NOWS archived

NOWs: Svetlana Maraš and Robert Lippok at arkaoda Berlin

12 October 2018 / Nows ⟶

Svetlana Maraš and Robert Lippok at arkaoda Berlinlive concert arkaoda Berlin Karl-Marx Platz 16 12043 Berlin Doors: 8 pm Svetlana Maraš: 9 pm Robert Lippok: 10 pm presented by arkaoda and Palais Wittgenstein supported by Musicboard Berlin This will be a very special night, Svetlana Maraš will share the stage with Robert Lippok. Maraš will present brand new material, premiered in September @ ARS ELECTRONICA. Svetlana Maraš (1985) is a composer and sound artist from Serbia. She works at the intersection of experimental music and sound art. Maraš’ work is highly experimental and as such, rejects definite classification. She composes for ensembles, makes works for radio, creates interactive sound and media installations and performs live electronic music. Her works have been presented internationally, at venues and festivals such as CTM (Berlin), Espace Multimedia Gantner (Bourogne), International Music Institute (Darmstadt), Onassis Cultural Centre (Athens), Museum of Contemporary Art (Belgrade), A38 (Budapest), Ausland (Berlin), ORF Kunstradio-Radiokunst, Radio Belgrade, RTE Nova, ICMC (New York), UCSD (San Diego), ISEA (Dubai), Orpheus Institute (Ghent) among many other places. Maraš is a head of Radio Belgrade’s Electronic Studio. ————————————————— The great Robert Lippok (raster) returns with his first solo album in seven years, Applied Autonomy for Olaf Bender’s Raster. A survey of what he’s been up to, as much as a statement of intent for here and now, Applied Autonomy reprises the fine balance of tuff-edged minimalism, spatial illusion and melodic delicacy that emerged with Redsuperstructure [2011], but ratcheting its effect with a renewed vigour for a frankly epic impact. As the title makes explicit, Robert’s 3rd solo album is concerned with autonomy, which feels like an apt subject for the age of automation, when humans are increasingly negotiating their role in context of the machine and AI, and vice-versa. The systems Robert set up for Redsuperstructure now come into deeper relief, as he applies a greater understanding of their workings in order to eke out, sculpt their possibilities in his own image. Much of the material came from improvisation and sketches made in preparation for his live shows. This quickfire process amassed a range of material which was then more considerately cut to shapes and layerd not applied Autonomy, which ranges from almost Rian Treanor-esque stutter drums mixed with dense yet wide atmospheres in his title track, and twisted across the album, from frenetic acid dancehall mutations in Varieties of Impact, to the meter-messing trance of Scene 3 which sounds like something Vladimir Ivkovic might play, and thru to the necessary, hoped for dose of emotive lushness with brimming optimism of All Objects Are Moving. But he really saves some of the best for last in Samtal, a 14 minute piece recorded in duo – but not together – with Klara Lewis at EMS Stockholm, where we effectively hear two autonomous minds at work, making for a smart contrast with the singularity of the preceding tracks. Svetlana Maraš and Robert Lippok at arkaoda Berlinlive concert arkaoda Berlin Karl-Marx Platz 16 12043 Berlin Doors: 8 pm Svetlana Maraš: 9 pm Robert Lippok: 10 pm presented by arkaoda and Palais Wittgenstein supported by Musicboard Berlin This will be a very special night, Svetlana Maraš will share the stage with Robert Lippok. Maraš will present brand new material, premiered in September @ ARS ELECTRONICA. Svetlana Maraš (1985) is a composer and sound artist from Serbia. She works at the intersection of experimental music and sound art. Maraš’ work is highly experimental and as such, rejects definite classification. She composes for ensembles, makes works for radio, creates interactive sound and media installations and performs live electronic music. Her works have been presented internationally, at venues and festivals such as CTM (Berlin), Espace Multimedia Gantner (Bourogne), International Music Institute (Darmstadt), Onassis Cultural Centre (Athens), Museum of Contemporary Art (Belgrade), A38 (Budapest), Ausland (Berlin), ORF Kunstradio-Radiokunst, Radio Belgrade, RTE Nova, ICMC (New York), UCSD (San Diego), ISEA (Dubai), Orpheus Institute (Ghent) among many other places. Maraš is a head of Radio Belgrade’s Electronic Studio. ————————————————— The great Robert Lippok (raster) returns with his first solo album in seven years, Applied Autonomy for Olaf Bender’s Raster. A survey of what he’s been up to, as much as a statement of intent for here and now, Applied Autonomy reprises the fine balance of tuff-edged minimalism, spatial illusion and melodic delicacy that emerged with Redsuperstructure [2011], but ratcheting its effect with a renewed vigour for a frankly epic impact. As the title makes explicit, Robert’s 3rd solo album is concerned with autonomy, which feels like an apt subject for the age of automation, when humans are increasingly negotiating their role in context of the machine and AI, and vice-versa. The systems Robert set up for Redsuperstructure now come into deeper relief, as he applies a greater understanding of their workings in order to eke out, sculpt their possibilities in his own image. Much of the material came from improvisation and sketches made in preparation for his live shows. This quickfire process amassed a range of material which was then more considerately cut to shapes and layerd not applied Autonomy, which ranges from almost Rian Treanor-esque stutter drums mixed with dense yet wide atmospheres in his title track, and twisted across the album, from frenetic acid dancehall mutations in Varieties of Impact, to the meter-messing trance of Scene 3 which sounds like something Vladimir Ivkovic might play, and thru to the necessary, hoped for dose of emotive lushness with brimming optimism of All Objects Are Moving. But he really saves some of the best for last in Samtal, a 14 minute piece recorded in duo – but not together – with Klara Lewis at EMS Stockholm, where we effectively hear two autonomous minds at work, making for a smart contrast with the singularity of the preceding tracks.

NOWs: FEUERWERKAUTOMAT – Tag der Deutschen Einheit

Nows ⟶

FEUERWERKAUTOMAT - zum Tag der Deutschen Einheita collective and participative artwork by Malte Batsch STIMMEN SIE FÜR IHRE RAKETE AB! Zum Tag der Deutschen Einheit gestaltet der bildende Künstler Malte Bartsch das Abschlussfeuerwerk in der Nähe des Brandenburger Tors in Berlin. Von 22:00 bis 22:08 wird seine Intervention FEUERWERKAUTOMAT in Aktion treten. Über die Web-App (www.feuerwerkautomat.de) können Feuerwerksartikel von Nutzern ausgewählt und auf einem Zeitstrahl von 8 Minuten interaktiv platziert werden. GESTALTEN SIE MIT! SUCHEN SIE IHR FEUERWERK FÜR DEN TAG DER DEUTSCHEN EINHEIT AUS. Entgegen eines herkömmlich choreografierten Feuerwerkes entsteht so ein kollektives und partizipativ gestaltetes Kunstwerk. Der FEUERWERKAUTOMAT ist Instrument eines unvorhersehbaren Abstimmungsprozesses. Die Dramaturgie der Farbexplosionen liegt in den Händen der Teilnehmer. Wer eine Rakete wählt, teilt sie mit allen anderen. Es entsteht ein gemeinsam erlebter Moment. Malte Bartsch realisierte seine Installation FEUERWERKAUTOMAT erstmalig 2017 während des Festival of Future Nows im Hamburger Bahnhof – Museum für Gegenwart – Berlin. Er studierte bei Olafur Eliasson am Institut für Raumexperimente und bei Manfred Pernice an der Universität der Künste Berlin. Malte Bartsch lebt und arbeitet in Berlin und unterhält ein Atelier in der Alten Münze. Weitere Infos über den Künstler sind seiner Webpräsenz www.maltebartsch.de zu entnehmen. Künstler: Malte Bartsch Design, Code: Liebermann Kiepe, Jonas Sieben Typeface: Gaisyr by Dinamo Kontakt (Presse): Studio Malte Bartsch Am Krögel 2 10179 Berlin E-Mail: info@feuerwerkautomat.de Telefon: +491781984446 Instagram: #FEUERWERKAUTOMAT FEUERWERKAUTOMAT - zum Tag der Deutschen Einheita collective and participative artwork by Malte Batsch STIMMEN SIE FÜR IHRE RAKETE AB! Zum Tag der Deutschen Einheit gestaltet der bildende Künstler Malte Bartsch das Abschlussfeuerwerk in der Nähe des Brandenburger Tors in Berlin. Von 22:00 bis 22:08 wird seine Intervention FEUERWERKAUTOMAT in Aktion treten. Über die Web-App (www.feuerwerkautomat.de) können Feuerwerksartikel von Nutzern ausgewählt und auf einem Zeitstrahl von 8 Minuten interaktiv platziert werden. GESTALTEN SIE MIT! SUCHEN SIE IHR FEUERWERK FÜR DEN TAG DER DEUTSCHEN EINHEIT AUS. Entgegen eines herkömmlich choreografierten Feuerwerkes entsteht so ein kollektives und partizipativ gestaltetes Kunstwerk. Der FEUERWERKAUTOMAT ist Instrument eines unvorhersehbaren Abstimmungsprozesses. Die Dramaturgie der Farbexplosionen liegt in den Händen der Teilnehmer. Wer eine Rakete wählt, teilt sie mit allen anderen. Es entsteht ein gemeinsam erlebter Moment. Malte Bartsch realisierte seine Installation FEUERWERKAUTOMAT erstmalig 2017 während des Festival of Future Nows im Hamburger Bahnhof – Museum für Gegenwart – Berlin. Er studierte bei Olafur Eliasson am Institut für Raumexperimente und bei Manfred Pernice an der Universität der Künste Berlin. Malte Bartsch lebt und arbeitet in Berlin und unterhält ein Atelier in der Alten Münze. Weitere Infos über den Künstler sind seiner Webpräsenz www.maltebartsch.de zu entnehmen. Künstler: Malte Bartsch Design, Code: Liebermann Kiepe, Jonas Sieben Typeface: Gaisyr by Dinamo Kontakt (Presse): Studio Malte Bartsch Am Krögel 2 10179 Berlin E-Mail: info@feuerwerkautomat.de Telefon: +491781984446 Instagram: #FEUERWERKAUTOMAT

NOWs: Am Rand von EuropaCity

30 September 2018 / Nows ⟶

Am Rand von EuropaCityEine künstlerische Veranstaltungsreihe von Alexis Hyman Wolff und Yves Mettler 3rd Walk 30 September 2018, 2 pm Studio Uwe Bressem Nordufer 14 13353 Berlin Duration: 3 hours (incl. discussion at Café Moab) Auf diesem dritten und letzten Spaziergang unserer ersten Arbeitsphase, besuchen wir die vergangene und die aktuelle kulturelle Landschaft und eröffnen einen spekulativen Raum bezüglich des zukünftigen Lebens am Rand am Rand der Europacity. Wir werden uns in den kulturellen Zwischenräumen des Stadtteils Wedding/Moabit bewegen, immer entlang der Frage nach den Kräften der neoliberalen, aber eben auch der lokalen Transformationsprozesse vor Ort. Zusammen mit dem Weddinger Künstler Uwe Bressem und den Lehrter-Kiezaktivist*innen Susanne und Jürgen vom B-Laden, werden wir einige der spezifischen Veränderungen in der physischen und geistigen Landschaft des Sprengel- und Lehrterkiezes erkunden und somit einer Vielfalt an kulturelle Institutionen und Community-Organisationen begegnen. Wie sind diese Räume entstanden? Was hat sie ermöglicht und welchen Einfluss haben sie auf das öffentliche und tägliche Leben des Bezirks? Dies sind einige der Fragen, denen wir nachgehen wollen. Für die Abschlussdiskussion wird Café Moab seine Türen öffnen und Kaffee und Tee anbieten. Hier werden zu unserer Diskussion auch Vertreter*innen und Gründer*innen der Kulturfabrik Moabit und des Gemeinschaftsgartens in der Lehrter Strasse dazustoßen. Die drei ersten kollektiven Audio-Spaziergänge von „Am Rand der Europacity“ sind ein zentraler Bestandteil eines Feldforschungsprozesses mit kulturellen Akteuren und Interessierten aus Berlin-Mitte, Wedding und Moabit zu den vielfältigen lokalen und politischen Fragen, die sich aus der Konstruktion der Europacity ergeben. Die Audio-Aufnahmen der Spaziergänge dienen als Grundlage für einen Workshop am Samstag, den 1. Dezember 2018 zum „kollektiven Zuhören“ und zur Analyse des während der Spaziergängen Gehörten und Erfahrenen. Während des Workshops sollen Möglichkeiten erarbeitet werden, wie und auf welche Weise die existierende Kiezstruktur am Rand der EuropaCity beschützt werden kann und gleichzeitig Interaktionen mit und in der EuropaCity sowie deren Bewohner*innen möglich und wünschenswert wären. Praktisches: Gute Stadtschuhe, ggf. Jacke, Regenschirm und was man braucht, um in der Stadt zu wandern. Kontakt bei Fragen oder Interesse: kontakt@amrandvoneuropa.city Am Rand von EuropaCityEine künstlerische Veranstaltungsreihe von Alexis Hyman Wolff und Yves Mettler 3. Spaziergang 30. September 2018, 14 Uhr Studio Uwe Bressem Nordufer 14 13353 Berlin Dauer: 3 Stunden (inklusive Schlussdiskussion im Café Moab Auf diesem dritten und letzten Spaziergang unserer ersten Arbeitsphase, besuchen wir die vergangene und die aktuelle kulturelle Landschaft und eröffnen einen spekulativen Raum bezüglich des zukünftigen Lebens am Rand am Rand der Europacity. Wir werden uns in den kulturellen Zwischenräumen des Stadtteils Wedding/Moabit bewegen, immer entlang der Frage nach den Kräften der neoliberalen, aber eben auch der lokalen Transformationsprozesse vor Ort. Zusammen mit dem Weddinger Künstler Uwe Bressem und den Lehrter-Kiezaktivist*innen Susanne und Jürgen vom B-Laden, werden wir einige der spezifischen Veränderungen in der physischen und geistigen Landschaft des Sprengel- und Lehrterkiezes erkunden und somit einer Vielfalt an kulturelle Institutionen und Community-Organisationen begegnen. Wie sind diese Räume entstanden? Was hat sie ermöglicht und welchen Einfluss haben sie auf das öffentliche und tägliche Leben des Bezirks? Dies sind einige der Fragen, denen wir nachgehen wollen. Für die Abschlussdiskussion wird Café Moab seine Türen öffnen und Kaffee und Tee anbieten. Hier werden zu unserer Diskussion auch Vertreter*innen und Gründer*innen der Kulturfabrik Moabit und des Gemeinschaftsgartens in der Lehrter Strasse dazustoßen. Die drei ersten kollektiven Audio-Spaziergänge von „Am Rand der Europacity“ sind ein zentraler Bestandteil eines Feldforschungsprozesses mit kulturellen Akteuren und Interessierten aus Berlin-Mitte, Wedding und Moabit zu den vielfältigen lokalen und politischen Fragen, die sich aus der Konstruktion der Europacity ergeben. Die Audio-Aufnahmen der Spaziergänge dienen als Grundlage für einen Workshop am Samstag, den 1. Dezember 2018 zum „kollektiven Zuhören“ und zur Analyse des während der Spaziergängen Gehörten und Erfahrenen. Während des Workshops sollen Möglichkeiten erarbeitet werden, wie und auf welche Weise die existierende Kiezstruktur am Rand der EuropaCity beschützt werden kann und gleichzeitig Interaktionen mit und in der EuropaCity sowie deren Bewohner*innen möglich und wünschenswert wären. Praktisches: Gute Stadtschuhe, ggf. Jacke, Regenschirm und was man braucht, um in der Stadt zu wandern. Kontakt bei Fragen oder Interesse: kontakt@amrandvoneuropa.city

NOWs: MIETE STROM INSTAGRAM

26 - 30 September 2018 / Nows ⟶

Aram Bartholl: 3V, 2017 Aluminium, acrylic glass, thermoelectric generator, electronics, LEDs, tea candles, steel chain MIETE STROM INSTAGRAMCurated by Raul Walch and Eric Winkler Opening Reception 25 September 2018, 5 pm Am Moritzplatz Oranienstr. 58 10969 Berlin Miete Strom Instagram (Rent Electricity Instagram) by Walch&Winkler is an event designed to reflect the work and living conditions prevalent among artists in Berlin. Rather than an invitation to passively view a commercial exhibition and market processes, the works presented here reflect the art scene’s current sense of identity, which emerges from a desire to independently analyse and participate in the fast-growing financial interest in contemporary visual art. The aim of this project is to nurture artistic empowerment. Beyond their artistic and geographic context, the works on show share a common functionality, reflecting the circumstances of their production. This is evident in their manifestation in the form of lamps, shoes and clothes, the objects highlight the artist’s need to create alternative means of income. The objects assembled in Miete Strom Instagram reveal a host of strategies and work methods that have arisen out of necessity among the artistic community. The event is being launched by two Berlin-based artists, Raul Walch and Eric Winkler. In their independent artistic practice, both are known to explore the re-contextualisation of made objects by continuously challenging the genre limitations of sculpture, conceptual art and performance. Walch and Winkler see Miete, Strom, Instagram as a platform for introducing a range of business initiatives and a space to share and discuss experiences. Alongside talks and presentations, the event includes a dining element, with a variety of chefs initiating a reinterpretation of the 1970s New York artists’ restaurant FOOD. Miete Strom Instagram runs an own daily shuttle service between the Art Berlin Fair and the exhibition space. With works by: Aram Bartholl, Peter Behrbohm, Dirk Bell, Broken Dimanche Press, Jan Bünnig, Ekaterina Burlyga, Nadja Buttendorf, Maurizio Cattelan, Zuzanna Czebatul, Mariechen Danz, Charlotte Dualé, Ólafur Elíasson, Hans Peter Feldmann, Jeschkelanger (Marie Jeschke, Anja Langer), Anne Duk Hee Jordan, Kevin Kemter, Lilli Kuschel, Julius Lehniger, Dennis Loesch, Simon Mullan, Laure Prouvost, R&D (Maru Mushtrieva & Emilia Kurylowicz), Robben&Winkler (Eric Winkler), Natalia Rolón, Anna Lucia Nissen, Clemence Seilles, Seriennummer (Vincent Grunwald), Anna Szaflarski, Ugemfo, Und. Studio, Rosemarie Trockel, Urara Tsuchiya, Franz West, Marie Rømer Westh, Philip Wiegard, et al. Urara Tsuchiya: Just close your eyes and imagine I haven’t evolved, 2017 Glazed earthenware and stoneware Dirk Bell: Concretest poem, 2018 Black mdf Nadja Buttendorf: Charging, 2016 Data & beauty cable, bling jewellery, smartphone USB charging & data cable, USB power plug gold-plated, d = 33,00 cm Clemence Seilles: DKMX, 2018 Hand painted metal, wood, ropes Robben&Winkler (Eric Winkler): LKW-Couture, 2018 Performance with Eva Vuillemin Shoes, Robben & Wientjes truck Anna Lucia Nissen: Cigarucci with NIL cigarette, 2018 Glazed ceramic, cigarette, felt Aram Bartholl: 3V, 2017 Aluminium, acrylic glass, thermoelectric generator, electronics, LEDs, tea candles, steel chain MIETE STROM INSTAGRAMCurated by Raul Walch and Eric Winkler Eröffnung 25.09.2018, 17 Uhr Am Moritzplatz Oranienstr. 58 10969 Berlin Die Aktion Miete Strom Instagram von Walch&Winkler ist eine Reflexion der in Berlin herrschenden Arbeits- und Lebensverhältnisse von bildenden Künstler*innen. Statt dem ohnmächtigen Betrachten kommerzialisierter Ausstellungs- und Marktprozesse sind die in dieser Ausstellung versammelten Werke Ausdruck des Selbstverständnisses einer Künstlerschaft, die vom Gedanken getragen ist, das kommerziell stark gestiegene Interesse an zeitgenössischer, bildender Kunst eigenständig zu analysieren und Wege zu schaffen, an diesem Prozess teilzuhaben. Der Fokus dieser Untersuchung liegt dabei im Herausarbeiten einer künstlerischen Selbstermächtigung. Die hier gezeigten Arbeiten eint mehr noch als ihr künstlerischer und geographischer Kontext die ihrer Produktionsumstände „geschuldete“ Funktionalität. Neben der offensichtlichen Erscheinung in Form von Lampen, Schuhen und Kleidung sind die Objekte Ausdruck einer Notwendigkeit der Schaffung alternativer Einkommensmodelle. Walch&Winkler zeigen im Nebeneinander der Objekte die Mannigfaltigkeit der hierbei entwickelten Strategien und Arbeitsweisen. Initiiert ist die Aktion von den in Berlin lebenden Künstlern Raul Walch & Eric Winkler. Beide setzen sich in ihrer jeweils autarken künstlerischen Praxis mit der De- sowie Rekontextualisierung der von ihnen geschaffenen Objekte auseinander, in denen sie stets die Genre-Grenzen von Bildhauerei, Konzeptkunst und Performance ausloten. Die Aktion Miete Strom Instagram wird von ihren Initiatoren als Plattform gesehen, um verschiedenste Geschäftsinitiativen vorzustellen und Erfahrungen im Umgang mit diesen zu teilen und zu diskutieren. Die Ausstellung begleiten wird, neben Talks und Präsentationen, eine von wechselnden Küchenchefs initiierte Neuinterpretation des New Yorker Künstler-Restaurants FOOD. Miete Strom Instagram ist von der Art Berlin Fair mit einem täglichen Shuttle-Service zu erreichen. Mit Arbeiten von: Aram Bartholl, Peter Behrbohm, Dirk Bell, Broken Dimanche Press, Jan Bünnig, Ekaterina Burlyga, Nadja Buttendorf, Maurizio Cattelan, Zuzanna Czebatul, Mariechen Danz, Charlotte Dualé, Ólafur Elíasson, Hans Peter Feldmann, Jeschkelanger (Marie Jeschke, Anja Langer), Anne Duk Hee Jordan, Kevin Kemter, Lilli Kuschel, Julius Lehniger, Dennis Loesch, Simon Mullan, Laure Prouvost, R&D (Maru Mushtrieva & Emilia Kurylowicz), Robben&Winkler (Eric Winkler), Natalia Rolón, Anna Lucia Nissen, Clemence Seilles, Seriennummer (Vincent Grunwald), Anna Szaflarski, Ugemfo, Und. Studio, Urara Tsuchiya, Rosemarie Trockel, Franz West, Marie Rømer Westh, Philip Wiegard, u.a. Urara Tsuchiya: Just close your eyes and imagine I haven’t evolved, 2017 Glazed earthenware and stoneware Dirk Bell: Concretest poem, 2018 Black mdf Nadja Buttendorf: Charging, 2016 Data & beauty cable, bling jewellery, smartphone USB charging & data cable, USB power plug gold-plated, d = 33,00 cm Clemence Seilles: DKMX, 2018 Hand painted metal, wood, ropes Robben&Winkler (Eric Winkler): LKW-Couture, 2018 Performance with Eva Vuillemin Shoes, Robben & Wientjes truck Anna Lucia Nissen: Cigarucci with NIL cigarette, 2018 Glazed ceramic, cigarette, felt

NOWs: Shotspotter 2 – Blurry Boundaries

26 - 30 September 2018 / Nows ⟶

NOWs: Ziggy on the Land of Drunken Trees by Anne Duk Hee Jordan

14 September - 27 October 2018 / Nows ⟶

Ziggy on the Land of Drunken TreesAn exhibition by Anne Duk Hee Jordan Opening: 13 September, 7 pm Sonic intervention during the opening by Mikatsiu Within the frame of UP (Unsustainable Privileges) Curated by Solvej Helweg Ovesen and Bonaventure Soh Bejeng Ndikung Galerie Wedding Raum für zeitgenössische Kunst Müllerstrasse 146/147 13353 Berlin Within the frame of UP (Unsustainable Privileges) Curated by Solvej Helweg Ovesen and Bonaventure Soh Bejeng Ndikung Ziggy on the Land of Drunken Trees takes us into a post-human era after the Anthropocene, a world in which non-humans assume the central position of mankind. The exhibition asks: What kind of animal mutations will happen in the near future, what species will be efficient in the context of the worldwide changing ecology? Where will humans go? Will they colonise space or even the sea? Galerie Wedding transforms into an immersive landscape consisting of amorphous organic and mechanic sculptures that move within the space: a choir of sea-shells, a landscape of drunken tree roots, a singing saw, a viewing tower, fossils reflecting on the methane holes appearing in the Siberian Tundra, and a film collage about changing sex in ecology. With this exhibition Anne Duk Hee Jordan aims to illuminate new perspectives and the tangible effects of climate change on sea and land. Jordan, who has a professional background in marine ecology, sustainable cooking and art, presents a humourous and well researched perspective on processes of adaptation that go beyond human time. Tour through the exhibition on 27 September 2018 at 4.30 pm with artist Anne Duk Hee Jordan and curator Solvej Helweg Ovesen. Ziggy on the Land of Drunken TreesAn exhibition by Anne Duk Hee Jordan Eröffnung: 13. September, 19:00 Sonic intervention during the opening by Mikatsiu Within the frame of UP (Unsustainable Privileges) Curated by Solvej Helweg Ovesen and Bonaventure Soh Bejeng Ndikung Galerie Wedding Raum für zeitgenössische Kunst Müllerstrasse 146/147 13353 Berlin Ziggy on the Land of Drunken Trees takes us into a post-human era after the Anthropocene, a world in which non-humans assume the central position of mankind. The exhibition asks: What kind of animal mutations will happen in the near future, what species will be efficient in the context of the worldwide changing ecology? Where will humans go? Will they colonise space or even the sea? Galerie Wedding transforms into an immersive landscape consisting of amorphous organic and mechanic sculptures that move within the space: a choir of sea-shells, a landscape of drunken tree roots, a singing saw, a viewing tower, fossils reflecting on the methane holes appearing in the Siberian Tundra, and a film collage about changing sex in ecology. With this exhibition Anne Duk Hee Jordan aims to illuminate new perspectives and the tangible effects of climate change on sea and land. Jordan, who has a professional background in marine ecology, sustainable cooking and art, presents a humourous and well researched perspective on processes of adaptation that go beyond human time. Tour through the exhibition on 27 September 2018 at 4.30 pm with artist Anne Duk Hee Jordan and curator Solvej Helweg Ovesen.

NOWs: VIENNA TRANSIT with Yves Mettler et al.

14 September - 03 November 2018 / Nows ⟶

VIENNA TRANSIT with Yves Mettler et al.Group show Opening 13 September 2018, 6 – 9 pm Galerie Georg Kargl Fine Arts Schleifmühlgasse 5 A-1040 Vienna Die Ausstellung Vienna Transit soll in verschiedenen Momentaufnahmen daran erinnern, dass eine Kunststadt wie Wien ihre Relevanz weniger daraus bezieht, sich als machtvolle Mitte zu definieren, als vielmehr als Ort des Transfers. Gezeigt werden ältere und neuere Arbeiten von Künstlerinnen und Künstlern, deren Lebenswege sich auf verschiedenste Weise mit Wien kreuzten. Auch der Standort der Galerie selbst wird in der Ausstellung reflektiert. Gerwald Rockenschaubs Logo für das Freihausviertel aus dem Jahr 1998 und Christian Philip Müllers Eine Welt für sich, ein sozial-historisches Forschungs- und Ausstellungsprojekt rund um das Freihaus, stellen sich an den Beginn des Veränderungsprozesses des Viertels. Ein Motor und Initiator der Neubelebung war Georg Kargl. Seitdem hat sich die Gegend zu einem dichten Soziotop rund um die Schleifmühlgasse entwickelt, in der Lokale, Galerien und Shops eine Art urbanes Wohnzimmer für die Wiener Szene bilden. 2018 feiert der Verein Freihausviertel und Georg Kargl Fine Arts sein 20-jähriges Jubiläum. Die Ausstellung findet im Rahmen des Galerienfestivals curated by_ statt. In der zehnten Ausgabe des Festivals steht die Stadt Wien und deren Spezifika im Fokus. VIENNA TRANSIT with Yves Mettler et al.Group show Eröffnung 13. September 2018, 18 – 21 Uhr Galerie Georg Kargl Fine Arts Schleifmühlgasse 5 A-1040 Vienna Die Ausstellung Vienna Transit soll in verschiedenen Momentaufnahmen daran erinnern, dass eine Kunststadt wie Wien ihre Relevanz weniger daraus bezieht, sich als machtvolle Mitte zu definieren, als vielmehr als Ort des Transfers. Gezeigt werden ältere und neuere Arbeiten von Künstlerinnen und Künstlern, deren Lebenswege sich auf verschiedenste Weise mit Wien kreuzten. Auch der Standort der Galerie selbst wird in der Ausstellung reflektiert. Gerwald Rockenschaubs Logo für das Freihausviertel aus dem Jahr 1998 und Christian Philip Müllers Eine Welt für sich, ein sozial-historisches Forschungs- und Ausstellungsprojekt rund um das Freihaus, stellen sich an den Beginn des Veränderungsprozesses des Viertels. Ein Motor und Initiator der Neubelebung war Georg Kargl. Seitdem hat sich die Gegend zu einem dichten Soziotop rund um die Schleifmühlgasse entwickelt, in der Lokale, Galerien und Shops eine Art urbanes Wohnzimmer für die Wiener Szene bilden. 2018 feiert der Verein Freihausviertel und Georg Kargl Fine Arts sein 20-jähriges Jubiläum. Die Ausstellung findet im Rahmen des Galerienfestivals curated by_ statt. In der zehnten Ausgabe des Festivals steht die Stadt Wien und deren Spezifika im Fokus.

NOWs: Felix Kiessling – Durchstechung BA/B at “Die Informale” opening at La Ira de Dios for Art Basel Cities Buenors Aires

10 September 2018 / Nows ⟶

NOWs: Nuclear Sanctuary by Markus Hoffmann

08 September - 14 October 2018 / Nows ⟶

Nuclear SanctuarySolo Show Kunstverein Wilhelmshöhe Schöllbronner Str. 86 76275 Ettlingen Opening: Friday, 7 September, 7 pm Mit seiner ersten institutionellen Einzelausstellung in Deutschland hinterfragt Markus Hoffmann (*geboren 1982 in Passau) das ästhetische Potential von radioaktiver Strahlung und ihrer sozio-politischen wie auch persönlichen Implikationen mit seinen recherche-basierten Arbeiten. Markus Hoffmann fokussiert sich dabei auf die Fähigkeiten und Grenzen des Betrachters, sich mit seiner Umgebung in Bezug zu setzen und entwickelt seine ästhetischen Setzungen oftmals anhand von Randphänomenen der Wahrnehmungsfähigkeit. Hierbei stellt die natürliche sowie von Menschen forcierte Radioaktivität ein besonders faszinierendes, und doch kulturell stark mit Ängsten und Vorurteilen besetztes (Natur-) Phänomen dar, das Markus Hoffmann eindrücklich visualisiert und für unterschiedliche Sinne erlebbar macht. Dabei ist Radioaktivität für Hoffmann zugleich Material seiner künstlerischen Setzungen, reflektierter Inhalt, wie auch Konzept der ästhetischen Formfindungen. Das für menschliche Wahrnehmungsrezeptoren schwer fassbare Element wird in vielschichtigen und hintergründigen Objekten, Installationen, Filmen und Radiographien thematisiert und wahrnehmbar gemacht. Die Ausstellung „nuclear sanctuary“ bietet einen Überblick über unterschiedliche Werkreihen und Themengebiete Hoffmanns, die sich mit der Transformation von Materialitäten und der Sichtbarmachung ungreifbarer Stofflichkeiten, wie Radioaktivität, beschäftigen. Seine transdisziplinäre Arbeitsweise und sein großes Interesse an Hintergrundwissen und der Geschichte des menschlichen Umgangs mit Radioaktivität fokussieren dabei auf das nicht bewusst wahrnehmbare Potential radioaktiver Strahlung, aber auch der uns umgebenden Welt mit ihren Ressourcen und ihrer Verwundbarkeit. Thematiken wie Vergänglichkeit und Zeitdimensionen – beim Verfall radioaktiver Teilchen eine kaum real fassbare Dimension – prägen eine weitere Ebene seiner künstlerischen Arbeiten. Insgesamt weckt Markus Hoffmann bereits in jungen Jahren mit seiner sehr eigenen Ästhetik auf tiefgründigen Ebenen eine weitergehende Reflektion unserer Wahrnehmung und unseres Verhältnisses zu der uns umgebenden Welt auf eine Weise an, die noch eine weitreichende künstlerische Karriere erahnen lässt. Markus Hoffmann studierte Bildende Kunst an der Universität der Künste Berlin an dem von Prof. Olafur Eliasson gegründeten Institut für Raumexperimente, sowie Medizin an der Charité in Berlin. Seine Arbeiten werden international ausgestellt und wurden bereits durch mehrere Stipendien unterstützt, unter anderem in einer Residency der Stiftung Bauhaus in Dessau. Hoffmann wurde 2015 der Meisterschülerpreis des Präsidenten der Universität der Künste in Berlin verliehen. Kuratiert von Julia Katharina Thiemann Nuclear SanctuarySolo Show Kunstverein Wilhelmshöhe Schöllbronner Str. 86 76275 Ettlingen Eröffnung: Freitag, den 7. September, 19 Uhr Mit seiner ersten institutionellen Einzelausstellung in Deutschland hinterfragt Markus Hoffmann (*geboren 1982 in Passau) das ästhetische Potential von radioaktiver Strahlung und ihrer sozio-politischen wie auch persönlichen Implikationen mit seinen recherche-basierten Arbeiten. Markus Hoffmann fokussiert sich dabei auf die Fähigkeiten und Grenzen des Betrachters, sich mit seiner Umgebung in Bezug zu setzen und entwickelt seine ästhetischen Setzungen oftmals anhand von Randphänomenen der Wahrnehmungsfähigkeit. Hierbei stellt die natürliche sowie von Menschen forcierte Radioaktivität ein besonders faszinierendes, und doch kulturell stark mit Ängsten und Vorurteilen besetztes (Natur-) Phänomen dar, das Markus Hoffmann eindrücklich visualisiert und für unterschiedliche Sinne erlebbar macht. Dabei ist Radioaktivität für Hoffmann zugleich Material seiner künstlerischen Setzungen, reflektierter Inhalt, wie auch Konzept der ästhetischen Formfindungen. Das für menschliche Wahrnehmungsrezeptoren schwer fassbare Element wird in vielschichtigen und hintergründigen Objekten, Installationen, Filmen und Radiographien thematisiert und wahrnehmbar gemacht. Die Ausstellung „nuclear sanctuary“ bietet einen Überblick über unterschiedliche Werkreihen und Themengebiete Hoffmanns, die sich mit der Transformation von Materialitäten und der Sichtbarmachung ungreifbarer Stofflichkeiten, wie Radioaktivität, beschäftigen. Seine transdisziplinäre Arbeitsweise und sein großes Interesse an Hintergrundwissen und der Geschichte des menschlichen Umgangs mit Radioaktivität fokussieren dabei auf das nicht bewusst wahrnehmbare Potential radioaktiver Strahlung, aber auch der uns umgebenden Welt mit ihren Ressourcen und ihrer Verwundbarkeit. Thematiken wie Vergänglichkeit und Zeitdimensionen – beim Verfall radioaktiver Teilchen eine kaum real fassbare Dimension – prägen eine weitere Ebene seiner künstlerischen Arbeiten. Insgesamt weckt Markus Hoffmann bereits in jungen Jahren mit seiner sehr eigenen Ästhetik auf tiefgründigen Ebenen eine weitergehende Reflektion unserer Wahrnehmung und unseres Verhältnisses zu der uns umgebenden Welt auf eine Weise an, die noch eine weitreichende künstlerische Karriere erahnen lässt. Markus Hoffmann studierte Bildende Kunst an der Universität der Künste Berlin an dem von Prof. Olafur Eliasson gegründeten Institut für Raumexperimente, sowie Medizin an der Charité in Berlin. Seine Arbeiten werden international ausgestellt und wurden bereits durch mehrere Stipendien unterstützt, unter anderem in einer Residency der Stiftung Bauhaus in Dessau. Hoffmann wurde 2015 der Meisterschülerpreis des Präsidenten der Universität der Künste in Berlin verliehen. Kuratiert von Julia Katharina Thiemann

NOWs: house of bone body of stone by Dan Stockholm

08 September - 20 October 2018 / Nows ⟶

house of bone body of stoneSolo Show Opening 08 September 2018 Reiter Galleries Leipzig Spinnereistraße 7 / Halle 6 04179 Leipzig REITER galleries is proud to present House of bone body of stone a solo show by Dan Stockholm. Fascinated by places and architecture with an innate historical significance and narrative tension, Dan Stockholm practices a “creative archaeology”, which includes field research and work with various findings. His recent work evolves from what he calls “performative process,” a method that turns the finished piece into a vessel which carries the story of its own making. Stockholm uses sculpture as an interface, link, or passage through which places and bodies – across temporal as well as spatial distances – are set in relation to each other. Architecture is a frequent reference point of his work, as he centers on on the conceptual fields of present and past, presence and absence, fleeting and enduring. Thus, objects which emerge in different temporal moments are concentrated. They begin to embody the analogy of the inscription of light traces in the photographic negative that maintain an indexical relationship to the past. It serves as sculptural containers fixing a presence like an imprint and so transposing the sculptural object into the present even when it is only a fleeting glimpse that materializes so enduringly in this way. Stockholm’s understanding of sculpture as a medium of storage and transmission, driven from his archaeological interest, is clarified in his work HOUSE. The process for HOUSE began in 2013 only days after his father’s death, when the artist in a three-day performative and almost ritual fashion methodically touched the exterior of his father’s entire house centimeter by centimeter. The process ends with Stockholm translating this act of touching into object form by producing a number of negative plaster casts of his hands. The casts are fixed by metal rods, which simultaneously offer protective anchorage and oppressive restriction. Metal scaffolding connects the floor and ceiling of the exhibition space and serve as displays for his organic plaster sculptures. HOUSE is supplemented by the film Don’t think about death a filmed performative interaction where inhabitants of Damascus use a collection of architectural fragments of their city as tools to create drawings directly on the ground. Don’t think about death is made in collaboration with Syrian artist Nourhan Sondok. In spite of the dangers faced in Syria, Nourhan has been collecting architectural fragments from all over Damascus. The fragments are compiled from a wide spectrum of constructions: from 4000-year-old columns; to newly constructed buildings destroyed in the Syrian conflict. Stockholm and Sondok met on social media, and from behind their screens in Copenhagen and in Damascus, their correspondence also led to the work Untitled (Fragments, Damascus 2017) a photo series and archive of images showing Nourhan’s hands handling the fragments used in Don’t think about death. Also on view in the show is the interactive site specific glass work: Level (Blue Mare, Königsblau). Trapped between two panes of glass, colored ink changes its form and concentration according to the tilt of the exhibition space and the movement of the audience who are invited to walk on the glass. house of bone body of stoneSolo Show Opening 08 September 2018 Reiter Galleries Leipzig Spinnereistraße 7 / Halle 6 04179 Leipzig REITER galleries is proud to present House of bone body of stone a solo show by Dan Stockholm. Fascinated by places and architecture with an innate historical significance and narrative tension, Dan Stockholm practices a “creative archaeology”, which includes field research and work with various findings. His recent work evolves from what he calls “performative process,” a method that turns the finished piece into a vessel which carries the story of its own making. Stockholm uses sculpture as an interface, link, or passage through which places and bodies – across temporal as well as spatial distances – are set in relation to each other. Architecture is a frequent reference point of his work, as he centers on on the conceptual fields of present and past, presence and absence, fleeting and enduring. Thus, objects which emerge in different temporal moments are concentrated. They begin to embody the analogy of the inscription of light traces in the photographic negative that maintain an indexical relationship to the past. It serves as sculptural containers fixing a presence like an imprint and so transposing the sculptural object into the present even when it is only a fleeting glimpse that materializes so enduringly in this way. Stockholm’s understanding of sculpture as a medium of storage and transmission, driven from his archaeological interest, is clarified in his work HOUSE. The process for HOUSE began in 2013 only days after his father’s death, when the artist in a three-day performative and almost ritual fashion methodically touched the exterior of his father’s entire house centimeter by centimeter. The process ends with Stockholm translating this act of touching into object form by producing a number of negative plaster casts of his hands. The casts are fixed by metal rods, which simultaneously offer protective anchorage and oppressive restriction. Metal scaffolding connects the floor and ceiling of the exhibition space and serve as displays for his organic plaster sculptures. HOUSE is supplemented by the film Don’t think about death a filmed performative interaction where inhabitants of Damascus use a collection of architectural fragments of their city as tools to create drawings directly on the ground. Don’t think about death is made in collaboration with Syrian artist Nourhan Sondok. In spite of the dangers faced in Syria, Nourhan has been collecting architectural fragments from all over Damascus. The fragments are compiled from a wide spectrum of constructions: from 4000-year-old columns; to newly constructed buildings destroyed in the Syrian conflict. Stockholm and Sondok met on social media, and from behind their screens in Copenhagen and in Damascus, their correspondence also led to the work Untitled (Fragments, Damascus 2017) a photo series and archive of images showing Nourhan’s hands handling the fragments used in Don’t think about death. Also on view in the show is the interactive site specific glass work: Level (Blue Mare, Königsblau). Trapped between two panes of glass, colored ink changes its form and concentration according to the tilt of the exhibition space and the movement of the audience who are invited to walk on the glass.

NOWs: Variété – ein Konzertspektakel

06 - 07 September 2018 / Nows ⟶

Varieté - ein KonzertspektakelEnsemble Garage covers Mauricio Kagel Dress rehearsal 6 September 2018, 1 pm Performance 7 September 2018, 7:40 pm MAKESOMENEUES / 10 Jahre ON – Neue Musik Köln Alte Feuerwache Melchiorstrasse 3 50670 Köln Hereinspaziert! Willkommen im Variété des Alltags! Hier werden Sie unterhalten. Dazu sind wir hier. Dafür sind Sie gekommen. Es gibt nichts Besonderes zu sehen.Oder doch? Wir alle sind mittendrin in unserer selbstgeschaffenen Welt des Konsums, des Internets, der Zerstreuung, der Selbstoptimierung. Was macht das mit uns? Was lassen wir zu? Welche Doktrinen beherrschen uns? Passiert da etwas mit uns, ohne dass wir es merken oder geben wir uns dem Spektakel des Alltags lustvoll und sehenden Auges hin? Sind wir schon losgelöst von uns selbst, unseren wahren Bedürfnissen? Was ist dieses “ unser Selbst“. Und wer ist der/die Andere? Die, die neben mir steht oder der am Ende des Raumes? Eine traurige Clownin, ein Divus? Eine konsumkonforme Presswurst? Oder ein Unicum, das man heimlich bestaunen kann? Wir sind alle unsere eigenenDarsteller in diesem riesigen Variété. Auf der Suche nach dem Glück!?- Und über uns wacht milde und grausam eine Göttin. Nicola Gründel – Konzept/Regie/Choreographie Norgard Kröger – Konzept/Bühne/Kostüm Sabine Akiko Ahrendt, Douglas Bateman, Margot Gödrös, Nicola Gründel,Thomas Hupfer, Soo-Yeon Kim, Norgard Kröger – Performance und choreographische Mitarbeit Feng Li – Bühnenbildassistenz Bibi Abel – Video Mariano Chiacchiarini – Musikalische Leitung Ensemble Garage Blake Weston – Klarinette Till Künkler – Tenorposaune Jan-Filip Tupa – Violoncello Sergej Tchirkov – Akkordeon Malgorzata Walentynowicz – Klavier / elektronische Orgel Yuka Ohta – Perkussion Brigitta Muntendorf – Künstlerische Leitung Ensemble Garage Varieté - ein KonzertspektakelEnsemble Garage covers Mauricio Kagel Hauptprobe am 06. September 2018, 13:00 Aufführung am 07. September 2018, 19:40 MAKESOMENEUES / 10 Jahre ON – Neue Musik Köln Alte Feuerwache Melchiorstrasse 3 50670 Köln Hereinspaziert! Willkommen im Variété des Alltags! Hier werden Sie unterhalten. Dazu sind wir hier. Dafür sind Sie gekommen. Es gibt nichts Besonderes zu sehen.Oder doch? Wir alle sind mittendrin in unserer selbstgeschaffenen Welt des Konsums, des Internets, der Zerstreuung, der Selbstoptimierung. Was macht das mit uns? Was lassen wir zu? Welche Doktrinen beherrschen uns? Passiert da etwas mit uns, ohne dass wir es merken oder geben wir uns dem Spektakel des Alltags lustvoll und sehenden Auges hin? Sind wir schon losgelöst von uns selbst, unseren wahren Bedürfnissen? Was ist dieses “ unser Selbst“. Und wer ist der/die Andere? Die, die neben mir steht oder der am Ende des Raumes? Eine traurige Clownin, ein Divus? Eine konsumkonforme Presswurst? Oder ein Unicum, das man heimlich bestaunen kann? Wir sind alle unsere eigenenDarsteller in diesem riesigen Variété. Auf der Suche nach dem Glück!?- Und über uns wacht milde und grausam eine Göttin. Nicola Gründel – Konzept/Regie/Choreographie Norgard Kröger – Konzept/Bühne/Kostüm Sabine Akiko Ahrendt, Douglas Bateman, Margot Gödrös, Nicola Gründel,Thomas Hupfer, Soo-Yeon Kim, Norgard Kröger – Performance und choreographische Mitarbeit Feng Li – Bühnenbildassistenz Bibi Abel – Video Mariano Chiacchiarini – Musikalische Leitung Ensemble Garage Blake Weston – Klarinette Till Künkler – Tenorposaune Jan-Filip Tupa – Violoncello Sergej Tchirkov – Akkordeon Malgorzata Walentynowicz – Klavier / elektronische Orgel Yuka Ohta – Perkussion Brigitta Muntendorf – Künstlerische Leitung Ensemble Garage

NOWs: Biblioteca Vilém Flusser

06 September 2018 / Nows ⟶

NOWs: Would Have Been

01 September 2018 / Nows ⟶

NOWs Villa Romana Fellows 2018 - Open Studiosperformances, sound art, films, photography, painting and installations Villa Romana Via Senese, 68 50124 Firenze FI Opening: 1 September 2018, 5pm Under the title Would Have Been Open Studios 2018 brings together performances, sound art, films, photography, painting and installations that are dedicated to the speculative, alternative and invisible as imaginative counterworlds. For the Villa Romana Fellows 2018 – Jeewi Lee, Christophe Ndabananiye, Lerato Shadi and Viron Erol Vert – Would Have Been stands for various possibilities and world views of the conditional future in the past. Why is it only possible to conceive the future in slogans of static protection and demarcation today? The speculation in Would Have Been allows for transgression of spatial and temporal boundaries, to introduce the past into the present via the medium of a trace that can put the future in motion. Hybrid and transcultural perspectives draw the focus towards parallel realities. Everyone constantly constructs his or her own reality, there are trillions of parallel microuniverses. The world is made up of the ideas of the world. The imagination has many sources and techniques at its disposal. Open Studios 2018 is a collaborative venture: the group exhibition of the Villa Romana Fellows uses forgotten local postitions, the olive grove is the site of a video jungle, concerts and performances are streamed in real time, imagined spaces question given architectures and hierarchies. This edition of Open Studios is dedicated to our Sinti and Roma neighbours in Florence, in Italy, all over the world. Villa Romana Fellows 2018: Jeewi Lee, Christophe Ndabananiye, Lerato Shadi, Viron Erol Vert + guests: Federico Cavallini, Giovanni Cioni, Sophie-Therese Trenka-Dalton, Korhan Erel, Piero Gambassi, Anne Duk Hee Jordan, Jacob Kirkegaard, Fabian Knecht, Franziska Lantz, Bjørn Melhus, Ana Lessing Menjibar, Radio Papesse, Maria Pecchioli, Bassel Al Saadi, Hard Ton, Wermke / Leinkauf, Giacomo Zaganelli, Virginia Zanetti NOWs Villa Romana Fellows 2018 - Open Studiosperformances, sound art, films, photography, painting and installations Villa Romana Via Senese, 68 50124 Firenze FI Opening: 1 September 2018, 5pm Under the title Would Have Been Open Studios 2018 brings together performances, sound art, films, photography, painting and installations that are dedicated to the speculative, alternative and invisible as imaginative counterworlds. For the Villa Romana Fellows 2018 – Jeewi Lee, Christophe Ndabananiye, Lerato Shadi and Viron Erol Vert – Would Have Been stands for various possibilities and world views of the conditional future in the past. Why is it only possible to conceive the future in slogans of static protection and demarcation today? The speculation in Would Have Been allows for transgression of spatial and temporal boundaries, to introduce the past into the present via the medium of a trace that can put the future in motion. Hybrid and transcultural perspectives draw the focus towards parallel realities. Everyone constantly constructs his or her own reality, there are trillions of parallel microuniverses. The world is made up of the ideas of the world. The imagination has many sources and techniques at its disposal. Open Studios 2018 is a collaborative venture: the group exhibition of the Villa Romana Fellows uses forgotten local postitions, the olive grove is the site of a video jungle, concerts and performances are streamed in real time, imagined spaces question given architectures and hierarchies. This edition of Open Studios is dedicated to our Sinti and Roma neighbours in Florence, in Italy, all over the world. Villa Romana Fellows 2018: Jeewi Lee, Christophe Ndabananiye, Lerato Shadi, Viron Erol Vert + guests: Federico Cavallini, Giovanni Cioni, Sophie-Therese Trenka-Dalton, Korhan Erel, Piero Gambassi, Anne Duk Hee Jordan, Jacob Kirkegaard, Fabian Knecht, Franziska Lantz, Bjørn Melhus, Ana Lessing Menjibar, Radio Papesse, Maria Pecchioli, Bassel Al Saadi, Hard Ton, Wermke / Leinkauf, Giacomo Zaganelli, Virginia Zanetti

NOWs: Noss Noss – stories, traces, passages

01 September - 31 October 2018 / Nows ⟶

Noss Noss - stories, traces, passagesGroup Show Opening: Saturday, 1 September 2018, 6 pm Goethe-Institut Marseille La Friche La Belle de Mai, La Salle des Machines 41 Rue Jobin 13003 Marseille Participants: Badr el Hammami, Timea Anita Oravecz, Mohammed Laouli, Katrin Ströbel, Filipe Lippe Marseille, Hamburg and Tangier are three transit areas with a long history of migration. Thousands of displacement experiences have their origin or their outcome in these three cities which, facing the sea, are interfaces between worlds. The exhibition NOSS NOSS invites contemporary artists working in Tangiers, Marseille and Hamburg who approach this subject in a poetic and political way to enter into dialogue. How does the migration experience fit into historical, public or personal objects, documents or stories? This is one of the central questions dealt with in the exhibition. A first version of the exhibition – curated by Katrin Ströbel – was presented in 2017 at the Mahal Art Space in Tangier. The exhibition in Marseille is the continuation of this project. Besides the works of Badr El Hammami and Timea Anita Oravecz – artists invited to Tangier – those of Mohammed Laouli & Katrin Ströbel and Filipe Lippe are presented at the Friche la Belle de Mai. Timea Anita Oravecz: Noss Noss - stories, traces, passagesGruppenausstellung Eröffnung: Samstag, 1. September 2018, 18:00 Goethe-Institut Marseille La Friche La Belle de Mai, La Salle des Machines 41 Rue Jobin 13003 Marseille Participants: Badr el Hammami, Timea Anita Oravecz, Mohammed Laouli, Katrin Ströbel, Filipe Lippe Marseille, Hamburg and Tangier are three transit areas with a long history of migration. Thousands of displacement experiences have their origin or their outcome in these three cities which, facing the sea, are interfaces between worlds. The exhibition NOSS NOSS invites contemporary artists working in Tangiers, Marseille and Hamburg who approach this subject in a poetic and political way to enter into dialogue. How does the migration experience fit into historical, public or personal objects, documents or stories? This is one of the central questions dealt with in the exhibition. A first version of the exhibition – curated by Katrin Ströbel – was presented in 2017 at the Mahal Art Space in Tangier. The exhibition in Marseille is the continuation of this project. Besides the works of Badr El Hammami and Timea Anita Oravecz – artists invited to Tangier – those of Mohammed Laouli & Katrin Ströbel and Filipe Lippe are presented at the Friche la Belle de Mai.

NOWs: Intersections of Common Space and Time

28 August - 02 September 2018 / Nows ⟶

Intersections of Common Space and Timewith Raul Walch et al. Intersections of Common Space and Time is a collaborative approach in addressing where and what public space is in contemporary urban settings in megacities of Asia. As urbanization, urban population and density continue to grow and privatization becomes a norm, shared space and time for public shrinks in all aspects. As we define public space as ‘shared time’ and ‘common space’, this project surveys how the notion of public space organically developed in Asia into temporal pockets of micro-communities coexisting and moving adjacent to ‘regeneration’ and gentrification. With multiple elements intersecting concurrently, the project attempts to activate and immerse into ‘common spaces’. This second collaboration further rethinks and reimagines public spaces from small in-between spaces of temporal and mobile coincidences to larger open stationary spaces and all the way to online spaces of manipulated encounters. These spaces reflect and cohabit with coincidences, manipulation, stationary and mobile forms constantly breaking boundaries between private and public in its urban landscape. The basis for this project are micro-surveys implemented in Haebangchon, Intersections of Common Space and Time extends its discourse with artists, architects, filmmakers and local communities in forms of lectures and panel talk, Fragmentation of Common Space: Looking at Artistic and Architectural Interventions and Immersions; participatory workshops, Reimagining the Future of Common Space with Micro-Communities and various activations of public spaces from public screening Indecisive Cinema II; rooftop video installation, in, around and beyond a gaze; mobile video installation and performance, Ten Second Glance. Program I 28 August 2018, 7 – 9:30 pm, Goethe-Institut Seoul Lectures & Panel Talk – Fragmentation of Common Space: Looking at Artistic and Architectural Interventions and Immersions Lectures by Inyoung Yeo, Raul Walch, BARE (Jinhong Jeon, Yunhee Choi) 30 August, 7 – 9 pm, Goethe-Institut Seoul Workshop – Reimagining the Future of Common Space with Micro-Communities Workshop by Inyoung Yeo 31 August 2018, 5 – 9 pm, Haebangchon Sinheung Market Workshop – Reimagining the Future of Common Space with Micro-Communities Workshop by Raul Walch (5 – 7 pm), in collaboration with Haebangchon Bibimbap (7 – 9 pm) Program II 1 September 2018, 7 – 9 pm, Haebangchon Sinheung Market Indecisive Cinema II by STEAKFILM 1 and 2 September 2018, 5 – 9 pm, Space One Rooftop in, around and beyond a gaze by Space One (Inyoung Yeo und Youmee Hwang) 2 September 2018, 7 – 8 pm, mobile Truck-Installation Ten Second Glance by Space One (Inyoung Yeo & Youmee Hwang), Eunkyum Bang Intersections of Common Space and Timemit Raul Walch et al. Was ist öffentlicher Raum in den großen Metropolen Asiens, und wo befindet er sich dort überhaupt? Das zum zweiten Mal stattfindende kollaborative Projekt Intersections of Common Space and Time soll den Teilnehmerinnen und Teilnehmern einen gemeinsamen Ansatzpunkt bieten, um sich mit dieser wichtigen Frage auseinanderzusetzen. Gängige Definitionen und Vorstellungsbilder des öffentlichen Raums werden dabei zur Diskussion gestellt. Öffentlicher Raum – das sind längst nicht mehr nur kleine gesellschaftliche Zwischenräume, die sich zufälligerweise hier und dort auftun. Zum öffentlichen Raum zählen heutzutage große, feststehende Orte genauso wie virtuelle Räume im Internet. Grundlage für das Projekt Intersections of Common Space and Time sind kleine Umfragen aus dem traditionsreichen Stadtviertel Haebangchon in Seouls zentral gelegenem Stadtteil Yongsan. Mit einer Vielzahl an verschiedenen Veranstaltungen möchte das Projekt Intersections of Common Space and Time Künstler, Architekten, Filmemacher und die Anwohner in den Diskurs um den öffentlichen Raum mit einbinden. Unter den angebotenen Veranstaltungen befinden sich ein Vortrag und ein Podiumsgespräch im Goethe-Institut Seoul, Fragmentation of Common Space: Looking at Artistic and Architectural Interventions and Immersions. Außerdem werden zwei Workshops zum Thema Reimagining the Future of Common Space with Micro-Communities angeboten, von denen ebenfalls einer in den Räumlichkeiten des Goethe-Instituts stattfinden wird. Öffentlicher Raum wird zudem an verschiedenen Stellen „aktiviert“, und zwar in Form der öffentlichen Filmvorführung Indecisive Cinema II, der roof-top Video-Installation in, around and beyond a gaze, und der mobilen Video-Installation und Performance Ten Second Glance. Für die Programme, die im Goethe-Institut Seoul stattfinden, wird um Anmeldung gebeten. Programm Teil 1 28. August 2018, 19:00 – 21:30, Goethe-Institut Seoul Vorträge und Podiumsdiskussion – Fragmentation of Common Space: Looking at Artistic and Architectural Interventions and Immersions Vortragende: Inyoung Yeo, Raul Walch, BARE (Jinhong Jeon, Yunhee Choi) 30. August, 19:00 – 21:00, Goethe-Institut Seoul Workshop – Reimagining the Future of Common Space with Micro-Communities Leitung: Inyoung Yeo 31. August, 17:00 – 21:00, Haebangchon Sinheung Market Workshop – Reimagining the Future of Common Space with Micro-Communities Leiter: Raul Walch (17:00‒19:00), in Zusammenarbeit mit Haebangchon Bibimbap (19:00‒21:00) Programm Teil 2 1. September, 19:00 – 21:00, Haebangchon Sinheung Market Indecisive Cinema II von STEAKFILM 1. und 2. September, 17:00 – 21:00, Space One Rooftop in, around and beyond a gaze von Space One (Inyoung Yeo und Youmee Hwang) 2. September, 19:00 – 20:00, mobile Truck-Installation Ten Second Glance von Space One (Inyoung Yeo & Youmee Hwang), Eunkyum Bang

NOWs: Am Rand von EuropaCity

25 August 2018 / Nows ⟶

NOWs: Art Biesenthal 2018

18 August - 29 September 2018 / Nows ⟶

NOWs: Demi-Gros

15 August - 14 September 2018 / Nows ⟶

Demi-GrosGroup Show Opening: 15 August 2018, 7pm Safe Gallery, Les Valseuses Eberswalderstraße 28 10437 Berlin The Safe Gallery, probably Berlin‘s smallest exhibition space, will host a group show of 72 Berlin artists. The title of the show, Demi-Gros, refers both to a traditional unit of measure in foodstuffs (a gross, or a dozen dozen), and to middlemen who connect wholesale and retail in commerce. All the artworks are presented in a wooden box of not even the size of a shoebox in a wall safe. The (uncurated) show reflects the breadth of the Berlin art scene with artists of 17 nationalities, aged between 27 and 74 (the average being 44), working in an unusual format. Exploring the exhibition requires the collaboration of the visitor. The box has to be extracted from the safe (the French word trésor also means treasure) and is accompanied by an explanatory booklet and white gloves on a table. And it can be quite difficult to reinsert the artworks in the box… Peter Ungeheuer, Berlin, July 2018 Demi-GrosGroup Show Opening: 15 August 2018, 7pm Safe Gallery, Les Valseuses Eberswalderstraße 28 10437 Berlin The Safe Gallery, probably Berlin‘s smallest exhibition space, will host a group show of 72 Berlin artists. The title of the show, Demi-Gros, refers both to a traditional unit of measure in foodstuffs (a gross, or a dozen dozen), and to middlemen who connect wholesale and retail in commerce. All the artworks are presented in a wooden box of not even the size of a shoebox in a wall safe. The (uncurated) show reflects the breadth of the Berlin art scene with artists of 17 nationalities, aged between 27 and 74 (the average being 44), working in an unusual format. Exploring the exhibition requires the collaboration of the visitor. The box has to be extracted from the safe (the French word trésor also means treasure) and is accompanied by an explanatory booklet and white gloves on a table. And it can be quite difficult to reinsert the artworks in the box… Peter Ungeheuer, Berlin, July 2018

NOWs: Signs and symbols: artists & allies

07 August - 07 September 2018 / Nows ⟶

Signs and symbols: artists & alliesGroup Show Screening: August 21 2018, all day August 7 – September 7 2018 Signs and symbols 102 Forsyth Street New York 10002 NY For the month of August, signs and symbols presents a dynamic program of time-based work, screenings and performances. Conceived as an experimental glimpse for our upcoming season, a selection of work will be on view of artists with forthcoming solo exhibitions. Allies of the gallery will also contribute work and discourse. A weekly screening and/or performance will take place every Thursday evening at 7pm. Sound art will make an appearance in a live act, politics will be explored in a standup comedy night, movement and dance workshops will be followed by a sci-fi rap concert. Devised with the intent for dialogue, overlap and exchange, our summer program is not a singular position, but a multifaceted, open-ended alternative to a summer group show. Participating artists include: Michelle Handelman | Tony Orrico | Jen DeNike | Drew Conrad | Rachel Libeskind | Wermke/Leinkauf | Amy Khoshbin | Stephen Barker| KIWA | Jeewi Lee | Annabel Daou | Robert Wilson | Aaron Kary | Mike Clemow | Melissa Godoy Nieto | INNER COURSE | Meta Grgurevic | Jovana Djuric | Matty Davis and others… Signs and symbols: artists & alliesGroup Show Screening: August 21 2018, all day August 7 – September 7 2018 Signs and symbols 102 Forsyth Street New York 10002 NY For the month of August, signs and symbols presents a dynamic program of time-based work, screenings and performances. Conceived as an experimental glimpse for our upcoming season, a selection of work will be on view of artists with forthcoming solo exhibitions. Allies of the gallery will also contribute work and discourse. A weekly screening and/or performance will take place every Thursday evening at 7pm. Sound art will make an appearance in a live act, politics will be explored in a standup comedy night, movement and dance workshops will be followed by a sci-fi rap concert. Devised with the intent for dialogue, overlap and exchange, our summer program is not a singular position, but a multifaceted, open-ended alternative to a summer group show. Participating artists include: Michelle Handelman | Tony Orrico | Jen DeNike | Drew Conrad | Rachel Libeskind | Wermke/Leinkauf | Amy Khoshbin | Stephen Barker| KIWA | Jeewi Lee | Annabel Daou | Robert Wilson | Aaron Kary | Mike Clemow | Melissa Godoy Nieto | INNER COURSE | Meta Grgurevic | Jovana Djuric | Matty Davis and others…

NOWs: Floating University – The future of the kitchen

26 July 2018 / Nows ⟶

Floating UniversityThe future of the kitchen SOE Kitchen team and Institut für Raumexperimente are invited by Markus Baader and Anna Kokalanova to join project presenations and discussion on Space Production Studio – Floating University Berlin: Designing around the kitchen table. – From May to September 2018 raumlaborberlin creates a visionary inner city offshore laboratory for collective, experimental learning. With numerous partners they experiment with knowledge transfers and the formation of transdisciplinary networks to challenge routines and habits of urban practices – Floating University Berlin. The site is an almost forgotten place in the center of Berlin: An old, concrete rainwater basin right next to the Tempelhof airfield. A third landscape on the verge of disapearance. Here raumlaborberlin builds a generic structure, a drilling platform for a scarce urban resource: sensitivity for decision-making. Students and scientists from more than twenty international universities come together with artists from all over the world, local experts, architects, musicians, and dancers. Together, they research and investigate the daily routines and practices of urban living and formulate visions and ideas for a better future city In the territory around the rainwater basin Floating University is looking for contemporary, resilient forms of urban practice with a visionary focus on an unknown future. In April, students and their teachers from Berlin, Europe and elsewhere collaborate on building the campus: learning spaces, workshops, an auditorium, a performative laboratory tower for experimental water filtration systems, a discursive kitchen, a bar as a protest generator and a fast food greenhouse. Spaces are created for exchanging knowledge within experimental, educational formats. A place where transdisciplinary research teams and diverse positions come together to tackle the complex questions of urban practices. During three ‘Open Weeks’ in May, July and September we invite the local and international public to explore the rainwater basin and the campus, as well as to participate in workshops, lectures, seminars, hot tub talks, concerts and performances. Project proposals. Photo: Christina Werner Discussions around the kitchen table. Photo: Christina Werner The kitchen at the Floating University. Photo: Christina Werner Floating UniversityThe future of the kitchen SOE Kitchen team and Institut für Raumexperimente sind von Markus Baader and Anna Kokalanova eingeladen an den Projektpräsentation und Diskussionen zu Studio Raumproduktion – Floating University Berlin: Entwerfen als Praxis am Küchentisch teilzunehmen. – Von Mai bis September 2018 startet raumlaborberlin ein innerstädtisches Offshore-Labor für Visionen urbaner Praxis. Mit zahlreichen Partner_innen verfolgen wir ein Experiment zum gemeinsamen Lernen und Vernetzen. Ein Versuchsaufbau zum Hinterfragen städtischer Routinen – die Floating University Berlin. In einem generischen Bauwerk im fast vergessenen Regenrückhaltebecken neben dem ehemaligen Flughafen Tempelhof kommen Studierende und Wissenschaftlerinnen von mehr als 20 internationalen Universitäten, Künstler aus der ganzen Welt, lokale Experten, Architektinnen, Musikerinnen und Tänzer zusammen, um das alltägliche urbane Leben zu untersuchen und Vorschläge zur Neuorganisation zu formulieren. Auf dem Territorium rund um das Becken sucht die Floating University nach einem visionären Blick in eine ungewisse Zukunft. Studierende und Lehrende aus Berlin, Europa und anderswo bauen gemeinsam ihren Campus: Lernräume und Werkstätten, ein Auditorium und einen Laborturm mit einem performativen Wasserfiltrationssystem, eine diskursive Küche, eine Bar als Protestgenerator und eine Fastfoodplantage. Wir schaffen einen Ort, um neue Unterrichtsformen auszuprobieren, wo transdisziplinäre Teams und unterschiedliche Positionen zusammenkommen, um die richtigen Fragen an die Stadt zu stellen. Während drei öffentlicher Wochen im Mai, Juli und September, den so genannten Open Weeks, laden wir die interessierte Öffentlichkeit ein, das Becken und den Campus der Floating University kennenzulernen und an Workshops, Vorträgen, Seminaren, Gesprächen, Konzerten und Performances teilzunehmen. Projektproposals. Photo: Christina Werner Diskussionen am Küchentisch. Photo: Christina Werner Die Küche der Floating University. Photo: Christina Werner

NOWs: Leon Eixenberger at PAM

19 - 22 July 2018 / Nows ⟶

Game Changers Public Art Munich Leon Eixenberger: Streets of GiantsX Shared Spaces 19 – 22 July 2018 X Shared Spaces I Route III Dachauer Str. 29 80335 München 21 July 2018 19:00 h Artist Talk: Leon Eixenberger & Thomas Girst Corneliusstraße 2 80469 München This project, in a form of a ride through Munich, focuses on the ideology of driving and the shift that it is currently experiencing. From the idea of I drive, associated with individualism, capitalism, and the idea of freedom represented by the automobile, to I am being driven, which embodies the mindset of Silicon Valley as it seeks to outsource numerous daily tasks in order to make life easier and smarter. Whereas we previously surrendered to our egos, we now surrender directly to cognitive networks controlled by a handful of corporations. Our passivity stands in opposition to the necessary democratization of new technological systems – a constructive, slow, and continuous process. Concept: Leon Eixenberger | Composition: S. McKenna & Leon Eixenberger Text: Leon Eixenberger | Voice: Zeynep Bombay A production by Münchner Kammerspiele in cooperation with Public Art Munich. PAM 2018 is curated by Joanna Warsza and commissioned by the City of Munich. X Shared Spaces is funded by the The German Federal Cultural Foundation. 19€ per ticket, bookable under www.muenchner-kammerspiele.de For further PAM events, please visit the calendar. Game Changers Public Art Munich Leon Eixenberger: Eine Fahrt einfädelnX Shared Spaces 19. – 22. Juli 2018 X Shared Spaces I Route III Dachauer Str. 29 80335 München 21 July 2018 19:00 h Artist Talk: Leon Eixenberger & Thomas Girst Corneliusstraße 2 80469 München Das Projekt hat die Form einer Autofahrt durch München. Der Fokus liegt auf der Ideologie des Fahrens und ihrer derzeitigen Veränderung: Von der Vorstellung des “Ich fahre”, die mit Individualismus, Kapitalismus und dem Gefühl der Freiheit korreliert und im Produkt Auto seine Verkörperung findet, bewegen wir uns in Richtung “Ich lasse mich fahren”, was der Denkart von Silicon Valley entspricht, in der wir tägliche Aufgaben outsourcen, um das Leben einfacher und intelligenter zu machen. Damit ordnen wir uns kognitiven Netzwerken unter, die von einigen wenigen Großunternehmen kontrolliert werden. Unsere Passivität steht im Gegensatz zur notwendigen Demokratisierung technologischerSysteme – ein Demokratisierungsprozess, der konstruktiv und langsam wie gleichermaßen kontinuierlich fortschreitet. Konzeption: Leon Eixenberger | Komposition: S. McKenna & Leon Eixenberger Text: Leon Eixenberger | Stimme: Zeynep Bombay Eine Produktion der Münchner Kammerspiele in Kooperation mit Public Art Munich. PAM 2018 ist kurtiert von Joanna Warsza und gefördert von der Landeshauptstadt München. X Shared Spaces wird gefördert von der Kulturstiftung des Bundes. Tickets à 19€, buchbar unter www.muenchner-kammerspiele.de Weitere PAM Veranstaltungen sind im Kalender verzeichnet.

NOWs: offen Vol. 2 / Galerie EIGEN + ART Berlin

11 July - 25 August 2018 / Nows ⟶

offen Vol. 2 // Galerie EIGEN + ART BerlinGroup Show Galerie EIGEN + ART Auguststraße 26 10117 Berlin Opening 11 Juli 2018, 5 – 8 pm In den Sommermonaten zeigt sich die Galerie über die Grenzen des Galerie-Programms hinaus offen. Wir präsentieren in der Ausstellung sowohl jüngere als auch bereits etablierte Positionen von Künstlerinnen und Künstlern, die uns in den letzten Monaten beeindruckt und auch begleitet haben und die über den Sommer im Galerieraum in Dialog miteinander treten: Yang-Tsung Fan (*1982, TW) war 2018 mit seinen Arbeiten bei der AKI Gallery aus Taiwan zu sehen, unserer Gastgalerie auf der Leipziger Baumwollspinnerei. Die Arbeiten seiner „Swimming-pool“-Serie überführen konzeptuelle Farbfelder, geometrische Abstraktion und gestische Malerei in absurde sommerliche Schwimmbadszenarien. Marion Fink (*1987, DE) hat bei Andreas Slominski in Hamburg studiert und erforscht anhand bühnenartiger Szenarien mit Figuren und Objekten, Wörtern und Textfragmenten den Möglichkeitsraum einer immer fragwürdig bleibenden Realität. Zora Janković (*1978, SL) war bereits 2016 Teil der ersten „Offen“ Ausstellung in der Galerie. Ihre Skulpturen, geometrische Körper aus Beton und Stahl, spielen mit Elementen brutalistischer Architektur, greifen in den Raum ein und erschaffen neue Räume. Ulrike Theusner (*1982, DE) hat bereits im EIGEN + ART Lab ausgestellt. Die Radierungen aus der „Sweet Birds of Youth” Serie versinnbildlichen eine Gesellschaft zwischen Erstarrung, Desillusionierung und Aufbruchstimmung. Raul Walch (*1980, DE) hat am Institut für Raumexperimente der Universität der Künste studiert. Im Mittelpunkt seiner Arbeit steht immer eine unkonventionelle, künstlerische Auseinandersetzung mit gesellschaftlicher Realität. Die kinetische Skulptur in der Ausstellung ist auch als Sonnenreflektor zur Orientierung, als Markierung durch die Küstenwache und für die Verortung und Rettung von Schiffbrüchigen entstanden. Justin Mortimer (*1970, GB) wurde bereits 2004 von Gerd Harry Lybke und Neo Rauch, damals Juroren, mit dem East Award bei der East International in Norwich ausgezeichnet. Seitdem hat er sich zu einem der profiliertesten Britischen Maler entwickelt. Wir zeigen neue Arbeiten aus seiner HOAX Serie. Andreas Mühe (*1979, DE) unterwandert seine eigenen Bilder. Mit dem präzisen Einsatz von Licht, dem Herausarbeiten einer speziellen Farbigkeit und seinem Gespür für den Bildaufbau, der sich mit dem Spiel des Pathos beschäftigt, schafft er verführerisch-schöne Bilder. In der 24-teiligen Foto-Serie „Mühe-Köpfe“ zeigt er die verschiedenen Stadien des physischen Verfalls seiner eigenen in Stein geschlagenen Büste. Alexander Wolff (*1976, DE) studierte an der Städelschule Frankfurt und an der Akademie der Bildenden Künste in Wien. Er beschränkt sich in seiner Malerei nicht auf den begrenzten Bildraum der Leinwand und benutzt für seine Bilder Textilfarbe, Staub, verschiedene Stoffe und Licht. offen Vol. 2 // Galerie EIGEN + ART BerlinGroup Show Galerie EIGEN + ART Auguststraße 26 10117 Berlin Eröffnung 11. Juli 2018, 17 – 20 Uhr In den Sommermonaten zeigt sich die Galerie über die Grenzen des Galerie-Programms hinaus offen. Wir präsentieren in der Ausstellung sowohl jüngere als auch bereits etablierte Positionen von Künstlerinnen und Künstlern, die uns in den letzten Monaten beeindruckt und auch begleitet haben und die über den Sommer im Galerieraum in Dialog miteinander treten: Yang-Tsung Fan (*1982, TW) war 2018 mit seinen Arbeiten bei der AKI Gallery aus Taiwan zu sehen, unserer Gastgalerie auf der Leipziger Baumwollspinnerei. Die Arbeiten seiner „Swimming-pool“-Serie überführen konzeptuelle Farbfelder, geometrische Abstraktion und gestische Malerei in absurde sommerliche Schwimmbadszenarien. Marion Fink (*1987, DE) hat bei Andreas Slominski in Hamburg studiert und erforscht anhand bühnenartiger Szenarien mit Figuren und Objekten, Wörtern und Textfragmenten den Möglichkeitsraum einer immer fragwürdig bleibenden Realität. Zora Janković (*1978, SL) war bereits 2016 Teil der ersten „Offen“ Ausstellung in der Galerie. Ihre Skulpturen, geometrische Körper aus Beton und Stahl, spielen mit Elementen brutalistischer Architektur, greifen in den Raum ein und erschaffen neue Räume. Ulrike Theusner (*1982, DE) hat bereits im EIGEN + ART Lab ausgestellt. Die Radierungen aus der „Sweet Birds of Youth” Serie versinnbildlichen eine Gesellschaft zwischen Erstarrung, Desillusionierung und Aufbruchstimmung. Raul Walch (*1980, DE) hat am Institut für Raumexperimente der Universität der Künste studiert. Im Mittelpunkt seiner Arbeit steht immer eine unkonventionelle, künstlerische Auseinandersetzung mit gesellschaftlicher Realität. Die kinetische Skulptur in der Ausstellung ist auch als Sonnenreflektor zur Orientierung, als Markierung durch die Küstenwache und für die Verortung und Rettung von Schiffbrüchigen entstanden. Justin Mortimer (*1970, GB) wurde bereits 2004 von Gerd Harry Lybke und Neo Rauch, damals Juroren, mit dem East Award bei der East International in Norwich ausgezeichnet. Seitdem hat er sich zu einem der profiliertesten Britischen Maler entwickelt. Wir zeigen neue Arbeiten aus seiner HOAX Serie. Andreas Mühe (*1979, DE) unterwandert seine eigenen Bilder. Mit dem präzisen Einsatz von Licht, dem Herausarbeiten einer speziellen Farbigkeit und seinem Gespür für den Bildaufbau, der sich mit dem Spiel des Pathos beschäftigt, schafft er verführerisch-schöne Bilder. In der 24-teiligen Foto-Serie „Mühe-Köpfe“ zeigt er die verschiedenen Stadien des physischen Verfalls seiner eigenen in Stein geschlagenen Büste. Alexander Wolff (*1976, DE) studierte an der Städelschule Frankfurt und an der Akademie der Bildenden Künste in Wien. Er beschränkt sich in seiner Malerei nicht auf den begrenzten Bildraum der Leinwand und benutzt für seine Bilder Textilfarbe, Staub, verschiedene Stoffe und Licht.

NOWs: Camera Urbana

07 July - 16 September 2018 / Nows ⟶

Camera UrbanaFotografische Perspektiven auf Landschaften in Berlin Opening 6 July 2018, 6 pm DOMÄNE DAHLEM Museum im Herrenhaus Königin-Luise-Straße 49 14195 Berlin Ausstellungsreihe KUNST IM HERRENHAUS (2) Im Museum im Herrenhaus präsentieren wir Ihnen 2018 als dreiteilige Ausstellungsreihe KUNST IM HERRENHAUS. Die Künstlerinnen und Künstler setzen sich mittels unterschiedlicher Techniken und Materialien mit den Themen Natur, Ökologie und Urbanität auseinander. Dabei geht es insbesondere um die heutige Beziehung zwischen Mensch und (Nutz-) Tier und das Spannungsverhältnis zwischen Stadt und Land. Die gezeigten Malereien, Grafiken, Fotografien, Videos und Installationen sind zum Teil poetische und sehr persönliche Werke, die uns auf eine visuelle Suche mitnehmen und dabei die Sehnsucht nach Alternativen und Orten der Freiheit wecken. Die zweite Ausstellung der Reihe – CAMERA URBANA – befasst sich mit Problemen der Gentrifizierung, zeigt Stadtlandschaften im stetigen Wandel und lotet die Möglichkeiten der Fotografie als Darstellungsmittel aus. Die mysteriös wirkenden Nachtabbildungen von architektonischen Stadträumen in Tim van den Oudenhovens Arbeiten zeigen menschenleere Orte und vermitteln Gefühle von Entfremdung und Hoffnungslosigkeit. Die durch Mehrfachbelichtung entstandenen analogen Fotografien von Euan Williams aus der Serie Collapse vermitteln hingegen atmosphärische Blicke auf Berlin, die poetische Nachbilder einer Stadt zeigen. Alexander Steffen schließlich dokumentiert in seinem Projekt Vanishing Berlin brachliegende Orte der Metropole, die inzwischen teilweise von der Natur zurückerobert wurden oder dem Baumboom der letzten Jahre zum Opfer gefallen sind. Kuratorin: Dr. Lily Fürstenow Camera UrbanaFotografische Perspektiven auf Landschaften in Berlin Eröffnung 6. July 2018, 18 Uhr DOMÄNE DAHLEM Museum im Herrenhaus Königin-Luise-Straße 49 14195 Berlin Ausstellungsreihe KUNST IM HERRENHAUS (2) Im Museum im Herrenhaus präsentieren wir Ihnen 2018 als dreiteilige Ausstellungsreihe KUNST IM HERRENHAUS. Die Künstlerinnen und Künstler setzen sich mittels unterschiedlicher Techniken und Materialien mit den Themen Natur, Ökologie und Urbanität auseinander. Dabei geht es insbesondere um die heutige Beziehung zwischen Mensch und (Nutz-) Tier und das Spannungsverhältnis zwischen Stadt und Land. Die gezeigten Malereien, Grafiken, Fotografien, Videos und Installationen sind zum Teil poetische und sehr persönliche Werke, die uns auf eine visuelle Suche mitnehmen und dabei die Sehnsucht nach Alternativen und Orten der Freiheit wecken. Die zweite Ausstellung der Reihe – CAMERA URBANA – befasst sich mit Problemen der Gentrifizierung, zeigt Stadtlandschaften im stetigen Wandel und lotet die Möglichkeiten der Fotografie als Darstellungsmittel aus. Die mysteriös wirkenden Nachtabbildungen von architektonischen Stadträumen in Tim van den Oudenhovens Arbeiten zeigen menschenleere Orte und vermitteln Gefühle von Entfremdung und Hoffnungslosigkeit. Die durch Mehrfachbelichtung entstandenen analogen Fotografien von Euan Williams aus der Serie Collapse vermitteln hingegen atmosphärische Blicke auf Berlin, die poetische Nachbilder einer Stadt zeigen. Alexander Steffen schließlich dokumentiert in seinem Projekt Vanishing Berlin brachliegende Orte der Metropole, die inzwischen teilweise von der Natur zurückerobert wurden oder dem Baumboom der letzten Jahre zum Opfer gefallen sind. Kuratorin: Dr. Lily Fürstenow

NOWs: Ritual Reality by Elise Eeraerts

07 July - 02 September 2018 / Nows ⟶

Ritual RealitySolo exhibition by Elise Eeraerts Opening 07 July 2018, 5 pm Les Tanneries Grande Halle 234 Rue des Ponts 45200 Amilly Le temps de la résidence a débuté le 16 mai dernier aux Tanneries. Dans la démesure et la résonance de la Grande halle, Elise Eeraerts, artiste belge, poursuit un travail de recherche qui la mène de par le monde, pour mieux se nourrir des lieux et des paysages qui l’accueillent, pour s’inscrire dans leurs temporalités singulières et pour y prolonger – éprouver pourrait-on dire – son geste artistique. Ce geste est travaillé, modelé par chacune des expériences déployées, et il fait ainsi figure de continuité. Il est une forme d’état de permanence, que portent en elles ses sculptures, par leurs lignes épurées, dans un jeu d’apparence archétypale, hors d’âge, appartenant à un imaginaire commun et universel. L’artiste convoque l’idée de «recursive volume» pour évoquer ce continuum et donner titre à un des ensembles qui sera présenté dans la Grande halle. Dans un emboîtement de formes cuites, si les formes se réitèrent, elles se répètent sans se redire. L’artiste joue ici du processus de construction à celui de l’édification et de la production sérielle. Cette récursivité renvoie à ces états de permanence que l’on trouve tout autant dans l’approche des langages, en linguistique et en biologie, dans l’univers des formes produites, se répétant et se répartissant au gré du biomorphisme. Aux Tanneries, Elise Eeraerts a initié une nouvelle fabrication de modules en terre à partir des cuves de tannage, y trouvant un écho à ses récentes recherches sculpturales de formes en négatif, c’est-à-dire essentiellement déterminées par leurs contours. En plongeant ses modules de céramique dans les cuves, elle innove ici, pour la première fois, une sculpture sans bords ; qui se confond avec son environnement et dont seul l’espace en creux est perceptible, formant un immense cratère. De ces modules imposants par leur volume, nous ne percevons donc plus qu’une seule dimension. Les seuils de visibilité de l’objet, notre façon de lui assigner une signification ou une fonction, sont toujours questionnés par Elise Eeraerts. À travers cette technique lente de cuisson et de modelage, elle interroge également ce qu’il reste de pratiques ancestrales, primitives ou vernaculaires et de leurs économies de production. Nécessairement intuitif et empirique, ce type de fabrication, quasiment disparu aujourd’hui, devient la marque d’une épistémé débordée par l’émergence d’autres mondes où le geste se redéfini, encore, avant d’être remis au travail. Telle une colonne sans fin, figure porteuse par excellence de cette continuité des formes et du geste travaillé. Une continuité qui trouve – à son échelle – un écho fort dans le principe d’un temps de résidence cumulé, d’abord initié à l’Atelier Calder, à Saché, puis, dans les ajouts des gestes prolongés, aux Tanneries. La collaboration de ces deux lieux de création, qui s’est établie aux confins d’une économie de production travaillée de l’un à l’autre et dans le temps composite d’un geste artistique, en a réellement accompagné le déploiement. L’invitation d’Elise Eerearts aux Tanneries poursuit un programme d’expositions orienté sur la notion de geste et de «faire artistique», qui trouvera de nouveaux prolongements dans le cadre de la saison 3, avec le cycle d’expositions intitulé «Scripts, scraps and tracks», en octobre 2018. Ritual RealitySolo exhibition by Elise Eeraerts Eröffnung am 07. Juli 2018, 17 Uhr Les Tanneries Grande Halle 234 Rue des Ponts 45200 Amilly Le temps de la résidence a débuté le 16 mai dernier aux Tanneries. Dans la démesure et la résonance de la Grande halle, Elise Eeraerts, artiste belge, poursuit un travail de recherche qui la mène de par le monde, pour mieux se nourrir des lieux et des paysages qui l’accueillent, pour s’inscrire dans leurs temporalités singulières et pour y prolonger – éprouver pourrait-on dire – son geste artistique. Ce geste est travaillé, modelé par chacune des expériences déployées, et il fait ainsi figure de continuité. Il est une forme d’état de permanence, que portent en elles ses sculptures, par leurs lignes épurées, dans un jeu d’apparence archétypale, hors d’âge, appartenant à un imaginaire commun et universel. L’artiste convoque l’idée de «recursive volume» pour évoquer ce continuum et donner titre à un des ensembles qui sera présenté dans la Grande halle. Dans un emboîtement de formes cuites, si les formes se réitèrent, elles se répètent sans se redire. L’artiste joue ici du processus de construction à celui de l’édification et de la production sérielle. Cette récursivité renvoie à ces états de permanence que l’on trouve tout autant dans l’approche des langages, en linguistique et en biologie, dans l’univers des formes produites, se répétant et se répartissant au gré du biomorphisme. Aux Tanneries, Elise Eeraerts a initié une nouvelle fabrication de modules en terre à partir des cuves de tannage, y trouvant un écho à ses récentes recherches sculpturales de formes en négatif, c’est-à-dire essentiellement déterminées par leurs contours. En plongeant ses modules de céramique dans les cuves, elle innove ici, pour la première fois, une sculpture sans bords ; qui se confond avec son environnement et dont seul l’espace en creux est perceptible, formant un immense cratère. De ces modules imposants par leur volume, nous ne percevons donc plus qu’une seule dimension. Les seuils de visibilité de l’objet, notre façon de lui assigner une signification ou une fonction, sont toujours questionnés par Elise Eeraerts. À travers cette technique lente de cuisson et de modelage, elle interroge également ce qu’il reste de pratiques ancestrales, primitives ou vernaculaires et de leurs économies de production. Nécessairement intuitif et empirique, ce type de fabrication, quasiment disparu aujourd’hui, devient la marque d’une épistémé débordée par l’émergence d’autres mondes où le geste se redéfini, encore, avant d’être remis au travail. Telle une colonne sans fin, figure porteuse par excellence de cette continuité des formes et du geste travaillé. Une continuité qui trouve – à son échelle – un écho fort dans le principe d’un temps de résidence cumulé, d’abord initié à l’Atelier Calder, à Saché, puis, dans les ajouts des gestes prolongés, aux Tanneries. La collaboration de ces deux lieux de création, qui s’est établie aux confins d’une économie de production travaillée de l’un à l’autre et dans le temps composite d’un geste artistique, en a réellement accompagné le déploiement. L’invitation d’Elise Eerearts aux Tanneries poursuit un programme d’expositions orienté sur la notion de geste et de «faire artistique», qui trouvera de nouveaux prolongements dans le cadre de la saison 3, avec le cycle d’expositions intitulé «Scripts, scraps and tracks», en octobre 2018.

NOWs: Spiele mit der Ewigkeit

06 - 31 July 2018 / Nows ⟶

Spiele mit der EwigkeitGroup Show Grimmuseum Opening 6 July 2018, 7 pm Carla Cabanas, Andrés Galeano, Ka Hee Jeong, Nam Hoon Kim, Shinae Kim, Yuni Kim, Jenny Michel, Oh Jong, Sophia Pompéry, Euan Williams, Seok Hyun Han, Thomas Zipp. The group exhibition Spiele mit der Ewigkeit (Plays with eternity) brings together twelve artists from Berlin and Seoul whose work engages with time and its infinity, with space and its boundaries, with forces of reality and the freedom of the unreal. Since prehistoric times people have dealt with the question of eternity, addressing the phenomena of time and eternal life. This search is present in the exhibition. The works ask for what could be and what could happen, even besides our limits of perception. Their artistic strategies are based on everyday observations, on collecting scientific data, on traditions and rituals. The exponates revolve around visibility and invisibility, flirting with the ephemeral, and strive for eternal art, following their playful impulse: towards infinity and eternity. The exhibition opens with the performance Pathologies of the Image by Andrés Galeano. As in a requiem, two sopranos (Vannessa Lanch & Anastasia Nikolova) rhyme and sing about physical dangers that artworks are exposed to, about pollutants, pests or climatic conditions. The song deals with the mortality of artworks, at the same time emphasizing their immateriality and plays with the ephemeral in art, which seems to be transient in every moment and yet claims its eternity. Curated by Keumhwa Kim Spiele mit der EwigkeitGroup Show Grimmuseum Eröffnung 6. Juli 2018, 19 Uhr Carla Cabanas, Andrés Galeano, Ka Hee Jeong, Nam Hoon Kim, Shinae Kim, Yuni Kim, Jenny Michel, Oh Jong, Sophia Pompéry, Euan Williams, Seok Hyun Han, Thomas Zipp. The group exhibition Spiele mit der Ewigkeit (Plays with eternity) brings together twelve artists from Berlin and Seoul whose work engages with time and its infinity, with space and its boundaries, with forces of reality and the freedom of the unreal. Since prehistoric times people have dealt with the question of eternity, addressing the phenomena of time and eternal life. This search is present in the exhibition. The works ask for what could be and what could happen, even besides our limits of perception. Their artistic strategies are based on everyday observations, on collecting scientific data, on traditions and rituals. The exponates revolve around visibility and invisibility, flirting with the ephemeral, and strive for eternal art, following their playful impulse: towards infinity and eternity. The exhibition opens with the performance Pathologies of the Image by Andrés Galeano. As in a requiem, two sopranos (Vannessa Lanch & Anastasia Nikolova) rhyme and sing about physical dangers that artworks are exposed to, about pollutants, pests or climatic conditions. The song deals with the mortality of artworks, at the same time emphasizing their immateriality and plays with the ephemeral in art, which seems to be transient in every moment and yet claims its eternity. Curated by Keumhwa Kim

NOWs: Nature Unleashed

29 June - 14 October 2018 / Nows ⟶

Filmstill: Irma To Come In Earnest, 2017 Nature UnleashedThe Image of Catastrophe since 1600 Hamburger Kunsthalle Opening 28 June 2018, 7 pm In a large-scale exhibition spanning several epochs, the Hamburger Kunsthalle traces based on important works how artists working in different media picture natural catastrophes while also shedding light on humanity’s failure to come to terms with nature due, among other things, of our faith in technology. Nature Unleashed: The Image of Catastrophe since 1600 features approximately 200 exhibits, including paintings, drawings, prints, sculptures, photographs, films and videos. As viewers make their way past blazing fires, earthquakes, floods, volcanic eruptions and sinking ships, they will take note of pictorial constants in the expression of such disasters but will also become aware of the differences in depiction from one era to the next. The show’s special appeal lies in the close juxtaposition of artworks created centuries apart. The trajectory of exhibited works spans an arc from the years around 1600 to the present day. Contemporary works serve to anchor the theme in the here and now and underline its topicality. Catastrophes are omnipresent. The media constantly reports on natural disasters, acts of war, political upheavals and other crisis scenarios, characterising them all with the common term »catastrophe«. Catastrophes don’t just happen, they are made. It is only in our perception, in our active engagement with such drastic events that they take on distinctive contours and reveal their typical face. Every age makes its own catastrophes and redefines the criteria by which certain events are labelled as such. These fundamental observations form the basis for the exhibition project. Featured artists include Wenzel Hollar (1607–1677), Jan Asselijn (1610–1652), Johann Wolfgang von Goethe (1749–1832), Caspar David Friedrich (1774–1840), Théodore Géricault (1791–1824), John Martin (1789–1854), Martin Kippenberger (1953–1997), Christian Jankowski (b. 1968) and Julius von Bismarck (b. 1983). Filmstill: Irma To Come In Earnest, 2017 Entfesselte NaturDas Bild der Katastrophe seit 1600 Hamburger Kunsthalle Eröffnung Donnerstag, 28. Juni 2018, um 19 Uhr Mit einer großen epochen- und medienübergreifenden Ausstellung geht die Hamburger Kunsthalle mit bedeutenden Kunstwerken dem Thema der bildlich-künstle-rischen Aufbereitung von Naturkatastrophen nach und beleuchtet dabei auch das Scheitern des Menschen an der Natur, etwa in Folge seiner Technikgläubigkeit. Entfesselte Natur. Das Bild der Katastrophe seit 1600 zeigt über 200 Exponate, darunter Gemälde, Zeichnungen, Graphiken, Skulpturen, Fotografien, Filme und Videoarbeiten. Mit Feuersbrünsten, Erdbeben, Überschwemmungen, Vulkanausbrüchen und Schiffsuntergängen entfaltet sich in den Ausstellungsräumen ein thematischer Parcours, der den Besucher_innen einerseits die bildnerischen Konstanten in der Aufbereitung derartiger Katastrophen vor Augen führt, andererseits aber auch die epochenspezifischen Unterschiede vermittelt. Der besondere Reiz der Schau besteht in der räumlichen Zusammenführung von Exponaten, die in ihrer jeweiligen Entstehungszeit Jahrhunderte voneinander getrennt sind. Dabei spannt sich der Bogen der ausgestellten Werke von den Jahren um 1600 bis in die unmittelbare Gegenwart. Die zeitgenössischen Positionen sorgen für eine Verortung des Themas in der Jetztzeit und unterstreichen dessen Aktualität. Katastrophen sind allgegenwärtig. Pausenlos berichten die Medien über Naturereignisse, politische Umbrüche oder anderweitige Krisenszenarien und greifen für deren Charakterisierung auf den Begriff der Katastrophe zurück: Katastrophen geschehen nicht einfach, sie werden gemacht. Erst in der Rezeption, in der aktiven Auseinandersetzung mit derart einschneidenden Begebenheiten erhalten sie ihre Kontur und offenbaren ihr charakteristisches Gesicht. Jedes Zeitalter macht sich seine Katastrophen und definiert diejenigen Kriterien neu, nach denen bestimmte Ereignisse erst als solche etikettiert werden können. Diese grundlegenden Bestimmungen bilden die Basis des Ausstellungsprojekts. Zu sehen sind unter anderem Werke von Wenzel Hollar (1607–1677), Jan Asselijn (1610–1652), Johann Wolfgang von Goethe (1749–1832), Caspar David Friedrich (1774–1840), Théodore Géricault (1791–1824), John Martin (1789–1854), Martin Kippenberger (1953–1997), Christian Jankowski (*1968) und Julius von Bismarck (*1983).

NOWs: BANK, BLANK – about new authority

22 June - 01 July 2018 / Nows ⟶

BANK, BLANK - about new authoritycurated by Ece Pazarbaşı and Stephan Klee within the frame of 20th anniversary of 48 Hours Neukölln Alte Sparkasse Karl-Marx-Str. 107 12043 Berlin There is an empty bank at Karl Marx Straße, it still stands as the relict of the financial vision of the past centuries. Now the employers have left the building, the vaults are open and the cash machines are dismantled. This institution of faith in cash, trust in money and illusion of prosperity for the many not for the few has moved out. Within this empty shell, one cannot help asking, what else is substantial nowadays, what else is echt? In a world interspersed with spectacle, illusions, hollow visions and unfulfilled dreams, it does not get only harder to authenticate a thing, but also exchanges its meaning dynamically. Using the bank as a collective laboratory of visions and statements regarding the meaning of realness today in our society, the exhibition brings together 32 works from 25 artists and groups around the sub themes of matter, body and authenticity. Participating artists: A/A, Halil Altindere, Carsten Becker, Ekaterina Burlyga, Catch a Falling Knife Collective, Yvon Chabrowski & Nicolás Rupcich, Mark Clare, Merve Çanakçı, Ali M. Demirel, Maurice Doherty, Mona El Gammal, Ingo Gerken, Ivana Franke, Caroline Kryzecki, Pierre-Etiene Morelle, Özgür Erkök Moroder & Steffi Weismann, Barbara Müller, Sladjan Nedeljkovic, Jakob Roepke, The Swan Collective, Pilvi Takala, Philip Topolovac & Markus Proschek, Chompunuch Vanichayanguranon & Theerawat Klangjareonchai, Ulrich Vogl and Maria Viftrup BANK, BLANK - about new authoritycurated by Ece Pazarbaşı and Stephan Klee within the frame of 20th anniversary of 48 Hours Neukölln Alte Sparkasse Karl-Marx-Str. 107 12043 Berlin There is an empty bank at Karl Marx Straße, it still stands as the relict of the financial vision of the past centuries. Now the employers have left the building, the vaults are open and the cash machines are dismantled. This institution of faith in cash, trust in money and illusion of prosperity for the many not for the few has moved out. Within this empty shell, one cannot help asking, what else is substantial nowadays, what else is echt? In a world interspersed with spectacle, illusions, hollow visions and unfulfilled dreams, it does not get only harder to authenticate a thing, but also exchanges its meaning dynamically. Using the bank as a collective laboratory of visions and statements regarding the meaning of realness today in our society, the exhibition brings together 32 works from 25 artists and groups around the sub themes of matter, body and authenticity. Participating artists: A/A, Halil Altindere, Carsten Becker, Ekaterina Burlyga, Catch a Falling Knife Collective, Yvon Chabrowski & Nicolás Rupcich, Mark Clare, Merve Çanakçı, Ali M. Demirel, Maurice Doherty, Mona El Gammal, Ingo Gerken, Ivana Franke, Caroline Kryzecki, Pierre-Etiene Morelle, Özgür Erkök Moroder & Steffi Weismann, Barbara Müller, Sladjan Nedeljkovic, Jakob Roepke, The Swan Collective, Pilvi Takala, Philip Topolovac & Markus Proschek, Chompunuch Vanichayanguranon & Theerawat Klangjareonchai, Ulrich Vogl and Maria Viftrup

NOWs: WASTELAND – Robert Lippok & Pedro Maia

16 June 2018 / Nows ⟶

NOWs: Møenlight Sonata

02 June - 09 September 2018 / Nows ⟶

Sophia Pompéry: Atlas, 2017; installation NOWs: Møenlight Sonata – A homage to the starry sky of Møn KUNSTHALL 44MOEN, DENMARK Nevin Aladağ | Darren Almond | Rosa Barba | KP Brehmer | Olga Chernysheva | Dorothee Diebold | Maria Eichhorn | Ayşe Erkmen | Ceal Floyer | Pravdoliub Ivanov | Till Junkel | Jarosław Kozłowski | Imi Knoebel | Daniel Knorr | David Krippendorff | Alicja Kwade | Simon Lewis | Sine Lewis | Bjørn Nørgaard| Navid Nuur | Alexandra Paperno | Nam June Paik | Dan Perjovschi | Sigmar Polke | Sophia Pompéry | Ursula Reuter | Superflex | Mariana Vassileva | Els Vos | Lawrence Weiner | Mariaa Wirkkala Curated by René Block To celebrate its tenth anniversary, Kunsthal 44Møen will put together a special constellation of stars under the lyric name “Møenlight Sonata”, alluding to Beethoven’s 14th sonata for piano, which he also referred to “quasi una fantasia”. The show will present a cross-section of the Kunsthal’s program so far, as well as newly commissioned works by artists from Bulgaria, Finland, Germany, Great Britain and Turkey that are still new to the island. What connects the works of these individual artists is the specific use of light, as subject and material. Light (or the absence of it) is not only one of the oldest topics in art history, but also a special condition on Møn – during the day, but also at night.The 10 year anniversary of Kunsthal 44Møen is conceived to be a summer festival, an invitation to all groups of local residents and visiting guests to celebrate the sky over Møn. Sophia Pompéry: Atlas, 2017; installation NOWs: Møenlight Sonata – A homage to the starry sky of Møn KUNSTHALL 44MOEN, DENMARK Nevin Aladağ | Darren Almond | Rosa Barba | KP Brehmer | Olga Chernysheva | Dorothee Diebold | Maria Eichhorn | Ayşe Erkmen | Ceal Floyer | Pravdoliub Ivanov | Till Junkel | Jarosław Kozłowski | Imi Knoebel | Daniel Knorr | David Krippendorff | Alicja Kwade | Simon Lewis | Sine Lewis | Bjørn Nørgaard| Navid Nuur | Alexandra Paperno | Nam June Paik | Dan Perjovschi | Sigmar Polke | Sophia Pompéry | Ursula Reuter | Superflex | Mariana Vassileva | Els Vos | Lawrence Weiner | Mariaa Wirkkala Curated by René Block To celebrate its tenth anniversary, Kunsthal 44Møen will put together a special constellation of stars under the lyric name “Møenlight Sonata”, alluding to Beethoven’s 14th sonata for piano, which he also referred to “quasi una fantasia”. The show will present a cross-section of the Kunsthal’s program so far, as well as newly commissioned works by artists from Bulgaria, Finland, Germany, Great Britain and Turkey that are still new to the island. What connects the works of these individual artists is the specific use of light, as subject and material. Light (or the absence of it) is not only one of the oldest topics in art history, but also a special condition on Møn – during the day, but also at night.The 10 year anniversary of Kunsthal 44Møen is conceived to be a summer festival, an invitation to all groups of local residents and visiting guests to celebrate the sky over Møn.

NOWs: 1st Riga International Biennial of Contemporary Art (RIBOCA)

02 June - 28 October 2018 / Nows ⟶

NOWs: Riga International Biennial of Contemporary Art (RIBOCA)EVERYTHING WAS FOREVER UNTIL IT WAS NO MORE RIBOCA1 opens to the public: Saturday 2 June 2018 Press Preview and Vernissage: Wednesday 31 May – Saturday 2 June 2018 The 1st Riga International Biennial of Contemporary Art (RIBOCA1) is pleased to announce the artists who will participate in the first edition. A total of 99 artists including 10 collectives will be participating in the biennial. During the biennial 113 works – including 49 new commissions – will be shown in nine different venues across Riga. There will also be 10 public sculptures and site-specific interventions in various locations around the city. Many of the participating artists will present more than one work, appearing in several of the venues, thus providing an opportunity for visitors to gain a more in-depth insight into their practice. The artists participating in the public program and making performances will be announced at later date. Chief curator of the 1st Riga Biennial (RIBOCA1) is Katerina Gregos, curators of its public programme is Kolektivs (Zane Zajančkauska & Ilze Kalnbērziņa Praz), and associate curator is Solvej Helweg Ovesen. Participating artists: Agency of Singular Investigations* (Stanislav Shuripa, Anna Titova), Russia (founded 2014) · Alexis Blake, USA/Netherlands (b.1981) · Alexis Destoop, Belgium/Australia (b.1971) · Adrián Villar Rojas, Argentina (b.1980) · Andrejs Strokins*, Latvia (b.1984) · Andris Eglītis*, Latvia (b.1981) · Annaïk-Lou Pitteloud, Switzerland/Belgium (b.1980) · Anne Duk Hee Jordan, Korea/Germany (b.1978) · Ariane Loze*, Belgium (b.1988) · Aslan Gaisumov, Chechnya, Russia (b.1991) · Augustas Serapinas*, Lithuania (b.1990) · Clemens von Wedemeyer*, Germany (b.1974) · Danilo Correale, Italy/USA (b.1982) · Diana Lelonek, Poland (b.1988) · Diāna Tamane*, Latvia/Belgium (b.1986) · Eli Cortiñas, Spain/Germany (b.1979) · Emilija Škarnulytė, Lithuania/Germany (b.1987) · Erik Kessels*, Netherlands (b.1966) · Ēriks Apaļais, Latvia (b.1981) · Eve Kiiler, Estonia (b.1960) · Femke Herregraven*, Netherlands (b.1982) · Fernando Sánchez Castillo, Spain (b.1970) · Han Hoogerbrugge, Netherlands (b.1963) · Hannah Anbert*, Denmark (b.1984) · Hans Rosenström*, Finland (b.1978) · Henrike Naumann*, Germany (b.1984) · IC-98, Finland (founded 1998) · Ieva Balode, Latvia (b.1987) · Ieva Epnere*, Latvia (b.1977) · Indrė Šerpytytė*, Lithuania/UK (b.1983) · Ivar Veermäe, Estonia/Germany (b.1982) · Jacob Kirkegaard, Denmark (b.1975) · James Beckett, Zimbabwe/Netherlands (b.1977) · Jani Ruscica, Finland (b.1978) · Johanna Gustafsson-Fürst, Sweden (b.1973) · Johannes Heldén, Sweden (b.1978) & Håkan Jonson, Sweden (b.1978) · Jonas Mekas, Lithuania/USA (b.1922) · Julian Charrière, Switzerland/ Germany (b.1987) · Julian Rosefeldt, Germany (b.1965) · Julijonas Urbonas, Lithuania (b.1981) · Karel Koplimets*, Estonia (b.1986) · Katarzyna Przezwańska, Poland (b.1984) · Katrīna Neiburga*, Latvia (b.1978) · Kerstin Hamilton*, Sweden (b.1978) · Kristaps Epners*, Latvia (b.1976) · Kustaa Saksi, Netherlands (b.1975) · Liina Siib*, Estonia (b.1963) · Lynn Hershman-Leeson, USA (b.1941) · Maarten Vanden Eynde*, Belgium (b.1977) · Marco Montiel-Soto, Venezuela/Germany (b.1976) · Marge Monko*, Estonia (b.1976) · Maria Kapajeva, Estonia (b.1976) · Marina Pinsky*, Russia/Belgium (b.1986) · Marisa Benjamim, Portugal/Germany (b.1981) · Mark Dion*, USA (b.1961) · Maryam Jafri, Pakistan/USA (b.1972) · Melanie Bonajo, Netherlands, (b.1978) · Michael Landy*, UK (b.1963) · Michael Sailstorfer*, Germany (b.1979) · Minna Rainio & Mark Roberts, Finland/UK (b.1974, b.1970) · Nabil Boutros, Egypt/France (1954) · Nedko Solakov*, Bulgaria (b.1957) · Nicolas Kozakis, Greece/Belgium (b.1967) & Raoul Vaneigem, Belgium (b.1934) · Nikos Navridis*, Greece (b.1958) · Oswaldo Maciá*, Colombia/UK (b.1960) · Orbita, Latvia (founded 1999) · Paulis Liepa*, Latvia (b.1978) · Petra Bauer, Sweden (b.1970) & Rebecka Katz-Thor*, Sweden (b.1982) · Robert Kuśmirowski*, Poland (b.1973) · Sandra Kosorotova*, Estonia (b.1984) · Sasha Huber, Switzerland/Finland (b.1975) & Petri Saarikko*, Finland (b.1973) · Saskia Holmkvist*, Sweden (b.1971) · Sissel Tolaas*, Norway/Germany (b.1963) · Sputnik photos*, Poland/Slovakia/Belarus (founded 2006 in Poland) · Stelios Faitakis*, Greece (b.1976) · Stine-Marie Jacobsen*, Denmark (b. 1977) · Sven Johne, Germany (b.1976) · Taus Makhacheva*, Dagestan, Russia (b.1983) · Teemu Korpela*, Finland (b.1980) · Tilman Wendland*, Germany (b.1969) · Tobias Zielony*, Germany (b.1973) · Trevor Paglen, USA (b.1974) · Valio Tchenkov*, Bulgaria/Germany (b.1966) · Vladimir Svetlov, Latvia (b.1973) · Viron Erol Vert*, Turkey/Germany (b.1975) · Jevgeni Zolotko*, Estonia (b.1983) · Žilvinas Landzbergas*, Lithuania (b.1979) *An asterisk denotes a new commission The Riga International Biennial of Contemporary Art (RIBOCA) announced nine main venues, which will host the inaugural edition of the biennial and its related public programme and events. The majority of these spaces are within 20 minutes walking distance of each other, creating a sustainable parcours and allowing visitors the time to experience the exhibition and the artists, as well as to discover the city. The selected venues reflect Riga’s diverse cultural and architectural history: from medieval and 19th century traditional wooden buildings and pre-war Art Nouveau; to Soviet modernism and impressive industrial architecture. The spaces not only serve as an aesthetically captivating frame for the concept of the biennial and its artworks but are also an integral part of the broader cultural and historical narrative of the city of Riga and the wider Baltic region. NOWs: Riga International Biennial of Contemporary Art (RIBOCA)EVERYTHING WAS FOREVER UNTIL IT WAS NO MORE RIBOCA1 opens to the public: Saturday 2 June 2018 Press Preview and Vernissage: Wednesday 31 May – Saturday 2 June 2018 The 1st Riga International Biennial of Contemporary Art (RIBOCA1) is pleased to announce the artists who will participate in the first edition. A total of 99 artists including 10 collectives will be participating in the biennial. During the biennial 113 works – including 49 new commissions – will be shown in nine different venues across Riga. There will also be 10 public sculptures and site-specific interventions in various locations around the city. Many of the participating artists will present more than one work, appearing in several of the venues, thus providing an opportunity for visitors to gain a more in-depth insight into their practice. The artists participating in the public program and making performances will be announced at later date. Chief curator of the 1st Riga Biennial (RIBOCA1) is Katerina Gregos, curators of its public programme is Kolektivs (Zane Zajančkauska & Ilze Kalnbērziņa Praz), and associate curator is Solvej Helweg Ovesen. Participating artists: Agency of Singular Investigations* (Stanislav Shuripa, Anna Titova), Russia (founded 2014) · Alexis Blake, USA/Netherlands (b.1981) · Alexis Destoop, Belgium/Australia (b.1971) · Adrián Villar Rojas, Argentina (b.1980) · Andrejs Strokins*, Latvia (b.1984) · Andris Eglītis*, Latvia (b.1981) · Annaïk-Lou Pitteloud, Switzerland/Belgium (b.1980) · Anne Duk Hee Jordan, Korea/Germany (b.1978) · Ariane Loze*, Belgium (b.1988) · Aslan Gaisumov, Chechnya, Russia (b.1991) · Augustas Serapinas*, Lithuania (b.1990) · Clemens von Wedemeyer*, Germany (b.1974) · Danilo Correale, Italy/USA (b.1982) · Diana Lelonek, Poland (b.1988) · Diāna Tamane*, Latvia/Belgium (b.1986) · Eli Cortiñas, Spain/Germany (b.1979) · Emilija Škarnulytė, Lithuania/Germany (b.1987) · Erik Kessels*, Netherlands (b.1966) · Ēriks Apaļais, Latvia (b.1981) · Eve Kiiler, Estonia (b.1960) · Femke Herregraven*, Netherlands (b.1982) · Fernando Sánchez Castillo, Spain (b.1970) · Han Hoogerbrugge, Netherlands (b.1963) · Hannah Anbert*, Denmark (b.1984) · Hans Rosenström*, Finland (b.1978) · Henrike Naumann*, Germany (b.1984) · IC-98, Finland (founded 1998) · Ieva Balode, Latvia (b.1987) · Ieva Epnere*, Latvia (b.1977) · Indrė Šerpytytė*, Lithuania/UK (b.1983) · Ivar Veermäe, Estonia/Germany (b.1982) · Jacob Kirkegaard, Denmark (b.1975) · James Beckett, Zimbabwe/Netherlands (b.1977) · Jani Ruscica, Finland (b.1978) · Johanna Gustafsson-Fürst, Sweden (b.1973) · Johannes Heldén, Sweden (b.1978) & Håkan Jonson, Sweden (b.1978) · Jonas Mekas, Lithuania/USA (b.1922) · Julian Charrière, Switzerland/ Germany (b.1987) · Julian Rosefeldt, Germany (b.1965) · Julijonas Urbonas, Lithuania (b.1981) · Karel Koplimets*, Estonia (b.1986) · Katarzyna Przezwańska, Poland (b.1984) · Katrīna Neiburga*, Latvia (b.1978) · Kerstin Hamilton*, Sweden (b.1978) · Kristaps Epners*, Latvia (b.1976) · Kustaa Saksi, Netherlands (b.1975) · Liina Siib*, Estonia (b.1963) · Lynn Hershman-Leeson, USA (b.1941) · Maarten Vanden Eynde*, Belgium (b.1977) · Marco Montiel-Soto, Venezuela/Germany (b.1976) · Marge Monko*, Estonia (b.1976) · Maria Kapajeva, Estonia (b.1976) · Marina Pinsky*, Russia/Belgium (b.1986) · Marisa Benjamim, Portugal/Germany (b.1981) · Mark Dion*, USA (b.1961) · Maryam Jafri, Pakistan/USA (b.1972) · Melanie Bonajo, Netherlands, (b.1978) · Michael Landy*, UK (b.1963) · Michael Sailstorfer*, Germany (b.1979) · Minna Rainio & Mark Roberts, Finland/UK (b.1974, b.1970) · Nabil Boutros, Egypt/France (1954) · Nedko Solakov*, Bulgaria (b.1957) · Nicolas Kozakis, Greece/Belgium (b.1967) & Raoul Vaneigem, Belgium (b.1934) · Nikos Navridis*, Greece (b.1958) · Oswaldo Maciá*, Colombia/UK (b.1960) · Orbita, Latvia (founded 1999) · Paulis Liepa*, Latvia (b.1978) · Petra Bauer, Sweden (b.1970) & Rebecka Katz-Thor*, Sweden (b.1982) · Robert Kuśmirowski*, Poland (b.1973) · Sandra Kosorotova*, Estonia (b.1984) · Sasha Huber, Switzerland/Finland (b.1975) & Petri Saarikko*, Finland (b.1973) · Saskia Holmkvist*, Sweden (b.1971) · Sissel Tolaas*, Norway/Germany (b.1963) · Sputnik photos*, Poland/Slovakia/Belarus (founded 2006 in Poland) · Stelios Faitakis*, Greece (b.1976) · Stine-Marie Jacobsen*, Denmark (b. 1977) · Sven Johne, Germany (b.1976) · Taus Makhacheva*, Dagestan, Russia (b.1983) · Teemu Korpela*, Finland (b.1980) · Tilman Wendland*, Germany (b.1969) · Tobias Zielony*, Germany (b.1973) · Trevor Paglen, USA (b.1974) · Valio Tchenkov*, Bulgaria/Germany (b.1966) · Vladimir Svetlov, Latvia (b.1973) · Viron Erol Vert*, Turkey/Germany (b.1975) · Jevgeni Zolotko*, Estonia (b.1983) · Žilvinas Landzbergas*, Lithuania (b.1979) *An asterisk denotes a new commission The Riga International Biennial of Contemporary Art (RIBOCA) announced nine main venues, which will host the inaugural edition of the biennial and its related public programme and events. The majority of these spaces are within 20 minutes walking distance of each other, creating a sustainable parcours and allowing visitors the time to experience the exhibition and the artists, as well as to discover the city. The selected venues reflect Riga’s diverse cultural and architectural history: from medieval and 19th century traditional wooden buildings and pre-war Art Nouveau; to Soviet modernism and impressive industrial architecture. The spaces not only serve as an aesthetically captivating frame for the concept of the biennial and its artworks but are also an integral part of the broader cultural and historical narrative of the city of Riga and the wider Baltic region.

NOWs: Contemporary Opportunities

25 - 27 May 2018 / Nows ⟶

NOWs: Meine Schwelle

25 May - 11 June 2018 / Nows ⟶

NOWs: Aufschlagen by Sophia Pompéry

18 May - 18 August 2018 / Nows ⟶

NOWs: Applied Autonomy by Robert Lippok

17 May 2018 / Nows ⟶

Applied AutonomyRecord Release With »Redsuperstructure«, Robert Lippok created a new foundation for his musical endeavors. Now – 7 years later – this system properly comes to life on »Applied Autonomy«. The title of the new album is a clear indicator as to what the Berlin-based producer has been up to during the last couple of years, both on a conceptual level as well as how he molds his ideas into tracks. »Applied Autonomy« orchestrates a certain state of frantic standstill, which occurs once a structure is set. Has this state been reached, the artist is free to focus on other equally important aspects, balancing the various shades, pushing ideas even further to really make them shine and blossom in their self-declared autonomy. The more light one lets in, the more layers become visible. Layers are key when it comes to understanding »Applied Autonomy«. Big chunks of the material with which the album has been produced derive from sketches specifically made for a club performance. Rather than meticulously devising each and every detail, Lippok focussed instead on recording as many fragments as possible in a short period of time, elements which he could later combine and layer on stage. Based on this material and his experience experimenting with it in a live environment, the album slowly began to shape. An album culminating in a collaboration with Klara Lewis, with whom Lippok spent 2 days at the EMS studios in Stockholm, approaching the idea of autonomy from yet another angle. During the session, both musicians played and performed simultaneously, yet not explicitly together, lost in their own thoughts and ideas, only subconsciously taking in what the other one was coming up with. The result is »Aamtal«, 14 minutes of a constantly evolving state of poise, magically connecting all the dots Lippok had already defined as »Applied Autonomy«. The artwork for »Applied Autonomy« has been created by the Berlin-based Argentinian artist Lucas Gutierrez. Over the last couple of years, he has made a name for himself with his spectacular AV performances. Order online at Raster Media Applied AutonomyRecord Release With »Redsuperstructure«, Robert Lippok created a new foundation for his musical endeavors. Now – 7 years later – this system properly comes to life on »Applied Autonomy«. The title of the new album is a clear indicator as to what the Berlin-based producer has been up to during the last couple of years, both on a conceptual level as well as how he molds his ideas into tracks. »Applied Autonomy« orchestrates a certain state of frantic standstill, which occurs once a structure is set. Has this state been reached, the artist is free to focus on other equally important aspects, balancing the various shades, pushing ideas even further to really make them shine and blossom in their self-declared autonomy. The more light one lets in, the more layers become visible. Layers are key when it comes to understanding »Applied Autonomy«. Big chunks of the material with which the album has been produced derive from sketches specifically made for a club performance. Rather than meticulously devising each and every detail, Lippok focussed instead on recording as many fragments as possible in a short period of time, elements which he could later combine and layer on stage. Based on this material and his experience experimenting with it in a live environment, the album slowly began to shape. An album culminating in a collaboration with Klara Lewis, with whom Lippok spent 2 days at the EMS studios in Stockholm, approaching the idea of autonomy from yet another angle. During the session, both musicians played and performed simultaneously, yet not explicitly together, lost in their own thoughts and ideas, only subconsciously taking in what the other one was coming up with. The result is »Aamtal«, 14 minutes of a constantly evolving state of poise, magically connecting all the dots Lippok had already defined as »Applied Autonomy«. The artwork for »Applied Autonomy« has been created by the Berlin-based Argentinian artist Lucas Gutierrez. Over the last couple of years, he has made a name for himself with his spectacular AV performances. Order online at Raster Media

NOWs: Possible Vehicles For Time Travel by Ally Bisshop

15 May 2018 / Nows ⟶

NOWs: Flying Semaphores & Floating Bridges by Raul Walch

13 May 2018 / Nows ⟶

NOWs: Raul Walch: Flying Semaphores & Floating BridgesFloating University / Raumlaborberlin Since 2015 Raul Walch has developed various flying objects together with refugees, during numerous visits in the area of the Greek borders: kites that fly across borders, or floating lighthouses, that reflect the sunlight to attract the attention of the coast guards and serve as an orientation mark. This workshop and action series will be continued this this year in Berlin. Raul Walch invites the participants of Floating University as well as the inhabitants of the refugee shelter on the Tempelhof airfield and others interested, for his workshop and collective flying experiments. The polymorphic flying objects will float above the fences of the airfield and expand the floating university into the sky. May 18 – 20, 11 am – 5 pm Raul Walch continuously visited the Greek border areas where he developed various flying objects together with refugees. Find more information at http://www.floatinguniversity.org/…/raul-walch-flying-sema…/ Please register at info@floatinguniversity.org NOWs: Raul Walch: Flying Semaphores & Floating BridgesFloating University / Raumlaborberlin Since 2015 Raul Walch has developed various flying objects together with refugees, during numerous visits in the area of the Greek borders: kites that fly across borders, or floating lighthouses, that reflect the sunlight to attract the attention of the coast guards and serve as an orientation mark. This workshop and action series will be continued this this year in Berlin. Raul Walch invites the participants of Floating University as well as the inhabitants of the refugee shelter on the Tempelhof airfield and others interested, for his workshop and collective flying experiments. The polymorphic flying objects will float above the fences of the airfield and expand the floating university into the sky. May 18 – 20, 11 am – 5 pm Raul Walch continuously visited the Greek border areas where he developed various flying objects together with refugees. Find more information at http://www.floatinguniversity.org/…/raul-walch-flying-sema…/ Please register at info@floatinguniversity.org

NOWs: Language and Reality by Vilém Flusser, translation by Rodrigo Maltez Novaes

07 May 2018 / Nows ⟶

NOWs: Language and Reality by Vilém Flusser, translation by Rodrigo Maltez Novaes In Language and Reality, originally published in São Paulo, Brazil, in 1963, Vilém Flusser continues his philosophical and theoretical exploration into language. He begins to postulate that language is not simply a map of the world but also the driving force for projecting worlds and enters then into a feedback with what is projected. Flusser’s thesis leads him to claim, in a seemingly missed encounter of a dialogue with Wittgenstein, that language is not limited to its ontological and epistemological aspects but rather is at the service of its aesthetic. Traversing a diverse area of research and ruminations on cybernetics to poetry, music, the visual arts, religion, and mysticism, Language and Reality can be viewed as a vital transitional work in Flusser’s emerging thought that will eventually lead to his works in the 1970s and 1980s concerning what we would later consider media theory, design, and digital culture. INTRODUCTION 1. LANGUAGE IS REALITY 1.1. Language Perceived From Without 1.2. Language Perceived From Within 1.3. The Multiplicity of Languages 1.4. On Translation 1.5. Current Distribution of Languages 1.6. Universal Languages 1.7. The limits of Translation Conclusion 2. LANGUAGE SHAPES REALITY 2.1. Time 2.2. Activity and Passivity (Subjectivity and Objectivity) 2.3. Substance 2.4. Unity and Multiplicity 2.5. Causality 2.6. Being 2.7. Potentiality 2.8. Es 2.9. Portuguese as an Investigation Tool Conclusion 3. LANGUAGE CREATES REALITY 3.1. Conversation and Small Talk 3.2. Poetry and Word Salad 3.3. Oration and Babbling 3.4. Amplified Language 3.4.1. Music 3.4.2. Visual Arts 3.5. Civilization 4. LANGUAGE PROPAGATES REALITY 4.1. History, Nature, Civilization 5. CONCLUSION: The Greater Conversation NOWs: Language and Reality by Vilém Flusser, translation by Rodrigo Maltez Novaes In Language and Reality, originally published in São Paulo, Brazil, in 1963, Vilém Flusser continues his philosophical and theoretical exploration into language. He begins to postulate that language is not simply a map of the world but also the driving force for projecting worlds and enters then into a feedback with what is projected. Flusser’s thesis leads him to claim, in a seemingly missed encounter of a dialogue with Wittgenstein, that language is not limited to its ontological and epistemological aspects but rather is at the service of its aesthetic. Traversing a diverse area of research and ruminations on cybernetics to poetry, music, the visual arts, religion, and mysticism, Language and Reality can be viewed as a vital transitional work in Flusser’s emerging thought that will eventually lead to his works in the 1970s and 1980s concerning what we would later consider media theory, design, and digital culture. INTRODUCTION 1. LANGUAGE IS REALITY 1.1. Language Perceived From Without 1.2. Language Perceived From Within 1.3. The Multiplicity of Languages 1.4. On Translation 1.5. Current Distribution of Languages 1.6. Universal Languages 1.7. The limits of Translation Conclusion 2. LANGUAGE SHAPES REALITY 2.1. Time 2.2. Activity and Passivity (Subjectivity and Objectivity) 2.3. Substance 2.4. Unity and Multiplicity 2.5. Causality 2.6. Being 2.7. Potentiality 2.8. Es 2.9. Portuguese as an Investigation Tool Conclusion 3. LANGUAGE CREATES REALITY 3.1. Conversation and Small Talk 3.2. Poetry and Word Salad 3.3. Oration and Babbling 3.4. Amplified Language 3.4.1. Music 3.4.2. Visual Arts 3.5. Civilization 4. LANGUAGE PROPAGATES REALITY 4.1. History, Nature, Civilization 5. CONCLUSION: The Greater Conversation

NOWs: It matters what moves by Ally Bisshop

02 - 05 May 2018 / Nows ⟶

Image: Ally Bisshop, {~}, 2017, inkjet print on fibre rag, tete Berlin NOWs: Ally Bisshop: It matters what movesAD Space at UNSW Art & Design, Paddington, Australia Finissage Party, Friday 04 May 2018, 6PM – 8PM This exhibition by Ally Bisshop explores art’s potential to reinfect matter with memory, and to create openings to the ‘more-than-human’ movements active within an ecology of experience. It engages process philosopher Henri Bergson’s ideas about duration, matter, perception, intuition and fabulation as propositions for an artistic experimentation with matter’s movements. Active within and through the works are a suite of artistic ‘thresholding techniques’ for creating affective intervals of relation to more-than-human material intensities. The Finissage Party will feature a performance by Jasmine Guffond, who will perform a new work that responds and plays with the exhibition. Carefully working with the resonant frequencies inherent to the architecture and objects within the space, Jasmine will explore the properties of sound as a vibrational force and consequently remind us that every object and every being, contains resonant frequencies that can be activated through sound. – Ally Bisshop‘s research and practice seeks to activate the porous thresholds between matter, movement and temporality, where a certain kind of material sensitivity might be articulated. Working across the fields of expanded sculpture and experimental writing, her interest is less in crafting finished art forms than in staging encounters with open processes, threshold events, and zones of material indeterminacy. Born in Australia, Ally has lived and worked across Sydney and in Berlin since 2010. She studied at the Institut für Räumexperimente, UDK Berlin under Olafur Eliasson from 2010-2011, and will finalise her PhD in visual arts at UNSW Art & Design in 2018. Image: Ally Bisshop, {~}, 2017, inkjet print on fibre rag, tete Berlin NOWs: Ally Bisshop: It matters what movesAD Space at UNSW Art & Design, Paddington, Australia Finissage Party, Friday 04 May 2018, 6PM – 8PM This exhibition by Ally Bisshop explores art’s potential to reinfect matter with memory, and to create openings to the ‘more-than-human’ movements active within an ecology of experience. It engages process philosopher Henri Bergson’s ideas about duration, matter, perception, intuition and fabulation as propositions for an artistic experimentation with matter’s movements. Active within and through the works are a suite of artistic ‘thresholding techniques’ for creating affective intervals of relation to more-than-human material intensities. The Finissage Party will feature a performance by Jasmine Guffond, who will perform a new work that responds and plays with the exhibition. Carefully working with the resonant frequencies inherent to the architecture and objects within the space, Jasmine will explore the properties of sound as a vibrational force and consequently remind us that every object and every being, contains resonant frequencies that can be activated through sound. – Ally Bisshop‘s research and practice seeks to activate the porous thresholds between matter, movement and temporality, where a certain kind of material sensitivity might be articulated. Working across the fields of expanded sculpture and experimental writing, her interest is less in crafting finished art forms than in staging encounters with open processes, threshold events, and zones of material indeterminacy. Born in Australia, Ally has lived and worked across Sydney and in Berlin since 2010. She studied at the Institut für Räumexperimente, UDK Berlin under Olafur Eliasson from 2010-2011, and will finalise her PhD in visual arts at UNSW Art & Design in 2018.

NOWs: PAM 2018 | PUBLIC ART MUNICH

30 April - 27 July 2018 / Nows ⟶

Munich Olympic Stadium. Photo: Anders Eiebakke NOWs: PUBLIC ART MUNICH 2018: Game Changers Opening: April 30 Munich Olympic Stadium PAM 2018 (Public Art Munich) will launch with a grand opening on April 30 at the Munich Olympic Stadium and presents twenty time-based, performative commissions staged every weekend in multiple locations around the city through the end of July. PAM 2018 is curated by Joanna Warsza and commissioned by the City of Munich. Commissioned artists Lawrence Abu HamdanCana Bilir-Meier, Anders Eiebakke, Leon Eixenberger, Massimo Furlan, Mariam Ghani, Flaka Haliti & Markus Miessen, Rudolf Herz & Julia Wahren, Alexander Kluge, Michaela Melián, Ari Benjamin Meyers, Dan Perjovschi, Alexandra Pirici & Jonas Lund, Olaf Nicolai, The 9th Futurological Congress/Julieta Aranda & Mareike Dittmer, Franz Wanner, Aleksandra Wasilkowska Game changers PAM 2018 addresses the mechanisms of change and the fundamental shifts taking place today from the vantage point of Munich—a city that has experienced tremendous ideological, sociopolitical, and symbolic turns of events. The commissioned art projects span this complex history, from the Bavarian Soviet Republic, postwar denazification, Radio Free Europe, May 1968, the optimism and tolerance of the Olympic Stadium, 1989, to the welcoming of refugees at Munich’s central station in 2015, to the impacts of digitalization, artificial intelligence, and the #MeToo movement. The question is not whether to take part but rather how to do so and on what terms. What should change and what shouldn’t? PAM 2018 - An introduction by the curator Joanna Warsza Opening week On April 30, PAM 2018 commences at the Munich Olympic Stadium with Swiss performance artist Massimo Furlan’s re-enactment of the legendary 1974 football match between East and West Germany that ended with a score 1:0. The game will be performed by only two participants, one as Sepp Maier and one as Jürgen Sparwasser. Two original radio commentaries will accompany the match, returning football—this time as art—to the Olympic arena. The opening day also features Warsaw-based architect Aleksandra Wasilkowska’s installation of a levitating ceiling entitled Gold for Natascha, Silver for Timofei. The exiled Russian hermit Timofei and his wife Natascha—both refugees in Munich after WWII—illegally constructed a joint Eastern Orthodox/Catholic church on the grounds of the future Olympic park. According to legend, it inspired the construction of the stadium’s floating roof and changed its top-down planning. On May 1, the program continues with live drawing sessions by Dan Perjovschi at the MaximiliansForum; the presentations of Jonas Lund’s Facebook piece Hi Munich: This One is For You! with personalized messages that reach every city inhabitant and problematize the use of social media as a presumed public sphere; as well as the inauguration of the PAM Pavilion designed by Flaka Haliti and Markus Miessen and the discursive program curated by Gürsoy Doğtaş. On May 4–5, the opening week concludes with the 24h concert-installation Music from a Frontier Town by Michaela Melián at Munich Amerikahaus—the first such institution in postwar Germany. PAM 2018 unfolds in time, each weekend presenting commissioned, time-based, performative projects along with an accompanying discursive program. PAM 2018 is less interested in art in public space as a physical location, but rather seeks to address broader concepts of publicity, public opinion, common good, or public speech. PAM 2018 is interested in economizing attention on behalf of public interest rather than for monetary gain. PAM 2018 valorizes art that aspires to change the game by recontextualizing our points of view and, as a result, our actions. PAM 2018 Pre-events March 15, 11am: Press Conference, Munich March 16, 7:30pm: Talk with Jonas Lund, Joanna Warsza and other guests at Spike Berlin March 20, 8pm: Kasper König in conversation with Joanna Warsza, Münchner Kammerspiele Please subscribe to our newsletter at pam2018.de — Joanna Warsza, born in 1976 in Warsaw is a curator working in the public realm, rather than museums. She is the head of CuratorLab at Konstfack University in Stockholm and has curated, among others, the Georgian pavilion at the 55th Venice Biennale and the public program of Manifesta 10 in St. Petersburg. Recently she has edited: I Can’t Work Like This: A Reader on Recent Boycotts and Contemporary Art (2017) and Empty Stages, Crowded Flats: Performativity as Curatorial Strategy (2017). Joanna Warsza lives and works in Berlin. PAM, commissioned by the City of Munich, is Munich’s biggest public art program. It was launched in 2013 with A Space Called Public / Hoffentlich Öffentlich, curated by Elmgreen & Dragset Munich Olympic Stadium. Photo: Anders Eiebakke NOWs: PUBLIC ART MUNICH 2018: Game Changers Opening: April 30 Munich Olympic Stadium PAM 2018 (Public Art Munich) will launch with a grand opening on April 30 at the Munich Olympic Stadium and presents twenty time-based, performative commissions staged every weekend in multiple locations around the city through the end of July. PAM 2018 is curated by Joanna Warsza and commissioned by the City of Munich. Commissioned artists Lawrence Abu HamdanCana Bilir-Meier, Anders Eiebakke, Leon Eixenberger, Massimo Furlan, Mariam Ghani, Flaka Haliti & Markus Miessen, Rudolf Herz & Julia Wahren, Alexander Kluge, Michaela Melián, Ari Benjamin Meyers, Dan Perjovschi, Alexandra Pirici & Jonas Lund, Olaf Nicolai, The 9th Futurological Congress/Julieta Aranda & Mareike Dittmer, Franz Wanner, Aleksandra Wasilkowska Game changers PAM 2018 addresses the mechanisms of change and the fundamental shifts taking place today from the vantage point of Munich—a city that has experienced tremendous ideological, sociopolitical, and symbolic turns of events. The commissioned art projects span this complex history, from the Bavarian Soviet Republic, postwar denazification, Radio Free Europe, May 1968, the optimism and tolerance of the Olympic Stadium, 1989, to the welcoming of refugees at Munich’s central station in 2015, to the impacts of digitalization, artificial intelligence, and the #MeToo movement. The question is not whether to take part but rather how to do so and on what terms. What should change and what shouldn’t? PAM 2018 - An introduction by the curator Joanna Warsza Opening week On April 30, PAM 2018 commences at the Munich Olympic Stadium with Swiss performance artist Massimo Furlan’s re-enactment of the legendary 1974 football match between East and West Germany that ended with a score 1:0. The game will be performed by only two participants, one as Sepp Maier and one as Jürgen Sparwasser. Two original radio commentaries will accompany the match, returning football—this time as art—to the Olympic arena. The opening day also features Warsaw-based architect Aleksandra Wasilkowska’s installation of a levitating ceiling entitled Gold for Natascha, Silver for Timofei. The exiled Russian hermit Timofei and his wife Natascha—both refugees in Munich after WWII—illegally constructed a joint Eastern Orthodox/Catholic church on the grounds of the future Olympic park. According to legend, it inspired the construction of the stadium’s floating roof and changed its top-down planning. On May 1, the program continues with live drawing sessions by Dan Perjovschi at the MaximiliansForum; the presentations of Jonas Lund’s Facebook piece Hi Munich: This One is For You! with personalized messages that reach every city inhabitant and problematize the use of social media as a presumed public sphere; as well as the inauguration of the PAM Pavilion designed by Flaka Haliti and Markus Miessen and the discursive program curated by Gürsoy Doğtaş. On May 4–5, the opening week concludes with the 24h concert-installation Music from a Frontier Town by Michaela Melián at Munich Amerikahaus—the first such institution in postwar Germany. PAM 2018 unfolds in time, each weekend presenting commissioned, time-based, performative projects along with an accompanying discursive program. PAM 2018 is less interested in art in public space as a physical location, but rather seeks to address broader concepts of publicity, public opinion, common good, or public speech. PAM 2018 is interested in economizing attention on behalf of public interest rather than for monetary gain. PAM 2018 valorizes art that aspires to change the game by recontextualizing our points of view and, as a result, our actions. PAM 2018 Pre-events March 15, 11am: Press Conference, Munich March 16, 7:30pm: Talk with Jonas Lund, Joanna Warsza and other guests at Spike Berlin March 20, 8pm: Kasper König in conversation with Joanna Warsza, Münchner Kammerspiele Please subscribe to our newsletter at pam2018.de — Joanna Warsza, born in 1976 in Warsaw is a curator working in the public realm, rather than museums. She is the head of CuratorLab at Konstfack University in Stockholm and has curated, among others, the Georgian pavilion at the 55th Venice Biennale and the public program of Manifesta 10 in St. Petersburg. Recently she has edited: I Can’t Work Like This: A Reader on Recent Boycotts and Contemporary Art (2017) and Empty Stages, Crowded Flats: Performativity as Curatorial Strategy (2017). Joanna Warsza lives and works in Berlin. PAM, commissioned by the City of Munich, is Munich’s biggest public art program. It was launched in 2013 with A Space Called Public / Hoffentlich Öffentlich, curated by Elmgreen & Dragset

NOWs: Hybrid Matter by Andreas Greiner

28 April - 23 June 2018 / Nows ⟶

NOWs: Andreas Greiner: Hybrid Matterat DITTRICH & SCHLECHTRIEM OPENING: FRIDAY, 27 APR, 6–9PM For Gallery Weekend Berlin, Andreas Greiner has produced new works that reflect on how humans manipulate and redesign nature through genetic engineering, speculating on the future of mankind’s own genetic code. Characterizing Andreas Greiner’s work is his in-depth examination of the dissolving boarders between nature and technology. What is the meaning of nature in an age of digitalization and synthetic biology? The way in which we experience nature is defined by our prior knowledge and socialization, however what we experience in nature is changing rapidly. Human manipulation of evolutionary processes are posing ethically, socially, and ecologically critical questions which demand answers. On entering the exhibition space one is welcomed by (insert title of artwork) a nickel-silver sculpture depicting cell division—a reproductive act and conceptual starting point of the exhibition. Sharing the same space, the work Edit Yourself KIT, a DIY Crisper Genome Engineering KIT which will allow one to manipulate their own genetics. The centrepiece of Greiner‘s exhibition is the sound installation The Molecular Ordering of Computational Plants, produced in collaboration with Tyler Friedman who authored the piece’s text and music. This science fiction audioplay reverberates within the main room of the gallery, composed of a luminicent aquarium and pulsating watertubes synchronised with the soundscape. Along the walls Greiner presents a new series of photographs showing miscroscopic images of algeas, titled Billions of Heart Beats Slowed Down into Synchronicity, as well as tumor cells, titled Hybrid Matter Studies and Panorama of a Landscape, realised with the scientist S. Diller. “The works at the center of Andreas Greiner’s solo exhibition ‘Hybrid Matter’ constitute an epistemological conundrum. How sure are we of our fundamental convictions of life and death, right and wrong? Hanging in the dimmed exhibition space of Dittrich & Schlechtriem gallery are images of microscopic cellular clusters, magnified between a thousand and ten thousand times: clumps of human intestinal cancer tumor cells and spherical aggregates of Mycoplasma mycoides, the JCVI-syn3.0 strain of a synthetic bacteria created in the J. Craig Venter Institute. Greiner considers these pictures as portraits, like larger-than-life, celebratory depictions of individuals that have had an outsized impact on the public sphere. At work in these images, and troubled by them, are the moral and existential implications of portraiture. To represent an individual is to fix their likeness to a moment. From that point on, the individual carries out parallel lives: one propelled into continuous change, the other frozen; one guided by subjectivity, the other by the narrative interpretation of others.” The excerpt above by Carson Chan will be featured in the exhibition catalogue that will be available in the gallery. Andreas Greiner (b. Aachen, DE / 1979) currently lives and works in Berlin. Greiner studied medicine and later art at Universität der Bildenden Künste Dresden, then attended Universität der Künste Berlin in the class of Rebecca Horn and completed in 2013 with the class of Olafur Eliasson. Greiner studied with Eliasson at the Institut für Raumexperimente Berlin (2009). The artist’s works have been presented in numerous solo and group exhibitions in national and international institutions. In 2016 he was awarded with the GASAG Art Prize of the Berlinische Galerie, Berlin (Agency of the Exponent), and is thus included in the musuem‘s collection. This April 2018 the Kunstverein Heilbronn presents a solo exhibition with new a soundpiece and photographic work. Greiner‘s third monograph will be published later this year. NOWs: Andreas Greiner: Hybrid Matterat DITTRICH & SCHLECHTRIEM ERÖFFNUNG: FREITAG, 27. APRIL, 18–21 UHR Zum Gallery Weekend Berlin realisiert der in Berlin lebende Künstler Andreas Greiner neue Arbeiten, die Manipulation und Gestaltung von Natur durch gezielte Genveränderung thematisieren und einen spekulativen Blick in die Zukunft erlauben. Charakteristisch für Andreas Greiner ist die Auseinandersetzung mit der zunehmenden Auflösung der Grenzen zwischen Natur – Kultur/Technik. Was verstehen wir heute im Zeitalter der Digitalisierung und synthetischer Biologie unter Natur? Wie wir Natur erleben, hängt von unserem Vorwissen, unserer Kultivierung und Sozialisierung ab, aber auch was wir als Natur erleben, befindet sich in einem rasanten Umbruch. Menschliche Eingriffe in evolutionäre Zusammenhänge werfen ethische, sozialgesellschaftliche und ökologiekritische Fragen auf. Die Treppe zum Ausstellungsraum herunterkommend steht eine in Neusilber gegossene Skulptur, die eine Zellteilung darstellt. Dieses Denkmal für den Reproduktionsakt bildet den Ausgangspunkt der Ausstellung. Im selben Raum hängt die Arbeit Edit Yourself KIT, ein DIY Crisper Genome Engineering KIT, mit dem man in der Lage sein soll, seine eigene Genetik zu manipulieren. Das Hauptwerk der Ausstellung ist die in Zusammenarbeit mit dem Komponisten Tyler Friedman (Text und Musik) entstandene Soundinstallation The Molecular Ordering of Computational Plants, welche den sich verdunkelnden Hauptausstellungsraum der Galerie zum Resonanzkörper eines Sience-Fiction-Hörspiels macht, in dessen Einklang ein luminizierndes Aquarium und Wasserröhren pulsieren. Neue Serien von Fotografien an den Wänden zeigen Mikroskopaufnahmen von Algen (Billions of Heart Beats Slowed Down into Synchronicity) und Tumorzellen (Hybrid Matter Studies und Panorama of a Landscape), die mit Hilfe des Wissenschaftlers S. Diller realisiert worden sind. „Die Arbeiten im Mittelpunkt von Andreas Greiners Einzelausstellung „Hybrid Matter“ geben ein Rätsel auf. Wie überzeugt sind wir von unseren grundlegenden Vorstellungen von Leben und Tod, von Richtig und Falsch? In der abgedunkelten Galerie hängen Bilder von mikroskopischen Zellen in 1.000 bis 10.000-facher Vergrößerung: Klumpen menschlicher Darmtumorzellen und kugelförmiger Ansammlungen von Mycoplasma mycoides, dem Stamm eines synthetischen Bakteriums aus dem J. Craig Venter Institute mit dem Namen JCVI-syn3.0. Greiner versteht diese Bilder als Porträts. Für ihn besteht kein grundlegender Unterschied zwischen ihnen und den überlebensgroßen Bildnissen, mit denen herausragende Individuen des öffentlichen Lebens gewürdigt werden. Diese Werke nutzen und problematisieren die ethischen und existenziellen Implikationen des Porträts als Gattung. Eine Person zu porträtieren heißt immer, ihr Abbild in einem Moment zu fixieren. Von nun an führt sie parallele Leben: Eines ist in unaufhaltsamem Wandel begriffen, das andere wie erstarrt; das eine durch Subjektivität bestimmt, das andere durch die Erzählungen, mit denen Dritte es deuten.“ Der oben stehende Textauszug stammt aus dem Essay von Carson Chan, welcher in dem begleitenden Katalog veröffentlicht wird. Andeas Greiner (geb. Aachen, DE / 1979) lebt und arbeitet in Berlin. Nach anfänglichem Studium der Medizin studierte er an der Hochschule für Bildende Künste in Dresden und schließlich an der Universität der Künste Berlin bei Rebecca Horn und von 2012 -2013 als Meisterschüler im Institut für Raumexperimente bei Olafur Eliasson. Seine Arbeit wurde in zahlreichen Einzel- und Gruppenausstellungen in sowohl nationalen als auch internationalen Institutionen gezeigt. 2016 wurde Greiner mit dem GASAG Kunstpreis der Berlinischen Galerie ausgezeichnet, in deren Sammlung er ebenfalls vertreten ist. Diesen April eröffnete der Kunstverein Heilbronn eine Einzelausstellung mit Andreas Greiner, die eine neue Soundinstallation und Fotoarbeiten präsentiert. Ende des Jahres wird die dritte Künstlermonografie zu Greiners Werk publiziert.

NOWs: Re-Imagining Berlin with Yves Mettler a.o.

28 April 2018 / Nows ⟶

NOWs: Re-Imagining Berlin Noize Fabrik Elsenstr. 52, 12059 Berlin Saturday, 28.4.2018, 7 – 11 pm Doors open at 7 pm Show starts at 7.30 pm – “I was not born of city, but I will most certainly die in its arms. It is the least I can do, after it has moulded and cuddled me all these torrid years”. Berlin is more than concrete, it is a revolving and evolving cut and pasted being. As we shift and shuffle along its many pathways we imprint upon it our own mark, but let it not be underestimated the extent to which it itself imprints upon our souls. – ‘Re-imagining Berlin’ will showcase the work of some amazingly talented artists. These include spoken word dancers, comedians, dancers, photographers and visual artists. In their own unique language they collaborate to explore the importance and necessity of re-imagining Berlin. – The “Re-imagining” series is an effort to explore different perspectives and to un-box and de-box our approaches to key societal issues. It seeks to underscore the importance of unpacking polarisations and cyclical patterns and radically re-think how we address, tackle and perceive these all-important challenges. – Performers: Alexis Smith Angela Fegers Cedric Till Elena Francalanci Katie Kelly Michael Priebe Robin Czerny Soar Yusuf Rieger Yves Mettler This will be a BYOB event. There is a Späti located at the entrance to the venue. The bar at the venue will only be serving non-alcoholic beverages. Tickets 7 Euros at the door before 7.30 pm, 10 Euros thereafter NOWs: Re-Imagining Berlin Noize Fabrik Elsenstr. 52, 12059 Berlin Saturday, 28.4.2018, 7 – 11 pm Doors open at 7 pm Show starts at 7.30 pm – “I was not born of city, but I will most certainly die in its arms. It is the least I can do, after it has moulded and cuddled me all these torrid years”. Berlin is more than concrete, it is a revolving and evolving cut and pasted being. As we shift and shuffle along its many pathways we imprint upon it our own mark, but let it not be underestimated the extent to which it itself imprints upon our souls. – ‘Re-imagining Berlin’ will showcase the work of some amazingly talented artists. These include spoken word dancers, comedians, dancers, photographers and visual artists. In their own unique language they collaborate to explore the importance and necessity of re-imagining Berlin. – The “Re-imagining” series is an effort to explore different perspectives and to un-box and de-box our approaches to key societal issues. It seeks to underscore the importance of unpacking polarisations and cyclical patterns and radically re-think how we address, tackle and perceive these all-important challenges. – Performers: Alexis Smith Angela Fegers Cedric Till Elena Francalanci Katie Kelly Michael Priebe Robin Czerny Soar Yusuf Rieger Yves Mettler This will be a BYOB event. There is a Späti located at the entrance to the venue. The bar at the venue will only be serving non-alcoholic beverages. Tickets 7 Euros at the door before 7.30 pm, 10 Euros thereafter

NOWs: Immer noch der Lauf der Dinge by Julius von Bismarck

27 April - 09 June 2018 / Nows ⟶

Julius von Bismarck, Tiere sind Engel mit Fell, 2018, video still NOWs: Julius von Bismarck: Immer noch der Lauf der Dingealexander levy Opening: Friday, Apr 27, 2018 | 6–9 pm Opening hours during Gallery Weekend Berlin: Saturday, Apr 28 + Sunday, Apr 29 | 11 am – 7 pm During the Gallery Weekend Berlin, Julius von Bismarck invites gallery visitors to become part of his artistic research process. One Solution Revolution: the entire floor of the gallery is being converted into a treadmill – it will be impossible to view the works at a standstill because the virtual standstill can only be achieved by uniform movement. Visitors are encouraged to experience the endless movement, albeit not alone, but collectively at the same pace. The never-ending movement is already familiar in von Bismarck’s work. But in the performance Ecocentric System (2015) it was the artist himself who spent nearly a week sitting on a concrete wheel that turned so fast around his own axis, that for him the outside world was barely recognizable. The artist, surrounded by people, could hardly perceive the world outside his system and inevitably everything began to revolve around himself. Now there is a change of perspective and von Bismarck takes the audience into view. It creates a whole new viewing situation that does not tolerate passivity. Additionally Julius von Bismarck’s new video series Tiere sind Engel mit Fell is on view. Julius von Bismarck, Tiere sind Engel mit Fell, 2018, video still NOWs: Julius von Bismarck: Immer noch der Lauf der Dingealexander levy Opening: Friday, Apr 27, 2018 | 6–9 pm Opening hours during Gallery Weekend Berlin: Saturday, Apr 28 + Sunday, Apr 29 | 11 am – 7 pm During the Gallery Weekend Berlin, Julius von Bismarck invites gallery visitors to become part of his artistic research process. One Solution Revolution: the entire floor of the gallery is being converted into a treadmill – it will be impossible to view the works at a standstill because the virtual standstill can only be achieved by uniform movement. Visitors are encouraged to experience the endless movement, albeit not alone, but collectively at the same pace. The never-ending movement is already familiar in von Bismarck’s work. But in the performance Ecocentric System (2015) it was the artist himself who spent nearly a week sitting on a concrete wheel that turned so fast around his own axis, that for him the outside world was barely recognizable. The artist, surrounded by people, could hardly perceive the world outside his system and inevitably everything began to revolve around himself. Now there is a change of perspective and von Bismarck takes the audience into view. It creates a whole new viewing situation that does not tolerate passivity. Additionally Julius von Bismarck’s new video series Tiere sind Engel mit Fell is on view.

NOWs: Dwell in Other Futures

27 - 28 April 2018 / Nows ⟶

NOWs: Dwell in Other Futuresat the Pulitzer Arts Foundation, St. Louis, USA Dwell in Other Futures is a two-day festival of art and ideas exploring the collisions of race, urbanism, and futurism, providing a platform for alternate visions of the St. Louis to come. Launching Friday, April 27 at the Kranzberg Art Foundation’s .ZACK arts facility, Dwell in Other Futures will continue at the Pulitzer Arts Foundation on Saturday, April 28. – Eric Ellingsen and Species of Space:The earth is blue like an orange greenway Public performance: April 28, 1-2pm at the Pulitzer Foundation, PXSTL site (field across from the Pulitzer Foundation) The earth is blue like an orange greenway is (1) a social engagement design experiment (2) a communication process for citizen based co-design agency (3) a ceremony welcoming the coming of the St Louis Chouteau Greenway. Landscape design is an art form that co-produces knowledge, memories and stories through performance, perception and participation. When the design of our public spaces is inclusive, it becomes democracy in action. Civic values are spatialized and can be negotiated as a material dialogue articulated through critically oriented play. You are invited to co-materialize a spatial design ritual welcoming the St. Louis Chouteau Greenway. ALL SPECIES ARE WELCOME. MAY GET MESSEY. Invitation to make statements Two ‘speakers platforms’ will be set up as social infrastructure in the PXSTL site across from the Pulitzer Foundation. Each platform will be provided with a bullhorn. Everyone is invited to make statements up to 3 minutes in length. The statements should be oriented around the topic of LAND, LANDSCAPE, or LANGUAGE. This can be playful, political, philosophic or poetic. Statement Examples: back-yard stories, bird encounters, nature play-grounds, gardens, forging, food recipes, landfills and lead, memories of Mill Creek Valley, trampoline beings, basketball courts, fishing holes, prairies burns, scientific studies, utility markings, milkweed and monarchs, monarchs, mounds, leaves of grass, SOS’s, future speculations on storm water and trickles, anything to do with the Commons. You are invited to make a statement. Please bring poems, songs, something to read, something prepared, something improvised. All ages welcome. All species welcome. If you would like to make a statement and don’t feel like there is time to prepare a statement, poems and lyrical fragments will be provided. NOWs: Dwell in Other Futuresat the Pulitzer Arts Foundation, St. Louis, USA Dwell in Other Futures is a two-day festival of art and ideas exploring the collisions of race, urbanism, and futurism, providing a platform for alternate visions of the St. Louis to come. Launching Friday, April 27 at the Kranzberg Art Foundation’s .ZACK arts facility, Dwell in Other Futures will continue at the Pulitzer Arts Foundation on Saturday, April 28. – Eric Ellingsen and Species of Space:The earth is blue like an orange greenway Public performance: April 28, 1-2pm at the Pulitzer Foundation, PXSTL site (field across from the Pulitzer Foundation) The earth is blue like an orange greenway is (1) a social engagement design experiment (2) a communication process for citizen based co-design agency (3) a ceremony welcoming the coming of the St Louis Chouteau Greenway. Landscape design is an art form that co-produces knowledge, memories and stories through performance, perception and participation. When the design of our public spaces is inclusive, it becomes democracy in action. Civic values are spatialized and can be negotiated as a material dialogue articulated through critically oriented play. You are invited to co-materialize a spatial design ritual welcoming the St. Louis Chouteau Greenway. ALL SPECIES ARE WELCOME. MAY GET MESSEY. Invitation to make statements Two ‘speakers platforms’ will be set up as social infrastructure in the PXSTL site across from the Pulitzer Foundation. Each platform will be provided with a bullhorn. Everyone is invited to make statements up to 3 minutes in length. The statements should be oriented around the topic of LAND, LANDSCAPE, or LANGUAGE. This can be playful, political, philosophic or poetic. Statement Examples: back-yard stories, bird encounters, nature play-grounds, gardens, forging, food recipes, landfills and lead, memories of Mill Creek Valley, trampoline beings, basketball courts, fishing holes, prairies burns, scientific studies, utility markings, milkweed and monarchs, monarchs, mounds, leaves of grass, SOS’s, future speculations on storm water and trickles, anything to do with the Commons. You are invited to make a statement. Please bring poems, songs, something to read, something prepared, something improvised. All ages welcome. All species welcome. If you would like to make a statement and don’t feel like there is time to prepare a statement, poems and lyrical fragments will be provided.

NOWs: NGORO NGORO II

26 - 29 April 2018 / Nows ⟶

N G O R O N G O R . A r t i s t We e k e n d B e r l i n 2 0 1 5 © Artist Weekend 2015 NOWs: NGORO NGORO IIArtist Weekend, Berlin Lehderstrasse 34 / Berlin EXHIBITION OPENING Thursday 26 April 2018 / 10 am – midnight EXHIBITION OPENING HOURS Thursday 26 April, Friday 27 April, Saturday 28 April, Sunday 29 April 2018 / 10 am – midnight A 4 day exhibition, which this year hosts over 150 artists, including: Christian Achenbach, Etel Adnan, Johannes Albers, Roger Ballen, Maxime Ballesteros, Ali Banisadr, Georg Baselitz, Marcus Bastel, Marius Bercea, Stefan Berchtold, Bienert & von Gumppenberg, Matthias Bitzer, Andreas Blank, Simon Blume, John Bock, Katia Bourdarel, Nick Brandt, GL Brierley, Jonas Burgert, Cambodia 10th c. unknow, James Capper, Carmen Catuti, Carla Chan, Jake & Dinos Chapman, Mat Collishaw, George Condo, Jigger Cruz, Marina Cruz, Johannes Daniel, Birgit Dieker, Nathalie Djurberg, Uros Djurovic, Tjorg Douglas Beer, Peter Duka, Marlene Dumas, Zhivago Duncan, Kerstin Dzewior, Martin Eder, Tim Eitel, Ida Ekblad, Elmgreen & Dragset, Thomas Feuerstein, Amira Fritz, Ingo Fröhlich, Christopher Füllemann, Gilbert & George, Andrej Golder, Monika Grabuschnigg, Cecilia Granara, Philip Grözinger, Katharina Grosse, F.C. Gundlach, Stefanie Gutheil, Hannah Hallermann, Blalla W. Hallmann, Stella Hamberg, Siobhán Hapaska, Jens Hausmann, Aaron Hawks, Axel Heil, Uwe Henneken, Anton Henning, Nathanaëlle Herbelin, Gregor Hildebrandt, Stefanie Hillich, Petra Höcker, Ull Hohn, Christian Hoosen, Andy Hope 1930, Rachel Howard, John Isaacs, Michael Joo, Daniel Josefsohn, Jürgen Klauke, Jean Yves Klein, Wilhelm Klotzek, Yulia Kosulnikova, Alicja Kwade, Cyrill Lachauer, James Lavelle, Gonzalo Lebrija, Jeewi Lee, Antoine Le Grand, Daniel Lergon, Klara Lidén, Marin Majić, Mark Manders, Kylie Manning, Teresa Margolles, Paul McCarthy, Dominic McGill, Dirk Meinzer, Bjørn Melhus, Isa Melsheimer, Ryan Mendoza, Marilyn Minter, Polly Morgan, Andreas Mühe, Konrad Mühe, Maria Naidyonova, NASA / Edgar Mitchell, Bruce Nauman, Sebastian Nebe, Shirin Neshat, David Nicholson, Tim Noble & Sue Webster, David Ostrowski, SeungMo Park, Manfred Pernice, Danielle de Picciotto & Alexander Hacke, Sophia Pompéry, Fritz Poppenberg, Sven Potschien, Hannu Prinz, Thomas Rentmeister, Anselm Reyle, Robin Rhode, Stefan Rinck, Julian Röder, Madeleine Roger-Lacan, Julian Rosefeldt, Michael Sailstorfer, Anri Sala, Michael Samuels, Fette Sans, Lawrence Schiller, Moritz Schleime, Oskar Schmidt, Andreas Schmitten, Kerstin Schröder, Taras Sereda, Viveek Sharma, Florian Slotawa, Paul Sochacki, Aleen Solari, Jan-Peter E.R. Sonntag, Andrea Stappert, Jonny Star, John Stark, Peter Stauss, Marie Steinmann, Eva Teppe, The Silk Road Symphony, Orchestra / Jan Moritz Onken, P E Thomas, Betty Tompkins, Philip Topolovac, Peter Torp, Nasan Tur, Timm Ulrichs, Ludwig Vandevelde, Sandra Vásquez de la Horra, Bill Viola, Herbert Volkmann, Von Spar, Wiebke Maria Wachmann, Reijiro Wada, Anna Wagner, Nick Waplington, Wermke / Leinkauf, Pete Wheeler, James White, Patrick Will & Caspar Wülfing, Sislej Xhafa, He Xiangyu, Thomas Zipp, Zon. For the period of Berlin gallery weekend 2018 and the second time in its history, the 6000 square meter studio spaces of Lehderstrasse 34 will host an incredibly diverse exhibition of paintings, sculpture, multimedia, installation, film and photography. Artists invite other artists to exhibit in the context of this studio environment, thus returning the viewer to the very place of art’s genesis. N G O R O N G O R . A r t i s t We e k e n d B e r l i n 2 0 1 5 © Artist Weekend 2015 NOWs: NGORO NGORO IIArtist Weekend, Berlin Lehderstrasse 34 / Berlin EXHIBITION OPENING Thursday 26 April 2018 / 10 am – midnight EXHIBITION OPENING HOURS Thursday 26 April, Friday 27 April, Saturday 28 April, Sunday 29 April 2018 / 10 am – midnight A 4 day exhibition, which this year hosts over 150 artists, including: Christian Achenbach, Etel Adnan, Johannes Albers, Roger Ballen, Maxime Ballesteros, Ali Banisadr, Georg Baselitz, Marcus Bastel, Marius Bercea, Stefan Berchtold, Bienert & von Gumppenberg, Matthias Bitzer, Andreas Blank, Simon Blume, John Bock, Katia Bourdarel, Nick Brandt, GL Brierley, Jonas Burgert, Cambodia 10th c. unknow, James Capper, Carmen Catuti, Carla Chan, Jake & Dinos Chapman, Mat Collishaw, George Condo, Jigger Cruz, Marina Cruz, Johannes Daniel, Birgit Dieker, Nathalie Djurberg, Uros Djurovic, Tjorg Douglas Beer, Peter Duka, Marlene Dumas, Zhivago Duncan, Kerstin Dzewior, Martin Eder, Tim Eitel, Ida Ekblad, Elmgreen & Dragset, Thomas Feuerstein, Amira Fritz, Ingo Fröhlich, Christopher Füllemann, Gilbert & George, Andrej Golder, Monika Grabuschnigg, Cecilia Granara, Philip Grözinger, Katharina Grosse, F.C. Gundlach, Stefanie Gutheil, Hannah Hallermann, Blalla W. Hallmann, Stella Hamberg, Siobhán Hapaska, Jens Hausmann, Aaron Hawks, Axel Heil, Uwe Henneken, Anton Henning, Nathanaëlle Herbelin, Gregor Hildebrandt, Stefanie Hillich, Petra Höcker, Ull Hohn, Christian Hoosen, Andy Hope 1930, Rachel Howard, John Isaacs, Michael Joo, Daniel Josefsohn, Jürgen Klauke, Jean Yves Klein, Wilhelm Klotzek, Yulia Kosulnikova, Alicja Kwade, Cyrill Lachauer, James Lavelle, Gonzalo Lebrija, Jeewi Lee, Antoine Le Grand, Daniel Lergon, Klara Lidén, Marin Majić, Mark Manders, Kylie Manning, Teresa Margolles, Paul McCarthy, Dominic McGill, Dirk Meinzer, Bjørn Melhus, Isa Melsheimer, Ryan Mendoza, Marilyn Minter, Polly Morgan, Andreas Mühe, Konrad Mühe, Maria Naidyonova, NASA / Edgar Mitchell, Bruce Nauman, Sebastian Nebe, Shirin Neshat, David Nicholson, Tim Noble & Sue Webster, David Ostrowski, SeungMo Park, Manfred Pernice, Danielle de Picciotto & Alexander Hacke, Sophia Pompéry, Fritz Poppenberg, Sven Potschien, Hannu Prinz, Thomas Rentmeister, Anselm Reyle, Robin Rhode, Stefan Rinck, Julian Röder, Madeleine Roger-Lacan, Julian Rosefeldt, Michael Sailstorfer, Anri Sala, Michael Samuels, Fette Sans, Lawrence Schiller, Moritz Schleime, Oskar Schmidt, Andreas Schmitten, Kerstin Schröder, Taras Sereda, Viveek Sharma, Florian Slotawa, Paul Sochacki, Aleen Solari, Jan-Peter E.R. Sonntag, Andrea Stappert, Jonny Star, John Stark, Peter Stauss, Marie Steinmann, Eva Teppe, The Silk Road Symphony, Orchestra / Jan Moritz Onken, P E Thomas, Betty Tompkins, Philip Topolovac, Peter Torp, Nasan Tur, Timm Ulrichs, Ludwig Vandevelde, Sandra Vásquez de la Horra, Bill Viola, Herbert Volkmann, Von Spar, Wiebke Maria Wachmann, Reijiro Wada, Anna Wagner, Nick Waplington, Wermke / Leinkauf, Pete Wheeler, James White, Patrick Will & Caspar Wülfing, Sislej Xhafa, He Xiangyu, Thomas Zipp, Zon. For the period of Berlin gallery weekend 2018 and the second time in its history, the 6000 square meter studio spaces of Lehderstrasse 34 will host an incredibly diverse exhibition of paintings, sculpture, multimedia, installation, film and photography. Artists invite other artists to exhibit in the context of this studio environment, thus returning the viewer to the very place of art’s genesis.

NOWs: Unthought Known at YARAT Contemporary Art Space

25 April - 11 May 2018 / Nows ⟶

Clara Jo: Temporal Shifts, 2018 (stilll) NOWs: Unthought Known with works by Hiba Farhat, Clara Jo and Ehtiram Jabiat YARAT Contemporary Art Space, ARTIM Project Space Old City, Baku, Azerbaijan YARAT Contemporary Art Space is pleased to announce the exhibition “Unthought Known” with works by YARAT residents Hiba Farhat (USA/Lebanon), Clara Jo (USA/ Germany) and Ehtiram Jabi (Azerbaijan). The term “Unthought Known” refers to a psychological concept of knowledge that the individual person is not actively aware of. The “unthought” stands for early-learned schemata of interpreting the objective world; it can be shaped by early experiences, traumas or dreams that unconsciously determine our perception and actions. In the exhibition the works approach subjects that deconstruct repetitive structures such as memory, history, language questioning concepts of perception, knowledge and reality. Clara Jo’s short film “Temporal Shifts” excavates the layers of history embedded within various mnemonic and architectural landscapes in and around Baku. Behind these ancient and modern facades, narratives are derived and accumulated via the natural and artificial materials that make up the city. Contrasting grand architectural gestures against the prosaic, the film interrogates how the modern production of spaces preserves identity, yet also has the capacity to generate cultural amnesia. – Address ARTIM Project Space Old City (Icherisheher) Boyuk Gala Street 30, Baku, Azerbaijan Working hours: Tuesday – Sunday, 12 pm – 8 pm Admission is free For more information: +994125051414 – Clara Jo: Temporal Shifts, 2018 (installation view) Clara Jo: Temporal Shifts, 2018 (stilll) NOWs: Unthought Known with works by Hiba Farhat, Clara Jo and Ehtiram Jabiat YARAT Contemporary Art Space, ARTIM Project Space Old City, Baku, Azerbaijan YARAT Contemporary Art Space is pleased to announce the exhibition “Unthought Known” with works by YARAT residents Hiba Farhat (USA/Lebanon), Clara Jo (USA/ Germany) and Ehtiram Jabi (Azerbaijan). The term “Unthought Known” refers to a psychological concept of knowledge that the individual person is not actively aware of. The “unthought” stands for early-learned schemata of interpreting the objective world; it can be shaped by early experiences, traumas or dreams that unconsciously determine our perception and actions. In the exhibition the works approach subjects that deconstruct repetitive structures such as memory, history, language questioning concepts of perception, knowledge and reality. Clara Jo’s short film “Temporal Shifts” excavates the layers of history embedded within various mnemonic and architectural landscapes in and around Baku. Behind these ancient and modern facades, narratives are derived and accumulated via the natural and artificial materials that make up the city. Contrasting grand architectural gestures against the prosaic, the film interrogates how the modern production of spaces preserves identity, yet also has the capacity to generate cultural amnesia. – Address ARTIM Project Space Old City (Icherisheher) Boyuk Gala Street 30, Baku, Azerbaijan Working hours: Tuesday – Sunday, 12 pm – 8 pm Admission is free For more information: +994125051414 – Clara Jo: Temporal Shifts, 2018 (installation view)

NOWs: Ornament & Verbrechen – Concert

24 April 2018 / Nows ⟶

Audience at the workshop Freie Musik (Free Music), Akademie der Künste/Berlin, 1970 Photo: Werner Bethsold © Werner Bethsold/FMP-Publishing NOWs: Underground und Improvisation. Alternative music and art after 1968 Akademie der Künste Hanseatenweg 10 10557 Berlin Opening Wednesday, 14 March 2018, 7 pm with Jeanine Meerapfel, Nele Hertling, Markus Müller and Jarosław Suchan. In German and English Exhibitions, Concerts, Discourse 15 March – 6 May 2018 Find full program here. — Tuesday, 24 April 2018 6 pm DISCOURSE: Books ReBoostert Performance Lecture: Arnold Dreyblatt, Jan Faktor In German 8 pm CONCERT: Ornament & Verbrechen Robert Lippok, Ronald Lippok Ticket € 13/7 Founded by brothers Robert and Ronald Lippok in East Germany the 1980s, Ornament & Verbrechen never saw themselves as a conventional band that followed only one artistic concept. Instead, they opted for openness, for different styles – such as jazz, industrial or electronic – or even different, partly multimedia implementations of their projects, as is reflected in the band’s ever-changing line-up and its many different pseudonyms. Using basic equipment and partly self-built instruments, sounds were created – a conscious counter-concept to the contemporary mainstream. — Two exhibitions on the themes of underground and improvisation, held from 15 March to 6 May 2018 in the Akademie building on Hanseatenweg, will focus on the alternative music and art movements in East and West, from the student revolts of the Prague Spring to the period after the fall of the Iron Curtain in Berlin and eastern Europe. The extensive supporting programme consists of a series of concerts, film showings, panel discussions and an interdisciplinary symposium. The exhibition “Notes from the Underground – Alternative Art and Music in Eastern Europe 1968–1994” commemorates a generation of artists that occupied the interface between performance art, video art and experimental music, deliberately eschewing official culture. Censorship and scarcity produced richly imaginative and frequently ironic types of work. The exhibition presents a selection of contemporary testimonies, some for the first time, including musical instruments fashioned by the artists themselves, Super 8 films, Samizdat magazines and documentary recordings of performances. The exhibition “Free Music Production / FMP: The Living Music” traces the history of Free Music Production (1968–2010), the Berlin platform for the production, presentation and documentation of free music, which was founded by artists. Legendary FMP concerts and events were held at the Akademie der Künste, entering the annals of international history as one of West Berlin’s most important cultural contributions. This exhibition and concert programme returns the story to its birthplace, forging new bonds with the contemporary music scene. The music programme is curated by Louis Rastig, Sergej Newski und Markus Müller. The programme of discussions accompanying the exhibition is presented in corporation with the Federal Agency for Civic Education/bpb. “Notes from the Underground – Alternative Art and Music in Eastern Europe 1968 – 1994” is a programme by the Akademie der Künste, Berlin, in cooperation with Muzeum Sztuki, Łódź, curated by David Crowley and Daniel Muzyczuk with the support of Angela Lammert. “Free Music Production / FMP: The Living Music” is an exhibition by Haus der Kunst, Munich, in cooperation with the Akademie der Künste, Berlin, and curated by Markus Müller. Funded by the German Federal Cultural Foundation and the Goethe Institute. — Poster Total Music Meeting 1968. Design: Jost Gebers © FMP-Publishing Publikum beim Workshop Freie Musik, Akademie der Künste/Berlin, 1970 Photo: Werner Bethsold © Werner Bethsold/FMP-Publishing NOWs: Underground und Improvisation. Alternative Musik und Kunst nach 1968 Akademie der Künste Hanseatenweg 10 10557 Berlin Eröffnung Mittwoch, 14. März 2018, 19 Uhr mit Jeanine Meerapfel, Nele Hertling, Markus Müller und Jarosław Suchan Ausstellungen, Konzerte, Diskurse 15. März – 6. Mai 2018 Siehe vollständiges Veranstaltungsprogramm. — Dienstag, 24. April 2018 18 Uhr DISKURS: Books ReBoostert Performance Lecture: Arnold Dreyblatt, Jan Faktor In deutscher Sprache 20 Uhr KONZERT: Ornament & Verbrechen Robert Lippok, Ronald Lippok Ticket € 13/7 Von den Brüdern Robert und Ronald Lippok in den 1980er Jahren in der DDR gegründet, verstand sich Ornament & Verbrechen nie als konventionelle Band, die nur einem künstlerischen Konzept folgt, sie entschied sich vielmehr für Offenheit: für unterschiedliche Stile – wie Jazz, Industrial oder Electronics – oder auch verschiedene, zum Teil multimediale Umsetzungen ihrer Projekte, was sich in den ständig wechselnden Besetzungen und den vielen verschiedenen Pseudonymen der Band widerspiegelte. Mit einfacher Ausstattung und zum Teil selbstgebauten Instrumenten wurden Geräusche erzeugt – ein bewusster Gegenentwurf zum zeitgenössischen Mainstream. — Zwei Ausstellungen zu den Themen Underground und Improvisation widmen sich vom 15. März bis 6. Mai 2018 im Akademie-Gebäude am Hanseatenweg alternativen Musik- und Kunstbewegungen in Ost und West, vom Jahr der Studentenrevolte und des Prager Frühlings bis zur Nachwendezeit in Berlin und Osteuropa. Das umfangreiche Begleitprogramm besteht aus einer Konzertreihe, Filmaufführungen, Podiumsdiskussionen und einem interdisziplinären Symposium. Die Ausstellung „Notes from the Underground – Art and Alternative Music in Eastern Europe 1968 – 1994“ ist einer Generation von Künstlerinnen und Künstlern gewidmet, die in Abgrenzung zur offiziellen Kultur an der Schnittstelle von bildender Kunst, Videokunst und experimenteller Musik agierte. Zensur und Mangel führten zu einfallsreichen und oftmals ironischen Arten des Arbeitens. Gezeigt wird eine Auswahl mitunter noch nie ausgestellter Zeitzeugnisse, darunter von Künstlern selbst kreierte Musikinstrumente, Super-8-Filme, Samizdat-Zeitschriften und dokumentarische Aufzeichnungen von Aufführungen. Die Ausstellung „Free Music Production / FMP: The Living Music“ präsentiert die Geschichte der Free Music Production (1968 – 2010), einer von Künstlern initiierten Berliner Plattform für die Produktion, Präsentation und Dokumentation „freier Musik“. In der Akademie der Künste fanden legendäre FMP-Konzerte und Veranstaltungen statt; sie schrieben international Geschichte als eine der wichtigsten kulturhistorischen Leistungen Westberlins. Mit dieser Ausstellung und einem Konzertprogramm wird die Geschichte wieder an ihren Ausgangsort zurückgeführt und auf die zeitgenössische Musik-Szene treffen. Das Musikprogramm wurde kuratiert von Louis Rastig, Sergej Newski und Markus Müller. Das diskursive Programm zur Ausstellung wird präsentiert in Kooperation mit der Bundeszentrale für politische Bildung/bpb. „Notes from the Underground – Art and Alternative Music in Eastern Europe 1968 – 1994“ ist ein Programm der Akademie der Künste, Berlin, in Kooperation mit dem Muzeum Sztuki, Łódź, kuratiert von David Crowley und Daniel Muzyczuk in Zusammenarbeit mit Angela Lammert. „Free Music Production / FMP: The Living Music“ ist eine Ausstellung des Haus der Kunst, München, in Kooperation mit der Akademie der Künste, Berlin, kuratiert von Markus Müller. Gefördert durch die Kulturstiftung des Bundes und das Goethe-Institut. — Poster Total Music Meeting 1968. Design: Jost Gebers © FMP-Publishing

NOWs: Andreas Greiner

21 April - 08 July 2018 / Nows ⟶

Andreas Greiner: Eye of the Hotaru Ika squid, still from Studies of an Alien Skin, 2016, photo by Paul Rohlfs NOWs: Andreas GreinerKunstverein Heilbronn Algae light up in blue when touched; high-yield-varieties of chicken from fattening farms are bred with short, absurdly thick legs to support their heavy bodies; a squid in Japan glows at a depth of 300 meters to find a mate: these are the living organisms that make up the material in Andreas Greiner‘s Living Sculptures. Instead of movements in the ocean, the algae react to the sounds of an automatic piano, as in the installation “From String to Dinosaurs” (2014), or they become, like the glowing squid, the protagonist of his video “Studies of an Alien Skin” (2016), where the artist shows the colorfully vibrant skin of the animal in near microscopic magnification. The music for the video composed by Tyler Friedman is an acoustic reproduction of the visible movements on the surface of the skin. For this work, they were both awarded the 2015 Conlon Music Prize for Disklavier Plus. It is these wonderful, sometimes magical phenomena of nature in all their intriguing facets that Andreas Greiner first captures scientifically, and then translates into an artistic language to thus make them accessible to the viewer and, yes sometimes, to even celebrate them, as in the images of the squid. Within the framework of scientific test arrangements, Andreas Greiner examines certain characteristics of living beings and transfers them into the context of art. Nature as the point of departure for his work and the scientific methodology as his artistic approach are combined in his works with a clear aesthetic position that does actually suggest the notion of a living sculpture. As might be expected, there is in his work a concern for the living being itself, for the animal as part of our world. For “Studie (Porträt), Zur Singularität des Tieres” (2015), Andreas Greiner received the IBB Prize for Photography. In this work, he portrays four chickens: Heinrich, who is photographed in traditional semi-profile; Karl, with an X-ray of the skeleton; Elisabeth, who is represented by a DNA analysis, and Margarete, where he presents a histological section of her breast tissue. In allowing the animals to leave the anonymized field of living beings by naming them and applying traditional portrait formats, Andreas Greiner also criticizes the anthropocentric view that the value of nature results from its usefulness for humans, while clearly refusing his consent. In “Monument für die 308”, he presents a skeleton of a chicken eight meters in height (the hybrid chicken Ross 308, created after 308 crossbreeding experiments). It serves to preserve the memory of the tortured creature, optimized by continuous breeding for faster and larger meat growth and for the living conditions in factory farming. The transfer of the skeleton to a monumental scale using a 3D printer is an artistic act. To the viewer, its result might hardly be recognizable as a chicken, but rather be identified as a dinosaur such as in a Natural History Museum. In its November 18 issue, the FAZ newspaper interviews the American writer Jonathan Franzen about his penchant for birds, and he substantiates his love for these animals with the eternal wonder that they are among the oldest creatures on Earth. It is, he says, as if I am looking at a flying dinosaur. From dinosaurs to high-performance chicken: Andreas Greiner‘s work constitutes an aesthetic, moral and scientific examination. Last but not least, it is also about the question of the creation of life – as an artist and also as a scientist. Andreas Greiner, born 1979 in Aachen, initially studied medicine and, after his Physikum, he switched to the field of art. He concluded his studies in 2013 as a master student of Olafur Eliasson. He lives and works in Berlin and, in 2016, was awarded the GASAG Art Prize, combined with an exhibition at Berlinische Galerie. In addition to his own work, he works in the artist collective “Das Numen”. Andreas Greiner has realized a new work for this exhibition. A film about cell growth combines with a composition by Icelandic composer Páll Ragner Pálsson to form an installation, which will be premiered on the evening of the opening preview with Tui Hirv (vocals), Nanna Koch (violin) and Tinna Thorsteinsdottir (piano). Andreas Greiner: Monument for A Contemporary Dinosaurs (Ross 308), 2016. High definition CT-scan of a dead-found broiler chicken, 3D print, Installation view. Andreas Greiner: Eye of the Hotaru Ika squid, still from Studies of an Alien Skin, 2016, photo by Paul Rohlfs NOWs: Andreas GreinerKunstverein Heilbronn Algen leuchten bei Berührung blau; Hochleistungshühner aus Mastbetrieben werden mit kurzen, absurd dicken Beinen gezüchtet, um ihren schweren Körper zu halten; ein Tintenfisch in Japan leuchtet in 300 Metern Tiefe, um einen Partner zu finden: Das sind die lebenden Organismen, die das Material von Andreas Greiners Living Sculptures bilden. Statt auf Bewegungen im Meer reagieren dann die Algen auf die Klänge eines automatischen Klaviers, wie in der Installation „From String to Dinosaurs“ (2014), oder sind, wie der leuchtende Tintenfisch, Protagonist des Videos „Studies of an Alien Skin“ (2016), wobei der Künstler die farbenprächtig pulsierende Haut des Tiers in beinahe mikroskopisch anmutender Vergrößerung zeigt. Die eigens für das Video komponierte Musik von Tyler Friedman gibt die sichtbaren Bewegungen auf der Hautoberfläche in akustischer Form wieder. Es sind diese wunderbaren, zum Teil märchenhaft anmutenden Phänomene der Natur in all ihren faszinierenden Facetten, die Andreas Greiner wissenschaftlich erfasst, in eine künstlerische Sprache übersetzt und so dem Auge des Betrachters zugänglich macht, ja sie mitunter, siehe die Aufnahmen des Tintenfisches, feiert. Im Rahmen wissenschaftlicher Versuchsanordnungen untersucht Andreas Greiner bestimmte Eigenschaften von Lebewesen und transferiert sie in den Kunstkontext. Die Natur als Ausgangspunkt seiner Arbeit und die naturwissenschaftliche Methodik als seine künstlerische Herangehensweise verbindet sich in den Arbeiten mit einem klaren ästhetischen Anspruch, der tatsächlich die Frage nach einer lebendigen Skulptur nahelegt. Natürlich vermittelt sich in seiner Arbeit auch die Sorge um das Lebewesen selbst, um das Tier als Teil unserer Welt. Für die „Studie (Porträt), Zur Singularität des Tieres“ (2015) bekam Andreas Greiner den IBB-Preis für Photographie. In dieser Arbeit porträtiert er vier Hühner: den Masthahn Heinrich, der klassisch im Halbprofil fotografiert wird, Karl, von dem es eine Röntgenaufnahme des Skeletts gibt, Elisabeth, die mit einer DNA-Analyse vertreten ist und Margarete, von der er die Aufnahme eines histologischen Schnitts des Brustgewebes zeigt. Dadurch dass die Tiere das anonymisierte Feld der Lebewesen durch die Namensgebung und das klassische Porträtiertwerden verlassen, kritisiert Andreas Greiner hiermit auch die anthropozentrische Sicht, nach der sich der Wert der Natur aus ihrem Nutzen für den Menschen ergibt und verweigert ihr seine Zustimmung. Im „Monument für die 308“ präsentiert er ein acht Meter hohes Skelett eines Huhns (des Hybridhuhns Ross 308, entstanden nach 308 Kreuzungsversuchen). Die gequälte Kreatur, durch fortwährende Züchtung für ein schnelleres und größeres Fleischwachstum und die Lebensbedingungen in der Massentierhaltung optimiert, bekommt hier ein eindrucksvolles Denkmal gesetzt. Die Übertragung des Skeletts ins Monumentale durch den 3D-Drucker ist ein künstlerischer Akt, dessen Ergebnis vom Betrachter kaum mehr als Huhn erkannt wird, sondern vielmehr wie ein Dinosaurier im Naturkundemuseum identifiziert wird. In ihrer Ausgabe vom 18. November befragt die FAZ den amerikanische Schriftsteller Jonathan Franzen nach seiner Vorliebe für Vögel, und er begründet seine Liebe zu diesen Tieren mit dem ewigen Staunen darüber, dass diese zu den ältesten Lebewesen der Erde gehörten. Ihm sei es nachgerade so, sagt er, als sähe man einem fliegenden Dinosaurier zu. Vom Dinosaurier bis zum Hochleistungshuhn: Andreas Greiner führt in seiner Arbeit eine ästhetische, moralische und wissenschaftliche Auseinandersetzung. Nicht zuletzt geht es dabei auch um die Frage der Erschaffung von Leben – als Künstler oder auch als Wissenschaftler. Andreas Greiner, geboren 1979 in Aachen, studierte zunächst Medizin und wechselte nach dem Physikum in den Bereich der Kunst, beendete 2013 sein Studium als Meisterschüler von Olafur Eliasson. Er lebt und arbeitet in Berlin und wurde 2016 mit dem GASAG Kunstpreis, verbunden mit einer Ausstellung in der Berlinischen Galerie, ausgezeichnet. 2015 erhielt er den IBB Preis für Photographie. Neben seinem eigenen Werk arbeitet er mit im Künstler-Kollektiv „Das Numen“. Andreas Greiner: Monument for A Contemporary Dinosaurs (Ross 308), 2016. High definition CT-scan of a dead-found broiler chicken, 3D print, Installation view.

NOWs: Diese Frau „tritt auf“

21 April 2018 / Nows ⟶

NOWs: Diese Frau „tritt auf“Alte Münze, Molkenmarkt 2 10179, Berlin 21.04.2018, 20:00 Uhr „Diese Frau „tritt auf“ ist ein Schattenspiel. Die Säge feilt am höchsten Hacken. Stampft der Fuß durchs Licht. Diese Frau, ein Pfau im Schein der Baustrahler. Aufbruch der Körper in Flächen, projizierte Pfade in Schwarz Weiss. Non-rational. Non-verbal. Non-problemal. Vielleicht ein Foto und zwei Worte, Charité und Great Wall. Sie entwirft eine Erinnerung. Und lädt zum Tanz in die Alte Münze.“ Diese Frau: Diese Frau – ein offenes Kollektiv aus Berlin- ist eine künstlerische Form, die aus einer kollektiven Struktur heraus kommuniziert. Hierbei ist sie bestrebt, die immer wieder aufflammende Qualtitätsdebatte von Kunst von Frauen unter Rückgriff auf ihre geschlechtsspezifische sozialisierte Kreativität zu beleben. Individuelle Beiträge und Diskussionen über die Rolle von Frauen in der zeitgenössischen Kunst befragen die Verkettung von Weiblichkeitsbildern und künstlerischen Möglichkeitsräumen. Das künstlerische Projekt Diese Frau bildet dazu aus divergenten Perspektiven soziale und politische Interventionen. Ein Wesen ihrer kollektiven Kunstproduktion ist das Prozesshafte zu zeigen, entsprechend dazu arbeitet sie mit verschiedenen Medien. Die Auseinandesetzung mit Sprache und Gesten, Körper und Videopraxis bilden eine Konstante in den Arbeiten. Diese Frau sieht künstlerische Identitätsexperimente an den Schnittstellen von Alltag, Medien und Geschlecht als eine Erweiterung der kulturellen Spielräume von Frauen. Herrschende Kunstnormen, die mit Männlichkeit assoziiert sind, lassen sich nicht mit einer weiblich assoziierten Gegennorm aus den Angeln heben. Auf diese Weise würde die ungleiche Herausbildung sozialer und kultuereller Geschlechterbilder genau in das biologische Raster hineingezwungen, welches die Diskriminierung von Frauen hervorbringt. Diese Frau fordert eine grundlegende Revision geltender Qualitätskriterien. NOWs: Diese Frau „tritt auf“Alte Münze, Molkenmarkt 2 10179, Berlin 21.04.2018, 20:00 Uhr „Diese Frau „tritt auf“ ist ein Schattenspiel. Die Säge feilt am höchsten Hacken. Stampft der Fuß durchs Licht. Diese Frau, ein Pfau im Schein der Baustrahler. Aufbruch der Körper in Flächen, projizierte Pfade in Schwarz Weiss. Non-rational. Non-verbal. Non-problemal. Vielleicht ein Foto und zwei Worte, Charité und Great Wall. Sie entwirft eine Erinnerung. Und lädt zum Tanz in die Alte Münze.“ Diese Frau: Diese Frau – ein offenes Kollektiv aus Berlin- ist eine künstlerische Form, die aus einer kollektiven Struktur heraus kommuniziert. Hierbei ist sie bestrebt, die immer wieder aufflammende Qualtitätsdebatte von Kunst von Frauen unter Rückgriff auf ihre geschlechtsspezifische sozialisierte Kreativität zu beleben. Individuelle Beiträge und Diskussionen über die Rolle von Frauen in der zeitgenössischen Kunst befragen die Verkettung von Weiblichkeitsbildern und künstlerischen Möglichkeitsräumen. Das künstlerische Projekt Diese Frau bildet dazu aus divergenten Perspektiven soziale und politische Interventionen. Ein Wesen ihrer kollektiven Kunstproduktion ist das Prozesshafte zu zeigen, entsprechend dazu arbeitet sie mit verschiedenen Medien. Die Auseinandesetzung mit Sprache und Gesten, Körper und Videopraxis bilden eine Konstante in den Arbeiten. Diese Frau sieht künstlerische Identitätsexperimente an den Schnittstellen von Alltag, Medien und Geschlecht als eine Erweiterung der kulturellen Spielräume von Frauen. Herrschende Kunstnormen, die mit Männlichkeit assoziiert sind, lassen sich nicht mit einer weiblich assoziierten Gegennorm aus den Angeln heben. Auf diese Weise würde die ungleiche Herausbildung sozialer und kultuereller Geschlechterbilder genau in das biologische Raster hineingezwungen, welches die Diskriminierung von Frauen hervorbringt. Diese Frau fordert eine grundlegende Revision geltender Qualitätskriterien.

NOWs: Ziggy and the Starfish by Anne Duk Hee Jordan

14 April - 10 June 2018 / Nows ⟶

NOWs: Capitalo, Chthulu, and a Much Hotter Compost Pile. About Human-Environment-Relationships Kunstraum Kreuzberg/Bethanien, Berlin Opening: Friday, April 13, from 7 pm Capitalo, Chthulu, and a Much Hotter Compost Pile. About Human-Environment-Relationships includes the sculptural installation Ziggy and the Starfish by Anne Duk Hee Jordan. Ziggy and the Starfish consists of a mechanical waste processing crab, a film exploring the diversity of sexuality in the ocean, scientific interviews and moving singing stones dating back millions of years. „What we call the beginning is often the end. And to make an end is to make a beginning. The end is where we start from“. T. S. Eliot The exibitions incluces works by Ana Alenso, Madison Bycroft, Liza Dieckwisch, Jelena Fuzinato, Geovanna Gonzalez, Ben Greber and Bram Kuypers, Tue Greenfort, Anne Duk Hee Jordan, Femke Herregraven, Marta Leite, Regina de Miguel, Zoe Claire Miller, Nucbeade, Naufus Ramirez-Figueroa , Anais Senli, Michael E. Smith. Special program with contributions by Shelley Etkin, Sonia Fernández-Pan, Herbert Lohner, Reading Club “Between Us and Nature”, Henry Wilde und Neo Hülcker. Curated Lorena Juan, Lena Johanna Reisner and Anaïs Senli. Anne Duk Hee Jordan: Ziggy and the Starfish. A documentary. 2017 NOWs: Capitalo, Chthulu, and a Much Hotter Compost Pile. About Human-Environment-Relationships Kunstraum Kreuzberg/Bethanien, Berlin Opening: Friday, April 13, from 7 pm Capitalo, Chthulu, and a Much Hotter Compost Pile. About Human-Environment-Relationships includes the sculptural installation Ziggy and the Starfish by Anne Duk Hee Jordan. Ziggy and the Starfish consists of a mechanical waste processing crab, a film exploring the diversity of sexuality in the ocean, scientific interviews and moving singing stones dating back millions of years. „What we call the beginning is often the end. And to make an end is to make a beginning. The end is where we start from“. T. S. Eliot The exibitions incluces works by Ana Alenso, Madison Bycroft, Liza Dieckwisch, Jelena Fuzinato, Geovanna Gonzalez, Ben Greber and Bram Kuypers, Tue Greenfort, Anne Duk Hee Jordan, Femke Herregraven, Marta Leite, Regina de Miguel, Zoe Claire Miller, Nucbeade, Naufus Ramirez-Figueroa , Anais Senli, Michael E. Smith. Special program with contributions by Shelley Etkin, Sonia Fernández-Pan, Herbert Lohner, Reading Club “Between Us and Nature”, Henry Wilde und Neo Hülcker. Curated Lorena Juan, Lena Johanna Reisner and Anaïs Senli. Anne Duk Hee Jordan: Ziggy and the Starfish. A documentary. 2017

NOWs: An Invitation to Disappear by Julian Charrière

14 April - 08 July 2018 / Nows ⟶

Julian Charrière, An Invitation to Disappear, 2018, Film still, Foto: Norbert Miguletz, © Julian Charrière; VG Bild-Kunst, Bonn, Germany. NOWs: Julian Charrière: An Invitation to Disappear Kunsthalle Mainz Opening: April 13, 7–11 pm Tambora, which literally means “an invitation to disappear,” is a volcano on the Indonesian island of Sumbawa. In 1815 it became clear just how appropriate and fateful the choice of name would prove to be, for that was when Tambora became active, triggering what was—and still is—the largest volcanic eruption in recorded human history. Not only the island’s inhabitants fell victim to the explosion, for the cloud of ash spread across the globe and led to temperatures falling as far away as Europe and North America. 1816 went down in history as the “year without a summer.” The volcanic winter, which persisted until 1819, caused failed harvests, floods and famines. But it produced other colours, too. The sunsets changed due to the countless aerosols in the atmosphere. The works created by J.M.W. Turner and Caspar David Friedrich during this period exhibit a remarkable spectrum of colours. It has been argued that both painters, as chroniclers of their time, consciously chose to depict the differences in sunlight. A warm, bright red, oscillating between an orangeyyellow and autumnal brown—this is the colour of palm oil. It is extracted from the fruit of the oil palm, forming a raw material that is nowadays present in nearly half of all supermarket products. From margarine to chocolate, from lipstick to skin cream, from candles to washing powder, the fruit of the oil palm forms the basis of them all. Although the material has almost universal applications, far less is known about how and where it is extracted, or about the consequences associated with the harvesting process. The growth in oil palm plantations has resulted in monocultural farming, ground poisoned by pesticides, and rainforests cleared to make more land available for agriculture. Entire swathes of land—primarily in Malaysia and Indonesia—are changing in appearance. Thanks to the fixed grid pattern used for planting palms, a completely unique visual rhythm is in the process of being created. What from the air looks like a seemingly infinite mesh of lines is actually the star-shaped crowns of domesticated palm trees, all thronging together. Paths cross and connect the land area. Under the treetops extends a barren landscape, strewn with fallen palm fronds and partially covered with grasses and ground cover plants. In Das Hungerjahr, Heinrich Bechtolsheimer describes the appearance of the sky in the Rheinhessen region in October 1816: “The glowing sunset lit up the western sky like an expansive luminous conflagration; yellow, violet and red lights flickered here and there.”[1] Coloured lighting illuminates the dark night in a crowded palm field. An infinite loop of hard, electronic rhythms cuts through the infinite peace and quiet of the field full of trees. A palm oil plantation shudders, shaken by light and sound. The scenery fluctuates between tempting and threatening. We are in the exhibition An Invitation to Disappear by Swiss artist Julian Charrière. The eponymous series of works extends over the three horizontal spaces of Kunsthalle Mainz, following a set choreography. Step for step, room for room, the visitors approach a rave. They follow the rhythms and sounds of electronic music, becoming ever more submerged in a setting veiled by wafting mist until they reach the heart of the exhibition: a film shot in a palm-oil plantation in the Far East. It is a film that persuasively presents the excessive, exploitative decimation of nature to visitors who are intoxicated by music. The ubiquity of palm oil as a material is analogous to our total lack of interest in how it is produced; the physical absence of people changes abruptly into the omnipresence of their actions. Image and sound are consolidated into metaphors not only for people’s belief in progress but also for their short-lived interests—and for the enormous consequences that these have. At the same time, they conjure up collective trance-like states and experiencing the transcendence of time. On the occasion of the exhibition a publication will be released. Curated by Stefanie Böttcher Related Programme (selection) May 9, 7pm Artist talk and film screening: Julian Charrière and Julius von Bismarck in conversation with Stefanie Böttcher June 27, 7pm Lecture by Prof. Dr. Helmuth Trischler, Deutsches Museum, Munich and Director of the Rachel Carson Center Fade into You: a series of film screenings April 25, 7pm Nicholas Mangan, Nauro – Notes from a Cretaceous World, 2010 Cyprien Gaillard, Pruitt Igoe Falls, 2009 Julian Charrière, Tambora, 2018. Photo: Norbert Miguletz, © Julian Charrière; VG Bild-Kunst, Bonn, Germany. Julian Charrière, To Observe Is to Influence, 2018. Photo: Norbert Miguletz, © Julian Charrière; VG Bild-Kunst, Bonn, Germany. Julian Charrière, Ever Since We Crawled Out, 2018. Photo: Norbert Miguletz, © Julian Charrière; VG Bild-Kunst, Bonn, Germany. Julian Charrière, The Other Side of Eden, 2018. Photo: Norbert Miguletz, © Julian Charrière; VG Bild-Kunst, Bonn, Germany. Julian Charrière, It Was Hard Not to Be Preoccupied by the Fire and the Nightfall, 2018. Photo: Norbert Miguletz, © Julian Charrière; VG Bild-Kunst, Bonn, Germany. Julian Charrière, An Invitation to Disappear, 2018, Film still. Poto: Norbert Miguletz, © Julian Charrière; VG Bild-Kunst, Bonn, Germany. NOWs: Julian Charrière: An Invitation to Disappear Kunsthalle Mainz Eröffnung: 13. April, 19–23 h “Tambora” – “An invitation to disappear” so lautet die wörtliche Übersetzung des gleichnamigen Vulkans auf der indonesischen Insel Sumbawa. 1815 sollte sich unter Beweis stellen, wie treffend und schicksalhaft diese Benennung gewählt wurde. In diesem Jahr brach der Tambora aus und die bis heute größte verzeichnete Eruption der Menschheitsgeschichte ereignete sich. Nicht nur die Menschen der Insel selbst fielen dem Ausbruch zum Opfer, sondern die Aschewolke verteilte sich rund um den Globus und ließ die Temperatur bis Europa und Nordamerika sinken. Das Jahr 1816 ging als das “Jahr ohne Sommer” in die Geschichtsschreibung ein. Der vulkanische Winter, der noch bis ins Jahr 1819 andauern sollte, rief Ernteeinbrüche, Überschwemmungen und Hungersnöte hervor. Aber er brachte auch andere Farben: Die Sonnenuntergänge veränderten sich aufgrund der zahllosen Aerosole in der Atmosphäre. Die Werke William Turners oder Caspar David Friedrichs, die während dieser Jahre entstanden, weisen ein beachtliches Farbspektrum auf. Und so lautet eine These, dass die beiden Maler als Chronisten ihrer Zeit auch die veränderte Sonnenstrahlung eingefangen haben. Ein warmes, brillantes Rot, das von Orangegelb bis Braunrot changiert, ist die Farbe von Palmöl. Palmöl wird aus dem Fruchtfleisch der Ölpalme gewonnen und bildet einen Rohstoff, der mittlerweile in fast jedem zweiten Supermarktprodukt steckt. Von Margarine bis Schokolade, von Lippenstift bis Hautcreme, von Kerzen bis Waschpulver liefern die Früchte der Ölpalme die Basis dieser Güter. Obwohl dieser Stoff nahezu überall Verwendung findet, ist weit weniger bekannt, wie und wo er gewonnen wird, welche Folgen mit seinem Abbau verbunden sind. Der Anbau in Monokultur, die Vergiftung des Bodens aufgrund von Schädlingsmitteln und die Rodung der Regenwälder zur Vergrößerung der Anbauflächen gehen mit dem Wachsen von Palmölplantagen einher. Ganze Landstriche – vorrangig in Malaysia und Indonesien – wechseln ihr Erscheinungsbild: Durch das starre Raster, in dem die Palmen gepflanzt werden, entsteht eine ganz eigene visuelle Rhythmik. Aus der Luft gleitet der Blick über ein schier endloses Liniengeflecht hinweg, das aus den gezähmten, dicht an dicht gesetzten sternförmigen Kronen der Palmen besteht. Wege durchkreuzen und verbinden die Flächen. Unter den Baumwipfeln erstreckt sich eine Landschaft aus kargem Boden mit herabgefallenen Palmwedeln, teils von Gräsern und Bodendeckern überzogen. “Wie eine weithin leuchtende Feuersbrunst stand das Abendrot am westlichen Himmel; gelbe, violette und rote Lichter zuckten dort hin und her” so beschreibt Heinrich Bechtolsheimer den rheinhessischen Oktoberhimmel des Jahres 1816 in Das Hungerjahr [1]. Farbige Blitze erhellen die dunkle Nacht in einem dicht bestellten Palmacker. Harte, elektronische Rhythmen in Endlosschleife durchschneiden die endlose Ruhe des Baumfeldes. Eine Palmölplantage erbebt von Licht und Klang geschüttelt. Die Szenerie schwankt zwischen verheißungsvoll und bedrohlich. Wir befinden uns in der Ausstellung An Invitation to Disappear des Schweizer Künstlers Julian Charrière. Die gleichnamige Werkreihe erstreckt sich über die drei horizontalen Hallen der Kunsthalle Mainz und folgt einer Choreografie. Schritt für Schritt, Raum für Raum nähern sich die Besucher einem Rave. Sie folgen den Rhythmen und Klängen der elektronischen Musik, tauchen immer tiefer ein in eine von Nebelschwaden verschleierte Szenerie bis sie in das Herzstück der Ausstellung vordringen: Ein Film, der auf einer Palmölplantage in Fernost gedreht wurde. Ein Film, der einem durch Musik verursachten Rauschzustand den exzesshaften Raubbau an der Natur zur Seite stellt. Die Allgegenwärtigkeit des Stoffes Palmöl findet ihre Analogie in der Abwesenheit unseres Interesses an dessen Gewinnung; die physische Absenz des Menschen schlägt in eine Omnipräsenz seiner Handlungen um. Bild und Sound verdichten sich zu Metaphern für den menschlichen Fortschrittglauben, kurzlebige Interessen und deren massive Folgen. Gleichzeitig beschwören sie kollektive Trancezustände und Erfahrungen der Überzeitlichkeit herauf. Kuratiert von Stefanie Böttcher Veranstaltungsprogramm (Auswahl) 9. Mai, 19 h Künstlergespräch und Film: Julian Charrière und Julius von Bismarck im Gespräch mit Stefanie Böttcher 27. Juni, 19 h Vortrag von Prof. Dr. Helmuth Trischler, Deutsches Museum, München und Direktor des Rachel Carson Center Fade into You: a series of film screenings 25 April, 19 h Nicholas Mangan, Nauro – Notes from a Cretaceous World, 2010 Cyprien Gaillard, Pruitt Igoe Falls, 2009 Julian Charrière, Tambora, 2018. Photo: Norbert Miguletz, © Julian Charrière; VG Bild-Kunst, Bonn, Germany. Julian Charrière, To Observe Is to Influence, 2018. Photo: Norbert Miguletz, © Julian Charrière; VG Bild-Kunst, Bonn, Germany. Julian Charrière, Ever Since We Crawled Out, 2018. Photo: Norbert Miguletz, © Julian Charrière; VG Bild-Kunst, Bonn, Germany. Julian Charrière, The Other Side of Eden, 2018. Photo: Norbert Miguletz, © Julian Charrière; VG Bild-Kunst, Bonn, Germany. Julian Charrière, It Was Hard Not to Be Preoccupied by the Fire and the Nightfall, 2018. Photo: Norbert Miguletz, © Julian Charrière; VG Bild-Kunst, Bonn, Germany. Julian Charrière, We Are All Astronauts, 2013. Photo: Norbert Miguletz, © Julian Charrière; VG Bild-Kunst, Bonn, Germany.

NOWs: Robel Temesgen at Modern Art Museum: Gebre Kristos Desta Center

12 - 26 April 2018 / Nows ⟶

NOWs: Robel Temesgen & Henok MelkamzerThe Modern Art Museum: Gebre Kristos Desta Center, Addis Ababa Opening: Thursday 12 April 2018 5:00 – 8:00 pm The Modern Art Museum: Gebre Kristos Desta Center of Addis Ababa University is pleased to invite you to the exhibition ምን ነበረ? With an intriguing representation of the vernacular of Ethiopian intellectual thought, “ምን ነበረ?” presents an alternative approach to how Ethiopian visual studies should be based and reviewed. Looking into the claims of the past, Henok Melkamzer and Robel Temesgen examine ways in which the institutions, memories and complications of ‘tradition’ shape the historical present.The exhibition runs in two consecutive sessions. Works of Henok Melkamzer on “Telsem” have been on display from 20 March to 03 April, 2018. The second session opens with Robel Temesgen’s works on “Adbar” on Thursday 12 April at 5:00 p.m. Robel’s works will be open to the public until 26 April 2018. Adbar is an Amharic term that refers to spiritual places where ritualistic performances take place and offerings are made. These spiritual places also serve as communal and public spaces, also for secular community gatherings. The project investigates the embodiment of protective spirits within various elements of the natural landscape. Growing up in Dessie, northern Ethiopia, Robel Temesgen witnessed the fading of this long-established tradition and the subsequent development of new rituals, in tune with contemporary lifestyles. The Adbar series navigates through the physical and metaphysical elements of a landscape using recollections, lived experiences and fantasies of the space and people of sacred places. – About Robel Temesgen Born in 1987 in Ethiopia, Robel Temesgen received an MFA from Tromsø Academy of Contemporary Art, University of Tromsø, Norway in 2015, and a BFA in Fine Art (Painting) from Addis Ababa University in 2010. He recently took part in the Junge Akademie Program of the Akademie der Künste, Berlin, and was a resident artist at IASPIS, Stockholm, the Swedish Art Grants Committee’s International Programme for Visual and Applied Arts. Temesgen’s work has been exhibited at the Hamburger Bahnhof, Berlin (2017), Marabohparken, Stockholm (2017), Akademie der Künste, Berlin (2016), Kurant Visningsrom, Tromsø (2015), Addis International Video Art Festival, Addis Ababa (2015), Art Future/Future Signs, Riga (2015), RomeAfrica Film Festival, Rome (2015), Lumen Festival, New York (2015), Neue Nationalgalerie, Berlin (2014) and Modern Art Museum/Gebre Kristos Desta Center, Addis Ababa (2013). He currently lives and works in Addis Ababa, Ethiopia. NOWs: Robel Temesgen & Henok MelkamzerThe Modern Art Museum: Gebre Kristos Desta Center, Addis Ababa Opening: Thursday 12 April 2018 5:00 – 8:00 pm The Modern Art Museum: Gebre Kristos Desta Center of Addis Ababa University is pleased to invite you to the exhibition ምን ነበረ? With an intriguing representation of the vernacular of Ethiopian intellectual thought, “ምን ነበረ?” presents an alternative approach to how Ethiopian visual studies should be based and reviewed. Looking into the claims of the past, Henok Melkamzer and Robel Temesgen examine ways in which the institutions, memories and complications of ‘tradition’ shape the historical present.The exhibition runs in two consecutive sessions. Works of Henok Melkamzer on “Telsem” have been on display from 20 March to 03 April, 2018. The second session opens with Robel Temesgen’s works on “Adbar” on Thursday 12 April at 5:00 p.m. Robel’s works will be open to the public until 26 April 2018. Adbar is an Amharic term that refers to spiritual places where ritualistic performances take place and offerings are made. These spiritual places also serve as communal and public spaces, also for secular community gatherings. The project investigates the embodiment of protective spirits within various elements of the natural landscape. Growing up in Dessie, northern Ethiopia, Robel Temesgen witnessed the fading of this long-established tradition and the subsequent development of new rituals, in tune with contemporary lifestyles. The Adbar series navigates through the physical and metaphysical elements of a landscape using recollections, lived experiences and fantasies of the space and people of sacred places. – About Robel Temesgen Born in 1987 in Ethiopia, Robel Temesgen received an MFA from Tromsø Academy of Contemporary Art, University of Tromsø, Norway in 2015, and a BFA in Fine Art (Painting) from Addis Ababa University in 2010. He recently took part in the Junge Akademie Program of the Akademie der Künste, Berlin, and was a resident artist at IASPIS, Stockholm, the Swedish Art Grants Committee’s International Programme for Visual and Applied Arts. Temesgen’s work has been exhibited at the Hamburger Bahnhof, Berlin (2017), Marabohparken, Stockholm (2017), Akademie der Künste, Berlin (2016), Kurant Visningsrom, Tromsø (2015), Addis International Video Art Festival, Addis Ababa (2015), Art Future/Future Signs, Riga (2015), RomeAfrica Film Festival, Rome (2015), Lumen Festival, New York (2015), Neue Nationalgalerie, Berlin (2014) and Modern Art Museum/Gebre Kristos Desta Center, Addis Ababa (2013). He currently lives and works in Addis Ababa, Ethiopia.

NOWs: Mouse on Mars: Dimensional People

11 April 2018 / Nows ⟶

NOWs: Mouse on Mars: Dimensional PeopleNew Album out now on Thrill Jockey Mouse on Mars – Andi Toma and Jan St. Werner – return with their most inventive album to date, Dimensional People. The new album finds the Berlin-based duo reunited with Thrill Jockey, a powerful aesthetic partnership marked by such seminal albums as Radical Connector (2004), Idiology (2001), and Niun Niggung (2000). After a series of notorious dance floor releases, Dimensional People reveals them working deep within their own vernacular, digging into fertile terrain of their inexhaustible vault of digital and acoustic experimentation, and charismatically making elemental components new again. This album makes clear how their craft is of discovery, of finding new contexts for places, sounds, memories, sensations, ambiences, technologies, relationships, and of course, people. A number of prolific guests joined the production: Justin Vernon (Bon Iver), Zach Condon (Beirut), Spank Rock, Aaron and Bryce Dessner (The National), Swamp Dogg, Eric D. Clark, Lisa Hannigan, Amanda Blank, Sam Amidon, Ensemble Musikfabrik, and about 20 more musical collaborators. The cast of characters are as unique as they are vast, clearly a rich quarry for the prodigious duo. Dimensional People, initially titled new konstruktivist socialism, gives each participating guest a platform to imprint the album as whoever or whatever they want to be: a narrator, a perfect moment, a jam, an ensemble member, an abstract sound, a multiple persona, a mood, a soloist. Originally premiering as a spatial composition using object-based mixing technology playing with the possibilities of sonic design and collective musicianship, the recording expands upon these ideas. Dimensional People expresses itself as a dynamic 50-piece orchestra, telling a story in sound. Each player is a multifaceted character, the recording an imagined stage, and the production is direction, lighting, and setting changes. Mouse on Mars offer sound as a means to encourage open-minded societies, aided by cutting-edge technology including their own MoMinstruments music software or a spatial mixing technique called object based mixing, with which a spatial version of the work was created. It is a conceptual puzzle composed around one harmonic spectrum within one rhythmic scheme, mostly in the tempo of 145bpm (inspired by Chicago footwork, so the dance floor is not entirely absent). Looking ahead, Dimensional People will also be realized through installation, presenting the work as an immersive listening experience, as well as performance. LP version pressed on virgin vinyl packaged with 8 page full color 11” x 11” booklet and free download. CD version in mini-LP style gatefold package. See here. SAVE THE DATE: People Festival, Funkhaus, Berlin. 18-19 August 2018 NOWs: Mouse on Mars: Dimensional PeopleNew Album out now on Thrill Jockey Mouse on Mars – Andi Toma and Jan St. Werner – return with their most inventive album to date, Dimensional People. The new album finds the Berlin-based duo reunited with Thrill Jockey, a powerful aesthetic partnership marked by such seminal albums as Radical Connector (2004), Idiology (2001), and Niun Niggung (2000). After a series of notorious dance floor releases, Dimensional People reveals them working deep within their own vernacular, digging into fertile terrain of their inexhaustible vault of digital and acoustic experimentation, and charismatically making elemental components new again. This album makes clear how their craft is of discovery, of finding new contexts for places, sounds, memories, sensations, ambiences, technologies, relationships, and of course, people. A number of prolific guests joined the production: Justin Vernon (Bon Iver), Zach Condon (Beirut), Spank Rock, Aaron and Bryce Dessner (The National), Swamp Dogg, Eric D. Clark, Lisa Hannigan, Amanda Blank, Sam Amidon, Ensemble Musikfabrik, and about 20 more musical collaborators. The cast of characters are as unique as they are vast, clearly a rich quarry for the prodigious duo. Dimensional People, initially titled new konstruktivist socialism, gives each participating guest a platform to imprint the album as whoever or whatever they want to be: a narrator, a perfect moment, a jam, an ensemble member, an abstract sound, a multiple persona, a mood, a soloist. Originally premiering as a spatial composition using object-based mixing technology playing with the possibilities of sonic design and collective musicianship, the recording expands upon these ideas. Dimensional People expresses itself as a dynamic 50-piece orchestra, telling a story in sound. Each player is a multifaceted character, the recording an imagined stage, and the production is direction, lighting, and setting changes. Mouse on Mars offer sound as a means to encourage open-minded societies, aided by cutting-edge technology including their own MoMinstruments music software or a spatial mixing technique called object based mixing, with which a spatial version of the work was created. It is a conceptual puzzle composed around one harmonic spectrum within one rhythmic scheme, mostly in the tempo of 145bpm (inspired by Chicago footwork, so the dance floor is not entirely absent). Looking ahead, Dimensional People will also be realized through installation, presenting the work as an immersive listening experience, as well as performance. LP version pressed on virgin vinyl packaged with 8 page full color 11” x 11” booklet and free download. CD version in mini-LP style gatefold package. See here. SAVE THE DATE: People Festival, Funkhaus, Berlin. 18-19 August 2018

NOWs: Abyss by Rune Bosse of Anna Bak

04 April - 05 May 2018 / Nows ⟶

NOWs: Rune Bosse and Anna Bak: ABYSSD7, Copenhagen, Denmark Abyss, – an infinite or unthinkable space – chaos immediately before creation. D7 is an artist-driven exhibition center in a 110 sqm basement on Østerbro. The exhibition room itself is characterized by the basement’s condition, with moist walled ceilings, low ceilings, rustic uneven concrete floors with sparse sunlight from two tiled windows. The entrance to the room goes through a narrow little twisted staircase. In other words, when you enter the room, you really get the feeling of being underground, in another world. For the exhibition ABYSS, Rune Bosse and Anna Bak have created an installation in which their individual works and practices interact with each other and with the room. Below the surface of what is visible to us, a lot of processes are at work. There is fungi, bacteria, roots and spores in everything, they interfere and all about everything, but maybe these elements also help to keep up with it all and without these intrusive forces it would all fall apart. The artists’ common interests for nature and the essential forces that affect us have created an installation that serves as a physical experience in the basement’s atmosphere. A world where organic forces work both to intervene in space and keep the room up, a processual transformation on the verge between total decay and a stage immediately before rebuilding. The sound in the room is an enhanced version of the Schumann resonance. Schumann resonance (SR) is several peaks in the extreme low-frequency (ELF) part of the Earth’s electromagnetic spectrum. The Schumann resonances are a worldwide electromagnetic resonance, which is estimated by lightning discharges in the cavity formed by the earth’s surface – especially the sea surface – and the ionosphere. NOWs: Rune Bosse and Anna Bak: ABYSSD7, Copenhagen, Denmark Abyss, – an infinite or unthinkable space – chaos immediately before creation. D7 is an artist-driven exhibition center in a 110 sqm basement on Østerbro. The exhibition room itself is characterized by the basement’s condition, with moist walled ceilings, low ceilings, rustic uneven concrete floors with sparse sunlight from two tiled windows. The entrance to the room goes through a narrow little twisted staircase. In other words, when you enter the room, you really get the feeling of being underground, in another world. For the exhibition ABYSS, Rune Bosse and Anna Bak have created an installation in which their individual works and practices interact with each other and with the room. Below the surface of what is visible to us, a lot of processes are at work. There is fungi, bacteria, roots and spores in everything, they interfere and all about everything, but maybe these elements also help to keep up with it all and without these intrusive forces it would all fall apart. The artists’ common interests for nature and the essential forces that affect us have created an installation that serves as a physical experience in the basement’s atmosphere. A world where organic forces work both to intervene in space and keep the room up, a processual transformation on the verge between total decay and a stage immediately before rebuilding. The sound in the room is an enhanced version of the Schumann resonance. Schumann resonance (SR) is several peaks in the extreme low-frequency (ELF) part of the Earth’s electromagnetic spectrum. The Schumann resonances are a worldwide electromagnetic resonance, which is estimated by lightning discharges in the cavity formed by the earth’s surface – especially the sea surface – and the ionosphere.

NOWs: I travelled 1.8 million years to be with you by Anne Duk Hee Jordan

30 March - 30 September 2018 / Nows ⟶

Anne Duk Hee Jordan: I traveled 1.8 Million Years To Be With You. Specific installation with stone and a fishing net between existing buoys NOWs: I traveled 1.8 Million Years To Be With Youby Anne Duk Hee Jordan at Beaufort Art Triennial by the Sea, Zeebrugge Seafront, Belgium Anne Duk Hee Jordan uses a large glacial erraticcstone in her installation (150 x 200 x150 cm). Glacial erratic stone are not native to our region. During the last ice age, the Saale Ice Age, around 200,000 B.C., Scandinavian stones were brought here in the ice caps that stretched from Scandinavia to the Netherlands. Later as well, foreign stones ended up in Bruges when the city was part of the Hanseatic route, a maritime trading route from Estonia to France. They were used in monuments, churches and cemeteries. The stone hangs between two buoys and it appears as if it were being held up by a net. These sorts of buoys are used to guide ships navigate to their destination. It thus appears as if the stone, after endless roaming, has at last reached its destination. The illogical structure, contrasting the blackness of the stone and the lightness of the net, creates a tension between perception and reality. This also leads to the question of how the stone ended up in this spot. Was it by means of natural migration or via recent transport by humans? As a result of its unusual position, the stone seems to have its own personality. The stone is an itinerant witness that observes human activity. It reminds us of the transience of human life, while the stone itself is immortal. Find location here. — Beaufort is a triennial art project that extends along the entire Belgian coastline. It is a project, launched in 2003, in which the sea often plays the main role. In Beaufort 2018, the sea will be illuminated as a place that is both uncontrollable but at the same time links us to the rest of the world. Every participating artist comes from a country that borders on the sea. An underlying theme of this edition is the role of permanent monuments. Attia (FR) – Nina Beier (DK) – Guillaume Bijl (BE) – Simon Dybbroe Møller (DK) – Jos De Gruyter & Harald Thys (BE) – Edith Dekyndt (BE) – Stief DeSmet (BE) – Jason Dodge ( USA) – Jean-François Fourtou (FR) – Ryan Gander (GB) – Iman Issa (EC) – Anne Duk Hee Jordan (DE / KR) – Basim Magdy (EC) – Katja Novitskova (EST) – Rotor (BE) – Frederik Van Simaey (BE) – Leon Vranken (BE) – Xu Zhen (Produced By MadeIn Company) (CN) I traveled 1.8 Million Years To Be With Youby Anne Duk Hee Jordan at Beaufort Art Triennial by the Sea, Zeebrugge Seafront, Belgium Anne Duk Hee Jordan uses a large glacial erraticcstone in her installation (150 x 200 x150 cm). Glacial erratic stone are not native to our region. During the last ice age, the Saale Ice Age, around 200,000 B.C., Scandinavian stones were brought here in the ice caps that stretched from Scandinavia to the Netherlands. Later as well, foreign stones ended up in Bruges when the city was part of the Hanseatic route, a maritime trading route from Estonia to France. They were used in monuments, churches and cemeteries. The stone hangs between two buoys and it appears as if it were being held up by a net. These sorts of buoys are used to guide ships navigate to their destination. It thus appears as if the stone, after endless roaming, has at last reached its destination. The illogical structure, contrasting the blackness of the stone and the lightness of the net, creates a tension between perception and reality. This also leads to the question of how the stone ended up in this spot. Was it by means of natural migration or via recent transport by humans? As a result of its unusual position, the stone seems to have its own personality. The stone is an itinerant witness that observes human activity. It reminds us of the transience of human life, while the stone itself is immortal. Find location here. — Beaufort is a triennial art project that extends along the entire Belgian coastline. It is a project, launched in 2003, in which the sea often plays the main role. In Beaufort 2018, the sea will be illuminated as a place that is both uncontrollable but at the same time links us to the rest of the world. Every participating artist comes from a country that borders on the sea. An underlying theme of this edition is the role of permanent monuments. Attia (FR) – Nina Beier (DK) – Guillaume Bijl (BE) – Simon Dybbroe Møller (DK) – Jos De Gruyter & Harald Thys (BE) – Edith Dekyndt (BE) – Stief DeSmet (BE) – Jason Dodge ( USA) – Jean-François Fourtou (FR) – Ryan Gander (GB) – Iman Issa (EC) – Anne Duk Hee Jordan (DE / KR) – Basim Magdy (EC) – Katja Novitskova (EST) – Rotor (BE) – Frederik Van Simaey (BE) – Leon Vranken (BE) – Xu Zhen (Produced By MadeIn Company) (CN) Anne Duk Hee Jordan: I traveled 1.8 Million Years To Be With You. Specific installation with stone and a fishing net between existing buoys NOWs: I traveled 1.8 Million Years To Be With Youby Anne Duk Hee Jordan at Beaufort Art Triennial by the Sea, Zeebrugge Seafront, Belgium Anne Duk Hee Jordan uses a large glacial erraticcstone in her installation (150 x 200 x150 cm). Glacial erratic stone are not native to our region. During the last ice age, the Saale Ice Age, around 200,000 B.C., Scandinavian stones were brought here in the ice caps that stretched from Scandinavia to the Netherlands. Later as well, foreign stones ended up in Bruges when the city was part of the Hanseatic route, a maritime trading route from Estonia to France. They were used in monuments, churches and cemeteries. The stone hangs between two buoys and it appears as if it were being held up by a net. These sorts of buoys are used to guide ships navigate to their destination. It thus appears as if the stone, after endless roaming, has at last reached its destination. The illogical structure, contrasting the blackness of the stone and the lightness of the net, creates a tension between perception and reality. This also leads to the question of how the stone ended up in this spot. Was it by means of natural migration or via recent transport by humans? As a result of its unusual position, the stone seems to have its own personality. The stone is an itinerant witness that observes human activity. It reminds us of the transience of human life, while the stone itself is immortal. Find location here. — Beaufort is a triennial art project that extends along the entire Belgian coastline. It is a project, launched in 2003, in which the sea often plays the main role. In Beaufort 2018, the sea will be illuminated as a place that is both uncontrollable but at the same time links us to the rest of the world. Every participating artist comes from a country that borders on the sea. An underlying theme of this edition is the role of permanent monuments. Attia (FR) – Nina Beier (DK) – Guillaume Bijl (BE) – Simon Dybbroe Møller (DK) – Jos De Gruyter & Harald Thys (BE) – Edith Dekyndt (BE) – Stief DeSmet (BE) – Jason Dodge ( USA) – Jean-François Fourtou (FR) – Ryan Gander (GB) – Iman Issa (EC) – Anne Duk Hee Jordan (DE / KR) – Basim Magdy (EC) – Katja Novitskova (EST) – Rotor (BE) – Frederik Van Simaey (BE) – Leon Vranken (BE) – Xu Zhen (Produced By MadeIn Company) (CN) I traveled 1.8 Million Years To Be With Youby Anne Duk Hee Jordan at Beaufort Art Triennial by the Sea, Zeebrugge Seafront, Belgium Anne Duk Hee Jordan uses a large glacial erraticcstone in her installation (150 x 200 x150 cm). Glacial erratic stone are not native to our region. During the last ice age, the Saale Ice Age, around 200,000 B.C., Scandinavian stones were brought here in the ice caps that stretched from Scandinavia to the Netherlands. Later as well, foreign stones ended up in Bruges when the city was part of the Hanseatic route, a maritime trading route from Estonia to France. They were used in monuments, churches and cemeteries. The stone hangs between two buoys and it appears as if it were being held up by a net. These sorts of buoys are used to guide ships navigate to their destination. It thus appears as if the stone, after endless roaming, has at last reached its destination. The illogical structure, contrasting the blackness of the stone and the lightness of the net, creates a tension between perception and reality. This also leads to the question of how the stone ended up in this spot. Was it by means of natural migration or via recent transport by humans? As a result of its unusual position, the stone seems to have its own personality. The stone is an itinerant witness that observes human activity. It reminds us of the transience of human life, while the stone itself is immortal. Find location here. — Beaufort is a triennial art project that extends along the entire Belgian coastline. It is a project, launched in 2003, in which the sea often plays the main role. In Beaufort 2018, the sea will be illuminated as a place that is both uncontrollable but at the same time links us to the rest of the world. Every participating artist comes from a country that borders on the sea. An underlying theme of this edition is the role of permanent monuments. Attia (FR) – Nina Beier (DK) – Guillaume Bijl (BE) – Simon Dybbroe Møller (DK) – Jos De Gruyter & Harald Thys (BE) – Edith Dekyndt (BE) – Stief DeSmet (BE) – Jason Dodge ( USA) – Jean-François Fourtou (FR) – Ryan Gander (GB) – Iman Issa (EC) – Anne Duk Hee Jordan (DE / KR) – Basim Magdy (EC) – Katja Novitskova (EST) – Rotor (BE) – Frederik Van Simaey (BE) – Leon Vranken (BE) – Xu Zhen (Produced By MadeIn Company) (CN)

NOWs: Retreat into Darkness by Ivana Franke

31 March 2018 / Nows ⟶

Ivana Franke: Retreat into DarknessTowards a Phenomenology of the Unknown Human perception and the exploration of the unknown have been the subject of artistic investigation for centuries. The artist Ivana Franke combines these two aspects in her project Retreat into Darkness: Towards a Phenomenology of the Unknown. She examines our perceptual processes when we confront something phenomenologically unknown. This book presents all the elements of a “retreat into darkness”: Franke’s installation at the Ernst Schering Foundation—in which the reflections of light in a completely dark space afford new visual experiences—the experiments of cognitive psychologist Bilge Sayim, and the observations of internationally renowned scientists and humanists like Elena Agudio, Jimena Canales, Pierre Gallais, Sylvia C. Pont, and Anil K. Seth., all of whom share an awareness that darkness opens our view to the poetry of the unknown. Texts by Elena Agudio, Jimena Canales, Ivana Franke, Pierre Gallais, Heike Catherina Mertens, Katja Naie, Sylvia C. Pont, Bilge Sayim, Anil K. Seth. – Spector Books Leipzig March, 2018 ISBN: 9783959052122 Width: 16.5 cm Length: 24 cm 176 pp.with 50 black-white and 24 colour illustrations, thread-sewn softcover Language(s): German, English – Ivana Franke: Retreat into DarknessTowards a Phenomenology of the Unknown Human perception and the exploration of the unknown have been the subject of artistic investigation for centuries. The artist Ivana Franke combines these two aspects in her project Retreat into Darkness: Towards a Phenomenology of the Unknown. She examines our perceptual processes when we confront something phenomenologically unknown. This book presents all the elements of a “retreat into darkness”: Franke’s installation at the Ernst Schering Foundation—in which the reflections of light in a completely dark space afford new visual experiences—the experiments of cognitive psychologist Bilge Sayim, and the observations of internationally renowned scientists and humanists like Elena Agudio, Jimena Canales, Pierre Gallais, Sylvia C. Pont, and Anil K. Seth., all of whom share an awareness that darkness opens our view to the poetry of the unknown. Texts by Elena Agudio, Jimena Canales, Ivana Franke, Pierre Gallais, Heike Catherina Mertens, Katja Naie, Sylvia C. Pont, Bilge Sayim, Anil K. Seth. – Spector Books Leipzig March, 2018 ISBN: 9783959052122 Width: 16.5 cm Length: 24 cm 176 pp.with 50 black-white and 24 colour illustrations, thread-sewn softcover Language(s): German, English –

NOWs: Seven Exhibitions at Brandenburgischer Kunstverein

25 March - 03 June 2018 / Nows ⟶

Felix Kiessling, Weisses Arsen NOWs Seven ExhibitionsBrandenburgischer Kunstverein, Potsdam Ausstellungsort: Freundschaftsinsel Künstler und Künstlerinnen: Donald Bernshouse, Geta Brătescu, Nina Canell, Daniel Gustav Cramer, Haris Epaminonda, Markus Hoffmann, Johanna Jaeger, Felix Kiessling, Antje Majewski, Michael Müller, Das Numen, Katie Paterson. Kurator: Lukas Töpfer „Sieben Ausstellungen“ wirft auf siebenfache Weise Fragen über das Verhältnis von Idee und Ausführung, Konzept und Formwerdung auf: Was macht eigentlich eine Ausstellung aus? Was ist die Mindestvoraussetzung, unter der wir eine Ausstellung für eine Ausstellung halten? Muss sie um uns werben wie ein Schaufenster um ungeduldige Passanten? Muss sie es uns leicht machen, darf sie schwierig sein? Gibt es eine rote Linie, bei deren Überschreitung die Ausstellung keine Ausstellung mehr ist, weil sie mehr verbirgt als zeigt? Die „Konzeptkunst“ wird zum Systembaukasten, mit dem wir uns unsere Ausstellung beim Betrachten selber bauen. Die „Sieben Ausstellungen“ teilen eine einflussreiche Tradition: die „Conceptual Art“. Das Verhältnis von Idee und Umsetzung, Konzept und Formfindung steht im Zentrum. Felix Kiessling, Weisses Arsen NOWs Seven ExhibitionsBrandenburgischer Kunstverein, Potsdam Ausstellungsort: Freundschaftsinsel Künstler und Künstlerinnen: Donald Bernshouse, Geta Brătescu, Nina Canell, Daniel Gustav Cramer, Haris Epaminonda, Markus Hoffmann, Johanna Jaeger, Felix Kiessling, Antje Majewski, Michael Müller, Das Numen, Katie Paterson. Kurator: Lukas Töpfer „Sieben Ausstellungen“ wirft auf siebenfache Weise Fragen über das Verhältnis von Idee und Ausführung, Konzept und Formwerdung auf: Was macht eigentlich eine Ausstellung aus? Was ist die Mindestvoraussetzung, unter der wir eine Ausstellung für eine Ausstellung halten? Muss sie um uns werben wie ein Schaufenster um ungeduldige Passanten? Muss sie es uns leicht machen, darf sie schwierig sein? Gibt es eine rote Linie, bei deren Überschreitung die Ausstellung keine Ausstellung mehr ist, weil sie mehr verbirgt als zeigt? Die „Konzeptkunst“ wird zum Systembaukasten, mit dem wir uns unsere Ausstellung beim Betrachten selber bauen. Die „Sieben Ausstellungen“ teilen eine einflussreiche Tradition: die „Conceptual Art“. Das Verhältnis von Idee und Umsetzung, Konzept und Formfindung steht im Zentrum.

NOWs: Habitat by Miriam Jonas und Andreas Greiner

24 March - 06 May 2018 / Nows ⟶

NOWs: © Tobias Willmann Miriam Jonas and Andreas Greiner: HABITATWithin the frame of »Architectures of Segregation« Curated by Nadia Pilchowski und Marie-Christin Lender Opening reception on 23rd March 2018, 7pm Bärenzwinger Im Köllnischen Park 10179 Berlin Paradigmatic for zoo architecture the structure of the Bärenzwinger (bear pit) provides a rigid separation between human and animal areas. As the first exhibition within the thematic frame of »Architectures of Segregation«, »Habitat« seeks to undermine these boundaries by means of two different artistic strategies that create new space for interpretation and experience. Miriam Jonas, whose works often move between the poles of perfect surfaces and their immanent, covered uncanny effects, overlays the bear cages with a new layer of material. Hybrid visual references form a scenario in which an anthropomorphisation is taken literally and the formal species-neutrality of the prison architecture becomes tangible. What is the effect of an optimisation of the conditions within the cages while maintaining functionality? The examination of growth, identity and transformation of living beings are central to Andreas Greiner‘s artistic practice. Inside the Bärenzwinger, bioluminescent algae find their habitat within the architectural limitations of a sculpture. Their glow in a dark room mentally leads us back to the origins of all life. In the outdoor enclosures, a biotope for algae is forming – a project with architect Ivy Lee Fiebig, who, living on-site, enters into a symbiosis with the algal bloom in the creation of a biological cycle. While algae already provide new solutions within the fields of industry and research, Fiebig herself is working on modular designs for living architecture NOWs: © Tobias Willmann Miriam Jonas und Andreas Greiner: HABITATEine Ausstellung von im Rahmen von »Architekturen der Segregation« Kuratiert von Nadia Pilchowski und Marie-Christin Lender Eröffnung: 23. März 2018 um 19 Uhr Bärenzwinger Im Köllnischen Park 10179 Berlin Paradigmatisch für Zooarchitekturen gibt die Bauweise des Bärenzwingers eine starre Trennung zwischen menschlichen und tierischen Aufenthaltsbereichen vor. Als erste Ausstellung im Themenschwerpunkt »Architekturen der Segregation« sucht »Habitat« mittels zweier unterschiedlicher künstlerischer Strategien diese Grenzen aufzuweichen und neue Interpretations-‐ und Erfahrungsräume zu schaffen. Miriam Jonas, deren Arbeiten sich oftmals im Spannungsfeld von perfekter Oberfläche und dem davon überspielten Unheimlichen bewegen, überlagert die Bärenkäfige mit einer neuen Materialschicht. Hybride visuelle Referenzen schaffen ein Szenario, in dem eine Vermenschlichung der Tiere wortwörtlich genommen und die formale Speziesneutralität der Gefängnisarchitektur erfahrbar wird. Welchen Effekt hat die Optimierung der Bedingungen in den Zellen bei Erhaltung der Funktionalität? Die Auseinandersetzung mit Wachstum, Identität und Transformation von Lebewesen ist zentrales Thema in Andreas Greiners künstlerischem Werk. Im Bärenzwinger finden biolumineszierende Algen ihren Lebensraum in den architektonischen Begrenzungen einer Skulptur. Ihr Leuchten im dunklen Raum führt gedanklich zurück zum Ursprung allen Lebens. In den Außengehegen entsteht ein Biotop für Algen – ein Projekt mit der Architektin Ivy Lee Fiebig, die vor Ort eine Symbiose mit dem Algenflor eingeht und einen biologischen Kreislauf schafft. In Industrie und Forschung liefern Algen bereits vielfach neue Lösungsansätze, Fiebig selbst arbeitet an modularen Entwürfen für lebendige Architektur.

NOWs: Poetry Jazz: Wax and Gold. A film by Clara Jo

24 March 2018 / Nows, Making of ⟶

Poetry Jazz: Wax and GoldMaking Of Premiere Screening at Ras Hotel, Addis Ababa, 5.30 pm Poetry Jazz: Wax and Gold is a short film by Clara Jo, following the workshop and presentation that brought together poets, musicians, artists, and translators from Addis Ababa and Berlin at the Akademie der Künste Berlin in 2017. Credits Director, Camera, Edit: Clara Jo; Additional Camera, Edit: Adam Hermansen; Choreographed by Christina Werner. Featuring: Frezer Admasu, Eric Ellingsen, Mihret Kebede, Robert Lippok, Nebiy Mekonnen, Jorga Mesfin, Tasew Wendem Mose, Cia Rinne, Rike Scheffler, Misrak Terefe. – This event is part of the poetry series “Poetry Jazz: Wax and Honey, I’m Home” by the Institut für Raumexperimente, Berlin; in cooperation with the Akademie der Künste, Berlin; in dialogue with Tobiya Poetic Jazz, Addis Ababa; choreographed by Christina Werner; supported by the Studio Olafur Eliasson; Graham Foundation; Co-financing Fund of the Senate Department for Culture and Europe. Funded by the TURN Fund of the German Federal Cultural Foundation. Poetry Jazz: Wax and GoldMaking Of Premiere Screening at Ras Hotel, Addis Ababa, 5.30 pm Poetry Jazz: Wax and Gold is a short film by Clara Jo, following the workshop and presentation that brought together poets, musicians, artists, and translators from Addis Ababa and Berlin at the Akademie der Künste Berlin in 2017. Credits Director, Camera, Edit: Clara Jo; Additional Camera, Edit: Adam Hermansen; Choreographed by Christina Werner. Featuring: Frezer Admasu, Eric Ellingsen, Mihret Kebede, Robert Lippok, Nebiy Mekonnen, Jorga Mesfin, Tasew Wendem Mose, Cia Rinne, Rike Scheffler, Misrak Terefe. – This event is part of the poetry series “Poetry Jazz: Wax and Honey, I’m Home” by the Institut für Raumexperimente, Berlin; in cooperation with the Akademie der Künste, Berlin; in dialogue with Tobiya Poetic Jazz, Addis Ababa; choreographed by Christina Werner; supported by the Studio Olafur Eliasson; Graham Foundation; Co-financing Fund of the Senate Department for Culture and Europe. Funded by the TURN Fund of the German Federal Cultural Foundation.

NOWs: Muster Raum. Façade – Face – Fake – Fakt

24 March - 25 April 2018 / Nows ⟶

NOWs Muster RaumFaçade – Face – Fake – Fakt Opening Saturday, 24 March 2018, 6 – 11 pm 24 – 25 March 2018 Sat 6 pm – 11 pm Sun 12 am – 8 pm Panel Talk Sunday, 25 March 2018, 3 – 4 pm Dr. Marc Wellmann, Anette Ahme, Dr. Ing. Helmut Maier, Stephan Klee Moderation by Jan Kage frontviews temporary at Schinkelsche Bauakademie Schinkelplatz 10117 Berlin With Christl Mudrak, Johanna Jaeger, Karl Ludwig Lange, Kathrin Köster, Markus Wüste, Nina Fischer & Maroan el Sani, Ole Meergans, Philip Topolovac, Raul Walch, Sandra Krause Gomez, Sinta Werner. Arranged und produced by Stephan Klee and Branislav Mihajlović. Historicising? Progressive? Intrepid? How do we want our city to be viewed? Berlin is changing rapidly and we have to ask ourselves in which direction we are heading. Twelve artists will follow up on this question and move into the “Roter Saal” of the former Bauakademie at Berlin Mitte’s Schinkelplatz. On 24th and 25th of March their room interventions and conceptual works will create a space for discourse that is completed by a panel discussion on Sunday, 25th at 3:00 pm. Just like the face of a person belongs inseparably to his or her identity, the face of a city offers deep insights into it’s very own character. However, it’s surface doesn’t only record the ravages of time, but it does also become a document of human’s active interventions. Thus, as soon as places are endowed with meaning and buildings are capitalised to embody certain visions of the future, decisions have to be taken. Whether a ruin is left untouched or being demolished, whether reconstruction seems reasonable or rather the composition of an entire new building: Either way a new factuality is set up. It’s effectiveness lies in it’s power to create a city’s future identity, rather than portraying an already consisting one. So what kind of Berlin is developing there right before our eyes? The exhibition »Muster Raum« doesn’t take this question to an historically neutral environment. It operates in a place that is shaping the city’s form and character decisively. The “Roter Saal” itself emerged as a product of a changeful history, that the artists will be dealing with via spatial interventions and conceptual works. It is an exact copy of the so called “Musterraum” (model room), that was located in Karl Friedrich Schinkel’s Bauakademie. Opening it’s doors in 1836, it got burned out during the last blows of WWII and was completely demolished as the GDR government decided to build their foreign office just at the spot in 1962. After Germany’s reunification the communist reminiscence had to yield and the areal was being left empty for several years. Only a scaffold was placed there to hint at the ground’s history, holding a tarpaulin that carries an imprint of the former Bauakademie’s appearance. This simulation of it’s façade surrounds the only room that has been reconstructed in it’s original form so far: the “Rote Saal”. But the aim is to rebuild the whole Bauakademie. Considering the massive critique that the adjacent Humboldtforum had to face, there are questions arising: Do we want to take up Schinkel’s architectural heritage and go in for a radically new way of thinking about buildings? If yes, would this mean to stick to a reconstruction true to the original or would this require a contemporary interpretation? And what kind of events shall be installed there, which contents have to be conveyed? Commonly, those thoughts are being discussed in architectural offices, museums or in ministries, but not within the specific premises at the centre of discussion. The exhibition »Muster Raum« is up to inhibit this. We want a debate that is closely linked to the place where it belongs. Lisa Schmidt-Herzog — This project is made possible by Bezirks Kulturfonds Berlin and Karl Hofer Gesellschaft NOWs Muster RaumFaçade – Face – Fake – Fakt Opening Saturday, 24 March 2018, 6 – 11 pm 24 – 25 March 2018 Sat 6 pm – 11 pm Sun 12 am – 8 pm Panel Talk Sunday, 25 March 2018, 3 – 4 pm Dr. Marc Wellmann, Anette Ahme, Dr. Ing. Helmut Maier, Stephan Klee Moderation by Jan Kage frontviews temporary at Schinkelsche Bauakademie Schinkelplatz 10117 Berlin With Christl Mudrak, Johanna Jaeger, Karl Ludwig Lange, Kathrin Köster, Markus Wüste, Nina Fischer & Maroan el Sani, Ole Meergans, Philip Topolovac, Raul Walch, Sandra Krause Gomez, Sinta Werner. Arranged und produced by Stephan Klee and Branislav Mihajlović. Historicising? Progressive? Intrepid? How do we want our city to be viewed? Berlin is changing rapidly and we have to ask ourselves in which direction we are heading. Twelve artists will follow up on this question and move into the “Roter Saal” of the former Bauakademie at Berlin Mitte’s Schinkelplatz. On 24th and 25th of March their room interventions and conceptual works will create a space for discourse that is completed by a panel discussion on Sunday, 25th at 3:00 pm. Just like the face of a person belongs inseparably to his or her identity, the face of a city offers deep insights into it’s very own character. However, it’s surface doesn’t only record the ravages of time, but it does also become a document of human’s active interventions. Thus, as soon as places are endowed with meaning and buildings are capitalised to embody certain visions of the future, decisions have to be taken. Whether a ruin is left untouched or being demolished, whether reconstruction seems reasonable or rather the composition of an entire new building: Either way a new factuality is set up. It’s effectiveness lies in it’s power to create a city’s future identity, rather than portraying an already consisting one. So what kind of Berlin is developing there right before our eyes? The exhibition »Muster Raum« doesn’t take this question to an historically neutral environment. It operates in a place that is shaping the city’s form and character decisively. The “Roter Saal” itself emerged as a product of a changeful history, that the artists will be dealing with via spatial interventions and conceptual works. It is an exact copy of the so called “Musterraum” (model room), that was located in Karl Friedrich Schinkel’s Bauakademie. Opening it’s doors in 1836, it got burned out during the last blows of WWII and was completely demolished as the GDR government decided to build their foreign office just at the spot in 1962. After Germany’s reunification the communist reminiscence had to yield and the areal was being left empty for several years. Only a scaffold was placed there to hint at the ground’s history, holding a tarpaulin that carries an imprint of the former Bauakademie’s appearance. This simulation of it’s façade surrounds the only room that has been reconstructed in it’s original form so far: the “Rote Saal”. But the aim is to rebuild the whole Bauakademie. Considering the massive critique that the adjacent Humboldtforum had to face, there are questions arising: Do we want to take up Schinkel’s architectural heritage and go in for a radically new way of thinking about buildings? If yes, would this mean to stick to a reconstruction true to the original or would this require a contemporary interpretation? And what kind of events shall be installed there, which contents have to be conveyed? Commonly, those thoughts are being discussed in architectural offices, museums or in ministries, but not within the specific premises at the centre of discussion. The exhibition »Muster Raum« is up to inhibit this. We want a debate that is closely linked to the place where it belongs. Lisa Schmidt-Herzog — This project is made possible by Bezirks Kulturfonds Berlin and Karl Hofer Gesellschaft

NOWs: Der Schnee von gestern by Sophia Pompéry

17 March - 29 April 2018 / Nows ⟶

NOWs The Endurance of the Moment Galerie Wagner + Partner With works by Berenice Abbott, Bertram Hasenauer, André Kertész, Erwin Olaf, Sophia Pompéry, Roman Signer and Thomas Wrede Wagner + Partner is pleased to announce the opening of its new premises with the launch of the thematic exhibition, Die Dauer des Moments (The Moment’s Duration). As a crack in time, the “moment”, possesses unique qualities – it is exciting, unbearable, poetic, unpredictable … and? it can also be instantaneously brief. Since its inception, photography has harnessed not only light but also the technical skills to capture one moment in time. Consequently, the exhibition looks to the 20th-century photographers André Kertész and Berenice Abbott, who address this fact in an exemplary manner with the bygone scenes they once captured from everyday life. These are complemented by the work of the renowned photographer Erwin Olaf, whose series Waiting addresses the insufferableness of waiting. Olaf also addresses the tremendous upheaval in Chinese society in his current series, Shanghai, which is exhibited for the first time in Germany. Magic Feelings (1997) is an unusual series of black and white portraits by the German photographic artist Thomas Wrede, which catch the enraptured, almost indefinable facial expressions of people in the breathtaking moment of the steep descent of a rollercoaster ride. The photographs in this exhibition celebrate the instantaneous and are juxtaposed by the quietly poetic works of Bertram Hasenauer and Sophia Pompéry. Hasenauer’s portrait paintings hint at the fleeting nature of an encounter, the maybe of a liaison. Sophia Pompéry’s installation, Der Schnee von gestern (Yesterday’s Snow) explores the impossible act of capturing the moment by exhibiting snow from 2006, and in doing so, the work becomes an imaginative play on this parable. Pompéry has a humorous knack of presenting unusual and banal connections in perceptible ways and these surprises are a common element of her practice. These works can be read as social commentary on our exceedingly digitised and efficient times, which leave less room for the useless, boring or unpredictable. The exhibition marks the beginning of a series of thematic group exhibitions, which will become a focus for Wagner + Partner in the new Mitte location. NOWs Die Dauer des Moments Galerie Wagner + Partner Berenice Abbott, Bertram Hasenauer, André Kertész, Erwin Olaf, Sophia Pompéry, Roman Signer and Thomas Wrede Galerie Wagner + Partner freut sich, mit der thematischen Ausstellung „Die Dauer des Moments“ ihre neuen Räumlichkeiten am Koppenplatz in Berlin Mitte zu eröffnen. Der „Moment“ als ein Riss im Fluss der Zeit besitzt besondere Qualitäten – aufregend, unerträglich, poetisch, unkalkulierbar kann ein einziger Augenblick sein. Seit ihrer Erfindung verbindet sich mit der Fotografie nicht nur das Licht, sondern auch die (technische) Fertigkeit, einen einzigartigen Moment des Lebens festzuhalten. Von daher greift die Ausstellung beispielhaft auf historische Fotokünstler zurück – André Kertész, Berenice Abbott -, die in ihren Werken längst vergangene Alltagsszenen eingefangen haben. Sie werden ergänzt durch Aufnahmen des renommierten Fotografen Erwin Olaf, der die Unerträglichkeit des Wartens in der Serie „Waiting“ thematisiert, aber auch über den gewaltigen Umbruch der chinesischen Gesellschaft in seiner neusten Serie „Shanghai“ erzählt, von der erstmals eine Arbeit in Deutschland gezeigt wird. Der deutsche Fotokünstler Thomas Wrede präsentiert mit „Magic Feelings“ (1997) eine ungewöhnliche Serie von Schwarzweiß-Portraits. Sie halten den entrückten, bisweilen fast undefinierbaren Gesichtsausdruck von Menschen in jenem atemberaubenden Augenblick einer Achterbahnfahrt fest, wenn es steil hinabgeht. Der Darstellung des Augenblickhaften in den Fotografien werden die poetisch-stillen Werke Bertram Hasenauers und Sophia Pompérys in der Ausstellung gegenübergestellt. Der Maler Bertram Hasenauer suggeriert in den ausgestellten Portraits die Flüchtigkeit einer Begegnung, das Vielleicht eines Kontaktes. Als Parabel auf den Wunsch nach der Unmöglichkeit des Festhalten eines Moment greift Sophia Pompéry mit ihrer Installation „Der Schnee von gestern“ das Thema auf fantasievolle Weise auf, indem sie Schnee aus dem Jahr 2006 in den Räumen der Galerie präsentiert. Wie häufig in ihrem Werk überrascht Pompéry mit der Gabe, auf humorvolle Art, abseitige und banale Zusammenhänge sinnlich darzustellen. All diese Arbeiten kann man als Kommentar auf unsere Gegenwart lesen, die durch Digitalisierung und Effizienz den Momenten des Unnützen, des Langweiligen oder des Unberechenbaren stetig weniger Raum lässt. Die Ausstellung ist auch Auftakt einer Reihe thematisch orientierter Gruppenausstellungen, die Galerie Wagner + Partner am neuen Standort in Mitte verstärkt präsentieren möchte.

NOWs: „CARE LESSw !“

16 - 18 March 2018 / Nows ⟶

CARE LESS, 2017. Photo: Lara Ohl NOWs: CARE LESS Städtische Galerie Wolfsburg Liebe ehemalige und zukünftige Teilnehmer*innen am CARE LESS Programm, hier kommt die nächste Gelegenheit einmalig oder mehrfach mit uns zu forschen und zu entdecken – herzlich Willkommen! Vom 16. – 18. März findet in der Städtischen Galerie Wolfsburg unser Auftakt-Event zum neuen Ausbildungsprogramm CARE LESSw statt. Diesmal bieten wir explizit keine Dienstleistung an sondern nehmen uns richtig viel Zeit um mit Ihnen und Euch neu zu entdecken wie CARE LESS funktioniert. Um auch ein bißchen herum zu trödeln und um nichts zu verpassen. Um endlich mal… – ja was möchten denn Sie sich diesmal vornehmen? Und was möchtest Du endlich mal mit CARE LESS erleben? Kommen Sie dazu, schließt euch uns an – wir freuen uns auf Sie und sind sehr gespannt auf euch! Bei Fragen und Anregungen und/oder individuellen Wünschen vorab bitte gern wie immer eine E-mail an: carelessmethode@gmail.com Wir erwarten Sie und euch im Schloß – Herzlich Willkommen! Mit CARE LESSigen Grüßen, Norgard Kröger und Paula Mierzowsky Für das CARE LESS Team Weitere Informationen im pdf: CARE LESS, 2017. Photo: Lara Ohl NOWs: CARE LESS Städtische Galerie Wolfsburg Liebe ehemalige und zukünftige Teilnehmer*innen am CARE LESS Programm, hier kommt die nächste Gelegenheit einmalig oder mehrfach mit uns zu forschen und zu entdecken – herzlich Willkommen! Vom 16. – 18. März findet in der Städtischen Galerie Wolfsburg unser Auftakt-Event zum neuen Ausbildungsprogramm CARE LESSw statt. Diesmal bieten wir explizit keine Dienstleistung an sondern nehmen uns richtig viel Zeit um mit Ihnen und Euch neu zu entdecken wie CARE LESS funktioniert. Um auch ein bißchen herum zu trödeln und um nichts zu verpassen. Um endlich mal… – ja was möchten denn Sie sich diesmal vornehmen? Und was möchtest Du endlich mal mit CARE LESS erleben? Kommen Sie dazu, schließt euch uns an – wir freuen uns auf Sie und sind sehr gespannt auf euch! Bei Fragen und Anregungen und/oder individuellen Wünschen vorab bitte gern wie immer eine E-mail an: carelessmethode@gmail.com Wir erwarten Sie und euch im Schloß – Herzlich Willkommen! Mit CARE LESSigen Grüßen, Norgard Kröger und Paula Mierzowsky Für das CARE LESS Team Weitere Informationen im pdf:

NOWs: Itinerance by Elise Eeraerts

16 March - 29 April 2018 / Nows ⟶

NOWs: The Black Mamba feat. Natasha Mendonca & Suman Sridhar

09 - 11 March 2018 / Nows ⟶

NOWs: Bangalore Queer Film Festival (BQFF) Bangalore Queer Film Festival (BQFF) is an annual event full of queer films from the world over, photo exhibitions, art exhibitions, performances and panel discussions. Over the years, BQFF has become an entrenched part of the cultural landscape of Bangalore. The festival serves as a space for LGBT (Lesbian, Gay, Bisexual, Transgender) concerns to be voiced through the medium of moving image. See program. The Black Mamba celebrates International Women’s Day with a live-electro music show (Afro-Indian / Neo-Soul) featuring Natasha Mendonca & Suman Sridhar. The multi-lingual performance comprises slam poetry, electronic music sampling, live beats and cascading vocals, celebrating inclusive expressions of gender. The duo invokes themes of women’s empowerment, public safety and ecofeminism. Named after the most poisonous snake on the planet, The Black Mamba transmutes poison into medicine through an urban contemporary sound. Recent highlights: UK premiere of feature film Ajeeb Aashiq // Strange Love and world preview of original music album The Black Mamba at the Tate Modern Museum (London 2017); Audio – Visual music performance at the inauguration of the 20th Contemporary Art Festival Sesc_VideoBrasil (Sao Paulo 2017); Live Music performance at the inauguration of the Kochi-Muziris Biennale (India 2016); Ziro Music Festival Headliner Act (Arunachal Pradesh 2016) etc. Suman Sridhar is an acclaimed singer-songwriter, producer and the voice behind Bollywood hits such as Muskaane Jhooti Hain (Talaash film), Hawa Hawaii (Shaitan film), Fifi (Bombay Velvet film) etc. She bridges the worlds of jazz, soul, electronica, Indian classical, opera, cabaret, afrobeat and hip-hop. She grew up with Indian Classical music and holds a degree in Western Classical Music and Women’s & Gender Studies from Rutgers University, USA. Suman Sridhar’s noted shows include Coke Studio (MTV India), Southbank Centre (UK), dOCUMENTA (13) (Germany) etc. Natasha Mendonca is an award-winning filmmaker and electronic musician from Mumbai, India. She holds a Masters in Film, Video & Sound from the California Institute of the Arts. She is best known for her films Jan Villa and Strange Love // Ajeeb Aashiq. She co-founded Larzish, India’s first international film and video film festival on sexuality and gender in Mumbai, India. Her works have shown at the Museum of Modern Art PS1 (USA), Centre Pompidou (France), 2012 London Olympics & Cultural Festival (Tate Modern, UK) etc. NOWs: Bangalore Queer Film Festival (BQFF) Bangalore Queer Film Festival (BQFF) is an annual event full of queer films from the world over, photo exhibitions, art exhibitions, performances and panel discussions. Over the years, BQFF has become an entrenched part of the cultural landscape of Bangalore. The festival serves as a space for LGBT (Lesbian, Gay, Bisexual, Transgender) concerns to be voiced through the medium of moving image. See program. The Black Mamba celebrates International Women’s Day with a live-electro music show (Afro-Indian / Neo-Soul) featuring Natasha Mendonca & Suman Sridhar. The multi-lingual performance comprises slam poetry, electronic music sampling, live beats and cascading vocals, celebrating inclusive expressions of gender. The duo invokes themes of women’s empowerment, public safety and ecofeminism. Named after the most poisonous snake on the planet, The Black Mamba transmutes poison into medicine through an urban contemporary sound. Recent highlights: UK premiere of feature film Ajeeb Aashiq // Strange Love and world preview of original music album The Black Mamba at the Tate Modern Museum (London 2017); Audio – Visual music performance at the inauguration of the 20th Contemporary Art Festival Sesc_VideoBrasil (Sao Paulo 2017); Live Music performance at the inauguration of the Kochi-Muziris Biennale (India 2016); Ziro Music Festival Headliner Act (Arunachal Pradesh 2016) etc. Suman Sridhar is an acclaimed singer-songwriter, producer and the voice behind Bollywood hits such as Muskaane Jhooti Hain (Talaash film), Hawa Hawaii (Shaitan film), Fifi (Bombay Velvet film) etc. She bridges the worlds of jazz, soul, electronica, Indian classical, opera, cabaret, afrobeat and hip-hop. She grew up with Indian Classical music and holds a degree in Western Classical Music and Women’s & Gender Studies from Rutgers University, USA. Suman Sridhar’s noted shows include Coke Studio (MTV India), Southbank Centre (UK), dOCUMENTA (13) (Germany) etc. Natasha Mendonca is an award-winning filmmaker and electronic musician from Mumbai, India. She holds a Masters in Film, Video & Sound from the California Institute of the Arts. She is best known for her films Jan Villa and Strange Love // Ajeeb Aashiq. She co-founded Larzish, India’s first international film and video film festival on sexuality and gender in Mumbai, India. Her works have shown at the Museum of Modern Art PS1 (USA), Centre Pompidou (France), 2012 London Olympics & Cultural Festival (Tate Modern, UK) etc.

NOWs: Paradise Lost by Timea Oravecz

06 March - 04 May 2018 / Nows ⟶

NOWs: Timea Oravecz: Paradise Lost Opening: 6 March 2018, 18.30 h at Ex Elettrofonica, Vicolo di Sant’Onofrio 10-11, Rome 6 March marks the opening of Tímea Oravecz’s first solo show in Italy, entitled Paradise Lost, at Ex Elettrofonica. The exhibit came from reflections during a trip to Colombia last autumn, which the artist puts in relation with the classic, but still current, themes in John Milton’s Paradise Lost. The Hungarian artist, raised in Budapest during the years of socialism, combines her own background with a wide variety of social and cultural aspects she has found in the several Western nations she has lived in over the last twenty years. What emerges is poetics rooted in the dichotomy between culture of origin and need for integration. Each work is closely connected to the socio-cultural situation where it was created, so Paradise Lost is presented as a reflection on the reinterpretation of marxist-leninist ideology by Bolivarianism and communist guerrillas in South America, in a context that is different and far from what the artist knew first-hand during her childhood in Hungary. Colombia is a diverse country, recovering from fifty years of civil war. On paper, it is a rich nation both naturally and from a humane point of view: the hospitality and general good mood of Colombians make this country seem like a real earthly paradise. Actually, a less superficial analysis, which takes into account the games of power, war, the internal struggles between the government and the guerrillas, reveals all the violence and poverty that affect this territory and make is a real hell. This situation drew the artist’s attention. In Colombia, she collected direct testimony from people who wanted to share their stories with her. In this exhibit, Tímea Oravecz wants to compare Paradise Lost, where John Milton veiled the civil wars that shook the last years of the English Republic, with Colombian internal struggle. Specifically, the Hungarian artist takes inspiration from the second book, dedicated to the Inferno, where Milton describes conflicts between various military and political factions, combining them with the fifty-year war fought in the Latin American country and only formally concluded. In the artist’s work, Milton’s poetic reality and the raw Colombian reality merge and are compared, developing a flow of thought and a concrete reflection shown in the exhibited works. The interest in the socio-political mechanisms of the situations examined for her artistic research, as well as the active participation and attention to the cultural facets of the places experienced in person, intertwine with that need for nomadism so closely interconnected to daily life, which becomes, for her, raw material and inspiration, as well as a real way to approach life and what surrounds her. Photos by Andrea Veneri — Timea Anita Oravecz, born in Budapest, graduated at 2007 BFA, Accademia di Belle Arti, Department of Sculpture, Venice and Master Student by Professor Olafur Eliasson, Institut für Raumexperimente (2009-2011), Examination at 2011 February. She has won several grants eg.: Finalist for Mostyn Open Award, Mostyn Gallery, Wales (2015), Fellowship Residency Program Kamov supported by Department of Culture, City of Rijeka, Croatia (2014), Fellowship Goldrausch Künstlerinnenprojekt art IT, Berliner Senat, Berlin (2011-2012), New York Prize at the Triangle Arts Association, New York (2010), DAAD Fellowship Awarded Artist, UDK Berlin (2008-2009) and Hans Purrmann Prize (2009), Scholarship involving the use of an Artist Studio (2005-2006) and The First Prize, Bevilacqua La Masa Foundation, Venice (2004).She has won several grants e.g.: Finalist for Mostyn Open Award, Mostyn Gallery, Wales (2015), Fellowship Residency Program Kamov supported by the Department of Culture, City of Rijeka, Croatia (2014), Goldrausch Künstlerinnenprojekt Fellowship art IT, Berliner Senat, Berlin (2011-2012), New York Prize at the Triangle Arts Association, New York (2010), DAAD Fellowship Awarded Artist, UDK Berlin (2008-2009) and Hans Purrmann Prize (2009), Scholarship involving the use of an Artist Studio (2005-2006) and The First Prize, Bevilacqua La Masa Foundation, Venice (2004). She has presented her works at solo shows in Berlin, Helsinki, and more than fifty group exhibitions: BIENALSUR, the 1st Art Biennial of South America, Cúcuta, Colombia (2017), Goethe Institut, Tanger, Morocco (2017), Hamburger Bahnhof – Museum of Contemporary Art, Berlin (2017 ), KUMU art Museum, Tallin (2017), Ikob – Museum of Contemporary Art in Eupen, Belgium (2017), 17th Art Biennial Serbia (2016), The Zacheta National Gallery of Art, Warsaw (2016), 1st OFF Biennale, Budapest (2015), Mostyn Gallery, Wales (2015), Neue Nationalgalerie, Berlin (2014), Haus der Kulturen der Welt, Berlin (2013), NGBK and Kunstraum Kreuzberg/Bethanien, Berlin (2012), Bunkier Sztuki Contemporary, Krakow (2011), Hungarian Nationalgalerie, Budapest (2011), Triangle Arts Association, New York (2010), Secession, Vienna (2010), Zeppelin Museum, Friedrichshafen (2010), Eastside Projects, Birmingham (2009), Manifesta 7, Rovereto (2008) and Final Show of XII. Antonio Ratti Foundation Visual Arts Course, Fabbrica del Vapore, Milan (2006), Bevilacqua La Masa Foundation, Exhibition space in San Marco Square, Venice (2004) Timea Anita Oravecz lives and works in Berlin. NOWs: Timea Oravecz: Paradise Lost Opening: 6 March 2018, 18.30 h at Ex Elettrofonica, Vicolo di Sant’Onofrio 10-11, Rome 6 March marks the opening of Tímea Oravecz’s first solo show in Italy, entitled Paradise Lost, at Ex Elettrofonica. The exhibit came from reflections during a trip to Colombia last autumn, which the artist puts in relation with the classic, but still current, themes in John Milton’s Paradise Lost. The Hungarian artist, raised in Budapest during the years of socialism, combines her own background with a wide variety of social and cultural aspects she has found in the several Western nations she has lived in over the last twenty years. What emerges is poetics rooted in the dichotomy between culture of origin and need for integration. Each work is closely connected to the socio-cultural situation where it was created, so Paradise Lost is presented as a reflection on the reinterpretation of marxist-leninist ideology by Bolivarianism and communist guerrillas in South America, in a context that is different and far from what the artist knew first-hand during her childhood in Hungary. Colombia is a diverse country, recovering from fifty years of civil war. On paper, it is a rich nation both naturally and from a humane point of view: the hospitality and general good mood of Colombians make this country seem like a real earthly paradise. Actually, a less superficial analysis, which takes into account the games of power, war, the internal struggles between the government and the guerrillas, reveals all the violence and poverty that affect this territory and make is a real hell. This situation drew the artist’s attention. In Colombia, she collected direct testimony from people who wanted to share their stories with her. In this exhibit, Tímea Oravecz wants to compare Paradise Lost, where John Milton veiled the civil wars that shook the last years of the English Republic, with Colombian internal struggle. Specifically, the Hungarian artist takes inspiration from the second book, dedicated to the Inferno, where Milton describes conflicts between various military and political factions, combining them with the fifty-year war fought in the Latin American country and only formally concluded. In the artist’s work, Milton’s poetic reality and the raw Colombian reality merge and are compared, developing a flow of thought and a concrete reflection shown in the exhibited works. The interest in the socio-political mechanisms of the situations examined for her artistic research, as well as the active participation and attention to the cultural facets of the places experienced in person, intertwine with that need for nomadism so closely interconnected to daily life, which becomes, for her, raw material and inspiration, as well as a real way to approach life and what surrounds her. Photos by Andrea Veneri — Timea Anita Oravecz, born in Budapest, graduated at 2007 BFA, Accademia di Belle Arti, Department of Sculpture, Venice and Master Student by Professor Olafur Eliasson, Institut für Raumexperimente (2009-2011), Examination at 2011 February. She has won several grants eg.: Finalist for Mostyn Open Award, Mostyn Gallery, Wales (2015), Fellowship Residency Program Kamov supported by Department of Culture, City of Rijeka, Croatia (2014), Fellowship Goldrausch Künstlerinnenprojekt art IT, Berliner Senat, Berlin (2011-2012), New York Prize at the Triangle Arts Association, New York (2010), DAAD Fellowship Awarded Artist, UDK Berlin (2008-2009) and Hans Purrmann Prize (2009), Scholarship involving the use of an Artist Studio (2005-2006) and The First Prize, Bevilacqua La Masa Foundation, Venice (2004).She has won several grants e.g.: Finalist for Mostyn Open Award, Mostyn Gallery, Wales (2015), Fellowship Residency Program Kamov supported by the Department of Culture, City of Rijeka, Croatia (2014), Goldrausch Künstlerinnenprojekt Fellowship art IT, Berliner Senat, Berlin (2011-2012), New York Prize at the Triangle Arts Association, New York (2010), DAAD Fellowship Awarded Artist, UDK Berlin (2008-2009) and Hans Purrmann Prize (2009), Scholarship involving the use of an Artist Studio (2005-2006) and The First Prize, Bevilacqua La Masa Foundation, Venice (2004). She has presented her works at solo shows in Berlin, Helsinki, and more than fifty group exhibitions: BIENALSUR, the 1st Art Biennial of South America, Cúcuta, Colombia (2017), Goethe Institut, Tanger, Morocco (2017), Hamburger Bahnhof – Museum of Contemporary Art, Berlin (2017 ), KUMU art Museum, Tallin (2017), Ikob – Museum of Contemporary Art in Eupen, Belgium (2017), 17th Art Biennial Serbia (2016), The Zacheta National Gallery of Art, Warsaw (2016), 1st OFF Biennale, Budapest (2015), Mostyn Gallery, Wales (2015), Neue Nationalgalerie, Berlin (2014), Haus der Kulturen der Welt, Berlin (2013), NGBK and Kunstraum Kreuzberg/Bethanien, Berlin (2012), Bunkier Sztuki Contemporary, Krakow (2011), Hungarian Nationalgalerie, Budapest (2011), Triangle Arts Association, New York (2010), Secession, Vienna (2010), Zeppelin Museum, Friedrichshafen (2010), Eastside Projects, Birmingham (2009), Manifesta 7, Rovereto (2008) and Final Show of XII. Antonio Ratti Foundation Visual Arts Course, Fabbrica del Vapore, Milan (2006), Bevilacqua La Masa Foundation, Exhibition space in San Marco Square, Venice (2004) Timea Anita Oravecz lives and works in Berlin.

NOWs: Welcome to the Jungle

03 March - 21 May 2018 / Nows ⟶

Alvaro Urbano: Office (detail), 2017-18 NOWs: Welcome to the JungleKunsthalle Düsseldorf Opening: 2 March 2018, 8 pm Works by Jonathas de Andrade, Kristina Buch, Oto Hudec, Laura Lima, Cinthia Marcelle, Mario Pfeifer, Liu Shiyuan, Kota Takeuchi, Alvaro Urbano Under the title Welcome to the Jungle, the Kunsthalle Düsseldorf will bring together a selection of international works that critically, reflectively, and often humorously, yet without moralistic finger-pointing, refer to those conditions and paradoxes in which we become entangled while attempting to do the right thing. For instance, there is a tendency today to revolt against circumstances in which, through our decisions, we implicitly allow entrepreneurial, social, and resource-related practices to take place which we would reject in specific cases when, for example, human beings and nature suffer as a result. This manifests itself in the form of conscious consumer choices in food, clothing, and travel, or the simple question of which topics and voices we lend our time and attention to. From carbon footprints to sustainable financial investments, from corporate social responsibility to the environmental impact of the production chain—in practice, the density of information is taking on jungle-like proportions. Yet it is often not clear what fits best with our own beliefs or which path would theoretically be the right one. It is an attempt to orient ourselves amid the noise and thickets of the jungle and to discern the big picture from the local perspective. Collective movements emerge and condense. Investigative journalism and viral narratives share the bandwidth with professional image campaigns and digital smokescreens. Quality seals for fair trade or organic production increasingly work like brands, and ways of life devoted to sustainability can be adapted from magazines in the visual language of the fashion and lifestyle industry. Thus, the jungle is also a symbol of disorientation and overload, a place where no one direction looks more promising than any other. Each new position appears like an arbitrary selection of those already available. Every new narrative is already part of a larger narrative in which fiction and enlightenment merge. Whether on a broad scale and on the macroeconomic level the individual question “How do I want to live?” will lead to a critical potential and, as a consequence, solutions for the social and ecological problems of mankind can be found is certainly one of the exciting questions with which we are faced. Yet for the individual, the dilemma remains: Do I measure myself against a hypothetical success of my decisions and results (and am I on a constant search for new insights, since this morning’s information is already outdated), or can attitude, intention, and integrity within my individual life circumstances remain valid standards? The visual arts also address questions that explicitly deal with these topics. The focus of the exhibition is on such artistic practices that concentrate on the aesthetic dimension of art in order to sharpen our awareness of these states and processes, paradoxes and contradictions in the everyday jungle of information, wisdom, half-truths, prejudices, and rules. The selected works do not so much specify a concrete path or paint an apocalyptic picture, but instead seriously and wholeheartedly examine the realities of the jungle and ultimately encourage the viewer to pursue stimulating questions and explore new approaches or poetic and absurd paths in an encouraging and humorous atmosphere. The artists who were invited to participate in the exhibition are distinguished by the fact that they use their own specific approach to media to create captivating pictures and stories that are persuasive due to their choice of themes and their aesthetics. Many of the selected works deal with concrete situations and developments that they observe and in which they (aesthetically) intervene. Beyond a purely documentary approach and attitude of enlightenment, the works deal with the strategies of the documentary and ultimately also the unattainability of the one sole truth or the one right path. For instance, some of the artists work with documentary practices, but continually undermine them by reversing the role of the observer and the observed, punctuating it with the aesthetics of music videos, or making the visibility of a subject possible by staging a documentary setting. Even those artistic practices that approach these themes through specific cultural subjects ultimately create a universal validity by means of their aesthetics. Another approach that connects the individual positions is the recourse to physical and performative elements through which abstract processes become visible and tangible in a particular way. The exhibition brings together video installations, performances, large-scale productions, and site-specific works by international artists. They are mainly the works and perspectives of a younger generation. Curated by Jasmina Merz and Anna Lena Seiser Alvaro Urbano: Office (detail), 2017-18 NOWs: Welcome to the JungleKunsthalle Düsseldorf Eröffnung: 2 März 2018, 8 pm Mit Arbeiten von Jonathas de Andrade, Kristina Buch, Oto Hudec, Laura Lima, Cinthia Marcelle, Mario Pfeifer, Liu Shiyuan, Kota Takeuchi, Alvaro Urbano Unter dem Titel „Welcome to the Jungle“ versammelt die Kunsthalle Düsseldorf eine Auswahl internationaler Werke, die kritisch, reflektiert und oft mit Humor, aber ohne moralischen Fingerzeig auf jene Zustände und Paradoxien verweisen, in die wir uns verstricken, während wir versuchen, das Richtige zu tun. Im Zeitgeist liegt zum Beispiel das Aufbegehren gegen Verhältnisse, in denen wir durch unsere Entscheidungen implizit auch solche unternehmerischen, sozialen und ressourcenbezogenen Praktiken gewähren lassen, die wir im konkreten Fall ablehnen würden, wenn z.B. Mensch und Natur darunter leiden. Greifbar wird dies durch bewusstere Konsumentscheidungen bei Ernährung, Kleidung und Reisen oder bei der einfachen Frage, welchen Themen und Stimmen wir unsere Zeit und Aufmerksamkeit schenken. Vom Carbon Footprint bis zur nachhaltigen Finanzanlage, von Corporate Social Responsibility bis zur Ökobilanz der Verarbeitungskette – in der Praxis nimmt die Informationsdichte dschungelartige Ausmaße an, wobei oft nicht klar ist, welche Ausrichtung den eigenen Überzeugungen am ehesten entspricht oder welcher Weg rein theoretisch der richtige wäre. Es ist der Versuch im Lärm und Dickicht des Dschungels Orientierung zu gewinnen und aus der lokalen Perspektive das Große-Ganze zu erkennen. Kollektive Bewegungen entstehen und verdichten sich. Investigativer Journalismus und virale Erzählungen teilen sich die Bandbreite mit professionellen Imagekampagnen und digitalen Nebelkerzen. Gütesiegel für Fair Trade oder ökologische Herstellung funktionieren zunehmend wie Brands, und der Nachhaltigkeit verschriebene Lebensentwürfe können aus Magazinen in der Bildsprache von Mode- und Lifestyleindustrie entlehnt werden. Der Dschungel ist somit auch Sinnbild für Orientierungslosigkeit und Überforderung, ein Ort, an dem keine Richtung vielversprechender aussieht als die Andere. Jede neue Position scheint eine beliebige aus den bereits verfügbaren. Jede neue Erzählung ist bereits Teil einer größeren Erzählung, in der Fiktion und Aufklärung verschmelzen. Ob in der Breite und auf makroökonomischer Ebene mit der individuellen Frage „Wie will ich leben?“ ein kritisches Potential entwickelt und so auch Lösungen für die sozialen und ökologischen Probleme der Allgemeinheit gefunden werden, ist mit Sicherheit eine der spannenden Fragen. Für den Einzelnen bleibt aber das Dilemma: Messe ich mich an einem hypothetischen Erfolg meiner Entscheidungen und Ergebnisse (und bin auf der permanenten Suche nach neuen Erkenntnissen, da die Informationen von Heute Morgen keine Gültigkeit mehr haben) oder können Haltung, Intention und Integrität innerhalb meiner individuellen Lebensumstände weiterhin gültige Maßstäbe sein?Auch in der bildenden Kunst werden Fragestellungen verhandelt, die sich explizit mit diesen Themen beschäftigen. Im Fokus der Ausstellung stehen jene künstlerischen Praktiken, die die ästhetische Dimension der Kunst in den Vordergrund rücken um damit das Bewusstsein für jene Zustände und Prozesse, Paradoxien und Widersprüche im alltäglichen Dschungel von Informationen, Weisheiten, Halbwahrheiten, Vorurteilen und Vorschriften zu schärfen. Die ausgewählten Arbeiten geben weniger einen konkreten Weg vor oder zeichnen ein apokalyptisches Bild, als dass sie vielmehr die Realitäten des Dschungels ernsthaft und mit Hingabe erkunden und den Betrachter letztlich in einer ermutigenden und humorvollen Atmosphäre animieren Fragen zu vertiefen und neue Zugänge oder poetische wie absurde Wege zu erproben. Die für die Ausstellung eingeladenen Künstler*innen zeichnet aus, dass sie mit einem jeweils spezifischen medialen Ansatz einnehmende Bilder und Geschichten schaffen, die zum einen durch die Wahl ihrer Themen und zum anderen durch ihre Ästhetik überzeugen. Viele der ausgewählten Arbeiten beschäftigen sich mit konkreten Situationen und Entwicklungen, die sie beobachten und in die sie (ästhetisch) eingreifen. Jenseits eines reinen Dokumentarismus und Aufklärungshabitus verhandeln die Arbeiten Strategien des Dokumentarischen und letztlich auch die Unerreichbarkeit der einen Wahrheit oder des richtigen Wegs. So arbeiten einige der Künstler*innen mit dokumentarischen Praktiken, unterlaufen diese aber immer wieder, indem sie z.B. die Rolle des Beobachters und des Beobachteten umkehren, diese mit der Ästhetik von Musikvideos durchbrechen oder mit der Inszenierung eines dokumentarischen Settings die Sichtbarkeit eines Sujets erst ermöglichen. Auch jene künstlerischen Praktiken deren Zugang über spezifisch kulturelle Sujets erfolgt, schaffen letztlich durch ihre Ästhetik eine universelle Gültigkeit. Ein weiterer Ansatz, der einzelne Position verbindet, ist der Rückgriff auf körperlich-performative Elemente, durch die abstrakte Prozesse in besonderer Art sichtbar und erfahrbar werden. Die Ausstellung versammelt Videoinstallationen, Performances, raumgreifende Inszenierungen und ortsspezifische Arbeiten von internationalen Künstler*innen. Kuratiert von Jasmina Merz und Anna Lena Seiser

NOWs: Fabian Knecht at Kunsthalle Baden-Baden

02 March - 16 June 2018 / Nows ⟶

Fabian Knecht: ISOLATION (Stamm), 2018 NOWs: Exhibiting the ExhibitionFrom the Cabinet of Curiosities to the Curatorial Situation at Kunsthalle Baden-Baden “Exhibiting the Exhibition” takes a look into the past, at the present, and also gives us a glimpse of the future of the exhibition. Precursors of modern museums will mark the starting point of the exhibition and it ends with the curatorial situations we’re currently witnessing. The show brings together several hundred works, which show, for example, how objects used to be presented in early cabinets of curiosities, which forms of display emerged in the 20th century, and how art is presented today. A historical section in the main galleries of the Kunsthalle will form the prelude to the exhibition itself. It includes two of the earliest known examples of photographs documenting an exhibition. Even earlier forms of exhibition will be illustrated by means of floor plans, hanging plans, images of galleries, and tools of display, such as historical showcases and pedestals from the 17th and 18th centuries. Another focus, also shown at the Kunsthalle, will be the art of the exhibition in the 20th century: this was a time when new approaches to displaying were experimented with, often by the artists themselves. Some of these were so extreme as to have remained revolutionary to this day. One example is the ‘Cabinet of the Abstract’, which El Lissitzky set up at the Provinzialmuseum in Hanover in 1927. This is presented as a digital reconstruction and re-interpreted by Polish artist Goshka Macuga. Reflections on the “infrastructure” of the exhibition are another topos of contemporary art. For example, museum carpets and benches have been playfully reworked into elaborate choreographic objects. This can be seen in the works of Nevin Aladağ and Jeppe Hein. In addition, the exhibition can be experienced outside the premises of the Kunsthalle itself. Current works attest to the fact that almost any site can be transformed into a temporary exhibition space by the mere creation of a curatorial situation. It is in this sense that the exhibition will conquer the urban space of Baden-Baden: shop windows, a bridge which crosses the river Oos, even the trees of the famous Lichtentaler Allee will be turned into exhibition spaces. Amid all the changes in the centuries-long history of the exhibition, there has been one constant: an exhibition is not an exhibition without its audience. With works by Nevin Aladağ, John Bock, Mariana Castillo Deball, Tacita Dean, Christian Eisenberger, Andrea Fraser, Lasse Schmidt Hansen, Friedemann Heckel, Jeppe Hein, Julian Irlinger, Fabian Knecht, Louise Lawler, Allan McCollum, Maria Miottke, Simon Dybbroe Møller, Ivan Moudov, Philipp Modersohn, Walid Raad, Karin Sander, Evamaria Schaller, Kamen Stoyanov, Sebastian Thewes, Lukas Töpfer, Claudia de la Torre, Kaari Upson, Pae White, Fred Wilso, a.o. Fabian Knecht: ISOLATION (Stamm), 2018 NOWs: Exhibiting the ExhibitionFrom the Cabinet of Curiosities to the Curatorial Situation at Kunsthalle Baden-Baden “Exhibiting the Exhibition” takes a look into the past, at the present, and also gives us a glimpse of the future of the exhibition. Precursors of modern museums will mark the starting point of the exhibition and it ends with the curatorial situations we’re currently witnessing. The show brings together several hundred works, which show, for example, how objects used to be presented in early cabinets of curiosities, which forms of display emerged in the 20th century, and how art is presented today. A historical section in the main galleries of the Kunsthalle will form the prelude to the exhibition itself. It includes two of the earliest known examples of photographs documenting an exhibition. Even earlier forms of exhibition will be illustrated by means of floor plans, hanging plans, images of galleries, and tools of display, such as historical showcases and pedestals from the 17th and 18th centuries. Another focus, also shown at the Kunsthalle, will be the art of the exhibition in the 20th century: this was a time when new approaches to displaying were experimented with, often by the artists themselves. Some of these were so extreme as to have remained revolutionary to this day. One example is the ‘Cabinet of the Abstract’, which El Lissitzky set up at the Provinzialmuseum in Hanover in 1927. This is presented as a digital reconstruction and re-interpreted by Polish artist Goshka Macuga. Reflections on the “infrastructure” of the exhibition are another topos of contemporary art. For example, museum carpets and benches have been playfully reworked into elaborate choreographic objects. This can be seen in the works of Nevin Aladağ and Jeppe Hein. In addition, the exhibition can be experienced outside the premises of the Kunsthalle itself. Current works attest to the fact that almost any site can be transformed into a temporary exhibition space by the mere creation of a curatorial situation. It is in this sense that the exhibition will conquer the urban space of Baden-Baden: shop windows, a bridge which crosses the river Oos, even the trees of the famous Lichtentaler Allee will be turned into exhibition spaces. Amid all the changes in the centuries-long history of the exhibition, there has been one constant: an exhibition is not an exhibition without its audience. With works by Nevin Aladağ, John Bock, Mariana Castillo Deball, Tacita Dean, Christian Eisenberger, Andrea Fraser, Lasse Schmidt Hansen, Friedemann Heckel, Jeppe Hein, Julian Irlinger, Fabian Knecht, Louise Lawler, Allan McCollum, Maria Miottke, Simon Dybbroe Møller, Ivan Moudov, Philipp Modersohn, Walid Raad, Karin Sander, Evamaria Schaller, Kamen Stoyanov, Sebastian Thewes, Lukas Töpfer, Claudia de la Torre, Kaari Upson, Pae White, Fred Wilso, a.o.

NOWS: የሮቤል ተመስገን ተንሳፋፊ ጀበናዎች by Robel Temesgen

22 February - 24 March 2018 / Nows ⟶

NOWs: Robel Temesgen | የሮቤል ተመስገን ተንሳፋፊ ጀበናዎችNu Bunna Tetu at Fendika Cultural Centre, Addis Ababa Opening: Thursday 22 February 2018 6:00 – 9:00 pm Fendika Cultural Centre presents “የሮቤል ተመስገን ተንሳፋፊ ጀበናዎች”, a solo exhibition by Robel Temesgen. In this Exhibition, Temesgen walks us through the “Nu Bunna Tetu”; the highly proliferating small scale coffee drinking spots and their emergence as alternative public spaces. In the fast changing character of Addis Ababa, the coffee spots have become an integral part of everyday life in areas ranging from the fancy multipurpose malls to the demolished as well as new construction sites in the city. Using the painting approach the artist developed over the years, Temesgen elevates the Jebenas/coffee pots beyond the customary. Owing to their compelling presence, “የሮቤል ተመስገን ተንሳፋፊ ጀበናዎች” looks into coffee pots as floating to survive, to make it through the hustle and bustle and continue to offer a platform that affords customers a shared place for conversations as they sip on their cup of coffee. Imagining sites of “Nu Bunna Tetu” as spots that somehow connect ‘strangers’ constitutes part of his continued interest in the socio-political dynamics of the social, sociality, and sociability and spaces at which this manifest. After years of exhibiting abroad, this Exhibition is Temesgen’s first Solo show in Addis Ababa. Robel Temesgen: Untitled, 2017, Acrylic, ink, sticker, permanent marker on paper About Robel Temesgen Born in 1987 in Ethiopia, Robel Temesgen received an MFA from Tromsø Academy of Contemporary Art, University of Tromsø, Norway in 2015, and a BFA in Fine Art (Painting) from Addis Ababa University in 2010. He recently took part in the Junge Akademie Program of the Akademie der Künste, Berlin, and was a resident artist at IASPIS, Stockholm, the Swedish Art Grants Committee’s International Programme for Visual and Applied Arts. Temesgen’s work has been exhibited at the Hamburger Bahnhof, Berlin (2017), Marabohparken, Stockholm (2017), Akademie der Künste, Berlin (2016), Kurant Visningsrom, Tromsø (2015), Addis International Video Art Festival, Addis Ababa (2015), Art Future/Future Signs, Riga (2015), RomeAfrica Film Festival, Rome (2015), Lumen Festival, New York (2015), Neue Nationalgalerie, Berlin (2014) and Modern Art Museum/Gebre Kristos Desta Center, Addis Ababa (2013). He currently lives and works in Addis Ababa, Ethiopia. NOWs: Robel Temesgen | የሮቤል ተመስገን ተንሳፋፊ ጀበናዎችNu Bunna Tetu at Fendika Cultural Centre, Addis Ababa Opening: Thursday 22 February 2018 6:00 – 9:00 pm Fendika Cultural Centre presents “የሮቤል ተመስገን ተንሳፋፊ ጀበናዎች”, a solo exhibition by Robel Temesgen. In this Exhibition, Temesgen walks us through the “Nu Bunna Tetu”; the highly proliferating small scale coffee drinking spots and their emergence as alternative public spaces. In the fast changing character of Addis Ababa, the coffee spots have become an integral part of everyday life in areas ranging from the fancy multipurpose malls to the demolished as well as new construction sites in the city. Using the painting approach the artist developed over the years, Temesgen elevates the Jebenas/coffee pots beyond the customary. Owing to their compelling presence, “የሮቤል ተመስገን ተንሳፋፊ ጀበናዎች” looks into coffee pots as floating to survive, to make it through the hustle and bustle and continue to offer a platform that affords customers a shared place for conversations as they sip on their cup of coffee. Imagining sites of “Nu Bunna Tetu” as spots that somehow connect ‘strangers’ constitutes part of his continued interest in the socio-political dynamics of the social, sociality, and sociability and spaces at which this manifest. After years of exhibiting abroad, this Exhibition is Temesgen’s first Solo show in Addis Ababa. Robel Temesgen: Untitled, 2017, Acrylic, ink, sticker, permanent marker on paper About Robel Temesgen Born in 1987 in Ethiopia, Robel Temesgen received an MFA from Tromsø Academy of Contemporary Art, University of Tromsø, Norway in 2015, and a BFA in Fine Art (Painting) from Addis Ababa University in 2010. He recently took part in the Junge Akademie Program of the Akademie der Künste, Berlin, and was a resident artist at IASPIS, Stockholm, the Swedish Art Grants Committee’s International Programme for Visual and Applied Arts. Temesgen’s work has been exhibited at the Hamburger Bahnhof, Berlin (2017), Marabohparken, Stockholm (2017), Akademie der Künste, Berlin (2016), Kurant Visningsrom, Tromsø (2015), Addis International Video Art Festival, Addis Ababa (2015), Art Future/Future Signs, Riga (2015), RomeAfrica Film Festival, Rome (2015), Lumen Festival, New York (2015), Neue Nationalgalerie, Berlin (2014) and Modern Art Museum/Gebre Kristos Desta Center, Addis Ababa (2013). He currently lives and works in Addis Ababa, Ethiopia.

NOWs: Anti Bodies at MoMA PS1

28 January 2018 / Nows ⟶

NOWs: Anti Bodies at MoMA PS1 Sunday, January 28, 2:00–6:00 p.m Anti Bodies is an afternoon of performance, readings and installations organized with Topical Cream, a platform for female-identifying and gender non-conforming persons working at the intersection of contemporary art and technology. Focusing on artists whose practices explore methods of self-preservation, the featured work demonstrates how gestures of resistance can be choreographed through performance and communal action. The program includes a performance by Analisa Teachworth, in collaboration with Jonas Wendelin; video screenings presented by Jacksonville-based artist Redeem Pettaway; an exploration of surveillance, control, and seduction by Julia Scher; and live concerts from Zsela and Deli Girls. The program is complemented by additional programming presented throughout the museum, including an ongoing performance by Michelle Young Lee examining the labor of care, a video installation by Sara Hornbacher, and a recital situated within an environment created by Sarah Zapata with poetry and readings from Zapata, Maya Martinez, Rin Johnson, Sophia Le Fraga, and Natasha Stagg. Topical Cream, founded by Lyndsy Welgos, Whitney Mallett, and Ara Anjargolian, takes an active part in New York City’s contemporary artistic and digital community through critical feminist interventions. Tickets: $15 (MoMA Members $13) Programming throughout the building free with museum admission NOWs: Anti Bodies at MoMA PS1 Sunday, January 28, 2:00–6:00 p.m Anti Bodies is an afternoon of performance, readings and installations organized with Topical Cream, a platform for female-identifying and gender non-conforming persons working at the intersection of contemporary art and technology. Focusing on artists whose practices explore methods of self-preservation, the featured work demonstrates how gestures of resistance can be choreographed through performance and communal action. The program includes a performance by Analisa Teachworth, in collaboration with Jonas Wendelin; video screenings presented by Jacksonville-based artist Redeem Pettaway; an exploration of surveillance, control, and seduction by Julia Scher; and live concerts from Zsela and Deli Girls. The program is complemented by additional programming presented throughout the museum, including an ongoing performance by Michelle Young Lee examining the labor of care, a video installation by Sara Hornbacher, and a recital situated within an environment created by Sarah Zapata with poetry and readings from Zapata, Maya Martinez, Rin Johnson, Sophia Le Fraga, and Natasha Stagg. Topical Cream, founded by Lyndsy Welgos, Whitney Mallett, and Ara Anjargolian, takes an active part in New York City’s contemporary artistic and digital community through critical feminist interventions. Tickets: $15 (MoMA Members $13) Programming throughout the building free with museum admission

NOWs: Hibernation – Linda Kuhn & Alvaro Urbano

20 January - 10 March 2018 / Nows ⟶

Bärenzwinger, Berlin. Foto: Robert Eckstein NOWs: HibernationLinda Kuhn & Alvaro Urbano at Bärenzwinger, Berlin Exhibition: 20.01. – 10.03.2018 Opening: Friday, 19.01.2018 | 7–10 pm Welcome: Sabine Weißler, District Councillor for Continuing Education, Culture, Environment, Nature, Street and Green Areas About the exhibition: Julia Heunemann and Nadia Pilchowski During hibernation, the Berlin city bears were rarely seen in their outdoor enclosures. They mostly slept, were fed only inside the bear pit out of public view, and freed from their representative role. Periods of rest in which physiological processes shut down, mental tension subsides and where consciousness shifts between vague perception and purposeless actions, are disharmonious with neoliberal performance orientation. “Hibernation” presents artistic positions which examine those conditions and effects of temporary withdrawal. In her previous works, Linda Kuhn has addressed the withdrawal from goal-orientated action. In the outdoor enclosures of the bear pit, which align physical distance with comprehensive visibility, the Berlin-based artist obstructs the visitors’ views. With protective cladding for sculptures, she creates retreats for the elements found within the enclosures, and in the process, ascribes to them new plastic qualities. By means of architectural interventions that circumvent habitual perceptual patterns, Alvaro Urbano deconstructs relations between inside and outside, dream and reality. Considering hibernation, he suspends the bear cages from their intended use and focuses on the imaginary potential of their immured and barred architecture. The question then of what bears dream about ultimately reflects hibernation itself as a space of the imaginary. Curated by Julia Heunemann and Nadia Pilchowski Alvaro Urbano: Verde que te quiero verde. Courtesy the artist and ChertLüdde, Berlin Linda Kuhn: Gerade Nicht. Courtesy the artist Fotos: Katharina Rose Bärenzwinger, Berlin. Foto: Robert Eckstein NOWs: HibernationLinda Kuhn & Alvaro Urbano at Bärenzwinger, Berlin Ausstellung: 20.01. bis 10.03.2018 Eröffnung am Freitag, 19.01.2018 | 19 – 22 Uhr Begrüßung: Sabine Weißler, Bezirksstadträtin für Weiterbildung, Kultur, Umwelt, Natur, Straßen und Grünflächen Zur Ausstellung: Julia Heunemann und Nadia Pilchowski Während der Winterruhe ließen sich die Berliner Stadtbären selten in ihren Außengehegen blicken. Sie schliefen viel, wurden nur noch im Zwingergebäude abseits der Öffentlichkeit gefüttert und waren ihrer repräsentativen Funktion entbunden. Ruhephasen, in denen physiologische Prozesse heruntergefahren werden, geistige Anspannung nachlässt und das Bewusstsein zwischen diffuser Wahrnehmung und intentionsfreiem Handeln changiert, stehen neoliberalem Leistungsdenken entgegen. »Hibernation« präsentiert künstlerische Positionen, die sich mit derartigen Bedingungen und Effekten von temporärem Rückzug auseinandersetzen. Mit dem Austreten aus zielgerichteten Leistungszusammenhängen hat sich Linda Kuhn bereits in früheren Arbeiten befasst. In den Außengehegen des Bärenzwingers, die auf räumliche Distanz bei umfassender Einsehbarkeit hin ausgerichtet sind, verstellt die Berliner Künstlerin nun die Blicke der Betrachter*innen. Mit Schutzverkleidungen für Skulpturen entwirft sie Rückzugsräume für Elemente, die sie in den Gehegen vorgefunden hat und schreibt ihnen damit zugleich neue plastische Qualitäten zu. Durch architektonische Eingriffe, die gewohnte Wahrnehmungsmuster unterlaufen, dekonstruiert Alvaro Urbano Verhältnisse von Innen und Außen, Traum und Wirklichkeit. Die Winterruhe in den Blick nehmend, enthebt er die Bärenkäfige von den ihnen einst zugewiesenen Bestimmungen und fokussiert die imaginären Potenziale der ummauerten und vergitterten Architekturen. Die Frage danach, wovon Bären wohl träumen, reflektiert schließlich den Winterschlaf selbst als Raum des Imaginären. Kuratiert von Julia Heunemann und Nadia Pilchowski Alvaro Urbano: Verde que te quiero verde. Courtesy the artist and ChertLüdde, Berlin Linda Kuhn: Gerade Nicht. Courtesy the artist Fotos: Katharina Rose

NOWs: Space Coordinates by Paul Kuimet / Nina Schuiki

11 January - 03 March 2018 / Nows ⟶

NOWs: Paul Kuimet / Nina Schuiki: Space Coordinates WNTRP Opening: 11 January 2018, 5 – 8 pm Exhibition: 12 January – 03 March 2018 Space Coordinates presents works by Nina Schuiki and Paul Kuimet that condense as sequences of photography or sculpture in space. These serial results often remain arrested in the form of an infinite loop or seem to circle infinitely onward. Both artists share an interest in these issues: they encounter one another for the first time in the exhibition Space Coordinates. In endless candle (2017), Nina Schuiki‘s gesture robs a candle of its light-giving function and stretches the material so that it melts to form a circle. In this way, a bright, semi-transparent ring is created made of wax with a visible wick, where the candle is shifted as a light source and instrument for measuring time in the form of a loop. In a chain of wood over twelve meters long entitled Everything is not lost (2016), Schuiki reorganizes found tables and chairs from the streets of Shanghai into a regular arrangement of points in space. Here as well, beginning and end are linked to one another and the resulting endless loop recalls popular prayer beads. The new series Hand (2017) consists of abstract photographs that Schuiki prints directly onto glass: the motifs turn out to be chance shots taken with cameras on mobile phones showing the inside surfaces of hands. The portal of the touch screen, constructed for tactile permeability, is reversed to a blocked view and gains an unexpected power as a photograph. Schuiki’s work recalls the “accidental pictures” that Peter Geimer describes in his book with the same title. The things represented dissolve in close up and instead the “medium of representation itself comes to appear.” By way of the abstract palm, the screen is not so much transparent, but rather becomes palpable—physically and conceptually—as a glass object. In Paul Kuimet’s slide projection Untitled Transparencies from 2017, the images remain stuck in their medium. In an endless loop, Kuimet shows blinded windows on façades of traditional wooden homes in Estonia. The window as a light source for the architectural interior is repeated in analog slide frames as a mediating window through which the light falls to produce an image. Kuimet casts the light image back onto a wall and this results in images of blinded windows, additional windows in the exhibition space. The window as a window as a window thus remains in the projector box while the slide carousel continues turning. The work 2060 (2014), developed as a black and white film, takes this as a point of departure and shows a sculpture from 1968 by Estonian artist Edgar Viies. The Möbius strip of filmed sculpture is reflected upon and expanded both in the endless circling of the filmed object as well as in the looped filmstrip that inexorably runs through the projector. In Communist Estonia, Viies’ original sculpture seemed formally associated with the sculpture of Western abstraction. Kuimet’s film 2060 preserves it in this state of self-referential, constant reorientation on a screen viewable from both sides. The viewers walk around the filmed object on the screen. Kuimet is thus referring not least to Michael Fried’s infamous critique of modern sculpture formulated in his 1967 essay “Art and Objecthood,” written a year a before Edgar Viies created his object. With Nina Schuiki’s and Paul Kuimet’s works, Space Coordinates tries to show an affinity to the materials and discourses of architectural postwar modernism and the transformations in photographic media and the resulting reorientation of sculpture. At the same time, both artists do not view these periods in a nostalgic way. Instead, they cast a contemporary view of art of the 1960s and 1970s that is programmatically expressed in the title of an earlier work by Schuiki: Condensation Modernism. Curated by Nico Anklam Paul Kuimet (born 1984 in Tallinn) studied photography at the University of Art and Design Helsinki and at the Estonian Academy of Arts in Tallinn. In 2017 Kuimet participated in the exhibition The Archeology of the Screen at the BOZAR Centre for Fine Arts in Brussels and 2016 he was part of The Baltic Pavillion of the The 15th Venice Biennial of Architecture. Paul Kuimet has had solo and group exhibitions in institutions such as Contemporary Art Museum of Estonia (EKKM), Tallinn; Tallinn City Gallery, Tallinn; Kumu Art Museum, Tallinn; Tallinn Art Hall Gallery, Tallinn; Tartu Art Museum, Tartu; KIM Contemporary Art Centre, Riga. In 2018 Paul Kuimet will have a residence at WIELS Contemporary Art Centre in Brussels. Works of Kuimet are in the collection of the Espace Photographique Contretype, Brussels and the Carousel Colletion, as well in many private collections in Estonia. Nina Schuiki (born 1983 in Graz) studied art at the Institut für Raumexperimente under Olafur Eliasson in Berlin and photography at the University for Applied Arts under Gabriele Rothemann in Vienna. In 2017 she was part of the exhibition Festival of Future Nows at Hamburger Bahnhof in Berlin. Nina Schuiki has had solo and group exhibitions in institutions such as Neue Nationalgalerie, Berlin; Museum für Fotografie, Berlin; Mumok, Vienna; Villa Romana in Florence, Gotische Halle, Graz; Künstlerhaus Friese, Hamburg; Paul-Clemens-Museum, Bonn; Fotogalerie Wien, Vienna; Space Station, Bejing; Ohla Art Space, Shanghai; 1933 Contemporary, Shanghai; Modern Art Museum, Addis Ababa; NAC Foundation, Rotterdam. In 2016 Nina Schuiki received the work and research scholarship of the federal state government of Berlin and the project scholarship of the chancellery of Austria. Nico Anklam is an art historian and curator. He was lecturer for Art Theory at the University of the Arts Berlin and conceived exhibitions at Kunsthal 44 Møen, the Rietveld Pavilion Amsterdam and YEARS Copenhagen, amongst others. Most recently he realized a traveling exhibition and performance program around the Fluxus composer Henning Christiansen between Denmark and Norway. Currently he works as a research fellow at the University of Greifswald on art and image production of the 19th century in Northern Europe and its colonies. On the occasion of the exhibition the Estonian Embassy in Berlin invites you to a conversation between Paul Kuimet, Nina Schuiki and Nico Anklam at their premises in Berlin-Tiergarten: Friday, January 12, at 7 pm. The embassy is located at Hildebrandstraße 5, 10785 Berlin – about 10 minutes walking distance from WNTRP. The conversation will be held in English. Sponsored by the Cultural Endowment of Estonia and the Estonian Embassy in Berlin. Nina Schuiki: Endless Candle, 2017, wax, wick (118 cm diameter) Paul Kuimet, 2060, 16 mm film projection on dual-sided screen, black and white, continuous loop, 2014; installation view, BOZAR Centre for Fine Arts, Brussels, 2017 NOWs: Paul Kuimet / Nina Schuiki: Space Coordinates WNTRP Eröffnung: 11. Januar 2018, 17 – 20 Uhr Ausstellung: 12. Januar – 03. März 2018 Space Coordinates zeigt Werke von Nina Schuiki und Paul Kuimet, die sich als fotografische oder bildhauerische Abfolgen im Raum verdichten. Diese seriellen Resultate verbleiben oft in einer Form von Endlosschleife arretiert oder scheinen sich unendlich zyklisch fortzusetzen. Beiden Künstlern ist ein Interesse an diesen Themen gemein – sie treffen für die Ausstellung Space Coordinates erstmals aufeinander. Nina Schuiki enthebt in endless candle (2017) eine Kerze ihrer Licht spendenden Funktion und streckt sie soweit, dass sie zu einem Kreis verschmilzt. So entsteht ein heller, semitransparenter Ring aus Wachs mit sichtbarem Docht, in dem die Kerze als Lichtquelle und Zeitmesserin in die Form des Loops verschoben wird. In einer über 12 Meter langen Holzkette, Everything is not lost (2016), reorganisiert Schuiki gefundene Tische und Stühle von den Straßen Shanghais zu einer normierten Aneinanderreihung von Punkten im Raum. Auch hier sind Anfang und Ende miteinander verbunden und das sich dadurch ergebende endlose Band erinnert an die populäre Gebetskette. Die neue Serie Hand (2017) besteht aus abstrakten Fotografien, die Schuiki direkt auf Glas druckt und deren Motive sich als Zufallsbilder von Handykameras herausstellen, die Handinnenflächen zeigen. Das auf taktile Durchlässigkeit konstruierte Portal des Touchscreens verkehrt sich hier zur versperrten Aussicht und gewinnt als fotografische Erscheinung eine ungeahnte Kraft. Schuikis Arbeit erinnert an jene „Bilder aus Versehen”, die Peter Geimer in seinem gleichnamigen Band beschreibt. Die dargestellten Dinge lösen sich in Nahaufnahme auf und stattdessen kommt „das Medium der Darstellung selbst zum Vorschein.” Durch die abstrakte Handinnenfläche ist der Bildschirm weniger durchsichtig, als vielmehr selbst als Glasobjekt (be-)greifbar. In Paul Kuimets Dia-Projektion Untitled Transparencies von 2017 bleiben die Bilder ebenfalls in ihrem Medium stecken. In Endlosschleife zeigt Kuimet verblendete Fenster an Fassaden der traditionellen Holzhäuser Estlands. Das Fenster als Lichtquelle für den architektonischen Innenraum wiederholt sich im analogen Diapositivrahmen als mediales Fenster, durch den das Licht fällt um ein Bild zu produzieren. Kuimet wirft das Lichtbild neuerlich auf eine Wand und so entstehen Bilder von verblendeten Fenstern als weitere Fenster im Ausstellungsraum. Das Fenster als Fenster als Fenster verharrt so in der Projektorkiste während das Dia-Karussell unaufhörlich weiter im Kreis läuft. Die als 16-mm schwarzweiß Film entwickelte Arbeit 2060 (2014) schließt hier thematisch an und zeigt eine Plastik des estnischen Künstlers Edgar Viies von 1968. Das Möbiusband der gefilmten Skulptur wird sowohl in dem unendlichen Umkreisen des gefilmten Objekts, als auch im geloopten Filmstreifen, der unaufhörlich durch den Projektor rauscht, reflektiert und erweitert. Die ursprüngliche Plastik von Viies schien im sozialistischen Estland formal auch der Bildhauerei der westlichen Abstraktion verbunden zu sein. Kuimets Film 2060 konserviert sie in diesem Zustand um sich selbst kreisender, konstanter Neuausrichtung auf einer beidseitig einsehbaren Leinwand. Die Betrachter*innen umkreisen das gefilmte Objekt auf der Leinwand. Kuimet verweist hier nicht zuletzt auf die berüchtigte Kritik von Michael Fried an der modernen Skulptur, die er ein Jahr vor Edgar Viies’ Objekt im Jahr 1967 als „Art and Objecthood” formulierte. Space Coordinates versucht in Nina Schuikis und Paul Kuimets Werken eine Affinität zu den Materialien und Diskursen der architektonischen Nachkriegsmoderne und den Umbrüchen durch fotografische Medien und der damit einhergehenden Neuausrichtung von Skulptur aufzuzeigen. Gleichwohl begegnen beide Künstler diesen Epochen nicht nostalgisch. Vielmehr entwerfen sie einen zeitgenössischen Blick auf die Kunst der 60er und 70er Jahre des vergangenen Jahrhunderts, der programmatisch im Titel eines früheren Werk Schuikis Ausdruck findet: Condensation Modernism. Kuratiert von Nico Anklam Paul Kuimet (geb. 1984 in Tallinn) hat Fotografie an der University of Art and Design Helsinki und Kunst an der Estnischen Akademie der Künste in Tallinn studiert. 2017 war er war Teil der Ausstellung Archeology of the Screen am BOZAR Centre for Fine Arts in Brüssel und 2016 Teil des baltischen Pavillons der Architekturbiennale in Venedig. Paul Kuimet hatte Einzel- und Gruppenausstellungen in Institutionen wie dem Contemporary Art Museum of Estonia, Tallinn; Tallinn City Gallery, Tallinn; Kumu Art Museum, Tallinn; Tallinn Art Hall Gallery, Tallinn; Tartu Art Museum, Tartu; Contemporary Art Centre, Riga. 2018 hat Paul Kuimet eine Residenz am WIELS Contemporary Art Centre in Brüssel. Arbeiten von Paul Kuimet sind in Sammlungen wie der Espace Photographique Contretype, Brüssel oder Carousel Colletion, sowie in vielen Privatsammlungen in Estland. Nina Schuiki (geb. 1983 in Graz) hat Bildende Kunst am Institut für Raumexperimente bei Olafur Eliasson in Berlin und Fotografie an der Universität für Angewandte Kunst bei Gabriele Rothemann in Wien studiert. 2017 war sie Teil der Ausstellung Festival of Future Nows im Hamburger Bahnhof. Nina Schuiki hatte Einzel- und Gruppenausstellungen in Institutionen wie der Neuen Nationalgalerie, Berlin; Museum für Fotografie, Berlin; Villa Romana in Florenz, Mumok, Wien; Gotische Halle, Graz; Künstlerhaus Friese, Hamburg; Paul-Clemens-Museum, Bonn; Fotogalerie Wien, Wien; Space Station, Bejing; Ohla Art Space, Shanghai; 1933 Contemporary, Sanghai; Modern Art Museum, Addis Ababa; NAC Foundation, Rotterdam. 2016 erhielt Nina Schuiki das Recherchestipendium des Senats Berlin und das Projektstipendium des österreichischen Kanzleramts. Nico Anklam ist Kunsthistoriker und Kurator. Er war Lehrbeauftragter für Kunsttheorie an der Universität der Künste Berlin und hat Ausstellungen u.a. an der Kunsthal 44 Møen, dem Rietveld Pavilion Amsterdam und YEARS Kopenhagen realisiert. Zuletzt entwarf er ein Ausstellungs- und Performanceprogramm um den Fluxus-Komponisten Henning Christiansen, das in Dänemark und Norwegen gezeigt wurde. Aktuell arbeitet er als Fellow einer Forschungsgruppe der Universität Greifswald zur Kunst- und Bildproduktion des 19. Jahrhunderts in Nordeuropa und dessen Kolonien. Im Rahmen der Ausstellung findet ein öffentliches Gespräch zwischen Paul Kuimet, Nina Schuiki und Nico Anklam statt. Die Botschaft der Republik Estland lädt dazu in ihren Sitz in Berlin-Tiergarten ein, am Freitag, den 12. Januar, um 19 Uhr. Die Botschaft befindet sich in der Hildebrandstraße 5, 10785 Berlin – etwa 10 Minuten Fußweg von WNTRP. Das Gespräch findet auf Englisch statt. Mit freundlicher Unterstützung des Cultural Endowment of Estonia und der estnischen Botschaft in Berlin. Nina Schuiki: Endless Candle, 2017, wax, wick (118 cm diameter) Paul Kuimet, 2060, 16 mm film projection on dual-sided screen, black and white, continuous loop, 2014; installation view, BOZAR Centre for Fine Arts, Brussels, 2017

NOWs: The Performance Agency at Archivio Conz

02 January 2018 / Nows ⟶

NOWs: Supportico Lopez presents The Performance Agency at Archivio Conz Lise-Meitner-Str. 39, 10589 Berlin S + U Jungfernheide Friday, 2 February 2018, 7pm Activated and inspired by the performance anarchist Robert Delford Brown. A colleague of artists like Jim Dine, Claes Oldenburg and Nam June Paik, Robert Delford Brown was a central figure in the anarchic New York art scene of the early 1960s, a participant in — and instigator of — events-as-art known as “happenings.” He saw the potential for aesthetic pronouncement in virtually everything. His métier was willful preposterousness, and his work contained both anger and insouciance. He was inventing a creation myth, he said later, and indeed, his appearance in “Originale” led him to create his own religion, The First National Church of the Exquisite Panic, Inc. The church was jokey, but not a joke. It had a deity, called Who, to answer the mysterious questions of the universe. (What does the future hold? Who knows.) It had a philosophy, known as Pharblongence, an Anglicized skewing of the Yiddish word farblonjet, meaning “confused.” Robert Delford Brown died in the US in 2009. NOWs: Supportico Lopez presents The Performance Agency at Archivio Conz Lise-Meitner-Str. 39, 10589 Berlin S + U Jungfernheide Friday, 2 February 2018, 7pm Activated and inspired by the performance anarchist Robert Delford Brown. A colleague of artists like Jim Dine, Claes Oldenburg and Nam June Paik, Robert Delford Brown was a central figure in the anarchic New York art scene of the early 1960s, a participant in — and instigator of — events-as-art known as “happenings.” He saw the potential for aesthetic pronouncement in virtually everything. His métier was willful preposterousness, and his work contained both anger and insouciance. He was inventing a creation myth, he said later, and indeed, his appearance in “Originale” led him to create his own religion, The First National Church of the Exquisite Panic, Inc. The church was jokey, but not a joke. It had a deity, called Who, to answer the mysterious questions of the universe. (What does the future hold? Who knows.) It had a philosophy, known as Pharblongence, an Anglicized skewing of the Yiddish word farblonjet, meaning “confused.” Robert Delford Brown died in the US in 2009.

NOWs: CARE LESS at EXAMEN, Kassel

14 - 17 December 2017 / Nows ⟶

NOWs: CARE LESS präsentiert sich im Rahmen von EXAMEN 2017 Ausstellungseröffnung & Vergabe des Förderpreises: Donnerstag, 14.12.: 19:00 Uhr Öffnungszeiten: Freitag, 15.12.: 13:00-20:00 Uhr Samstag und Sonntag, 16./17.12.: 11:00-20:00 Uh Ort documenta-Halle Du-Ry-Straße 1 34117 Kassel Eintritt frei Während der Ausstellung EXAMEN ist CARE LESS mit mobiler Station CLUTCH (CareLessUtilityTeamtrainingsCenterHome) und tagesaktuelle Events präsent: Termine und mehr Information jederzeit unter carelessmethode@gmail.com Die Leitung und Assistent*innen sind in der Ausbildung und stellen sich gemeinsam mit Kunstskeptiker*innen und Interessierten verschiedensten Situationen rund um das Thema Kunst. „Weiterbildungsmaßnahmen werden oft als Hilfsmittel zur Selbstoptimierung oder Statussteigerung gesehen. Mit CARE LESS begibt man sich in das Spannungsfeld von Dienstleistung und tiefenwirksamer Selbsterfahrung.“ – Paula Mierzowsky, CARE LESS Gründerin – Auszug aus: CARE LESS Ein Zwischenbericht Seite 119_ II IV_UNTERRICHTSLEITFADEN: 1. Abschnitt Allgemeines Dienstverhältnis des/r CARE LESS Assistent*in Nur praktisch ausgebildete, unbescholtene, zuverlässige und körperlich den Anstrengungen des performativen Betreuungsdienst gewachsene Kunstbetreuer*innen dürfen zu der freiwilligen Kunstbetrachtungsassistenz zugelassen werden. Die Auswahl derselben ist dem CARE LESS-Team vorbehalten. Allgemeine Dienstverhältnisse und Ausbildung §1 das Betreuungspersonal für Kunstbetrachtende findet Verwendung a) bei der physischen Begegnung mit Kunst, betrachtend bis interagierend b) bei Gesprächen mit Kunstschaffenden das Betreuungspersonal für Künstler c) bei internen Schulungen d) im Außenraum, bei Performances und anderen Interventionen (…) Die vollständige, 168-seitige Publikation mit theoretischen Texten, Interviews, Grafiken, Abbildungen, Methodenkatalog usw usw… können Sie gern in der Ausstellung kaufen oder über carelessmethode@gmail.com bestellen. — Fotos von Kerstin Rupprecht, Mihan Torabi und Karo Achilles NOWs: CARE LESS präsentiert sich im Rahmen von EXAMEN 2017 Ausstellungseröffnung & Vergabe des Förderpreises: Donnerstag, 14.12.: 19:00 Uhr Öffnungszeiten: Freitag, 15.12.: 13:00-20:00 Uhr Samstag und Sonntag, 16./17.12.: 11:00-20:00 Uh Ort documenta-Halle Du-Ry-Straße 1 34117 Kassel Eintritt frei Während der Ausstellung EXAMEN ist CARE LESS mit mobiler Station CLUTCH (CareLessUtilityTeamtrainingsCenterHome) und tagesaktuelle Events präsent: Termine und mehr Information jederzeit unter carelessmethode@gmail.com Die Leitung und Assistent*innen sind in der Ausbildung und stellen sich gemeinsam mit Kunstskeptiker*innen und Interessierten verschiedensten Situationen rund um das Thema Kunst. „Weiterbildungsmaßnahmen werden oft als Hilfsmittel zur Selbstoptimierung oder Statussteigerung gesehen. Mit CARE LESS begibt man sich in das Spannungsfeld von Dienstleistung und tiefenwirksamer Selbsterfahrung.“ – Paula Mierzowsky, CARE LESS Gründerin – Auszug aus: CARE LESS Ein Zwischenbericht Seite 119_ II IV_UNTERRICHTSLEITFADEN: 1. Abschnitt Allgemeines Dienstverhältnis des/r CARE LESS Assistent*in Nur praktisch ausgebildete, unbescholtene, zuverlässige und körperlich den Anstrengungen des performativen Betreuungsdienst gewachsene Kunstbetreuer*innen dürfen zu der freiwilligen Kunstbetrachtungsassistenz zugelassen werden. Die Auswahl derselben ist dem CARE LESS-Team vorbehalten. Allgemeine Dienstverhältnisse und Ausbildung §1 das Betreuungspersonal für Kunstbetrachtende findet Verwendung a) bei der physischen Begegnung mit Kunst, betrachtend bis interagierend b) bei Gesprächen mit Kunstschaffenden das Betreuungspersonal für Künstler c) bei internen Schulungen d) im Außenraum, bei Performances und anderen Interventionen (…) Die vollständige, 168-seitige Publikation mit theoretischen Texten, Interviews, Grafiken, Abbildungen, Methodenkatalog usw usw… können Sie gern in der Ausstellung kaufen oder über carelessmethode@gmail.com bestellen. — Fotos von Kerstin Rupprecht, Mihan Torabi und Karo Achilles

NOWs: Beobachtung // Observation

15 December 2017 - 10 February 2018 / Nows ⟶

Matthias Sohr, Strut, 2017. Photo: Eric Bell, Courtesy the Artist NOWs: BEOBACHTUNG MALTE BARTSCH / JULIAN CHARRIÈRE / ANDREAS GREINER / CLARA JO / FELIX KIESSLING / SOPHIA POMPÉRY / MACARENA RUIZ-TAGLE / NINA SCHUIKI / DAN STOCKHOLM / MATTHIAS SOHR / ALVARO URBANO / JONAS WENDELIN / JULIUS VON BISMARCK OPENING: FRIDAY, DEC 15, 6–8 PM at DITTRICH & SCHLECHTRIEM The group exhibition reflects on the notion of observation from an influential group of young artists who participated in the INSTITUT FÜR RAUMEXPERIMENTE led by Olafur Eliasson from 2009 to 2014. This is the second instalment of artworks complimenting the projects premiere presentation at Art Düsseldorf 2017. The dream of grasping phenomena in their own language has long animated scientific endeavors, offering an irresistible provocation to the arts. A spatial experiment itself, the open-format exhibition showcases work by Malte Bartsch, Julius von Bismarck, Julian Charrière, Andreas Greiner, Clara Jo, Felix Kiessling, Sophia Pompéry, Macarena Ruiz-Tagle, Nina Schuiki, Matthias Sohr, Dan Stockholm, Alvaro Urbano, and Jonas Wendelin. Observation and experiment are typically treated as diametrical poles of experience. In contrast to the passive innocence and receptivity of observation, experiment carries the connotation of action, intervention and manipulation. And yet experiments are frequently contrived for the precise purpose of rendering phenomena observable that would otherwise fall outside of the range of our sensory perception or technological detection. Particles are scattered, model organisms are bred, dyes are released in bloodstreams and waterways in order to reveal latent images and trigger our capacity to notice possible configurations of the world. Consistent with Eliasson’s demonstrative insistence that experience is in each case yours and yours alone, alumni of the institute exhibit an exquisite sensitivity to the way that experiments at once rely on and cultivate distinctive observational dispositions. Stockholm’s performative process of palpating the architectural surface of memory preserves a deeply intuitive sense of touch, while Greiner’s bottomless empathy serves to infuse non-human beings with outsized stature and significance. In Charrière’s and Ruiz-Tagle’s work, the calibration and choreography of bodies, devices, and environments is amplified, stressing the affective agencies active in observation. Such an attentiveness to time frames, measuring devices, and social configurations discloses strange affordances to Kiessling’s, Sohr’s, Wendelin’s, and Bartsch’s eyes, while von Bismarck consistently embraces within his own body the violence of provoking the world with his penetrating gaze. In the work of Urbano and Schuiki, shadows, gusts of wind, and rays of light are arrested in their path as if noticed by the peripheral vision of the walls themselves. Activating perspectival alternatives to the manner in which spaces and objects may perform for the camera, Jo proliferates politics of observation and calls them into dialogue. In this group’s relentless play with grounding and ungrounding practices of observation, Pompéry’s images and apparatuses seem to invite viewers to question whether they can believe their own eyes. Caught in the act of observing and being observed ourselves, our capacity to distinguish between reality an illusion is tested—and with it our desire to touch a world beyond that of our own making. At once a retrospective and a promise of interventions to yet to come, BEOBACHTUNG presents a powerful set of afterimages of the Institut für Raumexperimente. The above text excerpt is contributed by Dehlia Hannah. A full exhibition catalog for BEOBACHTUNG with an additional essay from Hannah will be available at the gallery in December 2017. Matthias Sohr, Strut, 2017. Photo: Eric Bell, Courtesy the Artist NOWs: BEOBACHTUNG MALTE BARTSCH / JULIAN CHARRIÈRE / ANDREAS GREINER / CLARA JO / FELIX KIESSLING / SOPHIA POMPÉRY / MACARENA RUIZ-TAGLE / NINA SCHUIKI / DAN STOCKHOLM / MATTHIAS SOHR / ALVARO URBANO / JONAS WENDELIN / JULIUS VON BISMARCK ERÖFFNUNG: FREITAG, 15. DEZ, 18–20 UHR DITTRICH & SCHLECHTRIEM Die Gruppenausstellung präsentiert junger Künstler und Künstlerinnen, die an dem von Olafur Eliasson initiierten INSTITUT FÜR RAUMEXPERIMENTE von 2009 bis 2014 studierten. Die erstmals auf der Art Düsseldorf präsentierten Werke, werden nun in den Berliner Galerieräumen als Folgeausstellung gezeigt. Der Traum, Phänomene zu begreifen, indem man sie ihre eigene Sprache sprechen lässt, treibt die Naturwissenschaften seit langem an, eine Herausforderung, der auch die Künste nicht widerstehen können. Die als ergebnisoffenes räumliches Experiment angelegte Ausstellung zeigt Arbeiten von Malte Bartsch, Julius von Bismarck, Julian Charrière, Andreas Greiner, Clara Jo, Felix Kiessling, Sophia Pompéry, Macarena Ruiz-Tagle, Nina Schuiki, Matthias Sohr, Dan Stockholm, Alvaro Urbano und Jonas Wendelin. Beobachtung und Experiment gelten normalerweise als entgegengesetzte Pole der Erfahrung. Wo Beobachtung passiv, arglos, empfänglich ist, verbindet man mit dem Experiment aktives Eingreifen, gar Manipulation. Und doch werden Experimente oft gerade angestellt, um Phänomene beobachtbar zu machen, die sich sonst der sinnlichen Wahrnehmung oder technischen Erfassung entziehen würden. Partikel werden zerstreut, Modellorganismen gezüchtet, Kontrastmittel in Blutbahnen und Wasserstraßen eingeleitet, um verborgene Bilder sichtbar zu machen und unserer Fähigkeit Nahrung zu geben, mögliche Konfigurationen der Welt wahrzunehmen. Im Einklang mit Eliassons nachdrücklichem Beharren darauf, dass jede Erfahrung ganz persönlich ist, demonstrieren die Alumni seines Instituts eine aufs Äußerste geschärfte Aufmerksamkeit dafür, wie Experimente auf der je eigenen Einstellung des Beobachters aufbauen und sie zugleich ausbilden. In Stockholms performativem Prozess einer Abtastung der architektonischen Oberfläche der Erinnerung bewahrt sich ein zutiefst intuitiver Fühlsinn, während Greiners unerschöpfliche Empathie nichtmenschlichen Wesen übergroße Statur und Bedeutung verleiht. Charrières und Ruiz-Tagles Arbeiten stellen die Justierung und Choreographie von Körpern, Apparaten und Umwelten heraus und unterstreichen so die affektiven Energien, die in Beobachtung am Werk sind. Solche Achtsamkeit für Zeitrahmen, Messvorrichtungen und Konfigurationen des Sozialen eröffnet bei Kiessling, Sohr, Wendelin und Bartsch seltsame Freiheiten, während von Bismarck konsequent die Gewaltsamkeit, mit der sein provozierender Blick der Welt begegnet, in seinen eigenen Körper einlässt. In den Arbeiten von Urbano und Schuiki werden Schatten, Windstöße und Lichtstrahlen auf ihrem Weg festgehalten, als streiften sie das Blickfeld der Wände selbst. Durch Aktivierung perspektivischer Alternativen in der Selbstdarstellung von Räumen und Objekten vor der Kamera vervielfältigt Jo Politiken der Beobachtung und versammelt sie zu einem Dialog. Inmitten des unablässigen Spiels mit den Grundlagen und der Grundlosigkeit von Observationspraktiken, das die Gruppe veranstaltet, scheinen Pompérys Bilder und Apparate die Betrachter aufzufordern, sich zu fragen, ob sie ihren eigenen Augen trauen können. Beim Beobachten ertappt und unsererseits beobachtet, sehen wir unsere Fähigkeit zur Unterscheidung zwischen Wirklichkeit und Illusion auf die Probe gestellt – und damit auch unser Begehren danach, mit einer Welt, die wir nicht selbst geschaffen haben, in Berührung zu kommen. Als Retrospektive und zugleich Ausblick auf zukünftige Interventionen präsentiert BEOBACHTUNG eindrückliche Nachbilder des Instituts für Raumexperimente. Der oben stehende Textbeitrag ist von der Autorin Dehlia Hannah. Der Ausstellungskatalog zu dem Projekt BEOBACHTUNG, mit einem umfassenden Essay von Hannah, ist ab Dezember in der Galerie erhältlich.

NOWs: Rafael Ibarra at Meisterschülerpreis

01 December 2017 - 07 January 2018 / Nows ⟶

Rafael Ibarra: Ophelia, 2017 NOWs: Meisterschüler Award of the President of the UdK Berlin Opening: 30 November, 7 pm at Haus am Lützowplatz The winners of this year’s Meisterschüler Award, given by the President of the Berlin University of the Arts (UdK Berlin), are Lisa Peters, Gary Schlingheider and Rafael Ibarra. On 30 November, they will be showing their works in a joint exhibition in the Haus am Lützowplatz. Lisa Peters, born in 1989, studied sculpture with Christiane Möbus and, most recently, with Ina Weber, with whom she also did her Meisterschüler studies. In addition to the photographic work “Superwoman”, which was created together with Lisa Drost, Peters is also showing two video installations, for the purpose of which she put friends and strangers in front of the camera. The two works, “how you’re doing” and “Solo”, allow the viewer to gain access to the lives and personalities of the protagonists. Gary Schlingheider, born in 1983, studied painting with Pia Fries and Gregory Cumins and did his Meisterschüler studies with Christine Streuli. Schlingheider’s sculptural works are like abstract drawings that have left behind their pictorial background in order to achieve a palpable presence as three-dimensional objects in space. Engagement with everyday objects plays a fundamental role in this process. Despite their sculptural nature, the objects also thematise essential issues of painting, such as the treatment of colour, form, structure and framing. Rafael Ibarra, born in 1986, studied with Ólafur Elíasson and sculpture with Gregor Schneider and Tilman Wendland. He also did his Meisterschüler studies with Wendland. Among other works, Ibarra is showing his ephemeral piece “Ophelia”, which is inspired by childhood memories and Shakespeare plays and which frees itself from the rigid schema of immovable sculpture thanks to the material he has used: sand. Ibarra develops the procedural character in the form of performance, which he will show at the opening of the exhibition. He writes in his artist statement: “Human bodies and organic matter are the main elements of the new sculptural actions that I developed for the exhibition. Their ephemeral existence is based on childhood memories, physical feelings and Shakespearean plays to find resonances in the body of the visitors.” Since 1997, the Meisterschüler Award of the President of the UdK Berlin has been awarded annually to three outstanding Meisterschüler at the College of Fine Arts. The goal is to create a bridge between the university and the art world. A joint exhibition and one’s own catalogue are included in the prize. Since 2016, the Haus am Lützowplatz has been the institutional partner for this exhibition format. The 2017 jury was composed of: Prof. Martin Rennert, President of the UdK Berlin, Prof. Ina Weber, UdK Berlin, College of Fine Arts, Dr. Marc Wellmann, Artistic Director, Haus am Lützowplatz, Dr. Julia Wallner, Director, Georg Kolbe Museum, Ms. Joanna Kiliszek, Cultural Historian – Rafael Ibarra: Ophelia 2017; Installation; Woman, soil, 1 hour. A woman was buried in the floor of a kitchen in her hometown, she remained still for an hour. Rafael Ibarra: Untitled 2017; Installation; Woman, rope, 20 min. A woman was tied to a tree in her hometown. Throughout the duration of the piece she remains silent contemplating the landscape. Rafael Ibarra: Ophelia, 2017 NOWs: Meisterschülerpreis des Präsidenten der UdK Berlin 2017 Ausstellungseröffnung: 30. November, 19 Uhr Haus am Lützowplatz Die Meisterschülerinnen und Meisterschüler der UdK Berlin Lisa Peters, Gary Schlingheider und Rafael Ibarra haben in diesem Jahr den Meisterschülerpreis des Präsidenten der UdK Berlin gewonnen. Ab dem 30. November zeigen sie ihre Arbeiten in einer gemeinsamen Ausstellung im Haus am Lützowplatz. Lisa Peters, Jahrgang 1989, studierte Bildhauerei bei Christiane Möbus und zuletzt bei Ina Weber, bei der sie auch ihr Meisterschülerstudium absolvierte. Peters zeigt neben der fotografischen Arbeit „Superwoman”, die in Zusammenarbeit mit Lisa Drost entstand, zwei Videoinstallationen, für die sie Freunde und Fremde vor die Kamera holte. Die beiden Arbeiten „wie es dir geht“ und „Solo” vermögen es, dem Betrachter Zugang zum Leben, zur Personalität der Protagonisten zu verschaffen. Gary Schlingheider, Jahrgang 1983, studierte Malerei bei Pia Fries und Gregory Cumins, absolvierte sein Meisterschülerstudium bei Christine Streuli. Schlingheiders plastische Arbeiten sind wie abstrakte Zeichnungen, die ihren Bildgrund verlassen haben, um als dreidimensionale Objekte eine erfahrbare Präsenz im Raum zu erlangen. Grundlegend für diesen Prozess ist die Auseinandersetzung mit alltäglichen Dingen. Trotz ihres skulpturalen Charakters thematisieren die Objekte auch wesentliche Fragen der Malerei, wie z. B. den Umgang mit Farbe, Form, Struktur und Rahmung. Rafael Ibarra, Jahrgang 1986, hat bei Ólafur Elíasson und Bildhauerei bei Gregor Schneider und Tilman Wendland studiert. Bei Wendland schloss er zudem sein Meisterschülerstudium ab. Ibarra zeigt u.a. seine von Kindheitserinnerungen und Shakespeare-Stücken inspirierte, ephemere Arbeit „Ophelia“, die sich durch das von ihm eingesetzte Material Sand vom festen Schema der unbeweglichen Skulptur befreit. Ihren prozessualen Charakter entfaltet Ibarra in Form einer Performance, die er zur Ausstellungseröffnung zeigt. Er sagt über seinen Arbeiten: “Menschliche Körper und organische Materie sind die Hauptelemente der neuen skulpturellen Handlungen, die ich für die Ausstellung entwickelt habe. Ihre ephemere Existenz stütz sich auf Kindheitserinnerungen, Körperliche Gefühle und Shakespeares Theaterstücke um Resonanzen in den Körper der Besuchern zu finden.” Der Meisterschülerpreis des Präsidenten der UdK Berlin wird seit 1997 jährlich an jeweils drei herausragende Meisterschülerinnen und Meisterschüler der Fakultät Bildende Kunst verliehen. Ziel ist es, eine Brücke zwischen der Universität und dem Kunstbetrieb zu schlagen. Mit dem Preis ist eine gemeinsame Ausstellung und ein eigener Katalog verbunden. Das Haus am Lützowplatz ist seit 2016 der institutionelle Partner dieses Ausstellungsformates. Der Jury 2017 gehörten an: Herr Prof. Martin Rennert, Präsident der UdK Berlin, Prof. Ina Weber, UdK Berlin, Fakultät Bildende Kunst, Herr Dr. Marc Wellmann, Künstlerischer Leiter, Haus am Lützowplatz, Frau Dr. Julia Wallner, Direktorin, Georg Kolbe Museum, Frau Joanna Kiliszek, Kunsthistorikerin – Rafael Ibarra: Ophelia 2017; Installation; Woman, soil, 1 hour. A woman was buried in the floor of a kitchen in her hometown, she remained still for an hour. Rafael Ibarra: Untitled 2017; Installation; Woman, rope, 20 min. A woman was tied to a tree in her hometown. Throughout the duration of the piece she remains silent contemplating the landscape.

NOWs: Matthias Sohr – Public Science

01 December 2017 - 20 January 2018 / Nows ⟶

NOWs: Matthias Sohr: Public Science at Tunnel Tunnel Place du Tunnel 1005 Lausanne Email | FB In the context of the festival Les Urbaines, Tunnel Tunnel is pleased to present the solo exhibition Public Science by Matthias Sohr. With Public Science, Matthias Sohr gives an account of things we encounter in our cities on an everyday basis without us paying attention to them, and yet they are in constant dialogue with our bodies. His sculptures – whether incorporating armrests, bathroom structures or floor markings – endorse shapes and reliefs that are as much a part of art history as they are of the street, thus integrating our everyday life at the price of an almost unconscious assimilation. Matthias Sohr re-enacts these forms and materials in the exhibition space and re-sensitizes the viewer’s visual and visceral attention through his works. Matthias Sohr was born in 1980 in Düsseldorf. He lives and works in Lausanne. This event is supported by AktiFlex, Sunrise Medical Switzerland and REC Bauelemente. NOWs: Matthias Sohr: Public Science at Tunnel Tunnel Place du Tunnel 1005 Lausanne Email | FB In the context of the festival Les Urbaines, Tunnel Tunnel is pleased to present the solo exhibition Public Science by Matthias Sohr. With Public Science, Matthias Sohr gives an account of things we encounter in our cities on an everyday basis without us paying attention to them, and yet they are in constant dialogue with our bodies. His sculptures – whether incorporating armrests, bathroom structures or floor markings – endorse shapes and reliefs that are as much a part of art history as they are of the street, thus integrating our everyday life at the price of an almost unconscious assimilation. Matthias Sohr re-enacts these forms and materials in the exhibition space and re-sensitizes the viewer’s visual and visceral attention through his works. Matthias Sohr was born in 1980 in Düsseldorf. He lives and works in Lausanne. This event is supported by AktiFlex, Sunrise Medical Switzerland and REC Bauelemente.

NOWs: Altbau by Alvaro Urbano

24 November 2017 - 27 January 2018 / Nows ⟶

NOWs: Alvaro Urbano:Altbau at ChertLüdde Ritterstr 2A 10969, Berlin Opening reception: Friday, 24 November 2017 6:00 – 9:00 pm Alvaro Urbano’s installation evokes and distorts deceivingly generic spaces that ultimately escape into inaccessibility, unfamiliarity and abandonment. The exhibition completely appropriates the three stories of the gallery, inviting the visitors to step into the everything-is-possible realm and to fall in and out of this artist’s fiction. Alvaro Urbano’s installation Altbau evokes and distorts deceivingly generic spaces that ultimately escape into inaccessibility, unfamiliarity and abandonment. The exhibition completely appropriates the three stories of the gallery. On the basement level, metallic cigarette butts and withered leaves linger on the floor next to an invented infrastructure made up of paper pipes and paper ventilation shafts. One story up, paper and cardboard boxes—made out of metal like the letters—are scattered across a grey carpet, underneath the suspended paper ceiling. A corridor guides the viewer past shut office doors. Upstairs in the attic, unaddressed letters pile up below the mail slot in the entrance door. On the walls, Urbano’s collection of anime cellophane backgrounds from the 80s, on watercolour paper. They are exhibited in diorama-esque frames that curve inwards to create a trompe-l’œil of depth. Their bent flatness and their generic papery presence resembles the spaces downstairs, they too are backgrounds for unidentified protagonists. All the artefacts and infrastructure on show were made by Urbano, using paper with printed textures and hand-painted metal. The effect of this camouflage is a mixture of stepping into the everything-is-possible realm of a rendering window where texture-tiles are seamlessly plastered onto cylinders, spheres and squares, and touching the actual fragility of a physical sketch model. An office space feels real to most of us, although the generic office itself, much like the mythical non-place, is a powerful illusion. It is meta-fiction composed of a grey carpet that fits but not perfectly, a suspended ceiling with light and acoustic panels, cardboard boxes that have contained office supplies and documents, stacks of loose paper that fed a bulky photocopy machine—I think of office gossip and bored interns. Urbano’s office could be anywhere and anytime. It entices with pretend-familiarity: Haven’t we all walked past rows of shut doors, disoriented? Haven’t we all waited downstairs, by the vents, next to an impatient woman with lipstick and a nervous man with a moustache, pacing and smoking Parisienne Rouge? And yet, Altbau is weirdly dreamlike, it is other and it is inverted. In Urbano’s universe, the camouflaged materiality takes on a fictional existence and the viewer hovers somewhere between the representation of a space and the evasive idea that makes something feel real. The installation invites the viewer to step in for an absent protagonist-inhabitant of this abandoned office and its locked rooms, and it simultaneously prevents any interaction. The installation excludes and frustrates on a material level: if you were to look for traces or information in one of the sealed letters, its metal edges would resist viciously. Paper is metal and infrastructure is paper: the art work’s materiality creates its own fictional temporality that exists right here and elsewhere—somewhere you can’t quite picture: the backdrop of a painted story, a cartoon or anime universe that we can watch but never enter. Urbano’s Altbau promises and withholds our entry into that space on paper, behind the screen, within sealed metal and beyond paper doors. This is what it feels like to fall in and out of fiction. Text by Natalie P. Koerner Alvaro Urbano: Office, 2017; 25 elements: three boxes, two vents, 18 sheets, one pen, one pencil, ceiling, carpet; cardboard, paper, glue, foam, plexiglas, metal, paint, artificial light; overall variable Alvaro Urbano: Pipes, 2017, (detail); 29 elements: two pipes, 18 leaves, 9 cigarettes; Cardboard, paper, glue, metal, paint All images by Trevor Lloyd; Courtesy the Artist and ChertLüdde, Berlin NOWs: Alvaro Urbano:Altbau at ChertLüdde Ritterstr 2A 10969, Berlin Opening reception: Friday, 24 November 2017 6:00 – 9:00 pm Alvaro Urbano’s installation evokes and distorts deceivingly generic spaces that ultimately escape into inaccessibility, unfamiliarity and abandonment. The exhibition completely appropriates the three stories of the gallery, inviting the visitors to step into the everything-is-possible realm and to fall in and out of this artist’s fiction. Alvaro Urbano’s installation Altbau evokes and distorts deceivingly generic spaces that ultimately escape into inaccessibility, unfamiliarity and abandonment. The exhibition completely appropriates the three stories of the gallery. On the basement level, metallic cigarette butts and withered leaves linger on the floor next to an invented infrastructure made up of paper pipes and paper ventilation shafts. One story up, paper and cardboard boxes—made out of metal like the letters—are scattered across a grey carpet, underneath the suspended paper ceiling. A corridor guides the viewer past shut office doors. Upstairs in the attic, unaddressed letters pile up below the mail slot in the entrance door. On the walls, Urbano’s collection of anime cellophane backgrounds from the 80s, on watercolour paper. They are exhibited in diorama-esque frames that curve inwards to create a trompe-l’œil of depth. Their bent flatness and their generic papery presence resembles the spaces downstairs, they too are backgrounds for unidentified protagonists. All the artefacts and infrastructure on show were made by Urbano, using paper with printed textures and hand-painted metal. The effect of this camouflage is a mixture of stepping into the everything-is-possible realm of a rendering window where texture-tiles are seamlessly plastered onto cylinders, spheres and squares, and touching the actual fragility of a physical sketch model. An office space feels real to most of us, although the generic office itself, much like the mythical non-place, is a powerful illusion. It is meta-fiction composed of a grey carpet that fits but not perfectly, a suspended ceiling with light and acoustic panels, cardboard boxes that have contained office supplies and documents, stacks of loose paper that fed a bulky photocopy machine—I think of office gossip and bored interns. Urbano’s office could be anywhere and anytime. It entices with pretend-familiarity: Haven’t we all walked past rows of shut doors, disoriented? Haven’t we all waited downstairs, by the vents, next to an impatient woman with lipstick and a nervous man with a moustache, pacing and smoking Parisienne Rouge? And yet, Altbau is weirdly dreamlike, it is other and it is inverted. In Urbano’s universe, the camouflaged materiality takes on a fictional existence and the viewer hovers somewhere between the representation of a space and the evasive idea that makes something feel real. The installation invites the viewer to step in for an absent protagonist-inhabitant of this abandoned office and its locked rooms, and it simultaneously prevents any interaction. The installation excludes and frustrates on a material level: if you were to look for traces or information in one of the sealed letters, its metal edges would resist viciously. Paper is metal and infrastructure is paper: the art work’s materiality creates its own fictional temporality that exists right here and elsewhere—somewhere you can’t quite picture: the backdrop of a painted story, a cartoon or anime universe that we can watch but never enter. Urbano’s Altbau promises and withholds our entry into that space on paper, behind the screen, within sealed metal and beyond paper doors. This is what it feels like to fall in and out of fiction. Text by Natalie P. Koerner Alvaro Urbano: Office, 2017; 25 elements: three boxes, two vents, 18 sheets, one pen, one pencil, ceiling, carpet; cardboard, paper, glue, foam, plexiglas, metal, paint, artificial light; overall variable Alvaro Urbano: Pipes, 2017, (detail); 29 elements: two pipes, 18 leaves, 9 cigarettes; Cardboard, paper, glue, metal, paint All images by Trevor Lloyd; Courtesy the Artist and ChertLüdde, Berlin

NOWs: Responsive Design

24 - 26 November 2017 / Nows ⟶

NOWs: Robert Lippok / Raster-Index @ Berghain

17 November 2017 / Nows ⟶

NOWs: Gewaltenteilung by Julius von Bismarck

11 November 2017 - 03 June 2018 / Nows ⟶

NOWs: Julius von Bismarck: Irma To Come In Earnest, 2017 (Videostill), HD Video, 44 min. © Julius von Bismarck, Courtesy alexander levy, Berlin und Sies + Höke, Düsseldorf Julius von Bismarck: Gewaltenteilung Städtische Galerie Wolfsburg Der Wolfsburger Kunstpreis „Junge Stadt sieht Junge Kunst“ wird am 11. November 2017 dem Berliner Künstler Julius von Bismarck im Schloss Wolfsburg überreicht. Begleitend dazu wird unter dem Titel “Gewaltenteilung” bis zum 3. Juni 2018 eine Einzelausstellung des Künstlers im Schloss Wolfsburg präsentiert. Zusätzlich gibt es einen Ankauf für die Sammlung der Städtischen Galerie Wolfsburg. In ihrer Begründung schreibt die Jury: „Julius von Bismarck versteht es in seinen Arbeiten, auf hohem intellektuellem und ästhetischem Niveau, künstlerische und politische Themen miteinander zu verknüpfen. Aus der gesamten Vielfalt der Medien schöpfend, entwickelt er dabei künstlerisch wie technisch innovative Arbeiten, welche der kritischen Reflexion drängender Fragen unserer Zeit mit großer Erfindungsgabe einen höchst eigenständigen Ausdruck geben.“ Die Arbeiten von Julius von Bismarck (*1983) sind als künstlerische Forschung zu verstehen, als Versuch und Methode zugleich, die im Allgemeinen als getrennt begriffenen Systeme der Kunst und der Wissenschaft zu verbinden. „Ich ziehe meine Inspiration aus der Wissenschaft und arbeite künstlerisch“, sagt er selbst. Mit seinen Installationen, Videoarbeiten und Performances untersucht Julius von Bismarck den menschlichen Wahrnehmungsapparat und fordert unsere perzeptiven Gewohnheiten heraus. Sein interdisziplinärer Ansatz ist eine schöpferische Befragung der Welt und der Natur, die der Mensch zunehmend verwandelt. Bekannt geworden mit einer Performance-Reihe, in der von Bismarck Naturelemente aber auch Monumente auspeitscht, beschäftigt er sich in aktuelleren Arbeiten und Projekten mit dem Naturphänomen Blitzschlag oder erforscht bei der Antarktis-Biennale mit einem Süßwasserfisch im U-Boot das antarktische Gewässer. Julius von Bismarck: Irma To Come In Earnest, 2017, HD Video, 44 min. © Julius von Bismarck, Courtesy alexander levy, Berlin und Sies + Höke, Düsseldorf Julius von Bismarck: Apocalypsoid, 2017, Granit Edelstahl, Acrylfarbe, digitale Prints variable Größen (Ausstellungsansicht Städtische Galerie Wolfsburg) © Julius von Bismarck, Courtesy alexander levy, Berlin und Sies + Höke, Düsseldorf; Foto: Frank Sperling Julius von Bismarck: Apocalypsoid, 2017 (Detail), Granit Edelstahl, Acrylfarbe, digitale Prints, variable Größen © Julius von Bismarck, Courtesy alexander levy, Berlin und Sies + Höke, Düsseldorf; Foto: Frank Sperling NOWs: Julius von Bismarck: Irma To Come In Earnest, 2017 (Videostill), HD Video, 44 min. © Julius von Bismarck, Courtesy alexander levy, Berlin und Sies + Höke, Düsseldorf Julius von Bismarck: Gewaltenteilung Städtische Galerie Wolfsburg Der Wolfsburger Kunstpreis „Junge Stadt sieht Junge Kunst“ wird am 11. November 2017 dem Berliner Künstler Julius von Bismarck im Schloss Wolfsburg überreicht. Begleitend dazu wird unter dem Titel “Gewaltenteilung” bis zum 3. Juni 2018 eine Einzelausstellung des Künstlers im Schloss Wolfsburg präsentiert. Zusätzlich gibt es einen Ankauf für die Sammlung der Städtischen Galerie Wolfsburg. In ihrer Begründung schreibt die Jury: „Julius von Bismarck versteht es in seinen Arbeiten, auf hohem intellektuellem und ästhetischem Niveau, künstlerische und politische Themen miteinander zu verknüpfen. Aus der gesamten Vielfalt der Medien schöpfend, entwickelt er dabei künstlerisch wie technisch innovative Arbeiten, welche der kritischen Reflexion drängender Fragen unserer Zeit mit großer Erfindungsgabe einen höchst eigenständigen Ausdruck geben.“ Die Arbeiten von Julius von Bismarck (*1983) sind als künstlerische Forschung zu verstehen, als Versuch und Methode zugleich, die im Allgemeinen als getrennt begriffenen Systeme der Kunst und der Wissenschaft zu verbinden. „Ich ziehe meine Inspiration aus der Wissenschaft und arbeite künstlerisch“, sagt er selbst. Mit seinen Installationen, Videoarbeiten und Performances untersucht Julius von Bismarck den menschlichen Wahrnehmungsapparat und fordert unsere perzeptiven Gewohnheiten heraus. Sein interdisziplinärer Ansatz ist eine schöpferische Befragung der Welt und der Natur, die der Mensch zunehmend verwandelt. Bekannt geworden mit einer Performance-Reihe, in der von Bismarck Naturelemente aber auch Monumente auspeitscht, beschäftigt er sich in aktuelleren Arbeiten und Projekten mit dem Naturphänomen Blitzschlag oder erforscht bei der Antarktis-Biennale mit einem Süßwasserfisch im U-Boot das antarktische Gewässer. Julius von Bismarck: Irma To Come In Earnest, 2017, HD Video, 44 min. © Julius von Bismarck, Courtesy alexander levy, Berlin und Sies + Höke, Düsseldorf Julius von Bismarck: Apocalypsoid, 2017, Granit Edelstahl, Acrylfarbe, digitale Prints variable Größen (Ausstellungsansicht Städtische Galerie Wolfsburg) © Julius von Bismarck, Courtesy alexander levy, Berlin und Sies + Höke, Düsseldorf; Foto: Frank Sperling Julius von Bismarck: Apocalypsoid, 2017 (Detail), Granit Edelstahl, Acrylfarbe, digitale Prints, variable Größen © Julius von Bismarck, Courtesy alexander levy, Berlin und Sies + Höke, Düsseldorf; Foto: Frank Sperling

NOWs: Animated Sphere by Ivana Franke

04 November - 17 December 2017 / Nows ⟶

Ivana Franke: Animated Sphere NOWs: Yet Incomputable. Indetermination in the Age of Hypervisibility and Algorithmic Control at Deichtorhallen Hamburg/Sammlung Falckenberg Phoenix Fabrikhallen Wilstorfer Straße 71 21073 Hamburg – Harburg Ausstellung mit Moritz Ahlert | Eva Castringius | Ivana Franke | Joachim Glaser | Louis Henderson | Agnieska Kurant | Joke Janssen | Elsa M’bale aka AMET | Hanny Oldendorf | Trevor Paglen | Benjamin Sprick | ANna Tautfest. Die Gruppenausstellung, kuratiert von der Kunsthistorikerin und Autorin Elena Agudio, befragt hierzu das subversive Vermögen der Kunst in einer Ära von Sichtbarkeitsregimen und der Kontrolle durch Algorithmen. Dabei geht es um Zwischenräume, die gegenwärtig eine künstlerisch-forschende Praxis freilegen kann. „yet incomputable. Indetermination in the Age of Hypervisibility and Algorithmic Control“ versteht sich als eine kollektive Befragung des subversiven Vermögens der Kunst in einer post-kybernetischen Ära der Kontrolle, Zensur, Datenmanipulation und Informationskommerzialisierung. Sie ist konzipiert als eine Reflektion über epistemische, epistemologische und semiotische Veränderbarkeiten nach der eingetretenen digitalen Wende. Daher werden künstlerische Strategien und Entwürfe präsentiert, die der Kontrolle etwas entgegensetzen und den Klassifikationsschemata die Subjekte entziehen. Weit davon entfernt einen düsteren Horizont zu entwerfen, werden die progressiven Dimensionen künstlerischer, gestalterischer oder queerer Strategien und Praktiken der Unübersichtlichkeit, Verunklärung und Dunkelheit in den Vordergrund gestellt. Dabei wird auch das Hacking oder die Sabotage als eine Virtualität des Empowerments und der Emanzipation gegenüber neo-kolonialer und autoritärer algorithmischer Regierungsweisen beschwört. Was bedeutet es somit in einer Zeit von Sichtbarkeitsregimen und totaler Datentransparenz einen Fokus auf Opazität und Dunkelheit zu legen? In welcher Beziehung steht Unbestimmtheit zum Wissen? Danach fragt „yet incomputable. Die Abschlussausstellung des Graduiertenkollegs der HFBK wird in Kooperation mit den Deichtorhallen Hamburg/Sammlung Falckenberg veranstaltet. Kuratiert von Dr. Elena Agudio | Künstlerische Direktorin der Association of Neuroesthetics, Co-Direktorin von SAVVY Contemporary Berlin sowie Gastprofessorin an der HFBK Hamburg im Wintersemester 2017/18. Ivana Franke: Animated Sphere, 2008 Ivana Franke: Animated Sphere NOWs: Yet Incomputable. Indetermination in the Age of Hypervisibility and Algorithmic Control at Deichtorhallen Hamburg/Sammlung Falckenberg Phoenix Fabrikhallen Wilstorfer Straße 71 21073 Hamburg – Harburg Ausstellung mit Moritz Ahlert | Eva Castringius | Ivana Franke | Joachim Glaser | Louis Henderson | Agnieska Kurant | Joke Janssen | Elsa M’bale aka AMET | Hanny Oldendorf | Trevor Paglen | Benjamin Sprick | ANna Tautfest. Die Gruppenausstellung, kuratiert von der Kunsthistorikerin und Autorin Elena Agudio, befragt hierzu das subversive Vermögen der Kunst in einer Ära von Sichtbarkeitsregimen und der Kontrolle durch Algorithmen. Dabei geht es um Zwischenräume, die gegenwärtig eine künstlerisch-forschende Praxis freilegen kann. „yet incomputable. Indetermination in the Age of Hypervisibility and Algorithmic Control“ versteht sich als eine kollektive Befragung des subversiven Vermögens der Kunst in einer post-kybernetischen Ära der Kontrolle, Zensur, Datenmanipulation und Informationskommerzialisierung. Sie ist konzipiert als eine Reflektion über epistemische, epistemologische und semiotische Veränderbarkeiten nach der eingetretenen digitalen Wende. Daher werden künstlerische Strategien und Entwürfe präsentiert, die der Kontrolle etwas entgegensetzen und den Klassifikationsschemata die Subjekte entziehen. Weit davon entfernt einen düsteren Horizont zu entwerfen, werden die progressiven Dimensionen künstlerischer, gestalterischer oder queerer Strategien und Praktiken der Unübersichtlichkeit, Verunklärung und Dunkelheit in den Vordergrund gestellt. Dabei wird auch das Hacking oder die Sabotage als eine Virtualität des Empowerments und der Emanzipation gegenüber neo-kolonialer und autoritärer algorithmischer Regierungsweisen beschwört. Was bedeutet es somit in einer Zeit von Sichtbarkeitsregimen und totaler Datentransparenz einen Fokus auf Opazität und Dunkelheit zu legen? In welcher Beziehung steht Unbestimmtheit zum Wissen? Danach fragt „yet incomputable. Die Abschlussausstellung des Graduiertenkollegs der HFBK wird in Kooperation mit den Deichtorhallen Hamburg/Sammlung Falckenberg veranstaltet. Kuratiert von Dr. Elena Agudio | Künstlerische Direktorin der Association of Neuroesthetics, Co-Direktorin von SAVVY Contemporary Berlin sowie Gastprofessorin an der HFBK Hamburg im Wintersemester 2017/18. Ivana Franke: Animated Sphere, 2008

NOWs: A Toast to my Consent by Jonas Wendelin

28 September 2017 / Nows ⟶

NOWs: Azimut Book Launch – Raul Walch

21 September 2017 / Nows ⟶

NOWs: CARE LESS – Schulungsprogramm für betreute Kunstbetrachtung

22 September 2017 / Nows ⟶

Trailer: CARE LESS NOWs: CARE LESS – Schulungsprogramm für betreute KunstbetrachtungVolkswagen Fellows 2017 in Wolfsburg Der Förderverein der Städtischen Galerie Wolfsburg, jugend in der galerie e.V., und der Volkswagen Konzern haben 2017 erstmals ein Stipendium für Kunstvermittlerinnen und Kunstvermittler ausgeschrieben. Innovative Ansätze für die Vermittlung zeitgenössischer Kunst stehen im Mittelpunkt des Projektes Volkswagen Fellowship, das jeweils für 1 Jahr vergeben und ist mit 20.000 Euro dotiert ist. Norgard Kröger & Paula Mierzowsky aus Kassel/Freiburg sind mit ihrem „Schulungsprogramm für betreute Kunstbetrachtung – CARE LESS” die ersten Fellows. Die Jury überzeugte bei CARE LESS der Ansatz, Kunst und Vermittlung gänzlich zu verschmelzen. Die Preisträgerinnen schlagen nicht nur ein außergewöhnliches Vorgehen im Rahmen der Vermittlung vor, sondern überführen die Handlungen gleichzeitig in eine partizipative Performance. „Durch die Form der Durchführung generiert sich aus der Betrachtung in der Regel eine Verschiebung, sodass der Betrachtende oder die Betrachtende selbst Kunst/-Werkcharakter annimmt.“ Mit dem Stipendium soll „CARE LESS“ die Möglichkeit gegeben werden, ihre Methode über einen längeren Zeitraum zu verfolgen und weiterzuentwickeln. – CARE LESS im Rahmen des Festival of Future Nows 2017 → ∞, Hamburger Bahnhof, Foto: Jan Windszus CARE LESS im Rahmen des Festival of Future Nows 2017 → ∞, Hamburger Bahnhof, Foto: David von Becker Trailer: CARE LESS NOWs: CARE LESS – Schulungsprogramm für betreute KunstbetrachtungVolkswagen Fellows 2017 in Wolfsburg Der Förderverein der Städtischen Galerie Wolfsburg, jugend in der galerie e.V., und der Volkswagen Konzern haben 2017 erstmals ein Stipendium für Kunstvermittlerinnen und Kunstvermittler ausgeschrieben. Innovative Ansätze für die Vermittlung zeitgenössischer Kunst stehen im Mittelpunkt des Projektes Volkswagen Fellowship, das jeweils für 1 Jahr vergeben und ist mit 20.000 Euro dotiert ist. Norgard Kröger & Paula Mierzowsky aus Kassel/Freiburg sind mit ihrem „Schulungsprogramm für betreute Kunstbetrachtung – CARE LESS” die ersten Fellows. Die Jury überzeugte bei CARE LESS der Ansatz, Kunst und Vermittlung gänzlich zu verschmelzen. Die Preisträgerinnen schlagen nicht nur ein außergewöhnliches Vorgehen im Rahmen der Vermittlung vor, sondern überführen die Handlungen gleichzeitig in eine partizipative Performance. „Durch die Form der Durchführung generiert sich aus der Betrachtung in der Regel eine Verschiebung, sodass der Betrachtende oder die Betrachtende selbst Kunst/-Werkcharakter annimmt.“ Mit dem Stipendium soll „CARE LESS“ die Möglichkeit gegeben werden, ihre Methode über einen längeren Zeitraum zu verfolgen und weiterzuentwickeln. – CARE LESS im Rahmen des Festival of Future Nows 2017 → ∞, Hamburger Bahnhof, Foto: Jan Windszus CARE LESS im Rahmen des Festival of Future Nows 2017 → ∞, Hamburger Bahnhof, Foto: David von Becker

NOWs: Azimut – publication by Raul Walch

01 August 2017 / Nows ⟶

NOWs: Raul Walch: Azimut Publication Published by Drittel Books, Berlin, the publication by Raul Walch features his series Azimut. Many paths lead to Europe. The most dangerous is the sea route. In Azimut, Raul Walch travelled to Europe’s southern periphery to the heart of the greatest humanitarian catastrophe of our age. Azimut is an attempt to rethink artistic contemporaneity. It’s a presence that neither comments nor judges, but rather expands perspectives, participates and produces. Azimut is political; it is narrative and full of poetry. It doesn’t talk about people, it listens to them. In the Winter of 2015, Raul Walch travelled to Lesbos. This, the first of several visits, marks the beginning of Azimut. In nautical terms the Arabic word refers to the intended course, or azimuth, of a journey from beginning to end. In navigational terms the north is a reference point. For those who have chosen the route across the sea, the north encompasses both hope and horror. Time and again Walch has explored global migration flows – investigating and deconstructing their materiality. As Olafur Eliasson’s student at the Institut für Raumexperimente (Institute for Spatial Experimentation), Walch adopted a broad approach to artistic practice. The question as to whether an artistic idea can become a product remains pertinent throughout his work. In Azimut he takes it one step further: can an artistic idea save lives? From discarded tarpaulin he fashioned colourful kites. The temporary architectures of Arrival Cities have long become symbols of instability and uprootedness; in Azimut they are structures of freedom and empowerment. Where there are kites there is humanity. The next step is to turn them into Rescue Kites; lighthouses flying above the water to direct the ships; fluorescent mosaics in the wind that oppose the politics of nationalism. The book contains texts by Paul Feigelfeld and Alexander Karschnia as well as a conversation with Olafur Eliasson and drawings by the artist. It appears in an edition of 500 copies and has 12 differently designed covers. Additional Edition: 3 prints, edition of 20 (inkjet-print / Hahnemühle photo rag, 30 x 38 cm) and framed photos, edition of 5, (inkjet-print auf Hahnemühle photo rag, 30 x 40) – Artist name: Raul Walch – Title: Azimut – Publisher: Drittel Books – Release Year: 2017 – Country of release: Germany – Price: 38 € -Auflage: 500 NOWs: Raul Walch: Azimut Publikation Anfang August erscheint im Verlag Drittel Books, Berlin die Publikation von Raul Walch zu seiner Werkserie Azimut. Die Arbeit hat sich fortlaufend seit Winter 2015/16 in Griechenland und Deutschland unter anderem mit Geflüchteten und unabhängigen Helfern entwickelt. Es sind Aktionen, Photographien und Objekten entstanden, die in diesem Künstlerbuch zusammengefasst werden. Das 136-seitige Buch enthält Texte von Paul Feigelfeld und Alexander Karschnia sowie ein Gespräch mit Olafur Eliasson und Zeichnungen des Künstlers. Es erscheint in einer Auflage von 500 Exemplaren und hat 12 unterschiedlich gestaltete Cover. Zum Buch sind zwei Edition entstanden. Zum einen drei Prints, Auflage 20 Stück (Inkjet-print auf Hahnemühle Photo rag, 30 x 38 cm) und zum anderen gerahmten Photographien, Auflage 5 Stück, aus der Serie Azimut (Inkjet-print auf Hahnemühle Photo rag, 30 x 40, kaschiert und weißgrau gerahmt) – Artist name: Raul Walch – Title: Azimut – Publisher: Drittel Books – Release Year: 2017 – Country of release: Germany – Price: 38 € -Auflage: 500

NOWs: Odyssee, Möhnesee

20 - 30 July 2017 / Nows ⟶

Raul Walch: Semaphore, Möhnesee, 2017 NOWs: OdysseeMöhnesee Opening on the Möhnesee lake: 20th July, 7pm Opening at Kunstverein Arnsberg: 28th July, 7pm With Øystein Aasan, Aram Bartholl, Kerstin Brätsch, Julian Breuer, Marco Bruzzone, Nine Budde, Burghard, Eric Ellingsen, Andreas Greiner, Knut Henrik Henriksen, Theresa Kampmeier, Daewha Kang, Fabian Knecht, Daniel Knorr, Tanaz Modabber, Swantje La Moutte, Ulrike Mohr, Reto Pulfer, Anton Quiring, Yorgos Sapountzis, Mirjam Thomann, Raul Walch, Tilman Wendland, Ella Ziegler The exhibition ‘Odyssee’ takes place in water. All artworks have been conceived for the water, and visitors are invited to swim, row or sail between the works. Instead of the usual foundational elements of walls, ceiling and floor, in this exhibition the artists have to deal with water, weather and wildlife. Even the water is not entirely reliable, with the water level varying depending on rainfall and industry. In the absence of the kind of certainties they are used to, the artists had to rethink their methods of artistic production and presentation in order to develop new works especially for the exhibition. The dynamics of the surrounding area and the spontaneity of the visitors open up the exhibition for further developments beyond the artists’ intentions. The Möhnesee is the largest lake in North-Rhine Westphalia, located between Kassel and Münster. Visitors to documenta and Sculpture Projects Münster can complete their triathlon at Möhnesee. The exhibition can best be reached from Körbecke, on the north side of the lake – in the wild lakeside area between the pedestrian bridge and the Westphalia Yacht club. The second part of the exhibition takes place from 28th July until 10th September 2017 at Kunstverein Arnsberg, and in August on the river Ruhr. The project will be further expanded by workshops on location with students. There will be a comprehensive education programme with guided tours from the lakeside and on the water. Entry, tours and performances are free. ‘Odyssee’ is a Project by Kunstverein Arnsberg, realised with the generous support of Kunststiftung NRW, the Ministry for Family, Children, Youth and Sport of North-Rhine Westphalia, C. & A. Veltins Brewery, Sparkasse Soest, the district parish of Möhnesee, the city of Arnsberg and Yachtclub Westfalia Arnsberg. Contact: info@odyssey.to Vlado Velkov / Juliane Rogge Kunstverein Arnsberg e.V. Königstraße 24, 59821 Arnsberg www.kunstverein-arnsberg.de Raul Walch: Semaphore, Möhnesee 2017 NOWs: OdysseeMöhnesee Ausstellungseröffnung: Donnerstag, 20. Juli, 19 Uhr, Möhnesee Performances & Konzert: Freitag, 21. Juli, 19 Uhr, Möhnesee Eröffnung & Sommerfest: 28. Juli, 19 Uhr, Kunstverein Arnsberg Mit Beiträgen von Øystein Aasan, Aram Bartholl, Kerstin Brätsch, Julian Breuer, Marco Bruzzone, Nine Budde, Burghard, Eric Ellingsen, Andreas Greiner, Knut Henrik Henriksen, Theresa Kampmeier, Daewha Kang, Fabian Knecht, Daniel Knorr, Tanaz Modabber, Swantje La Moutte, Ulrike Mohr, Reto Pulfer, Anton Quiring, Yorgos Sapountzis, Mirjam Thomann, Raul Walch, Tilman Wendland, Ella Ziegler Die Ausstellung „Odyssee“ findet im Wasser statt. Alle Kunstwerke werden für das Wasser konzipiert, so dass die Besucher eingeladen sind, von Werk zu Werk zu schwimmen, zu rudern oder zu segeln. Der Ausstellung fehlen Grundelemente wie Wände, Decke und Boden; stattdessen haben die Künstler mit Wasser, Wetter und Tieren zu tun. Sie können sich auch auf das Wasser nicht verlassen, da der Wasserspiegel je nach Regenfall und Industriebedarf variiert. Diese Unsicherheit fordert, dass die Künstler ihre Methoden und Techniken überdenken und für das Projekt ausschließlich neue Werke produzieren. Die Dynamik des Umfelds und Spontanität der Besucher öffnen die Ausstellung für weitere Entwicklungen jenseits des künstlerischen Vorhabens. Der Möhnesee ist der größte See in NRW und liegt zwischen Kassel und Münster. Besucher der documenta und der Skulptur Projekte Münster können am Möhnesee ihren Triathlon abschließen. Die Ausstellung ist am besten vom Nordufer in der Gemeinde Körbecke zu erreichen, im wilden Uferbereich westlich der Fußgängerbrücke. Der zweite Teil der Ausstellung findet in Arnsberg statt: vom 28. Juli bis zum 10. September 2017 im Kunstverein Arnsberg, sowie im August auf der Ruhr. Workshops mit Studierenden vor Ort werden das Projekt zusätzlich erweitern. Es wird ein umfangreiches Vermittlungsprogramm mit Führungen am Ufer und im Wasser angeboten. Eintritt, Führungen und Performances sind frei. „Odyssee“ ist ein Projekt des Kunstvereins Arnsberg, realisiert mit der freundlichen Unterstützung der Kunststiftung NRW, des Ministeriums für Familie, Kinder, Jugend, Kultur und Sport des Landes Nordrhein-Westfalen, der Brauerei C. & A. Veltins, der Sparkasse Soest, der Gemeinde Möhnesee, der Stadt Arnsberg, des Hochsauerlandkreises und des Yachtclubs Westfalia Arnsberg. Kontakt: info@odyssey.to Vlado Velkov / Juliane Rogge Kunstverein Arnsberg e.V. Königstraße 24, 59821 Arnsberg www.kunstverein-arnsberg.de

NOWs: Spaces of Commoning – a book launch

11 July 2017 / Nows ⟶

NOWs: Casco & The Academy of Fine Arts Vienna Book launch: Spaces of Commoning: Artistic Research and the Utopia of the Everydayat Casco Lange Nieuwstraat 7, 3512 PA Utrecht 19:30 – 21:30 h No reservation required. Free entrance. With Stefan Gruber, Moira Hille, Annette Krauss and Julia Wieger Spaces of Commoning: Artistic Research and the Utopia of the Everyday is the outcome of a research project pursued by a group of artists, architects, and social theorists, who, in the face of exhilarating politics of accumulation and dispossession, explore commoning as the subject as well as the means of their collective study. The power of the commons, this book suggests, does not reside in the promise of a coming together free of friction. As different dimensions of power organize the terrain of the social, social movements are often caught between competing agendas, and in the gap between aims and everyday life. It is precisely the sites of these struggles that the book calls spaces of commoning. As such, this study is part of a much wider recognition of the necessity to rethink and undo the methodological premises of Western sciences, arts, and architecture, and to raise unsettling questions on research ethos, accountability, and the entanglement of power and knowledge. Edited by Anette Baldauf, Stefan Gruber, Moira Hille, Annette Krauss, Vladimir Miller, Mara Verlič, Hong-Kai Wang, Julia Wieger. With contributions by Berhanu Ashagrie Deribew, Anette Baldauf, Tesfaye Bekele Beri, Aluminé Cabrera, Silvia Federici, Elizabeth Giorgis, Stefan Gruber, Stefano Harney, Moira Hille, Mihret Kebede, Annette Krauss, Lisa Lowe, Maria Mesner, Vladimir Miller, Stavros Stavrides, Pelin Tan, Team at Casco—Office for Art, Design and Theory, Brook Teklehaimanot, Ultra-red, Mara Verlič, Hong-Kai Wang, Julia Wieger. Spaces of Commoning: Artistic Research and the Utopia of the Everyday Publication Series of the Academy of Fine Arts Vienna, vol. 18 Design by Surface December 2016, English 16.5 x 22 cm, 20 b/w and 13 color ill., softcover ISBN 978-3-95679-266-3 NOWs: Casco & The Academy of Fine Arts Vienna Book launch: Spaces of Commoning: Artistic Research and the Utopia of the Everyday at Casco Lange Nieuwstraat 7, 3512 PA Utrecht 19:30 – 21:30 h No reservation required. Free entrance. With Stefan Gruber, Moira Hille, Annette Krauss and Julia Wieger Spaces of Commoning: Artistic Research and the Utopia of the Everyday is the outcome of a research project pursued by a group of artists, architects, and social theorists, who, in the face of exhilarating politics of accumulation and dispossession, explore commoning as the subject as well as the means of their collective study. The power of the commons, this book suggests, does not reside in the promise of a coming together free of friction. As different dimensions of power organize the terrain of the social, social movements are often caught between competing agendas, and in the gap between aims and everyday life. It is precisely the sites of these struggles that the book calls spaces of commoning. As such, this study is part of a much wider recognition of the necessity to rethink and undo the methodological premises of Western sciences, arts, and architecture, and to raise unsettling questions on research ethos, accountability, and the entanglement of power and knowledge. Edited by Anette Baldauf, Stefan Gruber, Moira Hille, Annette Krauss, Vladimir Miller, Mara Verlič, Hong-Kai Wang, Julia Wieger. With contributions by Berhanu Ashagrie Deribew, Anette Baldauf, Tesfaye Bekele Beri, Aluminé Cabrera, Silvia Federici, Elizabeth Giorgis, Stefan Gruber, Stefano Harney, Moira Hille, Mihret Kebede, Annette Krauss, Lisa Lowe, Maria Mesner, Vladimir Miller, Stavros Stavrides, Pelin Tan, Team at Casco—Office for Art, Design and Theory, Brook Teklehaimanot, Ultra-red, Mara Verlič, Hong-Kai Wang, Julia Wieger. Spaces of Commoning: Artistic Research and the Utopia of the Everyday Publication Series of the Academy of Fine Arts Vienna, vol. 18 Design by Surface December 2016, English 16.5 x 22 cm, 20 b/w and 13 color ill., softcover ISBN 978-3-95679-266-3

NOWs: Display Distribute at Miss Read

14 - 16 July 2017 / Nows ⟶

NOWs: Display Distribute at Miss Read Art Book Festival, Haus der Kulturen der Welt, 14-16 July 2017 Display Distribute is a thematic inquiry, exhibition space, distribution service and ‘sometimes shop’ based in Kowloon, Hong Kong. Woven together by a serially enlisted cast of agents, the project engages in a wider discussion of globally enabled and dismantled forms of exchange amidst a late-capitalist networked production. Among them, the distribution and production of independent publications acts as a loosely organised confluence—dialogue and exchange on critical, self-organised practices across Asia/SE Asia. To facilitate small-scale distribution, transport of our books, zines and perodicals is carried out by LIGHT LOGISTICS, a person-to-person network enabled by the surplus carrying power of couriers engaging a mobile space for intimate and flexible forms of reading. For the duration of Miss Read Festival, a corporeal reading unit and mobile distribution node will present Display Distribute’s “SECOND(hand)MOUNTAIN(fortress)” series of print-on-demand editions. For this launch, publications have been specially dedicated to readers courtesy of practitioners such as ZHANG Hanlu, Jong PAIREZ, Susanne BOSCH, Franz SCHUBERT, KUNCI Cultural Studies Center, DANWARAREN, Renan LARU-AN, Elaine W. Ho, Ming LIN, Zikri RAHMAN, HomeShop, et al. Display Distribute and LIGHT LOGISTICS have initiated a series of events and other experiments of reading and writing at various hosting institutions, including: BANK (Shanghai), Irregular Rhythm Asylum (Tokyo) and Gasworks (London). NOWs: Display Distribute at Miss Read Art Book Festival, Haus der Kulturen der Welt, 14-16 July 2017 Display Distribute is a thematic inquiry, exhibition space, distribution service and ‘sometimes shop’ based in Kowloon, Hong Kong. Woven together by a serially enlisted cast of agents, the project engages in a wider discussion of globally enabled and dismantled forms of exchange amidst a late-capitalist networked production. Among them, the distribution and production of independent publications acts as a loosely organised confluence—dialogue and exchange on critical, self-organised practices across Asia/SE Asia. To facilitate small-scale distribution, transport of our books, zines and perodicals is carried out by LIGHT LOGISTICS, a person-to-person network enabled by the surplus carrying power of couriers engaging a mobile space for intimate and flexible forms of reading. For the duration of Miss Read Festival, a corporeal reading unit and mobile distribution node will present Display Distribute’s “SECOND(hand)MOUNTAIN(fortress)” series of print-on-demand editions. For this launch, publications have been specially dedicated to readers courtesy of practitioners such as ZHANG Hanlu, Jong PAIREZ, Susanne BOSCH, Franz SCHUBERT, KUNCI Cultural Studies Center, DANWARAREN, Renan LARU-AN, Elaine W. Ho, Ming LIN, Zikri RAHMAN, HomeShop, et al. Display Distribute and LIGHT LOGISTICS have initiated a series of events and other experiments of reading and writing at various hosting institutions, including: BANK (Shanghai), Irregular Rhythm Asylum (Tokyo) and Gasworks (London).

NOWs: Into The Wild by Anne Duk Hee Jordan

09 July 2017 / Nows ⟶

NOWs: Into The Wild by Anne Duk Hee Jordan Into The Wild is a conceptual dinner by Anne Duk Hee Jordan in collaboration with the “Herbarium Leipzig”, in the framework of the Berlin Food Art Week. Into The Wild presents a table of long forgotten herbs, edible fragrance flowers, and ancient root knots. The visitors are invited to take part in an enjoyable adventure of their own perception and to consume in direct access to the presented fruits. The dinner table becomes a lavish heterotopy. It refers to crops which were formerly offered in the local markets, and have almost disappeared. Gradually, the “old” returns. Such as The Night Candle, originating from North America, used to be one of the most important medicinal plants. In the 16th century, it was brought to Europe as an ornamental plant and cultivated in gardens. One quickly learned to use the potential of the plant as a vegetable. Into The Wild will be a sensual taste experience, going back to the basics, eating with our own hands, no plates, no forks, no knives: a tête a tête with the family of nettles and watercress species, tubers are prepared as ragout and we will get to know trees surprisingly different. Hallesches Haus Tempelhofer-Ufer 1 10961 Berlin Sunday, 7 pm 5 courses menu 45,00 Euro / person limited seats available Book your ticket. NOWs: Into The Wild by Anne Duk Hee Jordan Into The Wild ist ein konzeptuelles Dinner von Anne Duk Hee Jordan das in Kollaboration mit dem „Herbarium Leipzig“, im Rahmen der Berliner Food Art Week stattfindet. Into The Wild beschreibt eine Tafel längst vergessener Kräuter, essbare Duftblumen und alte Wurzelknollen. Die Besucher sind eingeladen sich auf eine genussvolle Abenteuerreise der eigenen Wahrnehmung zu begeheben und den direkten Zugang der dargebotenen Früchte zu verzehren. Die Tafel stellte eine lukullische Heterotopie dar. Sie weist auf Nutzpflanzen auf die früher auf den einheimischen Märkten angeboten wurden und zwischendurch wieder fast verschwunden sind. Nach und nach kehren die „Alten“ wieder zurück. Die Nachtkerze stammt ursprünglich aus Nordamerika und war eine der wichtigsten Heilpflanzen. Im 16.Jh wurde sie als Zierpflanze nach Europa gebracht und in Gärten kultiviert. Man lernte schnell das Potenzial der Pflanze als Gemüse zu nutzen. Into The Wild wird ein sinnlicher Geschmacksspaziergang werden. Die Besucher gehen zurück zum Basalen und essen mit ihren eigenen Händen, keine Teller, keine Gabeln, keine Messer: ein Tete a Tete mit der Familie der Brennnesseln und Kresse-Arten, alte Knollen zubereitet als Ragout und Bäume einmal anders kennengelernt. Hallesches Haus Tempelhofer-Ufer 1 10961 Berlin Sonntag, 19 h 5 Gänge-Menü 45,00 Euro/ Person begrenzte Teilnehmerzahl Ticket buchen.

NOWs: Constanza Macras | DorkyPark: The Pose |Music by Robert Lippok

09 - 17 July 2017 / Nows ⟶

NOWs: Constanza Macras | DorkyPark: The Pose Performance Premier: 9 July 2017, 7 pm Further performances on 12, 13, 14, 15, 16 and 17 July. – Akademie der Künste Hanseatenweg 10 10557 Berlin – How do the narratives of self-presentation change through the abundance of careless images? Constanza Macras and her Company DorkyPark take up a diachronic perspective from the past and present to look at self-representation, spanning from classical portrait painting to historical photo documents to digital selfies taken with mobile phones. THE POSE deals with memory in relationship to the physical architectural space and the collective memories it carries. It is a 4-hour performance course where the exercise and mechanisms of memory and its faultiness are part of the audience´s experience. Viewers move through Werner Düttmann’s building, from station to station, through various atmospheres and levels of memory. In this peripatetic walk through the parallel performances, much like “the art of memory” from the pre-Socratic period, in which walking and thinking are reconciled, the spectators experience the collective memories of the historical architecture of the Akademie der Künste at Hanseatenweg in the intimate spaces and through monumental stage pictures. Director & Choreography: Constanza Macras Music: Robert Lippok Dramaturgy: Carmen Mehnert By & with: Emil Bordás, Diane Gemsch, Luc Guiol, Fernanda Farah, Nile Koetting, Thulani Lord Mgidi, Ana Mondini, Daisy Philips, Felix Saalmann, Miki Shoji & Momo Akkouch Lights: Catalina Fernandez Sound: Fabrice Moinet Stage: Laura Gamberg, Veronica Wüst & Chika Takabayashi Costumes: Constanza Macras & Daphna Munz Director’s Assistant: Helena Casas Buy ticket A production by Constanza Macras | DorkyPark in collaboration with Robert Lippok. In cooperation with Akademie der Künste, Berlin. Funded by HKF – Hauptstadtkulturfonds. NOWs: Constanza Macras | DorkyPark: The Pose Performance Premiere: 9 Juli 2017, 19 h Weitere Vorstellungen am 12.7., 13.7., 14.7., 15.7., 16.7. und 17.7. – Akademie der Künste Hanseatenweg 10 10557 Berlin – Wie verändern sich die Narrative der Selbstinszenierung durch die Fülle achtlos erstellter Bilder? Constanza Macras nimmt mit ihrer Company DorkyPark eine diachrone Perspektive ein und untersucht Selbstinszenierungen von gestern und heute, von der klassischen Porträtmalerei über historische Fotodokumente bis zu digitalen Selfies mittels Mobiltelefon. „The Pose“ beschäftigt sich mit dem Gedächtnis in Beziehung zum architektonischen Raum und den kollektiven Erinnerungen, die er trägt. Während der vierstündigen Performance werden die Übung und die Mechanismen, aber auch die Fehlerhaftigkeit des Gedächtnisses Teil des Publikumserlebnisses. Die Zuschauer spazieren in der Architektur von Werner Düttmann von Station zu Station durch verschiedene Atmosphären und Schichten von Erinnerung. In diesem peripatetischen Spaziergang durch die parallel stattfindenden Performances, in dem Gehen und Denken in Einklang gebracht werden, erleben die Zuschauer und Zuschauerinnen in intimen Räumen und groß angelegten Bühnenarrangements die kollektiven Erinnerungen der historischen Architektur der Akademie der Künste am Hanseatenweg. Regie & Choreographie: Constanza Macras Musik: Robert Lippok Dramaturgie: Carmen Mehnert Von und mit: Emil Bordás, Diane Gemsch, Luc Guiol, Fernanda Farah, Nile Koetting, Thulani Lord Mgidi, Ana Mondini, Daisy Philips, Felix Saalmann, Miki Shoji & Momo Akkouch Licht: Catalina Fernandez Ton: Fabrice Moinet Bühne: Laura Gamberg, Veronica Wüst & Chika Takabayashi Kostüm: Constanza Macras & Daphna Munz Regieassistenz: Helena Casas Ticket kaufen Eine Produktion von Constanza Macras | DorkyPark in Zusammenarbeit mit Robert Lippok. In Kooperation mit der Akademie der Künste, Berlin. Gefördert aus Mitteln des HKF – Hauptstadtkulturfonds.

NOWs: We Close our Eyes and See a Flock of Birds by Ivana Franke

06 July - 20 August 2017 / Nows ⟶

Ivana Franke: We Close our Eyes and See a Flock of Birds, 2013. Courtesy of the artist NOWs: Ivana Franke, Tommi Grцnlund and Petteri Nisunen : Perceptual Drift (Galaxies in Mind) / GREY AREA  at Museum of Contemporary Art Zagreb,   Croatia The works of Ivana Franke, Tommi Grönlund, and Petteri Nisunen share an explorative approach which unites artistic methodology with natural sciences and architecture. The permeation of graphics, sculptures, architecture, movement, and sounds with mathematics, optics, physics, and neuroscience in their work leads us to experience sensations that seem to be outside of our sensory limitations. Furthermore, they approach their art as mechanisms that simultaneously produce and uncover limits of perception. The interdisciplinary nature of the exhibition connects to the history of the Museum of Contemporary Art: the neo-avantgarde movement New Tendencies, to which a part of the permanent setup of the museum is dedicated. In a search for a new artistic expression during a time of intensive penetration of technology into the everyday life of the 1960s and the 1970s, artists strived to create an “open work,” which incorporates the audience into its’ own creation, and which is a result of both artistic and scientific discoveries. The exhibition Perceptual Drift (Galaxies in Mind) by Ivana Franke takes visitors on a journey through various levels of artistic exploration by analysing our visual and spatial perceptual thresholds. Starting with a complete visual relocation in a series of installations in dark spaces, leaning on bodily sensations in intentionally unstable optical conditions, it continues on to a series of objects and prints—models meant to exercise visual comprehension and awareness of invisible structures that comprise the image of the world, revealed through quasy-hallucinatory visual experiences in the observers minds. After the initiation path that starts as a complete dizziness, we move on to rational constructs and spatial speculations, and ultimately towards a conscious experience of vast unknown areas permeating our minds and the phenomenal reality. In their synesthetic installations, Tommi Grönlund and Petteri Nisunen use forces invisible to the human eye, which create the world around us, reifying it through the materialisation of natural phenomena as like radioactivity, (electro) magnetism, gravity, standing wave patterns and randomness, among others. They use them as a scenario for the construction of impressive audio, kinetic, and optical installations, which take on the particularities of the exhibition spaces, thereby opening the possibility of endless site-specific adaptations. The works by Grönlund and Nisunen, as well as with space, enter a dialogue with the visitors of the exhibition—through sight, hearing, touch, and motion. Every sensation is open to personal perception, reflection, and, finally, randomness in terms of completely personal experience that leaves behind the limitations of everyday cognition. Ivana Franke is a visual artist based in Berlin. In her works, she investigates the interface between perception, cognition and the environment, focusing on perceptual thresholds. Her most recent exhibition, Retreat into Darkness. Towards a Phenomenology of the Unknown, is currently on view at the Ernst Schering Foundation in Berlin. Other projects include Disorientation Station (11th Shanghai Biennale) and Seeing with Eyes Closed (Peggy Guggenheim, Venice, Deutsche Guggenheim, Berlin). She represented Croatia at the 52nd Venice Biennial with the solo exhibition Latency, and at the 9th Venice Architecture Biennial. Other exhibitions include Manifesta 7, and MoMa P.S.1. Grönlund and Nisunen first met when studying architecture in the same university in late 80´s and they have worked together since early 90´s. Recently, they presented a mid-career retrospective of their collaborative work at the exhibition GREY AREA in Helsinki Kunsthalle, and had solo shows at the Galerie Anhava in Helsinki and the Esther Schipper Gallery in Berlin. Some of their most important group exhibitions include MUDAM Luxembourg, 5th Marrakech Biennale,Laboratorio Arte Alameda, 3rd Moscow Biennale, Yokohama Triennial and Manifesta 1. They represented Nordic countries at the 49th Venice Biennial and participated with a solo show at the 27th Sao Paolo Biennial. — Ivana Franke: We Close our Eyes and See a Flock of Birds, 2013. Wooden construction, polystyrene panels, white LED-lights, micro-controller, bench. 203 x 206 x 206 cm. Frequency range of flickering lights: 10–33 Hz. Each flash duration 6 mins. Duration of the sequence 6 mins 24 secs. Courtesy of the artist. Ivana Franke: We Close our Eyes and See a Flock of Birds, 2013. Courtesy of the artist NOWs: Ivana Franke, Tommi Grцnlund and Petteri Nisunen : Perceptual Drift (Galaxies in Mind) / GREY AREA  at Museum of Contemporary Art Zagreb,   Croatia The works of Ivana Franke, Tommi Grönlund, and Petteri Nisunen share an explorative approach which unites artistic methodology with natural sciences and architecture. The permeation of graphics, sculptures, architecture, movement, and sounds with mathematics, optics, physics, and neuroscience in their work leads us to experience sensations that seem to be outside of our sensory limitations. Furthermore, they approach their art as mechanisms that simultaneously produce and uncover limits of perception. The interdisciplinary nature of the exhibition connects to the history of the Museum of Contemporary Art: the neo-avantgarde movement New Tendencies, to which a part of the permanent setup of the museum is dedicated. In a search for a new artistic expression during a time of intensive penetration of technology into the everyday life of the 1960s and the 1970s, artists strived to create an “open work,” which incorporates the audience into its’ own creation, and which is a result of both artistic and scientific discoveries. The exhibition Perceptual Drift (Galaxies in Mind) by Ivana Franke takes visitors on a journey through various levels of artistic exploration by analysing our visual and spatial perceptual thresholds. Starting with a complete visual relocation in a series of installations in dark spaces, leaning on bodily sensations in intentionally unstable optical conditions, it continues on to a series of objects and prints—models meant to exercise visual comprehension and awareness of invisible structures that comprise the image of the world, revealed through quasy-hallucinatory visual experiences in the observers minds. After the initiation path that starts as a complete dizziness, we move on to rational constructs and spatial speculations, and ultimately towards a conscious experience of vast unknown areas permeating our minds and the phenomenal reality. In their synesthetic installations, Tommi Grönlund and Petteri Nisunen use forces invisible to the human eye, which create the world around us, reifying it through the materialisation of natural phenomena as like radioactivity, (electro) magnetism, gravity, standing wave patterns and randomness, among others. They use them as a scenario for the construction of impressive audio, kinetic, and optical installations, which take on the particularities of the exhibition spaces, thereby opening the possibility of endless site-specific adaptations. The works by Grönlund and Nisunen, as well as with space, enter a dialogue with the visitors of the exhibition—through sight, hearing, touch, and motion. Every sensation is open to personal perception, reflection, and, finally, randomness in terms of completely personal experience that leaves behind the limitations of everyday cognition. Ivana Franke is a visual artist based in Berlin. In her works, she investigates the interface between perception, cognition and the environment, focusing on perceptual thresholds. Her most recent exhibition, Retreat into Darkness. Towards a Phenomenology of the Unknown, is currently on view at the Ernst Schering Foundation in Berlin. Other projects include Disorientation Station (11th Shanghai Biennale) and Seeing with Eyes Closed (Peggy Guggenheim, Venice, Deutsche Guggenheim, Berlin). She represented Croatia at the 52nd Venice Biennial with the solo exhibition Latency, and at the 9th Venice Architecture Biennial. Other exhibitions include Manifesta 7, and MoMa P.S.1. Grönlund and Nisunen first met when studying architecture in the same university in late 80´s and they have worked together since early 90´s. Recently, they presented a mid-career retrospective of their collaborative work at the exhibition GREY AREA in Helsinki Kunsthalle, and had solo shows at the Galerie Anhava in Helsinki and the Esther Schipper Gallery in Berlin. Some of their most important group exhibitions include MUDAM Luxembourg, 5th Marrakech Biennale,Laboratorio Arte Alameda, 3rd Moscow Biennale, Yokohama Triennial and Manifesta 1. They represented Nordic countries at the 49th Venice Biennial and participated with a solo show at the 27th Sao Paolo Biennial. — Ivana Franke: We Close our Eyes and See a Flock of Birds, 2013. Wooden construction, polystyrene panels, white LED-lights, micro-controller, bench. 203 x 206 x 206 cm. Frequency range of flickering lights: 10–33 Hz. Each flash duration 6 mins. Duration of the sequence 6 mins 24 secs. Courtesy of the artist.

NOWs: Glottal Wolpertinger by Jan St. Werner and Dessner brothers

06 July 2017 / Nows ⟶

NOWs: Glottal Wolpertinger by Jan St. Werner and Dessner brothers Music performance 6.7.2017; 9:30 pm Romantso, Anaxagora 3–5, Athens Multi-fragmented composition, 2017 Eight microtonally tuned feedback channels are broadcast over the documenta 14 Radio Program for a period of ten weeks. On July 6, 2017 the feedback channels converge with each other during an installative performance in Athens. The eight composition fragments each consist of a continuously modulated feedback channel based on a harmony. The feedback channels resonate at the tuning frequencies of 44 Hz, 133 Hz, 339 Hz, 527 Hz, 826 Hz, 1014 Hz, 1552 Hz, 1889 Hz, 2.3 kHz, 4.6 kHz, 7.15 kHz, 10.14 kHz, 14.873 kHz, and 29.45 kHz. This results in oscillations, binaural pulses, and sound artifacts. Traditional techniques of orientation in music are pushed beyond the limits of comprehension. Glottal Wolpertinger deconstructs the principle of the musical drone, the timelessly dense, continuously spreading mass of sound, and uses idiosyncratic, abrupt movements to break with the traditional object character of music. The piece culminates in a live performance before an audience at Romantso in the city center of Athens and then breaks down. Next broadcasts: June 21, 2017, 24:00 (UTC+2) and July 1, 2017, 24:00 (UTC+2) Posted in public radio as part of documenta14 listening space. A stereo version of Glottal Wolpertinger as a white CD-R with stamped date, white screen-printed cover on black card sleeve and printed insert is available via farbvision. NOWs: Glottal Wolpertinger by Jan St. Werner and Dessner brothers Music performance 6.7.2017; 9:30 pm Romantso, Anaxagora 3–5, Athens Multi-fragmented composition, 2017 Eight microtonally tuned feedback channels are broadcast over the documenta 14 Radio Program for a period of ten weeks. On July 6, 2017 the feedback channels converge with each other during an installative performance in Athens. The eight composition fragments each consist of a continuously modulated feedback channel based on a harmony. The feedback channels resonate at the tuning frequencies of 44 Hz, 133 Hz, 339 Hz, 527 Hz, 826 Hz, 1014 Hz, 1552 Hz, 1889 Hz, 2.3 kHz, 4.6 kHz, 7.15 kHz, 10.14 kHz, 14.873 kHz, and 29.45 kHz. This results in oscillations, binaural pulses, and sound artifacts. Traditional techniques of orientation in music are pushed beyond the limits of comprehension. Glottal Wolpertinger deconstructs the principle of the musical drone, the timelessly dense, continuously spreading mass of sound, and uses idiosyncratic, abrupt movements to break with the traditional object character of music. The piece culminates in a live performance before an audience at Romantso in the city center of Athens and then breaks down. Next broadcasts: June 21, 2017, 24:00 (UTC+2) and July 1, 2017, 24:00 (UTC+2) Posted in public radio as part of documenta14 listening space. A stereo version of Glottal Wolpertinger as a white CD-R with stamped date, white screen-printed cover on black card sleeve and printed insert is available via farbvision.

NOWs: Triangular Project

26 June - 02 July 2017 / Nows ⟶

NOWs: EXPLORING SPATIAL AWARENESS JUNE 26th – JULY 2nd, 2017 A 7 days Master Class exploring spatial awareness at the Ionion Center for the Arts and Culture, Kefalonia Island, Greece, led by TRIANGULAR PROJECT – OPEN CALL The master class aims to explore spatial awareness (perception of psychological / mental space, consciousness of the limits of our body in space, perception of optical / perceptual space, and aural spatial awareness) through various artistic techniques. Participants will acquire artistic tools and methods to investigate spatial awareness and technical support will be provided in sound and video recording, painting, action / performance, installation, and sculpture. Participants will develop and exhibit a personal project. They will also be encouraged to reflect on their personal artistic practice and that of their fellow artists. It is open to all disciplines in the arts and other areas of knowledge We are looking forward to welcome participants interested in space and perception. DEADLINES FOR SUBMISSION : April 20th, 2017 There are grants related to the SEA forum, connected as well with the master class. All the info at www.ionionartscenter.gr and www.triangularproject.net For questions please address Sophie at info@ionionartscenter.gr and or us at triangular.project@gmail.com – TRIANGULAR PROJECT is a collective of visual artists working with the theme of space. The artistic practises of Florine Leoni (Switzerland), Macarena Ruiz-Tagle (Chile) and Sandra Volny (Canada) draw a TRIANGLE – a three-sided shape based on three kinds of perception: perception of psychological/mental space, perception of optical/perceptual space, and aural & spatial awareness. Working in situ, their interests and actions intertwine with the local community’s culture, history and geography. Experimentation is their main tool in approaching the environment. They consider the process as important as the final work of art. Collective work, side by side with invited participants, unfolds into a shared creation of knowledge. NOWs: EXPLORING SPATIAL AWARENESS JUNE 26th – JULY 2nd, 2017 A 7 days Master Class exploring spatial awareness at the Ionion Center for the Arts and Culture, Kefalonia Island, Greece, led by TRIANGULAR PROJECT – OPEN CALL The master class aims to explore spatial awareness (perception of psychological / mental space, consciousness of the limits of our body in space, perception of optical / perceptual space, and aural spatial awareness) through various artistic techniques. Participants will acquire artistic tools and methods to investigate spatial awareness and technical support will be provided in sound and video recording, painting, action / performance, installation, and sculpture. Participants will develop and exhibit a personal project. They will also be encouraged to reflect on their personal artistic practice and that of their fellow artists. It is open to all disciplines in the arts and other areas of knowledge We are looking forward to welcome participants interested in space and perception. DEADLINES FOR SUBMISSION : April 20th, 2017 There are grants related to the SEA forum, connected as well with the master class. All the info at www.ionionartscenter.gr and www.triangularproject.net For questions please address Sophie at info@ionionartscenter.gr and or us at triangular.project@gmail.com – TRIANGULAR PROJECT is a collective of visual artists working with the theme of space. The artistic practises of Florine Leoni (Switzerland), Macarena Ruiz-Tagle (Chile) and Sandra Volny (Canada) draw a TRIANGLE – a three-sided shape based on three kinds of perception: perception of psychological/mental space, perception of optical/perceptual space, and aural & spatial awareness. Working in situ, their interests and actions intertwine with the local community’s culture, history and geography. Experimentation is their main tool in approaching the environment. They consider the process as important as the final work of art. Collective work, side by side with invited participants, unfolds into a shared creation of knowledge.

NOWs: The Seekers

16 - 25 June 2017 / Nows ⟶

NOWs: Produktion. Made in Germany Drei

03 June - 03 September 2017 / Nows ⟶

Felix Kiessling: Your map is not correct anymore. (video still), 5.30min, Nordkyn, 2017 NOWs: Produktion. Made in Germany Drei Kestner Gesellschaft, Kunstverein Hannover, Sprengel Museum Hannover Exhibition opening: June 2nd, 2017, 5.00 pm 17.00 pm – Sprengel Museum Hannover 19.00 pm – Kestner Gesellschaft 20.15 pm – Kunstverein Hannover 22.00 pm – IMPURE FICTION, Perfomance – Kunstverein Hannover/Literaturhaus The third edition of Made in Germany, which is collectively curated on a five-year-cycle by the three institutions, focuses on the conditions of producing art in Germany. The group exhibition pursues the questions of how geographical, political, and institutional structures as well as new technologies are creating important conditions for the production of art in the course of the digital turn. In an art landscape that, by international standards, continues to have a unique concentration of institutions (art academies and colleges, art associations, and museums), the German scene is a major international site for the production of and discourse on contemporary art. The exhibition focuses on artistic positions that address production processes and examines the sites at which it is produced and presented. Besides processual approaches, by way of examples it investigates forms of production that direct the spotlight on network concepts. This becomes palpable based on collective approaches and time-based presentations in which the body and the social attain altered visibilities. As participating institutions, the Schauspiel Hannover, the Festival Theaterformen, and the KunstFestSpiele are contributing the first time, supplementing the question of production and site with additional projects and thus highlighting the changing production conditions of theater and performance not only in spaces of visual art. Artists Ketuta Alexi-Meskhishvili | Olga Balema | Julius von Bismarck | Juliette Blightman | Katinka Bock | BPA. Berlin Program for Artists (Maria Anna Bierwirth, Sofia Duchovny, Richard Frater, Mia Goyette, Sylvester Hegner, Johanna Klingler, Nile Koetting, Grayson Revoir, Miriam Yammad) | Carina Brandes | Henning Fehr & Philipp Rühr | Kasia Fudakowski | Sascha Hahn | Lena Henke | Calla Henkel & Max Pitegoff | IMPURE FICTION | Daniel Knorr | Schirin Kretschmann | Veit Laurent Kurz | Oliver Laric | Amy Lien & Enzo Camacho | Lotte Lindner & Till Steinbrenner | lonelyfingers | Das NUMEN (Julian Charrière, Andreas Greiner, Markus Hoffmann, Felix Kiessling)| Peles Empire | Willem de Rooij | Thomas Ruff | Yorgos Sapountzis | Timur Si-Quin | Hito Steyerl | Studio for Propositional Cinema | Raphaela Vogel Markus Hoffmann, Inverted Invisible Imprint / Domarring, 2016 Felix Kiessling: Your map is not correct anymore. (video still), 5.30min, Nordkyn, 2017 NOWs: Produktion. Made in Germany Drei Kestner Gesellschaft, Kunstverein Hannover, Sprengel Museum Hannover Ausstellungseröffnung: Freitag, 2. Juni 2017 17.00 Uhr – Sprengel Museum Hannover 19.00 Uhr – Kestner Gesellschaft 20.15 Uhr – Kunstverein Hannover 22.00 Uhr – IMPURE FICTION, Perfomance – Kunstverein Hannover/Literaturhaus Im Fokus der dritten Ausstellung »Made in Germany«, die im fünfjährigen Turnus von den drei Institutionen gemeinsam kuratiert wird, liegen die Produktions- bedingungen von Kunst in Deutschland. Die Gruppenausstellung geht der Frage nach, wie geografische, politische und institutionelle Strukturen sowie neue Technologien im Zuge der digitalen Wende entscheidende Voraussetzungen für die Herstellung von Kunst schaffen. In einer Kunstlandschaft mit einer nach wie vor international einzigartigen Dichte an Institutionen (Kunsthochschulen, Kunstvereine und Museen) ist die deutsche Szene ein wichtiger internationaler Produktions- und Diskursort der zeitgenössischen Kunst. Im Zentrum der Ausstellung stehen künstlerische Positionen, die Produktions-prozesse thematisieren und sich mit Orten der Herstellung als auch mit Orten der Präsentation auseinandersetzen. Neben prozessualen Arbeitsweisen werden exemplarisch Produktionsformen untersucht, die den Netzwerkgedanken in den Mittelpunkt rücken. Dieser wird anhand kollektiver Arbeitsweisen und zeitbasierter Aufführungen erfahrbar, in denen der Körper und das Soziale veränderte Sichtbarkeiten erlangen. Das Schauspiel Hannover, das Festival Theaterformen und die KunstFestSpiele Herrenhausen wirken dieses Jahr erstmalig als beteiligte Institutionen mit, um die Frage nach Produktion und Standort mit weiteren Projekten zu ergänzen. Die sich wandelnden Produktionsbedingungen von Darstellung und Performance werden somit nicht nur in Räumen der Bildenden Kunst hinterfragt. Künstlerinnen und Künstler Ketuta Alexi-Meskhishvili | Olga Balema | Julius von Bismarck | Juliette Blightman | Katinka Bock | BPA. Berlin Program for Artists (Maria Anna Bierwirth, Sofia Duchovny, Richard Frater, Mia Goyette, Sylvester Hegner, Johanna Klingler, Nile Koetting, Grayson Revoir, Miriam Yammad) | Carina Brandes | Henning Fehr & Philipp Rühr | Kasia Fudakowski | Sascha Hahn | Lena Henke | Calla Henkel & Max Pitegoff | IMPURE FICTION | Daniel Knorr | Schirin Kretschmann | Veit Laurent Kurz | Oliver Laric | Amy Lien & Enzo Camacho | Lotte Lindner & Till Steinbrenner | lonelyfingers | Das NUMEN (Julian Charrière, Andreas Greiner, Markus Hoffmann, Felix Kiessling)| Peles Empire | Willem de Rooij | Thomas Ruff | Yorgos Sapountzis | Timur Si-Quin | Hito Steyerl | Studio for Propositional Cinema | Raphaela Vogel Markus Hoffmann, Inverted Invisible Imprint / Domarring, 2016

NOWs: 24h Dahlem by Clara Jo in collaboration with Robert Lippok

06 - 11 June 2017 / Nows ⟶

Clara Jo: 24h Dahlem, 2016 (film still) NOWs: Clara Jo: 24 h Dahlem presented at the Architecture Film Festival London at the Institute of Contemporary Arts (ICA) & Bargehouse OXO Tower Wharf 24h Dahlem, 2016 (17 min) examines the motivations behind, and consequences of, the planned relocation (2019) of the ethnographic collections from the Dahlem State Museums—the Ethnological Museum and Museum for Asian Art—on the periphery of Berlin to the future site of the Humboldt Forum in BerlinMitte. The film moves through the different layers of the museum, revealing that which is otherwise unseen. The soundtrack is created by Robert Lippok. 24 h Dahlem will be shown at the ICA during a Ticketed Screening and Shortlisted Films on June 11. Additionally Clara Jo‘s experimental film Tilt will be presented at the Bargehouse for the Festival Selection on June 7 & 8. Tilt, 2016 (13 min) creates a contemporary parallel of an Enlightenment World, employing current museological digital imaging technologies as devices to penetrate the surface of scientific and artistic objects. The film uncovers how new 3D imaging techniques utilized by museum conservation departments bypass the need to directly incise into material culture, instead providing a surrogate and abstracted experience of objects for public consumption. The film draws from the Royal Academy of Arts Collections and Archives, folding in material from other London institutions such as the Burlington Courtyard Learned Societies and the Imaging and Analysis Centre at the Natural History Museum. Clara Jo: 24h Dahlem, 2016 (film still) NOWs: Clara Jo: 24 h Dahlem presented at the Architecture Film Festival London at the Institute of Contemporary Arts (ICA) & Bargehouse OXO Tower Wharf 24h Dahlem, 2016 (17 min) examines the motivations behind, and consequences of, the planned relocation (2019) of the ethnographic collections from the Dahlem State Museums—the Ethnological Museum and Museum for Asian Art—on the periphery of Berlin to the future site of the Humboldt Forum in BerlinMitte. The film moves through the different layers of the museum, revealing that which is otherwise unseen. The soundtrack is created by Robert Lippok. 24 h Dahlem will be shown at the ICA during a Ticketed Screening and Shortlisted Films on June 11. Additionally Clara Jo‘s experimental film Tilt will be presented at the Bargehouse for the Festival Selection on June 7 & 8. Tilt, 2016 (13 min) creates a contemporary parallel of an Enlightenment World, employing current museological digital imaging technologies as devices to penetrate the surface of scientific and artistic objects. The film uncovers how new 3D imaging techniques utilized by museum conservation departments bypass the need to directly incise into material culture, instead providing a surrogate and abstracted experience of objects for public consumption. The film draws from the Royal Academy of Arts Collections and Archives, folding in material from other London institutions such as the Burlington Courtyard Learned Societies and the Imaging and Analysis Centre at the Natural History Museum.

NOWs: Tempus circularis. Fagus sylvatica. By Rune Bosse

03 June - 30 July 2017 / Nows ⟶

NOWs: #30-called Zeitschrift Release Party

27 May 2017 / Nows ⟶

NOWs: SETTLEMENT (11) with Vladimir Miller

22 May - 04 June 2017 / Nows ⟶

Vladimir Miller: Settlement 7 BW NOWs: Vladimir Miller: SETTLEMENT (11) artistic research environment – a workshop at a.pass, Brussels Opening dinner on Monday, May 22nd, 18h – SETTLEMENT is an open shared practice environment which uses fragility as a building principle to establish a fluid sociality of collaboration. During the days of May 22nd – June 4th 2017 a.pass will come together and host an open workspace called SETTLEMENT with Vladimir Miller. In the course of these 14 days we will share our current work processes within an open collaborative workspace. We aim to create a poly-central gathering that is self-structured, self-organized and open to contributions from anyone. You are cordially invited to join this process by establishing your own space in the a.pass SETTLEMENT and sharing some of your ideas, practices or works with others. The materials and structures available at a.pass will be a common resource for all who join to create whatever is needed to facilitate this process. The schedule for these two week will be developed on site by its participants and shared online on the a.pass website. Here are some key ideas which have informed similar spaces before: encountering processes The potential of this setup is that it allows us to encounter each others processes instead of products of our artistic work. Processes are much more difficult to make visible and to see as they require a different mode of attention and participation. The attempt to witness a process requires a change in the temporal mode and in the mode of being-together in the collective space. no spectators The space we are trying to facilitate is open, but it is not an exhibition. There is no „spectator mode“, and no institutionalized responsibility for hosting. However any participant (including possible newcomers) is welcome to invite and host anybody according to the logic of her/his work process. Anybody is welcome to joint the collective space for any time span, respectful of the fact that Settlement is a predominately a workspace. The (growing/changing) group will try to provide enough information at the entrance, so that everyone feels welcome and knows how to join and share. Although the time frame is short, we hope to create a space that would be engaging to the students, faculty and visitors of the Academy. gifts Everyone is welcome to visit or join the space. If someone wants to stay and work (this includes us) s/he should bring a “gift” to the space in terms of sharing a work process, presenting a work, or facilitating a discussion or any other imaginable contribution to the shared space. productive instability We will collect most of the materials for the space from the academy’s storage and re-accommodate them towards our purposes. This strategy produces a space that is fragile, self-made, and constantly changing. We believe that such a space influences the sociability within it towards similar qualities – towards a more fluid social contract. In asking for a hands-on construction and deconstruction of its makeshift set-ups, such a space allows for a quicker change of settings and a decentralized mode of (self)organization. For this reason, we suggest to refrain from using usual furniture (tables and chairs) and improvise new set ups for „work-stations“ and collective moments out of what we can scavenge from around the academy. – SETTLEMENT Settlement is spatial proposal that tries to sustain its architectural fragility hoping in this way to initiate a temporary social, organizational and ideological one. Simply put it is a collective workspace, a camp and a hangout, open to all who stop by and would like to contribute to it. Like many other such meetings it is a place of informal exchange and presentation. It is a space for practices instead of products, a place where our individual ideas and processes have not yet achieved a solid state and can flow into each other. Settlement starts with a haphazard collection of materials in an otherwise empty space Everything one might need for one’s work has be be built and (re)invented there. There are no tables, no chairs, and the materials and objects resist easy categorization and usability. They have to be mis-used, adapted, they have a will on their own. The built environment has to be negotiated (with) on the level of the object. There is potential in a thing being one thing one day, and a totally different thing the day after. There is also potential in that thing changing hands. (You will be surprised how quickly ownership is established from communal beginnings: you just have to take one thing and put is somewhere.) Settlement is a space that tries very hard not to settle. Its instability works against the establishing of clear boundaries between „your space“ and „my space“, what hopefully follows from that is that it is very difficult to establish boundaries between „your work“ and “my work”. Miller believes that practice is bound by space, and if space gets shaky, unstable, shareable, so does the practice. By starting from scratch Settlement invites a re-negotiation of the specific conditions of each practice. In the course of the three weeks Settlement lets your particular method of production and sharing find its own intrinsic spatial conditions, free from the encoded behaviors of ready-made spaces such as “table”, “studio”, “meeting”, “gallery”, “venue”, “library”, etc. The politics of practice in terms of co-habitation and co-working, of claiming one’s own space, inviting or excluding the outside, communication of ideas, inviting change and influence are all there to be questioned within this setup. As a practice is (in some ways) „re-built“ during Settlement, one can come to question its very construction. Settlement is a collective project Vladimir Miller facilitated over several years on different occasions. The project takes the form of a workshop and creates and inhabits a space full of fragile and precarious structures. Since Settlement starts from a space devoid of habitual work setups, with all materials present considered a common resource,all the structures are built from the necessities of the individual and collective practices of its participants. A kind of a re-start on the physical level and an attempted re-start on the level of the habitual and institutional structures governing our spaces of production. The title is used as a provocation, as Settlement is a space which, over the course of several weeks, tries very hard not to settle. Settlement puts a spatial perspective on practice, identifying modes of institutionalization and habit which keep the spaces of artistic production and education from becoming spaces of commoning. These modes of ‘settling’ are embedded in many things: they are there in the ways the spaces are designed and organized towards stability (supporting habit and the given hierarchy of organization), they are there in the institutionalized processes of access and exclusion, and they are there in our social habits (which structure the most empty and open space imaginable). Looking at how the spaces of our practice prioritize the habitual, Settlement introduces architectural fragility as a mode of destabilizing practice and the social agreements between the participants. The spaces created within Settlement are make-shift and precarious and therefore never suited to support a certain social constellation or a process indefinitely. That introduces another timing into the space, rendering all structures inherently temporary and unreliable. The habit of regarding products of work as property becomes destabilized, as all structures in the space are short-lived and can become ‘material’ again very quickly. These and other changes occur through fragility of the built environment and work effectively against the habitual ‘settling down’. The transition of a structure back to the common resource through collapse or re-appropriation is always a possibility, producing the common as a constant perspective onto the emerging territories, constellations and rules in the Settlement space. Check schedule. – Vladimir Miller: Settlement 7 BW NOWs: Vladimir Miller: SETTLEMENT (11) artistic research environment – a workshop at a.pass, Brussels Opening dinner on Monday, May 22nd, 18h – SETTLEMENT is an open shared practice environment which uses fragility as a building principle to establish a fluid sociality of collaboration. During the days of May 22nd – June 4th 2017 a.pass will come together and host an open workspace called SETTLEMENT with Vladimir Miller. In the course of these 14 days we will share our current work processes within an open collaborative workspace. We aim to create a poly-central gathering that is self-structured, self-organized and open to contributions from anyone. You are cordially invited to join this process by establishing your own space in the a.pass SETTLEMENT and sharing some of your ideas, practices or works with others. The materials and structures available at a.pass will be a common resource for all who join to create whatever is needed to facilitate this process. The schedule for these two week will be developed on site by its participants and shared online on the a.pass website. Here are some key ideas which have informed similar spaces before: encountering processes The potential of this setup is that it allows us to encounter each others processes instead of products of our artistic work. Processes are much more difficult to make visible and to see as they require a different mode of attention and participation. The attempt to witness a process requires a change in the temporal mode and in the mode of being-together in the collective space. no spectators The space we are trying to facilitate is open, but it is not an exhibition. There is no „spectator mode“, and no institutionalized responsibility for hosting. However any participant (including possible newcomers) is welcome to invite and host anybody according to the logic of her/his work process. Anybody is welcome to joint the collective space for any time span, respectful of the fact that Settlement is a predominately a workspace. The (growing/changing) group will try to provide enough information at the entrance, so that everyone feels welcome and knows how to join and share. Although the time frame is short, we hope to create a space that would be engaging to the students, faculty and visitors of the Academy. gifts Everyone is welcome to visit or join the space. If someone wants to stay and work (this includes us) s/he should bring a “gift” to the space in terms of sharing a work process, presenting a work, or facilitating a discussion or any other imaginable contribution to the shared space. productive instability We will collect most of the materials for the space from the academy’s storage and re-accommodate them towards our purposes. This strategy produces a space that is fragile, self-made, and constantly changing. We believe that such a space influences the sociability within it towards similar qualities – towards a more fluid social contract. In asking for a hands-on construction and deconstruction of its makeshift set-ups, such a space allows for a quicker change of settings and a decentralized mode of (self)organization. For this reason, we suggest to refrain from using usual furniture (tables and chairs) and improvise new set ups for „work-stations“ and collective moments out of what we can scavenge from around the academy. – SETTLEMENT Settlement is spatial proposal that tries to sustain its architectural fragility hoping in this way to initiate a temporary social, organizational and ideological one. Simply put it is a collective workspace, a camp and a hangout, open to all who stop by and would like to contribute to it. Like many other such meetings it is a place of informal exchange and presentation. It is a space for practices instead of products, a place where our individual ideas and processes have not yet achieved a solid state and can flow into each other. Settlement starts with a haphazard collection of materials in an otherwise empty space Everything one might need for one’s work has be be built and (re)invented there. There are no tables, no chairs, and the materials and objects resist easy categorization and usability. They have to be mis-used, adapted, they have a will on their own. The built environment has to be negotiated (with) on the level of the object. There is potential in a thing being one thing one day, and a totally different thing the day after. There is also potential in that thing changing hands. (You will be surprised how quickly ownership is established from communal beginnings: you just have to take one thing and put is somewhere.) Settlement is a space that tries very hard not to settle. Its instability works against the establishing of clear boundaries between „your space“ and „my space“, what hopefully follows from that is that it is very difficult to establish boundaries between „your work“ and “my work”. Miller believes that practice is bound by space, and if space gets shaky, unstable, shareable, so does the practice. By starting from scratch Settlement invites a re-negotiation of the specific conditions of each practice. In the course of the three weeks Settlement lets your particular method of production and sharing find its own intrinsic spatial conditions, free from the encoded behaviors of ready-made spaces such as “table”, “studio”, “meeting”, “gallery”, “venue”, “library”, etc. The politics of practice in terms of co-habitation and co-working, of claiming one’s own space, inviting or excluding the outside, communication of ideas, inviting change and influence are all there to be questioned within this setup. As a practice is (in some ways) „re-built“ during Settlement, one can come to question its very construction. Settlement is a collective project Vladimir Miller facilitated over several years on different occasions. The project takes the form of a workshop and creates and inhabits a space full of fragile and precarious structures. Since Settlement starts from a space devoid of habitual work setups, with all materials present considered a common resource,all the structures are built from the necessities of the individual and collective practices of its participants. A kind of a re-start on the physical level and an attempted re-start on the level of the habitual and institutional structures governing our spaces of production. The title is used as a provocation, as Settlement is a space which, over the course of several weeks, tries very hard not to settle. Settlement puts a spatial perspective on practice, identifying modes of institutionalization and habit which keep the spaces of artistic production and education from becoming spaces of commoning. These modes of ‘settling’ are embedded in many things: they are there in the ways the spaces are designed and organized towards stability (supporting habit and the given hierarchy of organization), they are there in the institutionalized processes of access and exclusion, and they are there in our social habits (which structure the most empty and open space imaginable). Looking at how the spaces of our practice prioritize the habitual, Settlement introduces architectural fragility as a mode of destabilizing practice and the social agreements between the participants. The spaces created within Settlement are make-shift and precarious and therefore never suited to support a certain social constellation or a process indefinitely. That introduces another timing into the space, rendering all structures inherently temporary and unreliable. The habit of regarding products of work as property becomes destabilized, as all structures in the space are short-lived and can become ‘material’ again very quickly. These and other changes occur through fragility of the built environment and work effectively against the habitual ‘settling down’. The transition of a structure back to the common resource through collapse or re-appropriation is always a possibility, producing the common as a constant perspective onto the emerging territories, constellations and rules in the Settlement space. Check schedule. –

NOWs: Marbel by Ally Bisshop

23 May 2017 / Nows ⟶

NOWs: Talk by Matthias Sohr

31 May 2017 / Nows ⟶

Matthias Sohr, No Doubt You’ll Think, four-channel video installation, two posters, and sound, dimensions variable, 2017. Residencies OPEN, Thursday, 27 April 2017, Residencies Studios. Courtesy the artist. NOWs: Artist Talk by Matthias Sohr at NTU Centre for Contemporary Art Singapore Blk 43 Malan Road, Gillman Barracks, Singapur 109443 19:30 – 21:00 UTC+08 In the context of Matthias Sohr’s Studio Session, pianist Christina CL Tan and collaborators perform “Quiet”, a song taken from Leonard Bernstein’s operetta Candide (1956), based on Voltaire’s eponymous novel and character. The story of Candide’s wandering the world and confronting its paradoxes can be read as an allegory of contemporary artistic research. Departing from “Quiet”, featured in his 4-channel-video installation No Doubt You’ll Think (2017) presented on occasion of Residencies OPEN last April, Sohr will discuss the place he is speaking from in regards to his sculptural work and related research. Tan’s remarks on the formal aspects of “Quiet” will stimulate discussion on the ways form and content relate to each other. The talk will take place in the artist’s studio. BIOGRAPHIES Matthias Sohr obtained a Master of Visual Arts from the University of Art and Design Lausanne, Switzerland. He has been a visiting lecturer at the University of Arts and Industrial Design Linz, Austria; Berlin University of the Arts, Institute of Spatial Experiments, Germany. His work has been exhibited at Museum of Contemporary Art Tokyo (MOT), Japan and Neue Nationalgalerie, Berlin, Germany, among others. Christina Tan Cheng Lian is a pianist, lecturer, and composer. She holds a Doctor of Musical Arts in Piano Performance, Theory minor from the University of Cincinnati College Conservatory of Music. She has served on the music faculty of several universities in the USA. Currently, she lectures at the Nanyang Academy of Fine Arts, LaSalle College of the Arts, School of Contemporary Music, School of the Arts Singapore, and teaches masterclasses and workshops both in Asia and in the United States. Matthias Sohr, No Doubt You’ll Think, four-channel video installation, two posters, and sound, dimensions variable, 2017. Residencies OPEN, Thursday, 27 April 2017, Residencies Studios. Courtesy the artist. NOWs: Artist Talk by Matthias Sohr at NTU Centre for Contemporary Art Singapore Blk 43 Malan Road, Gillman Barracks, Singapur 109443 19:30 – 21:00 UTC+08 In the context of Matthias Sohr’s Studio Session, pianist Christina CL Tan and collaborators perform “Quiet”, a song taken from Leonard Bernstein’s operetta Candide (1956), based on Voltaire’s eponymous novel and character. The story of Candide’s wandering the world and confronting its paradoxes can be read as an allegory of contemporary artistic research. Departing from “Quiet”, featured in his 4-channel-video installation No Doubt You’ll Think (2017) presented on occasion of Residencies OPEN last April, Sohr will discuss the place he is speaking from in regards to his sculptural work and related research. Tan’s remarks on the formal aspects of “Quiet” will stimulate discussion on the ways form and content relate to each other. The talk will take place in the artist’s studio. BIOGRAPHIES Matthias Sohr obtained a Master of Visual Arts from the University of Art and Design Lausanne, Switzerland. He has been a visiting lecturer at the University of Arts and Industrial Design Linz, Austria; Berlin University of the Arts, Institute of Spatial Experiments, Germany. His work has been exhibited at Museum of Contemporary Art Tokyo (MOT), Japan and Neue Nationalgalerie, Berlin, Germany, among others. Christina Tan Cheng Lian is a pianist, lecturer, and composer. She holds a Doctor of Musical Arts in Piano Performance, Theory minor from the University of Cincinnati College Conservatory of Music. She has served on the music faculty of several universities in the USA. Currently, she lectures at the Nanyang Academy of Fine Arts, LaSalle College of the Arts, School of Contemporary Music, School of the Arts Singapore, and teaches masterclasses and workshops both in Asia and in the United States.

NOWs: Within the Horizon by Quynh Vantu

20 - 28 May 2017 / Nows ⟶

NOWs: Film preview. Quynh Vantu: Within the Horizon, 2017. Quynh Vantu: WITHIN THE HORIZON Choreographing Sverre Fehn’s Hedmark Museum Anno museum Domkirkeodden Strandvegen 100 2315 Hamar, Norway Exhibition | 20-28 May 2017, Tue-Sun 10am-4pm Opening | 20 May 2017, 8pm Artist Talk: In Conversation | 27 May 2017, 2pm Set within the site of Sverre Fehn’s Hedmark Museum (1967-79) in Hamar, Norway, the project Within the Horizon takes place as an intervention and collaboration with Fehn’s architecture. Constructed on the site of a former Bishop’s castle, the museum is a series of ramps, stairs and walkways that lead the visitor around, through and under the ruins of this archeological site. Fehn’s design utilizes circulation as a means to experience the spaces and his architecture acts as a guide to the museum visitor’s experience, ushering us to the various sights and locations throughout the historic site. Through Fehn’s careful choreography, Within the Horizon investigates the choreography of the space through the performance of dance. Within the Horizon is a multi-channel video installation incorporating a collaborative performance with contemporary dancers and the architecture of the Hedmark Museum. In addition to the video installation, durational performances will take place during the exhibition period from May 20-28, 2017 that will engage the video installation, architecture and public audience. These performance will occur within the functional spaces of the museum and provide a varied viewer experience dissolving and blurring the boundaries between audience and performer. In addition, there will be an artist talk: In Conversation with Quynh Vantu and curator Susanne Ewerlöf on Saturday 27 May, 2pm. A full schedule of performances and talks will be listed on the website. NOWs: Film preview. Quynh Vantu: Within the Horizon, 2017. Quynh Vantu: WITHIN THE HORIZON Choreographing Sverre Fehn’s Hedmark Museum Anno museum Domkirkeodden Strandvegen 100 2315 Hamar, Norway Exhibition | 20-28 May 2017, Tue-Sun 10am-4pm Opening | 20 May 2017, 8pm Artist Talk: In Conversation | 27 May 2017, 2pm Set within the site of Sverre Fehn’s Hedmark Museum (1967-79) in Hamar, Norway, the project Within the Horizon takes place as an intervention and collaboration with Fehn’s architecture. Constructed on the site of a former Bishop’s castle, the museum is a series of ramps, stairs and walkways that lead the visitor around, through and under the ruins of this archeological site. Fehn’s design utilizes circulation as a means to experience the spaces and his architecture acts as a guide to the museum visitor’s experience, ushering us to the various sights and locations throughout the historic site. Through Fehn’s careful choreography, Within the Horizon investigates the choreography of the space through the performance of dance. Within the Horizon is a multi-channel video installation incorporating a collaborative performance with contemporary dancers and the architecture of the Hedmark Museum. In addition to the video installation, durational performances will take place during the exhibition period from May 20-28, 2017 that will engage the video installation, architecture and public audience. These performance will occur within the functional spaces of the museum and provide a varied viewer experience dissolving and blurring the boundaries between audience and performer. In addition, there will be an artist talk: In Conversation with Quynh Vantu and curator Susanne Ewerlöf on Saturday 27 May, 2pm. A full schedule of performances and talks will be listed on the website.

NOWs: Flipping the Coin

20 May 2017 / Nows ⟶

NOWs: FLIPPING THE COIN live at Kantine am Berghain 8 pm presents Martin Eder Antje Engelmann feat. Esel durch Wiederholung Wilhelm Klotzek & Brei Andreas Greiner & Tyler Friedman Moritz Stumm with Ace Mahbaz and Elisa Jule Braun … Record releases Martin Backes – I am sitting in a machine; Martin Eder – Touch the Sun Andreas Greiner & Tyler Friedman – Studies of an Alien Skin … Sound selection by Çaykh (Circuit Diagram) Der Fokus des Berliner Labels Flipping the Coin liegt auf Sammler-Editionen von Bildenden Künstlern. Experimentelle Sound- und Musikprojekte werden ausschließlich in einer Auflage von 30 Stück auf ephemeren Dubplates veröffentlicht und finden keinerlei digitale Verbreitung. Um diese Projekte vorzustellen und ihnen einen Rahmen zugeben, ist Flipping the Coin zum zweiten mal Gast in der Kantine am Berghain und lädt Künstler des Labels ein die Veröffentlichungen Live zu präsentieren. Am 20.05 2017 zeigen verschiedene Künstler des Labels, Martin Eder, Antje Engelmann feat. Esel durch Wiederholung, Wilhelm Klotzeck & Brei, Andreas Greiner und Tyler Friedman sowie Moritz Stumm mit Ace Mahbaz und Elisa Jule Braun einen Querschnitt des letzten und einen Ausblick auf dieses Jahr. Außerdem weden die drei neuesten Releases von Martin Backes, Martin Eder und Andreas Greiner & Tyler Friedman gefeiert! http://www.martineder.com/ http://www.martinbackes.com/ http://www.eseldurchwiederholung.de/ http://www.antjeengelmann.net/ http://www.wilhelmklotzek.de/ http://www.andreasgreiner.com/works/studies-of-an-alien-skin https://soundcloud.com/tyler-friedman http://www.moritzstumm.de/ http://www.acemahbaz.com/ http://www.elisabraun.de/ https://soundcloud.com/caykh NOWs: FLIPPING THE COIN live at Kantine am Berghain 8 pm presents Martin Eder Antje Engelmann feat. Esel durch Wiederholung Wilhelm Klotzek & Brei Andreas Greiner & Tyler Friedman Moritz Stumm with Ace Mahbaz and Elisa Jule Braun … Record releases Martin Backes – I am sitting in a machine; Martin Eder – Touch the Sun Andreas Greiner & Tyler Friedman – Studies of an Alien Skin … Sound selection by Çaykh (Circuit Diagram) Der Fokus des Berliner Labels Flipping the Coin liegt auf Sammler-Editionen von Bildenden Künstlern. Experimentelle Sound- und Musikprojekte werden ausschließlich in einer Auflage von 30 Stück auf ephemeren Dubplates veröffentlicht und finden keinerlei digitale Verbreitung. Um diese Projekte vorzustellen und ihnen einen Rahmen zugeben, ist Flipping the Coin zum zweiten mal Gast in der Kantine am Berghain und lädt Künstler des Labels ein die Veröffentlichungen Live zu präsentieren. Am 20.05 2017 zeigen verschiedene Künstler des Labels, Martin Eder, Antje Engelmann feat. Esel durch Wiederholung, Wilhelm Klotzeck & Brei, Andreas Greiner und Tyler Friedman sowie Moritz Stumm mit Ace Mahbaz und Elisa Jule Braun einen Querschnitt des letzten und einen Ausblick auf dieses Jahr. Außerdem weden die drei neuesten Releases von Martin Backes, Martin Eder und Andreas Greiner & Tyler Friedman gefeiert! http://www.martineder.com/ http://www.martinbackes.com/ http://www.eseldurchwiederholung.de/ http://www.antjeengelmann.net/ http://www.wilhelmklotzek.de/ http://www.andreasgreiner.com/works/studies-of-an-alien-skin https://soundcloud.com/tyler-friedman http://www.moritzstumm.de/ http://www.acemahbaz.com/ http://www.elisabraun.de/ https://soundcloud.com/caykh

NOWs: Ludological by S.K.Ruud &AE

19 May - 08 June 2017 / Nows ⟶

NOWs: S.K.Ruud &AE: Ludological Live stream from PODIUM in Oslo Finissage on Thursday, 8.06., with arist talk and discussion Ludological is a code-machine-complex, scoping out the promise of a next-tech increment, where manufacturing is autonomous and the web immutable. From a patchwork of open-source and mechatronics it stages a value-chain stuck in the perpetual production of a terminal-spectacle. The digital layer hosts a bot-net of go-gaming AIs mutually constrained by a forced consensus and a self-certifying smart-contract. Sustained by a private chain under the motto autonomous and “code that can’t shut down”, the network generates a stream of surplus results that trickles down to become a binary decision model animating the material termination of some piece of wood. As a manufacturing operation Ludological will be live-streamed from the office spaces Podium Oslo. What is it about? pachi-go, docker, android, nodejs, solidity, ethereum, ipfs, linux, python, modbus rtu, master/slave, smart contracts, manifold hypothesis, local optimal, gradient decent, terminal transformations, structural indifference, illicit manufacturing, nemocentrism, hyper-optimisation, entrenched cognitive-maps, inhumane infrastructure, bot-nets, deep industry, carbon cycles, P2P economies, alternative intelligence, material traumas, brute force mechatronics, value-chain ecologies, web 3.0, industry 4.0, “lights-out” operation, machine-2-machine, disposable matter. What does it entail? • An integrated whole of autonomous operations, each concerned with their own local optimal, each responsible for a shared data-flux. • A perpetual production of spectacle, commodified through datafication and addressing. • Systemic fabrication of an immutable history, chaining object, process and event. • A decentralised mode of production, such that anywhere can be a factory. • A peer-against-peer design pattern, playing machiavellian others against themselves. • A governance by 200 lines of “smart”-contract code. • The obsolescence of human readable syntax. • A live-stream of aggregated tension. • Destructive value creation. – S.K.Ruud &AE is an artist contingency of Stian Korntved Ruud and Simen Musæus (&AE), aquianted since youth, thier collaboration as unfolded via CAD drawings, video-conferences and hardware research exchanged in the cloudspace between Oslo and Berlin – NOWs: S.K.Ruud &AE: Ludological Live stream from PODIUM in Oslo Finissage on Thursday, 8.06., with arist talk and discussion Ludological is a code-machine-complex, scoping out the promise of a next-tech increment, where manufacturing is autonomous and the web immutable. From a patchwork of open-source and mechatronics it stages a value-chain stuck in the perpetual production of a terminal-spectacle. The digital layer hosts a bot-net of go-gaming AIs mutually constrained by a forced consensus and a self-certifying smart-contract. Sustained by a private chain under the motto autonomous and “code that can’t shut down”, the network generates a stream of surplus results that trickles down to become a binary decision model animating the material termination of some piece of wood. As a manufacturing operation Ludological will be live-streamed from the office spaces Podium Oslo. What is it about? pachi-go, docker, android, nodejs, solidity, ethereum, ipfs, linux, python, modbus rtu, master/slave, smart contracts, manifold hypothesis, local optimal, gradient decent, terminal transformations, structural indifference, illicit manufacturing, nemocentrism, hyper-optimisation, entrenched cognitive-maps, inhumane infrastructure, bot-nets, deep industry, carbon cycles, P2P economies, alternative intelligence, material traumas, brute force mechatronics, value-chain ecologies, web 3.0, industry 4.0, “lights-out” operation, machine-2-machine, disposable matter. What does it entail? • An integrated whole of autonomous operations, each concerned with their own local optimal, each responsible for a shared data-flux. • A perpetual production of spectacle, commodified through datafication and addressing. • Systemic fabrication of an immutable history, chaining object, process and event. • A decentralised mode of production, such that anywhere can be a factory. • A peer-against-peer design pattern, playing machiavellian others against themselves. • A governance by 200 lines of “smart”-contract code. • The obsolescence of human readable syntax. • A live-stream of aggregated tension. • Destructive value creation. – S.K.Ruud &AE is an artist contingency of Stian Korntved Ruud and Simen Musæus (&AE), aquianted since youth, thier collaboration as unfolded via CAD drawings, video-conferences and hardware research exchanged in the cloudspace between Oslo and Berlin –

NOWs: far, nearer by Ina Arzensek and Nina Schuiki

16 May 2017 / Nows ⟶

NOWs: »What is Dance?« by Robert Lippok

13 - 28 May 2017 / Nows ⟶

Foto: Robert Lippok NOWs: Robert Lippok »What is Dance?« – Sound Installation Live performance and artist talk with Robert Lippok Friday, 19.5.2017, 8 pm SINGUHR – PROJEKTE presents Berlin based artist and musician Robert Lippok is primarily known as a protagonist of electronic music (“Ornament und Verbrechen”, “To Rococo Rot”). But his pieces also include sound-based installations in which he brings together elements from art, music, theatre, radio and film, as well as stage sets and objects. As early as 1989 he arranged self-made musical mechanisms, audiotape loops, electric motors and a piano keyboard into a playable installation. A few years ago, Lippok became acquainted with the oeuvre of American sound artist Joe Jones, whose “Music Machines” have continued to influence him, including while creating the instruments for his new sound installation “What is Dance?”. The installation consists of an arrangement of various sound objects (pieces of wood, cymbals, rotating plastic film) in the space, which are played mechanically in a predefined choreography, thus interpretating three dances of Henry Purcell’s opera »The Fairy Queen«. Meinblau Projektraum Christinenstraße 18/19 D-10119 Berlin Opening hours 13.-28.5.2017 Tue-Sun 2 – 17 pm free entrance – Organized by singuhr e.v. Supported by Bezirksamt Pankow von Berlin (Amt für Weiterbildung und Kultur, Fachbereich Kunst und Kultur) and Initiative Neue Musik Berlin e.V. Konzert des Deutschen Musikrates. With the kind support of Meinblau e.V. Foto: Robert Lippok NOWs: Robert Lippok »What is Dance?« – Soundinstallation Live-Performance und Künstlergespräch mit Robert Lippok Freitag, 19.5.2017 um 20 Uhr SINGUHR – PROJEKTE präsentiert Der Berliner Künstler und Musiker Robert Lippok ist vor allem als Protagonist elektronischer Musik bekannt geworden ( Ornament und Verbrechen, To Rococo Rot ). Zu seinen Werken gehören aber ebenso Installationen, in denen er Elemente aus dem Kunst-, Musik- und Theaterkontext zusammenführt, wie Bühnenbilder und Objekte. Vor einigen Jahren lernte Lippok das Werk des amerikanischen Klangkünstlers Joe Jones kennen, dessen ?Music Machines” seither einen wichtigen Einfluss darstellen, auch für die Entwicklung des Instrumentariums für ?What is Dance?”. Die Installation, die aus einem Arrangement mechanisch bespielter Klangobjekte und einem Lautsprechersystem im Raum besteht, interpretiert drei Tänze des englischen Komponisten Henry Purcell aus dessen Oper “The Fairy Queen”. Die Installation besteht aus einem Arrangement unterschiedlichster Klangobjekte im Raum, die mechanisch bespielt werden. Ergänzt durch ein Lautsprechersystem interpretieren die mit Sensortechnik und Elektromotoren ausgestatteten Hölzer, Becken und Folien, die an einem raumgreifenden Gerüst von der Decke hängen, drei Tänze aus Henry Purcells Oper »The Fairy Queen«. Meinblau Projektraum Christinenstraße 18/19 D-10119 Berlin Öffnungszeiten 13.-28.5.2017 Dienstag-Sonntag 14 – 19 Uhr Eintritt frei – Gefördert durch das Bezirksamt Pankow von Berlin (Amt für Weiterbildung und Kultur, Fachbereich Kunst und Kultur) und die initiative neue musk berlin e.V. Konzert des Deutschen Musikrates. Mit freundlicher Unterstützung von Meinblau e.V.

NOWs: GLÜCKs Autokino

11 - 13 May 2017 / Nows ⟶

NOWs: GLÜCKs Autokino geht auf CH-Tour! Erster Halt: Hardturmbrache in Zürich – ehemals Fussballstadion, jetzt eine Brache mit wachsender Flora & Fauna. Bevor sich Fuchs und Hase gute Nacht sagen, zeigen wir in Zusammenarbeit mit dem Theater Gessnerallee unseren Dokumentarfilm >Jäger & Sammler< ! 11./12./13. Mai 2017 Einlass ab 20:00 Uhr Anfahrt: Stadionbrache Hardturm Hardturmstrasse 269, 8005 Zürich Eingang über Förrlibuckstrasse Tickets hier. Für das absolute Glückserlebnis sollten Sie zwischen 20 Uhr und 20.30 Uhr mit dem eigenen Auto auf der Hardturmbrache vorfahren. Das Autokino findet draussen und bei jeder Witterung statt. Bei schönem Wetter gibt es auch Plätze für Fussgänger und Velofahrerinnen. Vergessen Sie nicht ihr eigenes UKW-fähiges Radio. Weitere Info`s inkl. Trailer zum Film: Autokino «Ein bisschen unnötig Autofahren, ist ein bisschen Freiheit», sagte schon der Luzerner Strassenphilosoph Emil Manser. Bevor alles hybrid und elektrisch wird, bietet Glück all denjenigen eine Plattform, die ihr Herz an Benzin, Gummi und Pferdestärken verloren haben. Dafür verlässt die Gruppe Glück den Theaterraum und veranstaltet ein Autokino – das letzte Kino ohne Rauchverbot. Gezeigt wird der eigens produzierte Dokfilm «Jäger & Sammler»: Ganz in Roadmovie-Manier handelt der Film von Autos, ihren Besitzern, wahrer Liebe zu grossen Motoren und von solchen, die ihr Schicksal selber in die Hand nehmen wollen. Glück möchte der eigenartigen Symbiose zwischen Mensch und Auto auf die Schliche kommen. Immer mit der Frage im Nacken: Wie weit gehen Menschen für Motoren? Wie sehen die Roadmovies der Zukunft aus, wenn Roboter das Steuer übernehmen? Bevor Duracell Häschen in Google-Autos durch die Gegend piepsen und uns GPS Satelliten die Orientierung verlieren lassen, zeigen wir die letzten echten Autofreaks und geben ihnen unsere Bühne. Ganz in Roadmovie-Manier handelt der Film von Autos, ihren Besitzern, wahrer Liebe zu grossen Motoren und von solchen die ihr Schicksal selber in die Hand nehmen wollen. In kleinen Episoden tritt die flammende Leidenschaft hervor. Autoliebhaber und überzeugte Fahrradfahrer reichen sich die Klinke in die Hand und die ganz grossen Gefühle werden aufgefahren – ganz nach dem Motto: «Wer nicht spinnt ist nicht normal!» (Pesche, Protagonist «Jäger & Sammler»). Glück – bestehend aus den Basler Künstlern, Musikern und Theaterschaffenden Gregor Brändli, Jeremias Holliger, Lukas Kubik, Benjamin Matthis und Victor Moser – entstand aus dem Bedürfnis, Arbeiten zu machen, die kollektiv entstehen und dem hierarchischen Theaterprinzip entsagen. NOWs: GLÜCKs Autokino geht auf CH-Tour! Erster Halt: Hardturmbrache in Zürich – ehemals Fussballstadion, jetzt eine Brache mit wachsender Flora & Fauna. Bevor sich Fuchs und Hase gute Nacht sagen, zeigen wir in Zusammenarbeit mit dem Theater Gessnerallee unseren Dokumentarfilm >Jäger & Sammler< ! 11./12./13. Mai 2017 Einlass ab 20:00 Uhr Anfahrt: Stadionbrache Hardturm Hardturmstrasse 269, 8005 Zürich Eingang über Förrlibuckstrasse Tickets hier. Für das absolute Glückserlebnis sollten Sie zwischen 20 Uhr und 20.30 Uhr mit dem eigenen Auto auf der Hardturmbrache vorfahren. Das Autokino findet draussen und bei jeder Witterung statt. Bei schönem Wetter gibt es auch Plätze für Fussgänger und Velofahrerinnen. Vergessen Sie nicht ihr eigenes UKW-fähiges Radio. Weitere Info`s inkl. Trailer zum Film: Autokino «Ein bisschen unnötig Autofahren, ist ein bisschen Freiheit», sagte schon der Luzerner Strassenphilosoph Emil Manser. Bevor alles hybrid und elektrisch wird, bietet Glück all denjenigen eine Plattform, die ihr Herz an Benzin, Gummi und Pferdestärken verloren haben. Dafür verlässt die Gruppe Glück den Theaterraum und veranstaltet ein Autokino – das letzte Kino ohne Rauchverbot. Gezeigt wird der eigens produzierte Dokfilm «Jäger & Sammler»: Ganz in Roadmovie-Manier handelt der Film von Autos, ihren Besitzern, wahrer Liebe zu grossen Motoren und von solchen, die ihr Schicksal selber in die Hand nehmen wollen. Glück möchte der eigenartigen Symbiose zwischen Mensch und Auto auf die Schliche kommen. Immer mit der Frage im Nacken: Wie weit gehen Menschen für Motoren? Wie sehen die Roadmovies der Zukunft aus, wenn Roboter das Steuer übernehmen? Bevor Duracell Häschen in Google-Autos durch die Gegend piepsen und uns GPS Satelliten die Orientierung verlieren lassen, zeigen wir die letzten echten Autofreaks und geben ihnen unsere Bühne. Ganz in Roadmovie-Manier handelt der Film von Autos, ihren Besitzern, wahrer Liebe zu grossen Motoren und von solchen die ihr Schicksal selber in die Hand nehmen wollen. In kleinen Episoden tritt die flammende Leidenschaft hervor. Autoliebhaber und überzeugte Fahrradfahrer reichen sich die Klinke in die Hand und die ganz grossen Gefühle werden aufgefahren – ganz nach dem Motto: «Wer nicht spinnt ist nicht normal!» (Pesche, Protagonist «Jäger & Sammler»). Glück – bestehend aus den Basler Künstlern, Musikern und Theaterschaffenden Gregor Brändli, Jeremias Holliger, Lukas Kubik, Benjamin Matthis und Victor Moser – entstand aus dem Bedürfnis, Arbeiten zu machen, die kollektiv entstehen und dem hierarchischen Theaterprinzip entsagen.

NOWs: The Antarctic Pavilion

12 May - 31 July 2017 / Nows ⟶

NOWs: The Antarctic Pavillion First Antarctic Biennale during the 57th Venice Biennale of Art 2017 Palazzo Molin a San Basegio Fondamenta Zattere Al Ponte Longo 1412, Venice, Italy Selected artworks created in Antarctica, along with photo and video documentation of the voyage, will debut at The Antarctic Pavilion during the 57th Venice Biennale of Art 2017. This group exhibition will include works by the expedition’s participants and projects from the finalists of the Antarctic Biennale Open Call for young artists. In March 2017 an international group of artists, scientists, architects and philosophers left the port of Ushuaia (Tierra del Fuego, Argentina) bound for the Antarctic Circle – onboard the scientific research vessel Akademik Sergei Vavilov. They would make landfall at numerous sites on the world’s southernmost continent throughout the next two weeks. At each location, artworks, exhibitions and performances were realized. Mobility, site-specificity and ecological compatibility were key touchstones. Nothing was left behind and no audience was present, except the participants themselves and – of course – Antarctica’s native species. Actions included a landscape photography exhibition for penguins (they didn’t seem to get much out of it) and an underwater installation for whales. In addition to onshore interventions, throughout the expedition, the vessel itself served as a floating studio, exhibition, installation and performance space; a photo lab, and conference facility. Onboard activities included symposia, debates, and a daily screening program featuring commissioned videos by international artists. Throughout, the focus was on the question ‘What potential does the Antarctic Imaginary hold?’– for exiting polarized identity politics, and ecological insensitivity in public culture. Also, on dialogues leading to future cross-disciplinary collaborations. For the project’s Commissioner, Alexander Ponomarev and the Organizing Committee, the enterprise was ventured in the belief that this remote region must be made more proximate; that the last continent is a fertile site for new beginnings. This year, The Antarctic Pavilion presents documentation of this 1st Antarctic Biennale – a paradigm-shifting phenomenon in biennale culture: A hot-house in a frozen realm, without mobile phones, internet, ready audience, or escape to another cocktail party, throughout this biennale everyone was in the same boat. While its expedition is complete, its collaborative outcomes are just beginning. In addition to documentation of the 1st Antarctic Biennale, this year’s Antarctic Pavilion debuts a series of newly commissioned works exploring the aesthetic, conceptual and mythic paramaters of the Antarctic Imaginary. In “Space Fish” (Raumfisch), Julius von Bismarck for instance realizes a site-specific performance by letting a tropical freshwater fish swim through the cold waters of the Antarctic Sea, facilitated by a custom swimsuit. The work’s thematic background revolves around human exploration. The swimsuit resembles a spacesuit, echoing man’s drive to explore and the romantic connotations of discovering new worlds. Referencing man’s first Antarctic expeditions, the fish reimagines the subject of the adventurer. The performance also emphasizes the role of tourism; travel for pleasure. It is also the theory and practice of touring, the business of attracting, accommodating, and entertaining tourists. Usually, the comfort of tourism is the preserve of humanity alone. In Space Fish, von Bismarck dives into the business of attracting the fish, offering a chance to experience the human luxury of movement to anywhere in world. ARTISTS-PARTICIPANTS (1ST ANTARCTIC BIENNALE): Abdullah Al Saadi (UAE). ‘Antarctic Alphabets’, Expedition Diaries Alexander Ponomarev (Russia). ‘Alchemy of Antarctic Albedo (Or Washing Pale Moons)’. Underwater installations Alexis Anastasiou (Brazil). ‘It ́s Cold out There’. Large scale projection Andrey Kuzkin (Russia). ‘The Phenomenon of Nature or 99 Landscapes with a Tree’. Series of performances Eulalia Valldosera (Spain). ‘Penelope’s voice: communicating with animals’. Audio intervention on the ship that travels to Antarctica Gustav Dusing (Germany). ‘The solid state of matter’. Tent made of frozen cotton Joaquin Fargas (Argentina). ‘Glaciator’. Robotic & Solar, mixed techniques Julian Charrière (France/Switzerland). ‘Silence’, Performance Juliana Cerqueira Leite (Brazil). ‘Vestibule’. Video Installation Julius von Bismarck (Germany). ‘Space Fish (Raumfisch)’. Performance Lou Sheppard (Canada). ‘Requiem for the Antarctic Coast’, Sound installation Paul Rosero Contreras (Ecuador). ‘Arriba!’ site-specific intervention, film, photographs Shama Rahman (Bangladesh/UK). ‘Truth be told’, Performance with sitar on ice Sho Hasegawa (Japan). ‘Winter Landscape (Antarctica Version)’ Tomas Saraceno (Argentina/Germany). ‘Aerocene’ Performance Yasuaki Igarashi (Japan). ‘Bundling Time’, Performance Yto Barrada (Morocco). ‘Abstract Geology’ Zhang Enli (China). ‘Egg’ NOWs: First Antarctic Biennale during the 57th Venice Biennale of Art 2017 Palazzo Molin a San Basegio Fondamenta Zattere Al Ponte Longo 1412, Venice, Italy Selected artworks created in Antarctica, along with photo and video documentation of the voyage, will debut at The Antarctic Pavilion during the 57th Venice Biennale of Art 2017. This group exhibition will include works by the expedition’s participants and projects from the finalists of the Antarctic Biennale Open Call for young artists. In March 2017 an international group of artists, scientists, architects and philosophers left the port of Ushuaia (Tierra del Fuego, Argentina) bound for the Antarctic Circle – onboard the scientific research vessel Akademik Sergei Vavilov. They would make landfall at numerous sites on the world’s southernmost continent throughout the next two weeks. At each location, artworks, exhibitions and performances were realized. Mobility, site-specificity and ecological compatibility were key touchstones. Nothing was left behind and no audience was present, except the participants themselves and – of course – Antarctica’s native species. Actions included a landscape photography exhibition for penguins (they didn’t seem to get much out of it) and an underwater installation for whales. In addition to onshore interventions, throughout the expedition, the vessel itself served as a floating studio, exhibition, installation and performance space; a photo lab, and conference facility. Onboard activities included symposia, debates, and a daily screening program featuring commissioned videos by international artists. Throughout, the focus was on the question ‘What potential does the Antarctic Imaginary hold?’– for exiting polarized identity politics, and ecological insensitivity in public culture. Also, on dialogues leading to future cross-disciplinary collaborations. For the project’s Commissioner, Alexander Ponomarev and the Organizing Committee, the enterprise was ventured in the belief that this remote region must be made more proximate; that the last continent is a fertile site for new beginnings. This year, The Antarctic Pavilion presents documentation of this 1st Antarctic Biennale – a paradigm-shifting phenomenon in biennale culture: A hot-house in a frozen realm, without mobile phones, internet, ready audience, or escape to another cocktail party, throughout this biennale everyone was in the same boat. While its expedition is complete, its collaborative outcomes are just beginning. In addition to documentation of the 1st Antarctic Biennale, this year’s Antarctic Pavilion debuts a series of newly commissioned works exploring the aesthetic, conceptual and mythic paramaters of the Antarctic Imaginary. In “Space Fish” (Raumfisch), Julius von Bismarck for instance realizes a site-specific performance by letting a tropical freshwater fish swim through the cold waters of the Antarctic Sea, facilitated by a custom swimsuit. The work’s thematic background revolves around human exploration. The swimsuit resembles a spacesuit, echoing man’s drive to explore and the romantic connotations of discovering new worlds. Referencing man’s first Antarctic expeditions, the fish reimagines the subject of the adventurer. The performance also emphasizes the role of tourism; travel for pleasure. It is also the theory and practice of touring, the business of attracting, accommodating, and entertaining tourists. Usually, the comfort of tourism is the preserve of humanity alone. In Space Fish, von Bismarck dives into the business of attracting the fish, offering a chance to experience the human luxury of movement to anywhere in world. ARTISTS-PARTICIPANTS (1ST ANTARCTIC BIENNALE): Abdullah Al Saadi (UAE). ‘Antarctic Alphabets’, Expedition Diaries Alexander Ponomarev (Russia). ‘Alchemy of Antarctic Albedo (Or Washing Pale Moons)’. Underwater installations Alexis Anastasiou (Brazil). ‘It ́s Cold out There’. Large scale projection Andrey Kuzkin (Russia). ‘The Phenomenon of Nature or 99 Landscapes with a Tree’. Series of performances Eulalia Valldosera (Spain). ‘Penelope’s voice: communicating with animals’. Audio intervention on the ship that travels to Antarctica Gustav Dusing (Germany). ‘The solid state of matter’. Tent made of frozen cotton Joaquin Fargas (Argentina). ‘Glaciator’. Robotic & Solar, mixed techniques Julian Charrière (France/Switzerland). ‘Silence’, Performance Juliana Cerqueira Leite (Brazil). ‘Vestibule’. Video Installation Julius von Bismarck (Germany). ‘Space Fish (Raumfisch)’. Performance Lou Sheppard (Canada). ‘Requiem for the Antarctic Coast’, Sound installation Paul Rosero Contreras (Ecuador). ‘Arriba!’ site-specific intervention, film, photographs Shama Rahman (Bangladesh/UK). ‘Truth be told’, Performance with sitar on ice Sho Hasegawa (Japan). ‘Winter Landscape (Antarctica Version)’ Tomas Saraceno (Argentina/Germany). ‘Aerocene’ Performance Yasuaki Igarashi (Japan). ‘Bundling Time’, Performance Yto Barrada (Morocco). ‘Abstract Geology’ Zhang Enli (China). ‘Egg’

NOWs: Europaplatz (Karlsruhe) by Yves Mettler

08 May - 08 June 2017 / Nows ⟶

NOWs: Yves Mettler: Europaplatz (Karlsruhe) Die Stiftung CCFA Karlsruhe lädt Sie herzlich ein zur Eröffnung der Ausstellung / La fondation Centre Culturel Franco Allemand Karlsruhe vous convie au vernissage de l’exposition Eröffnung am 5. Mai um 18h / Vernissage le 5 mai à 18h Stiftung Centre Culturel Franco-Allemand Karlsruhe Karlstrasse 16b Postgalerie, 3. Etage 76133 Karlsruhe Tel.: 0721/ 16038 0 info@ccfa-ka.de Öffnungszeiten: Montag-Do 10-18h, Fr 10-12h / Horaires d’ouverture: Lu-Je 10-18h, Ve 10-12h. Yves Mettlers künstlerisches Projekt Europaplatz (Karlsruhe) ist der Auftakt einer programmatischen Neuausrichtung der Stiftung CCFA Karlsruhe. Gemäß ihrer Gründungsintention will die Stiftung grenzüberschreitende Diskurse, deutsch-französischen Wissenstransfer sowie für Europa relevante, kulturelle Praxis fördern. Die Frage nach Europas Zukunft stellt sich heute erneut in aller Dringlichkeit. Mettlers speziell für Karlsruhe konzipierte Installation vereint künstlerische, zivilgesellschaftliche, politische und architektonische Reflexionen zu diesem Thema anhand des Vorhandenseins eines „Europaplatzes“ in Bizerte (Tunesien), Sava (Italien), Rhinau (Frankreich) und Karlsruhe. Le projet Europaplatz (Karlsruhe), imaginé par l‘artiste Yves Mettler, inaugure un nouveau chapitre au sein de la Fondation CCFA Karlsruhe: la rapprochant davantage de sa mission d’origine, il s’agit de promouvoir les discours, pratiques et savoirs culturels européens partagés entre la France et l’Allemagne. Notre première proposition pose la question de l’Europe à l’heure actuelle. À la fois proche et lointaine, abstraite pour certains et surtout loin d’être acquise, l’Europe devient ici source de refléxion artistique, politique, citoyenne et urbanistique en partant de la présence d’une “Place de l’Europe” dans les villes de Bizerte en Tunisie, de Sava en Italie, de Rhinau en France, et de Karlsruhe. Eröffnung in Anwesenheit von / Vernissage en Présence de: Wolfram Jäger Erster Bürgermeister der Stadt Karlsruhe / Maire adjoint de la Ville de Karlsruhe Nicolas Eybalin Französischer Generalkonsul in Stuttgart / Consul général de France à Stuttgart Hans-Peter Willi Konsul des Schweizerischen Generalkonsulats in Stuttgart / Consul au Consulat général de Suisse à Stuttgart Dr. Susanne Asche Leiterin des Kulturamts der Stadt Karlsruhe / Directrice des Affaires Culturelles de la Ville de Karlsruhe Performance des Künstlers um 19h anschließend Aperitiv / Performance de l‘artiste à 19h suivie d‘un apéritif Avec le soutien de Pro Helvetia et de la Stiftung Landesbank Baden-Würtemberg NOWs: Yves Mettler: Europaplatz (Karlsruhe) Die Stiftung CCFA Karlsruhe lädt Sie herzlich ein zur Eröffnung der Ausstellung / La fondation Centre Culturel Franco Allemand Karlsruhe vous convie au vernissage de l’exposition Eröffnung am 5. Mai um 18h / Vernissage le 5 mai à 18h Stiftung Centre Culturel Franco-Allemand Karlsruhe Karlstrasse 16b Postgalerie, 3. Etage 76133 Karlsruhe Tel.: 0721/ 16038 0 info@ccfa-ka.de Öffnungszeiten: Montag-Do 10-18h, Fr 10-12h / Horaires d’ouverture: Lu-Je 10-18h, Ve 10-12h. Yves Mettlers künstlerisches Projekt Europaplatz (Karlsruhe) ist der Auftakt einer programmatischen Neuausrichtung der Stiftung CCFA Karlsruhe. Gemäß ihrer Gründungsintention will die Stiftung grenzüberschreitende Diskurse, deutsch-französischen Wissenstransfer sowie für Europa relevante, kulturelle Praxis fördern. Die Frage nach Europas Zukunft stellt sich heute erneut in aller Dringlichkeit. Mettlers speziell für Karlsruhe konzipierte Installation vereint künstlerische, zivilgesellschaftliche, politische und architektonische Reflexionen zu diesem Thema anhand des Vorhandenseins eines „Europaplatzes“ in Bizerte (Tunesien), Sava (Italien), Rhinau (Frankreich) und Karlsruhe. Le projet Europaplatz (Karlsruhe), imaginé par l‘artiste Yves Mettler, inaugure un nouveau chapitre au sein de la Fondation CCFA Karlsruhe: la rapprochant davantage de sa mission d’origine, il s’agit de promouvoir les discours, pratiques et savoirs culturels européens partagés entre la France et l’Allemagne. Notre première proposition pose la question de l’Europe à l’heure actuelle. À la fois proche et lointaine, abstraite pour certains et surtout loin d’être acquise, l’Europe devient ici source de refléxion artistique, politique, citoyenne et urbanistique en partant de la présence d’une “Place de l’Europe” dans les villes de Bizerte en Tunisie, de Sava en Italie, de Rhinau en France, et de Karlsruhe. Eröffnung in Anwesenheit von / Vernissage en Présence de: Wolfram Jäger Erster Bürgermeister der Stadt Karlsruhe / Maire adjoint de la Ville de Karlsruhe Nicolas Eybalin Französischer Generalkonsul in Stuttgart / Consul général de France à Stuttgart Hans-Peter Willi Konsul des Schweizerischen Generalkonsulats in Stuttgart / Consul au Consulat général de Suisse à Stuttgart Dr. Susanne Asche Leiterin des Kulturamts der Stadt Karlsruhe / Directrice des Affaires Culturelles de la Ville de Karlsruhe Performance des Künstlers um 19h anschließend Aperitiv / Performance de l‘artiste à 19h suivie d‘un apéritif Avec le soutien de Pro Helvetia et de la Stiftung Landesbank Baden-Würtemberg

NOWs: Monument for the 308 by Andreas Greiner

08 - 11 May 2017 / Nows ⟶

Andreas Greiner: Monument for the 308, 2016, Berlinische Galerie. Photo: Theo Bitzer NOWs: Andreas Greiner: Monument for the 308 Seeds & Chips, The Global Food Innovation Summit Milano, Italy – Fiera Milano, RH For the annual food innovation summit Seeds & Chips the foundation 999contemporary presents Andreas Greiner’s sculpture Monument for the 308: A reflection on industrialised meat production and breeding techniques, which are characteristic of our contemporary relationship to our environment. A 7,5m meter skeleton stands towering over the conference like an ancient dinosaur. The work carries the same name like a specific man-made breed of broiler chicken: Ross 308. Like its ancestor the Archeopteryx, this species of broiler will become extinct: Unable to pass on their hybrid DNA, they will die out as soon as humans stop artificially breeding them. The Berlin-based artist thus speculates upon a possible archeology of the future: If dinosaurs are a relict of the mesozoic era, genetically altered chicken would in future be a relict of the Anthropocene. The work was originally exhibited on occasion of Andreas Greiner‘s 2016 solo exhibition “Agency of the Exponent” in the Berlinische Galerie, a contemporary and modern art museum in Berlin. It is a 7,5 m tall replica of a broiler chicken skeleton (found dead in an industrial fattened chicken farm in Brandenburg), which the artist then froze for stability and conservation. Afterwards its body was scanned at the Charité in Berlin using cone beam computed tomography (CBCT) to create a 3-dimensional digital reproduction of the bones. This rendering was enlarged 20 times (20:1) and the data transferred to a 3D printer to produce the single bones. Ross 308 has nourished billions of people with cheap and abundant protein. “Monument to the 308” honours this pillar of society and imagines a future in which we will grant nature the same ‘human’ rights, as we grant ourselves. The future of food is undoubtedly a political question. One which must be answered with a resounding ‘yes’ to a sustainable agriculture and radically reduced meat consumption – in order to safeguard the earth that shelters us and our children and express gratitude to the food it provides us with. Andreas Greiner: Monument for the 308, 2016, Milano (during installation). Photo: 999contemporary Andreas Greiner: Monument für die 308, 2016, Berlinische Galerie. Photo: Theo Bitzer NOWs: Andreas Greiner: Monument für die 308 Seeds & Chips, The Global Food Innovation Summit Milano, Italy – Fiera Milano, RH Für die diesjährige Lebensmitteltechnologie Messe Seeds & Chips hat die Stiftung 999contemporary den Berliner Künstler Andreas Greiner eingeladen seine Skulptur Monument für die 308 auszustellen. Das Werk thematisiert massenhafte Fleischproduktion und Tierzucht, die charakteristisch für das menschliche Verhältnis zur Umwelt sind. Das Werk trägt den Namen einer spezifischen Art hybrid gezüchteten Masthuhns: Ross 308. 7,5m hoch thront das Skelett des Tieres über dem Messeraum, wie ein Dinosaurier in einem Naturkundemuseum. Wie sein Vorfahre, der Archeopteryx, wird auch diese Spezies aussterben: Jede Generation muss neu gekreuzt werden, da Masthühner ihre hybride DNA nicht weitergeben können. Somit hängt das weitere Bestehen dieser Art von der immer neuen künstlichen Befruchtung der Nahrungsmittelindustrie ab. Der Künstler spekuliert über eine Archäologie der Zukunft: Wenn Dinosaurier ein Relikt längst vergangener Zeiten sind, so sind Masthühner ein Relikt der Jetztzeit.Bis Februar diesen Jahres stand das Monument in Andreas Greiner’s Einzelausstellung in der Berlinischen Galerie, einem Museum für zeitgenössische und moderne Kunst. Um eine genaue Nachbildung des Hühnerskeletts zu erstellen musste der totgefundene Körper erst gefroren werden und anschließend in der Berliner Charité mittels einer digitalen Volumentomographie (DVT) in eine 3-dimensionale Reproduktion der Hühnerknochen übersetzt werden. Das so gewonnene digitale Modell wurde 20-fach vergrößert (20:1) und die Daten mittels 3D Drucker als einzelne Knochen gedruckt. Die weltweit steigende Nachfrage nach günstigem Eiweiß wird durch das effiziente Muskelwachstum der Ross 308 Hühner bedient. “Monument für die 308” würdigt diese Säule der Gesellschaft und entwirft eine Zukunft in der wir der Natur mit Respekt begegnen und ihr dieselben Menschenrechte wie uns zugestehen. Denn die Zukunft unserer Ernährung ist zweifellos eine politische Frage, eine, die mit einem klaren ‘Ja’ zur nachhaltigen Landwirtschaft und zum ethisch vertretbaren Fleischkonsum beantwortet werden muss – um unsere natürliche Umwelt und die Nahrung, die sie bietet, zu schützen. Andreas Greiner: Monument für die 308, 2016, Mailand (während der Installation). Photo: 999contemporary

NOWs: Faulenzer by Nina Schuiki

05 May 2017 / Nows ⟶

Nina Schuiki: Faulenzer, 2017 (Inner Sleeve Cover). Track A: ha - ha (I don t want my future like this), loop: 1.8 seconds NOWs: Nina Schuiki: Faulenzer three loops (triple 12″ vinyl) Record Release Party: 5.5.2017 starts 7pm in collaboration with ada – artistic dynamic association, Vienna Wattgasse 16/6 – 1160 Wien „Nina Schuiki’s work is characterised by a unique negotiation of space and situation, taking the form of subtle interventions, installations and objects. By engaging in the spatio-temporality and history of each context in which her work emerges, the referencing and exploration of detailed traces brings to light something that was already inscribed into the structure but ordinarily escapes attention. Schuiki applies her interest and artistic conceptualisation toward an inquiry on form-finding and the materiality of art, on the act of visualisation and perception. A fundamental constant of her work is the discourse upon the parameters of perception, which she adopts by way of site-conditioned gestures that change or irritate a concrete situation. Walter Benjamin spoke of a “Wolkenwandelbarkeit der Dinge” —— the changeable perception of things —— which can metaphorically as well as literally be applied to many of Nina Schuiki’s pieces. However, her aesthetic gestures also always remain as concrete actions in time and space, rooted in the visible cause and effect principle of the here and now. The remarkable enchantment in the encounter of the created perspective lies exactly in the simple precision of a gesture that can unfold with tremendous impact. With her minimal, aesthetic interventions into given situations and conditions, Schuiki attempts an astonishingly tangible dematerialisation of art that surprises us by this very paradox.“ Julia Thiemann, Curator Nina Schuiki: Faulenzer, 2017 (Inner Sleeve Cover); Track A: ha - ha (I don t want my future like this), loop: 1.8 seconds NOWs: Nina Schuiki: Faulenzer three loops (triple 12″ vinyl) Record Release Party: 5.5.2017 starts 7pm in collaboration with ada – artistic dynamic association, Vienna Wattgasse 16/6 – 1160 Wien „Nina Schuiki’s work is characterised by a unique negotiation of space and situation, taking the form of subtle interventions, installations and objects. By engaging in the spatio-temporality and history of each context in which her work emerges, the referencing and exploration of detailed traces brings to light something that was already inscribed into the structure but ordinarily escapes attention. Schuiki applies her interest and artistic conceptualisation toward an inquiry on form-finding and the materiality of art, on the act of visualisation and perception. A fundamental constant of her work is the discourse upon the parameters of perception, which she adopts by way of site-conditioned gestures that change or irritate a concrete situation. Walter Benjamin spoke of a “Wolkenwandelbarkeit der Dinge” —— the changeable perception of things —— which can metaphorically as well as literally be applied to many of Nina Schuiki’s pieces. However, her aesthetic gestures also always remain as concrete actions in time and space, rooted in the visible cause and effect principle of the here and now. The remarkable enchantment in the encounter of the created perspective lies exactly in the simple precision of a gesture that can unfold with tremendous impact. With her minimal, aesthetic interventions into given situations and conditions, Schuiki attempts an astonishingly tangible dematerialisation of art that surprises us by this very paradox.“ Julia Thiemann, Curator

NOWs: Isolation by Fabian Knecht

28 April - 20 June 2017 / Nows ⟶

NOWs: Fabian Knecht ISOLATION Opening: April 28, 2017, 5-10 pm at alexander levy, Berlin ISOLATION features photographs of conventional exhibition rooms (“white cubes”), which Knecht installed at various different locations in nature. Rather than transposing a ready-made or a representation of “reality” onto the exhibition space, Knecht brings the exhibition space into reality, isolates a segment with the help of the “white cube”: a riverbed and a base of a vanished monument in Ukraine, a frozen sea in Vladivostok, waste ground in Berlin and a section of forest in North-Rhine Westphalia. Nature in all its complexity elevated to the status of an artwork and exhibited in situ, without intervening in existing forms and forms of life. Occasionally, almost in passing, canonical artworks are referenced: from Caspar David Friedrich’s “Eismeer” (The Sea of Ice; 1823-4) through to Robert Smithson’s “Dead Tree” (1969). Consequently, ISOLATION both comments on and inverts not only the classic concept of the ready-made, but also the traditional relationship between art and nature, natura naturans and natura naturata (creating nature and created nature). “For truly art is contained in nature, and the person who succeeds in extracting it out, has it …”, writes Albrecht Dürer. And anyone who leaves it in place, surrounds and exhibits it – has it too. The exhibition space becomes a medium, and consequently morphs from a background to a work (that is equally non-locational and location-based, and conveyed by photo is almost unreal) – before subsequently once again being made into a background: a work at the divide and fracture between space, nature and photography. The photos hang in an exhibition space. And the exhibition spaces in nature have been removed. But nature – spoiled and unspoiled – remains where it was before: beyond the frame. The project ISOLATION was realized in cooperation with the architect Ivy Lee Fiebig. Special thanks to Markus Schütte, André Simonoff, and the Zarya Center for Contemporary Art in Vladivostok, who made the realization of the project possible. NOWs: Fabian Knecht ISOLATION Eröffnung: 28 April 2017, 17-22 h alexander levy, Berlin ISOLATION zeigt Fotografien von konventionellen Ausstellungsräumen (»White Cubes«), die Knecht an unterschiedlichen Orten in der Natur installiert hat. Statt ein Readymade oder eine Repräsentation der ›Wirklichkeit‹ in den Ausstellungsraum zu überführen, bringt Knecht den Ausstellungsraum in die Wirklichkeit, isoliert ein Segment mithilfe des »White Cubes«: ein Flussbett und ein Sockel eines verschwundenen Denkmals in der Ukraine, ein zugefrorenes Meer in Wladiwostok, eine Brache in Berlin und ein Waldstück in Nordrhein-Westfalen. Die Natur wird in ihrer Komplexität zum Werk erhoben und ausgestellt, in situ, ohne in vorgefundene Formen und Lebensformen einzugreifen. Mitunter werden – wie beiläufig – kanonische Kunstwerke ins Bewusstsein gerufen: von Caspar David Friedrichs »Eismeer« (1823/24) bis zu Robert Smithsons »Dead Tree« (1969). ISOLATION kommentiert – invertiert – so nicht nur das klassische Konzept des Readymades, sondern auch das traditionelle Verhältnis von Kunst und Natur, natura naturans und natura naturata (schaffender und geschaffener Natur). »Dann wahrhaftig steckt die Kunst in der Natur, wer sie heraus kann reißen, der hat sie…«, schreibt Albrecht Dürer. Wer sie an Ort und Stelle belässt, umgrenzt und zeigt – der hat sie auch. Der Ausstellungsraum wird zum Medium und damit vom Hintergrund zum Werk (gleichermaßen ungebunden wie ortsbezogen und fotografisch vermittelt, beinahe unwirklich) – um dann vom Foto im nächsten Schritt erneut zum Hintergrund gemacht zu werden: ein Werk an der Naht- und Bruchstelle zwischen Raum, Natur und Fotografie. Die Fotos hängen im Ausstellungsraum. Die Ausstellungsräume sind abgebaut. Die Natur – berührt und unberührt – bleibt dort, wo sie war: jenseits des Rahmens. Das Projekt ISOLATION wurde realisiert in der Zusammenarbeit mit der Architektin Ivy Lee Fiebig. Besonderen Dank gilt Markus Schütte, Andere Simonoff, und dem Zarya Center for Contemporary Art in Vladivostok, ohne deren Hilfe das Projekt nicht hätte realisiert werden können

NOWs: Social Geometrism

28 April - 07 May 2017 / Nows ⟶

NOWs: Social Geometrism at Reinbeckhallen, Reinbeckstrasse 9, 12459 Berlin Friday, April 28, 2017 19:00 Opening of the show 20:30 Party Music-DJ Set odsounds Free Admission Kunst Am Spreeknie is pleased to announce ‘’Social Geometrism’’. The exhibition will take place from April 28 to May 7 at Reinbeckhallen, a renovated former transformer plant in the heart of Schöneweide. The theme of this year’s festival came as an extension of “Social Geometry”, a term, which was introduced by the American sociologist Donald Black in an effort to measure social morphology, as it had been developed within the postmodern society. Black’s model was a cluster, composed by geometrical lines and shapes, which was intended to symbolize and interpret social phenomena. The multidimensional geometric amalgams that arose were designed to convey the real space where people live, while also stand as a new type of geography. In a time where social patterns are evolving in unprecedented ways, ‘’Social Geometrism’’ aims to explore and highlight aspects of those new spatiotemporal formations. This exhibition brings together lines, solids, surfaces and more complex polyhedral figures that present themselves as sociological models. Through the display of international Berlin-based artists, dealing with a different approach to materiality, and by their placement in a common space, a multidimensional environment emerges and confronts the viewer with new problematics that are present at our time. Participating artists: Sophie Erlund, Felix Kiessling, Ignacio Uriarte, Raul Walch, Stephen Kent, Vanessa Enriquez, Ossian Fraser, Gonzalo Reyes Araos, Jennifer Oellerich, Florian Schmidt, Nadine Fecht, Francisco Rozas, Juan Varela, Panagiotis Margaritis Raul Walch: Circular Semaphore, 2017, textile colour on sailcloth, Reinbeckhallen, Berlin, 2017 (installation view) Felix Kiessling: Antisonne, 2017. Reinbeckhallen, Berlin (installation view) Sophie Erlund: A gentle monumentalism, 2017. Reinbeckhallen, Berlin (installation view). Photo: Ariel Reichman Sophie Erlund: A gentle monumentalism, 2017. Reinbeckhallen, Berlin (detail). Photo: Ariel Reichman NOWs: Social Geometrism at Reinbeckhallen, Reinbeckstrasse 9, 12459 Berlin Friday, April 28, 2017 19:00 Opening of the show 20:30 Party Music-DJ Set odsounds Free Admission Kunst Am Spreeknie is pleased to announce ‘’Social Geometrism’’. The exhibition will take place from April 28 to May 7 at Reinbeckhallen, a renovated former transformer plant in the heart of Schöneweide. The theme of this year’s festival came as an extension of “Social Geometry”, a term, which was introduced by the American sociologist Donald Black in an effort to measure social morphology, as it had been developed within the postmodern society. Black’s model was a cluster, composed by geometrical lines and shapes, which was intended to symbolize and interpret social phenomena. The multidimensional geometric amalgams that arose were designed to convey the real space where people live, while also stand as a new type of geography. In a time where social patterns are evolving in unprecedented ways, ‘’Social Geometrism’’ aims to explore and highlight aspects of those new spatiotemporal formations. This exhibition brings together lines, solids, surfaces and more complex polyhedral figures that present themselves as sociological models. Through the display of international Berlin-based artists, dealing with a different approach to materiality, and by their placement in a common space, a multidimensional environment emerges and confronts the viewer with new problematics that are present at our time. Participating artists: Sophie Erlund, Felix Kiessling, Ignacio Uriarte, Raul Walch, Stephen Kent, Vanessa Enriquez, Ossian Fraser, Gonzalo Reyes Araos, Jennifer Oellerich, Florian Schmidt, Nadine Fecht, Francisco Rozas, Juan Varela, Panagiotis Margaritis Raul Walch: Circular Semaphore, 2017, textile colour on sailcloth, Reinbeckhallen, Berlin, 2017 (installation view) Felix Kiessling: Antisonne, 2017. Reinbeckhallen, Berlin (installation view) Sophie Erlund: A gentle monumentalism, 2017. Reinbeckhallen, Berlin (installation view). Photo: Ariel Reichman Sophie Erlund: A gentle monumentalism, 2017. Reinbeckhallen, Berlin (detail). Photo: Ariel Reichman

NOWs: AGORA ARTES

29 April - 14 May 2017 / Nows ⟶

Robel Temesgen: Another Old News, 2017 NOWs: JUNGE AKADEMIE: AGORA ARTES / Interplay of the Arts at Akademie der Künste Hanseatenweg 10, (Halle 3) 10557 Berlin-Tiergarten JUNGE AKADEMIE (YOUNG ACADEMY) brings together 25 international artists from all areas in a series of diverse dialogues. The Programme Night on 29 April 2017 marks the start of AGORA ARTES, the presentation of works by last year’s Akademie Fellows. The AGORA ARTES / Interplay of the Arts exhibition is shown in a two-week hall installation at Hanseatenweg until mid-May. In video, sound and room installations, María Korol and Robel Temesgen (Visual Arts), Martina Schlusnus (Architecture), Elena Rykova and Niklas Seidl (Music), Kaan Koç and Sergey Lebedev (Literature), Jason Danino Holt and Rima Pipoyan (Performing Arts), Elena Zieser and Rafael Jové (Film and Media Arts) as well as Paulette Penje (Saarland Fellowship) present the results of their teamwork. In addition to solo works in this year’s final presentations by artist fellows from all the sections of the Akademie der Künste, the JUNGE AKADEMIE is once again showing numerous new productions developed on the basis of collaborative teamwork between the arts. These include transdisciplinary experimental set-ups and also stimulating “laboratory” situations, in which something new can be delved into and explored. Such works are first able to effectively unfold in dialogue between differing views on art. The artists often actively involve their audiences, frequently leading to unexpected perceptions, thoughts and innovations that can open our senses to the unconventional, to surprising perspectives, and to unexpected approaches to finding solutions. Robel Temesgen: Another Old News, 2017 NOWs: JUNGE AKADEMIE: AGORA ARTES / Wechselspiel aller Künste Akademie der Künste Hanseatenweg 10, (Halle 3) 10557 Berlin-Tiergarten Die JUNGE AKADEMIE führt im April und Mai 25 internationale Künstlerinnen und Künstler aller Kunstrichtungen in vielfältigen Dialogen zusammen. Mit der Programm-Nacht am 29.4.2017 startet AGORA ARTES, die Werkpräsentation der Stipendiaten des vergangenen Jahres. Die Ausstellung AGORA ARTES 2017 / Wechselspiel aller Künste zeigt die Abschlusspräsentation der Arbeitsergebnisse der Vorjahrsstipendiaten und ist bis Mitte Mai in einer zweiwöchigen Halleninstallation im Akademie-Gebäude am Hanseatenweg zu sehen. María Korol und Robel Temesgen (Bildende Kunst), Martina Schlusnus (Baukunst), Elena Rykova und Niklas Seidl (Musik), Kaan Koç und Sergey Lebedev (Literatur), Jason Danino Holt und Rima Pipoyan (Darstellende Kunst), Elena Zieser und Rafael Jové (Film- und Medienkunst) sowie Paulette Penje (Saarland-Stipendium) zeigen in Video-, Klang- und Rauminstallationen sowie verschiedenen Performances die Ergebnisse ihrer Zusammenarbeit. Dieses Jahr zeigt die JUNGE AKADEMIE neben eigenständigen Werken auch wieder neue, auf Basis zahlreich sich ergebender Teamarbeiten zwischen den Künsten entwickelte Produktionen. Darunter sind vor allem transdisziplinäre Versuchsanordnungen und auch spannende Laborsituationen, in denen Neues ausgelotet und erkundet wird. Solche Werke können sich erst im Dialog zwischen verschiedenen Kunstauffassungen wirksam auftun. Dabei wird oft das Publikum von den Künstlern aktiv miteinbezogen. Meist führt das zu unerwarteten Wahrnehmungen, Gedanken und Erfindungen, die die Sinne öffnen für unkonventionelle Wege, überraschende Perspektiven, ungeahnte Lösungsansätze und zuweilen auch neue Anregungen.

NOWs: Antisonne by Felix Kiessling

28 April 2017 / Nows ⟶

Felix Kiessling: Antisonne. Reinbeckhallen, Berlin, 2017 (installation view) NOWs: Felix Kiessling: Antisonne Felix Kiessling hat ein tiefes schwarzes Loch in den Raum installiert: Die Antisonne. Visuell nicht erfassbar, irritiert sie unsere gewohnte Wahrnehmung. Sie bildet einen blinden Fleck im Raum, einen kleinen Ausschnitt ins Nichts, ein Fenster zu einem Raum den wir zwar fühlen, aber nicht ergründen können – die Antisonne absorbiert uns in ihre schier unendliche, immaterielle Tiefe. Um dem Betrachter in Zeiten von Definition, Logik, Erklärung und Funktion einen undefinierten, unsinnigen, unlogischen Raum zu öffnen, ihm einen kleinen Ausschnitt in die Irrationalität zu ermöglichen, versucht Kiessling sich gegenüber dem Ort und seiner Struktur unkritisch zu verhalten: ‘Die Arbeit soll erreichbar sein. Sie soll als ein integriertes Objekt wirken, in einem Restaurant hängen, den prosaischen Raum eines Durchgangs kolonisieren. Sie soll im Alltag integriert über dem Tisch stattfinden, dem Tisch an dem du isst und liebst und stirbst, sonst wird dieser kleine Ausschnitt nicht gesehen und erfahren und als ein unzugängliches, exklusives Konzept strukturell einflusslos bleiben.’ On view: Social Geometrism Reinbeckhallen Reinbeckstrasse 9 12459 Berlin until 7 May 2017 every day from 11:00 to 18:00. and Pane E Tulipane (Kunsthaus Jesteburg / Oel-Früh) Klosterwall 23 20095 Hamburg Felix Kiessling: Antisonne. Pane E Tulipani (Kunstverein Jesteburg/Öl-Früh), Hamburg, 2017. Foto: Amelie Zadeh Felix Kiessling: Antisonne. Reinbeckhallen, Berlin, 2017 (installation view) NOWs: Felix Kiessling: Antisonne Felix Kiessling hat ein tiefes schwarzes Loch in den Raum installiert: Die Antisonne. Visuell nicht erfassbar, irritiert sie unsere gewohnte Wahrnehmung. Sie bildet einen blinden Fleck im Raum, einen kleinen Ausschnitt ins Nichts, ein Fenster zu einem Raum den wir zwar fühlen, aber nicht ergründen können – die Antisonne absorbiert uns in ihre schier unendliche, immaterielle Tiefe. Um dem Betrachter in Zeiten von Definition, Logik, Erklärung und Funktion einen undefinierten, unsinnigen, unlogischen Raum zu öffnen, ihm einen kleinen Ausschnitt in die Irrationalität zu ermöglichen, versucht Kiessling sich gegenüber dem Ort und seiner Struktur unkritisch zu verhalten: ‘Die Arbeit soll erreichbar sein. Sie soll als ein integriertes Objekt wirken, in einem Restaurant hängen, den prosaischen Raum eines Durchgangs kolonisieren. Sie soll im Alltag integriert über dem Tisch stattfinden, dem Tisch an dem du isst und liebst und stirbst, sonst wird dieser kleine Ausschnitt nicht gesehen und erfahren und als ein unzugängliches, exklusives Konzept strukturell einflusslos bleiben.’ On view: Social Geometrism Reinbeckhallen Reinbeckstrasse 9 12459 Berlin until 7 May 2017 every day from 11:00 to 18:00. and Pane E Tulipane (Kunsthaus Jesteburg / Oel-Früh) Klosterwall 23 20095 Hamburg Felix Kiessling: Antisonne. Pane E Tulipani (Kunstverein Jesteburg/Öl-Früh), Hamburg, 2017. Foto: Amelie Zadeh

NOWs: Don‘t think about death by Dan Stockholm

27 April - 03 June 2017 / Nows ⟶

NOWs: Dan Stockholm: Nourhan Sondok 2017, 20 x 30 cm, courtesy artist Dan Stockholm: Don‘t think about death at REITER Berlin prospect Opening reception: 27 April 2017, 6- 9 pm Artist Talk: 29 June 2017, 7 pm The concept of Danish artist Dan Stockholm’s solo show »Don’t think about death« started from the friendship formed between himself and Syrian artist, Nourhan Sondok. The two met on social media, and from behind their screens in Copenhagen and in Damascus, their correspondence has led to several new works specifically made for the exhibition spaces at R E I T E R | Berlin prospect. In spite of the dangers faced in Syria, Nourhan has been collecting building fragments from all over Damascus. The fragments are compiled from a wide spectrum of constructions: from 4000-year-old columns; to newly constructed buildings destroyed in the Syrian conflict. The collection of fragments portrays Damascus, which is considered to be among the oldest continually inhabited cities in the world. The collection is part of a filmed performance where inhabitants of Damascus use the fragments of their city as tools to create drawings directly on the ground. While Nourhan was collecting fragments in Damascus, Dan Stockholm has also been collecting building fragments throughout Berlin. The fragments will be used in the courtyard of the gallery during the opening of the exhibition, where inhabitants of Berlin will be invited to draw using the fragments of their city. Other new works in the show include an archive of images printed on glass showing Nourhan’s hands whilst handling the fragments; and ‘Body~Build’, a series of new pre formative sculptures presented on scaffolding displays that merge the body and construction into one. In »Don’t think about death« Stockholm examines ‘the fragment and the fragmented’ a recurring theme in his work. To Stockholm ‘the fragment’ inspires us to envision lost entities, but at the same time it encourages us to think about new beginnings. The fragment is a catalyst for imagining both the past and the future. Architecture is a frequent reference point in his work, as he concentrates on the conceptual fields of present and past, presence and absence, fleeting and enduring. Stockholm practices a “creative archaeology”, which includes field research and working with various findings. His recent work evolves from what he calls the “performative process,” a method that turns the finished piece into a vessel which carries the story of its own making. Stockholm uses sculpture as a storage medium, an interface, a link, or a passage through which environments and bodies – across temporal as well as spatial distances – are placed in relation to one another. Dan Stockholm: Nourhan Sondok 2017, courtesy artist NOWs: Dan Stockholm: Nourhan Sondok 2017, courtesy artist Dan Stockholm: Don‘t think about death REITER Berlin prospect Eröffnung: 27. April 2017, 18-21 h Artist Talk: 29. June 2017, 19 h Das Konzept der Einzelausstellung des dänischen Künstlers Dan Stockholm »Don’t think about death«, wurde inspiriert durch eine Freundschaft zwischen ihm und der Syrischen Künstlerin Nourhan Sondok, die er über ein soziales Medium kennenlernte. Die Korrespondenz hinter ihren Bildschirmen in Kopenhagen und Damaskus führte Stockholm zu mehreren neuen Werken, die er speziell für die Ausstellung bei R E I T E R | Berlin prospect konzipiert hat. Trotz der Gefahren in Syrien sammelte Nourhan Gebäudefragmente aus ganz Damaskus. Die Bruchstücke stammen aus einem breiten Spektrum von Architekturen: von 4000 Jahre alten Säulen bis zu neu errichteten Bauten, die im syrischen Konflikt zerstört wurden. Die Sammlung von Fragmenten ist eine Art Substrat von Damaskus, einer Stadt, die als eine der ältesten ständig bewohnten der Welt gilt. In einer gefilmten Performance verwenden Einwohner diese Relikte und Bruchstücke ihrer Stadt, um wie mit Kreide direkt auf die Straße zu zeichnen. Zur Eröffnung der Ausstellung wird es im Stadtraum vor der Galerie in Berlin eine ähnliche Aktion geben, wobei Bruchstücke aus hiesiger Architektur benutzt werden. Stockholm schlägt somit eine ideelle Brücke zwischen beiden Städten. Diese wird flankiert durch eine Serie neuer Fotoarbeiten, welche die Ruinenstücke der syrischen Metropole in Nourhans Händen zeigen. Ein weiterer Schwerpunkt der Schau sind neue „Body-Built“ Skulpturen, die Körper und Konstruktion verbinden und auf speziellen Gerüstdisplays präsentiert werden. Dan Stockholm: Nourhan Sondok 2017, courtesy artist

NOWs: Retreat into Darkness by Ivana Franke

27 April - 16 July 2017 / Nows ⟶

Image: © Ivana Franke NOWs: Ivana Franke: Retreat into Darkness. Towards a Phenomenology of the Unknown Exhibition opening: Wednesday, April 26, 2017, 6–9 p.m. Hours: Thursday through Monday, 1–7 p.m. except: June 24: 1–5 p.m. Free admission Schering Stiftung Unter den Linden 32–34 | 10117 Berlin Symposium “Towards a Phenomenology of the Unknown” in cooperation with SAVVY Contemporary June 27, 2017, 11 a.m.–6 p.m. Schering Stiftung/silent green Kuppelhalle On June 27, 2017, the Ernst Schering Foundation organizes in cooperation with SAVVY Contemporary e.V. the symposium “Towards a Phenomenology of the Unknown” at the Kuppelhalle in Berlin. The symposium aims to explore the experience of seeing the “unknown” on a phenomenological level, while also shedding light on its transformative potential. The symposium is part of the project “Retreat into Darkness. Towards a Phenomenlogy of the Unknown” by the Berlin-based artist Ivana Franke. With Ivana Franke, vision scientist Bilge Sayim, curator and art historian Elena Agudio, artist and author Patricia Reed, science historian Jimena Canales, and Sylvia Pont, leader of the Perceptual Intelligence Lab in Delft. How do we perceive and experience entities and events that we cannot properly categorize – how does the unknown as a subjective experience come about? What is the relationship between the unknown and the known within visual perceptual experiences, between the visible and the legible? What is the significance of the experience of the unknown in our lives, and what is its function in society? These and other questions will be discussed by the speakers out of their various backgrounds. The symposium will provide a glimpse into this fascinating, little investigated aspect of human experience, while letting the audience engage in a scientific and artistic voyage into the mysteries of perception and the human mind – into how we fundamentally encounter and shape the world around us. Registration Please register by June 19 at anmeldung@scheringstiftung.de Find the programm here. Please note whether you will join the exhibition tour and the talks or the talks only. – The project Retreat into Darkness. Towards a Phenomenology of the Unknown by Ivana Franke investigates the limits of our perception. “The peculiar property of the pure spirit is seeing, not knowing.” (Justinus Kerner) Do we only see what we know? What can dislocate us from our comfortable, predefinded point of view and challenge our gaze on the world? With her new installation, Ivana Franke takes us into a visual and bodily experience able to break our preconceived idea of reality, lending it other dimensions that are decidedly fictive, imaginary, and cosmic. Creating “epistemological ruptures”, those experiences give us the capacity to imagine, to challenge existing common modes of knowledge, and to create room for different possible futures. The project includes an exhibition curated by Elena Agudio, a symposium, and a publication, along with a series of experiments on the experience of seeing the unknown, conducted by the artist in collaboration with the vision scientist Bilge Sayim. Further events: Lange Nacht der Wissenschaften June 24, 2017, 5–12 p.m. Schering Stiftung Lectures, artist talk, guided exhibition tours With: Elena Agudio, Ivana Franke, Anil Seth, Philipp Sterzer, Melanie Wilke et al. Tickets: www.langenachtderwissenschaften.de Ivana Franke, Retreat into Darkness. Towards a Phenomenology of the Unknown, 2017. Schering Stiftung, Berlin. Film Mario Furicic Image: © Ivana Franke NOWs: Ivana Franke: Retreat into Darkness. Towards a Phenomenology of the Unknown Ausstellungseröffnung: Mittwoch, 26. April 2017, 18–21 Uhr Öffnungszeiten: Donnerstag bis Montag, 13–19 Uhr außer: 24.06.: 13–17 Uhr Eintritt frei. Schering Stiftung Unter den Linden 32–34 | 10117 Berlin Symposium “Towards a Phenomenology of the Unknown” in cooperation with SAVVY Contemporary June 27, 2017, 11 a.m.–6 p.m. Schering Stiftung/silent green Kuppelhalle Am 27. Juni 2017 veranstaltet die Schering Stiftung in Kooperation mit SAVVY Contemporary e.V. das Symposium „Towards a Phenomenology of the Unknown“ in der Kuppelhalle in Berlin. Ziel des Symposiums ist es, die Seherfahrung des „Unbekannten“ auf phänomenologischer Ebene auszuloten und gleichzeitig ihr transformatives Potenzial zu beleuchten. Das Symposium ist Teil des Projekts „Retreat into Darkness. Towards a Phenomenlogy of the Unknown“ (Rückzug in die Dunkelheit. Annäherung an eine Phänomenologie des Unbekannten) der in Berlin lebenden Künstlerin Ivana Franke. Mit Ivana Franke, Bilge Sayim (Forschungsprofessur Vision Science), Elena Agudio (Kuratorin und Kunsthistorikern), Patricia Reed (Künstlerin und Autorin), Jimena Canales (Wissenschaftshistorikerin) und Sylvia Pont (Leiterin des Perceptual Intelligence Lab in Delft). Wie ist unsere Wahrnehmung und Erfahrung von Dingen und Ereignissen, die wir nicht richtig einordnen können – wie entsteht das Unbekannte als subjektive Erfahrung? Wie verhalten sich Unbekanntes und Bekanntes, Sicht- und Lesbares innerhalb visueller Wahrnehmungserfahrungen? Welche Bedeutung hat die Erfahrung des Unbekannten in unserem Leben, und worin besteht ihre gesellschaftliche Funktion? Diese und andere Fragen werden von den Referenten aus ihren jeweiligen Perspektiven diskutiert. Das Symposium liefert Einblicke in diesen faszinierenden, aber wenig erkundeten Aspekt der menschlichen Erfahrung und nimmt das Publikum mit auf eine wissenschaftliche und künstlerische Reise in die Rätsel der Wahrnehmung und des menschlichen Geistes – in die Art und Weise, wie wir der Welt um uns herum begegnen und sie gestalten. Anmeldung Um Anmeldung bis 19. Juni wird gebeten unter anmeldung@scheringstiftung.de Find the programm here. Bitte geben Sie an, ob Sie an der Ausstellungsführung und den Vorträgen oder nur an den Vorträgen teilnehmen werden. – Das Projekt Retreat into Darkness. Towards a Phenomenology of the Unknown (Rückzug in die Dunkelheit. Annäherung an eine Phänomenologie des Unbekannten) der Künstlerin Ivana Franke untersucht die Grenzen unserer Wahrnehmung. „Die Eigenschaft des reinen Geistes ist das Schauen und nicht das Wissen.“ (Justinus Kerner) Sehen wir nur, was wir wissen? Wie können wir uns von unseren bequemen und vorgefertigten Sehgewohnheiten lösen und unseren Blick auf die Welt hinterfragen? In ihrer neuen Installation bietet Ivana Franke dem Betrachter eine visuelle und körperliche Erfahrung, mit der sich unsere vorgefasste Sicht auf die Realität durchbrechen lässt und ihr damit andere, entschieden fiktive, imaginäre und kosmische Dimensionen verleiht. Indem diese Erfahrungen „epistemologische Brüche“ kreieren, regen sie unser Vorstellungsvermögen an und ermöglichen es uns, bestehende Wissensmodi infragezustellen und alternative Zukunftsentwürfe zu entwickeln. Das Projekt umfasst neben der von Elena Agudio kuratierten Ausstellung ein Symposium und eine Publikation sowie eine Reihe von Experimenten zur visuellen Wahrnehmung des Unbekannten, die von der Künstlerin in Zusammenarbeit mit dem Wissenschaftler Bilge Sayim durchgeführt werden. Weitere Veranstaltungen: Symposium “Towards a Phenomenology of the Unknown” in Kooperation mit SAVVY Contemporary 27.6.17, 11–18 Uhr Schering Stiftung/silent green Kuppelhalle Anmeldung unter anmeldung@scheringstiftung.de. Die Schering Stiftung ist Partner der Langen Nacht der Wissenschaften 2017. Lange Nacht der Wissenschaften 24.6.17, 17–24 Uhr Schering Stiftung Vorträge, Künstlergespräch, Ausstellungsführungen Mit: Elena Agudio, Ivana Franke, Anil Seth, Philipp Sterzer, Melanie Wilke u. a. Tickets: www.langenachtderwissenschaften.de Ivana Franke, Retreat into Darkness. Towards a Phenomenology of the Unknown, 2017. Schering Stiftung, Berlin. Film Mario Furicic

NOWs: Matthias Sohr. Residencies OPEN

Nows ⟶

Matthias Sohr: untitled (Bilateral Relations), 2016. (Detail). Courtesy the artist. NOWs: Matthias Sohr at Residencies OPEN NTU Centre for Contemporary Arts Singapore Residencies OPEN offers a rare insight into the often introverted spaces of the artists’ studios. Through showcasing discussions, performances, research, and works-in-progress, Residencies OPEN profiles the diversity of contemporary art practice and the divergent ways artists conceive artwork with the studio as a constant space for experimentation and research. Premised upon the methodologies of ethnographic fieldwork, the artistic practice of Matthias Sohr results in sculptures and installations that draw from technology and social sciences to reflect a wide range of research interests. During his three-month residency, Sohr will gradually transform his studio into a temporary space for the production of sculptures and installations that refine existing strands of research and explore new possible developments. Taking advantage of Singapore’s position as a science and technology hub, Sohr will dedicate his residency to refine existing strands of work and explore new ones. He aims to advance his research on the history, materials, and aesthetics of Printed Circuit Board (PCB) and, also, to pursue his investigation into the accessibility of art spaces for the disabled. During the residency, Sohr will gradually transform his studio into a temporary space for the production of new sculptures and installations. MATTHIAS SOHR (b. 1980, Germany/Switzerland) obtained a Master of Visual Arts from the University of Art and Design Lausanne, Switzerland in 2013. He has been a visiting lecturer at the University of Arts and Industrial Design Linz, Austria (2011–2012); Berlin University of the Arts, Institute of Spatial Experiments, Germany (2010). His work has been exhibited at Museum of Contemporary Art Tokyo (MOT), Japan (2011) and Neue Nationalgalerie, Berlin, Germany (2014), among others. Matthias Sohr: untitled (Bilateral Relations), 2016. (Detail). Courtesy the artist. This edition of Residencies OPEN takes place on the occasion of the Singapore Art Book Fair 2017 and features Chris Chong Chan Fui (Malaysia), Choy Ka Fai (Singapore), Lucy Davis (Uganda/France) Hu Yun (China), Geraldine Kang (Singapore), Souliya Phoumivong (Laos), and Matthias Sohr (Germany/Switzerland). BIOGRAPHIES: Chris Chong Chan Fui (b. 1982, Malaysia) questions and redirects the processes and methodologies within varying fields such as migration, economics, natural sciences through moving images, projections, printmaking, photography, and installations. Chong has exhibited his works at Palais de Tokyo, Paris, France (2015); Hirshhorn Museum & Sculpture Garden, Smithsonian Institute, Washington D.C., United States (2010). He has also premiered at prestigious film festivals such as the Directors’ Fortnight, Cannes, France (2009). Choy Ka Fai (b. 1979, Singapore) is an artist and performance maker inspired by histories and theorizations that explore the uncertainties of the future. His research springs from a desire to understand the conditioning of the human body, its intangible memories, and the forces shaping its expressions. His projects have been presented in major festival worldwide, including Sadler’s Wells London, United Kingdom (2016), and ImPulsTanz Festival, Vienna, Austria (2015). Lucy Davis (b. 1970, Uganda/France) encircles nature in art, visual culture, materiality, and memory in Southeast Asia. In 2010, she founded The Migrant Ecologies Project to lead inquiries into questions of culture and nature in Southeast Asia. Her work has been featured in numerous institutions internationally. Her writings have been published in several catalogues and anthologies. She was Founding Editor of the Singapore critical publication series FOCAS Forum on Contemporary Art & Society (2000 – 2007). Geraldine Kang (b. 1988, Singapore) uses photography as a means of introspection and as a tool to negotiate identities within physical and psychological spaces. Combining photography with objects she creates installations that address a range of topics from family, community, and mental illness to site-explorations of the undercurrents and ambivalences of familiar places. She currently focuses on issues related to migrant labour in Singapore. Her works have been presented at ifa Gallery in Berlin, Germany (2015) and ONSITE Artfest, Taipei, Taiwan (2016). The work of Hu Yun (b. 1986, China) ranges from drawing and watercolours to performance, video, and installation. Delving into personal and historical narratives, Hu is interested in modernities and the way in which they are mobilised and reinterpreted in different local contexts. His works have been exhibited at the 11th Gwangju Biennale, The Eight Climate (What Does Art Do?) (2016); Power Station of Art, Shanghai, China (2015); and National History Museum, London, United Kingdom (2010). Souliya Phoumivong (b. 1983, Laos) is a media artist working with film, video art, photography, and clay animation. He is currently lecturer at National Institute of Fine Arts, Vientiane, Laos. His work embraces the ever-changing landscape of media and digital equipment in Laos, and the adaptation of a younger generation to a fast paced life. Most recently he participated in the exhibition Missing Links, Jim Thompson Art Center, Bangkok, Thailand (2015). Matthias Sohr: untitled (Bilateral Relations), 2016. (Detail). Courtesy the artist. NOWs: Matthias Sohr at Residencies OPEN NTU Centre for Contemporary Arts Singapore Residencies OPEN offers a rare insight into the often introverted spaces of the artists’ studios. Through showcasing discussions, performances, research, and works-in-progress, Residencies OPEN profiles the diversity of contemporary art practice and the divergent ways artists conceive artwork with the studio as a constant space for experimentation and research. Premised upon the methodologies of ethnographic fieldwork, the artistic practice of Matthias Sohr results in sculptures and installations that draw from technology and social sciences to reflect a wide range of research interests. During his three-month residency, Sohr will gradually transform his studio into a temporary space for the production of sculptures and installations that refine existing strands of research and explore new possible developments. Taking advantage of Singapore’s position as a science and technology hub, Sohr will dedicate his residency to refine existing strands of work and explore new ones. He aims to advance his research on the history, materials, and aesthetics of Printed Circuit Board (PCB) and, also, to pursue his investigation into the accessibility of art spaces for the disabled. During the residency, Sohr will gradually transform his studio into a temporary space for the production of new sculptures and installations. MATTHIAS SOHR (b. 1980, Germany/Switzerland) obtained a Master of Visual Arts from the University of Art and Design Lausanne, Switzerland in 2013. He has been a visiting lecturer at the University of Arts and Industrial Design Linz, Austria (2011–2012); Berlin University of the Arts, Institute of Spatial Experiments, Germany (2010). His work has been exhibited at Museum of Contemporary Art Tokyo (MOT), Japan (2011) and Neue Nationalgalerie, Berlin, Germany (2014), among others. Matthias Sohr: untitled (Bilateral Relations), 2016. (Detail). Courtesy the artist. This edition of Residencies OPEN takes place on the occasion of the Singapore Art Book Fair 2017 and features Chris Chong Chan Fui (Malaysia), Choy Ka Fai (Singapore), Lucy Davis (Uganda/France) Hu Yun (China), Geraldine Kang (Singapore), Souliya Phoumivong (Laos), and Matthias Sohr (Germany/Switzerland). BIOGRAPHIES: Chris Chong Chan Fui (b. 1982, Malaysia) questions and redirects the processes and methodologies within varying fields such as migration, economics, natural sciences through moving images, projections, printmaking, photography, and installations. Chong has exhibited his works at Palais de Tokyo, Paris, France (2015); Hirshhorn Museum & Sculpture Garden, Smithsonian Institute, Washington D.C., United States (2010). He has also premiered at prestigious film festivals such as the Directors’ Fortnight, Cannes, France (2009). Choy Ka Fai (b. 1979, Singapore) is an artist and performance maker inspired by histories and theorizations that explore the uncertainties of the future. His research springs from a desire to understand the conditioning of the human body, its intangible memories, and the forces shaping its expressions. His projects have been presented in major festival worldwide, including Sadler’s Wells London, United Kingdom (2016), and ImPulsTanz Festival, Vienna, Austria (2015). Lucy Davis (b. 1970, Uganda/France) encircles nature in art, visual culture, materiality, and memory in Southeast Asia. In 2010, she founded The Migrant Ecologies Project to lead inquiries into questions of culture and nature in Southeast Asia. Her work has been featured in numerous institutions internationally. Her writings have been published in several catalogues and anthologies. She was Founding Editor of the Singapore critical publication series FOCAS Forum on Contemporary Art & Society (2000 – 2007). Geraldine Kang (b. 1988, Singapore) uses photography as a means of introspection and as a tool to negotiate identities within physical and psychological spaces. Combining photography with objects she creates installations that address a range of topics from family, community, and mental illness to site-explorations of the undercurrents and ambivalences of familiar places. She currently focuses on issues related to migrant labour in Singapore. Her works have been presented at ifa Gallery in Berlin, Germany (2015) and ONSITE Artfest, Taipei, Taiwan (2016). The work of Hu Yun (b. 1986, China) ranges from drawing and watercolours to performance, video, and installation. Delving into personal and historical narratives, Hu is interested in modernities and the way in which they are mobilised and reinterpreted in different local contexts. His works have been exhibited at the 11th Gwangju Biennale, The Eight Climate (What Does Art Do?) (2016); Power Station of Art, Shanghai, China (2015); and National History Museum, London, United Kingdom (2010). Souliya Phoumivong (b. 1983, Laos) is a media artist working with film, video art, photography, and clay animation. He is currently lecturer at National Institute of Fine Arts, Vientiane, Laos. His work embraces the ever-changing landscape of media and digital equipment in Laos, and the adaptation of a younger generation to a fast paced life. Most recently he participated in the exhibition Missing Links, Jim Thompson Art Center, Bangkok, Thailand (2015).

NOWs: Endpunkt Europa by Felix Kiessling

22 April - 31 December 2017 / Nows ⟶

NOWs: Felix Kiessling: Endpunkt Europa, 2017 Felix Kiessling Meere und Ozeane ENDPUNKT EUROPA MS Wissenschaft 24.4. – 31.12. 2017 Bonn, Brassertufer Die Mikroskopaufnahmen zeigen den nördlichsten Punkt des europäischen Festlandes, Kinnarodden in Norwegen, und den südlichsten Punkt in Tarifa, Spanien. Der Künstler legt den äußersten Punkt der Küste fest, entnimmt dort eine Bruchstück des nördlichstes und südlichstes Ende Europas. Die Suche nach dem Ende geht weiter: Ein sandkorngroßes Gesteinsstück wird mit einem Elektronenmikroskop untersucht. In der Kleinheit seiner Struktur nähern wir uns seinem äußersten Endpunkt weiter an. Felix Kiessling ermöglicht es dem Betrachter einen Punkt zu bereisen, den es eigentlich nicht gibt. Der Film ENDPUNKT EUROPA (2017) dokumentiert die Reise des Künstlers, der sich für seine Arbeit auf die Suche nach den äußersten Punkten Europas begibt. ENDPUNKT EUROPA (2017) von Felix Kiessling Produktion: Marietta Auras DoP: Cedric Retzmann Schnitt: Philipp Müller Finanzierung: MS Wissenschaft / Wissenschaft im Dialog / Bundesministerium für Bildung und Forschung ‘WIR SIND UMGEBEN VON GRENZEN UND KARTOGRAPHIE. FELIX KIESSLING ERMÖGLICHT ES DEM BETRACHTER, EINEN PUNKT ZU BEREISEN, DEN ES EIGENTLICH NICHT GIBT. EINEN PUNKT, DER FÜR UNSERE KARTOGRAPHIE ZU KLEIN IST, FÜR DEN UNSERE KARTOGRAPHIE ZU GROB IST. EIN PUNKT, DER MIT NOCH DETAILLIERTERER, NOCH PRÄZISERER BEOBACHTUNG EIGENTLICH EIN ANDERER WÄRE. EIN PUNKT, DER UNGREIFBAR BLEIBT. EIN PUNKT, DER NICHT KARTOGRAPHIERT WERDEN KANN. EIN PUNKT, DER SOMIT KEINE GRENZE MARKIEREN KANN, DER STÄNDIG IN BEWEGUNG BLEIBT, DESSEN GENAUE VERORTUNG, LÄNGE UND FORM SICH STETIG VERÄNDERT UND VON UNS ALS BETRACHTENDE ABHÄNGIG IST.’ Lydia Ahrens, 2016 NOWs: Felix Kiessling: Endpunkt Europa, 2017 Felix Kiessling Meere und Ozeane ENDPUNKT EUROPA MS Wissenschaft 24.4. – 31.12. 2017 Bonn, Brassertufer Die Mikroskopaufnahmen zeigen den nördlichsten Punkt des europäischen Festlandes, Kinnarodden in Norwegen, und den südlichsten Punkt in Tarifa, Spanien. Der Künstler legt den äußersten Punkt der Küste fest, entnimmt dort eine Bruchstück des nördlichstes und südlichstes Ende Europas. Die Suche nach dem Ende geht weiter: Ein sandkorngroßes Gesteinsstück wird mit einem Elektronenmikroskop untersucht. In der Kleinheit seiner Struktur nähern wir uns seinem äußersten Endpunkt weiter an. Felix Kiessling ermöglicht es dem Betrachter einen Punkt zu bereisen, den es eigentlich nicht gibt. Der Film ENDPUNKT EUROPA (2017) dokumentiert die Reise des Künstlers, der sich für seine Arbeit auf die Suche nach den äußersten Punkten Europas begibt. ENDPUNKT EUROPA (2017) von Felix Kiessling Produktion: Marietta Auras DoP: Cedric Retzmann Schnitt: Philipp Müller Finanzierung: MS Wissenschaft / Wissenschaft im Dialog / Bundesministerium für Bildung und Forschung ‘WIR SIND UMGEBEN VON GRENZEN UND KARTOGRAPHIE. FELIX KIESSLING ERMÖGLICHT ES DEM BETRACHTER, EINEN PUNKT ZU BEREISEN, DEN ES EIGENTLICH NICHT GIBT. EINEN PUNKT, DER FÜR UNSERE KARTOGRAPHIE ZU KLEIN IST, FÜR DEN UNSERE KARTOGRAPHIE ZU GROB IST. EIN PUNKT, DER MIT NOCH DETAILLIERTERER, NOCH PRÄZISERER BEOBACHTUNG EIGENTLICH EIN ANDERER WÄRE. EIN PUNKT, DER UNGREIFBAR BLEIBT. EIN PUNKT, DER NICHT KARTOGRAPHIERT WERDEN KANN. EIN PUNKT, DER SOMIT KEINE GRENZE MARKIEREN KANN, DER STÄNDIG IN BEWEGUNG BLEIBT, DESSEN GENAUE VERORTUNG, LÄNGE UND FORM SICH STETIG VERÄNDERT UND VON UNS ALS BETRACHTENDE ABHÄNGIG IST.’ Lydia Ahrens, 2016

NOWs: Andreas Greiner and Raul Walch at Tokyo Wonder Site (TWS)

22 April - 09 July 2017 / Nows ⟶

NOWs: 7 trans-phonies Exhibition and Opening Talk Date　　　｜Sat., 22 April 2017, 15:00－17:00 Venue　　｜Tokyo Wonder Site, Shibuya Participants｜Andreas Greiner, Mirna Bamieh, Ligyung, Raul Walch, Erik Schmidt, Hou I-Ting The exhibition “7 trans-phonies” presents works by 7 creators who stayed at the TWS Residency from 2015 to 2016. The borderless city of Tokyo produces diverse harmonies and dissonances through the gathering and overlapping of individual voices. And what we hear as single sounds actually contain multiple sine waves. Creators who come to Tokyo from overseas hear the voices of foreign cultures, of their neighbors in this foreign country, of the artists they meet in Tokyo, and combine them with their own voices to create a new kind of voice/sound “trans-phony” which transcends cultural differences. Come and experience the 7 trans-phonies produced by these 7 creators. In 2006, Tokyo Wonder Site (TWS) launched the “Creator-in-Residence” program, which offers residence/production opportunities to creators from around the world. People of various nationalities and creative fields, such as art, film, music and architecture, reside and carry out their work in Tokyo and residency sites overseas. ＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝ More information, see Flyer. Raul Walch: Fabric & Space from 2015, Tokyo (see fabric&space). The works were realized during a residency at Tokyo Wonder Site in Japan, 2015.TW Andreas Greiner: Eye of the Hotaru Ika squid, still from Studies of an Alien Skin, 2016, photo by Paul Rohlfs Andreas Greiner: Still from Studies of an Alien Skin, 2016, photo by Paul Rohlfs NOWs: 7 trans-phonies Exhibition and Opening Talk Date　　　｜Sat., 22 April 2017, 15:00－17:00 Venue　　｜Tokyo Wonder Site, Shibuya Participants｜Andreas Greiner, Mirna Bamieh, Ligyung, Raul Walch, Erik Schmidt, Hou I-Ting The exhibition “7 trans-phonies” presents works by 7 creators who stayed at the TWS Residency from 2015 to 2016. The borderless city of Tokyo produces diverse harmonies and dissonances through the gathering and overlapping of individual voices. And what we hear as single sounds actually contain multiple sine waves. Creators who come to Tokyo from overseas hear the voices of foreign cultures, of their neighbors in this foreign country, of the artists they meet in Tokyo, and combine them with their own voices to create a new kind of voice/sound “trans-phony” which transcends cultural differences. Come and experience the 7 trans-phonies produced by these 7 creators. In 2006, Tokyo Wonder Site (TWS) launched the “Creator-in-Residence” program, which offers residence/production opportunities to creators from around the world. People of various nationalities and creative fields, such as art, film, music and architecture, reside and carry out their work in Tokyo and residency sites overseas. ＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝ More information, see Flyer. Raul Walch: Fabric & Space from 2015, Tokyo (see fabric&space). The works were realized during a residency at Tokyo Wonder Site in Japan, 2015.TW Andreas Greiner: Eye of the Hotaru Ika squid, still from Studies of an Alien Skin, 2016, photo by Paul Rohlfs Andreas Greiner: Still from Studies of an Alien Skin, 2016, photo by Paul Rohlfs

NOWs: 2 or 3 Tigers

21 April - 03 July 2017 / Nows ⟶

NOWs: 2 or 3 Tigers at Haus der Kulturen der Welt Berlin, Germany Opening: April 20, 8pm Opening program: April 20–23, 2017 Wherever humans have lived in a shared habitat with the tiger, mythology reflects the animal’s status as a liminal figure, closely related to the community, and yet marking its beyond. As a creature of mountains and borderlands, the tiger occupies a transitory zone separating civilization from wilderness, the living from the ancestor-spirit world. As co-species and mythical symbol, the tiger plays an important role as a medium at the limits of society, carrying an imprint of how contemporary cultures have been shaped by encounters with otherness. The emblematic image of the tiger opens deep historical insights into the rapid remaking of human society since the dawn of colonial modernity. At the same time as tigers were driven to near extinction, they leap into the imaginary of national modernity as a recurring ghost, and as symbols of national power, military might, and economic development they bind the hypermodern present to the colonial and pre-colonial past. The works in the exhibition approach collective memories by questioning the historical nature of mediation, including its means of representation. They reflect on the changing nature of mass media and search for complex images that serve as sites for shared experiences of history. 2 or 3 Tigers derives its title from the work of artist, filmmaker and theater creator Ho Tzu Nyen, who explores the shifting shapes of tigers and weretigers in the ancient and modern mythology of Malaysia and Singapore. Contributions from Park Chan-kyong, Jane Jin Kaisen and Guston Sondin-Kung reflect on histories of suppression, militarization, and exploitation in Cold War era Japan and Korea that haunt the geopolitics of the Pacific to this day. While installations by Yuichiro Tamura and IM Heung-soon present the tiger as an iconic medium of Asian military nationalism, a film by James T. Hong investigates the cultural dimensions of the tensions unfolding around several disputed East Asian islands to the present day. Photographs by Lieko Shiga made in the aftermath of the 2011 Tsunami in Japan; a digital 3D matrix by Chia-Wei Hsu of a Chinese deity displaced by the Cultural Revolution; and a large installation featuring a filmed performance along Seoul’s Han River paired with a ritualistic ensemble of sculptures transfiguring a broadcast station by Minouk Lim: all explore rapidly changing cosmologies and reverberations of animism and its forms of mediation across different political and technological registers. Works by Ho Tzu Nyen, James T. Hong, Hsu Chia-wei, IM Heung-Soon, Jane Jin Kaisen & Guston Sondin-Kung, Minouk Lim, Park Chan-Kyong, Lieko Shiga, Tamura Yuichiro. Curated by Anselm Franke and Hyunjin Kim The exhibition is based in parts on the group exhibition Interrupted Survey, curated by Anselm Franke for ACC Gwangju and on view there until August 2017. Part of 100 Years of Now Poster image: Yuichiro Tamura: Hey Daddy, Hey Brother, 2017 (detail). NOWs: 2 or 3 Tigers at Haus der Kulturen der Welt Berlin, Germany Opening: April 20, 8pm Opening program: April 20–23, 2017 Wherever humans have lived in a shared habitat with the tiger, mythology reflects the animal’s status as a liminal figure, closely related to the community, and yet marking its beyond. As a creature of mountains and borderlands, the tiger occupies a transitory zone separating civilization from wilderness, the living from the ancestor-spirit world. As co-species and mythical symbol, the tiger plays an important role as a medium at the limits of society, carrying an imprint of how contemporary cultures have been shaped by encounters with otherness. The emblematic image of the tiger opens deep historical insights into the rapid remaking of human society since the dawn of colonial modernity. At the same time as tigers were driven to near extinction, they leap into the imaginary of national modernity as a recurring ghost, and as symbols of national power, military might, and economic development they bind the hypermodern present to the colonial and pre-colonial past. The works in the exhibition approach collective memories by questioning the historical nature of mediation, including its means of representation. They reflect on the changing nature of mass media and search for complex images that serve as sites for shared experiences of history. 2 or 3 Tigers derives its title from the work of artist, filmmaker and theater creator Ho Tzu Nyen, who explores the shifting shapes of tigers and weretigers in the ancient and modern mythology of Malaysia and Singapore. Contributions from Park Chan-kyong, Jane Jin Kaisen and Guston Sondin-Kung reflect on histories of suppression, militarization, and exploitation in Cold War era Japan and Korea that haunt the geopolitics of the Pacific to this day. While installations by Yuichiro Tamura and IM Heung-soon present the tiger as an iconic medium of Asian military nationalism, a film by James T. Hong investigates the cultural dimensions of the tensions unfolding around several disputed East Asian islands to the present day. Photographs by Lieko Shiga made in the aftermath of the 2011 Tsunami in Japan; a digital 3D matrix by Chia-Wei Hsu of a Chinese deity displaced by the Cultural Revolution; and a large installation featuring a filmed performance along Seoul’s Han River paired with a ritualistic ensemble of sculptures transfiguring a broadcast station by Minouk Lim: all explore rapidly changing cosmologies and reverberations of animism and its forms of mediation across different political and technological registers. Works by Ho Tzu Nyen, James T. Hong, Hsu Chia-wei, IM Heung-Soon, Jane Jin Kaisen & Guston Sondin-Kung, Minouk Lim, Park Chan-Kyong, Lieko Shiga, Tamura Yuichiro. Curated by Anselm Franke and Hyunjin Kim The exhibition is based in parts on the group exhibition Interrupted Survey, curated by Anselm Franke for ACC Gwangju and on view there until August 2017. Part of 100 Years of Now Poster image: Yuichiro Tamura: Hey Daddy, Hey Brother, 2017 (detail).

NOWs: Good Weather by Julius von Bismarck

19 April - 20 May 2017 / Nows ⟶

NOWs: Julius von Bismarck: Good Weather Marlborough Contemporary, New York Marlborough Contemporary presents the second solo exhibition by Julius von Bismarck. Although based in Berlin, this globetrotting artist rarely sits still and has visited four continents, including Antarctica, in the past four months alone. Emerging from recent trips to Colombia, Venezuela and Mexico, this body of work continues von Bismarck’s explorations of the intersection of human beings and the relentless forces of nature. The sculptures, photographs and video included here investigate the territory between our Victorian inclination toward a taming taxonomy and a cruel and chaotic reality. The exhibition as a whole acts as a highly distilled and museologically ordered document of extreme power and violence. Situating the jungle as both a potent symbol of Western fear and a romanticized rainforest ecosystem, von Bismarck creates a visceral tension for his audience. The video entitled Talking to Thunder depicts the artist’s attempts at taming a bolt of lightning. By firing an aluminum rocket (equipped with a grounding wire of braided Kevlar, copper and silver) into a raging storm he is able to complete a circuit of tremendous power between the sky and the ground. The result, captured on video and in still photographs, appears to literally straighten the lightning bolt in its path to the ground. Designed as eventual sculptures, the rockets themselves are included here, lightning-struck relics, loaded with the history of this communion. Like a Colonial scientist, von Bismarck has collected plant species from jungle. Rather than pressing tiny flowers in a notebook, the artist has pressed large plants and entire palm trees into flattened specimens. Heated to a precise 250 degrees in an enormous custom-built oven and a 50-ton hydraulic press, the plants are completely dehydrated without losing their verdant coloration, and squashed astonishingly flat. They are then backed with thin stainless steel to maintain their shape for presentation. NOWs: Julius von Bismarck: Good Weather Marlborough Contemporary, New York Marlborough Contemporary presents the second solo exhibition by Julius von Bismarck. Although based in Berlin, this globetrotting artist rarely sits still and has visited four continents, including Antarctica, in the past four months alone. Emerging from recent trips to Colombia, Venezuela and Mexico, this body of work continues von Bismarck’s explorations of the intersection of human beings and the relentless forces of nature. The sculptures, photographs and video included here investigate the territory between our Victorian inclination toward a taming taxonomy and a cruel and chaotic reality. The exhibition as a whole acts as a highly distilled and museologically ordered document of extreme power and violence. Situating the jungle as both a potent symbol of Western fear and a romanticized rainforest ecosystem, von Bismarck creates a visceral tension for his audience. The video entitled Talking to Thunder depicts the artist’s attempts at taming a bolt of lightning. By firing an aluminum rocket (equipped with a grounding wire of braided Kevlar, copper and silver) into a raging storm he is able to complete a circuit of tremendous power between the sky and the ground. The result, captured on video and in still photographs, appears to literally straighten the lightning bolt in its path to the ground. Designed as eventual sculptures, the rockets themselves are included here, lightning-struck relics, loaded with the history of this communion. Like a Colonial scientist, von Bismarck has collected plant species from jungle. Rather than pressing tiny flowers in a notebook, the artist has pressed large plants and entire palm trees into flattened specimens. Heated to a precise 250 degrees in an enormous custom-built oven and a 50-ton hydraulic press, the plants are completely dehydrated without losing their verdant coloration, and squashed astonishingly flat. They are then backed with thin stainless steel to maintain their shape for presentation.

NOWs: Weltwasserspiegelsenkung by Felix Kiessling

08 April 2017 / Nows ⟶

NOWs: Evolutionary Urge by Andreas Greiner & Ursula Ströbele

07 April 2017 / Nows ⟶

NOWs: 24 h exhibition at NAVEL, hosted by Jonas Wendelin Evolutionary Urge. 24h Sculpture (Digital / Virtual). brings together artists that work in the field of digital, virtual and immaterial phenomena of sculpture. These sculptural boundaries question the traditional qualities of statue-like properties, its durability, haptique and its anthropomorphic ambitions, which are being scrutinized in favor of temporal, performative and interactive concepts. Alreaday in the 1960s, Herbert W. Franke, one of the most influential pioneers of computer graphics and digital art, sought to expand the boundaries of sculpture towards the virtual space: “Could the computer lead us also in new areas of sculptures? A way to find an answer is to ignore the mentioned conditions for physical realization and try to design not realizable 3D- forms.” The exhibition focuses on works, that align themselves less with tradition but rather with new scientific findings and digital technology, e.g. virtual reality, artificial intelligence, digital image processes, and 3D printing. Evolutionary Urge. 24h Sculpture (Digital / Virtual). shows, how young artists today have further developed the idea of sculpture with these new sculptural tools and how they address contemporary phenomena, such as limited natural resources, the exponential growth of data traffic, which becomes currency itself, and the digitalization of human communication. This also changes the relevant discourse of sculpture. NOWs: 24 h exhibition at NAVEL, hosted by Jonas Wendelin Evolutionary Urge. 24h Sculpture (Digital / Virtual). brings together artists that work in the field of digital, virtual and immaterial phenomena of sculpture. These sculptural boundaries question the traditional qualities of statue-like properties, its durability, haptique and its anthropomorphic ambitions, which are being scrutinized in favor of temporal, performative and interactive concepts. Alreaday in the 1960s, Herbert W. Franke, one of the most influential pioneers of computer graphics and digital art, sought to expand the boundaries of sculpture towards the virtual space: “Could the computer lead us also in new areas of sculptures? A way to find an answer is to ignore the mentioned conditions for physical realization and try to design not realizable 3D- forms.” The exhibition focuses on works, that align themselves less with tradition but rather with new scientific findings and digital technology, e.g. virtual reality, artificial intelligence, digital image processes, and 3D printing. Evolutionary Urge. 24h Sculpture (Digital / Virtual). shows, how young artists today have further developed the idea of sculpture with these new sculptural tools and how they address contemporary phenomena, such as limited natural resources, the exponential growth of data traffic, which becomes currency itself, and the digitalization of human communication. This also changes the relevant discourse of sculpture.

NOWs: In the Studio with Sophia Pompéry

06 April 2017 / Nows ⟶

NOWs: Muscle Memory curated by Ece Pazarbaşı

01 April - 11 June 2017 / Nows ⟶

NOWs: MUSCLE MEMORY Opening Fri 31 March at 7 pm at Kunstraum Kreuzberg/Bethanien Artists: Adel Abidin, Jenny Baines, Maja Bajevic, Marcio Carvalho, Cevdet Erek, Ingo Gerken, Gözde İlkin, Marisa Maza, Ahmet Öğüt, Sophia Pompery, Svenja Schüffler and Vahit Tuna. Curator: Ece Pazarbaşı For public programme, see: www.fieldkitchen-academy.org The exhibition “Muscle Memory” is a multi-layered investigation into the notion of muscle memory, which is defined in neuroscience as a type of movement that becomes familiar to the muscles through repetition over time. It gives a metaphorical approach to how structures of power create and manipulate the memories of individuals through the biological mechanisms of their very own bodies. In doing so, the exhibition revisits the historical background of the Bethanien Hospital building as the ‘body’ of the project, incorporating the building and its vicinity into the exhibition as an embodiment of the muscle memory. FIELD KITCHEN ACADEMY PROGRAMME Doctors, Nurses and Artists – Artists talk with the participation of Adel Abidin, Jenny Baines, Marcio Carvalho, Ingo Gerken, Göde İlkin, Marisa Maza, Ahmet Öğüt, Sophia Pompery, Svenja Schüffler and Vahit Tuna. Moderation: Ece Pazarbaşı Sat 1 April at 7 pm LOCATION: FORMER OPERATION WING (KUNSTRAUM KREUZBERG/ BETHANIEN) — Muscle Testing Workshop — an Introduction to Kinesiology by Heike Brunner, Alternative Medicine Practitioner Wed 5 April at 7 pm LOCATION: FORMER WASHHOUSE — Talk: Medical Neighborhoods — Healing Architecture by Álvaro Valera Sosa, Architect Tue 18 April at 7 pm LOCATION: FORMER OPERATION WING (KUNSTRAUM KREUZBERG/ BETHANIEN) — Talk: Fractals in Action: From procedural memory to motor hierarchies by Mauricio Dias Martins, MD PhD, Berlin School of Mind and Brain, Humboldt University zu Berlin/ Max Planck Institute for Human Cognitive and Brain Sciences Thu 20 April at 7 pm LOCATION: FORMER OPERATION WING (KUNSTRAUM KREUZBERG/ BETHANIEN) — Bethanien Parkour Workshop by Franz Schönberger, Headcoach at ParkourONE Berlin Sun 7 May at 11.30 am LOCATION: FORMER THE VICINITY OF THE BETHANIEN BUILDING — Symbol Body Workshop by Tugce Tuna, mover, body reader, choreographer, interdisciplinary performance and contemporary dance artist and academician. Sun 21 May at 11:30 am LOCATION: FORMER MORGUE — Releasing Repetition in Mind, Body and Soul Workshop by Sun Woo + Ji Woo, Zen Masters Sun 4 June at 11:30 am LOCATION: FORMER INFECTION UNIT — Guided Exhibition Tours with the Curator Ece Pazarbaşı Sat 8 April at 12 pm; Sat 20 May at 12 pm; Sat 10 June at 12 pm LOCATION: OPERATION WING (KUNSTRAUM KREUZBERG/ BETHANIEN) — Klein Technique™ Workshops by Hanna Hegenscheidt Every week from Monday to Friday, 9.30–11.15 AM Studio 142, 1st Floor, Kunstquartier Bethanien — Movement Training for Performers by Mime Centrum Every week from Monday to Friday, 10–11.30 AM Studio 2, Mime centrum, Kunstquartier Bethanien * Meeting Point for all events: Kunstraum Kreuzberg/Bethanien. All events will be in English. Der Kunstraum Kreuzberg/Bethanien ist eine Einrichtung des Stipendium. Unterstützt wird das Projekt durch das Institut für Auslandsbeziehungen IFA und dem Kulturinstitut Finnlands. NOWs: MUSCLE MEMORY Opening Fri 31 March at 7 pm at Kunstraum Kreuzberg/Bethanien Artists: Adel Abidin, Jenny Baines, Maja Bajevic, Marcio Carvalho, Cevdet Erek, Ingo Gerken, Gözde İlkin, Marisa Maza, Ahmet Öğüt, Sophia Pompery, Svenja Schüffler and Vahit Tuna. Curator: Ece Pazarbaşı For public programme, see: www.fieldkitchen-academy.org The exhibition “Muscle Memory” is a multi-layered investigation into the notion of muscle memory, which is defined in neuroscience as a type of movement that becomes familiar to the muscles through repetition over time. It gives a metaphorical approach to how structures of power create and manipulate the memories of individuals through the biological mechanisms of their very own bodies. In doing so, the exhibition revisits the historical background of the Bethanien Hospital building as the ‘body’ of the project, incorporating the building and its vicinity into the exhibition as an embodiment of the muscle memory. FIELD KITCHEN ACADEMY PROGRAMME Doctors, Nurses and Artists – Artists talk with the participation of Adel Abidin, Jenny Baines, Marcio Carvalho, Ingo Gerken, Göde İlkin, Marisa Maza, Ahmet Öğüt, Sophia Pompery, Svenja Schüffler and Vahit Tuna. Moderation: Ece Pazarbaşı Sat 1 April at 7 pm LOCATION: FORMER OPERATION WING (KUNSTRAUM KREUZBERG/ BETHANIEN) — Muscle Testing Workshop — an Introduction to Kinesiology by Heike Brunner, Alternative Medicine Practitioner Wed 5 April at 7 pm LOCATION: FORMER WASHHOUSE — Talk: Medical Neighborhoods — Healing Architecture by Álvaro Valera Sosa, Architect Tue 18 April at 7 pm LOCATION: FORMER OPERATION WING (KUNSTRAUM KREUZBERG/ BETHANIEN) — Talk: Fractals in Action: From procedural memory to motor hierarchies by Mauricio Dias Martins, MD PhD, Berlin School of Mind and Brain, Humboldt University zu Berlin/ Max Planck Institute for Human Cognitive and Brain Sciences Thu 20 April at 7 pm LOCATION: FORMER OPERATION WING (KUNSTRAUM KREUZBERG/ BETHANIEN) — Bethanien Parkour Workshop by Franz Schönberger, Headcoach at ParkourONE Berlin Sun 7 May at 11.30 am LOCATION: FORMER THE VICINITY OF THE BETHANIEN BUILDING — Symbol Body Workshop by Tugce Tuna, mover, body reader, choreographer, interdisciplinary performance and contemporary dance artist and academician. Sun 21 May at 11:30 am LOCATION: FORMER MORGUE — Releasing Repetition in Mind, Body and Soul Workshop by Sun Woo + Ji Woo, Zen Masters Sun 4 June at 11:30 am LOCATION: FORMER INFECTION UNIT — Guided Exhibition Tours with the Curator Ece Pazarbaşı Sat 8 April at 12 pm; Sat 20 May at 12 pm; Sat 10 June at 12 pm LOCATION: OPERATION WING (KUNSTRAUM KREUZBERG/ BETHANIEN) — Klein Technique™ Workshops by Hanna Hegenscheidt Every week from Monday to Friday, 9.30–11.15 AM Studio 142, 1st Floor, Kunstquartier Bethanien — Movement Training for Performers by Mime Centrum Every week from Monday to Friday, 10–11.30 AM Studio 2, Mime centrum, Kunstquartier Bethanien * Meeting Point for all events: Kunstraum Kreuzberg/Bethanien. All events will be in English. Der Kunstraum Kreuzberg/Bethanien ist eine Einrichtung des Stipendium. Unterstützt wird das Projekt durch das Institut für Auslandsbeziehungen IFA und dem Kulturinstitut Finnlands.

NOWs: RADITION by Fabian Knecht

31 March - 28 May 2017 / Nows ⟶

Fabian Knecht, ZERSETZUNG, 2016 NOWs: Fabian Knecht: RADITION im Kunstverein Arnsberg Eröffnung: Freitag, 31. März 2017, 19 Uhr Der Kunstverein Arnsberg zeigt die Einzelausstellung »RADITION« des Künstlers Fabian Knecht. Neben vier Werken, die in den Räumen des Kunstvereins zu sehen sind, wird die Arbeit »ISOLATION (Dead Tree)« zur Eröffnung am 31.3. von 18 bis 21 Uhr in einem Waldstück bei Arnsberg öffentlich zugänglich sein. RADITION Der Titel der Ausstellung »RADITION« variiert das fachsprachliche Verb »radizieren« – von lat. radix, Wurzel –, das in der Mathematik das Ziehen einer Wurzel bezeichnet. Metaphorisch verwendet, bezeichnet der Neologismus die Auseinandersetzung mit den Themen ›Entwurzelung‹ und Neuverortung, die in unterschiedlichen Formen und Facetten die Ausstellung strukturieren. Im Zentrum stehen Variationen des mittlerweile klassischen Konzepts des Readymades, das von Knecht invertiert, gedeutet und ebenso vielfältig wie ungewohnt in Stellung gebracht wird. Expand... »ISOLATION (Dead Tree)« besteht aus einem Ausstellungsraum – einem ›White Cube‹ –, der für einen Abend um einen entwurzelten Baum in einem Waldstück bei Arnsberg gebaut wird. Das Werk invertiert und verändert allgemein das Konzept des Readymades. Fabian Knecht bringt nicht ein Stück ›Wirklichkeit‹ in den Ausstellungsraum, sondern baut einen klassischen Ausstellungsraum in die Wirklichkeit, um sie herum. Das Waldstück wird mit den schlichten und klaren Formen des White Cubes isoliert, in seiner Komplexität zum Werk erhoben und ›an Ort und Stelle‹ von Neuem sichtbar gemacht. »ISOLATION (Dead Tree)« bildet die derzeit fünfte Konstruktion eines Ausstellungsraums, mit dem Knecht ein Segment der Wirklichkeit – vom Eismeer bis zur Brache – einrahmt und exponiert. Bislang wurden die Räume fotografisch dokumentiert. In Arnsberg wird nun erstmals ein Raum für die Öffentlichkeit zu betreten sein. Für »ZERSETZUNG« brach Fabian Knecht in das Schloss Vauvenargues bei Aix-en-Provence ein, in dem Picasso in den letzten Jahren seines Lebens gewohnt und gearbeitet hat. Im Zentrum der dortigen Parkanlage befindet sich die Grabstätte Picassos. Die Skulptur »La Femme au Vase«, die zur Weltausstellung 1937 zusammen mit »Guernica« ausgestellt wurde, markiert die letzte Ruhestätte. Im Zuge des Einbruches stahl Knecht ein Grasstück von der Oberfläche des Grabes, in dem sich Picasso – begraben im Mahagonisarg, von hohen Mauern umgeben – physisch aufgelöst hat. »Dann wahrhaftig steckt die Kunst in der Natur, wer sie heraus kann reißen, der hat sie…« (Albrecht Dürer in seiner Proportionslehre) »Down he goes, into the world of giants.« (T. J. Clark in Picasso and Truth) (Sind da Picassos Atome im getrockneten, gerahmten und ausgestellten gestohlenen Gras und im kleinen, kriechenden Wurm, der für die Arbeit »ZEICHNUNG« mit dem Gras gefüttert und gefilmt wurde? In Sepia getaucht, zieht er dunkle, schmierige Linien über ein Blatt Papier. Ein Kommentar. Ein Kreislauf.) »VERFORMUNG (Das Glückliche Objekt)« besteht aus einer skulptural verformten Leitplanke, die Knecht dem Alltag entnommen und von der Autobahn in den Ausstellungsraum überführt hat. Das Objekt – durch einen Unfall verformt, bei dem es Todesfälle verhindern konnte – hat seine Aufgabe erfüllt, seiner Bestimmung entsprochen und getan, wofür es geschaffen wurde: ein glückliches Objekt. »ENTFERNUNG (Mast)« zeigt ein weiteres, hier politisch entwurzeltes Readymade: den von Knecht demontierten Fahnenmast der alten amerikanischen Botschaft in Berlin. Der ehemals aufragende Mast liegt einsam und verloren auf den Dielen des Ausstellungsraums. Das phallisch-machtvolle Hoheitszeichen wird auf den Boden der Tatsachen zurückgeholt. Der Flagge beraubt, wird der Mast zur Markierung, zur Linie, zur Grenze, zum Vektor im Raum. Der ›Bedeutungsträger‹ wird frei gelegt. Ein bloßes Ding. Ein stummes Zeichen. Text: Lukas Töpfer Fabian Knecht: ISOLATION (Dead Tree), 2017, Arnsberg Forest Fabian Knecht, ZERSETZUNG, 2016 NOWs: Fabian Knecht: RADITION im Kunstverein Arnsberg Eröffnung: Freitag, 31. März 2017, 19 Uhr Der Kunstverein Arnsberg zeigt die Einzelausstellung »RADITION« des Künstlers Fabian Knecht. Neben vier Werken, die in den Räumen des Kunstvereins zu sehen sind, wird die Arbeit »ISOLATION (Dead Tree)« zur Eröffnung am 31.3. von 18 bis 21 Uhr in einem Waldstück bei Arnsberg öffentlich zugänglich sein. RADITION Der Titel der Ausstellung »RADITION« variiert das fachsprachliche Verb »radizieren« – von lat. radix, Wurzel –, das in der Mathematik das Ziehen einer Wurzel bezeichnet. Metaphorisch verwendet, bezeichnet der Neologismus die Auseinandersetzung mit den Themen ›Entwurzelung‹ und Neuverortung, die in unterschiedlichen Formen und Facetten die Ausstellung strukturieren. Im Zentrum stehen Variationen des mittlerweile klassischen Konzepts des Readymades, das von Knecht invertiert, gedeutet und ebenso vielfältig wie ungewohnt in Stellung gebracht wird. Expand... »ISOLATION (Dead Tree)« besteht aus einem Ausstellungsraum – einem ›White Cube‹ –, der für einen Abend um einen entwurzelten Baum in einem Waldstück bei Arnsberg gebaut wird. Das Werk invertiert und verändert allgemein das Konzept des Readymades. Fabian Knecht bringt nicht ein Stück ›Wirklichkeit‹ in den Ausstellungsraum, sondern baut einen klassischen Ausstellungsraum in die Wirklichkeit, um sie herum. Das Waldstück wird mit den schlichten und klaren Formen des White Cubes isoliert, in seiner Komplexität zum Werk erhoben und ›an Ort und Stelle‹ von Neuem sichtbar gemacht. »ISOLATION (Dead Tree)« bildet die derzeit fünfte Konstruktion eines Ausstellungsraums, mit dem Knecht ein Segment der Wirklichkeit – vom Eismeer bis zur Brache – einrahmt und exponiert. Bislang wurden die Räume fotografisch dokumentiert. In Arnsberg wird nun erstmals ein Raum für die Öffentlichkeit zu betreten sein. Für »ZERSETZUNG« brach Fabian Knecht in das Schloss Vauvenargues bei Aix-en-Provence ein, in dem Picasso in den letzten Jahren seines Lebens gewohnt und gearbeitet hat. Im Zentrum der dortigen Parkanlage befindet sich die Grabstätte Picassos. Die Skulptur »La Femme au Vase«, die zur Weltausstellung 1937 zusammen mit »Guernica« ausgestellt wurde, markiert die letzte Ruhestätte. Im Zuge des Einbruches stahl Knecht ein Grasstück von der Oberfläche des Grabes, in dem sich Picasso – begraben im Mahagonisarg, von hohen Mauern umgeben – physisch aufgelöst hat. »Dann wahrhaftig steckt die Kunst in der Natur, wer sie heraus kann reißen, der hat sie…« (Albrecht Dürer in seiner Proportionslehre) »Down he goes, into the world of giants.« (T. J. Clark in Picasso and Truth) (Sind da Picassos Atome im getrockneten, gerahmten und ausgestellten gestohlenen Gras und im kleinen, kriechenden Wurm, der für die Arbeit »ZEICHNUNG« mit dem Gras gefüttert und gefilmt wurde? In Sepia getaucht, zieht er dunkle, schmierige Linien über ein Blatt Papier. Ein Kommentar. Ein Kreislauf.) »VERFORMUNG (Das Glückliche Objekt)« besteht aus einer skulptural verformten Leitplanke, die Knecht dem Alltag entnommen und von der Autobahn in den Ausstellungsraum überführt hat. Das Objekt – durch einen Unfall verformt, bei dem es Todesfälle verhindern konnte – hat seine Aufgabe erfüllt, seiner Bestimmung entsprochen und getan, wofür es geschaffen wurde: ein glückliches Objekt. »ENTFERNUNG (Mast)« zeigt ein weiteres, hier politisch entwurzeltes Readymade: den von Knecht demontierten Fahnenmast der alten amerikanischen Botschaft in Berlin. Der ehemals aufragende Mast liegt einsam und verloren auf den Dielen des Ausstellungsraums. Das phallisch-machtvolle Hoheitszeichen wird auf den Boden der Tatsachen zurückgeholt. Der Flagge beraubt, wird der Mast zur Markierung, zur Linie, zur Grenze, zum Vektor im Raum. Der ›Bedeutungsträger‹ wird frei gelegt. Ein bloßes Ding. Ein stummes Zeichen. Text: Lukas Töpfer Fabian Knecht: ISOLATION (Dead Tree), 2017, Arnsberg Forest

NOWs: Gravity is just a Habit by Sophia Pompéry

10 March - 22 April 2017 / Nows ⟶

NOWs: Sophia Pompéry: Gravity is just a Habit at WAGNER + PARTNER Opening 10 March 2017, 19 h With Gravity is just a Habit, Sophia Pompéry presents her second solo exhibition with the gallery. Installation, photography and sculpture are employed by Pompéry to address the exhibition’s concept of “visual projections”, in which everyday objects such as maps and vases are transformed into parables. These impartial works enjoy various levels of interpretation and evoke associations of current political events such as migration or the destruction of cultural heritage. Consequently, Sophia Pompéry almost incidentally examines philosophical questions regarding the nature of spatial and temporal perception. The joy of the physical experiment, including the illusion of common ways of seeing is what characterises Pompéry’s oeuvre. The exhibition title’s proposition, of gravity being a habit, targets precisely our unquestioning lethargy of accepting the familiar and given, instead of changing things. One room in the gallery is devoted to the notion of borders and restrictions and has the title, Worlds. Here the visitor encounters a universe of school-like blackboard maps. Presented processionally, all these maps depict different parts of the world and are covered in blackboard paint. Measurements, political borders and cities disappear. The visitor is invited to draw their own version of a map – also an inner map – and thus a sponge and chalk become tools to create our own vision of the world, with the blackboards becoming a metaphor in which to comprehend space. Worlds questions the use of space, geopolitical power structures, ownership, migration and the state of the environment. If the visible becomes invisible and demarcations disappear, then all that remains is imagination. Worlds invites us to liberate our thoughts. Usually, these are caught in our everyday and it is seldom that we reflect upon our time and space and indeed who its custodians are. A large work that covers an entire wall also presents us with questions of borders and visual projections – and suggests the infinity of outer space. The distance between stars is deceptive for the human eye and we often have difficulty in perceiving what these distances may be and instead see the sky as a sprinkled expanse. On maps, stars are also depicted across a single surface area. In the exhibition, this surface area can be viewed from both sides. The rear view of the Milky Way is infinity x 2. Whereas Worlds invites us to use chalk and explore the volatility of fixed definitions, the photographic series Éloge du vide (praise emptiness) presents the reverse: a fleeting moment of exploding chalk, cemented in time, not unlike a still-life flower arrangement. Beyond this, it also questions our perception: the black and white photos of exploding vases, shrouded in a peculiar white smoke cloud, indeed have nothing in common with the usual, falling porcelain vessel, which has been affected by gravity. As if the explosion had set off a magical energy, we nonetheless underestimate these innocent, white vessels in our daily lives. Similarly, they arouse strong associations with the bombed and destroyed cultural assets in war zones, which serve to erase the cultural memory of a place. NOWs: Sophia Pompéry: Gravity is just a Habit bei WAGNER + PARTNER Eröffnung, 10. März 2017, 19 Uhr Mit Gravity is just a Habit präsentiert Sophia Pompéry die zweite Einzelausstellung in der Galerie. Dem Thema der Ausstellung – Visuelle Projektionen – nähert sie sich in verschiedenen Medien: Installationen, Fotografie und Skulptur. Dabei transformiert Pompéry Gegenstände des Alltags, z. B. Landkarten und Vasen, in Parabeln, wobei die Offenheit ihrer Werke stets mehrere Interpretationsebenen beinhaltet. So lassen ihre Werke Assoziationen auf aktuelle politische Geschehnisse wie Migration oder Zerstörung von Kulturgut zu. Fast beiläufig wirft Sophia Pompéry dabei philosophische Fragen nach der Beschaffenheit von räumlicher und zeitlicher Wahrnehmung auf. Die Freude am physikalischen Experiment sowie an der Irreführung der üblichen Sehgewohnheiten zeichnet Pompérys künstlerische Arbeiten aus. Die in dem Ausstellungstitel formulierte These, dass Schwerkraft nur eine Gewohnheit ist, zielt auf genau diese unsere Trägheit ab, Gewohntes und Vorgefundenes unhinterfragt als gegeben und unveränderlich hinzunehmen statt Dinge zu ändern. Ein Ausstellungsraum der Galerie ist unter dem Titel Worlds dem Begriff von Grenzen bzw. Begrenzungen gewidmet. Hier betritt der Besucher ein Universum aus schultafelähnlichen Landkarten, die ihm in einer Art Prozession entgegentreten. All diese Karten, die verschiedene Teile der Welt darstellen, sind mit Tafelfarbe überzogen. Maßstäbe, politische Grenzen und Städte verschwinden dadurch. Der Betrachter ist dazu eingeladen, auf diesen Karten seine eigene Version einer (auch inneren) Landkarte zu einzuzeichnen – Schwamm und Kreidestift werden so Werkzeuge, um unsere eigene Visionen der Welt zu entwerfen. Die Tafeln aus der Installation Worlds werden zu einer Metapher für das Verstehen von Raum. Worlds stellt die Nutzung von Raum, geopolitische Machtkonstellationen, Besitz, Migration und ökologischen Zustand in Frage. Wenn das Sichtbare unsichtbar wird und Grenzziehungen verschwinden, wird Imagination zum zentralen Element. Worlds ist eine Einladung, unsere Gedanken freizusetzen. Normalerweise sind diese in unserem Alltag befangen und selten denken wir darüber nach, wie Zeit und Raum über uns hinaus beschaffen sind. Ebenfalls eine Frage nach Grenzen und visuellen Projektionen stellt eine wandfüllende Arbeit, die dem Betrachter einen Blick in die Unendlichkeit des Weltalls suggeriert. Beim Betrachten der Sterne blendet das menschliche Auge die Tiefe zwischen einzelnen Sternen aus. Wir haben kein Gefühl für die Distanz zwischen zwei Sternen und nehmen den Himmel als gesprenkelte Fläche war. Auf der Karte werden Sterne ebenfalls flächig dargestellt. Diese Projektionsfläche kann im Ausstellungsraum von beiden Seiten betrachtet werden. Die Perspektive auf die Rückseite der Milchstraße ist Unendlichkeit x 2. Wohingegen Worlds einlädt, Kreide aufzutragen und statische Definitionen flüchtig werden zu lassen, stellt die Fotoserie Éloge du vide einen gegenteiligen Prozess dar: Sie sprengt Kreide und zementiert einen flüchtigen Moment, wie ein Blumenstilleben. Darüber hinaus greift auch sie Fragen nach unserer Wahrnehmung auf: Die Schwarzweiß-Fotos explodierender Vasen, die eine merkwürdige weiße Staubwolke freisetzen, haben so gar nichts mit einem üblichen herunterfallenden, von der Schwerkraft angezogenen Porzellangegenstand gemeinsam. Als würde die Explosion eine magische Energie freisetzen, scheinen wir diese unschuldigen weißen Gefäße in unserem Alltag zu unterschätzen. Gleichzeitig wecken sie starke Assoziationen an die durch Bombardierungen zersprengten Kulturgüter in Kriegsgebieten, die vor Ort der Auslöschung des kulturellen Gedächtnisses dienen sollen.

NOWs: Relaciones de Barrio by Tomas Espinosa

17 March - 16 April 2017 / Nows ⟶

NOWs: We are better in the future by Kat Válastur

29 March - 02 April 2017 / Nows ⟶

NOWs: The Lost Princess of Mongolia by Anne Duk Hee Jordan

24 March 2017 / Nows ⟶

NOWs: Anne Duk Hee Jordan: The Lost Princess of Mongolia, 2009 - ongoing, 1. trailer Anne Duk Hee Jordan: The Lost Princess of Mongolia March 24, 7 pm at Entretempo Kitchen Gallery The performance of Anne Duk Hee Jordan is based on her video installation “The Lost Princess of Mongolia”. The Lost Princess of Mongolia is a semi-autobiographical filmic work that combines real and fictional elements of Anne Duk Hee Jordan’s life. Her own personal background and history is a continual red line, which runs through her artistic research. The main conflict that the Princess confronts mirrors her own struggle with not belonging to a single culture or nation. The process of searching and exploring becomes then a life-long journey, in which wandering is a main theme. This atypical documentary is conceived as a series of trailers. The film deals with Jordan’s search for identity as a Korean, who grew up in Germany. The artist and at the same time the protagonist of her film travels from Berlin via Mongolia and Korea to the USA, where her biological mother lives. On this road trip, reality and fiction mixe up. This atypical documentary is conceived as a series of trailers. In “The Lost Princess of Mongolia” food such as potatoes, kimchi and spices play an important role of the story, while romanticizing and alienating the plot. In her performance Anne Duk Hee Jordan presents her new cooking recipe, “Gamja Guk”, a German, Korean soup. The ingredients from Korea and Germany, such as potato, algae and kimchi, cross each other, and visitors are invited to taste different senses of homelands. A project by Korea Foundation NOWs: Anne Duk Hee Jordan: The Lost Princess of Mongolia, 2009 - ongoing, 1. trailer Anne Duk Hee Jordan: The Lost Princess of Mongolia March 24, 7 pm at Entretempo Kitchen Gallery The performance of Anne Duk Hee Jordan is based on her video installation “The Lost Princess of Mongolia”. The Lost Princess of Mongolia is a semi-autobiographical filmic work that combines real and fictional elements of Anne Duk Hee Jordan’s life. Her own personal background and history is a continual red line, which runs through her artistic research. The main conflict that the Princess confronts mirrors her own struggle with not belonging to a single culture or nation. The process of searching and exploring becomes then a life-long journey, in which wandering is a main theme. This atypical documentary is conceived as a series of trailers. The film deals with Jordan’s search for identity as a Korean, who grew up in Germany. The artist and at the same time the protagonist of her film travels from Berlin via Mongolia and Korea to the USA, where her biological mother lives. On this road trip, reality and fiction mixe up. This atypical documentary is conceived as a series of trailers. In “The Lost Princess of Mongolia” food such as potatoes, kimchi and spices play an important role of the story, while romanticizing and alienating the plot. In her performance Anne Duk Hee Jordan presents her new cooking recipe, “Gamja Guk”, a German, Korean soup. The ingredients from Korea and Germany, such as potato, algae and kimchi, cross each other, and visitors are invited to taste different senses of homelands. A project by Korea Foundation

NOWs: Quatra Jagoniak by Leon Eixenberger

24 March - 02 April 2017 / Nows ⟶

NOWs: Marking Triangles Publication by Tamura Yuichiro & Raul Walch

22 March 2017 / Nows ⟶

NOWs: Publikation Tamura Yuichiro & Raul Walch: Marking Triangles Herausgeber: Japanischen Kulturinstitut / The Japan Foundation, Köln im Rahmen der deutsch-japanischen Dialogausstellung Marking Triangles Gestaltung: Alexandra Bruns Text: Christina Werner Sprachen: Deutsch / Japanisch Umfang 160 Seiten „Marking Triangles“ – Eine Reiseerzählung Drei Punkte auf einer Fläche zu markieren und zu definieren, ermöglicht sie in Beziehung zueinander zu setzen. Yuichiro Tamura und Raul Walch stellen in „Marking Triangles“ Bezüge rund um den Globus her. Für diese Ausstellung verbinden sie – nur auf den ersten Blick willkürlich ausgewählte – Orte entlang ihrer Reiserouten durch Europa, Asien und Afrika. Es sind weitgespannte Dreieckskonstellationen, die sich über drei Kontinente auffächern und in verschiedenster Weise miteinander verbinden lassen: Tamuras Untersuchungen führen von Köln (Deutschland) nach Antsiranana (Madagaskar) und Tanegashima (Japan); während Walch Addis Abeba (Äthiopien), Tokio (Japan) und Marathon (Griechenland) aufsucht. Expand... Drei Punkte auf einer Fläche zu markieren und zu definieren, ermöglicht sie in Beziehung zueinander zu setzen. Yuichiro Tamura und Raul Walch stellen in „Marking Triangles“ Bezüge rund um den Globus her. Für diese Ausstellung verbinden sie – nur auf den ersten Blick willkürlich ausgewählte – Orte entlang ihrer Reiserouten durch Europa, Asien und Afrika. Es sind weitgespannte Dreieckskonstellationen, die sich über drei Kontinente auffächern und in verschiedenster Weise miteinander verbinden lassen: Tamuras Untersuchungen führen von Köln (Deutschland) nach Antsiranana (Madagaskar) und Tanegashima (Japan); während Walch Addis Abeba (Äthiopien), Tokio (Japan) und Marathon (Griechenland) aufsucht. „Marking Triangles“ steht auch in Zusammenhang mit dem klassischen Verfahren der Dreiecksmessung, der Triangulation, einer Messtechnik, die vor allem der Landvermessung und der Kartographie dient. Sie ermöglicht es, auch unbekannte oder unzugängliche Orte durch genaue Winkelmessung innerhalb von Dreiecken zu errechnen. Yuichiro Tamura und Raul Walch interessieren sich für ihnen noch unbekannte Orte, abseits ihrer üblichen Bezugssysteme. (...) Raul Walch und Yuichiro Tamura halten auf ihren Reisen ganz bewusst Ausschau nach Bedeutungsträgern und Fundstücken, die über Knotenpunkte verschiedener Geschichten Zeugnis ablegen. Wenn sie uns Objekte, Bilder oder Videos mitbringen und uns die Geschichten anderer Orte vorstellen, verweben sie ganz aktiv diese Geschichtsfäden. Sie bedienen sich mitunter einer Art „Show and Tell“-Methode. „Show and Tell“ ist eine didaktische Übung und Grundlage für Vortragstechniken und das Erzählen, deren Ausgangspunkt stets das Zeigen von Objekten ist, anhand derer sich die Geschichte entspinnt. In variierender Anlehnung an diese Technik lädt Yuichiro Tamura das Publikum mit einer „Show and Smell“-Übung ein, in eine Geschichte einzutauchen, in der er Köln als Ort dieser Ausstellung in Dreiecksbeziehung zu Portugal und Japan setzt. Köln, Deutschland Like a Smell of Teen Spirit (2017) ist der Titel Tamuras Arbeit, die subtil Kräuter- und Zitrusaromen im Ausstellungsraum verbreitet. Zwei unterschiedliche Flakons des Echt Kölnisch Wasser laden zur Duftprobe ein. Bekannt als 4711, wird das Parfum ursprünglich nach der Konskriptionsnummer (einer Hausnummer, die nicht immer Rückschlüsse auf die örtliche Lage eines Gebäudes zulässt, sondern vorrangig nach anderen, häufig verwaltungs-dienlichen Kriterien vergeben wurde) des Stammhauses in der Glockengasse in Köln benannt. Das Original Eau de Cologne wird auch in Japan vertrieben, doch es riecht anders. Tamura lässt diesen Eindruck durch ein japanisches Labor überprüfen und bestätigen. Der Duft für den japanischen Markt wurde in Deutschland entwickelt und hergestellt und führt zusätzlich die Bezeichnung „Portugal“ auf dem Etikett. Was den Künstler fasziniert, ist die Frage, warum ein deutsches Team eine andere Duftnote für die japanischen olfaktorischen Gewohnheiten komponiert. Was veranlasst sie zu bestimmen, was in Japan als angenehmerer Duft empfunden wird? Welche Vorstellung von „dem anderem“ liegen zugrunde und welche Konditionierungen dessen, was als „exotisch“ wahrgenommen wird? Eine Ortsbestimmung in umgekehrte Richtung: Deutsche Entwickler, die sich gedanklich nach Japan versetzen, um sich eine Vorstellung von „dem anderem“ zu machen: Wir können nur annehmen, dass der japanische Produktname „Portugal“ den Geruch entfernter Länder, eine Note von Orangen und Mandarinen, und die Vorstellung von Reisen über die Weiten des Ozeans heraufbeschwören soll. Und wieder sind wir bei der Geschichte der Entdeckungsreisen angelangt und damit bei der Geschichte der großen Seefahrernationen, in diesem Falle der Portugiesen. Es war Diogo Dias, der angeblich als erster Europäer 1500 seinen Fuß auf madagassischen Boden setzt, als sein Schiff auf der Gewürzhandelsroute nach Indien vom Kurs abgerät, und sein Landsmann Diégo Suarez, der 1543 in Madagaskar anläuft und nach dem die dortige Hafenstadt benannt wird, obwohl die Insel letztendlich nicht portugiesisch kolonialisiert wird. Doch die Geschichte endet nicht hier. (...) Addis Abeba, Äthiopien Und wieder brechen wir – dieses Mal mit Raul Walch – von Berlin aus auf: Er reist 2016 erneut nach Addis Abeba, Äthiopien. Dort stößt er auf eine weitere Dreiecksbeziehung, angestoßen durch ein verlassenes Denkmal: Es ist die Statue des äthiopischen Marathonläufers Abebe Bikila auf dem St.-Joseph-Friedhof der äthiopischen Hauptstadt. Bikila gewinnt am 12. September 1960 bei den Olympischen Spielen in Rom als erster schwarzafrikanischer Olympiasieger die Goldmedaille und legt die Strecke mit 2:15:16 Stunden in neuer Weltbestzeit als einziger Athlet barfuß zurück. Sein Sieg wird zum Triumph für einen ganzen Kontinent und es gelingt ihm 1964 seinen Olympiatriumph in Tokio zu wiederholen. Als die Statue des Athleten auf dem Friedhof in Addis Abeba 2007 von Unbekannten mutwillig beschädigt wird, sind es ein japanischer Sportfotograf und der Direktor der japanischen Bildagentur Agence Shot in Tokio, die eine Fundraising-Kampagne organisierten. Drei Jahre nach der Beschädigung wird die restaurierte Statue wieder enthüllt. Heute jedoch ist der Friedhof neuen urbanen Strukturprojekten zum Opfer gefallen. Nur die Skulptur von Abebe Bikila trotzt den Veränderungen, unbeirrt scheint er seine Strecken zurückzulegen. Ebenso wie die Läufer in Raul Walchs Film In The Loneliness of the Long-Distance Runner (2017), die inmitten der Stadt auf dem Meskel Square – dem zentralen öffentlichen Platz in Addis Abeba – auf den Stufen trainieren, unberührt vom Verkehr, dem Bau der neuen Hochbahn und dem alltäglichen Betrieb rund um den Platz. Tokio, Japan, und Marathon, Griechenland Walch verschränkt im Film und der gleichnamigen Installation Bilder aus Addis Abeba mit Aufnahmen aus Tokio, rund um die besagte Olympia-Strecke. Und er reist zurück an den Ursprungsort der läuferischen Disziplin – nach Marathon in Griechenland. Er vermisst Distanzen, die im Sport physisch zurückgelegt werden filmisch, folgt Bewegungen der Menschen, dem Verkehrsfluss in den jeweiligen Städten. Das Überbringen von Nachrichten, das dem Mythos des Marathons zugrunde liegt, löst sich in der Durchkreuzung von Zeit und Raumachsen auf, wenn der Künstler visuell Eindrücke städtischer Strukturen in Addis Abeba, Tokio und Marathon verwebt, die sich ähneln und überlagern. Erkennen und Vergleichen wird zu einer Meditation über das Verbindende zwischen weit entfernten Orten. (...) Textauszug NOWs: Publikation Tamura Yuichiro & Raul Walch: Marking Triangles Herausgeber: Japanischen Kulturinstitut / The Japan Foundation, Köln im Rahmen der deutsch-japanischen Dialogausstellung Marking Triangles Gestaltung: Alexandra Bruns Text: Christina Werner Sprachen: Deutsch / Japanisch Umfang 160 Seiten „Marking Triangles“ – Eine Reiseerzählung Drei Punkte auf einer Fläche zu markieren und zu definieren, ermöglicht sie in Beziehung zueinander zu setzen. Yuichiro Tamura und Raul Walch stellen in „Marking Triangles“ Bezüge rund um den Globus her. Für diese Ausstellung verbinden sie – nur auf den ersten Blick willkürlich ausgewählte – Orte entlang ihrer Reiserouten durch Europa, Asien und Afrika. Es sind weitgespannte Dreieckskonstellationen, die sich über drei Kontinente auffächern und in verschiedenster Weise miteinander verbinden lassen: Tamuras Untersuchungen führen von Köln (Deutschland) nach Antsiranana (Madagaskar) und Tanegashima (Japan); während Walch Addis Abeba (Äthiopien), Tokio (Japan) und Marathon (Griechenland) aufsucht. Expand... Drei Punkte auf einer Fläche zu markieren und zu definieren, ermöglicht sie in Beziehung zueinander zu setzen. Yuichiro Tamura und Raul Walch stellen in „Marking Triangles“ Bezüge rund um den Globus her. Für diese Ausstellung verbinden sie – nur auf den ersten Blick willkürlich ausgewählte – Orte entlang ihrer Reiserouten durch Europa, Asien und Afrika. Es sind weitgespannte Dreieckskonstellationen, die sich über drei Kontinente auffächern und in verschiedenster Weise miteinander verbinden lassen: Tamuras Untersuchungen führen von Köln (Deutschland) nach Antsiranana (Madagaskar) und Tanegashima (Japan); während Walch Addis Abeba (Äthiopien), Tokio (Japan) und Marathon (Griechenland) aufsucht. „Marking Triangles“ steht auch in Zusammenhang mit dem klassischen Verfahren der Dreiecksmessung, der Triangulation, einer Messtechnik, die vor allem der Landvermessung und der Kartographie dient. Sie ermöglicht es, auch unbekannte oder unzugängliche Orte durch genaue Winkelmessung innerhalb von Dreiecken zu errechnen. Yuichiro Tamura und Raul Walch interessieren sich für ihnen noch unbekannte Orte, abseits ihrer üblichen Bezugssysteme. (...) Raul Walch und Yuichiro Tamura halten auf ihren Reisen ganz bewusst Ausschau nach Bedeutungsträgern und Fundstücken, die über Knotenpunkte verschiedener Geschichten Zeugnis ablegen. Wenn sie uns Objekte, Bilder oder Videos mitbringen und uns die Geschichten anderer Orte vorstellen, verweben sie ganz aktiv diese Geschichtsfäden. Sie bedienen sich mitunter einer Art „Show and Tell“-Methode. „Show and Tell“ ist eine didaktische Übung und Grundlage für Vortragstechniken und das Erzählen, deren Ausgangspunkt stets das Zeigen von Objekten ist, anhand derer sich die Geschichte entspinnt. In variierender Anlehnung an diese Technik lädt Yuichiro Tamura das Publikum mit einer „Show and Smell“-Übung ein, in eine Geschichte einzutauchen, in der er Köln als Ort dieser Ausstellung in Dreiecksbeziehung zu Portugal und Japan setzt. Köln, Deutschland Like a Smell of Teen Spirit (2017) ist der Titel Tamuras Arbeit, die subtil Kräuter- und Zitrusaromen im Ausstellungsraum verbreitet. Zwei unterschiedliche Flakons des Echt Kölnisch Wasser laden zur Duftprobe ein. Bekannt als 4711, wird das Parfum ursprünglich nach der Konskriptionsnummer (einer Hausnummer, die nicht immer Rückschlüsse auf die örtliche Lage eines Gebäudes zulässt, sondern vorrangig nach anderen, häufig verwaltungs-dienlichen Kriterien vergeben wurde) des Stammhauses in der Glockengasse in Köln benannt. Das Original Eau de Cologne wird auch in Japan vertrieben, doch es riecht anders. Tamura lässt diesen Eindruck durch ein japanisches Labor überprüfen und bestätigen. Der Duft für den japanischen Markt wurde in Deutschland entwickelt und hergestellt und führt zusätzlich die Bezeichnung „Portugal“ auf dem Etikett. Was den Künstler fasziniert, ist die Frage, warum ein deutsches Team eine andere Duftnote für die japanischen olfaktorischen Gewohnheiten komponiert. Was veranlasst sie zu bestimmen, was in Japan als angenehmerer Duft empfunden wird? Welche Vorstellung von „dem anderem“ liegen zugrunde und welche Konditionierungen dessen, was als „exotisch“ wahrgenommen wird? Eine Ortsbestimmung in umgekehrte Richtung: Deutsche Entwickler, die sich gedanklich nach Japan versetzen, um sich eine Vorstellung von „dem anderem“ zu machen: Wir können nur annehmen, dass der japanische Produktname „Portugal“ den Geruch entfernter Länder, eine Note von Orangen und Mandarinen, und die Vorstellung von Reisen über die Weiten des Ozeans heraufbeschwören soll. Und wieder sind wir bei der Geschichte der Entdeckungsreisen angelangt und damit bei der Geschichte der großen Seefahrernationen, in diesem Falle der Portugiesen. Es war Diogo Dias, der angeblich als erster Europäer 1500 seinen Fuß auf madagassischen Boden setzt, als sein Schiff auf der Gewürzhandelsroute nach Indien vom Kurs abgerät, und sein Landsmann Diégo Suarez, der 1543 in Madagaskar anläuft und nach dem die dortige Hafenstadt benannt wird, obwohl die Insel letztendlich nicht portugiesisch kolonialisiert wird. Doch die Geschichte endet nicht hier. (...) Addis Abeba, Äthiopien Und wieder brechen wir – dieses Mal mit Raul Walch – von Berlin aus auf: Er reist 2016 erneut nach Addis Abeba, Äthiopien. Dort stößt er auf eine weitere Dreiecksbeziehung, angestoßen durch ein verlassenes Denkmal: Es ist die Statue des äthiopischen Marathonläufers Abebe Bikila auf dem St.-Joseph-Friedhof der äthiopischen Hauptstadt. Bikila gewinnt am 12. September 1960 bei den Olympischen Spielen in Rom als erster schwarzafrikanischer Olympiasieger die Goldmedaille und legt die Strecke mit 2:15:16 Stunden in neuer Weltbestzeit als einziger Athlet barfuß zurück. Sein Sieg wird zum Triumph für einen ganzen Kontinent und es gelingt ihm 1964 seinen Olympiatriumph in Tokio zu wiederholen. Als die Statue des Athleten auf dem Friedhof in Addis Abeba 2007 von Unbekannten mutwillig beschädigt wird, sind es ein japanischer Sportfotograf und der Direktor der japanischen Bildagentur Agence Shot in Tokio, die eine Fundraising-Kampagne organisierten. Drei Jahre nach der Beschädigung wird die restaurierte Statue wieder enthüllt. Heute jedoch ist der Friedhof neuen urbanen Strukturprojekten zum Opfer gefallen. Nur die Skulptur von Abebe Bikila trotzt den Veränderungen, unbeirrt scheint er seine Strecken zurückzulegen. Ebenso wie die Läufer in Raul Walchs Film In The Loneliness of the Long-Distance Runner (2017), die inmitten der Stadt auf dem Meskel Square – dem zentralen öffentlichen Platz in Addis Abeba – auf den Stufen trainieren, unberührt vom Verkehr, dem Bau der neuen Hochbahn und dem alltäglichen Betrieb rund um den Platz. Tokio, Japan, und Marathon, Griechenland Walch verschränkt im Film und der gleichnamigen Installation Bilder aus Addis Abeba mit Aufnahmen aus Tokio, rund um die besagte Olympia-Strecke. Und er reist zurück an den Ursprungsort der läuferischen Disziplin – nach Marathon in Griechenland. Er vermisst Distanzen, die im Sport physisch zurückgelegt werden filmisch, folgt Bewegungen der Menschen, dem Verkehrsfluss in den jeweiligen Städten. Das Überbringen von Nachrichten, das dem Mythos des Marathons zugrunde liegt, löst sich in der Durchkreuzung von Zeit und Raumachsen auf, wenn der Künstler visuell Eindrücke städtischer Strukturen in Addis Abeba, Tokio und Marathon verwebt, die sich ähneln und überlagern. Erkennen und Vergleichen wird zu einer Meditation über das Verbindende zwischen weit entfernten Orten. (...) Textauszug

NOWs: Mea Culpa by Santiago Sierra

28 March - 04 June 2017 / Nows ⟶

NOWs: SANTIAGO SIERRA: MEA CULPA OPENING AND PERFORMANCE (BY INVITATION) 28th March 2017, 7:00-9:00 p.m. at PAC Padiglione d’Arte Contemporanea Milan PAC Padiglione d’Arte Contemporanea, Milan, presents MEA CULPA, the first extended Italian anthology dedicated to conceptual artist Santiago Sierra, born in 1966 in Madrid. The exhibition offers a comprehensive overview of the artist‘s most iconic political works from the 1990s to date. It also features newly produced works and reactivations of past installations and actions. Promoted by the Municipality of Milan and produced by the PAC with Silvana Editoriale, the exhibition is curated by Lutz Henke and Diego Sileo and will open Milano Art Week 2017. INFO www.pacmilano.it T. +39 02 88446359 SOCIAL @pacmilano #santiagoserra #meaculpa Mea Culpa? There is no absolution for Art I confess ..., that things do not look bright in early 2017. We witness the proliferation of autocratic systems, rising nationalism and populism, walled in nation states, and unfettered capitalism in daily disbelief. With the world seemingly falling apart to the tune of barking hate speech and fake news there are manifold suggestions who or what is to blame for the distress. Yet salvation is not in sight. ... Text by Lutz Henke - Expand... I confess ..., that things do not look bright in early 2017. We witness the proliferation of autocratic systems, rising nationalism and populism, walled in nation states, and unfettered capitalism in daily disbelief. With the world seemingly falling apart to the tune of barking hate speech and fake news there are manifold suggestions who or what is to blame for the distress. Yet salvation is not in sight. Just now, in times of uncertainty, the idea of a higher power granting absolution to the faithful appears all the more seductive. With the Confiteor of the Catholic Church this belief has been collectively practiced during the Sacrament of Penance and Reconciliation for centuries. If nowadays - as frequently elaborated - art is indeed our new religion, can quasi-messianic artists save their followers or bear the sins of our world? Certainly not. Could, however, the idea of penance and confession of guilt as expressed in „Mea Culpa“ apply to artists, such as Santiago Sierra, thus striving for absolution by conceding to have „greatly sinned“ in thoughts, words and deeds? Unthinkable! It would reduce his works to absurdity. If we expect art to assume a rather social than ornamental function in our societies it is indispensable that artistic practice is pure and occasionally transgressive. With his conceptual pieces, many of them actions and interventions which directly engage with our reality, Sierra has exercised this idea for almost three decades. He exposed and criticized the social and political conditions of modern society along with their respective power structures, be it nation states and border-regimes, globalized capitalism, the art world itself or the institution of the church. Interventions like the projection of a gigantic „NO“ above the pope during a pontifical mass in Madrid dispel any suspicion of religiosity. Yet, the topos of imposed guilt, for the victim an „internalized form of punishment“ (Interviews, Martinez, 2003, p.66), appears frequently in Sierra‘s oeuvre who at the same time adopts and criticizes its religious origin: It can be found in the use of the capirote (the pointed conical hat used by religious brotherhoods to publicly expose criminals confessing their sins) in pieces such as „The Anarchists“, who were paid to listen to the pope‘s Christmas address, as well as in various performances of - in Sierra‘s understanding - workers like veterans or prostitutes silently facing the corners or walls of exhibition spaces. In these intense and ambiguous performances, Sierra exploits the hired unemployed, prostitutes or immigrants carrying out pointless work, while at the same time revealing their situation and giving them a voice to be heard. Their visual language, their complex and powerful symbolism as well as the anchoring in peoples reality provides them with a rare emotional impact. Sierra bluntly unveils a system we cannot escape, a system which he self-evidently forms part of. His performances can be understood as an inherent call for action or for civil disobedience, but they are also the works he - as the bearer of bad news - has been most criticized for. As the messenger of the bleak truth of our times Sierra frequently has been accused of cynicism. He is right to recognize a certain hypocrisy of the elitist art world in this accusation as he explains: „To me it seems much more ethical, much clearer, to reveal your own participation in a work, what your role is, than to hide it. I could have called „250 cm Line Tattooed on 6 Paid People“ „Boys from Havana“. That would have been cynical, indeed.“ (Interviews, p. 234) Consequently, the titles of Sierra‘s pieces are highly descriptive and carefully avoid any misinterpretation or poetic ambition, providing merely the most prosaic and necessary information on the actions: „Container in Space“, „300 Tons“, „The Punished“, „3.000 holes of 180 x 50 x 50 cm each“, „Black Flag“ and so on. It therefore was a curatorial decision and joined effort to convince Sierra to name the exhibition „Mea Culpa“ which in many ways contradicts his artistic practice. Nevertheless, this provocation has proven to be fruitful, to rise critical disbelief and foster discussions before the show even opened. It picks one of the many possible perspectives on Sierra‘s practice, expands the view on it beyond the obvious, and delivers first questions approaching his works: Why do the veterans deserve to be standing facing a corner if they are only small cogs in the big machinery of wars and why did they agree to participate in the first place? Are junkies and prostitutes to be condemned for their situation? Can we distinguish between our personal guilt as individuals and the guilt of the power-structures we cannot escape? Does the Catholic Church still define our moral values and the definition of guilt? Is Sierra to be blamed to benefit from our capitalist reality or to be hailed to make it comprehensible? Is our world ruled by means of imposing guilt through punishment and work? Should art be allowed to cause inconvenient irritations in public life such as causing a traffic jam on a highway in Mexico City by blocking it with a truck‘s trailer? Obviously, there are no easy or quick answers to these questions. The topic of guilt is as complex as Sierra‘s whole oeuvre. Therefore the exhibition encourages different readings rather than giving definite answers. It offers a dialogue instead of an imposed teaching ex cathedra. Hence, this catalogue attempts to personalize some of the pieces instead of reproducing analytical texts. It contains excerpts from interviews given by Sierra within the last fifteen years as well as specifically conducted conversations with protagonists involved or confronted with his works. Exemplarily, they add various individual perspectives on the artist‘s practice. This approach equally can be found in the exhibition itself in the form of Sierra‘s video „20 workers in a ship‘s hold“: It features a participant of said action commenting on it meandering between accusation and contentment to emerge from invisibility. We catch one glimpse of a multi-perspective reality which is far from being exhaustive. It is fundamental that Sierra does not confine himself to only criticize or observe power structures. On the contrary: He interferes with these systems beyond the role of a mere spectator and renders them visible for us to not only theoretically understand but to comprehend their ramifications and our own role therein. There aren‘t many artworks to be found in today‘s museums which bear the immediate potential to leave the spectator quivering with emotion. This rare quality of Sierra‘s pieces arises from their ability to systematically overcome the protected art space engaging with a less predictable reality. Subsequently, he employs a broad range of artistic strategies and techniques to capture fractions of these actions in order to transfer them to the exhibition space: they emerge in a broad variety of media from photo and video to sculpture, installation and performance oscillating between the utmost minimalist form and the most graphic depiction. It therefore is crucial to be aware that the exhibition gathers reflections or relics of the original happenings rather than objects which deliberately have been conceived to compose an artwork. They capture unadorned fragments without striving for perfection. Yet, they all share the potential to unfold and point to the profound conversation Sierra has with the world. The currentness and foresight of Sierra‘s work from the past three decades is almost disturbing, thus makes it more relevant than ever. None of the early actions which will be reactivated in the course of „Mea Culpa“ has lost its relevance or original potential. At the same time the exhibition took advantage of its rather tight planning schedule. It could be compiled taking into account recent political issues and events. After first considerations to focus exclusively on the less known, more subtle and minimalist - but nonetheless powerful - pieces in Sierra‘s oeuvre it quickly became clear that in times of political turmoil and „alternative facts“, the opposite would be desirable. The exhibition therefore evolved towards bringing together works such as „Los Encargados“, which aims at the role - maybe guilt - of political leaders and is described by Sierra as an attempt „to strike back at the propaganda machinery that we’ve been enduring as long as we can remember. It’s a rematch; it’s counter-propaganda.“ (Interviews, Jarque, 2013, 243) After all the exhibition „Mea Culpa“ forms a comprehensive overview of Sierra‘s work and his pieces which unveil the social and political conditions of our modern society. They stimulate their contemplation and foster a discourse. By no means are they finger-pointing accusations nor confessions of guilt. Instead they point beyond the art world to a complex reality. Through their ambiguity between a seemingly simple appearance and a complex symbolism Sierra‘s works invite a dialogue. They embody his conversation with the world. Moreover, they teach us that nobody can escape the system of exploitation. So, yes, Sierra is just as guilty as each and everyone of us. We, „the world of culture, are on the winning team, we are, surprise, the exploiters.“, as Sierra states. Art might help us to internalize this thought, maybe even take action. There is no need to confess the outspoken and there is no reason for art to strive for absolution. Text by Lutz Henke NOWs: SANTIAGO SIERRA: MEA CULPA OPENING AND PERFORMANCE (BY INVITATION) 28th March 2017, 7:00-9:00 p.m. at PAC Padiglione d’Arte Contemporanea Milan PAC Padiglione d’Arte Contemporanea, Milan, presents MEA CULPA, the first extended Italian anthology dedicated to conceptual artist Santiago Sierra, born in 1966 in Madrid. The exhibition offers a comprehensive overview of the artist‘s most iconic political works from the 1990s to date. It also features newly produced works and reactivations of past installations and actions. Promoted by the Municipality of Milan and produced by the PAC with Silvana Editoriale, the exhibition is curated by Lutz Henke and Diego Sileo and will open Milano Art Week 2017. INFO www.pacmilano.it T. +39 02 88446359 SOCIAL @pacmilano #santiagoserra #meaculpa Mea Culpa? There is no absolution for Art I confess ..., that things do not look bright in early 2017. We witness the proliferation of autocratic systems, rising nationalism and populism, walled in nation states, and unfettered capitalism in daily disbelief. With the world seemingly falling apart to the tune of barking hate speech and fake news there are manifold suggestions who or what is to blame for the distress. Yet salvation is not in sight. ... Text by Lutz Henke - Expand... I confess ..., that things do not look bright in early 2017. We witness the proliferation of autocratic systems, rising nationalism and populism, walled in nation states, and unfettered capitalism in daily disbelief. With the world seemingly falling apart to the tune of barking hate speech and fake news there are manifold suggestions who or what is to blame for the distress. Yet salvation is not in sight. Just now, in times of uncertainty, the idea of a higher power granting absolution to the faithful appears all the more seductive. With the Confiteor of the Catholic Church this belief has been collectively practiced during the Sacrament of Penance and Reconciliation for centuries. If nowadays - as frequently elaborated - art is indeed our new religion, can quasi-messianic artists save their followers or bear the sins of our world? Certainly not. Could, however, the idea of penance and confession of guilt as expressed in „Mea Culpa“ apply to artists, such as Santiago Sierra, thus striving for absolution by conceding to have „greatly sinned“ in thoughts, words and deeds? Unthinkable! It would reduce his works to absurdity. If we expect art to assume a rather social than ornamental function in our societies it is indispensable that artistic practice is pure and occasionally transgressive. With his conceptual pieces, many of them actions and interventions which directly engage with our reality, Sierra has exercised this idea for almost three decades. He exposed and criticized the social and political conditions of modern society along with their respective power structures, be it nation states and border-regimes, globalized capitalism, the art world itself or the institution of the church. Interventions like the projection of a gigantic „NO“ above the pope during a pontifical mass in Madrid dispel any suspicion of religiosity. Yet, the topos of imposed guilt, for the victim an „internalized form of punishment“ (Interviews, Martinez, 2003, p.66), appears frequently in Sierra‘s oeuvre who at the same time adopts and criticizes its religious origin: It can be found in the use of the capirote (the pointed conical hat used by religious brotherhoods to publicly expose criminals confessing their sins) in pieces such as „The Anarchists“, who were paid to listen to the pope‘s Christmas address, as well as in various performances of - in Sierra‘s understanding - workers like veterans or prostitutes silently facing the corners or walls of exhibition spaces. In these intense and ambiguous performances, Sierra exploits the hired unemployed, prostitutes or immigrants carrying out pointless work, while at the same time revealing their situation and giving them a voice to be heard. Their visual language, their complex and powerful symbolism as well as the anchoring in peoples reality provides them with a rare emotional impact. Sierra bluntly unveils a system we cannot escape, a system which he self-evidently forms part of. His performances can be understood as an inherent call for action or for civil disobedience, but they are also the works he - as the bearer of bad news - has been most criticized for. As the messenger of the bleak truth of our times Sierra frequently has been accused of cynicism. He is right to recognize a certain hypocrisy of the elitist art world in this accusation as he explains: „To me it seems much more ethical, much clearer, to reveal your own participation in a work, what your role is, than to hide it. I could have called „250 cm Line Tattooed on 6 Paid People“ „Boys from Havana“. That would have been cynical, indeed.“ (Interviews, p. 234) Consequently, the titles of Sierra‘s pieces are highly descriptive and carefully avoid any misinterpretation or poetic ambition, providing merely the most prosaic and necessary information on the actions: „Container in Space“, „300 Tons“, „The Punished“, „3.000 holes of 180 x 50 x 50 cm each“, „Black Flag“ and so on. It therefore was a curatorial decision and joined effort to convince Sierra to name the exhibition „Mea Culpa“ which in many ways contradicts his artistic practice. Nevertheless, this provocation has proven to be fruitful, to rise critical disbelief and foster discussions before the show even opened. It picks one of the many possible perspectives on Sierra‘s practice, expands the view on it beyond the obvious, and delivers first questions approaching his works: Why do the veterans deserve to be standing facing a corner if they are only small cogs in the big machinery of wars and why did they agree to participate in the first place? Are junkies and prostitutes to be condemned for their situation? Can we distinguish between our personal guilt as individuals and the guilt of the power-structures we cannot escape? Does the Catholic Church still define our moral values and the definition of guilt? Is Sierra to be blamed to benefit from our capitalist reality or to be hailed to make it comprehensible? Is our world ruled by means of imposing guilt through punishment and work? Should art be allowed to cause inconvenient irritations in public life such as causing a traffic jam on a highway in Mexico City by blocking it with a truck‘s trailer? Obviously, there are no easy or quick answers to these questions. The topic of guilt is as complex as Sierra‘s whole oeuvre. Therefore the exhibition encourages different readings rather than giving definite answers. It offers a dialogue instead of an imposed teaching ex cathedra. Hence, this catalogue attempts to personalize some of the pieces instead of reproducing analytical texts. It contains excerpts from interviews given by Sierra within the last fifteen years as well as specifically conducted conversations with protagonists involved or confronted with his works. Exemplarily, they add various individual perspectives on the artist‘s practice. This approach equally can be found in the exhibition itself in the form of Sierra‘s video „20 workers in a ship‘s hold“: It features a participant of said action commenting on it meandering between accusation and contentment to emerge from invisibility. We catch one glimpse of a multi-perspective reality which is far from being exhaustive. It is fundamental that Sierra does not confine himself to only criticize or observe power structures. On the contrary: He interferes with these systems beyond the role of a mere spectator and renders them visible for us to not only theoretically understand but to comprehend their ramifications and our own role therein. There aren‘t many artworks to be found in today‘s museums which bear the immediate potential to leave the spectator quivering with emotion. This rare quality of Sierra‘s pieces arises from their ability to systematically overcome the protected art space engaging with a less predictable reality. Subsequently, he employs a broad range of artistic strategies and techniques to capture fractions of these actions in order to transfer them to the exhibition space: they emerge in a broad variety of media from photo and video to sculpture, installation and performance oscillating between the utmost minimalist form and the most graphic depiction. It therefore is crucial to be aware that the exhibition gathers reflections or relics of the original happenings rather than objects which deliberately have been conceived to compose an artwork. They capture unadorned fragments without striving for perfection. Yet, they all share the potential to unfold and point to the profound conversation Sierra has with the world. The currentness and foresight of Sierra‘s work from the past three decades is almost disturbing, thus makes it more relevant than ever. None of the early actions which will be reactivated in the course of „Mea Culpa“ has lost its relevance or original potential. At the same time the exhibition took advantage of its rather tight planning schedule. It could be compiled taking into account recent political issues and events. After first considerations to focus exclusively on the less known, more subtle and minimalist - but nonetheless powerful - pieces in Sierra‘s oeuvre it quickly became clear that in times of political turmoil and „alternative facts“, the opposite would be desirable. The exhibition therefore evolved towards bringing together works such as „Los Encargados“, which aims at the role - maybe guilt - of political leaders and is described by Sierra as an attempt „to strike back at the propaganda machinery that we’ve been enduring as long as we can remember. It’s a rematch; it’s counter-propaganda.“ (Interviews, Jarque, 2013, 243) After all the exhibition „Mea Culpa“ forms a comprehensive overview of Sierra‘s work and his pieces which unveil the social and political conditions of our modern society. They stimulate their contemplation and foster a discourse. By no means are they finger-pointing accusations nor confessions of guilt. Instead they point beyond the art world to a complex reality. Through their ambiguity between a seemingly simple appearance and a complex symbolism Sierra‘s works invite a dialogue. They embody his conversation with the world. Moreover, they teach us that nobody can escape the system of exploitation. So, yes, Sierra is just as guilty as each and everyone of us. We, „the world of culture, are on the winning team, we are, surprise, the exploiters.“, as Sierra states. Art might help us to internalize this thought, maybe even take action. There is no need to confess the outspoken and there is no reason for art to strive for absolution. Text by Lutz Henke

NOWs: Samsa, Samsa, Samsa by Leon Eixenberger & Kat Válastur

29 March - 02 April 2017 / Nows ⟶

NOWs: Samsa, Samsa, Samsa by Leon Eixenberger & Kat Válastur at HAU HEBBEL AM UFER Opening: 29.3. from 19h – 20h, HAU 2 (second floor) Opening hours: 29.3., 31.3, 1.4. & 2.4. 19h – 20h & 21h – 22h The installation is as part of Kat Válatur’s retrospective „We were better in the future“. The installation is accessible for free, tickets to the performances are available here. The traveler revisits a deconstructed landscape and faces the bones of the past in a new ground and time. Natural elements and objects are reassembled in new ways forming a new use. Material and bodies are exposed to dimensions and dimensions are elevated to deeper and more complex systems of cosmologies. Structures are used to stimulate the traveler´s cocoon like a charger of transformative power. The meaning of the clock falls into an abstract assemblage of annual growth rings, exceptional fossils are detached from the soil and the food becomes monolithic. Leon Eixenberger & Kat Válastur — NOWs: Samsa, Samsa, Samsa by Leon Eixenberger & Kat Válastur at HAU HEBBEL AM UFER Opening: 29.3. from 19h – 20h, HAU 2 (second floor) Opening hours: 29.3., 31.3, 1.4. & 2.4. 19h – 20h & 21h – 22h The installation is as part of Kat Válatur’s retrospective „We were better in the future“. The installation is accessible for free, tickets to the performances are available here. The traveler revisits a deconstructed landscape and faces the bones of the past in a new ground and time. Natural elements and objects are reassembled in new ways forming a new use. Material and bodies are exposed to dimensions and dimensions are elevated to deeper and more complex systems of cosmologies. Structures are used to stimulate the traveler´s cocoon like a charger of transformative power. The meaning of the clock falls into an abstract assemblage of annual growth rings, exceptional fossils are detached from the soil and the food becomes monolithic. Leon Eixenberger & Kat Válastur —

NOWs: Malte Bartsch

01 March 2017 / Nows ⟶

NOWs: vg stipendium 2017

11 March - 07 May 2017 ⟶

NOWs: vg stipendium 2017 Kestner Gesellschaft Eröffnung 10. März 2017, 19 Uhr Es sprechen: Dr. Arta Valstar-Verhoff, Stiftung Vordemberge-Gildewart Christina Végh, Direktorin Kestner Gesellschaft Elmas Senol, Kuratorin Kestner Gesellschaft Künstlerinnen und Künstler sind anwesend. Künstlerinnen und Künstler: Katja Aufleger | Malte Bartsch | Feminist Land Art Retreat | Geritt Frohne-Brinkmann | Toulu Hassani | Verena Issel | Delia Jürgens | Annika Kahrs | Lucas Odahara | Claudia Piepenbrock | Max Schaffer | Timur Yüksel In den unteren Räumen der Kestner Gesellschaft bringt die Gruppenausstellung “VG Stipendium 2017” zwölf junge künstlerische Positionen aus den Bereichen Malerei, Fotografie, Installation, Performance und Videokunst zusammen und bietet einen breitgefächerten Überblick über aktuellen norddeutschen Kunstszene. Aus den zwölf Nominierten wählt die Stiftungsjury einen Preisträger aus. Die Jury besteht aus einem internationalen Team an Kuratoren, Kunsthistorikern, Künstlern und Galeristen. Das VG Stipendium ist mit 60.000 CHF eine der höchstdotierten Auszeichnungen für europäische Nachwuchsförderung. NOWs: vg stipendium 2017 Kestner Gesellschaft Eröffnung 10. März 2017, 19 Uhr Es sprechen: Dr. Arta Valstar-Verhoff, Stiftung Vordemberge-Gildewart Christina Végh, Direktorin Kestner Gesellschaft Elmas Senol, Kuratorin Kestner Gesellschaft Künstlerinnen und Künstler sind anwesend. Künstlerinnen und Künstler: Katja Aufleger | Malte Bartsch | Feminist Land Art Retreat | Geritt Frohne-Brinkmann | Toulu Hassani | Verena Issel | Delia Jürgens | Annika Kahrs | Lucas Odahara | Claudia Piepenbrock | Max Schaffer | Timur Yüksel In den unteren Räumen der Kestner Gesellschaft bringt die Gruppenausstellung “VG Stipendium 2017” zwölf junge künstlerische Positionen aus den Bereichen Malerei, Fotografie, Installation, Performance und Videokunst zusammen und bietet einen breitgefächerten Überblick über aktuellen norddeutschen Kunstszene. Aus den zwölf Nominierten wählt die Stiftungsjury einen Preisträger aus. Die Jury besteht aus einem internationalen Team an Kuratoren, Kunsthistorikern, Künstlern und Galeristen. Das VG Stipendium ist mit 60.000 CHF eine der höchstdotierten Auszeichnungen für europäische Nachwuchsförderung.

NOWs: ğ – queer forms migrate

03 March - 29 May 2017 / Nows ⟶

NOWs: Nilbar Güreş, Rose of Sapatão, 2015. Courtesy of the artist, RAMPA Istanbul, and Martin Janda. Photo: CHROMA Istanbul. ğ – queer forms migrate Opening: March 2, 7pm Schwules Museum* Berlin ğ is a group exhibition bringing together works that follow artistic migration in various directions but specifically explore the transcultural exchange of LGBTIQ+ people between Turkey and Germany; Berlin and Istanbul. This movement is felt as a unique sensibility—a turning, shifting, changing state of mind, whose presence we will accommodate in a prolific metaphor: the letter ğ (soft g). ğ is a Turkish letter and its birth moment in 1928 marks the adoption of the Latin alphabet through the state sanctioned Turkish language reforms. Correctional linguists, working to modernize and westernize the Turkish language predicted the loss of the Arabic letter ghayn, which had no equivalent in the Latin alphabet but was commonly used in the Ottoman Turkish language. They came up with an unprecedented hybrid form: ğ. This letter serves no other purpose than to lengthen the preceding vowel; it cannot be the initial letter of a word and it is never capitalized. Therefore, it is the queerest of the Turkish alphabet. ğ is an oriental sound-letter that migrated to a western body of sorts and consequently we sense in it a curious early twentieth century story of a transitioning body. What if ğ left Turkey to migrate to Germany? What if it seeped through into the German alphabet, escaping from the suitcase of a guest worker from Turkey, one of the hundreds of thousands of laborers who came under the 1961 recruitment agreement? What if it returned to the Motherland after living in Germany for so long to contribute to a new language, in solidarity? Since ğ is an oddity in Germany for most people, every time our names are mispronounced it reminds us of this future language, able to communicate the queer and the power of all things transgressive. We feel queer possibilities in ğ and will present these through diverse media, including painting, performance, photography, sculpture, sound and video. As an expanded exhibition format ğ will seek to focus on initiating new companionships as well as honouring those whose love and work has let our queer souls thrive in Germany, Turkey and beyond. With contributions by Yeşim Akdeniz, Hasan Aksaygın, Mehtap Baydu, Taner Ceylan, Ayşe Erkmen, Masist Gül presented by Banu Cennetoğlu and Philippine Hoegen, Cihangir Gümüştürkmen, Nilbar Güreş, Aykan Safoğlu, Erinç Seymen, Viron Erol Vert, Ming Wong. Curated by Emre Busse and Aykan Safoğlu Exhibition Design: Philip Wiegard The exhibition will be accompanied by an extensive programme of events including lectures, conversations and readings as well as performances, workshops and film screenings with Gülây Akın, Yener Bayramoğlu, Maria Binder, Demet Demir, Elmgreen & Dragset, Ebru Kırancı, ‘Emine’ Sevgi Özdamar, Sabuha Salaam and Salih Alexander Wolter. ğ – soft g – queer forms migrate is supported by the Governing Mayor of Berlin – Senatskanzlei – Kulturelle Angelegenheiten. NOWs: Nilbar Güreş, Rose of Sapatão, 2015. Courtesy of the artist, RAMPA Istanbul, and Martin Janda. Photo: CHROMA Istanbul. ğ – queere Formen migrieren Vernissage: 2. März 2017, 19:00 Uhr Schwules Museum* Berlin Die Gruppenausstellung „ğ – das weiche g“ im Schwulen Museum* versammelt zum ersten Mal in Deutschland Arbeiten, die den transkulturellen Austausch von LSBTIQ*-Menschen zwischen der Türkei und Deutschland, zwischen Berlin und Istanbul zum Inhalt haben und der künstlerischen Migration in allen Richtungen nachgehen. Sie spürt einem für Berlin typischen, queer-migrantischen Gemütszustand nach, den Emre Busse und Aykan Safoğlu im türkischen Buchstaben ğ veranschaulichen – auf Deutsch etwa „das weiche g“. Busse und Safoğlu stammen aus Istanbul und beschäftigen sich in ihrer künstlerischen und kuratorischen Praxis mit queerer Migration, mit marginalisierten sexuellen Identitäten und Körperpolitiken. Der Buchstabe ğ wurde 1928 mit der Schriftreform ins türkische Alphabet aufgenommen, von der an Türkisch mit dem lateinischen Alphabet geschrieben wurde. ğ sollte den im Osmanischen häufig vorkommenden arabischen Laut „Ghain“ wiedergeben, für den es im lateinischen Alphabet keine Entsprechung gibt. Es entstand eine im Türkischen beispiellose hybride Form, deren einzige Funktion ist, den vorherigen Vokal zu dehnen – analog dem Dehnungs-h im Deutschen. Der Buchstabe steht nie am Wortanfang und wird nie großgeschrieben. „ğ ist ein östlicher Laut, der in eine westliche Form schlüpft“, so die Kuratoren. Und was, wenn ğ derweil die Türkei verlassen hat und nach Deutschland migriert ist? Sagen wir, es hätte sich in den Koffer einer Person geschlichen, die wie hunderttausende andere im Nachgang des Anwerbeabkommens von 1961 nach Deutschland gezogen ist, und wäre von dort geflüchtet und hätte sich ins deutsche Alphabet gemengt. Denn ğ ist auch das, was den Zungen der Mehrheitsgesellschaft in Deutschland widerstrebt, ğ ist der am häufigsten falsch ausgesprochene Buchstabe in Deutschland. Nun scheint ğ den Kuratoren dieser Ausstellung eine queere Möglichkeit vorwegzunehmen – und der Wanderung dieser Möglichkeit an ihren Schnittpunkten zwischen Deutschland und der Türkei wollen sie sich schwerpunktmäßig widmen. Denn jede falsche Aussprache von türkischen Namen in Deutschland erinnert an die therapeutische Schönheit des Widerstandes; „ğ – das weiche g“ ist der künstlerische Versuch, dieses Potential im Schwulen Museum* erstmals zu zelebrieren. „ğ – das weiche g“ wird begleitet durch ein umfangreiches Rahmenprogramm aus Vorträgen, Gesprächen und Lesungen sowie Performances, Workshops und Filmvorführungen mit Demet Demir, Gülay Akın, Ebru Kırancı, Elmgreen & Dragset, ‘Emine’ Sevgi Özdamar, Maria Binder, Sabuha Salaam, Salih Wolter und Yener Bayramoğlu. Mit Arbeiten von: Aykan Safoğlu, Ayşe Erkmen, Cihangir Gümüştürkmen, Erinç Seymen, Hasan Aksaygın, Masist Gül präsentiert von Banu Cennetoğlu und Philippine Hoegen, Mehtap Baydu, Ming Wong, Nilbar Güreş, Taner Ceylan, Viron Erol Vert, Yeşim Akdeniz kuratiert von Emre Busse und Aykan Safoğlu Ausstellungsdesign: Philip Wiegard „ğ – das weiche g“ wird unterstützt vom Regierenden Bürgermeister von Berlin –Senatskanzlei – Kulturelle Angelegenheiten.

NOWs: Dickicht. Stage design by Robert Lippok

11 March - 22 April 2017 / Nows ⟶

NOWs: © Ute Langkafel MAIFOTO Dickicht at Maxim Gorki Theater Chaos in the megalopolis of Chicago: Malaysian lumber dealer Shlink enters a public library and wants to buy the opinion of its clerk, George Garga. His refusal starts a battle without rules, without morality, without motive, in which both opponents put everything on the line. Garga loses his workplace because of Shlink, who then forces Garga’s girlfriend and sister into prostitution and sends him to jail. In doing so, he not only ruins Garga’s family financially, but also destroys its cohesion. Garga denounces Shlink for the rape of his sister and begins a campaign to lynch him. It is a battle of life and death, a fight in the jungle in which people only seem to achieve closeness through struggle. Opening night: 11.3.2017 30.3., 19.30 h / 22.4., 19.30 h Adapted from Bertolt Brecht Director Sebastian Baumgarten Stage design Robert Lippok Costumes Jana Findeklee, Joki Tewes Music Stefan Schneider Video Hannah Dörr Dramaturgy Ludwig Haugk TICKETs here. Photos © Ute Langkafel MAIFOTO NOWs: © Ute Langkafel MAIFOTO Dickicht am Maxim Gorki Theater Chaos in der Riesenstadt Chicago: Der malaiische Holzhändler Shlink tritt in eine Leihbibliothek und will die Meinung des Angestellten George Garga über Bücher abkaufen. Es beginnt ein Kampf ohne Regeln, ohne Moral, ohne Motiv, bei dem die beiden Gegner alles aufs Spiel setzen was sie haben. Shlink nimmt Garga den Arbeitsplatz, zwingt seine Freundin und Schwester zur Prostitution und bringt ihn ins Gefängnis. Damit ruiniert er Gargas Familie nicht nur finanziell, sondern zerstört auch ihren Zusammenhalt. Garga zeigt Shlink wegen der Vergewaltigung seiner Schwester an und initiiert eine Lynchaktion. Es ist eine Schlacht auf Leben und Tod, ein Ringen im Dschungel, in dem man sich scheinbar nur im Kampf nah sein kann. Premiere: 11.3.2017 30.3., 19.30 Uhr / 22.4., 19.30 Uhr Nach Bertolt Brecht Regie Sebastian Baumgarten Bühne Robert Lippok Kostüme Jana Findeklee, Joki Tewes Musik Stefan Schneider Video Hannah Dörr Dramaturgie Ludwig Haugk TICKETs hier. Fotos © Ute Langkafel MAIFOTO

NOWs: In a hundred years all will be forgotten by Dan Stockholm

24 February - 16 April 2017 / Nows ⟶

NOWs: Dan Stockholm: By hand, 2016. Red clay (detail) Dan Stockholm In a hundred years all will be forgotten im Kunstverein Wolfsburg Der Umwandlung von Alltäglichem in Kultur und von Gefundenem in Kunst begegnet man im Werk von Dan Stockholm auffallend häufig. Der dänische Künstler ist fasziniert von Orten und Architekturen, denen wie z. B. in der skulpturalen Arbeit „Ewige Flamme“ eine historische Bedeutung und eine narrative Spannung innewohnen, Nicht selten praktiziert er eine künstlerische Form von Archäologie, die intensive Recherchen und die Arbeit mit Objets Trouvés miteinschließt. Dinge, die ihm auffallen, erfahren einen ungewöhnlichen Transformationsprozess. Aus Feuersteinen werden Malwerkzeuge, aus nachleuchtenden Wandteilen in Kriegsbunkern werden monochrome Gemälde und aus dem Boden der Hinrichtungsstätte von dänischen Nazi-Kollaborateuren wird eine glänzende Bodenskulptur. In jüngster Zeit beschäftigte sich Dan Stockholm mit dem Haus seines verstorbenen Vaters, dem Ort, an dem er aufgewachsen ist. Um sich auf adäquate Weise von diesem Ort zu verabschieden, führte er eine künstlerische Handlung im doppelten Sinn durch. Wenige Tage nach dem Tod seines Vaters begann er, dessen Haus in einer dreitägigen Aktion von außen methodisch, Zentimeter für Zentimeter, abzutasten. Er berührte dabei alle Stellen der Außenwand des Hauses mit seiner Hand und kreierte daraus die vielteilige Installation „HOUSE“, die die Struktur des Gebäudes aufgreift und in einen Ausstellungsraum überträgt. In der Geschichte der bildenden Kunst war es erstmals das Ready-Made, das die unmittelbare Transformation von Alltagsgegenstand in einen kulturellen Zusammenhang markierte. Der Künstler nahm von nun an für sich in Anspruch, allein durch Proklamation und Kontextverschiebung ein Kunstwerk zu kreieren – eine Handlung von nahezu mythischem Charakter, die an alte Künstlerlegenden und Sagen (z. B. Pygmalion) erinnert. Die Qualität von Dan Stockholms Umwandlungen liegt in der Originalität und dem besonderen ästhetischen Reiz der Produkte des Kulturalisierungsprozesses. Dan Stockholm: By hand, 2016. Red clay. Dan Stockholm: The Phantoms.Phantom ridge (mountain ridge, Tokyo, Japan) 220x20x21 NOWs: Dan Stockholm: By hand, 2016. Red clay (detail) Dan Stockholm In a hundred years all will be forgotten im Kunstverein Wolfsburg Der Umwandlung von Alltäglichem in Kultur und von Gefundenem in Kunst begegnet man im Werk von Dan Stockholm auffallend häufig. Der dänische Künstler ist fasziniert von Orten und Architekturen, denen wie z. B. in der skulpturalen Arbeit „Ewige Flamme“ eine historische Bedeutung und eine narrative Spannung innewohnen, Nicht selten praktiziert er eine künstlerische Form von Archäologie, die intensive Recherchen und die Arbeit mit Objets Trouvés miteinschließt. Dinge, die ihm auffallen, erfahren einen ungewöhnlichen Transformationsprozess. Aus Feuersteinen werden Malwerkzeuge, aus nachleuchtenden Wandteilen in Kriegsbunkern werden monochrome Gemälde und aus dem Boden der Hinrichtungsstätte von dänischen Nazi-Kollaborateuren wird eine glänzende Bodenskulptur. In jüngster Zeit beschäftigte sich Dan Stockholm mit dem Haus seines verstorbenen Vaters, dem Ort, an dem er aufgewachsen ist. Um sich auf adäquate Weise von diesem Ort zu verabschieden, führte er eine künstlerische Handlung im doppelten Sinn durch. Wenige Tage nach dem Tod seines Vaters begann er, dessen Haus in einer dreitägigen Aktion von außen methodisch, Zentimeter für Zentimeter, abzutasten. Er berührte dabei alle Stellen der Außenwand des Hauses mit seiner Hand und kreierte daraus die vielteilige Installation „HOUSE“, die die Struktur des Gebäudes aufgreift und in einen Ausstellungsraum überträgt. In der Geschichte der bildenden Kunst war es erstmals das Ready-Made, das die unmittelbare Transformation von Alltagsgegenstand in einen kulturellen Zusammenhang markierte. Der Künstler nahm von nun an für sich in Anspruch, allein durch Proklamation und Kontextverschiebung ein Kunstwerk zu kreieren – eine Handlung von nahezu mythischem Charakter, die an alte Künstlerlegenden und Sagen (z. B. Pygmalion) erinnert. Die Qualität von Dan Stockholms Umwandlungen liegt in der Originalität und dem besonderen ästhetischen Reiz der Produkte des Kulturalisierungsprozesses. Dan Stockholm: By hand, 2016. Red clay. Dan Stockholm: The Phantoms.Phantom ridge (mountain ridge, Tokyo, Japan) 220x20x21

NOWs: Tilt by Clara Jo

13 February 2017 / Nows ⟶

NOWs: Zerbrechung by Fabian Knecht

03 February - 05 March 2017 / Nows ⟶

NOWs: Fabian Knecht: Zerbrechung at CCA ZARYA, Vladivostok This exhibition marks German artist Fabian Knecht’s first solo show in Russia. One of the most prominent figures of Berlin’s contemporary art scene, Knecht works with temporal and spatial installations, performances and actions. This exhibition brings together works from different times, based on a critical understanding of reality and art systems on the microlevel of personal experience and everyday observations of particular enviromental and social conditions. This exhibition is built around the notion of a lasting thing. The artist “animates” objects through intervening into daily life with situations that break from the conventional order of things, giving rise to new meanings and values within both object-oriented and social established and normalized relationship. At the same time, the exhibition attempts to undermine the power of museums and galleries as the primary sites for the production and distribution of art and thus places that effectively control the creation of new ideas. The title of the exhibition – ZERBRECHUNG – has been lifted from one of the artist’s own works. It is a neologism Knecht generated by taking the verb zerbrechen (“to break, to destroy, to crack”), which describes the effect of the action, and transforming it into a noun through the addition of the suffix –UNG. The artist applies this method for naming his works that reflects one of the key principles of his practice: the objectification of actions, or the transformation of action within the work of art. Simple in form, uncompromising and unmediated, Knecht’s works presented in this exhibition purposefully stir up feelings of discomfort and anxiety in the viewer. Sometimes outsider-intruders, non-functional within their immediate enviroment, these objects and actions are positioned beyond the bounds of empirical fact, forging a site of communication between the world of the artist and the world of the viewer, between art and reality. The lifespan of such works is always inherently limited and part of its existence is the speed of its forgetting. Deconstruction, disappearance, evanescence – these are the units of measurements within Fabian Knecht works. As the artist himself puts it, playing off the famous Mark Twain adage: they knew that it was a lost cause, and that’s why they did it. CURATED BY ANASTASIA MARUKHINA NOWs: Fabian Knecht: Zerbrechung at CCA ZARYA, Vladivostok This exhibition marks German artist Fabian Knecht’s first solo show in Russia. One of the most prominent figures of Berlin’s contemporary art scene, Knecht works with temporal and spatial installations, performances and actions. This exhibition brings together works from different times, based on a critical understanding of reality and art systems on the microlevel of personal experience and everyday observations of particular enviromental and social conditions. This exhibition is built around the notion of a lasting thing. The artist “animates” objects through intervening into daily life with situations that break from the conventional order of things, giving rise to new meanings and values within both object-oriented and social established and normalized relationship. At the same time, the exhibition attempts to undermine the power of museums and galleries as the primary sites for the production and distribution of art and thus places that effectively control the creation of new ideas. The title of the exhibition – ZERBRECHUNG – has been lifted from one of the artist’s own works. It is a neologism Knecht generated by taking the verb zerbrechen (“to break, to destroy, to crack”), which describes the effect of the action, and transforming it into a noun through the addition of the suffix –UNG. The artist applies this method for naming his works that reflects one of the key principles of his practice: the objectification of actions, or the transformation of action within the work of art. Simple in form, uncompromising and unmediated, Knecht’s works presented in this exhibition purposefully stir up feelings of discomfort and anxiety in the viewer. Sometimes outsider-intruders, non-functional within their immediate enviroment, these objects and actions are positioned beyond the bounds of empirical fact, forging a site of communication between the world of the artist and the world of the viewer, between art and reality. The lifespan of such works is always inherently limited and part of its existence is the speed of its forgetting. Deconstruction, disappearance, evanescence – these are the units of measurements within Fabian Knecht works. As the artist himself puts it, playing off the famous Mark Twain adage: they knew that it was a lost cause, and that’s why they did it. CURATED BY ANASTASIA MARUKHINA

NOWs: Endpunkt Europa by Felix Kiessling

07 February 2017 / Nows ⟶

Felix Kiessling: Endpunkt Europa – Visualisierung. NOWs: Felix Kiessling: Endpunkt Europa Seas and Oceans, Art and Science grant, MS Wissenschaft, German Federal Ministry of Education and Research Felix Kiessling is the winner of the art competition Seas and Oceans, bearing a prize of 6000 Euro. The five-person jury selected “Endpunkt Europa” (Europe’s outermost edge) by Felix Kiessling. “What exactly is a coastline?” asks Felix Kiessling in his work. As the boundary between land and water, it is both of these at the same time – the exact border between the two is hard to define. Whether you are defining a location or measuring a distance, the results you come up with always depend on the accuracy of your measurement. A more accurate measurement will make a coastline look longer, because more details will be taken into account. In this work the artist is looking for the outer limits of Europe. He will choose a point on the coast and take one grain of sand, defining it as the northernmost or southernmost point of Europe. And his search for extremities doesn’t stop there: he will examine the grain of sand with an electron microscope. In its tiny structure we come even closer to Europe’s furthest extremity. Felix Kiessling invites the viewer to travel to a point that doesn’t really exist. The visualisation shows the nothernmost point of mainland Europe, Kinnarodden in Norway, as well as the southernmost in Tarifa, Spain. The jury selected Felix Kiessling‘s concept for its outstanding artistic quality. The artist investigates the limits of human experience. The exact borders of Europe are called into question, along with the political, scientific and artistic methods we use to define boundaries. By exploring how we define limits, the artwork plays with the concept of scientific precision. Through its use of electron microscopy it brings art science and technology into exchange. The title evokes current politics, where Europe is seen as a place of refuge by the persecuted, but doesn’t always live up to its promise. On a personal level the artwork awakes the viewer’s longing to travel and discover new places. This brings us full circle to the topic “Seas and Oceans” which are always connected with expeditions into the unknown. From April to October 2017 the MS Wissenschaft will visit over 40 cities and towns in Germany and Austria. Starting in Bonn the ship will travel up the Rhine to Koblenz. Other stops will include Saarbrücken, Karlsruhe, Stuttgart, Frankfurt am Main, Würzburg, Passau und Linz (Austria). Felix Kiessling‘s artwork will complement around 30 hands on science exhibits and provide an artistic view of the exhibition’s theme “Seas and Oceans”. Further information and the full itinerary for the MS Wissenschaft (available end of February) can be found on the website www.ms-wissenschaft.de — Felix Kiessling (*1980) lives and works in Berlin. He completed his studies at the Institut für Raumexperimente at Berlin University of the Arts as a Meisterschüler under Olafur Eliasson in 2014. The artist explores the parameters and boundaries of human perception in his conceptual and often scientific works. Precision and scale are fundamental to all Felix Kiessling‘s works. — Science Year 2016*17 – Seas and Oceans Marine Research is the topic of the Science Year 2016*17. 71 percent of our planet are covered with seas and oceans. They are important for climate, for nutrition, for economy – and they offer a habitat for many plants and animals. Scientists have been researching the seas for centuries; and still there are largely unexplored areas. The Science Year 2016*17 “Seas and Oceans” is about exploring waters, protecting them and using them sustainably. The Science Years are initiated by the Federal Ministry of Education and Research together with Wissenschaft im Dialog (Science in Dialogue). As an important instrument of science communication they bring research to the public. The German Marine Research Consortium (KDM) is the expert partner supporting the Science Year 2016*17. www.wissenschaftsjahr.de Wissenschaft im Dialog Wissenschaft im Dialog (WiD) aims to arouse and strengthen interest in science among people of every age and background. We aim to achieve this by organising discussions, education projects for schools, exhibitions and competitions – all focused on science and research. We develop new formats for science communication and run events across Germany to reach diverse target groups. Our goal is for as many people as possible to be involved in discussions about research, including its controversial aspects. WiD is a non-profit organisation founded in 1999 by the major German science organisations on the initiative of the ‘Stifterverband für die Deutsche Wissenschaft’. WiD also has several foundations as partners and receives significant support from the German Federal Ministry of Education and Research. www.wissenschaft-im-dialog.de — Felix Kiessling: Endpunkt Europa – Visualisierung. NOWs: Felix Kiessling: Endpunkt Europa Meere und Ozeane, Kunst- und Wissenschaftswettbewerb, MS Wissenschaft, Bundesministerium für Bildung und Forschung Felix Kiessling ist Gewinner des mit 6000.- Euro dotierten Kunst- und Wissenschaftswettbewerb Meere und Ozeane. Seine Arbeit Endpunkt Europa wurde im Wettbewerbs von 5-köpfigen Jury ausgewählt. In seiner Arbeit beschäftigt sich Felix Kiessling mit der Frage, was genau eine Küste ist. Als Schnittstelle zwischen Land und Meer ist sie beides zugleich, eine exakte Grenze ist nicht sichtbar. Die Bestimmung eines Punktes oder einer Länge ist immer abhängig von der Feinheit der Messung. Eine feinere Messung führt zu einer größeren Küstenlänge, weil mehr Details in Betracht gezogen werden. Der Künstler begibt sich in seiner Arbeit auf die Suche nach den äußersten Punkten Europas. Er legt einen Zipfel Küste fest, entnimmt ein Sandkorn und definiert es als vermeintlich nördlichstes und südlichstes Ende Europas. Die Suche nach dem Ende geht weiter: Das Sandkorn wird mit einem Elektronenmikroskop untersucht. In der Kleinheit seiner Struktur nähern wir uns seinem äußersten Endpunkt weiter an. Felix Kiessling ermöglicht es dem Betrachter einen Punkt zu bereisen, den es eigentlich nicht gibt. Die Visualisierung zeigt den nördlichsten Punkt des europäischen Festlandes, Kinnarodden in Norwegen, und den südlichsten Punkt in Tarifa, Spanien. Die Jury wählte den Entwurf von Felix Kiessling wegen seiner herausragenden künstlerischen Qualität. Der Künstler hinterfragt auf vielschichtige Weise die Illusion menschlicher Wahrnehmung. Die exakte Vermessung Europas wird ebenso in Frage gestellt wie politische, wissenschaftliche und künstlerische Methoden, Grenzen zu definieren. Mit der Bestimmung der Endpunkte nimmt die Arbeit spielerisch Bezug auf naturwissenschaftliche Exaktheit. Die Nutzung der Elektronenmikroskopie stellt zudem einen Transfer aus dem Technologie-Bereich dar, so dass in Kiesslings Entwurf Kunst, Wissenschaft und Technik miteinander in Austausch treten. Im Titel schwingen politische Aspekte von Europa als Zufluchtsort vieler Verfolgter mit, der sich nicht immer als solcher bewahrheitet. Nicht zuletzt berührt die Arbeit die Gefühle der Betrachter über das Reisen und der mit ihr verbundenen Sehnsucht, neue Orte zu entdecken. Hier schließt sich der Kreis zur Erforschung von Meeren und Ozeanen, die immer mit Expeditionen ins Unbekannte verbunden sind. Endpunkt Europa wird auf dem Ausstellungsschiff MS Wissenschaft „Meere und Ozeane“ gezeigt werden. Das Schiff ist voraussichtlich ab Ende April bis maximal Ende des Jahres 2017 unterwegs. Die Arbeit ergänzt die rund 30 wissenschaftlichen Mitmach-Exponate um einen künstlerischen Blick auf das Ausstellungsthema. Mehr Informationen und den kompletten Tourplan der MS Wissenschaft (online ab Ende Februar) gibt es auf der Webseite www.ms-wissenschaft.de — Felix Kiessling (*1980) lebt und arbeitet in Berlin. 2014 hat er als Meisterschüler bei Olafur Eliasson am Institut für Raumexperimente und der Universität der Künste Berlin sein Studium abgeschlossen. In seinen konzeptuellen, oft wissenschaftlichen Arbeiten, hinterfragt der Künstler die Grenzen und Parameter der menschlichen Wahrnehmung. Präzision und Skalierung sind grundlegend für die Arbeiten von Felix Kiessling. ENDPUNKT EUROPA 1967 STELLTE DER MATHEMATIKER BENOIT MANDELBROT DIE FRAGE: WIE LANG IST DIE KÜSTE GROSSBRITANNIENS? WEGEN IHRER UNREGELMÄSSIGEN FORM HÄNGT DIE ERMITTELTE LÄNGE EINER KÜSTE VON DER FEINHEIT DER MESSUNG AB. WAS GENAU IST EINE KÜSTE? SIE IST SCHNITTSTELLE ZWISCHEN LAND UND MEER. SIE IST BEIDES ZUGLEICH. VIELERORTS STELLT SIE EINE POLITISCHE GRENZE DAR. ABER WO GENAU VERLÄUFT DIESE TRENNLINIE ZWISCHEN LAND UND MEER? Expand... ENDPUNKT EUROPA 1967 STELLTE DER MATHEMATIKER BENOIT MANDELBROT DIE FRAGE: WIE LANG IST DIE KÜSTE GROSSBRITANNIENS? WEGEN IHRER UNREGELMÄSSIGEN FORM HÄNGT DIE ERMITTELTE LÄNGE EINER KÜSTE VON DER FEINHEIT DER MESSUNG AB. EINE FEINERE MESSUNG FÜHRT ZU EINER GRÖSSEREN KÜSTENLÄNGE WEIL MEHR EINBUCHTUNGEN MEHR DETAILS DABEI IN BETRACHT GEZOGEN WERDEN. MANDELBROTS FRAGE SPIELTE AUF UNSERE UNFÄHIGKEIT AN EINE UNIVERSELLE OBJEKTIVE AUSSAGE MACHEN ZU KÖNNEN. BEOBACHTUNGEN SIND NICHT ALLGEMEINGÜLTIG, SIE SIND IMMER ABHÄNGIG VOM BETRACHTER. WAS GENAU IST EINE KÜSTE? SIE IST SCHNITTSTELLE ZWISCHEN LAND UND MEER. SIE IST BEIDES ZUGLEICH. VIELERORTS STELLT SIE EINE POLITISCHE GRENZE DAR. ABER WO GENAU VERLÄUFT DIESE TRENNLINIE ZWISCHEN LAND UND MEER? SEIT 2013 BEGEBE ICH MICH AUF DIE SUCHE NACH ENDPUNKTEN VON LANDMASSEN, LÄNDERN, INSELN UND FELSFORMATIONEN. DER JEWEILIGEN KÜSTENREGION ENTNEHME ICH AM VERMEINTLICH NÖRDLICHSTEN PUNKT, DER GRENZE ZWISCHEN LAND UND MEER, ETWAS MATERIAL – EIN SANDKORN, EINEN ZIPFEL KÜSTE, UM DIESE ANSCHLIESSEND IN ZUSAMMENARBEIT MIT DEM HEINRICH PETTE INSTITUT IN HAMBURG MIT HILFE EINES ELEKTRONENMIKROSKOPES ZU VERGRÖSSERN. SO VERSUCHTE ICH DEN ABSOLUT NÖRDLICHSTEN NORDEN VON DÄNEMARK ZU FINDEN, IN DEM ICH DAS NÖDRLICHSTE SANDKORN VON SKAGEN (DER ORT, AN DEM SICH NORD- UND OSTSEE BEGEGNEN) EINSAMMELTE, UM DIESES WIEDERUM MIT DEM MIKROSKOP AN SEINEM NÖRDLICHSTEN ENDE ZU BEREISEN. — Wissenschaftsjahr 2016*17 – Meere und Ozeane Die Meeresforschung ist Thema des Wissenschaftsjahres 2016*17. Meere und Ozeane bedecken zu rund 70 Prozent unseren Planeten. Sie sind Klimamaschine, Nahrungsquelle, Wirtschaftsraum – und sie bieten für viele Pflanzen und Tiere Platz zum Leben. Wissenschaftlerinnen und Wissenschaftler untersuchen die Ozeane seit langem; und doch sind sie noch immer geheimnisvoll und in weiten Teilen unerforscht. Im Wissenschaftsjahr 2016*17 geht es um die Entdeckung der Meere und Ozeane, ihren Schutz und eine nachhaltige Nutzung. Die Wissenschaftsjahre sind eine Initiative des Bundesministeriums für Bildung und Forschung (BMBF) gemeinsam mit Wissenschaft im Dialog (WiD). Sie tragen als zentrales Instrument der Wissenschaftskommunikation Forschung in die Öffentlichkeit und unterstützen den Dialog zwischen Forschung und Gesellschaft. Das Wissenschaftsjahr 2016*17 wird vom Konsortium Deutsche Meeresforschung (KDM) als fachlichem Partner begleitet. www.wissenschaftsjahr.de Wissenschaft im Dialog – die Initiative der deutschen Wissenschaft Wissenschaft im Dialog (WiD) möchte bei Menschen aller Altersgruppen und jedes Bildungsstandes Interesse an Forschungsthemenwecken und stärken. Dafür organisiert WiD Diskussionen, Schulprojekte, Ausstellungen und Wettbewerberund um Forschung und Wissenschaft – für alle Zielgruppen und in ganz Deutschland. Ziel dabei ist, dass sichmöglichst viele Menschen auch mit kontroversen Themen der Forschung auseinandersetzen und an aktuellen Diskussionenbeteiligen. Die gemeinnützige Organisation wurde 1999 auf Initiative des Stifterverbandes für die Deutsche Wissenschaftvon den großen deutschen Wissenschaftsorganisationen gegründet. Als Partner kamen Stiftungen hinzu. Maßgeblichunterstützt wird WiD vom BMBF. www.wissenschaft-im-dialog.de —

NOWs: Shell She’ll Crack by Jonas Wendelin & Luki von der Gracht

01 February 2017 / Nows ⟶

NOWs: SPACE A&T Workshop with Clara Jo

31 January 2017 / Nows ⟶

NOWs: (in)versions Generating Narratives Through Virtual Transcription A workshop with artist Clara Jo exploring the potential of user experience with objects transcribed into virtual reality at SPACE, London. This workshop invites participants to co-narrate new stories around objects – both as agents and surrogates – by translating them into imagined VR situations. The proposition here is that an understanding of how culture is spatialized, constructed, and mediated through human interaction might guide us to approach space as a narrative generating force. Conversely, fragmenting and disorienting audience perception with these tools could be harnessed to discover new ways of storytelling to sensorially engage with and re-imagine objects within the archive. The aim is to reveal latent narratives within object-based archives, and to further stretch the affective potentials of VR to purposefully re-inscribe these material and immaterial spaces. Participants will be invited to use recording equipment and VR headsets during the co-inquiry to explore new methods for developing immersive experiences in connection with linear, narrative filmmaking. Clara Jo’s recent film and sculptural installations work in conversation with sites implicated in revisionist histories. Her residency with SPACE takes place at The White Building, London’s centre for art, technology and sustainability. As an extension of her current practice, Jo is pursuing a new trajectory of research in interactive, virtual reality interfaces geared towards exhibition in public space. Her work has been featured in exhibitions and screenings at the Royal Academy of Arts (London), Akademie der Künste (Berlin), Staatliche Museen zu Berlin, White Columns (New York), the Swiss Institute (New York), and the Alliance Ethio-Française d’Addis-Abeba With contributions by Harry Brenton, Director, BespokeVR and George Oates, Co-founder and CEO, Museum in a Box. Supported by The Goethe Institute London. Interview with Clara Jo. — NOWs: (in)versions Generating Narratives Through Virtual Transcription A workshop with artist Clara Jo exploring the potential of user experience with objects transcribed into virtual reality at SPACE, London. This workshop invites participants to co-narrate new stories around objects – both as agents and surrogates – by translating them into imagined VR situations. The proposition here is that an understanding of how culture is spatialized, constructed, and mediated through human interaction might guide us to approach space as a narrative generating force. Conversely, fragmenting and disorienting audience perception with these tools could be harnessed to discover new ways of storytelling to sensorially engage with and re-imagine objects within the archive. The aim is to reveal latent narratives within object-based archives, and to further stretch the affective potentials of VR to purposefully re-inscribe these material and immaterial spaces. Participants will be invited to use recording equipment and VR headsets during the co-inquiry to explore new methods for developing immersive experiences in connection with linear, narrative filmmaking. Clara Jo’s recent film and sculptural installations work in conversation with sites implicated in revisionist histories. Her residency with SPACE takes place at The White Building, London’s centre for art, technology and sustainability. As an extension of her current practice, Jo is pursuing a new trajectory of research in interactive, virtual reality interfaces geared towards exhibition in public space. Her work has been featured in exhibitions and screenings at the Royal Academy of Arts (London), Akademie der Künste (Berlin), Staatliche Museen zu Berlin, White Columns (New York), the Swiss Institute (New York), and the Alliance Ethio-Française d’Addis-Abeba With contributions by Harry Brenton, Director, BespokeVR and George Oates, Co-founder and CEO, Museum in a Box. Supported by The Goethe Institute London. Interview with Clara Jo. —

NOWs: A / A – Golden Gates by Andreas Greiner & Armin Keplinger

29 January - 11 March 2017 / Nows ⟶

NOWs: A / A – GOLDEN GATES Andreas Greiner and Armin Keplinger Opening: Saturday 28th January 2017, 7-10 pm Andreas Greiner and Armin Keplinger present GOLDEN GATES – their first solo exhibition as the artists duo A/A at Gallery KWADRAT. For the exhibition they have focussed on progressive methods and technology, assembling them and thus instating them as gateways of the future. Nonetheless, the visual appearance eclipses its technical context and the beauty of the forward-looking science takes centre stage: floating water, fluid metal, a waterfall frozen into immobility and countless condensation trails visualise the aesthetics of progress. The works are seductive, but Greiner and Keplinger do not fail to uncover the ambivalence of technological innovation: Hiding behind the shiny facade of new materials and techniques, progress’ destructive power waits to be unleashed. The path of progress is paved, the gateways to the future stand open, but what lies ahead cannot be known and is shrouded in darkness. Only nuances distinguish utopias from dystopias and surmise the question if all that glitters is really gold. Curated by Lydia Korndörfer — NOWs: A / A – GOLDEN GATES Andreas Greiner und Armin Keplinger Eröffnung: Samstag, 28. Januar 2017, 19-22 Uhr Andreas Greiner und Armin Keplinger zeigen mit GOLDEN GATES ihre erste Einzelschau als Künstlerduo A / A in der Galerie KWADRAT. In der Ausstellung haben sich die Künstler fortschrittsverheißenden Techniken und Materialien gewidmet, die als symbolische Pforten zur Zukunft versammelt werden. Der technische Kontext tritt hinter der visuellen Erscheinung zurück. In den Vordergrund rücken Zukunftsglaube und der poetische Charakter der Wissenschaft: Schwebendes Wasser, flüssiges Metall, eingefrorene Wasserfälle und Kondensstreifenschauer führen die Schönheit des Fortschritts vor Augen. Die Kunstwerke verführen und doch denken Greiner und Keplinger die Ambivalenz der Entwicklungen mit: Hinter der glänzenden Fassade der neuen Techniken und Materialien verbirgt sich oftmals ihre zerstörerische Potenz. Die Weichen für den Fortschritt sind gestellt, die Tore zur Zukunft geöffnet, doch die kommenden Ereignisse und Welten bleiben ungewiss und liegen im Dunkeln. Nuancen unterscheiden Utopien von Dystopien und es bleibt fraglich, ob alles was glänzt, tatsächlich Gold ist. Kuratiert von Lydia Korndörfer —

NOWs: Jan St. Werner in Concert

29 January 2017 / Nows ⟶

Jan St. Werner, 2016, Foto: Jens Ziehe NOWs: Jan St. Werner Concert at n.b.k. Sunday, January 29, 2017, 8 pm Free entrance Jan St. Werner (b. 1969 in Nuremberg) is an artist and musician. He became internationally known in 1993 as the co-founder of the innovative and groundbreaking electro-duo Mouse on Mars, who until today have released more than a dozen albums and gave concerts worldwide. Additionally, in 1995, Werner joined Markus Popp for the project Microstoria and performed as a solo artist under his own name as well as under the pseudonyms of Lithops, Noisemashinetapes and Neuter River. Numerous other influential releases sprang from this. In the mid-2000s, Jan St. Werner was the artistic director of the Amsterdam Studio for Electro-Instrumental Music (STEIM), which is dedicated to the research and development of new instruments for electronic music and digital art. Werner’s activities also extend into the visual arts, in that he creates installations and produces music for them, as well as for the works of other artists, such as Rosa Barba. In 2013, Jan St. Werner released Blaze Color Burn, which was the beginning of a series of experimental sound recordings entitled Fiepblatter Catalogue (released by Thrill Jockey Records, Chicago), followed by three further conceptual albums until 2016. At Neuer Berliner Kunstverein, Jan St. Werner presents selected material from this series. Werner is currently a guest lecturer at the Department of Art, Culture and Technology (ACT) at the Massachusetts Institute of Technology (MIT) and teaches a class in the new field of study “Experiments in the Future of Record Producing” for the New York University Tisch School of the Arts in Berlin. Rosa Barba’s installation The Color Out of Space with sound by Jan St. Werner is running from 7pm to 9pm in the gallery on the 1st floor. — Jan St. Werner, 2016, Foto: Jens Ziehe NOWs: Jan St. Werner Konzert in der n.b.k. Sonntag, 29. Januar 2017, 20 Uhr Eintritt frei Jan St. Werner (*1969 in Nürnberg) ist Künstler und Musiker. Er wurde 1993 als Mitbegründer des innovativen wie Maßstäbe setzenden Elektro-Duos Mouse on Mars international bekannt, das bis heute mehr als ein Dutzend Alben veröffentlichte und weltweit Konzerte gab. Daneben tat Werner sich 1995 mit Markus Popp für das Projekt Microstoria zusammen und trat unter seinem eigenen Namen sowie den Pseudonymen Lithops, Noisemashinetapes und Neuter River als Solokünstler auf; es entstanden zahlreiche weitere einflussreiche Veröffentlichungen. Mitte der 2000er Jahre war Jan St. Werner künstlerischer Leiter des Amsterdamer Studio for Electro-Instrumental Music (STEIM), das sich der Erforschung und Entwicklung neuer Instrumente für elektronische Musik und digitale Kunst widmet. Werners Aktivitäten erstrecken sich auch insofern in die Bildende Kunst, als dass er Installationen schafft und Musik für diese, wie auch die Arbeiten von anderen KünstlerInnen produziert, etwa für Rosa Barba. 2013 brachte Jan St. Werner Blaze Colour Burn heraus, das den Auftakt einer Serie von experimentellen Sound-Aufnahmen mit dem Titel Fiepblatter Catalogue bildete (erschienen bei Thrill Jockey Records, Chicago), bis 2016 folgten drei weitere konzeptuelle Alben. Im Neuen Berliner Kunstverein präsentiert Jan St. Werner ausgewähltes Material aus dieser Werkreihe. Zur Zeit ist Werner Gastdozent am Department für Art, Culture and Technology (ACT) des Massachusetts Institute of Technology (MIT) und leitet eine Klasse mit dem neuen Studienfeld „Experiments in the Future of Record Producing“ der New York University Tisch School of the Arts in Berlin. Rosa Barba’s Installation The Color Out of Space mit Sound von Jan St. Werner ist von 19 bis 21 Uhr in den Galerieräumen im 1. Stock zu sehen. —

NOWs: Das Numen – Meatus

28 January - 11 March 2017 / Nows ⟶

Das Numen Meatus, 2016, courtesy Das Numen and DITTRICH & SCHLECHTRIEM, Berlin NOWs: Das Numen – Meatus Opening 27th January 2017, 18 – 21 h Galerie DITTRICH & SCHLECHTRIEM Something intangible and ephemeral fills the gallery’s rooms: sounds emerge from the downstairs area, produced by six flue pipes and one reed pipe, all between 13.8 and 15.7 feet long, that are suspended in a horizontal position. Das Numen feed readings—wind velocities and directions—from twenty weather stations into a computer program that converts the data into impulses. The latter in turn control valves that allow compressed air—wind, in organ-maker parlance—to pass through the pipes, which begin to sound. For the visitor in the lower gallery, the instrument readings recorded synchronously at various locations around the world and transferred into sounds make for a curious aesthetic experience. Scientific data that, due to its enormous quantity, often goes unused is transformed into sensual sounds. Another important component of the installation Das Numen Meatus is the space around it: there is no sound without a resonance chamber; without air there is no resonance, no wind, no climate. And life as we know would not exist without the atmosphere. Das Numen is Julian Charrière, Andreas Greiner, Markus Hoffmann, and Felix Kiessling—all four studied at Olafur Eliasson’s Institut für Raumexperimente, which was affiliated with the Berlin University of the Arts (UdK) and premised on the methodological primacy of experimentation. In this spirit, the four artists work both individually and in temporary collaborations under the label Das Numen. Engagement with the surroundings as well as with the present moment would seem to be a defining feature of their art, which addresses social issues as well as natural realities. Earlier projects by the group were implemented at the KW Institute for Contemporary Art, the Deutsches Architekturzentrum Berlin, and the Schinkel Pavillon, among other venues. The artists often draw on the expertise of specialists and scientists in their efforts to produce vivid objective representations of complex processes in works that frequently recall experimental setups. Displacing the phenomena under consideration into the art context, their art raises important questions. A publication in English and German with an essay by Boris Pofalla will be released in conjunction with the exhibition. The gallery is about to move to a more spacious venue—the new gallery at Linienstraße 23, right behind the Volksbühne, will be inaugurated with the installation Das Numen Meatus. — Das Numen Meatus, 2016, courtesy Das Numen and DITTRICH & SCHLECHTRIEM, Berlin NOWs: Das Numen – Meatus Eröffnung 27. Januar 2017, 18 – 21 Uhr Galerie DITTRICH & SCHLECHTRIEM Etwas nicht Greifbares, ephemeres füllt die Räume der Galerie: Töne kommen aus dem unteren Teil, erzeugt durch sechs Labialpfeifen sowie eine Zungenpfeife, alle zwischen 4,20 und 4,80 Meter lang, waagerecht in der Luft hängend. Von zwanzig Wetterstationen live erhobenen Windgeschwindigkeiten und –richtungen werden von Das Numen genutzt und mittels einer Software in Impulse umgewandelt. Diese wiederum steuern Ventile, die komprimierte Luft – im Orgelbau Wind genannt – durch die Pfeifen strömen lassen und zum Klingen bringen. Der Besucher der Galerie befindet sich in dem tieferliegenden Ausstellungsraum, erlebt aber gleichzeitig durch die Messdaten, die an verschiedenen Punkten der Erde zeitgleich aufgezeichnet und in Töne transferiert werden, eine ästhetische Erfahrung. Wissenschaftliche Daten, die in ihrer schieren Menge oft ungenutzt bleiben, werden in sinnliche Töne gewandelt. Eine weitere wichtige Komponente der Installation Das Numen Meatus ist der sie umgebende Raum: ohne Resonanzraum entsteht kein Klang, ohne Luft gibt es keine Resonanz, keinen Wind, kein Klima. Ohne Atmosphäre gibt es auch kein Leben, wie wir es kennen. Das Numen besteht aus Julian Charrière, Andreas Greiner, Markus Hoffmann und Felix Kiessling, alle haben bei Olafur Eliassons Institut für Raumexperimente studiert. Das an die Universität der Künste angeschlossene Institut folgte der Prämisse Experimentieren als Methode. Diesen Geist folgend, arbeiten die vier Künstler sowohl alleine, als auch temporär miteinander als Das Numen. Ihre Kunst scheint grundsätzlich mit ihrer Umgebung verbunden, und mit der Gegenwart, greift gesellschaftliche Themen auf und Naturgegebenheiten. Frühere Projekte realisierte die Gruppe unter anderem im KW Institute for Contemporary Art, im Deutschen Architekturzentrum Berlin oder dem Schinkel Pavillon. Oftmals greifen die Künstler auf die Expertise von Spezialisten und Wissenschaftlern zurück, um komplizierte Prozesse in ihren – oftmals an Experimente erinnernden – Werken zu verdinglichen, und diese in den Kunstkontext zu rücken, erlebbar zu machen und Fragen aufzuwerfen. Ausstellungsbegleitend wird eine Publikation in englischer und deutscher Sprache erscheinen mit einem Text von Boris Pofalla. Die Galerie DITTRICH &SCHLECHTRIEM zieht um und vergrößert sich – eingeweiht werden die neuen Räume in der Linienstraße 23, direkt hinter der Volksbühne, mit der Installation Das Numen Meatus. —

NOWs: Marking Triangles by Yuichiro Tamura & Raul Walch

13 January - 25 March 2017 / Nows ⟶

NOWs: “Marking Triangles” Dialogausstellung von Tamura Yuichiro & Raul Walch im Japanischen Kulturinstitut, Köln (The Japan Foundation) Yuichiro Tamura: Über das Mutmaßen Es mag genau ein Jahr her sein, dass mich ein Bekannter kontaktierte und fragte, ob ich einen Stein nach Afrika zurückbringen könne. Auf meine Nachfrage erzählte er, dass der Stein, der vor fünf Jahren aus einer bestimmten Höhle in Afrika mitgebracht worden sei... Expand... Es mag genau ein Jahr her sein, dass mich ein Bekannter kontaktierte und fragte, ob ich einen Stein nach Afrika zurückbringen könne. Auf meine Nachfrage erzählte er, dass der Stein, der vor fuünf Jahren aus einer bestimmten Höhle in Afrika mitgebracht worden sei, Unglück über die Familie bringe. Die Person, die den Stein mitgebracht hatte, ist ein Bekannter meines Bekannten, den ich selber aber nie getroffen habe. Es sei dahingestellt, warum er gerade mich fragte, aber ich übernahm die Aufgabe, weil die Aussicht, für die Rückgabe des Steins in das mir unbekannte Afrika zu reisen, reizvoll und auch irgendwie witzig war. Von Tokyo Narita aus ging der Flug über Bangkok. Es dauerte einen ganzen Tag, bis ich in der Hauptstadt von Madagaskar ankam. In Begleitung eines lokalen Guides bin ich vom Flughafen aus in einem Mitsubishi mit Vierradantrieb zwei Tage und Nächte unterwegs gewesen, bis wir endlich in der Nähe der Höhle ankamen. Wir stiegen aus dem Wagen und marschierten etwa drei Stunden durch den Dschungel, bis sich vor uns der Eingang einer großen, stockfinsteren Höhle auftat. Im Inneren der Höhle gab es kein Licht, allein unsere Taschenlampen erhellten sie diffus. Dem Guide zufolge wurde diese Höhle anscheinend schon seit uralter Zeit von Menschen genutzt und tatsächlich waren hier und dort verstreut Anzeichen von menschlichen Knochen auszumachen. In einer Ecke im hintersten Bereich der Höhle, wo die Luft durch hohe Feuchtigkeit und Temperatur besonders bedrückend war, lag unser Zielort. Der Guide gab mir ein Zeichen, dass ich ihm den Stein anreichen solle. Nach der Übergabe hob er den Stein über seinen Kopf und platzierte ihn an einer von der Decke hervorstehenden Stelle. Der Stein passte genau. Am nächsten Tag bin ich in eine Hafenstadt im Norden von Madagaskar gefahren. Beim Gang durch die Stadt habe ich von Einheimischen erfahren, dass es dort ein Denkmal für Japaner gebe. Bei der Recherche, warum es gerade an diesem weit entfernten Ort steht, fand ich heraus, dass Madagaskar, das während der Zeit des Zweiten Weltkriegs eigentlich französische Kolonie war, infolge der deutschen Besatzung Frankreichs unter deutscher Regierungsgewalt stand. Die Aliierten, die das nicht guthießen, wollten den Hafen von Madagaskar unter ihre Kontrolle bringen. Um dies zu verhindern, wandte sich Deutschland mit der Bitte um Unterstützung an Japan. So wurden die britischen Kriegsschiffe, die im Hafen vor Anker gegangen waren, durch Torpedos von U-Booten aus dem fernen Japan versenkt. Später gingen die japanischen Besatzungsmitglieder der U-Boote an Land, wo sie im Kampf mit den englischen Soldaten den Tod fanden. Ich hatte nicht erwartet, an einem solchen Ort eine solche Geschichte zu hören. Letzten Endes hat Japan aufgrund der weiten Entfernung das Interesse an diesem Land verloren. Diese Tatsachen wurden von vielen Japanern vergessen. Es heißt, dass anfangs die Existenz von Madagaskar, das Marco Polo in seinem Reisebericht Il Milione – Die Wunder der Welt beschrieben hatte, angezweifelt wurde. Doch am 10. August 1500 wurde die Insel von dem Portugiesen Diogo Dias „entdeckt“. Später hat Portugal versucht, Madagaskar zu kolonialisieren, was jedoch erfolglos blieb. Der Plan von Portugal, Madagaskar in koloniale Abhängigkeit zu bringen, endete mit einem Misserfolg. Die Ruder der portugiesischen Schiffe wurden nun in Richtung Japan im Fernen Osten gerichtet. Schließlich landeten die Portugiesen im Jahr 1543 in Japan, und zwar auf der Insel Tanegashima, was großen Einfluss auf das spätere Japan ausüben sollte. So haben die Portugiesen Gewehre nach Japan eingeführt, wodurch sich die Kampfmethoden der Samurai veränderten. Der Sand von Tanegashima hat einen hohen Eisengehalt und wurde als Rohstoff für Gewehrkugeln als nützlich angesehen, sogar so sehr, dass es eine Küste mit dem Namen Kanehamakaigan (wörtlich „Eisenstrandküste“) gibt. Auf dem Schlachtfeld kamen die Samurai durch die aus diesem Küstensand gefertigten Gewerkugeln ums Leben und die Geister der Verstorbenen zerstreuten sich in die Welt. Dank dem Regisseur Kurosawa Akira sind diese auch heute noch als Schatten in aller Stille hier und da in der Welt präsent. Und nun zu einer anderen Geschichte. Sie handelt von dem berühmten Kölner Parfüm 4711, das auch in Japan verkauft wird. Doch dort ist der Duft ein anderer, wie die japanische Verkaufsstelle auf Nachfrage bestätigt. Der Duft für den japanischen Markt wird in Deutschland produziert, und obwohl die Japaner an der Komposition der Duftnote nicht beteiligt sind, wird noch etwas hinzugefügt. Anders ausgedrückt stellen die Deutschen einen Duft her, von dem sie meinen, dass er den japanischen Geschmack trifft. Auf dem Etikett des 4711-Flakons für den japanischen Markt ist der Produktname Portugal aufgedruckt. Vielleicht haben Sie Lust, die beiden Varianten von 4711 aus Köln und Japan zu testen. Auf diese Weise wird die wertvolle Handlung, sich eine „Vorstellung“ des Gegenüber zu machen - und zugleich die Schwierigkeit dessen – mit dem Geruch erfahrbar. — Raul Walch: In The Loneliness of the Long-Distance Runner, 2017. Installation Man sagte mir, das dies Abebe Bikila sei, der erste afrikanische Goldmedaillengewinner. Auch in Japan hatte er 1964 Gold gewonnen. Entlang der Marathonstrecke in Tokyo finde ich verblassende Erinnerungen Expand... Ein bekanntes Buch in Äthiopien hat den Titel „How Japan did develop“. Mir wurde gesagt, dass es erklärt, wie aus Japan ein Industrieland wurde und es sich aus der feudalen Gesellschaft hin zu einer kapitalistischen entwickelte. Das solle Vorbild sein. Ich fragte Helen, ob sie mir den Titel genau übersetzen kann, da ich annahm, sie hätte mir das Buch geschenkt. Doch kannte sie das Buch gar nicht. Sie hatte mir ein anderes geschenkt, mit einem Titel, der soviel heißt wie „Slumber & Age“. Wenn man es überhaupt übersetzen kann? Ich erinnere mich, dass ich auf der Suche nach Abebe Bikila einen Friedhof fand, der komplett zerstört war (next to St. Joseph Church, sagte man mir). Ich hatte das Helen erzählt und sie sagt mir, sie hätte dort mal ein Video gedreht. Alles dort hätte einem Infrastrukturprojekt weichen müssen und die Gebeine der Toten hätten von Verwandten ausgegraben werden müssen. Dort fand ich dieses statische Monument des Läufers. Man sagte mir, das dies Abebe Bikila sei, der erste afrikanische Goldmedaillengewinner. Auch in Japan hatte er 1964 Gold gewonnen. Entlang der Marathonstrecke in Tokyo finde ich verblassende Erinnerungen. Ein abgerissenes Stadion, ein Relief auf einer Brücke und eine Stadt, die sich ständig erneuert und wächst, so wie Addis Abeba. Raul Walch: Fabric & Space, 2015. Installation Es gibt ein Raumkonzept, welches besagt, dass Architektur textilen Ursprungs ist. Der deutsche Architekt Gottfried Semper schreibt in seiner Publikation Textile Kunst (1860)*, dass vor den Wänden bereits die Vorhänge existierten und dass Fries und Ornamente in weiche und organische Materialien gewebt waren. Expand... Es gibt ein Raumkonzept, welches besagt, dass Architektur textilen Ursprungs ist. Der deutsche Architekt Gottfried Semper schreibt in seiner Publikation Textile Kunst (1860), dass vor den Wänden bereits die Vorhänge existierten und dass Fries und Ornamente in weiche und organische Materialien gewebt waren. Es scheint so, als wären Städte lange vor unserer Zeit ephemer gewesen, aus Stoff gemacht und daher imstande, vielseitig gewandelt zu werden. Schließlich bezeichnet Stoff ja auch Materie oder materielle Entitäten im Allgemeinen (im Gegensatz zu immateriellen Entitäten wie Energie). Die gewebte Materie kann als Netz betrachtet werden, das die Welt zusammenhält. Außerdem gibt es eine direkte sprachliche Verbindung zwischen den Wörtern Wand und Gewand. Wenn Textilien als zweite Haut unserer Körper angesehen werden können, kann eine Struktur wie ein Haus eine dritte bilden? In Walchs Arbeit werden Textilien als raumschaffendes Material erkundet. Da sich Städte, insbesondere Tokyo, schnell und drastisch ändern, könnte man über urbane temporäre und provisorische Strukturen nachdenken, ohne diese abzureißen. Sie könnten aus weichen und umwandelbaren Formen sein, welche von konventionellen Architekturkonzepten befreit sind. In einem riesigen Zelt wird die Stadt zu einem vorübergehenden Theater. Die Verwendung von Noren (Türvorhang) in japanischen Türen und Fluren erlaubt es, die Häuser durch vorhangartigen Stoff zu betreten, was an einen Theaterauftritt erinnert. Für den japanischen Architekten Toyo Ito ist die europäische Architektur wie ein Museum, in dem Dinge platziert werden. Japanische Architektur hingegen vergleicht er mit einem Theater, welches normalerweise ein leerer Verschlag ist. Erst wenn etwas aufgeführt wird und sich Menschen versammeln, wird es mit verschiedenen Dingen ausgestattet. Japanische Architektur scheint sehr weich und flexibel zu sein wie die Formen des Furoshiki. Europäische und japanische Architektur unterscheiden sich wie eine Handtasche und Furoshiki. Während eine Handtasche eine bestimmte Form und Volumen hat, bildet Furoshiki nur eine Form, wenn es etwas umwickelt und ändert so stets seine Form. Die Installation der Ausstellung steht in direkter Verbindung mit diesen Ideen und Konzepten und soll als mögliches Modell für eine zukünftige urbane Umgebung gesehen werden. Die Muster der Stoffe sind angelehnt an Fliesendesigns, die Walch in Tokyo entdeckt hat und die in ganz Japan zu entdecken sind. Die Gemälde sind eine Abstraktion der ästhetischen Realitäten der Stadt. Die Simplizität der Textilien bricht die symmetrischen, glatten und perfekten Oberflächen der Stadt auf. Sie verleiht ihr eine Unregelmäßigkeit – frei, nicht gebunden an Konventionen, leicht und im Wind flatternd. Verweis: *Gottfried Semper, Der Stil in den technischen und tektonischen Künsten oder Praktische Ästhetik. Frankfurt am Main & München 1860–1863, Band 1 — NOWs: “Marking Triangles” Dialogausstellung von Tamura Yuichiro & Raul Walch im Japanischen Kulturinstitut, Köln (The Japan Foundation) Yuichiro Tamura: Über das Mutmaßen Es mag genau ein Jahr her sein, dass mich ein Bekannter kontaktierte und fragte, ob ich einen Stein nach Afrika zurückbringen könne. Auf meine Nachfrage erzählte er, dass der Stein, der vor fünf Jahren aus einer bestimmten Höhle in Afrika mitgebracht worden sei... Expand... Es mag genau ein Jahr her sein, dass mich ein Bekannter kontaktierte und fragte, ob ich einen Stein nach Afrika zurückbringen könne. Auf meine Nachfrage erzählte er, dass der Stein, der vor fuünf Jahren aus einer bestimmten Höhle in Afrika mitgebracht worden sei, Unglück über die Familie bringe. Die Person, die den Stein mitgebracht hatte, ist ein Bekannter meines Bekannten, den ich selber aber nie getroffen habe. Es sei dahingestellt, warum er gerade mich fragte, aber ich übernahm die Aufgabe, weil die Aussicht, für die Rückgabe des Steins in das mir unbekannte Afrika zu reisen, reizvoll und auch irgendwie witzig war. Von Tokyo Narita aus ging der Flug über Bangkok. Es dauerte einen ganzen Tag, bis ich in der Hauptstadt von Madagaskar ankam. In Begleitung eines lokalen Guides bin ich vom Flughafen aus in einem Mitsubishi mit Vierradantrieb zwei Tage und Nächte unterwegs gewesen, bis wir endlich in der Nähe der Höhle ankamen. Wir stiegen aus dem Wagen und marschierten etwa drei Stunden durch den Dschungel, bis sich vor uns der Eingang einer großen, stockfinsteren Höhle auftat. Im Inneren der Höhle gab es kein Licht, allein unsere Taschenlampen erhellten sie diffus. Dem Guide zufolge wurde diese Höhle anscheinend schon seit uralter Zeit von Menschen genutzt und tatsächlich waren hier und dort verstreut Anzeichen von menschlichen Knochen auszumachen. In einer Ecke im hintersten Bereich der Höhle, wo die Luft durch hohe Feuchtigkeit und Temperatur besonders bedrückend war, lag unser Zielort. Der Guide gab mir ein Zeichen, dass ich ihm den Stein anreichen solle. Nach der Übergabe hob er den Stein über seinen Kopf und platzierte ihn an einer von der Decke hervorstehenden Stelle. Der Stein passte genau. Am nächsten Tag bin ich in eine Hafenstadt im Norden von Madagaskar gefahren. Beim Gang durch die Stadt habe ich von Einheimischen erfahren, dass es dort ein Denkmal für Japaner gebe. Bei der Recherche, warum es gerade an diesem weit entfernten Ort steht, fand ich heraus, dass Madagaskar, das während der Zeit des Zweiten Weltkriegs eigentlich französische Kolonie war, infolge der deutschen Besatzung Frankreichs unter deutscher Regierungsgewalt stand. Die Aliierten, die das nicht guthießen, wollten den Hafen von Madagaskar unter ihre Kontrolle bringen. Um dies zu verhindern, wandte sich Deutschland mit der Bitte um Unterstützung an Japan. So wurden die britischen Kriegsschiffe, die im Hafen vor Anker gegangen waren, durch Torpedos von U-Booten aus dem fernen Japan versenkt. Später gingen die japanischen Besatzungsmitglieder der U-Boote an Land, wo sie im Kampf mit den englischen Soldaten den Tod fanden. Ich hatte nicht erwartet, an einem solchen Ort eine solche Geschichte zu hören. Letzten Endes hat Japan aufgrund der weiten Entfernung das Interesse an diesem Land verloren. Diese Tatsachen wurden von vielen Japanern vergessen. Es heißt, dass anfangs die Existenz von Madagaskar, das Marco Polo in seinem Reisebericht Il Milione – Die Wunder der Welt beschrieben hatte, angezweifelt wurde. Doch am 10. August 1500 wurde die Insel von dem Portugiesen Diogo Dias „entdeckt“. Später hat Portugal versucht, Madagaskar zu kolonialisieren, was jedoch erfolglos blieb. Der Plan von Portugal, Madagaskar in koloniale Abhängigkeit zu bringen, endete mit einem Misserfolg. Die Ruder der portugiesischen Schiffe wurden nun in Richtung Japan im Fernen Osten gerichtet. Schließlich landeten die Portugiesen im Jahr 1543 in Japan, und zwar auf der Insel Tanegashima, was großen Einfluss auf das spätere Japan ausüben sollte. So haben die Portugiesen Gewehre nach Japan eingeführt, wodurch sich die Kampfmethoden der Samurai veränderten. Der Sand von Tanegashima hat einen hohen Eisengehalt und wurde als Rohstoff für Gewehrkugeln als nützlich angesehen, sogar so sehr, dass es eine Küste mit dem Namen Kanehamakaigan (wörtlich „Eisenstrandküste“) gibt. Auf dem Schlachtfeld kamen die Samurai durch die aus diesem Küstensand gefertigten Gewerkugeln ums Leben und die Geister der Verstorbenen zerstreuten sich in die Welt. Dank dem Regisseur Kurosawa Akira sind diese auch heute noch als Schatten in aller Stille hier und da in der Welt präsent. Und nun zu einer anderen Geschichte. Sie handelt von dem berühmten Kölner Parfüm 4711, das auch in Japan verkauft wird. Doch dort ist der Duft ein anderer, wie die japanische Verkaufsstelle auf Nachfrage bestätigt. Der Duft für den japanischen Markt wird in Deutschland produziert, und obwohl die Japaner an der Komposition der Duftnote nicht beteiligt sind, wird noch etwas hinzugefügt. Anders ausgedrückt stellen die Deutschen einen Duft her, von dem sie meinen, dass er den japanischen Geschmack trifft. Auf dem Etikett des 4711-Flakons für den japanischen Markt ist der Produktname Portugal aufgedruckt. Vielleicht haben Sie Lust, die beiden Varianten von 4711 aus Köln und Japan zu testen. Auf diese Weise wird die wertvolle Handlung, sich eine „Vorstellung“ des Gegenüber zu machen - und zugleich die Schwierigkeit dessen – mit dem Geruch erfahrbar. — Raul Walch: In The Loneliness of the Long-Distance Runner, 2017. Installation Man sagte mir, das dies Abebe Bikila sei, der erste afrikanische Goldmedaillengewinner. Auch in Japan hatte er 1964 Gold gewonnen. Entlang der Marathonstrecke in Tokyo finde ich verblassende Erinnerungen Expand... Ein bekanntes Buch in Äthiopien hat den Titel „How Japan did develop“. Mir wurde gesagt, dass es erklärt, wie aus Japan ein Industrieland wurde und es sich aus der feudalen Gesellschaft hin zu einer kapitalistischen entwickelte. Das solle Vorbild sein. Ich fragte Helen, ob sie mir den Titel genau übersetzen kann, da ich annahm, sie hätte mir das Buch geschenkt. Doch kannte sie das Buch gar nicht. Sie hatte mir ein anderes geschenkt, mit einem Titel, der soviel heißt wie „Slumber & Age“. Wenn man es überhaupt übersetzen kann? Ich erinnere mich, dass ich auf der Suche nach Abebe Bikila einen Friedhof fand, der komplett zerstört war (next to St. Joseph Church, sagte man mir). Ich hatte das Helen erzählt und sie sagt mir, sie hätte dort mal ein Video gedreht. Alles dort hätte einem Infrastrukturprojekt weichen müssen und die Gebeine der Toten hätten von Verwandten ausgegraben werden müssen. Dort fand ich dieses statische Monument des Läufers. Man sagte mir, das dies Abebe Bikila sei, der erste afrikanische Goldmedaillengewinner. Auch in Japan hatte er 1964 Gold gewonnen. Entlang der Marathonstrecke in Tokyo finde ich verblassende Erinnerungen. Ein abgerissenes Stadion, ein Relief auf einer Brücke und eine Stadt, die sich ständig erneuert und wächst, so wie Addis Abeba. Raul Walch: Fabric & Space, 2015. Installation Es gibt ein Raumkonzept, welches besagt, dass Architektur textilen Ursprungs ist. Der deutsche Architekt Gottfried Semper schreibt in seiner Publikation Textile Kunst (1860)*, dass vor den Wänden bereits die Vorhänge existierten und dass Fries und Ornamente in weiche und organische Materialien gewebt waren. Expand... Es gibt ein Raumkonzept, welches besagt, dass Architektur textilen Ursprungs ist. Der deutsche Architekt Gottfried Semper schreibt in seiner Publikation Textile Kunst (1860), dass vor den Wänden bereits die Vorhänge existierten und dass Fries und Ornamente in weiche und organische Materialien gewebt waren. Es scheint so, als wären Städte lange vor unserer Zeit ephemer gewesen, aus Stoff gemacht und daher imstande, vielseitig gewandelt zu werden. Schließlich bezeichnet Stoff ja auch Materie oder materielle Entitäten im Allgemeinen (im Gegensatz zu immateriellen Entitäten wie Energie). Die gewebte Materie kann als Netz betrachtet werden, das die Welt zusammenhält. Außerdem gibt es eine direkte sprachliche Verbindung zwischen den Wörtern Wand und Gewand. Wenn Textilien als zweite Haut unserer Körper angesehen werden können, kann eine Struktur wie ein Haus eine dritte bilden? In Walchs Arbeit werden Textilien als raumschaffendes Material erkundet. Da sich Städte, insbesondere Tokyo, schnell und drastisch ändern, könnte man über urbane temporäre und provisorische Strukturen nachdenken, ohne diese abzureißen. Sie könnten aus weichen und umwandelbaren Formen sein, welche von konventionellen Architekturkonzepten befreit sind. In einem riesigen Zelt wird die Stadt zu einem vorübergehenden Theater. Die Verwendung von Noren (Türvorhang) in japanischen Türen und Fluren erlaubt es, die Häuser durch vorhangartigen Stoff zu betreten, was an einen Theaterauftritt erinnert. Für den japanischen Architekten Toyo Ito ist die europäische Architektur wie ein Museum, in dem Dinge platziert werden. Japanische Architektur hingegen vergleicht er mit einem Theater, welches normalerweise ein leerer Verschlag ist. Erst wenn etwas aufgeführt wird und sich Menschen versammeln, wird es mit verschiedenen Dingen ausgestattet. Japanische Architektur scheint sehr weich und flexibel zu sein wie die Formen des Furoshiki. Europäische und japanische Architektur unterscheiden sich wie eine Handtasche und Furoshiki. Während eine Handtasche eine bestimmte Form und Volumen hat, bildet Furoshiki nur eine Form, wenn es etwas umwickelt und ändert so stets seine Form. Die Installation der Ausstellung steht in direkter Verbindung mit diesen Ideen und Konzepten und soll als mögliches Modell für eine zukünftige urbane Umgebung gesehen werden. Die Muster der Stoffe sind angelehnt an Fliesendesigns, die Walch in Tokyo entdeckt hat und die in ganz Japan zu entdecken sind. Die Gemälde sind eine Abstraktion der ästhetischen Realitäten der Stadt. Die Simplizität der Textilien bricht die symmetrischen, glatten und perfekten Oberflächen der Stadt auf. Sie verleiht ihr eine Unregelmäßigkeit – frei, nicht gebunden an Konventionen, leicht und im Wind flatternd. Verweis: *Gottfried Semper, Der Stil in den technischen und tektonischen Künsten oder Praktische Ästhetik. Frankfurt am Main & München 1860–1863, Band 1 —

NOWs: Texture by Sophia Pompéry

17 December 2016 - 30 March 2017 / Nows ⟶

NOWs: Sophia Pompéry: Texture, 2016 at The Pan Tadeusz Museum ILLEGIBILITY.PALIMPSESTS Opening: Friday, 16 December 2016, 6 PM The phenomenon of illegibility and the accumulation of layers of script is the subject of the new temporary exhibition at the Pan Tadeusz Museum. The exhibition includes works e.g. by Andrzej Bednarczyk, Irma Blank, Zbigniew Libera, Sophia Pompéry and Andrzej Szewczyk. Most of us have experienced writing down a note which is later illegible, even to ourselves; it has occurred to almost everyone that we failed to decipher someone else’s scribbling, or have come across a system of signs that we couldn’t understand. How do we feel then: irritated, helpless, powerless? Or perhaps, in those conditions, when the desire for meaning evades us so blatantly, do we discover perception of different kind, where the script becomes a material phenomenon in itself, a fascinating ornament, a code without information? We see scripts which are visible, but not legible. The notion of a palimpsest appears to be closely related to illegibility. This term describes a manuscript written on previously used material. A palimpsest involves layers of overwritten script, in which the old layers eventually begin to reappear from below the new, making the writing less legible, if at all. I would certainly describe the exhibition at the Pan Tadeusz Museum in Wrocław as a palimpsest in itself, because it was developed on the basis of the first “layer”, namely the exhibition “Illegibility. The Contexts of Script”, which took place at the Art Stations Foundation by Grażyna Kulczyk in Poznań (February – May 2016). Yet the nature of a palimpsest involves a continuous process, hence the exhibition in Wrocław carries a different title and includes an expanded set of works. The works collected at the Illegibility – Palimpsests exhibition are located not only in the temporary exhibition space, but also seamlessly infiltrate the rooms of the permanent exhibition at the Pan Tadeusz Museum. The opening of the exhibition, on Friday 16 December at 6 PM, includes a performance by Ewa Partum from her Active Poetry series (free entry). *** Artists: Andrzej Bednarczyk, Jan Berdyszak, Marcin Berdyszak, Irma Blank, Witosław Czerwonka, Małgorzata Dawidek, Irmina Felińska, Katarzyna Giełżyńska, Krzysztof Gliszczyński, Roma Hałat, Jakub Jasiukiewicz, Sasaguchi Kazz, Hacer Kıroğlu, Piotr Korzeniowski, Andrzej Leśnik, Zbigniew Libera, Navid Nuur, Franciszek Orłowski, Michał Martychowiec, Ewa Partum, Ireneusz Pierzgalski, Sophia Pompéry, Ketty La Rocca, Antoni Starczewski, Tamás St. Auby, Zbigniew Sałaj, Andrzej Szewczyk, Jan Tarasin, Endre Tót, Marian Warzecha, Marek Wasilewski, Bogdan Wojtasiak Curator: Dr hab. Marta Smolińska, professor at the University of Arts in Poznań NOWs: Sophia Pompéry: Texture, 2016 at The Pan Tadeusz Museum ILLEGIBILITY.PALIMPSESTS Opening: Friday, 16 December 2016, 6 PM The phenomenon of illegibility and the accumulation of layers of script is the subject of the new temporary exhibition at the Pan Tadeusz Museum. The exhibition includes works e.g. by Andrzej Bednarczyk, Irma Blank, Zbigniew Libera, Sophia Pompéry and Andrzej Szewczyk. Most of us have experienced writing down a note which is later illegible, even to ourselves; it has occurred to almost everyone that we failed to decipher someone else’s scribbling, or have come across a system of signs that we couldn’t understand. How do we feel then: irritated, helpless, powerless? Or perhaps, in those conditions, when the desire for meaning evades us so blatantly, do we discover perception of different kind, where the script becomes a material phenomenon in itself, a fascinating ornament, a code without information? We see scripts which are visible, but not legible. The notion of a palimpsest appears to be closely related to illegibility. This term describes a manuscript written on previously used material. A palimpsest involves layers of overwritten script, in which the old layers eventually begin to reappear from below the new, making the writing less legible, if at all. I would certainly describe the exhibition at the Pan Tadeusz Museum in Wrocław as a palimpsest in itself, because it was developed on the basis of the first “layer”, namely the exhibition “Illegibility. The Contexts of Script”, which took place at the Art Stations Foundation by Grażyna Kulczyk in Poznań (February – May 2016). Yet the nature of a palimpsest involves a continuous process, hence the exhibition in Wrocław carries a different title and includes an expanded set of works. The works collected at the Illegibility – Palimpsests exhibition are located not only in the temporary exhibition space, but also seamlessly infiltrate the rooms of the permanent exhibition at the Pan Tadeusz Museum. The opening of the exhibition, on Friday 16 December at 6 PM, includes a performance by Ewa Partum from her Active Poetry series (free entry). *** Artists: Andrzej Bednarczyk, Jan Berdyszak, Marcin Berdyszak, Irma Blank, Witosław Czerwonka, Małgorzata Dawidek, Irmina Felińska, Katarzyna Giełżyńska, Krzysztof Gliszczyński, Roma Hałat, Jakub Jasiukiewicz, Sasaguchi Kazz, Hacer Kıroğlu, Piotr Korzeniowski, Andrzej Leśnik, Zbigniew Libera, Navid Nuur, Franciszek Orłowski, Michał Martychowiec, Ewa Partum, Ireneusz Pierzgalski, Sophia Pompéry, Ketty La Rocca, Antoni Starczewski, Tamás St. Auby, Zbigniew Sałaj, Andrzej Szewczyk, Jan Tarasin, Endre Tót, Marian Warzecha, Marek Wasilewski, Bogdan Wojtasiak Curator: Dr hab. Marta Smolińska, professor at the University of Arts in Poznań

NOWs: Simulacra by Elín Hansdóttir

15 December - 04 February 2016 / Nows ⟶

NOWs: Elín Hansdóttir, Simulacra 9, 2016. Photograph, 80 x 120 cm. Courtesy of the artist and i8 Gallery, Reykjavik Elín Hansdóttir: Simulacra i8 Gallery | Tryggvagata 16 | 101 Reykjavik | Iceland In Simulacra, artist Elín Hansdóttir radically alters the gallery space and then returns it to its original state with only photographs serving as evidence. When viewers enter the gallery they see nine nearly identical photographs depicting a prosaic scene – a bouquet of flowers. Upon closer inspection, however, the scene becomes strange, as the flowers are depicted hovering in the center of the gallery where the building’s support column is located, literally defying gravity and logic. And as viewers scan one photograph after another the flowers seem to devolve from a state of bloom to death, as if the deterioration within a Dutch still painting has been divided into cells for a stopmotion animation film. To create this illusion Hansdóttir used techniques derived from the early years of Hollywood cinema, which she innovated for her own purposes. In this installation she photographed a bouquet of flowers over a period of one month and from these images painted glass mattes, which she installed around the gallery’s column. The artist then photographed the column, which, courtesy of the matte paintings around it, seemed to disappear. The glass mattes were then removed. Upon entering the gallery viewers will anxiously look from the photographs on the wall to the site they depict, finding only a support column in the gallery but expecting more. Whether miracle or a trick, these photographs at i8 depict an event that interrupts the scene of normality, and such events, as Alain Badiou notes, reveal the multiplicity that lies at the foundation of reality, shaking our sense of continuity. As in prior installations by this artist the viewer serves as a catalyst. In Trace (2010), for example, viewers scan the wall like a film projector, piecing together still images into a coherent narrative. Similarly, in Path (2008) viewers walk down a corridor as they attempt to assemble a host of discrete and ungrounded experiences into a phenomenological whole. And in Suspension of Disbelief (2015) Hansdóttir introduces the glass matte technique, thereby obliging viewers to composite installation with representational imagery. While she continues in this manner Simulacra is more about time than space. It is also more layered and more explicitly about history. It thus compels viewers to do a different kind of work than her previous installations do. If un lieu de mémoire is a spatial marker indicating a mnemonic absence, this installation comes at the problem of memory from multiple angles. The artist’s layered process serves as an index to the different rhythms that once infused daily life—the quick clip of stop-motion cinema, the languorous stillness of the still life painting, the “decisive moment” of photography, and the timelessness of religious symbolism. Conversely, these invoked rhythms suggest that the contemporary gallery—with its white walls, cement floor, and central support column—buries memory. Such memories reemerge in Simulacra uninvited. Text by Dore Bowen – Elín Hansdóttir, (b. 1980) lives and works in Reykjavik and Berlin. She studied at the Iceland Academy of the Arts and Kunsthochschule Weissensee in Berlin completing her MA in 2006. Solo shows include Suspension of Disbelief at KW Institute for Contemporary Art, Berlin (2015); Trace at i8 Gallery (2010); Parallax at the Reykjavik Art Museum (2009) and Universolo at Unosolo project space, Rome (2009). Group shows include Disruption at Reykjavik Art Museum – Ásmundarsafn, Beyond Reach at Den Frie Udstillingsbygning, Copenhagen (2014); Higher Atlas, Marrakech Biennale, Morocco (2012); Space Revised, Künstlerhaus Bremen (2009) and Art Against Architecture at the National Gallery of Iceland (2008). In 2007 she was commissioned for Frieze Projects, Frieze Art Fair, London. NOWs: Elín Hansdóttir, Simulacra 9, 2016. Photograph, 80 x 120 cm. Courtesy of the artist and i8 Gallery, Reykjavik Elín Hansdóttir: Simulacra i8 Gallery | Tryggvagata 16 | 101 Reykjavik | Iceland In Simulacra, artist Elín Hansdóttir radically alters the gallery space and then returns it to its original state with only photographs serving as evidence. When viewers enter the gallery they see nine nearly identical photographs depicting a prosaic scene – a bouquet of flowers. Upon closer inspection, however, the scene becomes strange, as the flowers are depicted hovering in the center of the gallery where the building’s support column is located, literally defying gravity and logic. And as viewers scan one photograph after another the flowers seem to devolve from a state of bloom to death, as if the deterioration within a Dutch still painting has been divided into cells for a stopmotion animation film. To create this illusion Hansdóttir used techniques derived from the early years of Hollywood cinema, which she innovated for her own purposes. In this installation she photographed a bouquet of flowers over a period of one month and from these images painted glass mattes, which she installed around the gallery’s column. The artist then photographed the column, which, courtesy of the matte paintings around it, seemed to disappear. The glass mattes were then removed. Upon entering the gallery viewers will anxiously look from the photographs on the wall to the site they depict, finding only a support column in the gallery but expecting more. Whether miracle or a trick, these photographs at i8 depict an event that interrupts the scene of normality, and such events, as Alain Badiou notes, reveal the multiplicity that lies at the foundation of reality, shaking our sense of continuity. As in prior installations by this artist the viewer serves as a catalyst. In Trace (2010), for example, viewers scan the wall like a film projector, piecing together still images into a coherent narrative. Similarly, in Path (2008) viewers walk down a corridor as they attempt to assemble a host of discrete and ungrounded experiences into a phenomenological whole. And in Suspension of Disbelief (2015) Hansdóttir introduces the glass matte technique, thereby obliging viewers to composite installation with representational imagery. While she continues in this manner Simulacra is more about time than space. It is also more layered and more explicitly about history. It thus compels viewers to do a different kind of work than her previous installations do. If un lieu de mémoire is a spatial marker indicating a mnemonic absence, this installation comes at the problem of memory from multiple angles. The artist’s layered process serves as an index to the different rhythms that once infused daily life—the quick clip of stop-motion cinema, the languorous stillness of the still life painting, the “decisive moment” of photography, and the timelessness of religious symbolism. Conversely, these invoked rhythms suggest that the contemporary gallery—with its white walls, cement floor, and central support column—buries memory. Such memories reemerge in Simulacra uninvited. Text by Dore Bowen – Elín Hansdóttir, (b. 1980) lives and works in Reykjavik and Berlin. She studied at the Iceland Academy of the Arts and Kunsthochschule Weissensee in Berlin completing her MA in 2006. Solo shows include Suspension of Disbelief at KW Institute for Contemporary Art, Berlin (2015); Trace at i8 Gallery (2010); Parallax at the Reykjavik Art Museum (2009) and Universolo at Unosolo project space, Rome (2009). Group shows include Disruption at Reykjavik Art Museum – Ásmundarsafn, Beyond Reach at Den Frie Udstillingsbygning, Copenhagen (2014); Higher Atlas, Marrakech Biennale, Morocco (2012); Space Revised, Künstlerhaus Bremen (2009) and Art Against Architecture at the National Gallery of Iceland (2008). In 2007 she was commissioned for Frieze Projects, Frieze Art Fair, London.

NOWs: Kaya Cynara by Hans-Henning Korb

13 December 2016 - 28 February 2017 / Nows ⟶

NOWs: Hans-Henning Korb presents Kaya Cynara at Empty Gallery, Hong Kong Spread across three discrete exhibition spaces on Empty Gallery’s new 18th floor, Kaya Cynara takes the form of a modular installation comprising ritual performances, expanded sculpture, video installation and virtual reality. These complex environments are further activated by Korb’s rituals in which the spectator is guided through a ceremonial interaction with the various sculptures and objects. With each exhibition space representing a different stage of consciousness, the spectator experiences Kaya Cynara as a successively developing relationship between virtual and actual, nature and technology, inside and outside. Korb’s work reflects on the ontological convergence of these myriad spheres within our hyper-mediated present and the generative role of the human within this complex ecosystem. Designed from the outset as a mobile composition existing in different locations and time scales, Kaya Cynara includes ceramics by Jonas Wendelin Kesseler and music by Robert Lippok. Trailer for Kaya Cynara at Empty Gallery, Hong Kong. Credits: Hans-Henning Korb, 2016 / Voice - Jack Barnett / Actors - Zoë-Louise Estève & Henry McMaster Hans-Henning Korb will present Kaya Cynara, his first solo exhibition in Asia. Spread across three discrete exhibition spaces on Empty Gallery’s 18th floor, Kaya Cynara takes the form of a modular installation comprising ritual performances, expanded sculpture, video installation, and Oculus Rift VR. Kaya Cynara includes ceramics by Jonas Wendelin Kesseler and music by Robert Lippok. Empty Gallery re-opens its new 4,500-sq-foot black-cube facilities in Tin Wan with two exhibitions: an immersive installation of Takashi Makino’s Cinema Concret, and a multi-sensory conceptual environment by Hans-Henning Korb. The opening will be followed by an after-party with performances by Mark Fell, Rian Trianor, Robert Lippok, and Terre Thaemlitz aka DJ Sprinkles (as special guest). Takashi Makino will present an installation version of his 2015 film Cinema Concret, with a new score by the Dutch experimental musician Machinefabriek. Find further images here. Hans-Henning Korb (b. 1988) lives and works in Berlin where he graduated from the Berlin University of the Arts, in 2016. Korb’s work transgresses traditional categories, combining sculpture, installation, and performances that involve music, film, computer animation, virtual worlds, plants, and organic processes. Korb completed an MA at the Berlin University of the Arts and studied in the class of Hito Steyerl and the Institute for Spatial Experiments (Institut für Raumexperimente) of Olafur Eliasson. He was a visiting student at the Addis Ababa School of Fine Arts in Ethiopia and the Hunter College in New York. NOWs: Hans-Henning Korb presents Kaya Cynara at Empty Gallery, Hong Kong Spread across three discrete exhibition spaces on Empty Gallery’s new 18th floor, Kaya Cynara takes the form of a modular installation comprising ritual performances, expanded sculpture, video installation and virtual reality. These complex environments are further activated by Korb’s rituals in which the spectator is guided through a ceremonial interaction with the various sculptures and objects. With each exhibition space representing a different stage of consciousness, the spectator experiences Kaya Cynara as a successively developing relationship between virtual and actual, nature and technology, inside and outside. Korb’s work reflects on the ontological convergence of these myriad spheres within our hyper-mediated present and the generative role of the human within this complex ecosystem. Designed from the outset as a mobile composition existing in different locations and time scales, Kaya Cynara includes ceramics by Jonas Wendelin Kesseler and music by Robert Lippok. Trailer for Kaya Cynara at Empty Gallery, Hong Kong. Credits: Hans-Henning Korb, 2016 / Voice - Jack Barnett / Actors - Zoë-Louise Estève & Henry McMaster Hans-Henning Korb will present Kaya Cynara, his first solo exhibition in Asia. Spread across three discrete exhibition spaces on Empty Gallery’s 18th floor, Kaya Cynara takes the form of a modular installation comprising ritual performances, expanded sculpture, video installation, and Oculus Rift VR. Kaya Cynara includes ceramics by Jonas Wendelin Kesseler and music by Robert Lippok.Empty Gallery re-opens its new 4,500-sq-foot black-cube facilities in Tin Wan with two exhibitions: an immersive installation of Takashi Makino’s Cinema Concret, and a multi-sensory conceptual environment by Hans-Henning Korb. The opening will be followed by an after-party with performances by Mark Fell, Rian Trianor, Robert Lippok, and Terre Thaemlitz aka DJ Sprinkles (as special guest). Takashi Makino will present an installation version of his 2015 film Cinema Concret, with a new score by the Dutch experimental musician Machinefabriek. Find further images here. Hans-Henning Korb (b. 1988) lives and works in Berlin where he graduated from the Berlin University of the Arts, in 2016. Korb’s work transgresses traditional categories, combining sculpture, installation, and performances that involve music, film, computer animation, virtual worlds, plants, and organic processes. Korb completed an MA at the Berlin University of the Arts and studied in the class of Hito Steyerl and the Institute for Spatial Experiments (Institut für Raumexperimente) of Olafur Eliasson. He was a visiting student at the Addis Ababa School of Fine Arts in Ethiopia and the Hunter College in New York.

NOWs: The Condition of Your Attention by Leon Eixenberger

09 December - 08 January 2016 / Nows ⟶

NOWs: The fluid, the fluid of fluids, is frozen into crystals. What was always moving becomes still, until it melts again. Ice crystals are the immobilized that is dynamic through its interaction with environment. Ice is, therefore, a transient form, which is perhaps to say, not a form at all, for it always presses towards formlessness again.[1] Crystalline environments are fragile, and their fragile untenability undoubtedly contributes to their beauty. Such fragility is materially occasioned. Ice and snow melt.[2] – Leon Eixenberger: THE CONDITION OF YOUR ATTENTION with contribution by Robert Lippok curated by Rosali Wiesheu Opening: 9 December, 18h super+ CENTERCOURT Adalbertstr. 44 80799 Munich, Germany Leon Eixenberger experimentiert unter dem Titel THE CONDITION OF YOUR ATTENTION mit Spielarten des Prozessualen. Dabei konzentriert er sich auf die Materialien Wachs und Wasser und präsentiert Objekte, die den transformativen Prozess ihrer Formauflösung und erneuten Formfindung performativ vollziehen. Eixenbergers Arbeiten lösen die geometrische Form ihrer Objekte auf und ermöglichen zufällige Neukonstellationen, die sich aus den Wachs- und Wasserkörpern selbst ergeben. Auf einer interpretativen Ebene durchlaufen hier nicht nur die Ausstellungsgegenstände eine Verschiebung ihrer materiellen Bedingtheit, auch das Auge beugt sich einer Metamorphose. Es wird dazu herausgefordert, sein identifizierendes Sehen aufzugeben und sich auf ein assoziatives und intuitives Spiel des Informen und Transformen einzulassen. Expand... Leon Eixenberger experimentiert unter dem Titel THE CONDITION OF YOUR ATTENTION mit Spielarten des Prozessualen. Dabei konzentriert er sich auf die Materialien Wachs und Wasser und präsentiert Objekte, die den transformativen Prozess ihrer Formauflösung und erneuten Formfindung performativ vollziehen. Die Wachsobjekte bestehen aus unzähligen kleinen Tropfen von mehreren Hundert braunen und schwarzen Kerzen, die der Künstler in einem mehrmonatigen Prozess kontinuierlich über einer Wasserfläche hat abbrennen lassen, auf der die flüssigen Wachsmoleküle nach und nach zu blasenförmigen Erhebungen verschmolzen sind und eine komplexe Oberflächenstruktur erzeugen. Die Rückseiten lassen an manchen Stellen Teile der Metallgitter erkennen, die die Wachsobjekte zusammenhalten und von einer glatten, weißen Parafinschicht überzogen sind. Der rotbraune Rost, der an Teilen des Gitters sichtbar wird, verweist auf die Zeit, die im Prozess der Formwerdung der Objekte verstrichen ist. Die Arbeiten leben von der gebrochenen Anwesenheit ihrer Vergangenheit, die als schimmernde Spur in jedem Moment an den prekären Status ihrer vermeintlichen Abgeschlossenheit erinnert. Während das Wachsrelief (120 x 60 cm) an der linken Ausstellungswand fest an einer Vorrichtung montiert ist, pendelt der Wachskörper (130 x 70 cm) in der Raummitte lose an einer Metallkette, die vom oberen Ende eines 250 x 130 cm großen, weißen Boxsackständers herabhängt. Durch die Montage des Wachskörpers auf das Boxsackgerüst ist der Skulptur ein Moment der Bewegung inhärent, die jedoch nicht zur Ausführung kommt. Wo hier die Bewegung als Möglichkeit präsent ist, vollzieht sich diese konkret in den kontinuierlich und langsam schmelzenden, schwarzen, steinförmigen Wasserkörpern, die sich nach und nach auf dem Boden des Ausstellungsraumes ausbreiten. Der umgekehrt dynamische Prozess zwischen sich auflösendem, flüssig werdendem Eis und dem zu festen Körpern geronnenen Wachs tritt in eine zusätzliche Konstellation mit der Komposition des Künstlers Robert Lippok, dessen Soundwellen den Ausstellungsraum durchziehen und die prozessuale Dynamik der Objekte akustisch spiegeln. Materie schleppt den Ballast der Geometrie. Eixenbergers Arbeiten lösen die geometrische Form ihrer Objekte auf und ermöglichen zufällige Neukonstellationen, die sich aus den Wachs- und Wasserkörpern selbst ergeben. Auf einer interpretativen Ebene durchlaufen hier nicht nur die Ausstellungsgegenstände eine Verschiebung ihrer materiellen Bedingtheit, auch das Auge beugt sich einer Metamorphose. Es wird dazu herausgefordert, sein identifizierendes Sehen aufzugeben und sich auf ein assoziatives und intuitives Spiel des Informen und Transformen einzulassen. Rosali Wiesheu – [1] Esther Leslie: Liquidation and Shattering: Aesthetics and Politics in Cold Climates, in: Anca M. Pusca [Hrsg.]: Walter Benjamin and the Aesthetics of Change, New York/Basingstoke 2010, S. 95-108, hier S.100. [2] Ebd. – NOWs: The fluid, the fluid of fluids, is frozen into crystals. What was always moving becomes still, until it melts again. Ice crystals are the immobilized that is dynamic through its interaction with environment. Ice is, therefore, a transient form, which is perhaps to say, not a form at all, for it always presses towards formlessness again.[1] Crystalline environments are fragile, and their fragile untenability undoubtedly contributes to their beauty. Such fragility is materially occasioned. Ice and snow melt.[2] – Leon Eixenberger: THE CONDITION OF YOUR ATTENTION mit Betrag von Robert Lippok kuratiert von Rosali Wiesheu Eröffnung: 9. Dezember 2016, 18h super+ CENTERCOURT Adalbertstr. 44 80799 München Leon Eixenberger experimentiert unter dem Titel THE CONDITION OF YOUR ATTENTION mit Spielarten des Prozessualen. Dabei konzentriert er sich auf die Materialien Wachs und Wasser und präsentiert Objekte, die den transformativen Prozess ihrer Formauflösung und erneuten Formfindung performativ vollziehen. Eixenbergers Arbeiten lösen die geometrische Form ihrer Objekte auf und ermöglichen zufällige Neukonstellationen, die sich aus den Wachs- und Wasserkörpern selbst ergeben. Auf einer interpretativen Ebene durchlaufen hier nicht nur die Ausstellungsgegenstände eine Verschiebung ihrer materiellen Bedingtheit, auch das Auge beugt sich einer Metamorphose. Es wird dazu herausgefordert, sein identifizierendes Sehen aufzugeben und sich auf ein assoziatives und intuitives Spiel des Informen und Transformen einzulassen. Expand... Leon Eixenberger experimentiert unter dem Titel THE CONDITION OF YOUR ATTENTION mit Spielarten des Prozessualen. Dabei konzentriert er sich auf die Materialien Wachs und Wasser und präsentiert Objekte, die den transformativen Prozess ihrer Formauflösung und erneuten Formfindung performativ vollziehen. Die Wachsobjekte bestehen aus unzähligen kleinen Tropfen von mehreren Hundert braunen und schwarzen Kerzen, die der Künstler in einem mehrmonatigen Prozess kontinuierlich über einer Wasserfläche hat abbrennen lassen, auf der die flüssigen Wachsmoleküle nach und nach zu blasenförmigen Erhebungen verschmolzen sind und eine komplexe Oberflächenstruktur erzeugen. Die Rückseiten lassen an manchen Stellen Teile der Metallgitter erkennen, die die Wachsobjekte zusammenhalten und von einer glatten, weißen Parafinschicht überzogen sind. Der rotbraune Rost, der an Teilen des Gitters sichtbar wird, verweist auf die Zeit, die im Prozess der Formwerdung der Objekte verstrichen ist. Die Arbeiten leben von der gebrochenen Anwesenheit ihrer Vergangenheit, die als schimmernde Spur in jedem Moment an den prekären Status ihrer vermeintlichen Abgeschlossenheit erinnert. Während das Wachsrelief (120 x 60 cm) an der linken Ausstellungswand fest an einer Vorrichtung montiert ist, pendelt der Wachskörper (130 x 70 cm) in der Raummitte lose an einer Metallkette, die vom oberen Ende eines 250 x 130 cm großen, weißen Boxsackständers herabhängt. Durch die Montage des Wachskörpers auf das Boxsackgerüst ist der Skulptur ein Moment der Bewegung inhärent, die jedoch nicht zur Ausführung kommt. Wo hier die Bewegung als Möglichkeit präsent ist, vollzieht sich diese konkret in den kontinuierlich und langsam schmelzenden, schwarzen, steinförmigen Wasserkörpern, die sich nach und nach auf dem Boden des Ausstellungsraumes ausbreiten. Der umgekehrt dynamische Prozess zwischen sich auflösendem, flüssig werdendem Eis und dem zu festen Körpern geronnenen Wachs tritt in eine zusätzliche Konstellation mit der Komposition des Künstlers Robert Lippok, dessen Soundwellen den Ausstellungsraum durchziehen und die prozessuale Dynamik der Objekte akustisch spiegeln. Materie schleppt den Ballast der Geometrie. Eixenbergers Arbeiten lösen die geometrische Form ihrer Objekte auf und ermöglichen zufällige Neukonstellationen, die sich aus den Wachs- und Wasserkörpern selbst ergeben. Auf einer interpretativen Ebene durchlaufen hier nicht nur die Ausstellungsgegenstände eine Verschiebung ihrer materiellen Bedingtheit, auch das Auge beugt sich einer Metamorphose. Es wird dazu herausgefordert, sein identifizierendes Sehen aufzugeben und sich auf ein assoziatives und intuitives Spiel des Informen und Transformen einzulassen. Rosali Wiesheu – [1] Esther Leslie: Liquidation and Shattering: Aesthetics and Politics in Cold Climates, in: Anca M. Pusca [Hrsg.]: Walter Benjamin and the Aesthetics of Change, New York/Basingstoke 2010, S. 95-108, hier S.100. [2] Ebd. –

NOWs: StudioVisit mit Andreas Greiner

05 December 2016 / Nows ⟶

NOWs: Andreas Greiner: Monument for A Contemporary Dinosaurs (Ross 308), 2016. High definition CT-scan of a dead-found broiler chicken, 3D print, Installation view. StudioVisit: Andreas Greiner, Preisträger des GASAG Kunstpreis 2016 Herzliche Einladung zum StudioVisit am Montag, 5. Dezember um 19 Uhr, beim Künstler Andreas Greiner, Preisträger des GASAG Kunstpreis 2016. Greiners Werk befasst sich mit Phänomenen der Natur- und Geisteswissenschaften, mit Medizin, Anatomie und Musik. Anlässlich seiner Einzelausstellung „Agentur des Exponenten“ in der Berlinischen Galerie, die sich mit dem exponentiellen Wachstum, der Identität und Transformation von Lebewesen, speziell von Masthühnern, befasst, sprechen wir mit Greiner über seine Arbeiten, die Aufgabe der Kunst sowie ihren Möglichkeiten und Grenzen in der Gesellschaft. Gemeinsam mit sieben ehemaligen Meisterschülern, die wie Greiner bei Olafur Eliasson im Instituts für Raumexperimente studiert haben, teilt er sich eine beeindruckende Arbeitshalle in der Tempelhofer Malzfabrik. Wie immer in der Reihe StudioVisits steht der Dialog mit dem Künstler im Vordergrund. Der Atelierbesuch wird auf Deutsch stattfinden und ca. eine Stunde dauern. Die Teilnahme kostet pro Person 15 Euro (inkl. MwSt., gerne mit Rechnung). Die Studio-Adresse in Tempelhof folgt nach verbindlicher Anmeldung unter info@studiovisits.de Kontakt & Organisation Julia Rosenbaum +49 177 64 36 173 www.studiovisits.de | info@studiovisits.de Andreas Greiner: Monument for A Contemporary Dinosaurs (Ross 308), 2016. High definition CT-scan of a dead-found broiler chicken, 3D print, installation view, Berlinische Galerie. NOWs: Andreas Greiner: Monument for A Contemporary Dinosaurs (Ross 308), 2016. High definition CT-scan of a dead-found broiler chicken, 3D print, Installation view. StudioVisit: Andreas Greiner, Preisträger des GASAG Kunstpreis 2016 Herzliche Einladung zum StudioVisit am Montag, 5. Dezember um 19 Uhr, beim Künstler Andreas Greiner, Preisträger des GASAG Kunstpreis 2016. Greiners Werk befasst sich mit Phänomenen der Natur- und Geisteswissenschaften, mit Medizin, Anatomie und Musik. Anlässlich seiner Einzelausstellung „Agentur des Exponenten“ in der Berlinischen Galerie, die sich mit dem exponentiellen Wachstum, der Identität und Transformation von Lebewesen, speziell von Masthühnern, befasst, sprechen wir mit Greiner über seine Arbeiten, die Aufgabe der Kunst sowie ihren Möglichkeiten und Grenzen in der Gesellschaft. Gemeinsam mit sieben ehemaligen Meisterschülern, die wie Greiner bei Olafur Eliasson im Instituts für Raumexperimente studiert haben, teilt er sich eine beeindruckende Arbeitshalle in der Tempelhofer Malzfabrik. Wie immer in der Reihe StudioVisits steht der Dialog mit dem Künstler im Vordergrund. Der Atelierbesuch wird auf Deutsch stattfinden und ca. eine Stunde dauern. Die Teilnahme kostet pro Person 15 Euro (inkl. MwSt., gerne mit Rechnung). Die Studio-Adresse in Tempelhof folgt nach verbindlicher Anmeldung unter info@studiovisits.de Kontakt & Organisation Julia Rosenbaum +49 177 64 36 173 www.studiovisits.de | info@studiovisits.de Andreas Greiner: Monument for A Contemporary Dinosaurs (Ross 308), 2016. High definition CT-scan of a dead-found broiler chicken, 3D print, installation view, Berlinische Galerie.

NOWs: Matthias Sohr at ACUD

02 December - 14 January 2016 / Nows ⟶

NOWs: Matthias Sohr Information about the Exhibition of Matthias Sohr The opening of the exhibition is on Friday the 2nd of December 2016 from 18:00 to 22:00. Afterwards these are the opening hours: 3 December to 18 December 2016 and 12 January to 15 January 2017 Every Friday and Saturday from 13:00 to 18:00. You can see the exhibition here: ACUD gallery Berlin Veteranenstraße 21 10119 Berlin ACUD is the name of the gallery. A gallery is a space where exhibitions are shown. Matthias Sohr has thought about many topics for the exhibition. For example, the exhibition is about: family and family ties the agency of people In his exhibition he shows different sculptures. Sculptures are figures. For example made from plastic. Or from metal. Matthias Sohr also shows other things. For example: A stair lift Or a wheelchair Or colourful boards on the wall Matthias Sohr makes art. He doesn’t just show things. He wants to show things differently than they normally are. That’s important to him. Information about the artist The name of the artist is Matthias Sohr. He was born in 1980. He is from Düsseldorf in Germany. Matthias Sohr is a sculptor. That means: He makes sculptures. Sculptures are figures. For example made from plastic. Or from metal. He has studied in various countries. He has often shown his sculptures before. This is his first exhibition in Berlin. The exhibition is made accessible by the Reha Hilfe Jessen GmbH. The text was translated by the AWO Büro Leichte Sprache. The exhibition receives money from the Senate of Berlin. NOWs: Matthias Sohr Infos zur Ausstellung von Matthias Sohr Die Eröffnung von der Ausstellung ist am Freitag den 2. Dezember 2016 von 18 Uhr bis 22 Uhr. Danach gibt es diese Öffnungs-Zeiten: 3. Dezember 2016 bis 15. Januar 2017 Jeden Freitag und Samstag von 13 Uhr bis 18 Uhr. Die Ausstellung kann man sich hier ansehen: ACUD Galerie Berlin Veteranenstraße 21 10119 Berlin ACUD ist der Name von der Galerie. Eine Galerie ist ein Raum, in dem Ausstellungen gezeigt werden. Für die Ausstellung hat sich Matthias Sohr mit vielen Themen beschäftigt. In der Ausstellung geht es zum Beispiel um: • Familie und Familien-Zusammenhalt • Selbst-Vertretung von Menschen In seiner Ausstellung zeigt er verschiedene Skulpturen. Skulpturen sind Figuren. Zum Beispiel aus Plastik. Oder aus Metall. Matthias Sohr zeigt auch andere Dinge. Zum Beispiel: • Einen Treppen-Lift. • Oder einen Rollstuhl. • Oder bunte Tafeln an der Wand. Matthias Sohr macht Kunst. Er zeigt Dinge nicht einfach nur so. Er möchte die Dinge anders zeigen, als sie sonst sind. Das ist ihm wichtig. Infos über den Künstler Der Künstler heißt Matthias Sohr. Er wurde 1980 geboren. Er kommt aus Düsseldorf. Matthias Sohr ist Bildhauer. Das heißt: Er macht Skulpturen. Skulpturen sind Figuren. Zum Beispiel aus Plastik. Oder aus Metall. Er hat in verschiedenen Ländern studiert. Er hat seine Skulpturen schon oft gezeigt. Diese ist seine erste Ausstellung in Berlin. Die Ausstellung wurde barriere-frei gemacht von der Reha Hilfe Jessen GmbH. Übersetzt wurde der Text vom AWO Büro Leichte Sprache. Die Ausstellung bekommt Geld vom Senat Berlin.

NOWs: IBB Preis für Photographie: Raul Walch

30 November - 21 December 2016 / Nows ⟶

NOWs: IBB-Preis für Photographie 2016 : Raul Walch Der IBB Preis für Photographie wird von der Investitionsbank Berlin in Kooperation mit dem Freundeskreis der UdK Berlin | Karl Hofer Gesellschaft zum 10. Mal ausgelobt. Raul Walch gewinnt in diesem Jahr den Preis, der neben dem Preisgeld von 5000 € eine Ausstellung im IBB Atrium und einen Katalog umfasst. Der Annerkennungspreis wird an Marta Djourina vergeben. Die Auswahl haben dieses Jahr Dr. Ralf Hartmann (Galerie Nord | Kunstverein Tiergarten, Rektor HGB Leipzig) und Dr. Thomas Köhler (Berlinische Galerie) getroffen. In der Jury-Begründung heißt es: “Raul Walch, der zunächst Soziologie studierte und dann bei Olafur Eliasson am Institut für Raumexperimente war, macht mit spielerischen und zugleich kritischen Interventionen den öffentlichen Raum zu seiner Bühne. Er hisst farbenfrohe Fahnen, lässt Drachen in ungewohnter Umgebung steigen und funktioniert städtische Hydranten zu Wasserfontänen um. Diese hintersinnig-poetischen Eingriffe in gewohnte Abläufe vollzieht Walch ortsspezifisch und fotografiert seine humorvoll-subversiven Aktionen, um über die temporären, performativen Störungen hinaus ein Bild zu bewahren.” Raul Walch: Moria, 2016. (Series) › Raul Walch: Azimut, 2016. (Series) Mytilene, Mithymna, Idomeni, Berlin, Arnsberg. Ausstellung: IBB-Preis für Photographie 2016 30. November bis 21. Dezember 2016 Mo.–Fr. 9–18 Uhr Ort: Investitionsbank Bank Berlin (Atrium) Bundesallee 210 10719 Berlin karl-hofer-gesellschaft.de NOWs: IBB-Preis für Photographie 2016 : Raul Walch Der IBB Preis für Photographie wird von der Investitionsbank Berlin in Kooperation mit dem Freundeskreis der UdK Berlin | Karl Hofer Gesellschaft zum 10. Mal ausgelobt. Raul Walch gewinnt in diesem Jahr den Preis, der neben dem Preisgeld von 5000 € eine Ausstellung im IBB Atrium und einen Katalog umfasst. Der Annerkennungspreis wird an Marta Djourina vergeben. Die Auswahl haben dieses Jahr Dr. Ralf Hartmann (Galerie Nord | Kunstverein Tiergarten, Rektor HGB Leipzig) und Dr. Thomas Köhler (Berlinische Galerie) getroffen. In der Jury-Begründung heißt es: “Raul Walch, der zunächst Soziologie studierte und dann bei Olafur Eliasson am Institut für Raumexperimente war, macht mit spielerischen und zugleich kritischen Interventionen den öffentlichen Raum zu seiner Bühne. Er hisst farbenfrohe Fahnen, lässt Drachen in ungewohnter Umgebung steigen und funktioniert städtische Hydranten zu Wasserfontänen um. Diese hintersinnig-poetischen Eingriffe in gewohnte Abläufe vollzieht Walch ortsspezifisch und fotografiert seine humorvoll-subversiven Aktionen, um über die temporären, performativen Störungen hinaus ein Bild zu bewahren.” Raul Walch: Moria, 2016. (Series) › Raul Walch: Azimut, 2016. (Series) Mytilene, Mithymna, Idomeni, Berlin, Arnsberg. Ausstellung: IBB-Preis für Photographie 2016 30. November bis 21. Dezember 2016 Mo.–Fr. 9–18 Uhr Ort: Investitionsbank Bank Berlin (Atrium) Bundesallee 210 10719 Berlin karl-hofer-gesellschaft.de

NOWs: From the Bikini Atoll to Yozgat by Markus Hoffmann

30 November 2016 / Nows ⟶

NOWs: Markus Hoffman: Bikini Atoll Containment I (Source), 2015, detail Markus Hoffman: Bikini Atoll Containment I (Source), 2015 Markus Hoffmann: “The Reality is uncertain. From the Bikini Atoll to Yozgat” at Atölye Tarihi Bomonti Bira Fabrikası Silahşör Cad. Birahane Sok. No. 1 – Şişli, İstanbul November 30th, Wednesday, 18.30 – 20.00 h Markus Hoffman: Bikini Atoll Containment II (Equilibrium), 2016, detail “We have reached a tipping point that does not merely consist in the fact that climate change has reached a point where it is self reinforcing, or that fossil resources are becoming dramatically depleted. Over the last centuries, humankind has put processes in motion leading to developments for which we no longer have any standards by which to judge them. When humankind itself becomes a natural force – or that which we understood to be nature is now made by humans – then the dualism of nature/culture subject/object no longer function in the accustomed fashion.” (Bernd M Scherer: Textures of the Anthropocene) Markus Hoffman: Bikini Atoll Containment III (Transformation), 2016 In the last ten years Markus Hoffmann worked on several aspects of the Anthropocene, aiming to combine science aspects and creation of reality to set up works that allow space or individual projection. That focus led him to travel to remote places to do experience/exploration driven site-specific art works. He has been realizing a large body works that are related to the topic of radioactivity rare earth minerals and a large variety of industrial toxic waste products that can be seen as the guiding fossils of the Anthropocene. In this talk – “The Reality is uncertain. From the Bikini Atoll to Yozgat” – Markus Hoffmann will gives some insight in his years of research on projects focusing on nuclear issues site-specifically related to Pacific Islands dealing with a nuclear legacy like the Bikini and the Mururoa Atoll spanning to his current research project in Yozgat, Turkey as well as a general introduction in his thought processes and practice that led him to question the world in future in a transdisciplinary way. Markus Hoffman: Cactus Dome Exposure Series, 2015 Backgroundinformation: The Bikini Atoll The Bikini Atoll is a Micronesian Island chain located about halfway between Hawaii and Australia, and is what should be a heavenly place on Earth. However, its residents were forcibly relocated when the United States took possession of the islands in 1946, and over the next 12 years, the US sent 23 nuclear bombs raining down on this slice of paradise, rendering it uninhabitable to this day. From the air, Bikini is pristine and beautiful. The plant life has regrown unchecked since the explosions and is lush and green. Some visible remains of houses, towns, and graveyards give the illusion that civilization still exists on the land. The coral reefs have also been reborn and the large lagoon is inviting and clear. This island chain is hungry for tourists and has plenty of money-making potential. From the air, it hides its secrets well.Under the clear lagoon, the bones of many Navy vessels and ships rest, the area designated as a marine graveyard before the blasts. This location has been tempting diving expeditions for years, and is just another feature that tourists would flock to if safety allowed. In 1968, the US prematurely deemed the islands safe, and let residents return to their homes and rebuild their towns. The radiation levels and related chemical strains rose to dangerously unhealthy levels in their bloodstreams, and they had to be removed yet again.To this day, the United States compensates the survivors and residents who will likely never be able to go home again, and the islands remain a paradise ostaggering beauty and potential that no one can safely experience. source:http://www.atlasobscura.com/places/bikini-atoll Cactus Dome Ruinit Island The Cactus Dome and other nuclear contaminated Pacific Islands A giant, concrete dome filled with radioactive waste looms above Runit Island, and it’s leaking. Locals call it “The Tomb”. Runit (or Cactus) dome was used for Cold War nuclear testing by the US government for 10 years from 1948. There were 42 tests in total on Enewetak Atoll, including 22 explosions on platforms, barges and underwater in the space of just three months in 1958, just before a moratorium on atomic testing. In the late 1970s, an estimated 73,000 cubic metres of contaminated topsoil was deposited in the Cactus nuclear test crater beneath the dome, according to a report commissioned by the us government It was only supposed to be a temporary measure — but the dome remains. Scientists now fear that a major storm, typhoon or other natural disaster could damage the 46cm-thick concrete dome, releasing nuclear waste into the sea.The US Department of Energy insists cracks in the dome are merely cosmetic, a result of drying and shrinking of the half-submerged dome, but there are plans for repairs. Inhabitants of Runit were resettled on nearby Enewetak Island in 1980. Even in the early days, concerns were raised over human exposure to radiation through locally grown food, with resettlers resorting to cans of spam, Columbia University’s Michael Gerrard wrote last year in The New York Times .Runit remains uninhabited, home only to abandoned bunkers and cables, but locals still visit to fish and salvage scrap metal. It sounds dangerous, but impoverished Marshall Islanders say they have no choice. And just because Runit is remote, doesn’t mean other countries are totally immune from its influence. A report published in the Environmental Science and Technology journal last year traced plutonium found in Guangdong province in the South China Sea back to the Marshall Islands. Runit is not the only Pacific island dealing with a nuclear legacy. Other atolls in the Marshall Islands, Micronesia, have shared this dubious honour. The very first US hydrogen bomb test vaporised the islet of Elugelab in 1952. Then Bikini Atoll became the site of the country’s most powerful hydrogen bomb detonation, codename Bravo, set off on its reef in 1954. A fireball shot into the air at 480km/h, taking millions of tons of sand, coral and marine life with it. Locals were moved to Kili, a small island with few resources, where they faced starvation. Many returned to Bikini Island, despite the contamination of its water wells, breadfruit and coconut crabs, which were found to be too radioactive for human consumption. Many now rely on US rice and canned goods to survive.The nuclear crisis continues out in the Pacific. But it’s far enough away for everyone to forget about it. source:http://www.news.com.au/technology/environment/climate-change/deadly-dome-of-gorgeous-pacific-island-leaking-radioactive-waste/news-story/46ea600ea9db15c1563fbc299a5e0906 "There was a world, once, you punk – When nature disappears" NOWs: Markus Hoffman: Bikini Atoll Containment I (Source), 2015, detail Markus Hoffman: Bikini Atoll Containment I (Source), 2015 Markus Hoffmann: “The Reality is uncertain. From the Bikini Atoll to Yozgat” at Atölye Tarihi Bomonti Bira Fabrikası Silahşör Cad. Birahane Sok. No. 1 – Şişli, İstanbul November 30th, Wednesday, 18.30 – 20.00 h Markus Hoffman: Bikini Atoll Containment II (Equilibrium), 2016, detail “We have reached a tipping point that does not merely consist in the fact that climate change has reached a point where it is self reinforcing, or that fossil resources are becoming dramatically depleted. Over the last centuries, humankind has put processes in motion leading to developments for which we no longer have any standards by which to judge them. When humankind itself becomes a natural force – or that which we understood to be nature is now made by humans – then the dualism of nature/culture subject/object no longer function in the accustomed fashion.” (Bernd M Scherer: Textures of the Anthropocene) Markus Hoffman: Bikini Atoll Containment III (Transformation), 2016 In the last ten years Markus Hoffmann worked on several aspects of the Anthropocene, aiming to combine science aspects and creation of reality to set up works that allow space or individual projection. That focus led him to travel to remote places to do experience/exploration driven site-specific art works. He has been realizing a large body works that are related to the topic of radioactivity rare earth minerals and a large variety of industrial toxic waste products that can be seen as the guiding fossils of the Anthropocene. In this talk – “The Reality is uncertain. From the Bikini Atoll to Yozgat” – Markus Hoffmann will gives some insight in his years of research on projects focusing on nuclear issues site-specifically related to Pacific Islands dealing with a nuclear legacy like the Bikini and the Mururoa Atoll spanning to his current research project in Yozgat, Turkey as well as a general introduction in his thought processes and practice that led him to question the world in future in a transdisciplinary way. Markus Hoffman: Cactus Dome Exposure Series, 2015 Backgroundinformation: The Bikini Atoll The Bikini Atoll is a Micronesian Island chain located about halfway between Hawaii and Australia, and is what should be a heavenly place on Earth. However, its residents were forcibly relocated when the United States took possession of the islands in 1946, and over the next 12 years, the US sent 23 nuclear bombs raining down on this slice of paradise, rendering it uninhabitable to this day. From the air, Bikini is pristine and beautiful. The plant life has regrown unchecked since the explosions and is lush and green. Some visible remains of houses, towns, and graveyards give the illusion that civilization still exists on the land. The coral reefs have also been reborn and the large lagoon is inviting and clear. This island chain is hungry for tourists and has plenty of money-making potential. From the air, it hides its secrets well.Under the clear lagoon, the bones of many Navy vessels and ships rest, the area designated as a marine graveyard before the blasts. This location has been tempting diving expeditions for years, and is just another feature that tourists would flock to if safety allowed. In 1968, the US prematurely deemed the islands safe, and let residents return to their homes and rebuild their towns. The radiation levels and related chemical strains rose to dangerously unhealthy levels in their bloodstreams, and they had to be removed yet again.To this day, the United States compensates the survivors and residents who will likely never be able to go home again, and the islands remain a paradise ostaggering beauty and potential that no one can safely experience. source:http://www.atlasobscura.com/places/bikini-atoll Cactus Dome Ruinit Island The Cactus Dome and other nuclear contaminated Pacific Islands A giant, concrete dome filled with radioactive waste looms above Runit Island, and it’s leaking. Locals call it “The Tomb”. Runit (or Cactus) dome was used for Cold War nuclear testing by the US government for 10 years from 1948. There were 42 tests in total on Enewetak Atoll, including 22 explosions on platforms, barges and underwater in the space of just three months in 1958, just before a moratorium on atomic testing. In the late 1970s, an estimated 73,000 cubic metres of contaminated topsoil was deposited in the Cactus nuclear test crater beneath the dome, according to a report commissioned by the us government It was only supposed to be a temporary measure — but the dome remains. Scientists now fear that a major storm, typhoon or other natural disaster could damage the 46cm-thick concrete dome, releasing nuclear waste into the sea.The US Department of Energy insists cracks in the dome are merely cosmetic, a result of drying and shrinking of the half-submerged dome, but there are plans for repairs. Inhabitants of Runit were resettled on nearby Enewetak Island in 1980. Even in the early days, concerns were raised over human exposure to radiation through locally grown food, with resettlers resorting to cans of spam, Columbia University’s Michael Gerrard wrote last year in The New York Times .Runit remains uninhabited, home only to abandoned bunkers and cables, but locals still visit to fish and salvage scrap metal. It sounds dangerous, but impoverished Marshall Islanders say they have no choice. And just because Runit is remote, doesn’t mean other countries are totally immune from its influence. A report published in the Environmental Science and Technology journal last year traced plutonium found in Guangdong province in the South China Sea back to the Marshall Islands. Runit is not the only Pacific island dealing with a nuclear legacy. Other atolls in the Marshall Islands, Micronesia, have shared this dubious honour. The very first US hydrogen bomb test vaporised the islet of Elugelab in 1952. Then Bikini Atoll became the site of the country’s most powerful hydrogen bomb detonation, codename Bravo, set off on its reef in 1954. A fireball shot into the air at 480km/h, taking millions of tons of sand, coral and marine life with it. Locals were moved to Kili, a small island with few resources, where they faced starvation. Many returned to Bikini Island, despite the contamination of its water wells, breadfruit and coconut crabs, which were found to be too radioactive for human consumption. Many now rely on US rice and canned goods to survive.The nuclear crisis continues out in the Pacific. But it’s far enough away for everyone to forget about it. source:http://www.news.com.au/technology/environment/climate-change/deadly-dome-of-gorgeous-pacific-island-leaking-radioactive-waste/news-story/46ea600ea9db15c1563fbc299a5e0906 "There was a world, once, you punk – When nature disappears"

NOWs: Robert Lippok and Barbara Morgenstern play Light Year

27 November 2016 / Nows ⟶

NOWs: 27/11 . 12:00h . Brakke Grond, Amsterdam LIGHT YEAR (Ljusår). Mikael Kristersson, Sweden | 2008 | 101 min BARBARA MORGENSTERN & ROBERT LIPPOK play LIGHT YEAR / Ljusår Mikael Kristersson | Sweden | 2008 | 101 min The concert is part of IDFA 2016’s special focus program ‘The Quiet Eye’, a thematic program dedicated to the work of filmakkers who share a more contemplative approach towards documentary film production. Award-winning Swedish director Mikael Kristersson explores the beauty and the complexity of the natural world that surrounds us by turning the camera towards his own garden in Falsterbo, an old village in the south of Sweden. Without any external narration, ‘Light Year’ shows a year in the life of the birds, insects and human beings that share the garden, creating a poetic portrait of the beauty, complexity and interconnectivity of animal, human and vegetable life. Barbara Morgenstern (Monika Enterprise) is an electro-acoustic musician based in Berlin. One of the primary artists of Gudrun Gut’s label Monika Enterprise, she has released several albums under her own name and collaborated with artists such as Robert Wyatt and Hauschka. Robert Lippok (Raster Noton) is a Berlin-based musician and visual artist. Together with his brother Ronald and with Stefan Schneider, he is the co-founder of the influential German electronic Krautrock group ‘To Rococo Rot’. As a solo artist and through various collaborations Lippok released various albums in a career spanning for nearly twenty years, with his latest (‘Redsuperstructure’) released by Raster Noton. Robert Lippok and Barbara Morgenstern started worked together in 2005, with the release of the album ‘Tesri’. GET YOUR TICKET(S) HERE NOWs: 27/11 . 12:00h . Brakke Grond, Amsterdam LIGHT YEAR (Ljusår). Mikael Kristersson, Sweden | 2008 | 101 min BARBARA MORGENSTERN & ROBERT LIPPOK play LIGHT YEAR / Ljusår Mikael Kristersson | Sweden | 2008 | 101 min The concert is part of IDFA 2016’s special focus program ‘The Quiet Eye’, a thematic program dedicated to the work of filmakkers who share a more contemplative approach towards documentary film production. Award-winning Swedish director Mikael Kristersson explores the beauty and the complexity of the natural world that surrounds us by turning the camera towards his own garden in Falsterbo, an old village in the south of Sweden. Without any external narration, ‘Light Year’ shows a year in the life of the birds, insects and human beings that share the garden, creating a poetic portrait of the beauty, complexity and interconnectivity of animal, human and vegetable life. Barbara Morgenstern (Monika Enterprise) is an electro-acoustic musician based in Berlin. One of the primary artists of Gudrun Gut’s label Monika Enterprise, she has released several albums under her own name and collaborated with artists such as Robert Wyatt and Hauschka. Robert Lippok (Raster Noton) is a Berlin-based musician and visual artist. Together with his brother Ronald and with Stefan Schneider, he is the co-founder of the influential German electronic Krautrock group ‘To Rococo Rot’. As a solo artist and through various collaborations Lippok released various albums in a career spanning for nearly twenty years, with his latest (‘Redsuperstructure’) released by Raster Noton. Robert Lippok and Barbara Morgenstern started worked together in 2005, with the release of the album ‘Tesri’. GET YOUR TICKET(S) HERE

NOWs: Everything Is Not Lost by Nina Schuiki

19 November - 17 December 2016 / Nows ⟶

NOWs: Everything Is Not Lost Nina Schuiki For Everything Is Not Lost, Nina Schuiki collected discarded and abandoned wood from various sites in Austria, Germany, and China, turning the original function of a window frame or piece of furniture into hundreds of wooden beads. These beads are threaded into a looped chain that spans the height of the space, creating an expanded scale that references the earliest function of such beads as a measurement of time. Time here occurs as a form of counting one by one and the passing of time itself. Through the material transformation, objects lose their original reference and find themselves as ongoing markers in an allegory on the notions of mourning and melancholy. Benjamin traces this allegory towards profound knowledge and understanding as an inconsistent timespace negotiating between then and now. Nina Schuiki: Everything Is Not Lost, 2015. Beads made from wood re-purposed from found objects (window frame, stool, table, walking stick, column, bench, tree branch), 12.88 metres length Nina Schuiki, still from the accompanying video "Everything Is Not Lost", 28 min, colour, sound, 2016 Currently on view within the exhibition |_|, at the Forum Stadtpark, Graz 19.11. bis 17.12.2016 “What is important: the unsayable, the white space between the words, while these words themselves we always insert as side-issues, which as such are not the central part of what we mean. Our core concern remains unwritten, and that means, quite literally, that you write around it.” – Max Frisch, Diary 1946-49 Artists: Dimitra Charamandas, Yolanda Domínguez, Emil Gruber, Christian Haake, Gerhard Lojen, Hermann Glettler, Søren Berner / Christian Falsnaes / Martin Fraenkel, Taiyo Onorato & Nico Krebs, Nina Schuiki, Markus Wilfling Curated by Andreas Heller und zweintopf www.forumstadtpark.at NOWs: Everything Is Not Lost Nina Schuiki For Everything Is Not Lost, Nina Schuiki collected discarded and abandoned wood from various sites in Austria, Germany, and China, turning the original function of a window frame or piece of furniture into hundreds of wooden beads. These beads are threaded into a looped chain that spans the height of the space, creating an expanded scale that references the earliest function of such beads as a measurement of time. Time here occurs as a form of counting one by one and the passing of time itself. Through the material transformation, objects lose their original reference and find themselves as ongoing markers in an allegory on the notions of mourning and melancholy. Benjamin traces this allegory towards profound knowledge and understanding as an inconsistent timespace negotiating between then and now. Nina Schuiki: Everything Is Not Lost, 2015. Beads made from wood re-purposed from found objects (window frame, stool, table, walking stick, column, bench, tree branch), 12.88 metres length Nina Schuiki, still from the accompanying video "Everything Is Not Lost", 28 min, colour, sound, 2016 Currently on view within the exhibition |_|, at the Forum Stadtpark, Graz 19.11. bis 17.12.2016 “What is important: the unsayable, the white space between the words, while these words themselves we always insert as side-issues, which as such are not the central part of what we mean. Our core concern remains unwritten, and that means, quite literally, that you write around it.” – Max Frisch, Diary 1946-49 Artists: Dimitra Charamandas, Yolanda Domínguez, Emil Gruber, Christian Haake, Gerhard Lojen, Hermann Glettler, Søren Berner / Christian Falsnaes / Martin Fraenkel, Taiyo Onorato & Nico Krebs, Nina Schuiki, Markus Wilfling Curated by Andreas Heller und zweintopf www.forumstadtpark.at

NOWs: Räumen IV by Nina Schuiki

17 November 2016 / Nows ⟶

NOWs: Nina Schuiki: Räumen IV, 2016 On the occasion of the publication release of the project Schlafzimmer, curated by Julia Thiemann and published by Künstlerhaus Schloss Balmoral, 2016. Upon the invitation of Julia Thiemann to propose a work within her sleeping and working room hosted by the Künstlerhaus Schloss Balmoral curatorial fellowship, the presentation of Nina Schuiki‘s work shifted into a private space. The extended dialogue between them shaped the outcome of this project. Excerpts from the accompanying text by Julia Thiemann: “After several dialogues and exchanges about the living and working situation on-site, Nina Schuiki created an instruction piece that temporarily changed the room without introducing a foreign object. Referring completely to everyday objects and phenomena, Schuiki composed a situation condensing the experience of time and space. She concentrated on the small sleeping and working area, the desk and the bed in front of the windows with a view, then separated the larger working area with its sloping roof by requesting the closing of an existing cotton curtain. In this reduced space a water heating element was to be positioned and continuously let to boil two litres of water so that water steam would fill the space little by little, clouding the view. (…) After a period the windows condensed completely, the view was eliminated and attention to the surrounding exterior shifted towards the inside of the room. In a kind of mist, the interior landscape became focused, and the function of the windows was temporarily negated to achieve an intensified situation of privacy and isolation.This choreography was appended with an instruction that I as a curator and inhabitant of this space should sit at the work table and read specifically chosen books* from the neighbouring library room while the process of evaporation took place. Together, the work addresses an everyday situation, reflecting and revealing its introspection. The processual transition between two physical processes occurs simultaneously to that between two psychological states, and the fluidity between each is made perceptible. (…) Walter Benjamin spoke of a “Wolkenwandelbarkeit der Dinge”——the changeable perception of things——which can metaphorically as well as literally be applied to the work. However, Nina Schuiki aesthetic gestures also always remain as concrete actions in time and space, rooted in the visible cause and effect principle of the here and now. The remarkable enchantment in the encounter of the created situational perception lies exactly in the simple yet precise gesture that can unfold with tremendous impact. With her minimal, aesthetic interventions into given situations and conditions, Nina Schuiki attempts an astonishingly tangible de-materialization of art that surprises us by this very paradox.” *The exact books were chosen based upon details shared during the course of correspondence between Julia Thiemann and Nina Schuiki: Art and Anarchy by Edgar Wind; Untitled, 1996 (tomorrow is another day) by Rirkrit Tiravanija; Techniques of the Observer by Jonathan Crary. The exhibition series Schlafzimmer-Ausstellung contained solo presentations by Matthias Conrady (Thermohygrograph, 2016), Heiko Wommelsdorf (Teedrogen, 2016) and Nina Schuiki (Räumen IV, 2016), each of which has been documented in the Schlafzimmer publication. NOWs: Nina Schuiki: Räumen IV, 2016 On the occasion of the publication release of the project Schlafzimmer, curated by Julia Thiemann and published by Künstlerhaus Schloss Balmoral, 2016. Upon the invitation of Julia Thiemann to propose a work within her sleeping and working room hosted by the Künstlerhaus Schloss Balmoral curatorial fellowship, the presentation of Nina Schuiki‘s work shifted into a private space. The extended dialogue between them shaped the outcome of this project. Excerpts from the accompanying text by Julia Thiemann: “After several dialogues and exchanges about the living and working situation on-site, Nina Schuiki created an instruction piece that temporarily changed the room without introducing a foreign object. Referring completely to everyday objects and phenomena, Schuiki composed a situation condensing the experience of time and space. She concentrated on the small sleeping and working area, the desk and the bed in front of the windows with a view, then separated the larger working area with its sloping roof by requesting the closing of an existing cotton curtain. In this reduced space a water heating element was to be positioned and continuously let to boil two litres of water so that water steam would fill the space little by little, clouding the view. (…) After a period the windows condensed completely, the view was eliminated and attention to the surrounding exterior shifted towards the inside of the room. In a kind of mist, the interior landscape became focused, and the function of the windows was temporarily negated to achieve an intensified situation of privacy and isolation.This choreography was appended with an instruction that I as a curator and inhabitant of this space should sit at the work table and read specifically chosen books* from the neighbouring library room while the process of evaporation took place. Together, the work addresses an everyday situation, reflecting and revealing its introspection. The processual transition between two physical processes occurs simultaneously to that between two psychological states, and the fluidity between each is made perceptible. (…) Walter Benjamin spoke of a “Wolkenwandelbarkeit der Dinge”——the changeable perception of things——which can metaphorically as well as literally be applied to the work. However, Nina Schuiki aesthetic gestures also always remain as concrete actions in time and space, rooted in the visible cause and effect principle of the here and now. The remarkable enchantment in the encounter of the created situational perception lies exactly in the simple yet precise gesture that can unfold with tremendous impact. With her minimal, aesthetic interventions into given situations and conditions, Nina Schuiki attempts an astonishingly tangible de-materialization of art that surprises us by this very paradox.” *The exact books were chosen based upon details shared during the course of correspondence between Julia Thiemann and Nina Schuiki: Art and Anarchy by Edgar Wind; Untitled, 1996 (tomorrow is another day) by Rirkrit Tiravanija; Techniques of the Observer by Jonathan Crary. The exhibition series Schlafzimmer-Ausstellung contained solo presentations by Matthias Conrady (Thermohygrograph, 2016), Heiko Wommelsdorf (Teedrogen, 2016) and Nina Schuiki (Räumen IV, 2016), each of which has been documented in the Schlafzimmer publication.

NOWs: Anne Duk Hee Jordan – Sacred Food

15 November - 01 January 2016 / Nows ⟶

NOWs: Anne Duk Hee Jordan: Kartoffeln, 2013 Food is an existential and fundamental basic need that must be satisfied. Maslow’s ‘hierarchy of needs’, a theory proposed by the psychologist in his 1943 paper “A Theory of Human Motivation” elaborates further: physiological needs are the physical requirements for human survival. If these requirements are not met, the human body cannot function properly and will ultimately fail. Physiological needs are thought to be the most important; they should be met first. Air, water, and food are metabolic requirements for survival in all animals, including humans. Staple food is an economic and a sociopolitical good: in this way, food undergoes a cultural change. Food preparation techniques are based on cultural knowledge developed over thousands of years, which also lead to specific eating habits. Anne Duk Hee Jordan makes the following comparison: “Long ago humans discovered the Eastern Islands, they populated it and grubbed up the forest surface, among other reasons also to place the large famous statues on. Some time later they finished the raw materials to survive, because the available space was very limited. There were military conflicts between the individual villages and only the strongest one survived. But even the stronger once were dying at the end, because also they found nothing more to eat. They started to actually eat each other. Since they did not have boats (they also could not build any, as no more trees were there) they could not flee. They became extinct.” – Text by Pauline Doutreluingne Anne Duk Hee Jordan‘s photographs are on display in the exhibition: SACRED FOOD: A visual and culinary exploration on food and spirituality Featuring works of Anne Duk Hee Jordan, Sarmishta Pantham, Tito Casal, Alexis Raskin, Antônio Sérgio Moreira and a Table of Sacred Foods by Entretempo’s Collective. › In many religions, in different ages and in different cultures, food has been prepared, eaten or offered for ceremonies and celebrations. Buddhist and Hindus believe that our memories and emotions connected to food are so strong that even after we die, our spirit still remembers this. That is the reason why the beloved food of the person who died is offered at her or his altar. In the Brazilian-African religion food is prepared for special rituals to honour divinities and Gods, and in Tibetan monasteries monks prepare food while singing mantras, to benefit all sentient beings. But also in our everyday life food has often a spiritual meaning. Through special recipes and rituals, we establish connections with the spiritual world. Where do these recipes come from? How and when are the rituals performed, and by who? “Sacred Food: Nourishment For Body & Soul” looks at these and other questions in order to find out how food and spirituality are connected. Exhibition SACRED FOOD | 15.11.16 – 01.01.17 Opening 15.11.16 – 7 PM Entretempo Kitchen Gallery NOWs: Anne Duk Hee Jordan: Kartoffeln, 2013 Food is an existential and fundamental basic need that must be satisfied. Maslow’s ‘hierarchy of needs’, a theory proposed by the psychologist in his 1943 paper “A Theory of Human Motivation” elaborates further: physiological needs are the physical requirements for human survival. If these requirements are not met, the human body cannot function properly and will ultimately fail. Physiological needs are thought to be the most important; they should be met first. Air, water, and food are metabolic requirements for survival in all animals, including humans. Staple food is an economic and a sociopolitical good: in this way, food undergoes a cultural change. Food preparation techniques are based on cultural knowledge developed over thousands of years, which also lead to specific eating habits. Anne Duk Hee Jordan makes the following comparison: “Long ago humans discovered the Eastern Islands, they populated it and grubbed up the forest surface, among other reasons also to place the large famous statues on. Some time later they finished the raw materials to survive, because the available space was very limited. There were military conflicts between the individual villages and only the strongest one survived. But even the stronger once were dying at the end, because also they found nothing more to eat. They started to actually eat each other. Since they did not have boats (they also could not build any, as no more trees were there) they could not flee. They became extinct.” – Text by Pauline Doutreluingne Anne Duk Hee Jordan‘s photographs are on display in the exhibition: SACRED FOOD: A visual and culinary exploration on food and spirituality Featuring works of Anne Duk Hee Jordan, Sarmishta Pantham, Tito Casal, Alexis Raskin, Antônio Sérgio Moreira and a Table of Sacred Foods by Entretempo’s Collective. › In many religions, in different ages and in different cultures, food has been prepared, eaten or offered for ceremonies and celebrations. Buddhist and Hindus believe that our memories and emotions connected to food are so strong that even after we die, our spirit still remembers this. That is the reason why the beloved food of the person who died is offered at her or his altar. In the Brazilian-African religion food is prepared for special rituals to honour divinities and Gods, and in Tibetan monasteries monks prepare food while singing mantras, to benefit all sentient beings. But also in our everyday life food has often a spiritual meaning. Through special recipes and rituals, we establish connections with the spiritual world. Where do these recipes come from? How and when are the rituals performed, and by who? “Sacred Food: Nourishment For Body & Soul” looks at these and other questions in order to find out how food and spirituality are connected. Exhibition SACRED FOOD | 15.11.16 – 01.01.17 Opening 15.11.16 – 7 PM Entretempo Kitchen Gallery

NOWs: The Lost Princess of Mongolia by Anne Duk Hee Jordan

12 November 2016 - 12 February 2017 / Nows ⟶

NOWs: Anne Duk Hee Jordan: The Lost Princess of Mongolia, 2009 - ongoing, 1. trailer Anne Duk Hee Jordan: The Lost Princess of Mongolia, 2009 – ongoing (5 channel video, 5 trailers of 2 -5 min) The Lost Princess of Mongolia is a semi-autobiographical filmic work that combines real and fictional elements of Anne Duk Hee Jordan’s life. Her own personal background and history is a continual red line, which runs through her artistic research. The main conflict that the Princess confronts mirrors her own struggle with not belonging to a single culture or nation. The process of searching and exploring becomes then a life-long journey, in which wandering is a main theme. This atypical documentary is conceived as a series of trailers. In 2009 Jordan started to make the first trailers; her plan is to produce a series of twelve. Thus far, five are completed. The work series runs parallel with her own life path and research. The Lost Princess of Mongolia is currently on view at The Nanjing International Art Festival (NJIAF), an annual art festival that takes place in Nanjing of the Jiangsu province in China. This year’s theme is SCARCITY AND SUPPLY. NOWs: Anne Duk Hee Jordan: The Lost Princess of Mongolia, 2009 - ongoing, 1. trailer Anne Duk Hee Jordan: The Lost Princess of Mongolia, 2009 – ongoing (5 channel video, 5 trailers of 2 -5 min) The Lost Princess of Mongolia is a semi-autobiographical filmic work that combines real and fictional elements of Anne Duk Hee Jordan’s life. Her own personal background and history is a continual red line, which runs through her artistic research. The main conflict that the Princess confronts mirrors her own struggle with not belonging to a single culture or nation. The process of searching and exploring becomes then a life-long journey, in which wandering is a main theme. This atypical documentary is conceived as a series of trailers. In 2009 Jordan started to make the first trailers; her plan is to produce a series of twelve. Thus far, five are completed. The work series runs parallel with her own life path and research. The Lost Princess of Mongolia is currently on view at The Nanjing International Art Festival (NJIAF), an annual art festival that takes place in Nanjing of the Jiangsu province in China. This year’s theme is SCARCITY AND SUPPLY.

NOWs: Raul Walch HONORABLE MENTION Berlin Art Prize 2016

12 November - 10 December 2016 / Nows ⟶

NOWs: Raul Walch, installation view. Photo by Anastasia Muna, Berlin Art Prize 2016 BERLIN ART PRIZE 2016 Kühlhaus Berlin, Luckenwalder Straße 3, U1/U2 Gleisdreieck HONORABLE MENTION: Raul Walch “This artist’s dedication to the theme of communication and urgency amid the European refugee crisis made a strong impression on the jury. The brightly colored kites inspired by semaphore visual language and crafted using found materials represent an inventive and empathetic response to dire social need.” NOMINEES Martin John Callanan Stine Marie Jacobsen Lindsay Lawson Lotte Meret Regina de Miguel Benedikt Partenheimer Aurora Sander Raul Walch Lauryn Youden JURY Karen Archey Kito Nedo Emeka Ogboh Ahmet Öğüt Susanne M. Winterling Saturday, November 19, 2016 Flying with Raul Walch 1.30pm – 3.30pm Join artist Raul Walch in making certain elements of the Berlin Art Prize exhibition fly. Meeting point: Kühlhaus, Luckenwalder Straße 3, 1.30pm The event will take place outdoors at Gleisdreieck Park. Please check www.berlinartprize.com for short-term confirmation – in case of rain or snow, the event will be rescheduled. NOWs: Raul Walch, installation view. Photo by Anastasia Muna, Berlin Art Prize 2016 BERLIN ART PRIZE 2016 Kühlhaus Berlin, Luckenwalder Straße 3, U1/U2 Gleisdreieck HONORABLE MENTION: Raul Walch “This artist’s dedication to the theme of communication and urgency amid the European refugee crisis made a strong impression on the jury. The brightly colored kites inspired by semaphore visual language and crafted using found materials represent an inventive and empathetic response to dire social need.” NOMINEES Martin John Callanan Stine Marie Jacobsen Lindsay Lawson Lotte Meret Regina de Miguel Benedikt Partenheimer Aurora Sander Raul Walch Lauryn Youden JURY Karen Archey Kito Nedo Emeka Ogboh Ahmet Öğüt Susanne M. Winterling Samstag, 19. November 2016 Flying mit Raul Walch 13:30 – 15:30 Uhr Raul Walch bringt bestimmte Kunstwerke der diesjährigen Berlin Art Prize-Ausstellung zum Fliegen. Treffpunkt: Kühlhaus, Luckenwalder Straße 3, 13:30 Uhr Die Veranstaltung findet im Park am Gleisdreck unter freiem Himmel statt.

NOWs: “I” by Alvaro Urbano

05 November 2016 / Nows ⟶

NOWs: “I” by Alvaro Urbano curated by Treti Galaxie in collaboration with the National Cinema Museum of Turin at Mole Antonelliana, Turin, Italy 11am (by reservation only) In this project, the notion of the ‘solo show’, i.e. an exhibition of works held for public view by a single artist, is turned on its head: it is in fact an exhibition designed to be viewed by a single spectator. A choice both provocative and intimate at the same time, in line with the curatorial approach adopted by Treti Galaxie, which often questions the relationship between contemporary art and its audience. The title ‘I’, as well as referencing the number one in the Roman numeral system and the first person singular pronoun, and therefore the particular viewing mechanism of the project, is also the last letter of the cryptogram written in an alphabet of ancient Icelandic runes which is found by Professor Otto Lidenbrock, the main character in the novel ‘Journey to the Centre of the Earth’ by Jules Verne. In the story, once deciphered, the message contains instructions on how to reach the centre of the planet. On the basis of this cryptogram, the artist has constructed a far-reaching project entitled ‘My Boy, with Such Boots we may Hope to Travel Far’, which consists in transforming the letters of the message into sculptural groups distributed throughout various places around the world and created with materials characteristic of the areas in which they are installed. The initial stage of the project witnessed the creation of the first 15 letters of the message, positioned permanently between Merano and Tyrol. In ‘I’, Urbano’s ambitious project is brought together as a whole in the spaces of the Mole Antonelliana. The exhibition may be considered a sort of rite heralding the transformation of an idea into a work of art: a particular work which, in order to be viewed in its entirety, will require a long journey around the world. The spectator, along the way up from the ground floor to the spire of the Mole, via the narrow spaces along the inside walls of the cupola, will come into contact with the entire cryptogram, presented in various forms, such as sounds, drawings and installations. Through his/her subjective experience, the spectator will be able to mentally reconstruct the various parts of the project, thus serving as the medium for the ideal transformation of ‘My Boy, with Such Boots we may Hope to Travel Far’ into a signal which, through the particular antenna-shaped architecture of the Mole, will be ‘transmitted’ and broadcast around the world. With the development over time of ‘My Boy, with Such Boots we may Hope to Travel Far’, the sculptures positioned in various places around the planet will become the concrete manifestation of this signal. The event is open to a limited number of participants, and foresees the participation of a maximum of 40 people: the sole spectator of the exhibition will be identified through the distribution of chocolate bars, one of which will contain instructions on how to access the exhibition. In order to book, it is necessary to send a participation request to the address info@tretigalaxie.com on 27 October 2016 between 8am and 8pm with the words “SOLO SHOW” in the subject line. Thanks to its collaboration with the National Cinema Museum of Turin, Treti Galaxie presents ‘I’: a solo show by Alvaro Urbano staged in the evocative and mysterious spaces of the Mole Antonelliana. › Alvaro Urbano examines the borders between architecture, fiction and utopia through the use of various media, including video, performance, site-specific installation and sculpture. In his research, Urbano conceives of architecture as the translation of thought into a tangible structure, a structure which is then built with the aim of influencing the lives and the perception of the people it houses. The artist, drawing on forms of thought apparently far-removed from those regarding the construction of artificial environments, such as storytelling, dreaming and utopian thought, works to bring these elements back to architecture, in the attempt to disrupt its paradigms and original functions. Alvaro Urbano:"I", 2016,. Installation view, Mole Antonelliana / Museo Nazionale del Cinema. Turin.  Courtesy of Treti Galaxie. Photos by Delfino Sisto Legnani NOWs: “I” by Alvaro Urbano curated by Treti Galaxie in collaboration with the National Cinema Museum of Turin at Mole Antonelliana, Turin, Italy 11am (by reservation only) In this project, the notion of the ‘solo show’, i.e. an exhibition of works held for public view by a single artist, is turned on its head: it is in fact an exhibition designed to be viewed by a single spectator. A choice both provocative and intimate at the same time, in line with the curatorial approach adopted by Treti Galaxie, which often questions the relationship between contemporary art and its audience. The title ‘I’, as well as referencing the number one in the Roman numeral system and the first person singular pronoun, and therefore the particular viewing mechanism of the project, is also the last letter of the cryptogram written in an alphabet of ancient Icelandic runes which is found by Professor Otto Lidenbrock, the main character in the novel ‘Journey to the Centre of the Earth’ by Jules Verne. In the story, once deciphered, the message contains instructions on how to reach the centre of the planet. On the basis of this cryptogram, the artist has constructed a far-reaching project entitled ‘My Boy, with Such Boots we may Hope to Travel Far’, which consists in transforming the letters of the message into sculptural groups distributed throughout various places around the world and created with materials characteristic of the areas in which they are installed. The initial stage of the project witnessed the creation of the first 15 letters of the message, positioned permanently between Merano and Tyrol. In ‘I’, Urbano’s ambitious project is brought together as a whole in the spaces of the Mole Antonelliana. The exhibition may be considered a sort of rite heralding the transformation of an idea into a work of art: a particular work which, in order to be viewed in its entirety, will require a long journey around the world. The spectator, along the way up from the ground floor to the spire of the Mole, via the narrow spaces along the inside walls of the cupola, will come into contact with the entire cryptogram, presented in various forms, such as sounds, drawings and installations. Through his/her subjective experience, the spectator will be able to mentally reconstruct the various parts of the project, thus serving as the medium for the ideal transformation of ‘My Boy, with Such Boots we may Hope to Travel Far’ into a signal which, through the particular antenna-shaped architecture of the Mole, will be ‘transmitted’ and broadcast around the world. With the development over time of ‘My Boy, with Such Boots we may Hope to Travel Far’, the sculptures positioned in various places around the planet will become the concrete manifestation of this signal. The event is open to a limited number of participants, and foresees the participation of a maximum of 40 people: the sole spectator of the exhibition will be identified through the distribution of chocolate bars, one of which will contain instructions on how to access the exhibition. In order to book, it is necessary to send a participation request to the address info@tretigalaxie.com on 27 October 2016 between 8am and 8pm with the words “SOLO SHOW” in the subject line. Thanks to its collaboration with the National Cinema Museum of Turin, Treti Galaxie presents ‘I’: a solo show by Alvaro Urbano staged in the evocative and mysterious spaces of the Mole Antonelliana. › Alvaro Urbano examines the borders between architecture, fiction and utopia through the use of various media, including video, performance, site-specific installation and sculpture. In his research, Urbano conceives of architecture as the translation of thought into a tangible structure, a structure which is then built with the aim of influencing the lives and the perception of the people it houses. The artist, drawing on forms of thought apparently far-removed from those regarding the construction of artificial environments, such as storytelling, dreaming and utopian thought, works to bring these elements back to architecture, in the attempt to disrupt its paradigms and original functions. Alvaro Urbano:"I", 2016,. Installation view, Mole Antonelliana / Museo Nazionale del Cinema. Turin.  Courtesy of Treti Galaxie. Photos by Delfino Sisto Legnani

NOWs: Poetry Jazz: Wax and Gold at Akademie der Künste Berlin

26 October 2016 / Nows ⟶

NOWs: Uncertain States: Poetry Jazz: Wax and Gold Wednesday, 26 October, 5 pm Akademie der Künste, Hanseatenweg, Halle 2 Panel with Olafur Eliasson, Clara Jo, Robel Temesgen, Rike Scheffler, Christina Werner in conjunction with Uncertain States – Artistic Strategies in States of Emergency “Poetry Jazz” is the name for a particular style of performance poetry in Ethiopia fusing poetry and jazz, recitation and improvisation. The film A-B-A-B-A : from here to hear presents the eponymous experimental project series with artists from Berlin and Addis Abeba. Working together, they have created contemporary expressive styles in this tradition: Amharic, German and English poetry is combined with traditional Ethiopian music, jazz beats and contemporary electronic music. The film by Clara Jo follows the participating artists and traces their various influences as well as the challenges of reacting with the “Wax and Gold” principle of the spoken word to the issue of the free expression of opinion. › Trailer: A-B-A-B-A: from hear to here: A film by Clara Jo A-B-A-B-A : from hear to here is part of Acting Archives, a project by the Institut für Raumexperimente, Berlin University of the Arts and the Alle School of Fine Arts and Design, Addis Ababa University, supported by Studio Olafur Eliasson, and funded by the TURN Fund of the German Federal Cultural Foundation. The film is followed by an experimental poetry performance by Rike Scheffler and Robel Temesgen. Exhibition artist Robel Temesgen (Visual Arts Fellow, Junge Akademie 2016) will present a series of works titled Old News that deploy the “Wax and Gold” approach in the field of visual arts. › Moderation: Olafur Eliasson; film: Clara Jo; experimental poetry performance: Rike Scheffler and Robel Temesgen; artist presentation: Robel Temesgen. Read the following article ‘Wax and Gold’. Poetry, jazz and politics, from Addis Ababa to Berlin by Mylène Palluel in Manifesto 21. NOWs: Uncertain States: Poetry Jazz: Wax and Gold Mittwoch, 26 Oktober 2016, 17 Uhr Akademie der Künste, Hanseatenweg, Halle 2 Diskussion mit Olafur Eliasson, Clara Jo, Robel Temesgen, Rike Scheffler, Christina Werner im Kontext der Ausstellung Uncertain States – Künstlerisches Handeln in Ausnahmezuständen „Poetry Jazz“ bezeichnet eine in Äthiopien geprägte Form der Lyrikperformance, die Einflüsse aus Poesie und Jazz, Rezitation und Improvisation zusammenbringt. Der Film A-B-A-B-A : from here to hear stellt die gleichnamige experimentelle Projektreihe zwischen Künstlern aus Berlin und Addis Abeba vor. Gemeinsam entstanden zeitgenössische Ausdrucksformen dieser Tradition: Amharische, deutsche und englische Dichtkunst wird mit traditioneller äthiopischer Musik, Jazz-Einflüssen und zeitgenössischer elektronischer Musik kombiniert. Der Film von Clara Jo folgt den beteiligten Künstlern und reflektiert die verschiedenen Einflüsse als auch die Herausforderung, mit dem lyrischen Prinzip von „Wachs und Gold“ auf die Problematik der freien Meinungsäußerung zu reagieren. › Trailer: A-B-A-B-A: from hear to here: A film by Clara Jo A-B-A-B-A : from hear to here ist Teil don Acting Archives, einem Projekt des Instituts für Raumexperimente der Universität der Künste Berlin und der Alle School of Fine Arts and Design, Addis Ababa University, unterstützt durch Studio Olafur Eliasson, gefördert im Fonds TURN der Kulturstiftung des Bundes. Im Anschluss an den Film werden Rike Scheffler und Robel Temesgen eine Poetry-Performance improvisieren. Ausstellungskünstler Robel Temesgen (Stipendiat Bildende Kunst, Junge Akademie 2016) wird anhand seiner Arbeiten aus der Serie Old News die Auseinandersetzung mit dem Prinzip „Wachs und Gold“ in der Bildenden Kunst vorstellen. › Moderation: Olafur Eliasson; Film: Clara Jo; Poetry-Performance: Rike Scheffler und Robel Temesgen; Präsentation: Robel Temesgen. Read the following article ‘Wax and Gold’. Poetry, jazz and politics, from Addis Ababa to Berlin by Mylène Palluel in Manifesto 21.

NOWs: Gletschermusik by Robert Lippok, Askat Zhetigen and Lillevan

17 October 2016 / Nows ⟶

photo: Lillevan.com 2008-2016 NOWs: Gletschermusik Musik: Robert Lippok & Askat Zhetigen (Kirgisien). Video: Lillevan 20:00 h Roter Salon in der Volksbühne | Rosa-Luxemburg-Platz | 10178 Berlin/Mitte Gletschermusik (Glacier Music) uses the sounds and images of Central Asia’s melting glaciers as source material and inspiration. Berlin’s Robert Lippok & Kyrgyz musician Askat Jetigen were invited to create an audio-visual performance and a series of concerts. The project promotes the exchange between science and the arts, creating awareness of the human-induced deterioration of our pristine environment and was instigated by the Goethe-Institutes in Tashkent and Almaty. The album crowns the 12 month traveling festival through the countries of Central Asia in 2013 featuring multimedial concerts, promoting dialogue between artists, scientists, nationalities, genres and traditions. The music Robert and Askat created together is magical and thematically relevant to the theme of melting glaciers, a fascinating blend of ancient Kyrgyz tradition and new musical ideas. After the first concerts it was obvious that a recording must be made and released, and here we are: the Gletschermusik recordings, also featuring a track by pianist SooJin Anjou – the piano in dialogue with the sounds of Central Asia’s melting glaciers. Gletscher Musik initiated by Goethe Institut Almaty & Tashkent explored Central Asia’s melting Glaciers, using the recorded sound of the glaciers a range of art events and symposia spread over 4 years, 5 countries and 60 artists. Featuring Omnibus Ensemble, Gebrüder Teichmann, Askat Jetigenov, Robert Lippok & Artyom Kim and many others. Tickets kosten 15,- Euro. photo: Lillevan.com 2008-2016 NOWs: Gletschermusik Musik: Robert Lippok & Askat Zhetigen (Kirgisien). Video: Lillevan 20:00 h Roter Salon in der Volksbühne | Rosa-Luxemburg-Platz | 10178 Berlin/Mitte Gletschermusik (Glacier Music) uses the sounds and images of Central Asia’s melting glaciers as source material and inspiration. Berlin’s Robert Lippok & Kyrgyz musician Askat Jetigen were invited to create an audio-visual performance and a series of concerts. The project promotes the exchange between science and the arts, creating awareness of the human-induced deterioration of our pristine environment and was instigated by the Goethe-Institutes in Tashkent and Almaty. The album crowns the 12 month traveling festival through the countries of Central Asia in 2013 featuring multimedial concerts, promoting dialogue between artists, scientists, nationalities, genres and traditions. The music Robert and Askat created together is magical and thematically relevant to the theme of melting glaciers, a fascinating blend of ancient Kyrgyz tradition and new musical ideas. After the first concerts it was obvious that a recording must be made and released, and here we are: the Gletschermusik recordings, also featuring a track by pianist SooJin Anjou – the piano in dialogue with the sounds of Central Asia’s melting glaciers. Gletscher Musik initiated by Goethe Institut Almaty & Tashkent explored Central Asia’s melting Glaciers, using the recorded sound of the glaciers a range of art events and symposia spread over 4 years, 5 countries and 60 artists. Featuring Omnibus Ensemble, Gebrüder Teichmann, Askat Jetigenov, Robert Lippok & Artyom Kim and many others. Tickets kosten 15,- Euro.

NOWs: Ziggy and the Starfish by Anne Duk Hee Jordan

21 October 2016 - 05 February 2017 / Nows ⟶

NOWs: New work by Anne Duk Hee Jordan presented at Agency of Living Organisms: Anne Duk Hee Jordan: Ziggy and the Starfish (2016) „What we call the beginning is often the end. And to make an end is to make a beginning. The end is where we start from“. T. S. Eliot Ziggy and the Starfish is a sculptural installation composing of a mechanical waste processing crab, a film exploring the diversity of sexuality in the ocean, scientific interviews and moving singing stones dating back millions of years. The newly commissioned work of Anne Duk Hee Jordan looks at sexuality from the perspective of marine life in a wholehearted environmental consumption where many causalities influence each other. Through pollution, traffic, oil spills, oil platforms, the sea began to change. The climate change in the hydrosphere determines the sexuality of the ocean animals. An almost invisible, yet undeniable change in the environmental and sexual world occurs. We can pretend the world goes on but we all go back to another big extinction. We are heading back to the end. Facing the dreadful facts about global warming by zooming in on the perspective of aquatic life, Anne Duk Hee Jordan, created Ziggy and the Starfish, a sculptural environment exploring an alienate universe full of strangeness, changes and adaptation. After a month of free diving, many hours of underwater filming, interviews with marine biologists and geologists on the Basque coast, the artist tells the story of reproduction and decay and a sexuality way beyond our own imagination, while examining the relationship between nature, time and human intervention. Text by Pauline Doutreluingne Anne Duk Hee Jordan: Ziggy and the Starfish, 2016. Trailer Anne Duk Hee Jordan: Ziggy and the Starfish. A documentary. Agency of Living Organisms Tabakalera Center for Contemporary Art, San Sebastian, Spain Opening, attended by the curator and the participating artists: Friday, 21st October 2016, at 7 pm. Full website content launched on the opening: Design and website: A Satellite Studio × Internet Friends Forever › Agency of Living Organisms explores the communication between different living organisms throughout the lithosphere, atmosphere, biosphere, and hydrosphere. It manifests itself as an artistic cosmography in close collaboration with artists exhibiting mainly new works specially designed for this project. The invited ‘agents’ share a questioning attitude towards the environment and its constructed representations. A new kind of ‘nature’ is being created, one that is shaped and categorized by humanity. Today the technosphere and the biosphere interact to form neo-natural phenomena. As we find ourselves amidst pressing environmental and social crises, this project not only seeks to investigate our position in regards to our natural and built environment (the way we consume or sustain it), but also to lend insight into the perception of the self through the eyes of the ‘others’ and to forge an understanding of the complex networks within which we are embedded. In response to the theme in question, the project proposes an exhibition with interconnected commissioned and existing works as a social living sculpture, an expanding format that opens the walls of the exhibition halls into the urban, natural and ‘online’ environment. The show will include work by Anne Duk Hee Jordan, Esther Kokmeijer, Gerard Ortín, Iain Ball, Iratxe Jaio and Klaas van Gorkum, Lara Almarcegui, Maider López, New Mineral Collective, Tere Recarens, Tue Greenfort, El Conde de Torrefiel, Koenraad Van den Driessche and Nader Koochaki. Curated by Pauline Doutreluingne. Please find the curatorial statement by Pauline Doutreluingne, Tabakalera Curator 2015, here. NOWs: New work by Anne Duk Hee Jordan presented at Agency of Living Organisms: Anne Duk Hee Jordan: Ziggy and the Starfish (2016) „What we call the beginning is often the end. And to make an end is to make a beginning. The end is where we start from“. T. S. Eliot Ziggy and the Starfish is a sculptural installation composing of a mechanical waste processing crab, a film exploring the diversity of sexuality in the ocean, scientific interviews and moving singing stones dating back millions of years. The newly commissioned work of Anne Duk Hee Jordan looks at sexuality from the perspective of marine life in a wholehearted environmental consumption where many causalities influence each other. Through pollution, traffic, oil spills, oil platforms, the sea began to change. The climate change in the hydrosphere determines the sexuality of the ocean animals. An almost invisible, yet undeniable change in the environmental and sexual world occurs. We can pretend the world goes on but we all go back to another big extinction. We are heading back to the end. Facing the dreadful facts about global warming by zooming in on the perspective of aquatic life, Anne Duk Hee Jordan, created Ziggy and the Starfish, a sculptural environment exploring an alienate universe full of strangeness, changes and adaptation. After a month of free diving, many hours of underwater filming, interviews with marine biologists and geologists on the Basque coast, the artist tells the story of reproduction and decay and a sexuality way beyond our own imagination, while examining the relationship between nature, time and human intervention. Text by Pauline Doutreluingne Anne Duk Hee Jordan: Ziggy and the Starfish, 2016. Trailer Anne Duk Hee Jordan: Ziggy and the Starfish. A documentary. Agency of Living Organisms Tabakalera Center for Contemporary Art, San Sebastian, Spain Opening, attended by the curator and the participating artists: Friday, 21st October 2016, at 7 pm. Full website content launched on the opening: Design and website: A Satellite Studio × Internet Friends Forever › Agency of Living Organisms explores the communication between different living organisms throughout the lithosphere, atmosphere, biosphere, and hydrosphere. It manifests itself as an artistic cosmography in close collaboration with artists exhibiting mainly new works specially designed for this project. The invited ‘agents’ share a questioning attitude towards the environment and its constructed representations. A new kind of ‘nature’ is being created, one that is shaped and categorized by humanity. Today the technosphere and the biosphere interact to form neo-natural phenomena. As we find ourselves amidst pressing environmental and social crises, this project not only seeks to investigate our position in regards to our natural and built environment (the way we consume or sustain it), but also to lend insight into the perception of the self through the eyes of the ‘others’ and to forge an understanding of the complex networks within which we are embedded. In response to the theme in question, the project proposes an exhibition with interconnected commissioned and existing works as a social living sculpture, an expanding format that opens the walls of the exhibition halls into the urban, natural and ‘online’ environment. The show will include work by Anne Duk Hee Jordan, Esther Kokmeijer, Gerard Ortín, Iain Ball, Iratxe Jaio and Klaas van Gorkum, Lara Almarcegui, Maider López, New Mineral Collective, Tere Recarens, Tue Greenfort, El Conde de Torrefiel, Koenraad Van den Driessche and Nader Koochaki. Curated by Pauline Doutreluingne. Please find the curatorial statement by Pauline Doutreluingne, Tabakalera Curator 2015, here.

NOWs: Zirkon Kompass by Markus Hoffmann

07 - 09 October 2016 / Nows ⟶

NOWs: Markus Hoffmann: Zirkon Kompass, 2015 Markus Hoffmann winner of Celeste Art Prize 2016 – Installation, Sculpture & Performance Prize; awards and final exhibition 7-9 October, The Bargehouse, OXO Tower Wharf, London – Markus Hoffmann: Zirkon Kompass, 2015 Filled with different zircon sands from all the continents of the world, the work Zirkon Kompass consists of sixteen hourglasses that are suspended from the ceiling. Positioned at eye level, the hourglasses are arranged in a circle with each object at the quarter-wind point on a 16-wind compass rose. A thin steel rope is mounted at the narrowest point of each hourglass, keeping them in horizontal equilibrium. Zircon minerals are the oldest known materials on Earth. Resistant to chemical changes, they offer a window into time going back as far as 4.4 billion years ago. Zircon is omnipresent in all stones and contains the radioactive elements uranium and thorium in minute amounts – the clock within the zircon. With the passage of time, it converts to the element lead. In the work both the semiotics of the hourglass as a metaphor for vanity and the utility as scientific instrumentation are transformed. Instead, the sand forms a seemingly stable horizon: a layer representing the oldest stratum we could hypothetically stand on. While the hourglass has lost its socially determined function, the zircon clock invisibly continues to transform, subconsciously reminding the viewers of their precious and yet transient time on earth. The zircon is a metaphorical semblance of the element of time. As the oldest material on the planet, it establishes an abstract meaning of time that is limited by the current capabilities of scientific research. It thus inherently addresses the relative stability of scientific knowledge, which depends on technological progress and the creation of measurement methods, enabling us to expand our limited horizon. Paradoxically, zircon is used to create storage vessels that may be durable enough to hold the radioactive waste products of our species – the future fossils of the Anthropocene. But even zircon is not eternally durable. Everything eventually decays, and even permanence becomes relative. Celeste Prize 2016, 8th edition, curated by Ellen Blumenstein, KW Institute for Contemporary Art, Berlin. The jury: Juliana Bardolim, Marc Bembekoff, Sandro Droschl, Chris Fitzpatrick, Martin Germann, Felix Hoffmann, Chiara Ianeselli, Marianna Liosi, Zane Onckule, Barbara Piwowarska, Alya Sebti, Moritz Wesseler. NOWs: Markus Hoffmann: Zirkon Kompass, 2015 Markus Hoffmann winner of Celeste Art Prize 2016 – Installation, Sculpture & Performance Prize; awards and final exhibition 7-9 October, The Bargehouse, OXO Tower Wharf, London – Markus Hoffmann: Zirkon Kompass, 2015 Filled with different zircon sands from all the continents of the world, the work Zirkon Kompass consists of sixteen hourglasses that are suspended from the ceiling. Positioned at eye level, the hourglasses are arranged in a circle with each object at the quarter-wind point on a 16-wind compass rose. A thin steel rope is mounted at the narrowest point of each hourglass, keeping them in horizontal equilibrium. Zircon minerals are the oldest known materials on Earth. Resistant to chemical changes, they offer a window into time going back as far as 4.4 billion years ago. Zircon is omnipresent in all stones and contains the radioactive elements uranium and thorium in minute amounts – the clock within the zircon. With the passage of time, it converts to the element lead. In the work both the semiotics of the hourglass as a metaphor for vanity and the utility as scientific instrumentation are transformed. Instead, the sand forms a seemingly stable horizon: a layer representing the oldest stratum we could hypothetically stand on. While the hourglass has lost its socially determined function, the zircon clock invisibly continues to transform, subconsciously reminding the viewers of their precious and yet transient time on earth. The zircon is a metaphorical semblance of the element of time. As the oldest material on the planet, it establishes an abstract meaning of time that is limited by the current capabilities of scientific research. It thus inherently addresses the relative stability of scientific knowledge, which depends on technological progress and the creation of measurement methods, enabling us to expand our limited horizon. Paradoxically, zircon is used to create storage vessels that may be durable enough to hold the radioactive waste products of our species – the future fossils of the Anthropocene. But even zircon is not eternally durable. Everything eventually decays, and even permanence becomes relative. Celeste Prize 2016, 8th edition, curated by Ellen Blumenstein, KW Institute for Contemporary Art, Berlin. The jury: Juliana Bardolim, Marc Bembekoff, Sandro Droschl, Chris Fitzpatrick, Martin Germann, Felix Hoffmann, Chiara Ianeselli, Marianna Liosi, Zane Onckule, Barbara Piwowarska, Alya Sebti, Moritz Wesseler.

NOWs: Life Is a Staircase by Matthias Sohr

07 October - 19 November 2016 / Nows ⟶

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NOWs: Svetlana Maraš and Robert Lippok at arkaoda Berlin

NOWs: FEUERWERKAUTOMAT – Tag der Deutschen Einheit

NOWs: Am Rand von EuropaCity

NOWs: MIETE STROM INSTAGRAM

NOWs: Shotspotter 2 – Blurry Boundaries

NOWs: Ziggy on the Land of Drunken Trees by Anne Duk Hee Jordan

NOWs: VIENNA TRANSIT with Yves Mettler et al.

NOWs: Felix Kiessling – Durchstechung BA/B at “Die Informale” opening at La Ira de Dios for Art Basel Cities Buenors Aires

NOWs: Nuclear Sanctuary by Markus Hoffmann

NOWs: house of bone body of stone by Dan Stockholm

NOWs: Variété – ein Konzertspektakel

NOWs: Biblioteca Vilém Flusser

NOWs: Would Have Been

NOWs: Noss Noss – stories, traces, passages

NOWs: Intersections of Common Space and Time

NOWs: Am Rand von EuropaCity

NOWs: Art Biesenthal 2018

NOWs: Demi-Gros

NOWs: Signs and symbols: artists & allies

NOWs: Floating University – The future of the kitchen

NOWs: Leon Eixenberger at PAM

NOWs: offen Vol. 2 / Galerie EIGEN + ART Berlin

NOWs: Camera Urbana

NOWs: Ritual Reality by Elise Eeraerts

NOWs: Spiele mit der Ewigkeit

NOWs: Nature Unleashed

NOWs: BANK, BLANK – about new authority

NOWs: WASTELAND – Robert Lippok & Pedro Maia

NOWs: Møenlight Sonata

NOWs: 1st Riga International Biennial of Contemporary Art (RIBOCA)

NOWs: Contemporary Opportunities

NOWs: Meine Schwelle

NOWs: Aufschlagen by Sophia Pompéry

NOWs: Applied Autonomy by Robert Lippok

NOWs: Possible Vehicles For Time Travel by Ally Bisshop

NOWs: Flying Semaphores & Floating Bridges by Raul Walch

NOWs: Language and Reality by Vilém Flusser, translation by Rodrigo Maltez Novaes

NOWs: It matters what moves by Ally Bisshop

NOWs: PAM 2018 | PUBLIC ART MUNICH

NOWs: Hybrid Matter by Andreas Greiner

NOWs: Re-Imagining Berlin with Yves Mettler a.o.

NOWs: Immer noch der Lauf der Dinge by Julius von Bismarck

NOWs: Dwell in Other Futures

NOWs: NGORO NGORO II

NOWs: Unthought Known at YARAT Contemporary Art Space

NOWs: Ornament & Verbrechen – Concert

NOWs: Andreas Greiner

NOWs: Diese Frau „tritt auf“

NOWs: Ziggy and the Starfish by Anne Duk Hee Jordan

NOWs: An Invitation to Disappear by Julian Charrière

NOWs: Robel Temesgen at Modern Art Museum: Gebre Kristos Desta Center

NOWs: Mouse on Mars: Dimensional People

NOWs: Abyss by Rune Bosse of Anna Bak

NOWs: I travelled 1.8 million years to be with you by Anne Duk Hee Jordan

NOWs: Retreat into Darkness by Ivana Franke

NOWs: Seven Exhibitions at Brandenburgischer Kunstverein

NOWs: Habitat by Miriam Jonas und Andreas Greiner

NOWs: Poetry Jazz: Wax and Gold. A film by Clara Jo

NOWs: Muster Raum. Façade – Face – Fake – Fakt

NOWs: Der Schnee von gestern by Sophia Pompéry

NOWs: „CARE LESSw !“

NOWs: Itinerance by Elise Eeraerts

NOWs: The Black Mamba feat. Natasha Mendonca & Suman Sridhar

NOWs: Paradise Lost by Timea Oravecz

NOWs: Welcome to the Jungle

NOWs: Fabian Knecht at Kunsthalle Baden-Baden

NOWS: የሮቤል ተመስገን ተንሳፋፊ ጀበናዎች by Robel Temesgen

NOWs: Anti Bodies at MoMA PS1

NOWs: Hibernation – Linda Kuhn & Alvaro Urbano

NOWs: Space Coordinates by Paul Kuimet / Nina Schuiki

NOWs: The Performance Agency at Archivio Conz

NOWs: CARE LESS at EXAMEN, Kassel

NOWs: Beobachtung // Observation

NOWs: Rafael Ibarra at Meisterschülerpreis

NOWs: Matthias Sohr – Public Science

NOWs: Altbau by Alvaro Urbano

NOWs: Responsive Design

NOWs: Robert Lippok / Raster-Index @ Berghain