Bauer (DE) 06.09.2008 – 22.09.2008 Gallery artMbassy Berlin |
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Change the position Part 2 Christian Liebermann (DE) 23.09.2008 – 10.10.2008 Gallery artMbassy Berlin |
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Star Shots 2 Kathrin Guenter (DE) 01.08.2008 - 15.08.2008 Gallery artMbassy Berlin and kulturreich Hamburg/DE |
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Missing Alessia von Mallinckrodt (USA) 09.05.2008 – 08.06.2008 Gallery artMbassy Berlin |
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re-construction of time Veronika Witte (DE), Joachim Seinfeld (DE-ISR), Karen Lebergott (USA) 04.04.2008 – 03.05.2008 Gallery artMbassy Berlin |
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objects of life Patti Smith (USA), Steven Sebring (USA) 08.02.2008 – 14.02.2008 Gallery artMbassy Berlin |
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Magie real Frauke Bergemann (DE), Katrin Korfmann (NL), Virginie Morel (F), Marcella Müller (DE), Werner Gasser (DE-IT), Roberto de Paolis (IT), Christoph Martin Schmid (DE), Andy Scholz (DE) 10.11.2007 – 02.02.2008 Gallery artMbassy Berlin |
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Souvenirs de Kassel / Fundstücke der documenta 12 Peter Kees (DE) 26.10.2007 – 07.11.2007 Gallery artMbassy Berlin |
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summerbeat 07 Ralph Meiling (DE), Ester Vonplon (CH), Kai von Kröcher (DE), Philipp Hennig (DE) 27.07.2007 – 01.09.2007 beat.Gallery for contemporary art |
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projection playground Thorsten Freye (DE) 09.06.2007 – 21.07.2007 beat.Gallery for contemporary art |
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286 Tage beat Oliver Gröne (DE), Manzur Kargar (AF), Wolfgang Siesing (DE), Corinna Holthusen (DE), Christian Blau (DE) 27.04.2007 - 31.05.2007 beat.Gallery for contemporary art |