NOWS archived

ICH LIEBE DICH! by Nina Schuiki & Leon Eixenberger

07 September - 27 October 2019 / Nows ⟶

ICH LIEBE DICH!Nina Schuiki &Leon Eixenberger The title is based upon a chance occurrence; these are the same three words which Miss Müller shouts towards her husband while saying “Write soon!”, which the author understands as a request for him to start writing his novel as soon as possible. The reader is thus confronted with a work-in-progress. During the journey, the work unfolds and the 66 interludes of the novel represent 66 railway stations.— from the afterword of „Ich liebe Dich! Ein Eisenbahnroman“ by Paul Scheerbart, Berlin 1897The exhibition of Eixenberger & Schuiki echoes the line of vision between the inoperative Siemensbahn and the housing estates by Hans Scharoun, whereby the artists read the axis as a metaphor of transience against Paul Scheerbart’s eponymous railway novel.Opening: Saturday, September 7th 2019, 6pm Exhibition: September 7th until October 27th 2019At “Tag des Offenen Denkmals” (Day of the Open Monument)September 7th + 8th 2019 open from 11.00 – 18.00 hOpening hours by appointment:info@scharaun.de or 0162-8289 332Scharaun | Jungfernheideweg 4 | 13629 Berlin-Siemensstadt U-Bhf Siemensdammhttp://www.scharaun.de/ ICH LIEBE DICH!Nina Schuiki &Leon Eixenberger “Der Titelwahl liegt eine zufällige Begebenheit zugrunde: Es sind die gleichen drei Worte, die die Frau Müllers ihrem Mann beim Abschied, zusammen mit einem »Schreib’ bald!« zuruft, was der Erzähler als Aufforderung nimmt, den Roman bald zu schreiben. Dem Leser wird regelrecht ein work-in-progress vorgeführt, bei dem während der Fahrt das Werk entsteht und die 66 Intermezzos im Roman 66 Eisenbahnstationen gleichkommen.“Paul Scheerbart, Ich liebe Dich!, Ein Eisenbahnroman, Berlin 1897 Für die Ausstellung interpretieren Schuiki & Eixenberger die Blickachse zwischen stillgelegter Siemensbahn und der Siedlungsarchitektur Hans Scharouns und lesen diese als Vergänglichkeitsmetapher gegen Paul Scheerbarts epochalem Eisenbahnroman gleichen Titels. Eröffnung: Samstag, 7. September 2019, 18 UhrAusstellung: 7. September bis 27. Oktober 2019 Am Tag des Offenen Denkmals, 7. + 8. September 2019geöffnet von 11.00 – 18.00 UhrÖffnungszeiten nach Vereinbarung:info@scharaun.de oder 0162-8289 332 Scharaun | Jungfernheideweg 4 | 13629 Berlin-Siemensstadt  U-Bhf Siemensdamm http://www.scharaun.de/

Isolation (52°33’44.1”N 14°03’12.8”E) by Fabian Knecht

07 - 22 September 2019 / Nows ⟶

FABIAN KNECHT Isolation (52°33’44.1”N 14°03’12.8”E) Eröffnung: 7.9.2019, 16-22 Uhr Anmeldung Transfer vom / zum Bahnhof Müncheberg zur Eröffnung (info@alexanderlevy.net) Ausstellungsdauer: 7.9.-22.9.2019 Täglich 13-18 Uhr Adresse: Haus Erlengrund Fischerberg 11 15377 Buckow (Märkische Schweiz) kuratiert von Dehlia Hannah und Nadim Samman Architektur von Marcel Schnabel, Ivy Lee Fiebig und Andre Simonow Mit Unterstützung von alexander levy, Haus Erlengrund, Untere Naturschutzbehörde Märkisch-Oderland und Holz Possling Forest of the Real Dehlia Hannah | Nadim Samman At 52°33’44.1”N 14°03’12.8”E, a precise Global Positioning System coordinate provided by Google Maps, the blindfold is removed. As you warily tread the muddy ground, your eyes adjust to bright white fluorescent light. A trickle of water catches your ear. You arrive, surrounded on all sides by windowless white walls, in a truncated thatch of forest. The smell of damp earth slows your pace as you navigate the terrain of fallen logs and low growing shrubs. Venturing beyond the first enclosure, a well-trampled corridor opens onto another white-walled room. The sound leads you along a stream fringed by greenery towards a small waterfall, whose pool offers a rippling reflection of the harsh ceiling lights. Every leaf is thrown into sharp relief against the saturated hues of the forest floor. ISOLATION by Fabian Knecht is a series of artworks staged within a white-cube gallery space built up around specially selected sites. At first glance, the images appear to photos of galleries filled up with landscape installations. One thinks of Walter de Maria’s Earth Room (1977-present), or Olafur Eliasson’s Riverbed (2014-15), to which Knecht has previously referred in a visual essay about the origins of the series. But in fact, the large format photographs makes of actual ground a figure, like a sculpture in a room, inviting viewers to attend to it with heightened care. At each of the selected sites, a fluorescent lit white box is dropped atop a rectangular swatch of land—a fragment which, decontextualized from its surroundings, evokes its own set of associations, analogies, desires and anxieties. The boxed scenes vary and trick the eye. A luscious field of wildflowers recedes into infinity in perfect one-point perspective. In another circumstance, the flat ground is strewn with trash. A snow-covered stretch of a piled-up ice flow is clearly selected for its resemblance to Caspar David Friedrich’s iconic Eismeer (1823/24). One wonders how far the artist and his crew had to wander the Russian winter in search of that vantage point, how his eye had to squint, and how the camera had to be trained at just the right angle, height, and time of day, to catch the resemblance (without overemphasizing the identity between the scenes). This is not a matter of matching found landscapes to familiar scenes from paintings or historical photographs. In Isolation we are presented with the workings of a frame by means of the scenes that they enclose. Indeed, beginning with an isolated fragment of a landscape, the logic of the frame echoes outwards—the structure built around it, the frame of the camera viewfinder, leading to a photograph of its interior; the frame of the photograph (with its own reflective glass surface), now hanging on the white wall of a gallery—whose form is repeated ad nauseum in the temporary architecture of the art world, from fairs and biennales to museum shows. But the mis en abyme runs inward too: in one work from the series, created at a grassy swamp outside Berlin, the box-frame’s fluorescent lights are reflected in the water below. Adding another dimension to the image, this mirror effect amplifies the logic of Isolation, with the swamp’s still water mimicking the photographic enterprise and the image-culture of the gallery world. In Water and Dreams (1942), Gaston Bachelard describes reveries afforded by ponds, lakes and rivers, in whose reflective surfaces the sky itself contemplates its own image. In Knecht’s transfiguration, the sky becomes a ceiling, the sun, rows of fluorescent bulbs; and the water, a photograph recording the self-reflexive narcissism of the gallery space. Yet Knecht’s re-framing sequence does not end here. Previously, vitrines full of smaller photographs depicted the ‘making-of’ the studio architecture from a distance, so that its exterior walls were shown surrounded by a much larger landscape. Functionally, these behind-the-scenes images reversed the gestalt, rendering the terrain ground again, while turning the built object into a (diminished) figure. The cumulative effect of so many distancing mechanisms destabilizes the viewer’s relation to photographic truth-telling, transforming it into a problem. Or does it? Such destabilization might suggest that Knecht is provoking the viewer to doubt the veracity of everything they are seeing—in the work and the world. If the gallery isn’t real, perhaps neither is the interior landscape. Perhaps it is a digital confection, small-scale model, or terrarium. The specter of deep fakes, scripted reality, and ‘alternative facts’ casts a familiar chill here. It bears remembering that by its very nature the frame or “parergon is a form which has as its traditional determination not that it stands out but that it disappears, buries itself, effaces itself, melts away at the moment that it deploys its greatest energy.” However, in keeping with contemporary ungroundings of the reality principle at work in mass culture, the pleasing detail and smooth packaging of an Isolation print also swings the other way. It is compatible with an entirely different viewer relation: conveniently, what was once an unpalatable corner of a brownfield site, its rutted dirt and tufts of grass, is now ready to be swallowed in its photographic candy-coating. Which is to say, the viewer can take the apocryphal ‘red-pill’ of the virtual reality culture war, served on a clean white plate, and enjoy the colourful whatever-it-is (shunning the ‘blue pill’ of a harsh encounter reality). They key is that the image is consumable. Problem/What problem? In setting up tension between a deeper question and, alternatively, its pleasing sublimation, Knecht’s series stages the conflict between Brechtian episches Theater and its rightward-leaning antagonist, the total illusion of the Wagnerian Gesamtkunswerk. In order to conserve the phenomena that resonate within its walls, the theater’s own architecture must resist exposure. 52°33’44.1”N 14°03’12.8”E The box is also a shelter. Knecht opened Isolation to visitors for the first time at his solo show at Kunstverein Arnsberg (Radition, 2017), where the mossy remains of a dead tree took center stage. Subsequently, at Kunsthalle Baden-Baden’s “Exhibiting the Exhibition” (2018), rather than a sprawling landscape in miniature, visitors confronted with a single closely cropped tree trunk. With this ‘live’ iteration, landscapes are transformed into the Great Indoors. Knecht’s newest variation of Isolation—his largest yet, incorporating three connected galleries for a combined 180 sqm—is set within the Märkische Schweiz national park. Just across the lake is the Berthold Brecht house, whose one-time owner’s contribution to drama foregrounded the perspectival nature of audience experience, creating works that encouraged viewers not to suspend their disbelief in what they were seeing (as part of the episches Theater tendency). It is, one imagines, with him in mind that Knecht’s Buckow intstallation deploys its own Verfremdungseffekt. Until this moment, despite a critical edge, the series has mostly performed at a degree of distance from the audience. The landscape-figure remains fully isolated within three gallery walls and closed in by the fourth wall of photographic re-presentation. By virtue of their medium, even the supplementary ‘behind the scenes’ photos (which reverse the perceived enclosure) operated at a distance. In Buckow, Isolation categorically puts the viewer into the picture, both figuratively and literally. Ironically, through this embrace of epic ‘total installation’ (which completely surrounds the viewer), Knecht’s spectacular project stages an exit from Wagnerian gesamtkunstwerk and its 21st century counterpart, the filter bubble. Indeed, dramatic emphasis proceeds from the visitor literally taking leave of art(ifice)—moving through the artwork out into the world. As mentioned, during the vernissage visitors are blindfolded and led into the constructed space—dropped into the architecturally framed landscape in media res, without having seen the structure or its surroundings from the outside. This is quite the opposite of a normal encounter with an artwork, where one approaches a proposed world and attempts, imaginatively, to penetrate its milieu. Here, after the blindfold is removed, the visitor explores the inside of a frame wherein everything is offered up for pleasure and contemplation, whether or not they are amendable as such in reality. (Perhaps mud is getting into your shoes; perhaps you oppressed by the white lights, or harassed by insects.) Now comes the crucial moment: however the teleported visitor relates to the situation, they must eventually emerge from it, into a beyond. The must leave the structure. In a reverse telescoping effect, it seems that Knecht’s box frames everything outside it too. Every tree and puddle surrounding the structure become benefactors of a heightened psychological investment in twigs, leaves, etc. How long will it take for this uncanny perspective on the world beyond the artwork to wear off? It must be noted that Buckow is also known for guided, intensive experiences of terrain that are meant to be curative. Indeed, it is home to a number of paths designed in accordance with the naturopathic philosophy of the an eighteenth century monk Sebastian Kneipp, who espoused the virtues of bare-foot walking through ice cold water, dewy grass and mud. This type of practice of is less about the appreciation of nature or landscape (as an object of value) than it is about being physically and spiritually transformed by it. One might ask after the contraction of Kneipp and Brecht, how many steps can the visitor take away from the white box before they lose that special mode of attention proposed by Knecht’s cure? Zum Artikel auf Berlin Art Link FABIAN KNECHT Isolation (52°33’44.1”N 14°03’12.8”E) Eröffnung: 7.9.2019, 16-22 Uhr Anmeldung Transfer vom / zum Bahnhof Müncheberg zur Eröffnung (info@alexanderlevy.net) Ausstellungsdauer: 7.9.-22.9.2019 Täglich 13-18 Uhr Adresse: Haus Erlengrund Fischerberg 11 15377 Buckow (Märkische Schweiz) kuratiert von Dehlia Hannah und Nadim Samman Architektur von Marcel Schnabel, Ivy Lee Fiebig und Andre Simonow Mit Unterstützung von alexander levy, Haus Erlengrund, Untere Naturschutzbehörde Märkisch-Oderland und Holz Possling Forest of the Real Dehlia Hannah | Nadim Samman At 52°33’44.1”N 14°03’12.8”E, a precise Global Positioning System coordinate provided by Google Maps, the blindfold is removed. As you warily tread the muddy ground, your eyes adjust to bright white fluorescent light. A trickle of water catches your ear. You arrive, surrounded on all sides by windowless white walls, in a truncated thatch of forest. The smell of damp earth slows your pace as you navigate the terrain of fallen logs and low growing shrubs. Venturing beyond the first enclosure, a well-trampled corridor opens onto another white-walled room. The sound leads you along a stream fringed by greenery towards a small waterfall, whose pool offers a rippling reflection of the harsh ceiling lights. Every leaf is thrown into sharp relief against the saturated hues of the forest floor. ISOLATION by Fabian Knecht is a series of artworks staged within a white-cube gallery space built up around specially selected sites. At first glance, the images appear to photos of galleries filled up with landscape installations. One thinks of Walter de Maria’s Earth Room (1977-present), or Olafur Eliasson’s Riverbed (2014-15), to which Knecht has previously referred in a visual essay about the origins of the series. But in fact, the large format photographs makes of actual ground a figure, like a sculpture in a room, inviting viewers to attend to it with heightened care. At each of the selected sites, a fluorescent lit white box is dropped atop a rectangular swatch of land—a fragment which, decontextualized from its surroundings, evokes its own set of associations, analogies, desires and anxieties. The boxed scenes vary and trick the eye. A luscious field of wildflowers recedes into infinity in perfect one-point perspective. In another circumstance, the flat ground is strewn with trash. A snow-covered stretch of a piled-up ice flow is clearly selected for its resemblance to Caspar David Friedrich’s iconic Eismeer (1823/24). One wonders how far the artist and his crew had to wander the Russian winter in search of that vantage point, how his eye had to squint, and how the camera had to be trained at just the right angle, height, and time of day, to catch the resemblance (without overemphasizing the identity between the scenes). This is not a matter of matching found landscapes to familiar scenes from paintings or historical photographs. In Isolation we are presented with the workings of a frame by means of the scenes that they enclose. Indeed, beginning with an isolated fragment of a landscape, the logic of the frame echoes outwards—the structure built around it, the frame of the camera viewfinder, leading to a photograph of its interior; the frame of the photograph (with its own reflective glass surface), now hanging on the white wall of a gallery—whose form is repeated ad nauseum in the temporary architecture of the art world, from fairs and biennales to museum shows. But the mis en abyme runs inward too: in one work from the series, created at a grassy swamp outside Berlin, the box-frame’s fluorescent lights are reflected in the water below. Adding another dimension to the image, this mirror effect amplifies the logic of Isolation, with the swamp’s still water mimicking the photographic enterprise and the image-culture of the gallery world. In Water and Dreams (1942), Gaston Bachelard describes reveries afforded by ponds, lakes and rivers, in whose reflective surfaces the sky itself contemplates its own image. In Knecht’s transfiguration, the sky becomes a ceiling, the sun, rows of fluorescent bulbs; and the water, a photograph recording the self-reflexive narcissism of the gallery space. Yet Knecht’s re-framing sequence does not end here. Previously, vitrines full of smaller photographs depicted the ‘making-of’ the studio architecture from a distance, so that its exterior walls were shown surrounded by a much larger landscape. Functionally, these behind-the-scenes images reversed the gestalt, rendering the terrain ground again, while turning the built object into a (diminished) figure. The cumulative effect of so many distancing mechanisms destabilizes the viewer’s relation to photographic truth-telling, transforming it into a problem. Or does it? Such destabilization might suggest that Knecht is provoking the viewer to doubt the veracity of everything they are seeing—in the work and the world. If the gallery isn’t real, perhaps neither is the interior landscape. Perhaps it is a digital confection, small-scale model, or terrarium. The specter of deep fakes, scripted reality, and ‘alternative facts’ casts a familiar chill here. It bears remembering that by its very nature the frame or “parergon is a form which has as its traditional determination not that it stands out but that it disappears, buries itself, effaces itself, melts away at the moment that it deploys its greatest energy.” However, in keeping with contemporary ungroundings of the reality principle at work in mass culture, the pleasing detail and smooth packaging of an Isolation print also swings the other way. It is compatible with an entirely different viewer relation: conveniently, what was once an unpalatable corner of a brownfield site, its rutted dirt and tufts of grass, is now ready to be swallowed in its photographic candy-coating. Which is to say, the viewer can take the apocryphal ‘red-pill’ of the virtual reality culture war, served on a clean white plate, and enjoy the colourful whatever-it-is (shunning the ‘blue pill’ of a harsh encounter reality). They key is that the image is consumable. Problem/What problem? In setting up tension between a deeper question and, alternatively, its pleasing sublimation, Knecht’s series stages the conflict between Brechtian episches Theater and its rightward-leaning antagonist, the total illusion of the Wagnerian Gesamtkunswerk. In order to conserve the phenomena that resonate within its walls, the theater’s own architecture must resist exposure. 52°33’44.1”N 14°03’12.8”E The box is also a shelter. Knecht opened Isolation to visitors for the first time at his solo show at Kunstverein Arnsberg (Radition, 2017), where the mossy remains of a dead tree took center stage. Subsequently, at Kunsthalle Baden-Baden’s “Exhibiting the Exhibition” (2018), rather than a sprawling landscape in miniature, visitors confronted with a single closely cropped tree trunk. With this ‘live’ iteration, landscapes are transformed into the Great Indoors. Knecht’s newest variation of Isolation—his largest yet, incorporating three connected galleries for a combined 180 sqm—is set within the Märkische Schweiz national park. Just across the lake is the Berthold Brecht house, whose one-time owner’s contribution to drama foregrounded the perspectival nature of audience experience, creating works that encouraged viewers not to suspend their disbelief in what they were seeing (as part of the episches Theater tendency). It is, one imagines, with him in mind that Knecht’s Buckow intstallation deploys its own Verfremdungseffekt. Until this moment, despite a critical edge, the series has mostly performed at a degree of distance from the audience. The landscape-figure remains fully isolated within three gallery walls and closed in by the fourth wall of photographic re-presentation. By virtue of their medium, even the supplementary ‘behind the scenes’ photos (which reverse the perceived enclosure) operated at a distance. In Buckow, Isolation categorically puts the viewer into the picture, both figuratively and literally. Ironically, through this embrace of epic ‘total installation’ (which completely surrounds the viewer), Knecht’s spectacular project stages an exit from Wagnerian gesamtkunstwerk and its 21st century counterpart, the filter bubble. Indeed, dramatic emphasis proceeds from the visitor literally taking leave of art(ifice)—moving through the artwork out into the world. As mentioned, during the vernissage visitors are blindfolded and led into the constructed space—dropped into the architecturally framed landscape in media res, without having seen the structure or its surroundings from the outside. This is quite the opposite of a normal encounter with an artwork, where one approaches a proposed world and attempts, imaginatively, to penetrate its milieu. Here, after the blindfold is removed, the visitor explores the inside of a frame wherein everything is offered up for pleasure and contemplation, whether or not they are amendable as such in reality. (Perhaps mud is getting into your shoes; perhaps you oppressed by the white lights, or harassed by insects.) Now comes the crucial moment: however the teleported visitor relates to the situation, they must eventually emerge from it, into a beyond. The must leave the structure. In a reverse telescoping effect, it seems that Knecht’s box frames everything outside it too. Every tree and puddle surrounding the structure become benefactors of a heightened psychological investment in twigs, leaves, etc. How long will it take for this uncanny perspective on the world beyond the artwork to wear off? It must be noted that Buckow is also known for guided, intensive experiences of terrain that are meant to be curative. Indeed, it is home to a number of paths designed in accordance with the naturopathic philosophy of the an eighteenth century monk Sebastian Kneipp, who espoused the virtues of bare-foot walking through ice cold water, dewy grass and mud. This type of practice of is less about the appreciation of nature or landscape (as an object of value) than it is about being physically and spiritually transformed by it. One might ask after the contraction of Kneipp and Brecht, how many steps can the visitor take away from the white box before they lose that special mode of attention proposed by Knecht’s cure? Zum Artikel auf Berlin Art Link

NOWs: Honorary Vertebrate Club

07 September - 03 November 2019 / Nows ⟶

Sarah Browne: Report to an Academy, 2016. HD video, 28 minutes. Honorary Vertebrate ClubGroup Exhibition A Tale of a Tub Justus van Effenstraat 44 3027 TK Rotterdam, the Netherlands An exhibition—with Bianca Baldi, Sarah Browne, Anne Duk Hee Jordan, Tuomas A. Laitinen, Sophie Mallett, Jean Painlevé & Geneviève Hamon, and Sarah Ancelle Schönfeld—that carries a part of its brain outside of its body. Reality is an active verb, and the nouns all seem to be gerunds with more appendages than an octopus. Through their reaching into each other, through their “prehensions” or graspings, beings constitute each other and themselves. Beings do not preexist their relations. “Prehensions” have consequences. The world is a knot in motion.1 The exhibition Honorary Vertebrate Club addresses marine life and ecology in a time of unprecedented environmental change, the rapid depletion of life forms and loss of biodiversity. Focussing primarily on the octopus and other molluscan cephalopods, such as the squid, cuttleﬁsh and the nautilus, the exhibition is centered around modes of survival and adaptation in aquatic climates where environmental backdrops have become increasingly unstable and subject to ecological breakdown, or have ceased to exist altogether. Introducing a number of templates and artistic practices concerned with marine life, the exhibition establishes analogies between human and non-human animals—the octopus often deemed as a radical form of otherness—in an aim to underline persistent anthropocentric tendencies and human exceptionalism. Instead of the human ﬁgure we follow the octopus as main protagonist: an inventive environmental engineer and expert tool-user with complex social behaviors, thriving together with the jellyﬁsh in oceanic climates increasingly subject to manmade acidiﬁcation, rising sea temperatures, and underwater colonialism through deep sea mining. What can we learn from the adaptive qualities of the octopus, its shape-changing capacities and internet of brains? Can we develop “tentacular thinking” as a way of learning to “stay with the trouble,” rather than keeping to engage in acts of business as usual? The exhibition title is derived from an animal cruelty legislation act that was passed in The United Kingdom in 1986, regarding cephalopods as honorary vertebrates—extending to them protections not normally aﬀorded to invertebrates, such as the octopus. This act was implemented more broadly with an EU directive in 2010, treating the octopus as a vertebrate— commonly possessing a more complex nervous systems than invertebrates—for legal protection in animal testing, as based on scientiﬁc evidence of their ability to experience pain, suﬀering, distress and lasting harm. Apart from the well-intentioned aims to protect cephalopods, the overarching discussion of human exceptionalism and our tendency to endow the human ﬁgure with the capacity to be at the basis of a judgement or reconstruction remains striking. In other words still, how many times haven’t humans dragged a non-human animal into its court—from the mimicry of the parrot, to the language of dolphins and the jazzsongs of whales—claiming that its being could be deemed intelligent, insofar as we consider ourselves the standard measure of intelligence. Searching for new relational templates and approaches in inter-agentivity between humans and non-humans, the exhibition advocates a loosening of thought from the constraints of human phenomenality, as structures of being do not necessarily correspond with structures of lived experience.2 This resonates with the octopus’s bodily morphology and intelligence: of the octopus’s half a billion neurons—six times the number in a mouse—it is the only animal that has a segment of its brain located in its eight arms. Without a central nervous system, each arm “thinks” as well as “senses” the surrounding world with total autonomy, and yet, each arm is part of the animal.3 To further consider these decentralized actors forming a congruent whole it is relevant to cite philosopher Donna Haraway’s notion of “tentacular thinking”: The tentacular are not disembodied ﬁgures; they are cnidarians, spiders, ﬁngery beings like humans and raccoons, squid, jellyﬁsh, neural extravaganzas, ﬁbrous entities, ﬂagellated beings, myoﬁbril braids, matted and felted microbial and fungal tangles, probing creepers, swelling roots, reaching and climbing tendrilled ones. The tentacular are also nets and networks, it critters, in and out of clouds. Tentacularity is about life lived along lines—and such a wealth of lines—not at points, not in spheres. “The inhabitants of the world, creatures of all kinds, human and non-human, are wayfarers”; generations are like “a series of interlaced trails.”4 For the exhibition Honorary Vertebrate Club we understand “tentacular thinking” as a mode of raising decentralized perception, as an expansive and generative practice of fragmentary knowledge production that unmakes self-organizing units and ties them together as part of collectives seeking for the possibilities of life in capitalist ruins. As cephalopod and jellyﬁsh populations are proliferating in response to a changing climate, we may as well reach out to make kin with the aquatic overlords, engage in acts of learning through empathic nonunderstanding, towards devising ways of living together on a damaged planet. Footnotes 1 Donna J. Haraway, The Companion Species Manifesto – Dogs, People, and Signiﬁcant Otherness (Chicago: The University of Chicago Press), 6. 2 Anthropologist Tim Ingold has coined the term “interagentivity,” which he uses to highlight the constitutive quality of the “dwelt-in world” of hunter gatherers. Here, human beings engage intimately with one another as well as with non-human components in the environment. Ingold prefers to speak of “interagentivity” rather than of “intersubjectivity,” as we should not infer that every agent, with practical conscience, is subjectively determined, thoughtful and intellectual, with discursive, narrative awareness, as we commonly believe adult humans to be. 3 Chus Martinez, “The Octopus in Love,” e-ﬂux journal 55 (May 2014): 1. 4 Donna J. Haraway, Staying with the Trouble – Making Kin in the Chthulucene (Durham and London: Duke University Press, 2016), 32. This exhibition is made possible with the support of the City of Rotterdam and the Mondriaan Fund Sarah Browne: Report to an Academy, 2016. HD video, 28 minutes. Honorary Vertebrate ClubGroup Exhibition A Tale of a Tub Justus van Effenstraat 44 3027 TK Rotterdam, the Netherlands An exhibition—with Bianca Baldi, Sarah Browne, Anne Duk Hee Jordan, Tuomas A. Laitinen, Sophie Mallett, Jean Painlevé & Geneviève Hamon, and Sarah Ancelle Schönfeld—that carries a part of its brain outside of its body. Reality is an active verb, and the nouns all seem to be gerunds with more appendages than an octopus. Through their reaching into each other, through their “prehensions” or graspings, beings constitute each other and themselves. Beings do not preexist their relations. “Prehensions” have consequences. The world is a knot in motion.1 The exhibition Honorary Vertebrate Club addresses marine life and ecology in a time of unprecedented environmental change, the rapid depletion of life forms and loss of biodiversity. Focussing primarily on the octopus and other molluscan cephalopods, such as the squid, cuttleﬁsh and the nautilus, the exhibition is centered around modes of survival and adaptation in aquatic climates where environmental backdrops have become increasingly unstable and subject to ecological breakdown, or have ceased to exist altogether. Introducing a number of templates and artistic practices concerned with marine life, the exhibition establishes analogies between human and non-human animals—the octopus often deemed as a radical form of otherness—in an aim to underline persistent anthropocentric tendencies and human exceptionalism. Instead of the human ﬁgure we follow the octopus as main protagonist: an inventive environmental engineer and expert tool-user with complex social behaviors, thriving together with the jellyﬁsh in oceanic climates increasingly subject to manmade acidiﬁcation, rising sea temperatures, and underwater colonialism through deep sea mining. What can we learn from the adaptive qualities of the octopus, its shape-changing capacities and internet of brains? Can we develop “tentacular thinking” as a way of learning to “stay with the trouble,” rather than keeping to engage in acts of business as usual? The exhibition title is derived from an animal cruelty legislation act that was passed in The United Kingdom in 1986, regarding cephalopods as honorary vertebrates—extending to them protections not normally aﬀorded to invertebrates, such as the octopus. This act was implemented more broadly with an EU directive in 2010, treating the octopus as a vertebrate— commonly possessing a more complex nervous systems than invertebrates—for legal protection in animal testing, as based on scientiﬁc evidence of their ability to experience pain, suﬀering, distress and lasting harm. Apart from the well-intentioned aims to protect cephalopods, the overarching discussion of human exceptionalism and our tendency to endow the human ﬁgure with the capacity to be at the basis of a judgement or reconstruction remains striking. In other words still, how many times haven’t humans dragged a non-human animal into its court—from the mimicry of the parrot, to the language of dolphins and the jazzsongs of whales—claiming that its being could be deemed intelligent, insofar as we consider ourselves the standard measure of intelligence. Searching for new relational templates and approaches in inter-agentivity between humans and non-humans, the exhibition advocates a loosening of thought from the constraints of human phenomenality, as structures of being do not necessarily correspond with structures of lived experience.2 This resonates with the octopus’s bodily morphology and intelligence: of the octopus’s half a billion neurons—six times the number in a mouse—it is the only animal that has a segment of its brain located in its eight arms. Without a central nervous system, each arm “thinks” as well as “senses” the surrounding world with total autonomy, and yet, each arm is part of the animal.3 To further consider these decentralized actors forming a congruent whole it is relevant to cite philosopher Donna Haraway’s notion of “tentacular thinking”: The tentacular are not disembodied ﬁgures; they are cnidarians, spiders, ﬁngery beings like humans and raccoons, squid, jellyﬁsh, neural extravaganzas, ﬁbrous entities, ﬂagellated beings, myoﬁbril braids, matted and felted microbial and fungal tangles, probing creepers, swelling roots, reaching and climbing tendrilled ones. The tentacular are also nets and networks, it critters, in and out of clouds. Tentacularity is about life lived along lines—and such a wealth of lines—not at points, not in spheres. “The inhabitants of the world, creatures of all kinds, human and non-human, are wayfarers”; generations are like “a series of interlaced trails.”4 For the exhibition Honorary Vertebrate Club we understand “tentacular thinking” as a mode of raising decentralized perception, as an expansive and generative practice of fragmentary knowledge production that unmakes self-organizing units and ties them together as part of collectives seeking for the possibilities of life in capitalist ruins. As cephalopod and jellyﬁsh populations are proliferating in response to a changing climate, we may as well reach out to make kin with the aquatic overlords, engage in acts of learning through empathic nonunderstanding, towards devising ways of living together on a damaged planet. Footnotes 1 Donna J. Haraway, The Companion Species Manifesto – Dogs, People, and Signiﬁcant Otherness (Chicago: The University of Chicago Press), 6. 2 Anthropologist Tim Ingold has coined the term “interagentivity,” which he uses to highlight the constitutive quality of the “dwelt-in world” of hunter gatherers. Here, human beings engage intimately with one another as well as with non-human components in the environment. Ingold prefers to speak of “interagentivity” rather than of “intersubjectivity,” as we should not infer that every agent, with practical conscience, is subjectively determined, thoughtful and intellectual, with discursive, narrative awareness, as we commonly believe adult humans to be. 3 Chus Martinez, “The Octopus in Love,” e-ﬂux journal 55 (May 2014): 1. 4 Donna J. Haraway, Staying with the Trouble – Making Kin in the Chthulucene (Durham and London: Duke University Press, 2016), 32. This exhibition is made possible with the support of the City of Rotterdam and the Mondriaan Fund

NOWs: Fund I Befund

31 August 2019 / Nows ⟶

NOWs: Eurydice, Orpheus, And The Maenads

13 July 2019 / Nows ⟶

Eurydice, Orpheus, And The Maenadsperformance by Kandis Williams in dialog with Bracha L. Ettinger 13 July, 8 pm Perfromance starts at 9pm Spittelkolonnaden Leipzigerstr. 49 10117 Berlin Williams’ ongoing Eurydice project confronts the crisis of metaphorical entanglements around the aesthetic and political intersections of loss and inspiration, the ‘coming into being of artistic gestures’, echo, form, and mimesis as instances of the formal gathering of significant agential loss for the black subject. This full performance, stemming from a series of videos, collages, sculptures, and floral arrangements, makes porous the relationship between “black identity” and “mainstream culture.” The Greek myth of Eurydice is a vehicle for Williams’ inquiry into the subjects of a racialized imagination and its subsequent logics, by staging a structured engagement of blackness and spectacle within a mythic pre-Socratic configuration of the underworld. This installment will follow Orpheus from his loss of Eurydice into the hands of the Maenads. The performance is developed in dialog with Bracha L. Ettinger, features movement by Josh Johnson and music by Patrick Belaga. About FRAGILE FRAGILE fosters a program of conversation, antagonism, renegotiation, and celebration. FRAGILE is a non-profit project for contemporary artistic practices located in Berlin. It encompasses an exhibition and a residency space. FRAGILE is guided by curations etymology, the practice of caring and was founded on the warmest summerday of 2018 by Maurin Dietrich and Jonas Wendelin. Eurydice, Orpheus, And The Maenadsperformance by Kandis Williams in dialog with Bracha L. Ettinger 13 July, 8 pm Perfromance starts at 9pm Spittelkolonnaden Leipzigerstr. 49 10117 Berlin Williams’ ongoing Eurydice project confronts the crisis of metaphorical entanglements around the aesthetic and political intersections of loss and inspiration, the ‘coming into being of artistic gestures’, echo, form, and mimesis as instances of the formal gathering of significant agential loss for the black subject. This full performance, stemming from a series of videos, collages, sculptures, and floral arrangements, makes porous the relationship between “black identity” and “mainstream culture.” The Greek myth of Eurydice is a vehicle for Williams’ inquiry into the subjects of a racialized imagination and its subsequent logics, by staging a structured engagement of blackness and spectacle within a mythic pre-Socratic configuration of the underworld. This installment will follow Orpheus from his loss of Eurydice into the hands of the Maenads. The performance is developed in dialog with Bracha L. Ettinger, features movement by Josh Johnson and music by Patrick Belaga. About FRAGILE FRAGILE fosters a program of conversation, antagonism, renegotiation, and celebration. FRAGILE is a non-profit project for contemporary artistic practices located in Berlin. It encompasses an exhibition and a residency space. FRAGILE is guided by curations etymology, the practice of caring and was founded on the warmest summerday of 2018 by Maurin Dietrich and Jonas Wendelin.

NOWs: UNnatural

12 July - 09 August 2019 / Nows ⟶

graphic design © Charlotte Hansel: & color design © Susi Hinz unnatural unnaturalgroup show with Mark Dion, Duy Hoàng, Saskia Krafft, Silvia Noronha, Nina Schuiki, Markus Wirthmann; curated by Julia Modes Kleine Humboldt Galerie Lichthof Ost Unter den Linden 6 10117 Berlin Opening 12 July, 6.30 to 9 pm Programme keynote lecture: July 12, 5.15 to 6.30 pm Prof. Dr. Philipp Sarasin: Darwins natural selection Lecture: August 7, 6.15 to 8 pm Prof. Dr. Anke te Heesen: Kastenräume. Zur Geschichte eingefriedeter Pflanzen unnatural is dedicated to the dichotomy of humans and nature, by exploring the human fascination with, as well as our influence on natural cycles and the consequences of this activity in the age of the Anthropocene. The biologist Charles Darwin defined natural selection as the principle of survival and reproduction of any variation that provided advantageous, no matter how small. His evolutionary theory plainly explained the mechanisms of species’ variation in the plant and animal kingdoms. Humans were no longer the pride of creation but rather part of a protracted process in which they prevailed over other species. However, within their culturally created social structures, humans are subjected to very different, everyday mechanisms of selection – and further, they themselves do the selecting. When humans attempt to comprehend the forces of nature, acquire them, and utilize them for their own needs, they make decisions based on their own value systems, which affect nature in turn. In this manner, human activity has become a crucial factor within the evolutionary process. Can the conscious selection by humans still be regarded as natural or does it have to be understood as unnatural? The exhibition unnatural is dedicated to this dichotomy of humans and nature. Six contemporary artists will explore the human fascination with, as well as our influence on, natural cycles and the consequences of this activity in the age of the Anthropocene. Their works will discuss natural catastrophes caused by human action, attempts to imitate natural processes, and the practice of collecting organic materials in order to instigate a discourse on natural and unnatural selection mechanisms. Celebrating the 10th anniversary of Kleine Humboldt Galerie’s curatorial practice at Lichthof Ost, the show will be on view until August 9! Künstler*innen/ artists Duy Hoàng (New York) Saskia Krafft (New York) Nina Schuiki (Berlin) Silvia Noronha (Berlin) Markus Wirthmann (Berlin) Mark Dion (New York) Kuratorin/ curator: Julia Modes Kuratorische Assistenz / assistant: Lotte Wilhelm graphic design © Charlotte Hansel: & color design © Susi Hinz unnatural unnaturalGruppenausstellung mit Mark Dion, Duy Hoàng, Saskia Krafft, Silvia Noronha, Nina Schuiki, Markus Wirthmann; kuratiert von Julia Modes Kleine Humboldt Galerie Lichthof Ost Unter den Linden 6 10117 Berlin Eröffnung 12 July, 6.30 to 9 pm Programm Keynote Lecture: 12. Juli, 17:15 to 18.30 h Prof. Dr. Philipp Sarasin: Darwins natural selection Lecture: 7. August , 18.15 bis 20:00 h Prof. Dr. Anke te Heesen: Kastenräume. Zur Geschichte eingefriedeter Pflanzen unnatural widmet sich der Dichotomie von Mensch und Natur, indem die Ausstellung die menschliche Faszination für, wie auch seinen Einfluss auf natürliche Kreisläufe und deren Folgen im Zeitalter des Anthroprozäns thematisiert. Der Naturforscher Charles Darwin definierte die natürliche Selektionals Prinzip der Erhaltung jeder kleinsten, sofern nützlichen Variation. Seine Evolutionstheorie erklärt auf einfache Weise den Mechanismus der Artenvariation im Pflanzen- und Tierreich, der den Menschen nicht als “Krone der Schöpfung”, sondern als Teil eines natürlichen Ausleseverfahrens beschreibt. Doch der Mensch unterliegt in dem von ihm eigens hervorgebrachten sozialen Gefüge heute ganz anderen, alltäglichen Selektionsmechanismen – und mehr noch: er selbst selektiert. Während der Mensch zwar die Gesetze der Natur seit jeher zu durchdringen versucht, sie sich aneignet und für seine eigenen Zwecke nutzt, trifft er Entscheidungen auf der Grundlage eines eigens erfundenen Wertesystems, denen sich seine Umwelt beugen muss. So wurde er zu einem entscheidenden Selektionsfaktor der natürlichen Auslese. Kann jedoch das bewusste Selektieren des Menschen noch als ein natürliches oder muss es als ein unnatürliches verstanden werden? Im Rahmen des Festivals unselect greifen in der Ausstellung unnatural Sechs Künstler*innen durch ihre Arbeiten die vom Menschen verursachten Naturkatastrophen, den Versuch, Prozesse der Natur nachzuahmen und das Prinzip des Sammelns organischer Materialien auf, um zum Nachdenken und Diskutieren über natürliche, wie unnatürliche Selektionsmechanismen anzuregen. Die Ausstellung wird anlässlich der zehnjährigen Ausstellungspraxis der Kleinen Humboldt Galerie im Lichthof Ost bis zum 09. August zu sehen sein! Künstler*innen/ artists Duy Hoàng (New York) Saskia Krafft (New York) Nina Schuiki (Berlin) Silvia Noronha (Berlin) Markus Wirthmann (Berlin) Mark Dion (New York) Kuratorin/ curator: Julia Modes Kuratorische Assistenz / assistant: Lotte Wilhelm

NOWs: Quissac by Yalda Afsah

07 - 24 July 2019 / Nows ⟶

Quissacsolo exhibition by Yalda Afsah Still from Yaldah Afsah, Vidourle, 2019 Opening 6 JULY 2019, 5 – 9 pm FRAGILE Leipzigerstraße 63 10117 Berlin FRAGILE is pleased to announce the solo exhibition Quissac by Yalda Afsah. The exhibition brings together two films that were developed in relation to each other, their location both being a small town in the south of France where the narrative follows a bizarre sequence of bullfights. The films “Vidourle” and “Tourneur” both portray and fictionalize the setting for expressions of supposed dominance between human and animal, gestures of provoked violence and performed masculinity. Between strategies of construction and reality scenes unfold in which man and animal, rage and performance collapse into one another. Vidourle, 2019, 10 min Tourneur, 2018, 14 min About FRAGILE FRAGILE fosters a program of conversation, antagonism, renegotiation, and celebration. FRAGILE is a non-profit project for contemporary artistic practices located in Berlin. It encompasses an exhibition and a residency space. FRAGILE is guided by curations etymology, the practice of caring and was founded on the warmest summerday of 2018 by Maurin Dietrich and Jonas Wendelin. Quissacsolo exhibition by Yalda Afsah Still from Yaldah Afsah, Vidourle, 2019 Opening 6 JULY 2019, 5 – 9 pm FRAGILE Leipzigerstraße 63 10117 Berlin FRAGILE is pleased to announce the solo exhibition Quissac by Yalda Afsah. The exhibition brings together two films that were developed in relation to each other, their location both being a small town in the south of France where the narrative follows a bizarre sequence of bullfights. The films “Vidourle” and “Tourneur” both portray and fictionalize the setting for expressions of supposed dominance between human and animal, gestures of provoked violence and performed masculinity. Between strategies of construction and reality scenes unfold in which man and animal, rage and performance collapse into one another. Vidourle, 2019, 10 min Tourneur, 2018, 14 min About FRAGILE FRAGILE fosters a program of conversation, antagonism, renegotiation, and celebration. FRAGILE is a non-profit project for contemporary artistic practices located in Berlin. It encompasses an exhibition and a residency space. FRAGILE is guided by curations etymology, the practice of caring and was founded on the warmest summerday of 2018 by Maurin Dietrich and Jonas Wendelin.

NOWs: Ziggy & The Starfish at Roskilde Festival

06 July 2019 / Nows ⟶

Ziggy & The Starfish at Roskilde FestivalSolo exhibition by Anne Duk Hee Jordan See the world from a fish perspective in Anne Duk Hee Jordan’s Ziggy & The Starfish Make yourself comfortable in the enormous bed covered by a blue fishnet curtain, which makes up Anne Duk Hee Jordan’s installation Ziggy & The Starfish. Here, you will see a vibrant and seductive performative mating dance taking place among sea slugs, octopuses and star fish, which are affected by climate change. By zooming in on a microcosm that many people have forgotten, Ziggy & The Starfish examines how humans use and treat the environment and the ocean in particular, but also how sea animals have a fluid and diverse sexuality. Through a playful and humorous approach, Anne Duk Hee Jordan illustrates new perspectives on climate change and their tangible effects on the hormones of living organisms by allowing us to experience the world through the eyes of the sealife. The title also refers to the late David Bowie’s androgynous glam alter ego Ziggy Stardust in the early 70s. The accessory large board ‘Changing Sex in Ecology’ next to the bed installation gives an overview of how animals and humans are adapting to climate change today. The work and research are created in collaboration with curator and writer Pauline Doutreluingne. Ziggy & The Starfish and Changing Sex in Ecology are part of the exhibition Sensorium: A Laboratory for the Deceleration of the Body and for a New Politics of the Senses, curated by Solvej Helweg Ovesen and co-produced by the Riga International Biennale of Contemporary Art, 2018. Ziggy & the Starfish is created by Anne Hee Duk, and the bed is designed by her and Tilman Wendland. Ziggy & The Starfish at Roskilde FestivalSolo exhibition by Anne Duk Hee Jordan See the world from a fish perspective in Anne Duk Hee Jordan’s Ziggy & The Starfish Make yourself comfortable in the enormous bed covered by a blue fishnet curtain, which makes up Anne Duk Hee Jordan’s installation Ziggy & The Starfish. Here, you will see a vibrant and seductive performative mating dance taking place among sea slugs, octopuses and star fish, which are affected by climate change. By zooming in on a microcosm that many people have forgotten, Ziggy & The Starfish examines how humans use and treat the environment and the ocean in particular, but also how sea animals have a fluid and diverse sexuality. Through a playful and humorous approach, Anne Duk Hee Jordan illustrates new perspectives on climate change and their tangible effects on the hormones of living organisms by allowing us to experience the world through the eyes of the sealife. The title also refers to the late David Bowie’s androgynous glam alter ego Ziggy Stardust in the early 70s. The accessory large board ‘Changing Sex in Ecology’ next to the bed installation gives an overview of how animals and humans are adapting to climate change today. The work and research are created in collaboration with curator and writer Pauline Doutreluingne. Ziggy & The Starfish and Changing Sex in Ecology are part of the exhibition Sensorium: A Laboratory for the Deceleration of the Body and for a New Politics of the Senses, curated by Solvej Helweg Ovesen and co-produced by the Riga International Biennale of Contemporary Art, 2018. Ziggy & the Starfish is created by Anne Hee Duk, and the bed is designed by her and Tilman Wendland.

NOWs: 4/10 –A CRITICAL INVENTORY OF THE IKOB COLLECTION

03 July - 29 September 2019 / Nows ⟶

4/10 –A CRITICAL INVENTORY OF THE IKOB COLLECTIONGroup exhibition Opening: 30 June 2019, 5 pm IKOB – Museum of Contemporary Art Rotenberg 12 4700 Eupen Belgien With regard to the equal treatment of female and male artists, 2019 is apparently turning out to be a year of reappraisal at several art- and culture-institutions. For example, for twelve months starting this April the Tate Modern in London is exclusively featuring female artists from its own collection. Through a focus on works of art by women, which are exhibited percentage-wise far less frequently than those by men, female artists are to be more strongly represented and their contribution to art history is to be more appropriately acknowledged. There are also projects such as these outside the visual arts. Thus the Karlsruhe State Theatre is hiring only female directors for the 2018/19 season. The IKOB is likewise seeking to make its contribution to an endeavour that is actually long overdue. We engaged in a closer analysis of our collection and investigated the question as to how many works of art came from women and how many from men. It turned out that exactly 40% of the works in the collection were done by women. Four out of ten is not a bad ratio in comparison to other museums, whose percentage seems to be stuck at around 25%. In comparison, between 2009 and 2011 the share of works by female artists purchased by museums in North Rhine-Westphalia was no more than 28%, and only 22% of all solo exhibitions receiving financial support from that German state were by female artists. Why is this low percentage surprising? Because for decades the share of women at German art academies has been constantly over 60%; and with regard to the art prizes awarded by the state, there is at least an even distribution between women and men. But as soon as it is a matter of participation in exhibitions at galleries, museums and art associations, it is striking that women lag behind men with shocking regularity. If one then examines the list of the most commercially successful artists, it becomes evident that the number of top earners who are women continues to be infinitesimally small. Since a reappraisal can only take place there where people are aware of this differentiation, the exhibition 4/10, A Critical Inventory of the IKOB Collection, constitutes the beginning of an endeavour to do justice to the female artists from our collection with regard to contents, and to support their contributions to the uniqueness of the (East-)Belgian art scene by bringing those creations to light. For that reason, the motto of the moment is ‘men into storage, women into the museum. The exhibition is conceived as an invitation to communication: above all between the IKOB and the female artists represented in its collection, but also among visitors, both female and male, who have not seen many of these works of art for a long time or possibly never at all. With: Marie-France Bonmariage, Ellen Brusselmans, Jeanne-Claude, Johanna Deiglmayr-Buchholz, Delphine Deguislage, Lili Dujourie, Margret Eicher, Karin Frank, Casaluce Geiger, Denise Gilles, Laurence Gonry, Maria Hasemeier-Eulenbruch, Vera Hilger, Irmel Kamp, Stefanie Klingemann, Marie-Claire Krell, Sophie Langohr, Andrea Lehnert, Barbara Leisgen, Esther Liégeois, Lilith Love, Sylvie Macías Díaz, Nora Mertes, Beatrice Minda, Karin Missy Paule, Tanja Mosblech, Yvonne Mostard, Sali Muller, Chloé Op de Beeck, Timea Anita Oravecz, Tinka Pittoors, Andrea Radermacher-Mennicken, Jana Rusch, Bärbel Schulte Kellinghaus, Alice Smeets, Merlin Spie, Catharina van Eetvelde, Marlies Vermeulen (Dear Hunter), Sophie Whettnall, Denyse Willem 4/10 –EINE KRITISCHE BESTANDSAUFNAHME DER IKOB SAMMLUNG Eröffnung: 30.06.2019, 17 h IKOB – Museum für Zeitgenössische Kunst Rotenberg 12 4700 Eupen Belgien 2019 ist in Sachen Gleichstellung von Künstlerinnen und Künstlern, in einigen Kunst- und Kulturinstitutionen, offensichtlich ein Jahr des Umdenkens. So zeigt die Tate Modern in London seit April für zwölf Monate ausschließlich Künstlerinnen aus der eigenen Sammlung. Durch den Fokus auf die prozentual viel seltener ausgestellten Kunstwerke von Frauen sollen diese stärker repräsentiert und ihr Beitrag zur Kunstgeschichte angemessen gewürdigt werden. Auch außerhalb der bildenden Kunst gibt es solche Projekte. So engagiert das Staatstheater Karlsruhe für die Spielzeit 2018/2019 nur Regisseurinnen. Zu diesen eigentlich längst überfälligen Handlungen will auch das IKOB seinen Beitrag leisten. So unterzogen wir unsere Sammlung einer genaueren Analyse und gingen der Frage nach wie viele Kunstwerke von Frauen und wie viele von Männern stammen. Es zeigte sich, dass genau 40% der Kunstwerke in der Sammlung von Künstlerinnen geschaffen wurden. Vier von zehn ist zwar kein schlechter Schnitt im Vergleich zu anderen Museen, deren Quote immer noch bei etwa 25% festgefahren zu sein scheint. Zum Vergleich lag zwischen 2009 und 2011 der Frauenanteil bei Kunsteinkäufen der Museen in Nordrhein-Westfalen gerade einmal bei 28% und nur 22% aller vom Land geförderten Einzelausstellungen waren Ausstellungen von Künstlerinnen. Warum diese niedrige Quote überrascht? Weil seit Jahrzehnten der Frauenanteil an den deutschen Kunstakademien bei konstant über 60% liegt und auch bei den staatlichen Kunstpreisen zumindest noch Gleichstand zwischen Männern und Frauen herrscht. Sobald es jedoch an die Teilnahme an Ausstellungen in Galerien, Museen und Kunstvereinen geht, fällt auf, dass Frauen mit auffälliger Konsequenz ins Hintertreffen geraten. Schaut man sich dann noch die Liste der kommerziell erfolgreichsten Künstlerinnen und Künstler an, so sieht man, dass die Anzahl der weiblichen Topverdienerinnen noch immer verschwindend gering ist. Da ein Umdenken nur dort stattfinden kann, wo man sich dieser Differenzierung bewusst wird, ist die Ausstellung 4/10 – Eine kritische Bestandsaufnahme der IKOB Sammlung der Anfang den Künstlerinnen aus unserer Sammlung inhaltlich gerecht zu werden und ihren Beitrag an der Einzigartigkeit in der (Ost-)belgischen Kunstwelt durch ihre Sichtbarmachung zu fördern. Daher heißt es aktuell: Männer ins Depot, Frauen ins Museum. Die Ausstellung versteht sich als eine Einladung zur Kommunikation. In erster Linie zwischen dem IKOB und den in seiner Sammlung vertretenen Künstlerinnen, aber auch zwischen Besucherinnen und Besuchern, die viele der Kunstwerke seit längerer Zeit oder noch nie gesehen haben. Mit: Marie-France Bonmariage, Ellen Brusselmans, Jeanne-Claude, Johanna Deiglmayr-Buchholz, Delphine Deguislage, Lili Dujourie, Margret Eicher, Karin Frank, Casaluce Geiger, Denise Gilles, Laurence Gonry, Maria Hasemeier-Eulenbruch, Vera Hilger, Irmel Kamp, Stefanie Klingemann, Marie-Claire Krell, Sophie Langohr, Andrea Lehnert, Barbara Leisgen, Esther Liégeois, Lilith Love, Sylvie Macías Díaz, Nora Mertes, Beatrice Minda, Karin Missy Paule, Tanja Mosblech, Yvonne Mostard, Sali Muller, Chloé Op de Beeck, Timea Anita Oravecz, Tinka Pittoors, Andrea Radermacher-Mennicken, Jana Rusch, Bärbel Schulte Kellinghaus, Alice Smeets, Merlin Spie, Catharina van Eetvelde, Marlies Vermeulen (Dear Hunter), Sophie Whettnall, Denyse Willem

NOWs: The Dig by Dan Stockholm

20 June - 24 August 2019 / Nows ⟶

NOWs: Magic Carpets Italy – Flowing Cities

17 - 22 June 2019 / Nows ⟶

Flowing Citiesdouble solo show Accademia di Belle Arti di Roma Via di Ripetta, 222 00186 Roma Opening 17 June 2019, 06.30 pm Flowing Cities is an international artists’ residence project created by Benedetta Carpi De Resmini and curated with Giulia Pardini. Latitudo-Art Projects and the Accademia di Belle Arti di Roma present the exhibition Flowing Cities, a double solo show dedicated to the artists Yves Mettler and Patricia Geraldes as part of the international platform Magic Carpets, now in its second edition, from 17 to 22 June 2019 in the Accademia’s exhibition spaces, where an installation by Patricia Geraldes will be on view until 27 June in Piazza Ferro di Cavallo. For the exhibition, Yves Mettler will present a two-channel video work, projected in the Sala Colleoni, stemming from the artist’s research in Laurentino 38. On the walls of the room, a story that the artist prepared during his workshops with neighbourhood youth will be displayed: posters, photos and comics will compete to share the intricate world of the Laurentino. Patricia Geraldes will present the diaries she created with the residents of the Corviale: photos, memories, collages and drawings will create varying and contrasting visions of the neighbourhood. In the central square, Piazza Ferro di Cavallo, the artist will present a sculpture based on the idea of restoring a virtuous balance between humans and their environment: the site specific work will be composed of branches carved with memories and emotions drawn from her work at the Corviale. In the spaces adjacent to the Sala Colleoni, there will be a timeline, visual narration of the residences of these two artists, using photos of their time studying and working in Rome, taken by the photographer Luis Do Rosario. Alongside the project carried out in Italy, Magic Carpets sponsors the work of Italian artists abroad, with the idea of cultural exchange between European countries. For this second edition, the artists invited to develop a residence project linked to a place by starting a dialogue with the community were Elena Mazzi, selected by ZK/U di Berlin, and Virginia Zanetti, chosen by Ideias Emergentes in Porto. Along with Luis do Rosario’s photos, there are photographs realized by the Lithuanian journalists collective Nanook (Mindaugas Drigotas), who had followed the two Italian artists in their residencies. There are also shown documents and drawings made by the artists themselves. Flowing Citiesdouble solo show Accademia di Belle Arti di Roma Via di Ripetta, 222 00186 Roma Opening 17 June 2019, 06.30 pm Flowing Cities is an international artists’ residence project created by Benedetta Carpi De Resmini and curated with Giulia Pardini. Latitudo-Art Projects and the Accademia di Belle Arti di Roma present the exhibition Flowing Cities, a double solo show dedicated to the artists Yves Mettler and Patricia Geraldes as part of the international platform Magic Carpets, now in its second edition, from 17 to 22 June 2019 in the Accademia’s exhibition spaces, where an installation by Patricia Geraldes will be on view until 27 June in Piazza Ferro di Cavallo. For the exhibition, Yves Mettler will present a two-channel video work, projected in the Sala Colleoni, stemming from the artist’s research in Laurentino 38. On the walls of the room, a story that the artist prepared during his workshops with neighbourhood youth will be displayed: posters, photos and comics will compete to share the intricate world of the Laurentino. Patricia Geraldes will present the diaries she created with the residents of the Corviale: photos, memories, collages and drawings will create varying and contrasting visions of the neighbourhood. In the central square, Piazza Ferro di Cavallo, the artist will present a sculpture based on the idea of restoring a virtuous balance between humans and their environment: the site specific work will be composed of branches carved with memories and emotions drawn from her work at the Corviale. In the spaces adjacent to the Sala Colleoni, there will be a timeline, visual narration of the residences of these two artists, using photos of their time studying and working in Rome, taken by the photographer Luis Do Rosario. Alongside the project carried out in Italy, Magic Carpets sponsors the work of Italian artists abroad, with the idea of cultural exchange between European countries. For this second edition, the artists invited to develop a residence project linked to a place by starting a dialogue with the community were Elena Mazzi, selected by ZK/U di Berlin, and Virginia Zanetti, chosen by Ideias Emergentes in Porto. Along with Luis do Rosario’s photos, there are photographs realized by the Lithuanian journalists collective Nanook (Mindaugas Drigotas), who had followed the two Italian artists in their residencies. There are also shown documents and drawings made by the artists themselves.

NOWs: The Data of the Heart by Sarah Rechberger

31 May - 01 June 2019 / Nows ⟶

The Data of the HeartInstallation by Sarah Rechberger Volkstheater, Weißer Salon Neustiftgasse 1 1070 Vienna The installation The Data of Heart makes the movements of audience members heart visible. Heart rate in beats per minute (bpm) is transmitted externally to the artwork by a sensor, facilitating a new form of communication and interaction. This direct experience turns the physical body into a place where light, information, movement and space intersect. In the digital age, the transmission of light, or electricity and information plays a key role. This transmission is not linear: similar to our heartbeats, it takes a pulsing, wave-like form (alternating current, binary code). In the installation, a straight beam of light is bent into a curve on all sides. The heart is not only an efficient mechanical pump. It is a location of empathy, emotional connection and direct communication. This living impulse connects us all – regardless of ethnic origin, gender, age or religion – including other forms of life such as animals. Even the planet earth has a heartbeat. Its magnetic field constantly pulsates to its own rhythm. 31 May 2019, 1pm, 2pm, 3pm 01 June 2019, 1pm, 2pm, 3pm Free admission The Data of the HeartInstallation von Sarah Rechberger Volkstheater, Weißer Salon Neustiftgasse 1 1070 Wien Die Installation The Data of the Heart macht die Bewegungen der Herzen der Besucher/innen sichtbar. Die Herzfrequenz in bpm (beats per minute) wird durch einen Sensor nach außen auf das Kunstwerk übertragen und ermöglicht eine andere Form von Kommunikation und Interaktion. Diese unmittelbare Erfahrung macht den menschlichen Körper zu einer Schnittstelle zwischen Licht, Information, Bewegung und Raum. Im digitalen Zeitalter spielt die Übertragung von Licht bzw. Strom und Information eine wichtige Rolle. Die Übertragung findet nicht linear, sondern ähnlich unserem Herzen, in einer pulsierenden und wellenartigen Form statt (Wechselstrom, 0/1 Binärcode). In der Installation wird die gerade Lichtlinie auf jeder Seite zu einer Kurve gekrümmt. Das Herz ist nicht nur eine effiziente mechanische Pumpe, sondern ein Ort der Empathie, der emotionalen Verbindung und der direkten Kommunikation. Dieser Lebensimpuls verbindet uns alle − unabhängig von ethnischer Herkunft, Geschlecht, Alter oder Religion – auch mit anderen Lebewesen wie den Tieren. Selbst die Erde hat einen „Herzschlag“. Ihr Magnetfeld pulsiert konstant im eigenen Rhythmus. 31. Mai 2019, 13h, 14h, 15h 01. Juni 2019, 13h, 14h, 15h Freier Eintritt

NOWs: Passpunkt

18 May - 29 June 2019 / Nows ⟶

PasspunktSolo exhibition by Sophia Pompéry Galerie WAGNER + PARTNER Koppenplatz 5-6 10115 Berlin Opening: 17 May, 7 pm WAGNER + PARTNER is pleased to present Passpunkt (Control Point), the third solo exhibition by the Berlin artist Sophia Pompéry. Following on from previous projects, Pompéry continues her exploration of aesthetics at the intersection of art, physics and philosophy and with astonishing results. Pompéry began this project during a residency in the Swiss mountains where she was inspired by the landscape. What sets a photograph of a mountain panorama apart from that of a valley? Are there objective “truths” for the answer or appraisal? Ultimately, we instinctively trust a camera’s objectivity. The exhibition’s title alludes to the “control points” used in the surveying sector to clearly define an exact location – thus determining its meaning in an overriding sense. In the WAGNER + PARTNER exhibition, Sophia Pompéry explores this concept to absurdity and creates states of suspense through minimal artistic intervention. A photo of a mountain is also that of a valley, a negative becomes a positive, a yes becomes a no … Sophia Pompéry (*1984 in Berlin) lives and works in Berlin. She graduated from the Kunsthochschule Berlin-Weissensee with a Masters degree and then participated in the UdK (Berlin University of the Arts) Institute for Spatial Experiments with Olafur Eliasson. Numerous prizes, residencies and international exhibitions testify to her artistic achievements. PasspunktSolo exhibition by Sophia Pompéry Galerie WAGNER + PARTNER Koppenplatz 5-6 10115 Berlin Eröffnung: 17. Mai, 19 h Galerie WAGNER + PARTNER freut sich, mit „Passpunkt“ die dritte Einzelausstellung der Berliner Künstlerin Sophia Pompéry zu präsentieren. Wie in anderen Projekten auch, stellt Pompéry generelle ästhetische Fragen am Schnittpunkt von Kunst, Physik und Philosophie und überrascht mit deren Antworten. Ausgangpunkt war ein Residence-Aufenthalt in den Schweizer Bergen, bei dem die Künstlerin sich fotografisch mit der Landschaft vor Ort auseinandergesetzt hat. Was unterscheidet das Foto eines Bergpanoramas von dem einer Talaufnahme? Gibt es objektive „Wahrheiten“ für die Antwort oder Bewertung? Schließlich vertrauen wir der Objektivität eines Fotoapperates instiktiv. Im Vermessungswesen bedient man sich sogenannter – in Anspielung auf den Ausstellungstitel – Passpunkte, um eine räumliche Lage eindeutig zu bestimmen – und damit in einem übergeordneten Sinne auch seine Bedeutung. Sophia Pompéry hat in der Ausstellung bei WAGNER + PARTNER dieses Vorgehen ad absurdum geführt und durch minimale künstlerische Eingriffe die Bezüge in einen Schwebzustand gebracht. Ein Foto vom Berg ist zugleich ein Foto vom Tal, ein Negativ wird ein Positiv, ein Ja wird ein Nein… Sophia Pompéry (*1984 in Berlin) lebt und arbeitet in Berlin. Sie hat ein Meisterschülerinnen-Studium an der Kunsthochschule Berlin-Weissensee absolviert und später am Institut für Raumexperimente bei Olafur Eliasson an der Universität der Künste teilgenommen. Zahlreiche Preise, Auslandsaufenthalte und internationale Ausstellungen zeugen von ihrem hohen künstlerischen Profil.

NOWs: Tool Shed with Eric Ellingsen

17 May - 18 August 2019 / Nows ⟶

Sketch of Tool Shed. Courtesy the artist. Tool ShedWalkshop series with Eric Ellingsen Contemporary Art Museum St. Louis 3750 Washington Boulevard St. Louis, MO 63108 Register here for the next walkshop on July 19th During the summer of 2019, non-disciplinary artist Eric Ellingsen guides “walkshops” throughout the city. If, as urbanist and author Jane Jacobs asserts, we need eyes on the streets then we need ears on the streets, too. Participants in the first phase of the project—including members of the Samaritan United Methodist Church, Third Baptist Church, and other CAM neighbors—construct and wear hearing devices based on early 20th-century technologies to engage protocols of listening. Ellingsen and CAM staff guide walkshops to observe and collect sounds from the surrounding neighborhood, with musicians, poets, field scientists, and landscape architects. These field recordings are gathered, archived, and mixed into sound installations, creating aural portraits. Visitors can experience soundscapes of St. Louis neighborhoods in an acoustically designed tool shed in CAM’s courtyard throughout the summer. Eric Ellingsen: Tool Shed is organized for the Contemporary Art Museum St. Louis by Wassan Al-Khudhairi, Chief Curator; Alex Almestad, Director of Learning and Engagement; and Misa Jeffereis, Assistant Curator. The project is generously supported by the Divided City, an urban humanities initiative funded by the Andrew W. Mellon Foundation, a joint project of the Center for the Humanities and the Sam Fox School, College of Architecture and Urban Design at Washington University in St. Louis. Special thanks to project partners John Baugh, Neo Muyanga, and Casey O’Callaghan, and to KDHX. First Walkshop. Photo by Virginia Harold First Walkshop. Photo by Virginia Harold Sketch of Tool Shed. Courtesy the artist. Tool ShedWalkshop series with Eric Ellingsen Contemporary Art Museum St. Louis 3750 Washington Boulevard St. Louis, MO 63108 Register here for the next walkshop on July 19th During the summer of 2019, non-disciplinary artist Eric Ellingsen guides “walkshops” throughout the city. If, as urbanist and author Jane Jacobs asserts, we need eyes on the streets then we need ears on the streets, too. Participants in the first phase of the project—including members of the Samaritan United Methodist Church, Third Baptist Church, and other CAM neighbors—construct and wear hearing devices based on early 20th-century technologies to engage protocols of listening. Ellingsen and CAM staff guide walkshops to observe and collect sounds from the surrounding neighborhood, with musicians, poets, field scientists, and landscape architects. These field recordings are gathered, archived, and mixed into sound installations, creating aural portraits. Visitors can experience soundscapes of St. Louis neighborhoods in an acoustically designed tool shed in CAM’s courtyard throughout the summer. Eric Ellingsen: Tool Shed is organized for the Contemporary Art Museum St. Louis by Wassan Al-Khudhairi, Chief Curator; Alex Almestad, Director of Learning and Engagement; and Misa Jeffereis, Assistant Curator. The project is generously supported by the Divided City, an urban humanities initiative funded by the Andrew W. Mellon Foundation, a joint project of the Center for the Humanities and the Sam Fox School, College of Architecture and Urban Design at Washington University in St. Louis. Special thanks to project partners John Baugh, Neo Muyanga, and Casey O’Callaghan, and to KDHX. First Walkshop. Photo by Virginia Harold First Walkshop. Photo by Virginia Harold

NOWs: Erol Sarp & Robert Lippok at XJAZZ Festival 2019

11 May 2019 / Nows ⟶

NOWs: reprint. Change through Reproduction

10 May - 08 June 2019 / Nows ⟶

reprint. Change through ReproductionGroup exhibition Gesellschaft für zeitgenössische Kunst Osnabrück e. V. Kunstraum hase29 Hasestr. 29/30 49074 Osnabrück Opening: 9 May, 7 pm With: Manfred Blieffert, Nick Ervinck, Jonas Fleckenstein, Kati Gausmann, Birgit Kannengießer, Lola Läufer, Jan Neukirchen, Sophia Pompéry, Hannah Regenberg, David Semper, Nasan Tur, Wiebke Wilms Reproducing things not only means reproducing them, but also opens up the question of how the reproduced is changed by the process of reproduction? Does what is reproduced influence our old idea of a unique original? In today’s digital world, the originals no longer exist, but artificial artefacts, complex ideas and digital images that at best refer back to what has already been reproduced. The change that has been introduced since the beginnings of reproduction processes (19th century: Photography; 20th century: Film / video; 21st century: 3-D printing) is likely to continue. The old idea of the original masterpiece will not dissolve, but will change fundamentally – reproductions are images that reproduce their own creation process in a refined and now highly technical way, thereby relativizing the earlier claim of art to produce unique originals. Reproduction means today: to take up old pictures and new procedures in order to transform them into new pictorial realities with applied reproduction techniques. Everything that can be repeated and, above all, digitalized today can be reproduced at will. This exhibition presents works by artists who take a given “model” (a typographic detail, a mesh pattern, a napkin ornament, a stamp pad) as their starting point and create new variations. The result is always a result between a changed original pattern (original) and a newly documented form of reproduction, which gradually emerges through an ever-new reproduction. reprint. Wandel durch ReproduktionGruppenausstellung Gesellschaft für zeitgenössische Kunst Osnabrück e. V. Kunstraum hase29 Hasestr. 29/30 49074 Osnabrück Eröffnung: 9. Mai, 19 h Mit: Manfred Blieffert, Nick Ervinck, Jonas Fleckenstein, Kati Gausmann, Birgit Kannengießer, Lola Läufer, Jan Neukirchen, Sophia Pompéry, Hannah Regenberg, David Semper, Nasan Tur, Wiebke Wilms Dinge zu reproduzieren, bedeutet nicht nur, diese zu vervielfältigen, sondern eröffnet auch die Frage, wie das Reproduzierte durch den Vorgang der Reproduktion verändert wird? Beeinflusst das jeweils Reproduzierte unsere alte Vorstellung von einem einmaligen Original? In der heutigen digitalen Welt existieren längst nicht mehr die Originale, sondern künstliche Artefakte, komplexe Ideen und digitale Bilder, die bestenfalls auf bereits früher Reproduziertes zurückverweisen. Der Wandel, der seit den Anfängen von Reproduktionsverfahren eingeleitet wurde (19. Jahrhundert: Fotografie; 20. Jahrhundert: Film / Video; 21. Jahrhundert: 3-D- Druck), wird sich wahrscheinlich noch fortsetzen. Die alte Idee des originalen Meisterwerks wird sich dabei nicht auflösen, aber doch grundlegend verändern – Reproduktionen sind Bilder, die auf raffinierte und inzwischen hochgradig technische Weise ihren eigenen Entstehungsprozess reproduzieren und dabei den früheren Anspruch der Kunst, einzigartige Originale zu produzieren, relativieren. Reproduzieren heißt also heute: Alte Bilder und neue Verfahren aufzugreifen, um sie mit angewandten Reproduktionstechniken in neue Bildwirklichkeiten zu transformieren. Alles was wiederholbar und vor allem wie heute digitalisierbar ist, lässt sich beliebig vervielfältigen. Diese Ausstellung präsentiert Werke von Künstlerinnen und Künstlern, die von einem gegebenen „Vorbild“ (einer typographischen Detail, einem Maschenmuster, einem Serviettenornament, einem Stempelkissen) ausgehen und neuartige Varianten erzeugen. Das Resultat ist jeweils ein Ergebnis zwischen einem veränderten Ursprungsmuster (Original) und einer jeweils neu dokumentierten Form von Reproduktion, die durch ein immer neues Reproduzieren allmählich entsteht.

NOWs: SPACE IS THE PLACE (3/4)

10 May 2019 / Nows ⟶

Space is the Place (3/4)Symposium with Beatriz Colomina, Julius von Bismarck, Sam Chermayeff, Olafur Eliasson, Lukas Feireiss Centro Culturale Don Orione Artigianelli Dorsoduro 909/a 30123 Venice Close to Ponte dell’Academia 10 May, 2019, 11am Under the title SPACE IS THE PLACE the current exhibition cycle 2018 – 2019 at BNKR conceived by Berlin-based curator Lukas Feireiss is dedicated to the artistic exploration of space. Another highlight of the 2018/2019 exhibition cycle is an international symposium of the same name during the opening days of the 58th Venice Art Biennale on 10th May 2019. Together with curator and architectural theorist Beatriz Colomina, artists Olafur Eliasson and Julius von Bismarck, as well as architect Sam Chermayeff, Lukas Feireiss explores the experience, design, reflection and imagination of space. Common to these positions is a multi-layered approach to space that addresses, questions and challenges the senses and sensations in very different ways. Space is the Place (3/4)Symposium mit Beatriz Colomina, Julius von Bismarck, Sam Chermayeff, Olafur Eliasson, Lukas Feireiss Centro Culturale Don Orione Artigianelli Dorsoduro 909/a 30123 Venice Nähe Ponte dell’Academia 10. Mai 2019, 11h Im Rahmen des von Lukas Feireiss kuratierten BNKR-Ausstellungsturnus 2018/2019 SPACE IS THE PLACE widmen sich, neben Einzel- und Gruppenausstellungen, zahlreiche öffentliche Veranstaltungen der künstlerischen Wahrnehmung und Aneignung von Raum und Architektur. Unter Berücksichtigung theoretisch wie praktisch fundierter Disziplinen erfolgt dabei eine Art künstlerischer Spurensicherung durch welche sich der uns umgebende Raum als Gegenstand der Untersuchung auf vielfältige Weise erschließt. Ein weiterer Höhepunkt des Ausstellungsturnus 2018/2019 ist ein gleichnamiges internationales Symposium während der Eröffnungstage der 58. Kunstbiennale Venedig im Mai 2019. Gemeinsam mit der Kuratorin und Architekturtheoretikerin Beatriz Colomina, den Künstlern Olafur Eliasson und Julius von Bismarck sowie dem Architekten Sam Chermayeff erforscht Lukas Feireiss das Erleben, Gestalten, Reflektieren und Imaginieren von Raum. Gemein ist den inhaltlichen Positionen ein vielschichtiger Zugang zum Raum, welcher die Sinne und Empfindungen auf ganz unterschiedliche Weise anspricht, hinterfragt und herausfordert. Das Symposium findet in englischer Sprache statt.

NOWs: Unruhig bleiben / Staying with the trouble

08 May 2019 / Nows ⟶

Theatre play by Donna Haraway Zitadelle, Bastion Kronprinz Am Juliusturm 64 13599 Berlin Premiere 8 May, 7pm How can we reshape living together on a damaged planet? From the early 21st century, the communities of “compostists” committed themselves to radically reducing the world’s human population and developing countless practices of cross-species environmental justice. STAYING WITH THE TROUBLE follows five generations of a symbiosis between the human child Camille and monarch butterflies between the year 2025 and 2425. Much unrest, much kinship, to carry on. Directed by Carlos Manuel Set design / Installation / Video: Anne Duk Hee Jordan Sound Objects / Composition: Mathias Hinke Costumes: Verena Hay Performers: Fernanda Farah, Franziska Ritter, Helmut Geffke and Josep Caballero Garcia 14 years and older. Registration at: schreiner@jtw-spandau.de Further performances:Do 09. Mai, 19:00Sa 18. Mai, 19:00So 19. Mai, 16:00Mo 20. Mai, 11:00Do 23. Mai, 19:00Fr 24. Mai, 19:00Sa 25. Mai, 19:00 (mit Audio-Deskription und Gebärden-Übersetzung (Bühnenführung um 18Uhr)Mo 27. Mai, 11:00Mi 29. Mai, 19:00 (im Rahmen des PAF, Performing Art Festival Berlin) The installation by Anne Duk Hee Jordan is on view daily from 09 until 29 May (11am – 5pm) Das Performing Arts Festival Berlin 2019 wird veranstaltet vom LAFT Berlin in Kooperation mit den Spielstätten Ballhaus Ost, Hau Hebbel am Ufer, Sophiensaele und Theaterdiscounter und wird gefördert durch das Land Berlin – Senatsverwaltung für Kultur und Europa. Gefördert vom Senat Berlin Eine Kooperation des Kulturamts Spandau und der JTW Spandau Theatre play by Donna Haraway Zitadelle, Bastion Kronprinz Am Juliusturm 64 13599 Berlin Premiere 8. Mai, 19:00 Wie können wir das Zusammenleben auf einem beschädigten Planeten neu gestalten? Die Gemeinschaften der „Kompostisten“ bekannten sich ab dem frühen 21. Jahrhundert dazu, die menschliche Weltbevölkerung radikal zu verringern und unzählige Praktiken artenübergreifender Umweltgerechtigkeit zu entwickeln. UNRUHIG BLEIBEN verfolgt fünf Generationen einer Symbiose zwischen dem Menschenkind Camille und Monarchfaltern und begleitet sie zwischen der Geburt von Camille 1 im Jahr 2025 und dem Tod von Camille 5 im Jahr 2425. Viel Unruhe, viel Verwandtschaft, um weiterzumachen. Regie: Carlos Manuel Rauminstallation / Bühnenbild: Anne Duk Hee Jordan Musik: Mathias Hinke Kostüme: Verena Hay Darsteller*innen: Fernanda Farah, Franziska Ritter, Helmut Geffke und Josep Caballero Garcia Ab 14 Jahren. Um Anmeldung wird gebeten: schreiner@jtw-spandau.de Weitere Vorstellungen:Do 09. Mai, 19:00Sa 18. Mai, 19:00So 19. Mai, 16:00Mo 20. Mai, 11:00Do 23. Mai, 19:00Fr 24. Mai, 19:00Sa 25. Mai, 19:00 (mit Audio-Deskription und Gebärden-Übersetzung (Bühnenführung um 18Uhr)Mo 27. Mai, 11:00Mi 29. Mai, 19:00 (im Rahmen des PAF, Performing Art Festival Berlin) Die Installation von Anne Duk Hee Jordan ist vom 09.05. bis 29.05. zwischen 11h und 17h zu sehen. Das Performing Arts Festival Berlin 2019 wird veranstaltet vom LAFT Berlin in Kooperation mit den Spielstätten Ballhaus Ost, Hau Hebbel am Ufer, Sophiensaele und Theaterdiscounter und wird gefördert durch das Land Berlin – Senatsverwaltung für Kultur und Europa. Gefördert vom Senat Berlin Eine Kooperation des Kulturamts Spandau und der JTW Spandau

NOWs: Am Rand von EuropaCity

28 April 2019 / Nows ⟶

Am Rand von EuropaCityEine künstlerische Veranstaltungsreihe von Yves Mettler mit Alexis Hyman Wolff und Scriptings/Wedding 28. April, 15h Tegelerstraße 6 Hinterhof Aufgang B Klingel Straub/Jackson Liebe Nachbar*innen und Interessierte! Wir hatten ein tolles Treffen mit der Gruppe Intervention und Spaziergang und freuen uns über die Entwicklungen. Im Anhang ein paar Bilder – Danke an Linda und Jürgen. Wir treffen uns erneut am 28. April um 15h in der Tegelerstrasse 6, Hinterhof, Aufgang B, Klingel Straub/Jackson. Bei diesem Treffen wollen wir den Parcours, die Stationen und unsere weiteren Aktionen festlegen. Es wäre ideal für die Aktion am 26. Mai, wenn wir etwa 50 Leute zusammmen trommeln könnten. Wenn jede_r von Euch noch weitere Nachbar*innen und Freund*innen ansprechen könnte, wäre das toll – danke im Voraus.Treffpunkt am Sonntag, den 26. Mai ist 14h im Sellerpark.Die Abschlussveranstaltung wird mit kleiner Party ab 18 Uhr am Klara-Franke-Platz stattfinden. Die Postergruppe wird sich noch einmal treffen, um die finale Auswahl der Poster zu machen. Mit besten Grüßen ! Gilles Aubry, Alexis Hyman Wolff und Yves Mettler Am Rand von EuropaCity : Eine künstlerische Veranstaltungsreihe zur Europacity Berlin ist ein Projekt von Yves Mettler mit Alexis Hyman Wolff und Scriptings/Wedding. Es wird von der Berliner Senatsverwaltung für Kultur und Europa gefördert. Am Rand von EuropaCityEine künstlerische Veranstaltungsreihe von Yves Mettler mit Alexis Hyman Wolff und Scriptings/Wedding 28. April, 15h Tegelerstraße 6 Hinterhof Aufgang B Klingel Straub/Jackson Liebe Nachbar*innen und Interessierte! Wir hatten ein tolles Treffen mit der Gruppe Intervention und Spaziergang und freuen uns über die Entwicklungen. Im Anhang ein paar Bilder – Danke an Linda und Jürgen. Wir treffen uns erneut am 28. April um 15h in der Tegelerstrasse 6, Hinterhof, Aufgang B, Klingel Straub/Jackson. Bei diesem Treffen wollen wir den Parcours, die Stationen und unsere weiteren Aktionen festlegen. Es wäre ideal für die Aktion am 26. Mai, wenn wir etwa 50 Leute zusammmen trommeln könnten. Wenn jede_r von Euch noch weitere Nachbar*innen und Freund*innen ansprechen könnte, wäre das toll – danke im Voraus.Treffpunkt am Sonntag, den 26. Mai ist 14h im Sellerpark.Die Abschlussveranstaltung wird mit kleiner Party ab 18 Uhr am Klara-Franke-Platz stattfinden. Die Postergruppe wird sich noch einmal treffen, um die finale Auswahl der Poster zu machen. Mit besten Grüßen ! Gilles Aubry, Alexis Hyman Wolff und Yves Mettler Am Rand von EuropaCity : Eine künstlerische Veranstaltungsreihe zur Europacity Berlin ist ein Projekt von Yves Mettler mit Alexis Hyman Wolff und Scriptings/Wedding. Es wird von der Berliner Senatsverwaltung für Kultur und Europa gefördert.

NOWs: Silent World by Julian Charrière

26 April - 29 June 2019 / Nows ⟶

Silent WorldSolo exhibition DITTRICH & SCHLECHTRIEM Linienstraße 23 10178 Berlin Opening: 26 April, 6pm DITTRICH & SCHLECHTRIEM is pleased to present our fourth solo exhibition with Julian Charrière, titled Silent World opening during GALLERY WEEKEND BERLIN 2019. Charrière (b. 1987, Morges, Switzerland) is a Swiss-French artist based in Berlin whose work bridges the realms of environmental science and cultural history. Through performance, sculpture, photography and video, his projects often stem from fieldwork in remote locations with acute geophysical identities – such as volcanoes, ice-fields and radioactive sites. Silent World is a meditation on the undersea realm as an oneiric atmosphere: a space that is central to our imagination precisely because of its unfamiliarity and indistinct aspects. Marshalling photography and video, the exhibition stages encounters between human outlines and their visible dissolution. The works include images of free-divers captured inside an aquatic cave in Mexico’s Cenotes, half of their bodies obscured as they penetrate what is known as a chemocline, entering an opaque layer of bottom water—a soup of sulfurous bacteria. Through the iconographic unconscious of these images, the divers’ descent into a literal abyss conjures up a sea of metaphorical allusion. Despite this profusion, however, it is a silent world—as no individual can comprehensively speak for it. Yet that does not stop us from trying. Charrière’s exhibition borrows its title from an early underwater film by Jacques Cousteau, the first of its kind to bring moving images from the ocean depths to screen. Since this important opening-up of the visual imaginary of the undersea realm, consolidated by today’s high-definition broadcast documentaries, it is tempting to think that we (including those who have never practiced scuba) know this place. The fact is, however, that the ocean is largely still mystery. As Charrière’s new work seems to suggest, deeper engagement with this space may yet reorder perceptions of who we are. Silent World debuts a series of photographs of free divers disappearing into liquid obscurity. Naked and, in pictorial terms, dissolving, his figures physically enter another layer of the ocean imaginary. These are lakes and rivers within oceans; unique micro-biological universes. Contributing to a picture of the oceanic system that has grown significantly more complex in recent decades, such worlds within worlds are relatively recent discoveries. As we come to better understand the sea, domains from evolutionary theory through to climate science are being revolutionized. Sliding into this previously silent (unseen and unthought) realm, Charrière’s free-divers seem caught in some kind of dance; a graceful fall. From where—and to what? Accompanying the photographs, a ceiling-mounted projector beams video onto a screen lying on the gallery floor, from which vapor emanates: footage of the sun’s rays breaking through the water’s surface, streaming down from above. During filming the camera was positioned looking skyward, towards the light. In terms of spatial orientation, the installation proposes an inverse scenario—whereby the sun occupies a submerged position, shining up from the deep. The conceptual gravity of the gesture is heightened by this reversal. As well as turning down into up, and up into down, fire appears to be present in water. Moreover, the apparently falling divers (in the photographs) may yet be ascending; and the audience, according to this logic, not upright but flipped. Everything has undergone a sea-change. The ocean is an ancient well of metaphor that has served religious thought and philosophy from the beginning of recorded history. Commonly, it represents an ungraspable magnitude; an infinite. This mystical idea delivers colonial hubris—for how can one expropriate what is seemingly unlimited? How can depths, unfathomable in their vastness, be exhausted; and is there not always another fish in the sea? We are only now being disabused of such ideas. The ocean’s monsters are our own, not animals; and its atmospheres are ours, too. Charrière’s images complement the revelations being developed by the oceanographic and biological sciences. Proposing a deep dive into real things, his exhibition reminds us that this sea is the furthest thing from a metaphysical ideal. The above is a press text from Nadim Samman. The exhibition catalogue published by the gallery features an essay from Samman titled The Diver, and will be available at the gallery in May. Silent WorldEinzelausstellung DITTRICH & SCHLECHTRIEM Linienstraße 23 10178 Berlin Eröffnung: 26. April, 18 h DITTRICH & SCHLECHTRIEM freuen sich, die vierte Einzelausstellung des Künstlers Julian Charrière in unserer Galerie zu präsentieren. Sie trägt den Titel Silent World und eröffnet zum GALLERY WEEKEND BERLIN 2019. Der schweizerisch-französische Künstler Julian Charrière (geb. Morges, Schweiz, 1987), der in Berlin lebt und arbeitet, schafft Werke, die Brücken zwischen Umweltwissenschaft und Kulturgeschichte schlagen. Seine Performances, Skulpturen, Fotografien und Videos umfassenden Projekte entstehen oft aus Feldforschungen an entlegenen Schauplätzen mit besonderen geophysikalischen Profilen wie Vulkanen, Eisfeldern und radioaktiv verseuchten Orten. Silent World widmet sich der Unterwasserwelt als einem Reich der Träume: einem Raum, der in unserem Imaginären gerade deshalb einen herausgehobenen Platz einnimmt, weil er so fremdartig und nur schemenhaft erkennbar ist. Mittels Fotografie und Video inszeniert die Ausstellung Begegnungen zwischen den Umrissen menschlicher Körper und ihrer augenfälligen Auflösung. Mehrere Bilder zeigen Freitaucher in einer Cenote, einer mit Wasser gefüllten Höhle in Mexiko, in dem Moment, in dem sie eine sogenannte Chemokline durchdringen; ihre Körper verschwinden zur Hälfte in einer Suppe von Schwefelbakterien. In den Aufnahmen wird ein ikonografisches Unbewusstes wach, das den Tauchgang in einen wahrhaften Höllenschlund zu einem höchst anspielungsreichen Abenteuer werden lässt. Gleichzeitig ist die Welt, die sie zeigen, schweigend, denn über sie zu sprechen übersteigt das Vermögen jedes einzelnen Zeugen. Was nicht heißt, dass Menschen es nicht versucht hätten. Der Titel von Charrières Ausstellung ist einem frühen Unterwasserfilm von Jacques Cousteau entliehen, mit dem bewegte Bilder aus den Tiefen des Ozeans die Kinoleinwände erreichten. Damit war die Tür zur Tiefsee als Ort der Imagination aufgestoßen, die erste Bergung eines Schatzes, den heute Fernsehdokumentationen in hoher Auflösung vor uns ausbreiten, und so sind sogar Zuschauer, die noch nie auch nur einen Tauchkurs gemacht haben, versucht zu meinen, dieser Ort sei ihnen vertraut. In Wirklichkeit haben die Ozeane viele ihrer Geheimnisse bewahrt. Eine eingehendere Auseinandersetzung mit diesem Raum, so legen Charrières neue Arbeiten nahe, könnte auch unsere eigene Identität in ein ganz neues Licht rücken. In Silent World präsentiert der Künstler eine neue fotografische Serie: Freitaucher, die sich im flüssigen Halbdunkel verlieren. Ihre nackten und, im Bildsinn gesprochen, verschwommenen Figuren dringen in eine neue Tiefenschicht der ozeanischen Vorstellungswelt vor – Seen und Flüsse innerhalb der Meere; einzigartige mikrobiologische Kosmen. Als Beitrag zum in den letzten Jahrzehnten komplexer gewordenen Gesamtbild des ozeanischen Systems sind solche Welten innerhalb von Welten eine recht neue Entdeckung. Unser wachsendes Wissen über die Ozeane hat eine Revolution in zahlreichen Feldern, von der Theorie der Evolution bis hin zur Klimaforschung, ausgelöst. An der Schwelle dieses bisher schweigenden (ungesehenen und ungedachten) Reichs verharren Charrières Taucher in beinahe tänzerischen Posen. Oder fangen die Bilder sie in einem anmutigen Sturz in die Tiefe ein? Woher kommen sie, wohin führt ihr Weg? Begleitet werden die Fotografien von Videobildern, die ein Projektor unter der Decke auf einen Bildschirm wirft, von dem Dunst aufsteigt: die Strahlen der Sonne, die, durch die Wasseroberfläche gebrochen, in die Tiefe dringen. Für die Aufnahmen wurde die Kamera himmelwärts dem Licht entgegen gerichtet. In der Installation wird diese räumliche Orientierung genau umgekehrt – die Sonne, so scheint es, ist in der Tiefe versunken und leuchtet aus ihr hervor. Die Verkehrung unterstreicht den großen konzeptuellen Ernst der Geste. Unten wird oben, oben wird unten, ein Feuer scheint in der kalten Tiefe zu brennen. Und die scheinbar hinabstürzenden Taucher (in den Fotografien) steigen vielleicht in Wirklichkeit doch auf. Nach dieser Logik jedenfalls ist es am Ende womöglich der Betrachter selbst, der auf dem Kopf steht. Alles ist im Umbruch. Das Meer ist eine uralte Quelle von Metaphern, deren sich religiöses und philosophisches Denken seit grauer Vorzeit bedient haben. Gemeinhin steht es für eine unfassliche Größe, ein Unendliches. Aus solcher Mystik erwächst koloniale Hybris – denn wie kann man sich aneignen, was endlos scheint? Wie können unermessliche und unergründliche Tiefen ausgeschöpft werden; und sind die Fische in der See nicht ohne Zahl? Wir beginnen zu begreifen, dass wir von dieser Vorstellung Abschied nehmen müssen. Die Monstren des Ozeans sind die unseren, nicht Tiere; auch seine Atmosphären bringen wir mit. Die neuen Einsichten der Ozeanografie und Biologie ergänzen Charrières Bilder, indem sie uns auf einen Tauchgang in die Tiefen der wahren Dinge mitnehmen, der uns daran erinnert, dass die See durchaus kein metaphysisches Ideal ist. Der oben stehende Pressetext stammt von Nadia Samman. Ein Essay von Samman mit dem Titel Der Taucher wird in dem von der Galerie publizierten Ausstellungskatalog erscheinen, der ab Mai in der Galerie erhältlich sein wird.

NOWs: Auf der Grenze

26 April - 01 September 2019 / Nows ⟶

Auf der GrenzeSolo exhibition by Raul Walch St.-Matthäus-Kirche Matthäikirchplatz 1 10785 Berlin Eröffnung: 25. April 2019, 19:00 Grenzen haben Konjunktur. Seit sich Europa mit einer steigenden Zahl von Schutzsuchenden konfrontiert sieht, werden die Rufe nach „sicheren Außengrenzen“ wieder lauter. Doch was bedeuten Außengrenzen für die europäische Idee? Und was bedeuten sie für Menschen, die eine Zukunft in Europa suchen? Der Berliner Künstler Raul Walch hat sich dreißig Jahre nach dem Berliner Mauerfall auf den Weg an die Ränder Europas gemacht, um an den Außengrenzen nach den Wurzeln Europas zu suchen. Im Kontext seiner künstlerischen Forschung entstanden Fotografien, Stoff- und Flugobjekte, die sich im Kirchenraum der St. Matthäus-Kirche zu einem raumgreifenden Mobile verdichten: Der Balanceakt Europa, die vielteilige Identität eines Kontinents als bewegliche Mindmap über den Köpfen der Kirchenbesucher. Der Kirchenraum, selbst Grenzort zwischen dem Sichtbaren und dem Unsichtbaren, dem Profanen und dem Heiligen, zwischen Kunst und Kirche, wird zum Dreh- und Angelpunkt der Frage nach einem Zusammenleben der Vielen im Gleichgewicht. Begleitprogramm zur Ausstellung: 28.04., 12 Uhr | Matinée und Artist Talk am Gallery Weekend 24.05., 19 Uhr | Diskussion „Über Grenzen. Künstlerische Perspektiven auf Europa“ am „Tag der Nachbarn“ mit u.a. Lutz Henke, Kurator, Rebecca Harms, MdEP, dem Journalisten Dr. Paul Ingendaay und Raul Walch Auf der GrenzeEinzelausstellung von Raul Walch St.-Matthäus-Kirche Matthäikirchplatz 1 10785 Berlin Eröffnung: 25. April 2019, 19:00 Grenzen haben Konjunktur. Seit sich Europa mit einer steigenden Zahl von Schutzsuchenden konfrontiert sieht, werden die Rufe nach „sicheren Außengrenzen“ wieder lauter. Doch was bedeuten Außengrenzen für die europäische Idee? Und was bedeuten sie für Menschen, die eine Zukunft in Europa suchen? Der Berliner Künstler Raul Walch hat sich dreißig Jahre nach dem Berliner Mauerfall auf den Weg an die Ränder Europas gemacht, um an den Außengrenzen nach den Wurzeln Europas zu suchen. Im Kontext seiner künstlerischen Forschung entstanden Fotografien, Stoff- und Flugobjekte, die sich im Kirchenraum der St. Matthäus-Kirche zu einem raumgreifenden Mobile verdichten: Der Balanceakt Europa, die vielteilige Identität eines Kontinents als bewegliche Mindmap über den Köpfen der Kirchenbesucher. Der Kirchenraum, selbst Grenzort zwischen dem Sichtbaren und dem Unsichtbaren, dem Profanen und dem Heiligen, zwischen Kunst und Kirche, wird zum Dreh- und Angelpunkt der Frage nach einem Zusammenleben der Vielen im Gleichgewicht. Begleitprogramm zur Ausstellung: 28.04., 12 Uhr | Matinée und Artist Talk am Gallery Weekend 24.05., 19 Uhr | Diskussion „Über Grenzen. Künstlerische Perspektiven auf Europa“ am „Tag der Nachbarn“ mit u.a. Lutz Henke, Kurator, Rebecca Harms, MdEP, dem Journalisten Dr. Paul Ingendaay und Raul Walch

NOWs: Bruch by Fabian Knecht

26 April - 22 June 2019 / Nows ⟶

NOWs: homecomings 1, 2, 3, etc.

06 April 2019 / Nows ⟶

homecomings 1, 2, 3, etc.book launch CHANGING ROOM Lüderitzstr. 11 2nd yard 13351 Berlin 6 April, 6pm Readings and performances will start at 6:30 pm 1 Inspired by Georges Perec’s Espèces d’espaces (Species of Spaces, 1974) and Hreinn Friðfinnsson’s House Project (1974–), homecomings 1, 2, 3, etc. revisits, through varying means of translation, spatial and conceptual loci of homecoming within artistic practice. 2 Published with Archive Books, Berlin and curated and edited by Cassandra Edlefsen Lasch and Annabelle von Girsewald, the publication features contributions by: Øystein Aasan, Saâdane Afif, Kirsty Bell, benandsebastian, Luis Berríos-Negrón, Bettina Buck, Adam Budak, Anton Burdakov, Libia Castro & Ólafur Ólafsson, Valérie Chartrain, Rhea Dall, Jean-Baptiste Decavèle, Samuel Dowd, Tatiana Echeverri Fernandez, Eric Ellingsen, Jean-Pascal Flavien, Melanie Franke, Hreinn Friðfinnsson, Hadley+Maxwell, Elín Hansdóttir, Lasse Schmidt Hansen, Karl Holmqvist, Emma Waltraud Howes, Hervé Humbert, Susanne Kriemann, LEEP (Lynn Peemoeller and Eric Ellingsen), Tanaz Modabber, Florian Neufeldt, Hans Ulrich Obrist, Kirsten Palz, Norbert Palz, Sophia Pompéry, Cia Rinne, Dieter Roelstraete, Kristine Siegel, Egill Sæbjörnsson, Tomás Saraceno, Ursula Ströbele, Loïc Verdier, Marco Thiella, Alvaro Urbano, Katharina Wendler, Florian Wüst, Chiara Zanella 3 The book launch features a series of readings and performances by, among others: Shane Anderson Samuel Dowd Tatiana Echeverri Fernandez Susanne Kriemann & Cia Rinne etc. The exhibition and symposium series, homecomings, from which this publication stems, draws its principle inspiration from the architectural and linguistic returns and repetitions punctuating artist Hreinn Friðfinnsson’s House Project (1974–) and author Georges Perec’s Espèces d’espaces (Species of Spaces, 1974). In 1974, through an ephemeral gesture, Friðfinnsson claimed the whole universe within the site of a small house, turned inside-out, in the middle of an Icelandic lava field. Encountered only through happenstance or hearsay, a timeless lore grew around the house. House Project became a resonating series of works, appearing in multiple iterations, inversions, and reductions in form. Also in 1974, Georges Perec set out to approach the topic of space, creating a telescopic “journal of a user of space” by layering deliberate and protracted observation with writing constraints and wordplay. Perec starts with the page and zooms outward to space itself, always mirroring and reflecting the influx of the everyday in his call to read and reread surrounding spaces. Testing the concept of “homecomings” against a number of artistic practices, this volume grows out of an imperative to act according to the referentiality hallmarked in the conceptually rigorous works of Friðfinnsson and Perec. homecomings 1, 2, 3, etc. opens a flood of personal wellsprings, where no two connotations align perfectly. The collected contributions oscillate between self-referential modes—creating full-circle loops within singular practices—and far-reaching trajectories, gaining momentum and associations upon every rereading. Like Perec, many works call for an attuned presence, and in so doing, proffer a homecoming at the very site of reading. Order the publication online here * CHANGING ROOM / Wedding: is a new project space focusing on sound art and performance. The programming consists of interdisciplinary projects based on sound art, speech/voice, and movement and offers talks, performances, and deep listening sessions on a regular basis. CHANGING ROOM is situated in a former horse stable on Lüderitzstraße in Berlin Wedding’s African Quarter, which will soon be renamed to Cornelius-Frederiks-Straße. homecomings 1, 2, 3, etc.book launch CHANGING ROOM Lüderitzstr. 11 2nd yard 13351 Berlin 6 April, 6pm Readings and performances will start at 6:30 pm 1 Inspired by Georges Perec’s Espèces d’espaces (Species of Spaces, 1974) and Hreinn Friðfinnsson’s House Project (1974–), homecomings 1, 2, 3, etc. revisits, through varying means of translation, spatial and conceptual loci of homecoming within artistic practice. 2 Published with Archive Books, Berlin and curated and edited by Cassandra Edlefsen Lasch and Annabelle von Girsewald, the publication features contributions by: Øystein Aasan, Saâdane Afif, Kirsty Bell, benandsebastian, Luis Berríos-Negrón, Bettina Buck, Adam Budak, Anton Burdakov, Libia Castro & Ólafur Ólafsson, Valérie Chartrain, Rhea Dall, Jean-Baptiste Decavèle, Samuel Dowd, Tatiana Echeverri Fernandez, Eric Ellingsen, Jean-Pascal Flavien, Melanie Franke, Hreinn Friðfinnsson, Hadley+Maxwell, Elín Hansdóttir, Lasse Schmidt Hansen, Karl Holmqvist, Emma Waltraud Howes, Hervé Humbert, Susanne Kriemann, LEEP (Lynn Peemoeller and Eric Ellingsen), Tanaz Modabber, Florian Neufeldt, Hans Ulrich Obrist, Kirsten Palz, Norbert Palz, Sophia Pompéry, Cia Rinne, Dieter Roelstraete, Kristine Siegel, Egill Sæbjörnsson, Tomás Saraceno, Ursula Ströbele, Loïc Verdier, Marco Thiella, Alvaro Urbano, Katharina Wendler, Florian Wüst, Chiara Zanella 3 The book launch features a series of readings and performances by, among others: Shane Anderson Samuel Dowd Tatiana Echeverri Fernandez Susanne Kriemann & Cia Rinne etc. The exhibition and symposium series, homecomings, from which this publication stems, draws its principle inspiration from the architectural and linguistic returns and repetitions punctuating artist Hreinn Friðfinnsson’s House Project (1974–) and author Georges Perec’s Espèces d’espaces (Species of Spaces, 1974). In 1974, through an ephemeral gesture, Friðfinnsson claimed the whole universe within the site of a small house, turned inside-out, in the middle of an Icelandic lava field. Encountered only through happenstance or hearsay, a timeless lore grew around the house. House Project became a resonating series of works, appearing in multiple iterations, inversions, and reductions in form. Also in 1974, Georges Perec set out to approach the topic of space, creating a telescopic “journal of a user of space” by layering deliberate and protracted observation with writing constraints and wordplay. Perec starts with the page and zooms outward to space itself, always mirroring and reflecting the influx of the everyday in his call to read and reread surrounding spaces. Testing the concept of “homecomings” against a number of artistic practices, this volume grows out of an imperative to act according to the referentiality hallmarked in the conceptually rigorous works of Friðfinnsson and Perec. homecomings 1, 2, 3, etc. opens a flood of personal wellsprings, where no two connotations align perfectly. The collected contributions oscillate between self-referential modes—creating full-circle loops within singular practices—and far-reaching trajectories, gaining momentum and associations upon every rereading. Like Perec, many works call for an attuned presence, and in so doing, proffer a homecoming at the very site of reading. Order the publication online here * CHANGING ROOM / Wedding: is a new project space focusing on sound art and performance. The programming consists of interdisciplinary projects based on sound art, speech/voice, and movement and offers talks, performances, and deep listening sessions on a regular basis. CHANGING ROOM is situated in a former horse stable on Lüderitzstraße in Berlin Wedding’s African Quarter, which will soon be renamed to Cornelius-Frederiks-Straße.

NOWs: Der Palast

04 April 2019 / Nows ⟶

Foto: Thomas Aurin Der PalastTanztheater von Constanza Macras / DorkyPark Volksbühne Berlin Linienstraße 227 10178 Berlin Premiere 4. April, 20:00 Mit sieben Tänzer*innen, drei Schauspieler*innen und drei Musiker*innen erarbeiten Constanza Macras und ihr Ensemble DorkyPark ein Stück, das sich unter dem Titel Der Palast mit der Stadt Berlin beschäftigt, die als „Global City“ (Saskia Sassen) besonders von den radikalen Veränderungen der Globalisierung betroffen ist. Die Entwicklung der Mitte Berlins seit dem Mauerfall ist allseits bekannt: Leerstehende, zerrüttete Altbauten wurden von einer jungen Generation besetzt und bespielt. In den Folgejahren wurde Lebensraum knapp, die Wohn- und Lebenskosten stiegen massiv an, die einstigen Pioniere und ihre Nachfolger*innen wurden aus ihren Vierteln verdrängt. Was macht das mit der Kultur, wenn Viertel sich verändern, Geschäfte schließen und Menschen zwangsgeräumt werden? Der Palast setzt sich mit dieser Problematik auseinander, indem es einerseits die Architektur in Berlins Mitte thematisiert, andererseits Geschichte, Gegenwart und Zukunftsvorstellungen der Stadt und ihrer Bewohner*innen behandelt. Ausgangspunkt sind Bilder des preisgekrönten englischen Fotografen Tom Hunter, der als Visual Artist der Produktion im Februar u.a. in Berlin-Weißensee, Rummelsburg, Kreuzberg und in der Volksbühne fotografiert hat. Bekannt geworden ist Tom Hunter mit Porträts, die gesellschaftliche Themen im Stil der Alten Meister inszenieren. So hat er sich in seiner Serie „Persons Unknown“ intensiv mit der britischen Hausbesetzer*innen-Szene auseinandergesetzt, indem er die von Zwangsräumungen betroffenen Menschen ins Bild gesetzt hat. Seine Berliner Fotografien treffen in Der Palast auf eine ausufernde Bühnenbild-Architektur, die das globalisierte Format der Reality-TV-Shows mit Juroren und konkurrierenden Teilnehmer*innen widerspiegelt. In diesem Spannungsverhältnis möchte Der Palast neue Narrative zwischen Fiktion und Realität entwickeln. Der Soundtrack stammt von Robert Lippok und einer Live-Band. Weitere Vorstellungen: 14. April, 20:00 16. Mai, 20:00 17. Mai, 20:00 Von und mit: Adaya Berkovich, Emil Bordás, Chia-Ying Chiang, Fernanda Farah, Yuya Fujinami, Luc Guiol, Ronni Maciel, Thulani Lord Mgidi, Anne Ratte-Polle, Miki Shoji Live-Musik von und mit: Santiago Blaum, Kristina Lösche-Löwensen, Jacob Thein Regie und Choreografie: Constanza Macras Visual Artist: Tom Hunter Komposition: Robert Lippok Bühne: Alissa Kolbusch Kostüme: Roman Handt Lichtdesign: Sergio de Carvalho Pessanha Ton: Stephan Wöhrmann Dramaturgie: Carmen Mehnert Produktionsmanagement: Alisa Golomzina, Xiao Yu, Keiko Tominaga Regieassistenz: Helena Casas Eine Produktion von Constanza Macras / DorkyPark in Koproduktion mit der Volksbühne Berlin. Constanza Macras / DorkyPark wird gefördert von der Senatsverwaltung für Kultur und Europa. Foto: Thomas Aurin Der PalastTanztheater von Constanza Macras / DorkyPark Volksbühne Berlin Linienstraße 227 10178 Berlin Premiere 4. April, 20:00 Mit sieben Tänzer*innen, drei Schauspieler*innen und drei Musiker*innen erarbeiten Constanza Macras und ihr Ensemble DorkyPark ein Stück, das sich unter dem Titel Der Palast mit der Stadt Berlin beschäftigt, die als „Global City“ (Saskia Sassen) besonders von den radikalen Veränderungen der Globalisierung betroffen ist. Die Entwicklung der Mitte Berlins seit dem Mauerfall ist allseits bekannt: Leerstehende, zerrüttete Altbauten wurden von einer jungen Generation besetzt und bespielt. In den Folgejahren wurde Lebensraum knapp, die Wohn- und Lebenskosten stiegen massiv an, die einstigen Pioniere und ihre Nachfolger*innen wurden aus ihren Vierteln verdrängt. Was macht das mit der Kultur, wenn Viertel sich verändern, Geschäfte schließen und Menschen zwangsgeräumt werden? Der Palast setzt sich mit dieser Problematik auseinander, indem es einerseits die Architektur in Berlins Mitte thematisiert, andererseits Geschichte, Gegenwart und Zukunftsvorstellungen der Stadt und ihrer Bewohner*innen behandelt. Ausgangspunkt sind Bilder des preisgekrönten englischen Fotografen Tom Hunter, der als Visual Artist der Produktion im Februar u.a. in Berlin-Weißensee, Rummelsburg, Kreuzberg und in der Volksbühne fotografiert hat. Bekannt geworden ist Tom Hunter mit Porträts, die gesellschaftliche Themen im Stil der Alten Meister inszenieren. So hat er sich in seiner Serie „Persons Unknown“ intensiv mit der britischen Hausbesetzer*innen-Szene auseinandergesetzt, indem er die von Zwangsräumungen betroffenen Menschen ins Bild gesetzt hat. Seine Berliner Fotografien treffen in Der Palast auf eine ausufernde Bühnenbild-Architektur, die das globalisierte Format der Reality-TV-Shows mit Juroren und konkurrierenden Teilnehmer*innen widerspiegelt. In diesem Spannungsverhältnis möchte Der Palast neue Narrative zwischen Fiktion und Realität entwickeln. Der Soundtrack stammt von Robert Lippok und einer Live-Band. Weitere Vorstellungen: 14. April, 20:00 16. Mai, 20:00 17. Mai, 20:00 Von und mit: Adaya Berkovich, Emil Bordás, Chia-Ying Chiang, Fernanda Farah, Yuya Fujinami, Luc Guiol, Ronni Maciel, Thulani Lord Mgidi, Anne Ratte-Polle, Miki Shoji Live-Musik von und mit: Santiago Blaum, Kristina Lösche-Löwensen, Jacob Thein Regie und Choreografie: Constanza Macras Visual Artist: Tom Hunter Komposition: Robert Lippok Bühne: Alissa Kolbusch Kostüme: Roman Handt Lichtdesign: Sergio de Carvalho Pessanha Ton: Stephan Wöhrmann Dramaturgie: Carmen Mehnert Produktionsmanagement: Alisa Golomzina, Xiao Yu, Keiko Tominaga Regieassistenz: Helena Casas Eine Produktion von Constanza Macras / DorkyPark in Koproduktion mit der Volksbühne Berlin. Constanza Macras / DorkyPark wird gefördert von der Senatsverwaltung für Kultur und Europa.

NOWs: I shall willingly pause by Felix Kissling

03 April 2019 / Nows ⟶

NOWs: Auto Modus 1 by Malte Bartsch

28 March - 05 May 2019 / Nows ⟶

Auto Modus 1Solo Exhibition halle267 – städtische galerie braunschweig Hamburger Straße 267 38114 Braunschweig Eröffnung 28. März 2019, 19 h Eröffnung: Dr. Anja Hesse (Dezernentin für Kultur und Wissenschaft der Stadt Braunschweig) Grußwort: Dr. Susanne Pfleger (Direktorin der Städtischen Galerie Wolfsburg) Einführung: Marcus Körper & Malte Bartsch im Dialog Gemeinsam präsentieren die „Städtische Galerie Wolfsburg“ und die „halle267 – städtische galerie braunschweig“ die erste große institutionelle Einzelausstellung mit Werken des Künstlers Malte Bartsch. Der Fokus der Ausstellungen liegt auf dem Spannungsverhältnis zwischen Mensch und Technik, Zeit und Raum, künstlerischer Aktion und kunstschaffender Interaktion. Malte Bartschs situative, kommunikative und spontane Art sind wichtiges Merkmal seiner künstlerischen Arbeit. Die Ergebnisse seiner Erkundungen sind weniger ausgestellte Kunstwerke als eher von Anfang an dialogische Vorgänge und Interventionen. Malte Bartsch ist in Braunschweig geboren und aufgewachsen. Nach dem Studium der Humangeographie und Ökonomie begann er 2009 sein Studium der Freien Kunst an der HBK Braunschweig bei Boromir Eckes. 2012 wechselte er an das Institut für Raumexperimente in die Klasse von Olafur Eliasson an die UDK Berlin. Er erlangte dort 2014 den Absolvententitel bei Olafur Eliasson und 2015 den Meisterschülertitel bei Manfred Pernice. Detaillierte Informationen zum Begleitprogramm hier. Veranstalter: Stadt Braunschweig, Dezernat für Kultur und Wissenschaft Fachbereich Kultur und Wissenschaft – Kulturinstitut Auto Modus 1Einzelausstellung halle267 – städtische galerie braunschweig Hamburger Straße 267 38114 Braunschweig Eröffnung 28. März 2019, 19 h Eröffnung: Dr. Anja Hesse (Dezernentin für Kultur und Wissenschaft der Stadt Braunschweig) Grußwort: Dr. Susanne Pfleger (Direktorin der Städtischen Galerie Wolfsburg) Einführung: Marcus Körper & Malte Bartsch im Dialog Gemeinsam präsentieren die „Städtische Galerie Wolfsburg“ und die „halle267 – städtische galerie braunschweig“ die erste große institutionelle Einzelausstellung mit Werken des Künstlers Malte Bartsch. Der Fokus der Ausstellungen liegt auf dem Spannungsverhältnis zwischen Mensch und Technik, Zeit und Raum, künstlerischer Aktion und kunstschaffender Interaktion. Malte Bartschs situative, kommunikative und spontane Art sind wichtiges Merkmal seiner künstlerischen Arbeit. Die Ergebnisse seiner Erkundungen sind weniger ausgestellte Kunstwerke als eher von Anfang an dialogische Vorgänge und Interventionen. Malte Bartsch ist in Braunschweig geboren und aufgewachsen. Nach dem Studium der Humangeographie und Ökonomie begann er 2009 sein Studium der Freien Kunst an der HBK Braunschweig bei Boromir Eckes. 2012 wechselte er an das Institut für Raumexperimente in die Klasse von Olafur Eliasson an die UDK Berlin. Er erlangte dort 2014 den Absolvententitel bei Olafur Eliasson und 2015 den Meisterschülertitel bei Manfred Pernice. Detaillierte Informationen zum Begleitprogramm hier. Veranstalter: Stadt Braunschweig, Dezernat für Kultur und Wissenschaft Fachbereich Kultur und Wissenschaft – Kulturinstitut

NOWs: New Dresden setzt Segel_Workshop mit Raul Walch

25 March 2019 / Nows ⟶

NOWs: These New Puritans and Hans-Henning Korb at the ICA London

21 March 2019 / Nows ⟶

These New Puritans and Hans-Henning Korb at the ICA LondonConcert and performance These New Puritans premiere new work from their forthcoming album Inside the Rose alongside performance, music and installation by artists Soojin Chang, Freya Don and Graham Sutton. Performing inside a specially-designed installation by textile artist Freya Don, the band present new music that couples powerful, progressive melodies with strings and brutal electronics. Their performance is preceded by State of Possession, a live interactive presentation by Soojin Chang created to be experienced one-on-one with the artist, and a DJ set from producer Graham Sutton (of band Bark Psychosis and drum and bass project Boymerang). The evening will also include the debut of recent These New Puritans video projects made in collaboration with photographer Harley Weir, filmmaker Daniel Askill and artist Hans-Henning Korb. Founded by twin brothers Jack and George Barnett, These New Puritans are an English experimental music group whose music is not easily categorised. Their fourth album Inside the Rose will be released 22 March 2019. Daniel Askill is a critically-acclaimed Australian filmmaker and long-time collaborator of These New Puritans. His unique sensibility spans a diverse body of work, which includes music videos, films, stage, commercials, photography and video installations. Askill’s recent projects include Take Flight (2015), a virtual reality film for The New York Times featuring Michael Fassbender, Benicio del Toro and Charlize Theron. Soojin Chang’s artistic practice is led by an inquiry into political and individual trauma, particularly the way these are internalised and inherited in the body schema. Her performance and video works are driven by examinations into the agency and fertility of both humans and nonhumans. Her work seeks to deconstruct systems of oppression and power in order to rethink ecological destruction. She uses appropriation to challenge authorship and renegotiate representations, survival mechanisms, and immigration patterns of colonised cultures and diasporas. Selected exhibitions include MoMA PS1, New York; Institute of Contemporary Arts, London; Centre for Contemporary Arts, Glasgow; Microscope Gallery, New York; La Capela, Paris; and the Art/Life Institute, New York. Freya Don is a London-based artist known for her dramatic, painterly use of textiles and collaborations with Harley Weir. Freya previously worked with the Barnett brothers on their music video for the single Inside the Rose and the subsequent album artwork. Hans-Henning Korb is an artist based in Berlin. His practice combines sculpture, installation and performance, and often involves music, film, computer animation, virtual worlds, plants, and organic processes. Korb has exhibited internationally in venues including Hamburger Bahnhof, Berlin (2017); Empty Gallery, Hong Kong (2016); Neue Nationalgalerie, Berlin (2014); and Photo LA, Los Angeles (2012). Graham Sutton is an English musician, songwriter, composer and record producer. He is best known for his role as the leader and key figure of seminal post-rock band Bark Psychosis, as well as his work as a producer for alternative rock bands since the late 1990s. Harley Weir is London-born photographer and director known for creating intimate images and films in her personal, editorial and commercial work. Harley had her first solo exhibition in 2017 at Foam, Amsterdam, where her work is now in the permanent collection. She is a regular exhibitor at Photo London and Paris Photo. Her second solo exhibition Homes opened at the Brighton Biennial in September 2018. With thanks to Media Partner Another Man Tickets available here These New Puritans and Hans-Henning Korb at the ICA LondonConcert and performance These New Puritans premiere new work from their forthcoming album Inside the Rose alongside performance, music and installation by artists Soojin Chang, Freya Don and Graham Sutton. Performing inside a specially-designed installation by textile artist Freya Don, the band present new music that couples powerful, progressive melodies with strings and brutal electronics. Their performance is preceded by State of Possession, a live interactive presentation by Soojin Chang created to be experienced one-on-one with the artist, and a DJ set from producer Graham Sutton (of band Bark Psychosis and drum and bass project Boymerang). The evening will also include the debut of recent These New Puritans video projects made in collaboration with photographer Harley Weir, filmmaker Daniel Askill and artist Hans-Henning Korb. Founded by twin brothers Jack and George Barnett, These New Puritans are an English experimental music group whose music is not easily categorised. Their fourth album Inside the Rose will be released 22 March 2019. Daniel Askill is a critically-acclaimed Australian filmmaker and long-time collaborator of These New Puritans. His unique sensibility spans a diverse body of work, which includes music videos, films, stage, commercials, photography and video installations. Askill’s recent projects include Take Flight (2015), a virtual reality film for The New York Times featuring Michael Fassbender, Benicio del Toro and Charlize Theron. Soojin Chang’s artistic practice is led by an inquiry into political and individual trauma, particularly the way these are internalised and inherited in the body schema. Her performance and video works are driven by examinations into the agency and fertility of both humans and nonhumans. Her work seeks to deconstruct systems of oppression and power in order to rethink ecological destruction. She uses appropriation to challenge authorship and renegotiate representations, survival mechanisms, and immigration patterns of colonised cultures and diasporas. Selected exhibitions include MoMA PS1, New York; Institute of Contemporary Arts, London; Centre for Contemporary Arts, Glasgow; Microscope Gallery, New York; La Capela, Paris; and the Art/Life Institute, New York. Freya Don is a London-based artist known for her dramatic, painterly use of textiles and collaborations with Harley Weir. Freya previously worked with the Barnett brothers on their music video for the single Inside the Rose and the subsequent album artwork. Hans-Henning Korb is an artist based in Berlin. His practice combines sculpture, installation and performance, and often involves music, film, computer animation, virtual worlds, plants, and organic processes. Korb has exhibited internationally in venues including Hamburger Bahnhof, Berlin (2017); Empty Gallery, Hong Kong (2016); Neue Nationalgalerie, Berlin (2014); and Photo LA, Los Angeles (2012). Graham Sutton is an English musician, songwriter, composer and record producer. He is best known for his role as the leader and key figure of seminal post-rock band Bark Psychosis, as well as his work as a producer for alternative rock bands since the late 1990s. Harley Weir is London-born photographer and director known for creating intimate images and films in her personal, editorial and commercial work. Harley had her first solo exhibition in 2017 at Foam, Amsterdam, where her work is now in the permanent collection. She is a regular exhibitor at Photo London and Paris Photo. Her second solo exhibition Homes opened at the Brighton Biennial in September 2018. With thanks to Media Partner Another Man Tickets available here

NOWs: Art + Landscape STL at Granite City Art and Design District

16 March - 06 April 2019 / Nows ⟶

Art + Landscape STLshort-term laboratory Granite City, Illinois, USA Art + Landscape STL is an intensive, short-term laboratory for St. Louis-based artists and designers working at the intersection of art and landscape. Emerging from an ongoing series of private discussions and excursions, the project is anchored by a public exhibition, Art + Landscape STL, installed throughout G-CADD’s campus and unfolding through five weekends of programs on-site—performances, talks, walks, and more. Participants: Michael Allen, Betsy Brandt, Christopher Carl, Jennifer Colten, Sage Dawson, Eric Ellingsen, Meghan Grubb, Derek Hoeferlin, Shabez Jamal, Gavin Kroeber, Yowshien Kuo, Aaron Owens, Tim Portlock, Jenny Price, Katherine Simóne Reynolds, Allana Ross, Micah Stanek, Rory Thibault, Westhaven Ensemble, and Rachel Youn. The project is organized by Gavin Kroeber. The exhibition will be open select days from Sunday 10 March to Saturday 6 April as follows: Sunday 10 March 5-8pm Special Event: Mississippi. An Anthropocene River Presented in partnership with HKW (Haus der Kulturen der Welt, Berlin) and the Max Planck Institute (Berlin) as part of their wider initiative Mississippi. An Anthropocene River. 5pm Exhibition opens 6pm Public Dialogue: Confluences with HKW and Art + Landscape STL 7pm How Not What: Power, Time & Landscape | Performance by Michael Allen *HKW will additionally be organizing an 11am public program, Anthropocene. Archaeology of the Present at Cahokia Mounds World Heritage Site. Saturday 16 March 6-10pm Opening Celebration + STNDRD reception 7pm Public Dialogue: Curating the Landscape with Gavin Kroeber, Michael Behle, Jessi Cerutti, Kristin Fleischmann Brewer, Charis Norell, Dana Turkovic Ambient Performances by Betsy Brandt Saturday 23 March 1-5pm 1pm Public Dialogue: Locating the Human. Contemporary Landscape as Eco Art with Ila Sheren 2pm Poetry Readings curated by Ted Mathys With Eric Ellingsen, Jacqui Germain, David Alejandro Hernandez, Devin Johnston, Dana Levin, Aditi Machado, Ted Mathys 3pm Scaping Habitus | Workshop with Esther & Beth Neff (MARSH) 4pm Public Dialogue: Art + Landscape Roundtable Ambient Performances by Betsy Brandt Thursday 28 March 6-7:30 pm Special Off-Site Event: Cocktails & Conversation at Laumeier Sculpture Park 6pm Conversation with Art + Landscape STL participating artists Christopher Carl, Sage Dawson, Meghan Grubb, Yowshien Kuo, and Allana Ross Saturday 30 March 1-5 pm 1pm Public Dialogue: Landscapes of Belonging 2pm the heartland landscape in the time of Rulers | Performance by Eric Ellingsen 3pm NNN Cook “Coordinates Checker (Traverse)” 2019 | Sound Performances 4pm Public Dialogue: Art + Landscape Roundtable Saturday 6 April, Closing Day 1-5 pm 1pm Explorative Walk with Chris Carl & Jennifer Colten 2pm Performances: The Homestead Project by Jenny Price How Not What: Power, Time & Landscape by Michael Allen Approaching Landscape City by Westhaven Ensemble 3pm Public Dialogue: Art + Landscape Closing Roundtable Ambient Performances by Betsy Brandt Art + Landscape STL Team: Curatorial Assistant and Project Coordinator: Amela Parcic AV Installations lead: Aaron Owens Outdoor Installations lead: Allana Ross Interns: Marshall Karchunas, Dongzhe Tao Acknowledgements: Kranzberg Arts Foundation, Simiya Sudduth Special Thanks to Mississippi. An Anthropocene River, a project by Haus der Kulturen der Welt (HKW), Berlin, and the Max Planck Institute for the History of Science (MPIWG), Berlin, in collaboration with numerous international partners, funded by the German Federal Foreign Office as part of the initiative #WunderbarTogether as well as by the Max Planck Society. Art + Landscape STLshort-term laboratory Granite City, Illinois, USA Art + Landscape STL is an intensive, short-term laboratory for St. Louis-based artists and designers working at the intersection of art and landscape. Emerging from an ongoing series of private discussions and excursions, the project is anchored by a public exhibition, Art + Landscape STL, installed throughout G-CADD’s campus and unfolding through five weekends of programs on-site—performances, talks, walks, and more. Participants: Michael Allen, Betsy Brandt, Christopher Carl, Jennifer Colten, Sage Dawson, Eric Ellingsen, Meghan Grubb, Derek Hoeferlin, Shabez Jamal, Gavin Kroeber, Yowshien Kuo, Aaron Owens, Tim Portlock, Jenny Price, Katherine Simóne Reynolds, Allana Ross, Micah Stanek, Rory Thibault, Westhaven Ensemble, and Rachel Youn. The project is organized by Gavin Kroeber. The exhibition will be open select days from Sunday 10 March to Saturday 6 April as follows: Sunday 10 March 5-8pm Special Event: Mississippi. An Anthropocene River Presented in partnership with HKW (Haus der Kulturen der Welt, Berlin) and the Max Planck Institute (Berlin) as part of their wider initiative Mississippi. An Anthropocene River. 5pm Exhibition opens 6pm Public Dialogue: Confluences with HKW and Art + Landscape STL 7pm How Not What: Power, Time & Landscape | Performance by Michael Allen *HKW will additionally be organizing an 11am public program, Anthropocene. Archaeology of the Present at Cahokia Mounds World Heritage Site. Saturday 16 March 6-10pm Opening Celebration + STNDRD reception 7pm Public Dialogue: Curating the Landscape with Gavin Kroeber, Michael Behle, Jessi Cerutti, Kristin Fleischmann Brewer, Charis Norell, Dana Turkovic Ambient Performances by Betsy Brandt Saturday 23 March 1-5pm 1pm Public Dialogue: Locating the Human. Contemporary Landscape as Eco Art with Ila Sheren 2pm Poetry Readings curated by Ted Mathys With Eric Ellingsen, Jacqui Germain, David Alejandro Hernandez, Devin Johnston, Dana Levin, Aditi Machado, Ted Mathys 3pm Scaping Habitus | Workshop with Esther & Beth Neff (MARSH) 4pm Public Dialogue: Art + Landscape Roundtable Ambient Performances by Betsy Brandt Thursday 28 March 6-7:30 pm Special Off-Site Event: Cocktails & Conversation at Laumeier Sculpture Park 6pm Conversation with Art + Landscape STL participating artists Christopher Carl, Sage Dawson, Meghan Grubb, Yowshien Kuo, and Allana Ross Saturday 30 March 1-5 pm 1pm Public Dialogue: Landscapes of Belonging 2pm the heartland landscape in the time of Rulers | Performance by Eric Ellingsen 3pm NNN Cook “Coordinates Checker (Traverse)” 2019 | Sound Performances 4pm Public Dialogue: Art + Landscape Roundtable Saturday 6 April, Closing Day 1-5 pm 1pm Explorative Walk with Chris Carl & Jennifer Colten 2pm Performances: The Homestead Project by Jenny Price How Not What: Power, Time & Landscape by Michael Allen Approaching Landscape City by Westhaven Ensemble 3pm Public Dialogue: Art + Landscape Closing Roundtable Ambient Performances by Betsy Brandt Art + Landscape STL Team: Curatorial Assistant and Project Coordinator: Amela Parcic AV Installations lead: Aaron Owens Outdoor Installations lead: Allana Ross Interns: Marshall Karchunas, Dongzhe Tao Acknowledgements: Kranzberg Arts Foundation, Simiya Sudduth Special Thanks to Mississippi. An Anthropocene River, a project by Haus der Kulturen der Welt (HKW), Berlin, and the Max Planck Institute for the History of Science (MPIWG), Berlin, in collaboration with numerous international partners, funded by the German Federal Foreign Office as part of the initiative #WunderbarTogether as well as by the Max Planck Society.

NOWs: The Seven Lamps of The Art Museum

09 March - 26 May 2019 / Nows ⟶

30th Anniversary Exhibition: The Seven Lamps of The Art MuseumThings That the Museum Protects, and Things That Protect the Museum 1-1 Hijiyama koen Minami-ku Hiroshima-city Japan 732-0815 The Hiroshima City Museum of Contemporary Art was opened in 1989 as the first public museum in Japan specializing in contemporary art. Commemorating the facility’s 30th anniversary, this exhibition focuses primarily on the trajectory of the museum’s activities and the architecture that has served as a foundation for them. Drawing on the collection, which has been amassed over the years, and documents related to the museum’s various programs along with some new works by participating artists and other materials, the exhibition will unfold throughout the entire facility. Based on a series of keywords such as viewer, architecture, place, conservation, history, deviation, and in-between, the exhibition looks back at these aspects and sets out to reexamine the museum’s appropriate role and various factors that support its activities. Installation by Yuichiro Tamura: Re-Search: Exploration and Deviation? Relying both on history and context, and imaginative leaps, the artist Yuichiro Tamura examines the background of places and things as he spins a fanciful story composed of various elements. These efforts will come to fruition in an installation work based on Tamura’s research of the museum’s architecture and the era in which the facility opened, and his own bold associations. Section6. Referential Image by Yuichiro Tamura 1. The Viewer: Expressions Rooted in Participation Needless to say, the museum could not survive without visitors. In this section, adorning the beginning of the exhibition, we present a group of works that are realized through visitors’ influence and participation, seemingly exemplifying the special features of the museum as a place. 2. Storage and Symbols: Museum Architecture and Outdoor Sculpture The Hiroshima City Museum of Contemporary Art is in itself a work of architecture designed by Kisho Kurokawa, and the sculpture on permanent display combines with various design elements within the building to create a place for storing and viewing art. In this section, we examine the facility’s architectural appeal while showcasing the design of the furniture and sign system, and the sculptural works that are integrated into the architecture. 3. Here: Hiroshima and HIROSHIMA The museum is inseparably linked to the place where it was built. Moreover, in order to emphasize the fact that Hiroshima is an atomic-bombed city, its name is often written in the katakana syllabary (in English, we have used all caps to convey the same meaning). At the museum, both Hiroshima and HIROSHIMA are important themes in our work. 4. Leaving Something Behind: The Current State of Restoration and Conservation One of the museum’s most important functions is to collect and preserve artworks and documents. To achieve this, one of our primary tasks is to save works of contemporary art, which often make use of non-traditional materials and methods, and which are based on completely different concepts. 5. Accumulation: Recording Museum Activities through Documents and Related Works ? Art Direction by Mata Mata While striving for continuity and accumulating data, the museum considers different approaches and directions according to each project. By combining related works and documents charting the museum’s course from the preparatory stage to the present, the locally-based design unit Mata Mata will oversee the art direction for this retrospective. 6. Re-Search: Exploration and Deviation ? A New Installation by Yuichiro Tamura Relying both on history and context, and imaginative leaps, the artist Yuichiro Tamura examines the background of places and things as he spins a fanciful story composed of various elements. These efforts will come to fruition in an installation work based on Tamura’s research of the museum’s architecture and the era in which the facility opened, and his own bold associations. 7. In-Between, Openings, Etc.: Works That Make Use of Gaps in the Museum In events such as the Open Call for Art Project Ideas, in which the public is invited to submit new practical plans for places in the museum that are not used for normal exhibitions, many artists have created displays by reinterpreting spaces in a creative manner. Perhaps these efforts indicate that certain expressions that cannot be conveyed using the traditional museum framework. Exhibition Flyer 30th Anniversary Exhibition: The Seven Lamps of The Art MuseumThings That the Museum Protects, and Things That Protect the Museum 1-1 Hijiyama koen Minami-ku Hiroshima-city Japan 732-0815 The Hiroshima City Museum of Contemporary Art was opened in 1989 as the first public museum in Japan specializing in contemporary art. Commemorating the facility’s 30th anniversary, this exhibition focuses primarily on the trajectory of the museum’s activities and the architecture that has served as a foundation for them. Drawing on the collection, which has been amassed over the years, and documents related to the museum’s various programs along with some new works by participating artists and other materials, the exhibition will unfold throughout the entire facility. Based on a series of keywords such as viewer, architecture, place, conservation, history, deviation, and in-between, the exhibition looks back at these aspects and sets out to reexamine the museum’s appropriate role and various factors that support its activities. Installation by Yuichiro Tamura: Re-Search: Exploration and Deviation? Relying both on history and context, and imaginative leaps, the artist Yuichiro Tamura examines the background of places and things as he spins a fanciful story composed of various elements. These efforts will come to fruition in an installation work based on Tamura’s research of the museum’s architecture and the era in which the facility opened, and his own bold associations. Section6. Referential Image by Yuichiro Tamura 1. The Viewer: Expressions Rooted in Participation Needless to say, the museum could not survive without visitors. In this section, adorning the beginning of the exhibition, we present a group of works that are realized through visitors’ influence and participation, seemingly exemplifying the special features of the museum as a place. 2. Storage and Symbols: Museum Architecture and Outdoor Sculpture The Hiroshima City Museum of Contemporary Art is in itself a work of architecture designed by Kisho Kurokawa, and the sculpture on permanent display combines with various design elements within the building to create a place for storing and viewing art. In this section, we examine the facility’s architectural appeal while showcasing the design of the furniture and sign system, and the sculptural works that are integrated into the architecture. 3. Here: Hiroshima and HIROSHIMA The museum is inseparably linked to the place where it was built. Moreover, in order to emphasize the fact that Hiroshima is an atomic-bombed city, its name is often written in the katakana syllabary (in English, we have used all caps to convey the same meaning). At the museum, both Hiroshima and HIROSHIMA are important themes in our work. 4. Leaving Something Behind: The Current State of Restoration and Conservation One of the museum’s most important functions is to collect and preserve artworks and documents. To achieve this, one of our primary tasks is to save works of contemporary art, which often make use of non-traditional materials and methods, and which are based on completely different concepts. 5. Accumulation: Recording Museum Activities through Documents and Related Works ? Art Direction by Mata Mata While striving for continuity and accumulating data, the museum considers different approaches and directions according to each project. By combining related works and documents charting the museum’s course from the preparatory stage to the present, the locally-based design unit Mata Mata will oversee the art direction for this retrospective. 6. Re-Search: Exploration and Deviation ? A New Installation by Yuichiro Tamura Relying both on history and context, and imaginative leaps, the artist Yuichiro Tamura examines the background of places and things as he spins a fanciful story composed of various elements. These efforts will come to fruition in an installation work based on Tamura’s research of the museum’s architecture and the era in which the facility opened, and his own bold associations. 7. In-Between, Openings, Etc.: Works That Make Use of Gaps in the Museum In events such as the Open Call for Art Project Ideas, in which the public is invited to submit new practical plans for places in the museum that are not used for normal exhibitions, many artists have created displays by reinterpreting spaces in a creative manner. Perhaps these efforts indicate that certain expressions that cannot be conveyed using the traditional museum framework.

NOWs: BPA Exhibition BPA // Berlin program for artists

25 February - 11 March 2019 / Nows ⟶

BPA Exhibitiongroup show Artitious Showroom Möhrenstrasse 61 10117 Berlin FRAGILE Leipziger Str. 63 10117 Berlin ITALIC Leipziger Str. 61 10117 Berlin Opening 25 February, 6 pm With: Yalda Afsah, Aliénor Dauchez, Nadine Hattom, Adam Kaplan, Yuki Kishino, Cosima zu Knyphausen, Mickael Marman, ae73edb7@aeaeaeae.io, Scott Roben curated by Maurin Dietrich The Berlin Program for Artists (BPA) is pleased to announce BPA Exhibition. Curated by Maurin Dietrich, the exhibition stretches over three locations and includes works by each of the program’s 2018 mentees. A ritual that creates meaning through repetition requires that its results not be determined in advance. For BPA, a regular practice of studio visits becomes such an unforeseeable ritual, with a series of fortnightly conversations between two people in which themes emerge, questions are formulated, and meanings can be (re)created and described in each visit. The nine young artists that took part as participants in last year’s program will conclude their year with an exhibition at three neighboring spaces. There will be three artists in each of the three locations. BPA ExhibitionGruppenausstellung Artitious Showroom Möhrenstrasse 61 10117 Berlin FRAGILE Leipziger Str. 63 10117 Berlin ITALIC Leipziger Str. 61 10117 Berlin Eröffnung 25. Februar, 18 h Mit: Yalda Afsah, Aliénor Dauchez, Nadine Hattom, Adam Kaplan, Yuki Kishino, Cosima zu Knyphausen, Mickael Marman, ae73edb7@aeaeaeae.io, Scott Roben Kuratiert von Maurin Dietrich Berlin Program for Artists (BPA) freut sich, seine dritte Abschluss Ausstellung anzukündigen. BPA Exhibition wird von Maurin Dietrich kuratiert und zeigt an drei Orten die Arbeiten der Mentees des letzten Jahres. Ein Ritual, das seine Bedeutung bei jeder Wiederholung neu herstellt bedarf dem produktiven Fehlen eines vorbestimmten Resultates. Für BPA (re-)manifestiert sich dieses Ritual ein Jahr lang in der Struktur jedes zweiten Montags; im Gespräch zweier Personen in dem sich Thematiken herausbilden, Fragen formuliert werden und sich Bedeutungen jedes mal neu her- und darstellen lassen. Neun KünstlerInnen umfasst das vorherige Berlin Program for Artists Jahr und findet seinen Abschluss in einer an drei Orten stattfindenden Ausstellung. In diesen drei Ausstellungsräumen, fußläufig zueinander positioniert, finden sich Arbeiten von jeweils drei KünstlerInnen die zueinander in Bezug gesetzt werden.

NOWs: Am Rand von EuropaCity

24 February 2019 / Nows ⟶

Am Rand von EuropaCityEine künstlerische Veranstaltungsreihe von Yves Mettler mit Alexis Hyman Wolff und Scriptings/Wedding Café MOAB Lehrter Str. 36 10557 Berlin Liebe Nachbar*innen und Interessierte! Am kommenden Sonntag, dem 24.2. von 15-17 Uhr findet der erste Workshop zum Spazieren und Intervenieren im Stadtraum im Cafe MOAB in der Lehrter Str. 36, 10557 Berlin, statt. Wir werden am Sonntag uns darüber austauschen, was eine Intervention im öffentlichen Raum bewirken kann und soll und anhand unserer bisherigen Erfahrungen und Wünsche, wollen wir die ersten Ideen für eine Aktion am 26. Mai spinnen, sowie unsere nächste Schritte am Rand von EuropaCity und über ihre Grenzen hinaus, vorbereiten. Bitte meldet Euch kurz zurück um Eure Teilnahme zu bestätigen: info@amrandvoneuropa.city Am Rand von EuropaCity: Eine künstlerische Veranstaltungsreihe zur Europacity Berlin ist ein Projekt von Yves Mettler mit Alexis Hyman Wolff und Scriptings/Wedding. Es wird von der Berliner Senatsverwaltung für Kultur und Europa gefördert. Am Rand von EuropaCityEine künstlerische Veranstaltungsreihe von Yves Mettler mit Alexis Hyman Wolff und Scriptings/Wedding Café MOAB Lehrter Str. 36 10557 Berlin Liebe Nachbar*innen und Interessierte! Am kommenden Sonntag, dem 24.2. von 15-17 Uhr findet der erste Workshop zum Spazieren und Intervenieren im Stadtraum im Cafe MOAB in der Lehrter Str. 36, 10557 Berlin, statt. Wir werden am Sonntag uns darüber austauschen, was eine Intervention im öffentlichen Raum bewirken kann und soll und anhand unserer bisherigen Erfahrungen und Wünsche, wollen wir die ersten Ideen für eine Aktion am 26. Mai spinnen, sowie unsere nächste Schritte am Rand von EuropaCity und über ihre Grenzen hinaus, vorbereiten. Bitte meldet Euch kurz zurück um Eure Teilnahme zu bestätigen: info@amrandvoneuropa.city Am Rand von EuropaCity: Eine künstlerische Veranstaltungsreihe zur Europacity Berlin ist ein Projekt von Yves Mettler mit Alexis Hyman Wolff und Scriptings/Wedding. Es wird von der Berliner Senatsverwaltung für Kultur und Europa gefördert.

NOWs: s(k)now – snow + know

23 February - 05 March 2019 / Nows ⟶

NOWs: Julius von Bismarck at Palais de Tokyo

20 February - 12 May 2019 / Nows ⟶

Die Mimik der TethysJulius von Bismarck at Palais de Tokyo Palais de Tokyo 13 Avenue du Président Wilson 75116 Paris Opening 18 February, 9pm Inspired by the figure of Tethys – a sea goddess in Greek mythology, the daughter of the sky (Ouranos) and of the earth (Gaia) – Julius von Bismarck has conceived the original project Die Mimik der Tethys (the expressions of Tethys), for which he has moved the oceans. That is at least the sensation produced by the presence of a buoy hung over the Palais de Tokyo’s Palier d’honneur, corroded by sea salt and covered by dry seaweed. In perpetual motion, the buoy reproduces the movements of its original setting, off the Atlantic coast. It is in this way that the visitors find themselves metaphorically under the ocean, and can directly perceive the sway of its waves, which can be either gentle, or wild. The artist works on the human perception of natural phenomena, either by using highly technical approaches, or by simple site specific gestures. As he puts it: “it’s about the perfect image we have of nature. In reality, it doesn’t look like we imagine it does in a Caspar David Friedrich pastoral painting.” The astonishing sensation created by his moving buoy does indeed depict a misappropriated or modified vision of nature, transforming the building into a submarine world, paced by a giant pendulum that obeys only itself. Die Mimik der Tethys works like a barometer of nature’s moods. As a random alternation of moments of calm and violence, this hypnotic installation plunges the visitors into the heart of an immersive relationship with nature. Far from being idealised, it takes over the Palais de Tokyo and is unveiled in an extremely unstable way, a tireless heaving that reminds us of the tender osmosis that links us, just like our vain desire to control our environment, with the risk of utterly destroying it. Curated by Anna Morettini & Daria de Beauvais Interview with Julius von Bismarck in Monopol here Die Mimik der TethysJulius von Bismarck at Palais de Tokyo Palais de Tokyo 13 Avenue du Président Wilson 75116 Paris Eröffnung 18. Februar, 21 h Inspired by the figure of Tethys – a sea goddess in Greek mythology, the daughter of the sky (Ouranos) and of the earth (Gaia) – Julius von Bismarck has conceived the original project Die Mimik der Tethys (the expressions of Tethys), for which he has moved the oceans. That is at least the sensation produced by the presence of a buoy hung over the Palais de Tokyo’s Palier d’honneur, corroded by sea salt and covered by dry seaweed. In perpetual motion, the buoy reproduces the movements of its original setting, off the Atlantic coast. It is in this way that the visitors find themselves metaphorically under the ocean, and can directly perceive the sway of its waves, which can be either gentle, or wild. The artist works on the human perception of natural phenomena, either by using highly technical approaches, or by simple site specific gestures. As he puts it: “it’s about the perfect image we have of nature. In reality, it doesn’t look like we imagine it does in a Caspar David Friedrich pastoral painting.” The astonishing sensation created by his moving buoy does indeed depict a misappropriated or modified vision of nature, transforming the building into a submarine world, paced by a giant pendulum that obeys only itself. Die Mimik der Tethys works like a barometer of nature’s moods. As a random alternation of moments of calm and violence, this hypnotic installation plunges the visitors into the heart of an immersive relationship with nature. Far from being idealised, it takes over the Palais de Tokyo and is unveiled in an extremely unstable way, a tireless heaving that reminds us of the tender osmosis that links us, just like our vain desire to control our environment, with the risk of utterly destroying it. Curated by Anna Morettini & Daria de Beauvais Interview mit Julius von Bismarck in Monopol hier

NOWs: La Fabrique du Vivant – Designing the Living

20 February - 15 April 2019 / Nows ⟶

La Fabrique du Vivant - Mutations / Créations 3Group exhibition with Andreas Greiner, Julian Charrière et al. Galerie 4 – Centre Georges Pompidou Places Georges Pompidou 75004 Paris Discover an archaeology of living things and artificial life in an exhibition that presents, in a forward-looking manner, the recent works of fifty creators along with the research coming from scientific laboratories. The very material of the exhibition is evolving, certain works being involved in a process of growth or degeneration. One hundred projects are exhibited, several of which have been designed for the occasion. Mutations/Créations, the annual creation and innovation laboratory at the Centre Pompidou questions the links between the arts, science, engineering and innovation. The cycle brings together artists, engineers, scientists and entrepreneurs, all the protagonists of the sensory and the intelligible, who affect and transgress our present. For its third edition, the event brings together the visual and digital arts, design and speech, in the course of a collective exhibition: “Designing the Living [La Fabrique du Vivant]”, the first personal and monographic exhibition in Europe of the Brazilian artist Erika Verzutti, and the third edition of the Vertigo forum, conducted by the Ircam. Mutations / Créations 3 summons up design, visual and digital art, through a group exhibition, Designing the Living [La Fabrique du vivant], the first European monographic exhibition of Brazilian artist Erika Verzutti, and the third edition of the «Vertigo» forum, organised by Ircam. In this digital era, a new interaction between creation and life sciences is in motion. The notion of ‘life’ is presented today in an artificial form where matter itself is explored. Biotechnologies are now a medium used by artists, designers and architects. If digital simulation tools allow us to recreate the living, we must ask ourselves the question: how do we programme the living? In partnership with Ircam, Designing the Living [La Fabrique du vivant] examines the changes in the concept of nature linked to technological production. The exhibition retraces an archaeology of the living and artificial life. Decidedly forward-looking, it presents the most significant creations and innovations in the field of art, design and architecture through works by some fifty designers. Its matter is changeable; certain works are undergoing a process of growth or deterioration. Among the hundred or so works on exhibit, some have been created especially for this event. Ircam presents Biotope, an installation by the composer Jean-Luc Hervé, which interacts along the visitor’s path, like a living organism. Between biology and genetics, design takes a cross-disciplinary approach, like a biotechnological artefact where living matter dictates the form. Design now makes use of ‘bio-manufacturing’ and of new ‘disruptive technologies’ around living matter. Bio-materials, produced from biological organisms (fungus mycelium and bacteria, etc.) have generated innovative objects, such as the Half Life Lamp (2010), a bioluminescent lamp formed from genetically modified material by the Dutch designer Joris Laarman. Sustainable objects by designers Jonas Edvard and Maurizio Montalti (Officina Corpuscoli) explore the potential of fungus mycelium, or the biodegradable objects by Eric Klarenbeek produced from microalgae are among many others. To create an architectural sculpture in situ, specially designed for the exhibition, the American artist David Benjamin (The Living) uses a new building method based on bricks which grow together and are assembled by bio-welding. Micro-organisms thus become an architectural medium and building material. The architects implement models based on the self-generating processes of matter, simulating the evolving systems of developing life. They produce new composites, made from both living and synthetic materials (the Aguahoja project by Neri Oxman with her laboratory at the MIT Media Lab) to develop environmental projects (energy efficiency, pollution-removing materials and bio-photovoltaics, etc.). The future of architecture lies in genetic engineering and synthetic biology, in order to produce new forms of nature between the ‘digital ecosystem’ and life systems. The installations on an architectural scale presented here are authentic biotechnological ecosystems. The London-based architects from EcologicStudio have built a structure through 3D printing, a sort of ‘cyber-garden’ integrating photosynthetic micro-algae. Marcos Cruz and his BiotA Lab at University College London present panels in bio-receptive concrete, designed to foster the growth of micro-organisms, moss and lichen in an urban environment. The French agency X-TU is leading research around organically-inspired architecture, in the firm belief that living organisms are the bio-technological revolution of the future. The congruence of living matter and technologies took hold in the field of artistic creation towards the mid-1990s. In 1998, Eduardo Kac advocated transgenic art, transforming natural organisms by inoculating them with synthetic genes or by transferring the genetic material of one organism to another in an effort to create new forms of life. In Australia in the early 2000s, The Tissue Culture & Art Project (Oron Catts & Ionat Zurr) explored life technologies as an artistic medium through the implementation of a new object/subject, a sort of ‘semi-living’. In this wake followed Amy Congdon’s research in cell regeneration, or the work of the designer Hongjie Yang, who created the Semi-Human Vase (2015) from human cells, thus crossing over a new boundary. Between nature and technology, a new ‘half-living’ artefact emerged, the result of automated manufacture and life-simulating software. Artists explored the hybridisation of human and plant cells (Spela Petric, Elaine Whittaker) using new technologies, or created self-generating works with endlessly developing forms (Hicham Berrada). Alexandra Daisy Ginsberg, Christina Agapakis and Sissel Tolaas recreated the scent of plants which had disappeared in the 19th century. The emblematic Crystal Works (2008-2012) by the Japanese artist and designer Tokujin Yoshioka constitute a highlight of the exhibition. He developed a unique production procedure which enables the development of organic forms through a crystallisation process, resulting in objects such the Venus Chair. A timeline retraces an archaeology of the living and artificial life, including naturalist photos dating from the 1930s by Jean Painlevé or Laure Albin Guillot and a video by Karl Sims. The German artist Andreas Greiner presents photos which capture life by electronic microscopy. Lastly, projects from the field of scientific and medical research are also featured. With Shamees Aden; Laure Albin Guillot; François Azambourg; Heather Barnett; Sonja Bäumel and Manuel Selg; BCL (Georg Tremmel + Shiho Fukuhara); Hicham Berrada; Burton Nitta (Michael Burton and Michiko Nitta); Julian Charrière; Natsai Audrey Chieza; Carole Collet; Amy Congdon; Marcos Cruz and Brenda Parker (Bio-ID, UCL); The Disease Biophysics Group from Harvard University; Alexandre Echasseriau; Jonas Edvard; Alexandra Daisy Ginsberg, Christina Agapakis and Sissel Tolaas; Lia Giraud; Guillian Graves (Big Bang Project); Andreas Greiner; Ernst Haeckel; Perry Hall; Jean-Luc Hervé; Marlène Huissoud; Eduardo Kac; Amy Karle; Allison Kudla; Joris Laarman; The Living (David Benjamin); Julia Lohmann; Julian Melchiorri; MIT Media Lab (Cindy Hsin-Liu Kao) in collaboration with Microsoft Research; Mogu; Isaac Monté; Gabriela Munguia; Officina Corpuscoli; Neri Oxman & The Mediated Matter Group, MIT; Jean Painlevé; Claudia Pasquero and Marco Poletto (EcoLogicStudio); Institut Pasteur; Špela Petric; PILI (Marie-Sarah Adenis); Pamela Rosenkranz; Daan Roosegaarde; Karl Sims; Studio Formafantasma (Andrea Trimarchi and Simone Farresin); Studio Nienke Hoogvliet (Nienke Hoogvliet); Studio Klarenbeek & Dros; Studio Libertiny (Tomas Libertiny); The Tissue Culture & Art Project (Oron Catts & Ionat Zurr) in collaboration with Robert Foster; Samuel Tomatis; Urban Morphogenesis Lab (The Bartlett UCL); Tim van Cromvoirt; Teresa van Dongen; Elaine Whittaker; Worcester Polytechnic Institute; Wyss Institute from Harvard University; XTU Architects (Anouk Legendre and Nicolas Desmazières); Hongjie Yang; Tokujin Yoshioka Curated by Marie-Ange Brayer and Olivier Zeitoun La Fabrique du Vivant - Mutations / Créations 3Group exhibition with Andreas Greiner, Julian Charrière et al. Galerie 4 – Centre Georges Pompidou Places Georges Pompidou 75004 Paris Discover an archaeology of living things and artificial life in an exhibition that presents, in a forward-looking manner, the recent works of fifty creators along with the research coming from scientific laboratories. The very material of the exhibition is evolving, certain works being involved in a process of growth or degeneration. One hundred projects are exhibited, several of which have been designed for the occasion. Mutations/Créations, the annual creation and innovation laboratory at the Centre Pompidou questions the links between the arts, science, engineering and innovation. The cycle brings together artists, engineers, scientists and entrepreneurs, all the protagonists of the sensory and the intelligible, who affect and transgress our present. For its third edition, the event brings together the visual and digital arts, design and speech, in the course of a collective exhibition: “Designing the Living [La Fabrique du Vivant]”, the first personal and monographic exhibition in Europe of the Brazilian artist Erika Verzutti, and the third edition of the Vertigo forum, conducted by the Ircam. Mutations / Créations 3 summons up design, visual and digital art, through a group exhibition, Designing the Living [La Fabrique du vivant], the first European monographic exhibition of Brazilian artist Erika Verzutti, and the third edition of the «Vertigo» forum, organised by Ircam. In this digital era, a new interaction between creation and life sciences is in motion. The notion of ‘life’ is presented today in an artificial form where matter itself is explored. Biotechnologies are now a medium used by artists, designers and architects. If digital simulation tools allow us to recreate the living, we must ask ourselves the question: how do we programme the living? In partnership with Ircam, Designing the Living [La Fabrique du vivant] examines the changes in the concept of nature linked to technological production. The exhibition retraces an archaeology of the living and artificial life. Decidedly forward-looking, it presents the most significant creations and innovations in the field of art, design and architecture through works by some fifty designers. Its matter is changeable; certain works are undergoing a process of growth or deterioration. Among the hundred or so works on exhibit, some have been created especially for this event. Ircam presents Biotope, an installation by the composer Jean-Luc Hervé, which interacts along the visitor’s path, like a living organism. Between biology and genetics, design takes a cross-disciplinary approach, like a biotechnological artefact where living matter dictates the form. Design now makes use of ‘bio-manufacturing’ and of new ‘disruptive technologies’ around living matter. Bio-materials, produced from biological organisms (fungus mycelium and bacteria, etc.) have generated innovative objects, such as the Half Life Lamp (2010), a bioluminescent lamp formed from genetically modified material by the Dutch designer Joris Laarman. Sustainable objects by designers Jonas Edvard and Maurizio Montalti (Officina Corpuscoli) explore the potential of fungus mycelium, or the biodegradable objects by Eric Klarenbeek produced from microalgae are among many others. To create an architectural sculpture in situ, specially designed for the exhibition, the American artist David Benjamin (The Living) uses a new building method based on bricks which grow together and are assembled by bio-welding. Micro-organisms thus become an architectural medium and building material. The architects implement models based on the self-generating processes of matter, simulating the evolving systems of developing life. They produce new composites, made from both living and synthetic materials (the Aguahoja project by Neri Oxman with her laboratory at the MIT Media Lab) to develop environmental projects (energy efficiency, pollution-removing materials and bio-photovoltaics, etc.). The future of architecture lies in genetic engineering and synthetic biology, in order to produce new forms of nature between the ‘digital ecosystem’ and life systems. The installations on an architectural scale presented here are authentic biotechnological ecosystems. The London-based architects from EcologicStudio have built a structure through 3D printing, a sort of ‘cyber-garden’ integrating photosynthetic micro-algae. Marcos Cruz and his BiotA Lab at University College London present panels in bio-receptive concrete, designed to foster the growth of micro-organisms, moss and lichen in an urban environment. The French agency X-TU is leading research around organically-inspired architecture, in the firm belief that living organisms are the bio-technological revolution of the future. The congruence of living matter and technologies took hold in the field of artistic creation towards the mid-1990s. In 1998, Eduardo Kac advocated transgenic art, transforming natural organisms by inoculating them with synthetic genes or by transferring the genetic material of one organism to another in an effort to create new forms of life. In Australia in the early 2000s, The Tissue Culture & Art Project (Oron Catts & Ionat Zurr) explored life technologies as an artistic medium through the implementation of a new object/subject, a sort of ‘semi-living’. In this wake followed Amy Congdon’s research in cell regeneration, or the work of the designer Hongjie Yang, who created the Semi-Human Vase (2015) from human cells, thus crossing over a new boundary. Between nature and technology, a new ‘half-living’ artefact emerged, the result of automated manufacture and life-simulating software. Artists explored the hybridisation of human and plant cells (Spela Petric, Elaine Whittaker) using new technologies, or created self-generating works with endlessly developing forms (Hicham Berrada). Alexandra Daisy Ginsberg, Christina Agapakis and Sissel Tolaas recreated the scent of plants which had disappeared in the 19th century. The emblematic Crystal Works (2008-2012) by the Japanese artist and designer Tokujin Yoshioka constitute a highlight of the exhibition. He developed a unique production procedure which enables the development of organic forms through a crystallisation process, resulting in objects such the Venus Chair. A timeline retraces an archaeology of the living and artificial life, including naturalist photos dating from the 1930s by Jean Painlevé or Laure Albin Guillot and a video by Karl Sims. The German artist Andreas Greiner presents photos which capture life by electronic microscopy. Lastly, projects from the field of scientific and medical research are also featured. With Shamees Aden; Laure Albin Guillot; François Azambourg; Heather Barnett; Sonja Bäumel and Manuel Selg; BCL (Georg Tremmel + Shiho Fukuhara); Hicham Berrada; Burton Nitta (Michael Burton and Michiko Nitta); Julian Charrière; Natsai Audrey Chieza; Carole Collet; Amy Congdon; Marcos Cruz and Brenda Parker (Bio-ID, UCL); The Disease Biophysics Group from Harvard University; Alexandre Echasseriau; Jonas Edvard; Alexandra Daisy Ginsberg, Christina Agapakis and Sissel Tolaas; Lia Giraud; Guillian Graves (Big Bang Project); Andreas Greiner; Ernst Haeckel; Perry Hall; Jean-Luc Hervé; Marlène Huissoud; Eduardo Kac; Amy Karle; Allison Kudla; Joris Laarman; The Living (David Benjamin); Julia Lohmann; Julian Melchiorri; MIT Media Lab (Cindy Hsin-Liu Kao) in collaboration with Microsoft Research; Mogu; Isaac Monté; Gabriela Munguia; Officina Corpuscoli; Neri Oxman & The Mediated Matter Group, MIT; Jean Painlevé; Claudia Pasquero and Marco Poletto (EcoLogicStudio); Institut Pasteur; Špela Petric; PILI (Marie-Sarah Adenis); Pamela Rosenkranz; Daan Roosegaarde; Karl Sims; Studio Formafantasma (Andrea Trimarchi and Simone Farresin); Studio Nienke Hoogvliet (Nienke Hoogvliet); Studio Klarenbeek & Dros; Studio Libertiny (Tomas Libertiny); The Tissue Culture & Art Project (Oron Catts & Ionat Zurr) in collaboration with Robert Foster; Samuel Tomatis; Urban Morphogenesis Lab (The Bartlett UCL); Tim van Cromvoirt; Teresa van Dongen; Elaine Whittaker; Worcester Polytechnic Institute; Wyss Institute from Harvard University; XTU Architects (Anouk Legendre and Nicolas Desmazières); Hongjie Yang; Tokujin Yoshioka Curated by Marie-Ange Brayer and Olivier Zeitoun

NOWs: Am Rand von EuropaCity

Nows ⟶

Parzellengrenzgang am Nordhafen, 30.9.18 Am Rand von EuropaCityEine künstlerische Veranstaltungsreihe von Alexis Hyman Wolff und Yves Mettler Liebe Nachbar*innen und Interessierte, wir hoffen, Ihr seid alle gut ins neue Jahr angekommen. Die zweite Phase des Projekts Am Rand von EuropaCity nimmt nun, dank Eurer Mitarbeit, weiter Form an, und wir freuen uns, folgende Möglichkeiten zur weiteren Zusammenarbeit in 2019 vorzustellen. Das Wochenende der Europaparlamentswahlen (25./26. Mai 2019) bleibt ein wichtiges symbolisches Datum, um Fragen um die Verbindung zwischen lokalen und globalen „Entwicklungen“ anhand der EuropaCity öffentlich zu thematisieren. Wir arbeiten darauf hin sowohl eine PLAKATKAMPAGNE als auch eine INTERVENTION IM ÖFFENTLICHEN RAUM am 26. Mai zu realisieren. Beide Aktionen wollen wir gerne gemeinsam mit Euch und weiteren Nachbar*innen und Interessierten entwickeln. Ebenso werden die “KLANG-FORSCHUNG” des Projekts durch eine Workshopreihe mit Gilles Aubry weitergeführt. Beim Workshop am 1. Dezember haben einige schon Interesse an einer Teilnahme angekündigt und sich in Arbeitsgruppen eingetragen. Bitte schaut Euch unten die kurzen Beschreibungen der drei Gruppen an, die die Vorhaben und den damit verbundenen Zeitaufwand beschreiben. Meldet euch bitte per Email so bald wie möglich, aber spätestens bis zum 10.Februar zurück und für die jeweiligen Gruppen an. PLAKATKAMPAGNE (2 Treffen/Workshops) Erstes Treffen: 17. Februar, 15-18 Uhr, Treffpunkt wird noch bekannt gegeben Auf dem Hintergrund des “Zuhörens” als radikales politisches Akt, möchte das Projekt Am Rand von EuropaCity als Sprachrohr und Verstärker für Stimmen der Bürger*innen angesichts städtebaulicher Entscheidungen und gesellschaftlicher Entwicklungen in ihrem unmittelbaren Wohnraum dienen. Die Plakat-Gruppe wird sich mit dem Medium Plakat auseinandersetzen. Es werden Plakate gemeinsam realisiert, die sowohl im öffentlichen Raum aufgehängt werden, als auch Teil eines Spaziergangs/Umzugs im Mai verwendet werden sollen. Als Material werden u.a die im Dezember-Workshop entstanden Mitschriften weiterverarbeitet. INTERVENTION IM STADTRAUM (3-4 Treffen/Workshops/Spaziergänge) Erstes Treffen: Sonntag 27. Januar, 15-17h, Treffpunkt wird noch bekannt gegeben Wir wollen Draussen was MACHEN! Der Anspruch auf öffentlichen Raum, kulturellen Räume, Räume zum Zusammenkommen wollen wir in einer kreativen und unerwarteten INTERVENTION stellen. Eine Idee wäre, mit den unterschiedlichen “Erden” aus den Nachbarschaften Moabit, Wedding und Mitte, am Rand der EuropaCity eine Sitzbank zu bauen. Hier kommt die „Spaziergang“-Gruppe zusammen mit all den Nachbarschafts-Interessierten, die mit künstlerisch-aktivistischen Mitteln etwas im Stadtraum verändern wollen. KLANG-FORSCHUNG (3-4 Terminen zwischen April und Juni 2019) Erstes Treffen am Wochenende 20. oder 21. April bei Scriptings/Wedding Im Anschluss an unserem Workshop zum kollektiven Zuhören im Dezember, unternimmt die „Klang-Gruppe” weitere sonische Erkundungen der Europacity und ihrer Ränder. Im Rahmen von vier Nachmittags-Treffen, werden neue Stimmen der Nachbarschaft identifiziert, aufgenommen und zusammenmontiert. Diese Stimmen können die der Bewohner*innen der Europacity sein, ungehörte Stimmen von spezifischen Communities, atmosphärische und nicht-menschliche Stimmen, als auch die Stimmen der EuropaCity-Gruppe selber. Die daraus entstehende Komposition soll die vorgesehene Print-Publikation ergänzen und über Cashmere Radio Berlin gesendet werden. Mit herzlichen Grüßen Alexis Hyman Wolff, Gilles Aubry, Achim Lengerer, Yves Mettler Temporäre Sitzegelegenheit am Europaplatz, Sommer 2015 Parzellengrenzgang am Nordhafen, 30.9.18 Am Rand von EuropaCityEine künstlerische Veranstaltungsreihe von Alexis Hyman Wolff und Yves Mettler Liebe Nachbar*innen und Interessierte, wir hoffen, Ihr seid alle gut ins neue Jahr angekommen. Die zweite Phase des Projekts Am Rand von EuropaCity nimmt nun, dank Eurer Mitarbeit, weiter Form an, und wir freuen uns, folgende Möglichkeiten zur weiteren Zusammenarbeit in 2019 vorzustellen. Das Wochenende der Europaparlamentswahlen (25./26. Mai 2019) bleibt ein wichtiges symbolisches Datum, um Fragen um die Verbindung zwischen lokalen und globalen „Entwicklungen“ anhand der EuropaCity öffentlich zu thematisieren. Wir arbeiten darauf hin sowohl eine PLAKATKAMPAGNE als auch eine INTERVENTION IM ÖFFENTLICHEN RAUM am 26. Mai zu realisieren. Beide Aktionen wollen wir gerne gemeinsam mit Euch und weiteren Nachbar*innen und Interessierten entwickeln. Ebenso werden die “KLANG-FORSCHUNG” des Projekts durch eine Workshopreihe mit Gilles Aubry weitergeführt. Beim Workshop am 1. Dezember haben einige schon Interesse an einer Teilnahme angekündigt und sich in Arbeitsgruppen eingetragen. Bitte schaut Euch unten die kurzen Beschreibungen der drei Gruppen an, die die Vorhaben und den damit verbundenen Zeitaufwand beschreiben. Meldet euch bitte per Email so bald wie möglich, aber spätestens bis zum 10.Februar zurück und für die jeweiligen Gruppen an. PLAKATKAMPAGNE (2 Treffen/Workshops) Erstes Treffen: 17. Februar, 15-18 Uhr, Treffpunkt wird noch bekannt gegeben Auf dem Hintergrund des “Zuhörens” als radikales politisches Akt, möchte das Projekt Am Rand von EuropaCity als Sprachrohr und Verstärker für Stimmen der Bürger*innen angesichts städtebaulicher Entscheidungen und gesellschaftlicher Entwicklungen in ihrem unmittelbaren Wohnraum dienen. Die Plakat-Gruppe wird sich mit dem Medium Plakat auseinandersetzen. Es werden Plakate gemeinsam realisiert, die sowohl im öffentlichen Raum aufgehängt werden, als auch Teil eines Spaziergangs/Umzugs im Mai verwendet werden sollen. Als Material werden u.a die im Dezember-Workshop entstanden Mitschriften weiterverarbeitet. INTERVENTION IM STADTRAUM (3-4 Treffen/Workshops/Spaziergänge) Erstes Treffen: Sonntag 27. Januar, 15-17h, Treffpunkt wird noch bekannt gegeben Wir wollen Draussen was MACHEN! Der Anspruch auf öffentlichen Raum, kulturellen Räume, Räume zum Zusammenkommen wollen wir in einer kreativen und unerwarteten INTERVENTION stellen. Eine Idee wäre, mit den unterschiedlichen “Erden” aus den Nachbarschaften Moabit, Wedding und Mitte, am Rand der EuropaCity eine Sitzbank zu bauen. Hier kommt die „Spaziergang“-Gruppe zusammen mit all den Nachbarschafts-Interessierten, die mit künstlerisch-aktivistischen Mitteln etwas im Stadtraum verändern wollen. KLANG-FORSCHUNG (3-4 Terminen zwischen April und Juni 2019) Erstes Treffen am Wochenende 20. oder 21. April bei Scriptings/Wedding Im Anschluss an unserem Workshop zum kollektiven Zuhören im Dezember, unternimmt die „Klang-Gruppe” weitere sonische Erkundungen der Europacity und ihrer Ränder. Im Rahmen von vier Nachmittags-Treffen, werden neue Stimmen der Nachbarschaft identifiziert, aufgenommen und zusammenmontiert. Diese Stimmen können die der Bewohner*innen der Europacity sein, ungehörte Stimmen von spezifischen Communities, atmosphärische und nicht-menschliche Stimmen, als auch die Stimmen der EuropaCity-Gruppe selber. Die daraus entstehende Komposition soll die vorgesehene Print-Publikation ergänzen und über Cashmere Radio Berlin gesendet werden. Mit herzlichen Grüßen Alexis Hyman Wolff, Gilles Aubry, Achim Lengerer, Yves Mettler Temporäre Sitzegelegenheit am Europaplatz, Sommer 2015

NOWs: Luv und Lee by Sophia Pompéry and Lena von Goedeke

16 February - 30 March 2019 / Nows ⟶

NOWs: unbuntpunkt

08 February - 22 March 2019 / Nows ⟶

Sophia Pompéry, Schein, 2015, C-Print, 54 x 36 cm, Ed. 5 + 2 AP, © Sophia Pompéry / VG-Bildkunst Bonn, 2015 unbuntpunktGroup Exhibition Galerie Britta von Rettberg Gabelsbergerstraße 51 80333 München Opening: 7 February, 6pm With: Tom Früchtl, Simone Lanzenstiel, Florian Lechner, Sophia Pompéry Die Gruppenausstellung unbuntpunkt (08.02.-22.03.2019) bringt vier künstlerische Positionen zusammen, die besonders das Interesse für Illusion, Licht und Raum vereint: Tom Früchtl, Simone Lanzenstiel, Florian Lechner und Sophia Pompéry. In Installationen und Skulpturen, Fotografien und malerischen Arbeiten legen die vier Künstlerinnen und Künstler ihr Augenmerk auf die Frage, wie sich die Wirkung alltäglicher Materialien und Situationen durch künstlerische Aneignung verändert. Die meist konzeptuellen, in ihrer Farbigkeit stark reduzierten Arbeiten überwinden kompositorische Bildgrenzen und hinterfragen alltägliche Sehgewohnheiten. Dafür nutzt jede Künstlerin und jeder Künstler seine eigene Strategie: Tom Früchtl hebt in seinen Arbeiten die Grenze zwischen Gegenstand und Abbild auf, Simone Lanzenstiel kreiert aus zerbrechlichen Materialien sensible Bildlandschaften, Florian Lechner komponiert Skulpturen und Installationen aus Licht und Schatten und Sophia Pompéry bringt in ihrer Kunst physikalische Gesetze ins Wanken. Die Ausstellung wurde von den Künstlerinnen und Künstlern selbst in Zusammenarbeit mit der Galerie Rettberg kuratiert. Der Titel der Ausstellung unbuntpunkt bezieht sich auf den Weißpunkt, der beim Messen von Licht- und Farbwerten als Referenzpunkt verwendet wird. Auch im Verlauf des Schaffensprozesses und in der finalen Bildauswahl stimmten sich die Künstler aufeinander ab, wodurch ihre Arbeiten zu gegenseitigen Bezugspunkten wurden. Es entwickelte sich ein Gesamtkonzept, das sowohl thematisch als auch in ihrer künstlerischen Herangehensweise ineinandergreift. Sophia Pompéry, Schein, 2015, C-Print, 54 x 36 cm, Ed. 5 + 2 AP, © Sophia Pompéry / VG-Bildkunst Bonn, 2015 unbuntpunktGroup Exhibition Galerie Britta von Rettberg Gabelsbergerstraße 51 80333 München Eröffnung: 7. Februar, 18h Mit: Tom Früchtl, Simone Lanzenstiel, Florian Lechner, Sophia Pompéry Die Gruppenausstellung unbuntpunkt (08.02.-22.03.2019) bringt vier künstlerische Positionen zusammen, die besonders das Interesse für Illusion, Licht und Raum vereint: Tom Früchtl, Simone Lanzenstiel, Florian Lechner und Sophia Pompéry. In Installationen und Skulpturen, Fotografien und malerischen Arbeiten legen die vier Künstlerinnen und Künstler ihr Augenmerk auf die Frage, wie sich die Wirkung alltäglicher Materialien und Situationen durch künstlerische Aneignung verändert. Die meist konzeptuellen, in ihrer Farbigkeit stark reduzierten Arbeiten überwinden kompositorische Bildgrenzen und hinterfragen alltägliche Sehgewohnheiten. Dafür nutzt jede Künstlerin und jeder Künstler seine eigene Strategie: Tom Früchtl hebt in seinen Arbeiten die Grenze zwischen Gegenstand und Abbild auf, Simone Lanzenstiel kreiert aus zerbrechlichen Materialien sensible Bildlandschaften, Florian Lechner komponiert Skulpturen und Installationen aus Licht und Schatten und Sophia Pompéry bringt in ihrer Kunst physikalische Gesetze ins Wanken. Die Ausstellung wurde von den Künstlerinnen und Künstlern selbst in Zusammenarbeit mit der Galerie Rettberg kuratiert. Der Titel der Ausstellung unbuntpunkt bezieht sich auf den Weißpunkt, der beim Messen von Licht- und Farbwerten als Referenzpunkt verwendet wird. Auch im Verlauf des Schaffensprozesses und in der finalen Bildauswahl stimmten sich die Künstler aufeinander ab, wodurch ihre Arbeiten zu gegenseitigen Bezugspunkten wurden. Es entwickelte sich ein Gesamtkonzept, das sowohl thematisch als auch in ihrer künstlerischen Herangehensweise ineinandergreift.

NOWs: Villa Heike & Other Stories

08 February - 22 March 2019 / Nows ⟶

Photo: Eric Duch Villa Heike & Other StoriesGroup Exhibition Villa Heike Freienwalder Str. 17 13055 Berlin Alt-Hohenschönhausen Opening 16 February, 6pm With: Bram Braam, Pierre Granoux, Vanessa Henn, Valérie Leray, Wiebke Loeper, Jens Lüstraeten, Arwed Messmer, Manfred Pernice, Sophia Pompéry, Peter Ruehle, Torsten Ruehle, Michael Schäfer, Sonya Schönberger, Nina E. Schönefeld, Christof Zwiener Die Ausstellung zeigt eine Auseinandersetzung mit den Transformationsprozessen einer Stadt und eines vergangenen Staates, dessen Gebäude und Architektur untrennbar mit seiner Geschichte verbunden sind. Der Ingenieur Richard Heike gründete 1903 eine Fabrik für Fleischereimaschinen und nutzte die dreistöckige preußische Villa Heike als Verwaltungs- und Wohngebäude. Ende des zweiten Weltkriegs marschierten die Sowjets ein und erschossen den Fabrikanten Heike vor der seiner Tür. 1951 übergaben sie das Gebiet an die Stasi, die in der Villa ihr geheimes NS-Archiv lagerte. Die Villa Heike wurde somit Teil eines sogenannten „Sperrgebietes” welches auf DDR-Straßenkarten nur als weißer Fleck existierte. Mit der deutschen Wiedervereinigung wurden die NS-Akten dem Bundesarchiv übergeben. Im Jahr 2016 übernahm der Künstler Michael Schäfer mit vier Künstlerkollegen die Villa Heike, um Künstlerateliers einzurichten. Nach der Renovierung öffnet die Villa erstmals Anfang 2019 ihre Pforten für die Ausstellung VILLA & OTHER STORIES*, 30 Jahre nach dem Mauerfall. Foto: Eric Duch Villa Heike & Other StoriesGroup Exhibition Villa Heike Freienwalder Str. 17 13055 Berlin Alt-Hohenschönhausen Eröffnung 16. Februar, 18h Mit: Bram Braam, Pierre Granoux, Vanessa Henn, Valérie Leray, Wiebke Loeper, Jens Lüstraeten, Arwed Messmer, Manfred Pernice, Sophia Pompéry, Peter Ruehle, Torsten Ruehle, Michael Schäfer, Sonya Schönberger, Nina E. Schönefeld, Christof Zwiener Die Ausstellung zeigt eine Auseinandersetzung mit den Transformationsprozessen einer Stadt und eines vergangenen Staates, dessen Gebäude und Architektur untrennbar mit seiner Geschichte verbunden sind. Der Ingenieur Richard Heike gründete 1903 eine Fabrik für Fleischereimaschinen und nutzte die dreistöckige preußische Villa Heike als Verwaltungs- und Wohngebäude. Ende des zweiten Weltkriegs marschierten die Sowjets ein und erschossen den Fabrikanten Heike vor der seiner Tür. 1951 übergaben sie das Gebiet an die Stasi, die in der Villa ihr geheimes NS-Archiv lagerte. Die Villa Heike wurde somit Teil eines sogenannten „Sperrgebietes” welches auf DDR-Straßenkarten nur als weißer Fleck existierte. Mit der deutschen Wiedervereinigung wurden die NS-Akten dem Bundesarchiv übergeben. Im Jahr 2016 übernahm der Künstler Michael Schäfer mit vier Künstlerkollegen die Villa Heike, um Künstlerateliers einzurichten. Nach der Renovierung öffnet die Villa erstmals Anfang 2019 ihre Pforten für die Ausstellung VILLA & OTHER STORIES*, 30 Jahre nach dem Mauerfall.

NOWs: Amplify Berlin 4

07 February 2019 / Nows ⟶

Amplify Berlin 4Concert with Robert Lippok, Jana Irmert, The Allegorist Acud Macht Neu Veteranenstraße 21 10119 Berlin 7 February 9pm Acud Macht Neu presents: the fourth edition of the creative development program Amplify Berlin features live sets from mentees Jana Irmert and The Allegorist followed by a live set from their mentor Robert Lippok. LINE-UP Jana Irmert … is a sound and media artist based in Berlin. Her practice involves audiovisual installations and performances, electroacoustic multichannel compositions, experimental film work and sound design and music for film. Being interested in less tangible aspects of existence like temporality and impermanence, she creates atmospheric audiovisual or sonic spaces ‘that work with dis/harmony in such a way as to mirror our imperfect world at the moment.’ (TJ Norris, Toneshift) Her first album End of Absence was released in 2016 on Fabrique Records, followed by her second album FLOOD in 2018. Both received critical praise from various music blogs and magazines and have been internationally broadcast on RAI 3, Resonance FM and BBC Radio 3. http://janairmert.com The Allegorist … aka Anna Jordan uses the pseudonym “Anna Jordan Project” for her visual artworks since 2004. In 2015 she took up another artistic name “The Allegorist” to express her auditive visions. The Allegorist stands for an imaginative journey through all ages, for a better future. It mixes all styles and genres and sets no limitations. Every great idea is welcomed and included into the mindset of a diverse unity. The Allegorist sings in the fictional and majestic Mondoneoh language, to connect all nations and honour all our ancestors. In 2016 her debut album „Botanical Utopia“ was released by „Kraak Records“. In 2017 Anna Jordan began working simultaneously on music and video production, which resulted in her latest audio-visual works for her second album „Hybrid Dimension I.“ http://www.theallegoristmusic.com Robert Lippok [Raster-Noton] Avant-garde German visual artist and composer Robert Lippok has been an influential player in Berlin’s thriving experimental music scene from a very early age. In 1983, he co-founded dissident punk band Ornament und Verbrechen with his brother Ronald, inspired by industrial trailblazers Throbbing Gristle. An open platform to explore jazz, electronic, and industrial concepts with like-minded collaborators of the East German underground persuasion, the group remained active until the mid-1990s, at which point it was overtaken by the brothers’ next and most well-known collaboration, the palindromic To Rococo Rot. The Krautrockish band ushered in a new generation of electronic acts committed to acoustic investigations and improvisation of all stripes. Known for his expansive imagination, inventive rhythmic reflexes, and layers of fuzzy tones, Lippok’s solo work is just as wide-ranging – from funky, glitch-y, twisted techno to stage design for operas, gallery exhibitions, and a variety of notable collaborations. https://soundcloud.com/robert-lippok DJ set by NE before, between and after the live sets ABOUT AMPLIFY BERLIN Amplify Berlin is a creative development program at ACUD Kunsthaus. Each month, Berlin-based emerging musicians have the chance to be mentored in composition, production and live performance by established musicians. During each one-month residency, two emerging artists receive feedback and advice from their mentor, work in a private music studio, develop their live set in the ACUD Clubs concert space, as well as present an online radio show. Each residency will culminate in a live set performed by the mentees at a showcase event, on a lineup alongside their mentor. Amplify Berlin is co-financed by the Europäischer Fonds für regionale Entwicklung (EFRE) and Musicboard Berlin. More Info: https://bit.ly/2CVAc2D http://www.amplify-berlin.de Admission: 10€ presales (plus fees), 10€ door Amplify Berlin 4Concert with Robert Lippok, Jana Irmert, The Allegorist Acud Macht Neu Veteranenstraße 21 10119 Berlin 07. Februar 21 h Acud Macht Neu presents: the fourth edition of the creative development program Amplify Berlin features live sets from mentees Jana Irmert and The Allegorist followed by a live set from their mentor Robert Lippok. LINE-UP Jana Irmert … is a sound and media artist based in Berlin. Her practice involves audiovisual installations and performances, electroacoustic multichannel compositions, experimental film work and sound design and music for film. Being interested in less tangible aspects of existence like temporality and impermanence, she creates atmospheric audiovisual or sonic spaces ‘that work with dis/harmony in such a way as to mirror our imperfect world at the moment.’ (TJ Norris, Toneshift) Her first album End of Absence was released in 2016 on Fabrique Records, followed by her second album FLOOD in 2018. Both received critical praise from various music blogs and magazines and have been internationally broadcast on RAI 3, Resonance FM and BBC Radio 3. http://janairmert.com The Allegorist … aka Anna Jordan uses the pseudonym “Anna Jordan Project” for her visual artworks since 2004. In 2015 she took up another artistic name “The Allegorist” to express her auditive visions. The Allegorist stands for an imaginative journey through all ages, for a better future. It mixes all styles and genres and sets no limitations. Every great idea is welcomed and included into the mindset of a diverse unity. The Allegorist sings in the fictional and majestic Mondoneoh language, to connect all nations and honour all our ancestors. In 2016 her debut album „Botanical Utopia“ was released by „Kraak Records“. In 2017 Anna Jordan began working simultaneously on music and video production, which resulted in her latest audio-visual works for her second album „Hybrid Dimension I.“ http://www.theallegoristmusic.com Robert Lippok [Raster-Noton] Avant-garde German visual artist and composer Robert Lippok has been an influential player in Berlin’s thriving experimental music scene from a very early age. In 1983, he co-founded dissident punk band Ornament und Verbrechen with his brother Ronald, inspired by industrial trailblazers Throbbing Gristle. An open platform to explore jazz, electronic, and industrial concepts with like-minded collaborators of the East German underground persuasion, the group remained active until the mid-1990s, at which point it was overtaken by the brothers’ next and most well-known collaboration, the palindromic To Rococo Rot. The Krautrockish band ushered in a new generation of electronic acts committed to acoustic investigations and improvisation of all stripes. Known for his expansive imagination, inventive rhythmic reflexes, and layers of fuzzy tones, Lippok’s solo work is just as wide-ranging – from funky, glitch-y, twisted techno to stage design for operas, gallery exhibitions, and a variety of notable collaborations. https://soundcloud.com/robert-lippok DJ set by NE before, between and after the live sets ABOUT AMPLIFY BERLIN Amplify Berlin is a creative development program at ACUD Kunsthaus. Each month, Berlin-based emerging musicians have the chance to be mentored in composition, production and live performance by established musicians. During each one-month residency, two emerging artists receive feedback and advice from their mentor, work in a private music studio, develop their live set in the ACUD Clubs concert space, as well as present an online radio show. Each residency will culminate in a live set performed by the mentees at a showcase event, on a lineup alongside their mentor. Amplify Berlin is co-financed by the Europäischer Fonds für regionale Entwicklung (EFRE) and Musicboard Berlin. More Info: https://bit.ly/2CVAc2D http://www.amplify-berlin.de Admission: 10€ presales (plus fees), 10€ door

NOWs: New Dresden setzt Segel_Workshop mit Raul Walch

04 February 2019 / Nows ⟶

NOWs: In Medias Res

02 February - 31 March 2019 / Nows ⟶

Malte Bartsch, Feuerwerkautomat 2018 In Medias ResGroup exhibition Kunstverein Arnsberg Königstraße 24 59821 Arnsberg Opening 1 February 2019, 7 pm With: Morehshin Allahyari & Daniel Rourke, Banz & Bowinkel, Malte Bartsch, Mariechen Danz, Angela Fette, Hans Haacke, Konsortium (Lars Breuer, Sebastian Freytag, Guido Münch), Reiner Maria Matysik, Theresa Schubert, Anja Schwörer curated by Ursula Ströbele Kommen wir gleich zur Sache und gehen ohne Umschweife ‘mitten in die Dinge‘. Die lateinische Redewendung IN MEDIAS RES stammt aus der Ars Poetica des römischen Dichters Horaz und versteht sich als lobende Äußerung gegenüber seinem griechischen Kollegen Homer. Dieser führe in seiner epochalen Illias Zuhörer*innen und Leser*innen von Beginn an in die Handlung ein, ohne sich lange in einführenden und atmosphärischen Schilderungen (ab ovo = vom Ei an) zu verlieren. An dieses lyrische Ideal anknüpfend, liegt in der Gruppenausstellung IN MEDIAS RES im Kunstverein Arnsberg das Augenmerk auf den hier versammelten Werken selbst und ihren unterschiedlichen Kontexten. „Kunst ist die Weise, wie wir zu einer bestimmten Zeit die Realität betrachten.“ In einem Interview (1969) erläutert Hans Haacke dieses Zitat des Schriftstellers Oscar Wilde am Beispiel der Impressionisten, die im 19. Jahrhundert dazu beitrugen, dass seitdem eine neue Sensibilität für die Wahrnehmung von Licht- und Farbwerten existiert. Doch wie hat sich heute im Zeitalter der Digitalisierung unser Blick auf die Realität geändert und wie reagieren die Künste darauf? Hybride, interagierende Realitätsformen bestimmen unseren Alltag, vom physischen Raum, natürlicher oder urbaner Umgebung bis zu virtuellen Welten, Netzwerkverknüpfungen, Synapsen- und Molekülstrukturen ungeahnter Komplexität, die sich in systemischen Verbänden ausbreiten. Selbst das Bild, das wir von der Natur haben, entsteht heute im Computer. Wie ist die wechselseitige Bedingtheit von Parallel-Realitäten sogenannter erster, zweiter und dritter Natur zu beschreiben, bzw. welche Auswege in Paralleluniversen malen wir uns aus? Nicht nur die Naturwahrnehmung hat sich heute von der ‘unmittelbaren‘ Wahrnehmung durch unsere Sinnesorgane zur Wahrnehmung mittels vorgeschalteter Sehapparate wie Teleskop, Mikroskop, Smartphone- und Drohnenkameras oder Head Mounted Displays verschoben, sondern ist zunehmend durch Computerberechnungen geprägt. Besitzt Kunst also das Potential einer Orientierungshilfe bzw. Kommentarfunktion, indem sie multiple, ko-existente, sich teils überlagernde Realitätsformen und -entwicklungen evident macht, dabei etwaige Realitätsverluste problematisiert und ein Bewusstsein für Zeitstrukturen schafft? IN MEDIAS RES – aus den Dingen bzw. Werken heraus lassen sich in der individuellen Rezeption Fragen formulieren und Antworten über die eigene Position finden. Malte Bartsch, Feuerwerkautomat 2018 In Medias ResGroup exhibition Kunstverein Arnsberg Königstraße 24 59821 Arnsberg Eröffnung 01. Februar 2019, 19h Mit: Morehshin Allahyari & Daniel Rourke, Banz & Bowinkel, Malte Bartsch, Mariechen Danz, Angela Fette, Hans Haacke, Konsortium (Lars Breuer, Sebastian Freytag, Guido Münch), Reiner Maria Matysik, Theresa Schubert, Anja Schwörer kuratiert von Ursula Ströbele Kommen wir gleich zur Sache und gehen ohne Umschweife ‘mitten in die Dinge‘. Die lateinische Redewendung IN MEDIAS RES stammt aus der Ars Poetica des römischen Dichters Horaz und versteht sich als lobende Äußerung gegenüber seinem griechischen Kollegen Homer. Dieser führe in seiner epochalen Illias Zuhörer*innen und Leser*innen von Beginn an in die Handlung ein, ohne sich lange in einführenden und atmosphärischen Schilderungen (ab ovo = vom Ei an) zu verlieren. An dieses lyrische Ideal anknüpfend, liegt in der Gruppenausstellung IN MEDIAS RES im Kunstverein Arnsberg das Augenmerk auf den hier versammelten Werken selbst und ihren unterschiedlichen Kontexten. „Kunst ist die Weise, wie wir zu einer bestimmten Zeit die Realität betrachten.“ In einem Interview (1969) erläutert Hans Haacke dieses Zitat des Schriftstellers Oscar Wilde am Beispiel der Impressionisten, die im 19. Jahrhundert dazu beitrugen, dass seitdem eine neue Sensibilität für die Wahrnehmung von Licht- und Farbwerten existiert. Doch wie hat sich heute im Zeitalter der Digitalisierung unser Blick auf die Realität geändert und wie reagieren die Künste darauf? Hybride, interagierende Realitätsformen bestimmen unseren Alltag, vom physischen Raum, natürlicher oder urbaner Umgebung bis zu virtuellen Welten, Netzwerkverknüpfungen, Synapsen- und Molekülstrukturen ungeahnter Komplexität, die sich in systemischen Verbänden ausbreiten. Selbst das Bild, das wir von der Natur haben, entsteht heute im Computer. Wie ist die wechselseitige Bedingtheit von Parallel-Realitäten sogenannter erster, zweiter und dritter Natur zu beschreiben, bzw. welche Auswege in Paralleluniversen malen wir uns aus? Nicht nur die Naturwahrnehmung hat sich heute von der ‘unmittelbaren‘ Wahrnehmung durch unsere Sinnesorgane zur Wahrnehmung mittels vorgeschalteter Sehapparate wie Teleskop, Mikroskop, Smartphone- und Drohnenkameras oder Head Mounted Displays verschoben, sondern ist zunehmend durch Computerberechnungen geprägt. Besitzt Kunst also das Potential einer Orientierungshilfe bzw. Kommentarfunktion, indem sie multiple, ko-existente, sich teils überlagernde Realitätsformen und -entwicklungen evident macht, dabei etwaige Realitätsverluste problematisiert und ein Bewusstsein für Zeitstrukturen schafft? IN MEDIAS RES – aus den Dingen bzw. Werken heraus lassen sich in der individuellen Rezeption Fragen formulieren und Antworten über die eigene Position finden.

NOWs: Rune Bosse at The Hirschsprung Collection

02 February - 28 April 2019 / Nows ⟶

Down to earth.Danish painting 1780-1920 and landscapes of the anthropocene The Hirschsprung Collection Stockholmsgade 20 2100 København Ø Down to Earth is a visionary exhibition, which brings art and the natural sciences together to discuss one of the most urgent questions of our times. In the exhibition, the question of what we are doing to our planet is asked through a historical reflection of how we got to this precarious moment. The landscape, nature, and our surroundings have changed dramatically in the last 200 years. We live in the Anthropocene Epoch, in which humanity’s impact on nature has run so deep as to have left its own geological traces. Down to Earth shows us how, as early as the nineteenth century, landscape painting and the natural sciences were already working together to document and interpret the landscape’s profound transformation. The two renowned contemporary artists Rune Bosse and Camilla Berner add a current dimension to the subject with new works that are locally anchored and site-specific. This exhibition is a collaboration between Faaborg Museum, Fuglsang Kunstmuseum, the Ribe Art Museum and The Hirschsprung Collection, Copenhagen. The exhibition is curated by Gry Hedin (Faaborg Museum), Gertrud Oelsner (The Hirschsprung Collection), and Thor J. Mednick (University of Toledo). Down to earth.Danish painting 1780-1920 and landscapes of the anthropocene The Hirschsprung Collection Stockholmsgade 20 2100 København Ø Down to Earth is a visionary exhibition, which brings art and the natural sciences together to discuss one of the most urgent questions of our times. In the exhibition, the question of what we are doing to our planet is asked through a historical reflection of how we got to this precarious moment. The landscape, nature, and our surroundings have changed dramatically in the last 200 years. We live in the Anthropocene Epoch, in which humanity’s impact on nature has run so deep as to have left its own geological traces. Down to Earth shows us how, as early as the nineteenth century, landscape painting and the natural sciences were already working together to document and interpret the landscape’s profound transformation. The two renowned contemporary artists Rune Bosse and Camilla Berner add a current dimension to the subject with new works that are locally anchored and site-specific. This exhibition is a collaboration between Faaborg Museum, Fuglsang Kunstmuseum, the Ribe Art Museum and The Hirschsprung Collection, Copenhagen. The exhibition is curated by Gry Hedin (Faaborg Museum), Gertrud Oelsner (The Hirschsprung Collection), and Thor J. Mednick (University of Toledo).

NOWs: A City Curating Reader by Joanna Warsza & Patricia Reed

30 January 2019 / Nows ⟶

A City Curating Reader. Public Art Munich 2018Book release Spike Rosa-Luxemburg-Straße 45 10178 Berlin Wednesday, 30 January, 7.30 pm Statements & Discussion: Cana Bilir-Meier, Maria Lind, Alexander Koch, Patricia Reed and Joanna Warsza Artists / Künstler*Innen: Aleksandra Wasilkowska, Alexander Kluge & Sarah Morris, Alexandra Pirici, Anders Eiebakke, Anna McCarthy & Gabi Blum, Ari Benjamin Meyers, Cana Bilir-Meier, Dan Perjovschi, Flaka Haliti & Markus Miessen, Franz Wanner, Jonas Lund, Lawrence Abu Hamdan, Leon Eixenberger, Mariam Ghani, Massimo Furlan, Michaela Melián, Olaf Nicolai, Rudolf Herz & Julia Wahren, Students of the Academy of Fine Arts in Munich, The 9th Futurological Congress/Julieta Aranda & Mareike Dittmer Contributors / Beitragende: Alexander Koch, Bassam El Baroni, Behzad Khosravi Noori, Bellevue di Monaco: Achim Waseem Seger, Kissi Baumann, Marvis Gabriel & You have to be as cool as Alain Delon; Chantal Mouffe, Chris Fitzpatrick, Cordula Schütz, Daniela Stöppel, Emilie Houdent, Ewa Majewska, Gürsoy Doğtaş, Harry Thorne, Jens Maier-Rothe, Joanna Warsza, Jovana Reisinger, Katja Kobolt, Klasse Florian Matzner & Ann-Jasmin Ullrich, María Inés Plaza Lazo, Maria Lind, Maria Muhle, Mathieu Wellner, Mirela Baciak, Moritz Hollinger, Patricia Reed, Stefanie Peter, Sven Beckstette, Sven Lütticken, Thomas Girst, Thomas Meinecke What is public in public art? What are the contingencies of working outside of the protection of the institutional walls? What makes city curating? This reader takes Munich as a case study, and documents the projects of PUBLIC ART MUNICH 2018 dealing with political, ideological and economical shifts, spanning from the founding of the Bavarian Soviet Republic in 1919 to the arrival of refugees at the Hauptbahnhof in 2015. It contextualizes art within the broader questions of the grammar of the public sphere and of what constitutes publicness today. It also reflects on the concept of context-specific city curating, performativity and art conceived in minutes rather than square meters. Art projects, conversations and essays plot a narrative of how art can cultivate encounters with the unpredictable, negotiate the uncommonness, and provoke the counter-publics to come. A City Curating Reader. Public Art Munich 2018Book release Spike Rosa-Luxemburg-Straße 45 10178 Berlin Wednesday, 30 January, 7.30 pm Statements & Discussion: Cana Bilir-Meier, Maria Lind, Alexander Koch, Patricia Reed and Joanna Warsza Artists / Künstler*Innen: Aleksandra Wasilkowska, Alexander Kluge & Sarah Morris, Alexandra Pirici, Anders Eiebakke, Anna McCarthy & Gabi Blum, Ari Benjamin Meyers, Cana Bilir-Meier, Dan Perjovschi, Flaka Haliti & Markus Miessen, Franz Wanner, Jonas Lund, Lawrence Abu Hamdan, Leon Eixenberger, Mariam Ghani, Massimo Furlan, Michaela Melián, Olaf Nicolai, Rudolf Herz & Julia Wahren, Students of the Academy of Fine Arts in Munich, The 9th Futurological Congress/Julieta Aranda & Mareike Dittmer Contributors / Beitragende: Alexander Koch, Bassam El Baroni, Behzad Khosravi Noori, Bellevue di Monaco: Achim Waseem Seger, Kissi Baumann, Marvis Gabriel & You have to be as cool as Alain Delon; Chantal Mouffe, Chris Fitzpatrick, Cordula Schütz, Daniela Stöppel, Emilie Houdent, Ewa Majewska, Gürsoy Doğtaş, Harry Thorne, Jens Maier-Rothe, Joanna Warsza, Jovana Reisinger, Katja Kobolt, Klasse Florian Matzner & Ann-Jasmin Ullrich, María Inés Plaza Lazo, Maria Lind, Maria Muhle, Mathieu Wellner, Mirela Baciak, Moritz Hollinger, Patricia Reed, Stefanie Peter, Sven Beckstette, Sven Lütticken, Thomas Girst, Thomas Meinecke What is public in public art? What are the contingencies of working outside of the protection of the institutional walls? What makes city curating? This reader takes Munich as a case study, and documents the projects of PUBLIC ART MUNICH 2018 dealing with political, ideological and economical shifts, spanning from the founding of the Bavarian Soviet Republic in 1919 to the arrival of refugees at the Hauptbahnhof in 2015. It contextualizes art within the broader questions of the grammar of the public sphere and of what constitutes publicness today. It also reflects on the concept of context-specific city curating, performativity and art conceived in minutes rather than square meters. Art projects, conversations and essays plot a narrative of how art can cultivate encounters with the unpredictable, negotiate the uncommonness, and provoke the counter-publics to come.

NOWs: Raster. Labor at CTM Festival

26 January - 03 February 2019 / Nows ⟶

Raster.Labor at CTM FestivalWith works by: Byetone + Mieko Suzuki, Dasha Rush, Frank Bretschneider, Grischa Lichtenberger, Robert Lippok nGbK Oranienstr. 25 10999 Berlin-Kreuzberg Opening 25 January 2019, 18:00 Runs 26 January – 3 February 2019, 12:00 – 22:00 With the premiere of Labor, CTM and seminal electronic imprint Raster celebrate a collaboration almost as old as the festival itself. Byetone + Mieko Suzuki, Dasha Rush, Frank Bretschneider, Grischa Lichtenberger, and Robert Lippok will take part in the inaugural edition of the piece, utilizing sparse hardware setups to craft perpetual, regenerating compositions. Active since 1996, Raster is the influential German label that has released music from Ryoji Ikeda, Kyoka, Atom ™, William Basinski, Kangding Ray, and Belief Defect, among others. Conceived by Olaf Bender, David Letellier, and Frank Bretschneider, Labor is created in close collaboration with Raster artists. With Labor, Raster explore artistic processes, and how they diverge and develop from the same starting point or set of conditions. Five tables with minimal Eurorack setups and a handful of studio monitors form the basis of the piece. The analogue hardware generates and manipulates control voltages, forming a framework in which the artists can complete, connect, and interact with the modules. As the setup does not contain any sound producing components, participating artists will select sound sources themselves, which could range from minuscule to gargantuan sonic objects. They may choose to mechanically generate sound, or to integrate microphones and amplify sound. Generative composition, whether through regulating sonic events or strategic compositional decisions, has been a key part of electronic music’s history. Labor references both academic and DIY histories of analogue synthesis, exploring open and dynamic fields of hardware experimentation. The intention of the setup is to enable interested audience members to directly observe cause and effect, so digital software will be avoided. Berlin’s neue Gesellschaft für bildende Kunst (nGbK) will host the inaugural iteration of the piece. Active since 1969, nGbK is one of Germany’s foremost art societies – they are invested in exhibitions, artistic interventions, research projects, interdisciplinary projects, publications, and more. nGbK is built on a unique structure that allows members to be directly involved in its activities; they understand art as a form of action that directly impacts social processes. Raster.Labor at CTM FestivalWith works by: Byetone + Mieko Suzuki, Dasha Rush, Frank Bretschneider, Grischa Lichtenberger, Robert Lippok nGbK Oranienstr. 25 10999 Berlin-Kreuzberg Opening 25 January 2019, 18:00 Runs 26 January – 3 February 2019, 12:00 – 22:00 With the premiere of Labor, CTM and seminal electronic imprint Raster celebrate a collaboration almost as old as the festival itself. Byetone + Mieko Suzuki, Dasha Rush, Frank Bretschneider, Grischa Lichtenberger, and Robert Lippok will take part in the inaugural edition of the piece, utilizing sparse hardware setups to craft perpetual, regenerating compositions. Active since 1996, Raster is the influential German label that has released music from Ryoji Ikeda, Kyoka, Atom ™, William Basinski, Kangding Ray, and Belief Defect, among others. Conceived by Olaf Bender, David Letellier, and Frank Bretschneider, Labor is created in close collaboration with Raster artists. With Labor, Raster explore artistic processes, and how they diverge and develop from the same starting point or set of conditions. Five tables with minimal Eurorack setups and a handful of studio monitors form the basis of the piece. The analogue hardware generates and manipulates control voltages, forming a framework in which the artists can complete, connect, and interact with the modules. As the setup does not contain any sound producing components, participating artists will select sound sources themselves, which could range from minuscule to gargantuan sonic objects. They may choose to mechanically generate sound, or to integrate microphones and amplify sound. Generative composition, whether through regulating sonic events or strategic compositional decisions, has been a key part of electronic music’s history. Labor references both academic and DIY histories of analogue synthesis, exploring open and dynamic fields of hardware experimentation. The intention of the setup is to enable interested audience members to directly observe cause and effect, so digital software will be avoided. Berlin’s neue Gesellschaft für bildende Kunst (nGbK) will host the inaugural iteration of the piece. Active since 1969, nGbK is one of Germany’s foremost art societies – they are invested in exhibitions, artistic interventions, research projects, interdisciplinary projects, publications, and more. nGbK is built on a unique structure that allows members to be directly involved in its activities; they understand art as a form of action that directly impacts social processes.

NOWs: Eishalle at CTM Festival

25 January - 10 February 2019 / Nows ⟶

Photo by Stefan Lucks EishalleAdventurous Music—Now on Ice! Eishalle Halle am Berghain II am Wriezener Bahnhof 10243 Berlin-Friedrichshain 29 January 2019, 4pm With Kyoka, Grischa Lichtenberger, Mieko Suzuki, Robert Lippok Full Program An ice skating rink arrives at the gargantuan Halle am Berghain, soundtracked by an array of adventurous artists. Bring your skates (or rent a pair) and practice your ice dancing skills to eclectic and free-roaming DJ sets. Skatebård is the Norwegian producer, DJ, and Berghain regular. His sound weaves across emotional techno, neo-italo, futuristic electro, and a “Scando-cosmic” reinterpretation of classic Detroit sounds. In a continuation of CTM’s collaboration with Raster, renowned artists Kyoka, Robert Lippok, Grischa Lichtenberger, and Mieko Suzuki appear. The latter will also be repping female:pressure together with Mo Loschelder, a driving force behind Berlin’s club scene. Freak de l’Afrique are a German Afro-house group known for hosting parties such as the Afro House Experience, Bantu’s Diary, and Black Paper. Room 4 Resistance resident DJ Occult spins ghettotech and booty bass; celebrated music journalist Joe Muggsdelivers an ambient set; passionate dancer, attentive listener, and Rinse France resident Marylou appears; and Morphine label boss Rabih Beaini can be relied on to deliver a confounding set chock-full of gems. More music is still to come! Warm up with a hot drink and watch the spectacle under a dazzling kinetic light array courtesy of Berlin’s premier light artist Christopher Bauder. Photo by Stefan Lucks EishalleAdventurous Music—Now on Ice! Eishalle Halle am Berghain II am Wriezener Bahnhof 10243 Berlin-Friedrichshain 29. Januar 2019, 16:00 With Kyoka, Grischa Lichtenberger, Mieko Suzuki, Robert Lippok Full Program An ice skating rink arrives at the gargantuan Halle am Berghain, soundtracked by an array of adventurous artists. Bring your skates (or rent a pair) and practice your ice dancing skills to eclectic and free-roaming DJ sets. Skatebård is the Norwegian producer, DJ, and Berghain regular. His sound weaves across emotional techno, neo-italo, futuristic electro, and a “Scando-cosmic” reinterpretation of classic Detroit sounds. In a continuation of CTM’s collaboration with Raster, renowned artists Kyoka, Robert Lippok, Grischa Lichtenberger, and Mieko Suzuki appear. The latter will also be repping female:pressure together with Mo Loschelder, a driving force behind Berlin’s club scene. Freak de l’Afrique are a German Afro-house group known for hosting parties such as the Afro House Experience, Bantu’s Diary, and Black Paper. Room 4 Resistance resident DJ Occult spins ghettotech and booty bass; celebrated music journalist Joe Muggsdelivers an ambient set; passionate dancer, attentive listener, and Rinse France resident Marylou appears; and Morphine label boss Rabih Beaini can be relied on to deliver a confounding set chock-full of gems. More music is still to come! Warm up with a hot drink and watch the spectacle under a dazzling kinetic light array courtesy of Berlin’s premier light artist Christopher Bauder.

NOWs: Raul Walch – The Sceptical Chemist

18 January - 23 February 2019 / Nows ⟶

Raul Walch: The Sceptical Chemist, 2018, Inkjet-Print auf Hahnemühle Photo Rag, 34 x 48 cm The Sceptical ChemistSolo exhibition by Raul Walch EIGEN + ART Lab Torstraße 220 10115 Berlin Opening 18 January 2019, 5 – 9 pm The Sceptical Chymist wanders through life undocumented. The figure is both one of a reactionary nature and ghost of life. It observes from a vantage point that others never decide to tread. The Sceptical Chymist is not an agent in the network but the Gardner of the Rhizome. Raul Walch is both the Sceptical Chymist, the Artist, the Viewer and the Ethnographer. His installations mark a world of his own viewing and that of his own making. This can be seen both as the Imaginarium and the Archive. In his new works, he guides the viewer into infinite drifting angles of clandestine territories, criss-cross woven textile sheets make up the body of this new border. These monotone Spanish plastic architectures discreetly hide the mass-manufactured winter vegetable urban fuel line from Spain to Germany. An epic bed of white plastic crusts the southern tip of Spain. Covert yet visible via Google Earth, not a human in sight. Only the words Death King „Earth Warriors“ are found by Walch as he conducts his pilgrimage into another world, a deeper web of the unseen polyethylene lies beyond the gateway we now know as our life. Text excerpt by Penny Rafferty Raul Walch: The Sceptical Chemist, 2018, Inkjet-Print auf Hahnemühle Photo Rag, 34 x 48 cm The Sceptical ChemistSolo exhibition by Raul Walch EIGEN + ART Lab Torstraße 220 10115 Berlin Eröffnung 18. Januar 2019, 17 – 21 h Der skeptische Chemiker* führt sein Leben undokumentiert. Die Figur ist beides: Reaktionär vom Wesen her und Lebensgeist. Sie beobachtet aus einem Blickwinkel, den andere niemals von sich aus einnehmen würden. Der skeptische Chemiker ist kein Rädchen im Getriebe, sondern der Gärtner des Rhizoms. Raul Walch ist der skeptische Chemiker, er ist aber auch Künstler, Betrachter und Ethnograf. Seine Installationen künden von seiner ureigensten Sicht auf eine von ihm selbst geschaffene Welt. Man kann sie ebenso als Traumwelt wie als Archiv betrachten. In seinen neuen Werken eröffnet er dem/der Betrachter*in endlos fließende Perspektiven auf geheime Regionen, kreuz und quer verflochtene Stofftücher sind der wesentliche Bestandteil dieses neuen Grenzbereichs. Die eintönigen spanischen Plastikkonstruktionen verbergen diskret die urbane Pipeline von Spanien nach Deutschland für das massenproduzierte Wintergemüse. Ein monumentales Feld aus weißem Plastik überzieht die Südspitze Spaniens. Versteckt, aber mittels Google Earth trotzdem erkennbar. Kein Mensch ist in Sicht. Walch findet auf seiner Pilgerreise in eine andere Welt nur die Worte Death King „Earth Warriors“. Jenseits des Tors zu dem, was wir heute als unser Leben kennen, liegt ein tiefer gehendes Netz aus unbemerktem Polyäthylen. *Anmerkung des Übersetzers: Robert Boyle, The Sceptical Chymist, London 1661. Gekürzt auf Deutsch erschienen als Der skeptische Chemiker, Leipzig, Akademische Verlagsgesellschaft, 1929. Textauszug von Penny Rafferty Übersetzung von Frank Süßdorf

NOWs: Ecologies of Darkness. Building Grounds on Shifting Sands

11 - 26 January 2019 / Nows ⟶

NOWs: UR- by Rune Bosse

11 January - 16 February 2019 / Nows ⟶

NOWs: Artists Care About Bridges

13 - 16 December 2018 / Nows ⟶

FUNDRAISING initiated by Artists Care About Bridges at Acud Macht NeuIn support of the international movement SEEBRÜCKE 13.12.2018 from 10pm to open end at Acud Club FUNDRAISING CLUB NIGHT 16.12.2018 from 4-7pm at Acud Studio FUNDRAISING ART AUCTION 13.12 – 16.12.2018 from 12 – 9pm at Acud Courtyard FUNDRAISING CHRISTMAS TREE SALE Acud Macht Neu Veteranenstrasse 21 10119 Berlin Under the current social and political climate, in which the rise of ever more global nationalism and political backwardness is strengthened daily, we as artists, curators, activists and people need literal and metaphorical bridges to stand united and to take action together. Bridges are meeting places, they allow for possibility and for discourse. The collaboration Artists Care About Bridges is hosting a series of fundraising events on the third weekend in Advent at Acud Macht Neu; including a club night, an art auction as well as the sale of Christmas trees from organic farming. These profits go to the organization SEEBRÜCKE. SEEBRÜCKE is an international movement that receives support from the community as well as several civil society alliances and whose mission is to create safe harbors. SEEBRÜCKE will not accept Policy Makers and Governments who let people drown in the Mediterranean Sea to further seal off Europe and win political points. Artists Care About Bridges agrees that this is unbearable and against any humanitarian values. Migration is and has always been part of our society! Instead of closing borders, we need to provide more bridges, to encourage a Europe that is open, and support cities that show solidarity and provide harbors that are safe and humane. We declare our solidarity with societies who are forced to flee their homes. From German and European policy makers, we demand the establishment of safe routes for refugees, to stop the criminalization of sea rescue and to receive them in a human way whilst respecting their rights. Artists Care About Bridges is a collaboration of activists that was conceived by cultural producer Kathrin Pohlmann and artist Anne Duk Hee Jordan, joined by the curators Pauline Doutreluingne and Petra Poelzl (Karma Ltd. Extended) and supported by Bioland Herbarium Leipzig and Acud Macht Neu. Build a bridge by extending your hand and joining us in creating an open, inclusive and progressive Europe. FUNDRAISING CLUB NIGHT 13.12.2018 10pm – open end at Acud Club To launch the collaboration Artists Care About Bridges, we organize a kick off fundraising club night with a pumping line up featuring Nedalot, Perera Elsewhere, DJ Residue (TTT) and Akmê (://about blank). Nedalot NEDALOT aka Neda Sanai is a Berlin based DJ & and producer that moves in the queer underground scene of Europe. With their skillful mixing of different club genres, including rap, R&B, bass music, Jersey club, 2 step, all mixed up in an ocean of twisted pop Acapella, the vibe is always intense-warped-sexy. https://soundcloud.com/nedalot Perera Elsewhere (FoF) – Dj Set Sasha Perera, aka Perera Elsewhere, is a polyglot, if there ever were one. Her music proclivities are not resigned only to her output under that name on Los Angeles imprint Friends of Friends or to her previous work she did as a member of Berlin-based globalist club project Jahcoozi. Perera also DJs and when she does, it’s all about bass music. Rooted in her love of UK sounds, she delivers a banquet selection of contemporary club sounds from all over the world to keep the bodies popping and people hungry. https://soundcloud.com/bordermovement-2/mother-perera-border-movement DJ Residue (TTT) Techno Excursions Akmê (://about blank) Akmê’s sets are known for their diversity. They are profound improvisational odysseys, which explore deep planes of emotions. Simply put: Techno with groove. https://soundcloud.com/lostakme FUNDRAISING ART AUCTION 16.12.2018 4 – 7pm at Acud Studio In the spirit of the necessity of “building bridges and not borders”, Artist Care About Bridges curates an art auction. There is a growing list of reputable artists, supporting joint social action by donating an art work for the auction. Carla Åhlander, Uli Aigner, Akinbode Akinbiyi, Ariel Efraim Ashbel, Norbert Bisky, Ally Bisshop, Monika Bonvicini, Lysann Buschbeck, Johannes Buss (Radical Adults Productions), Sol Calero, Jennis Li Chengtien, Anouk De Clercq, Isaac Chong Wai, Elly Clarke, Cucula, Lucinda Dayhew, Viviana Druga, Jesper Dyrehauge, Antje Engelmann, FAMED, Azin Feizabadi, Abrie Fourie, Moritz Frei, Simon Fujiwara, Alexandra Gaul, Alexander Gehring, April Gertler, Surya Gied, Michel Gockel, Sebastian Gögel, Monika Grabuschnigg, Roman Graneist, Grit Hachmeister, Matthias Hamann, Paule Hammer, Stine Marie Jacobsen, Clara Jo, Anne Duk Hee Jordan, Steffen Junghans, Aneta Kajzer, Tobias Kaspar, Susanne Keichel, Fabian Knecht, Cyrill Lachauer, Matt Lambert, Lorenz Lindner, Hanne Lippard, Lemia Monet Bodden, Rachel Monosov, Marco Montiel Soto, Raphael Nagel, Henrike Naumann, Heide Nord, Emeka Ogboh, Ahmet Ögüt, Murat Önen, Funda Özgynaydin, Peaches and Black Cracker, Alona Rodeh, Tere Recarens, Matthias Reinmuth, Johannes Rochhausen, Egill Saebjörnsson, Michael Sailstorfer, Sophia Schama, Ralf Schmerberg, Tilo Schulz, Maya Schweizer, Jenna Seedorf, Farkhondeh Shahroudi, Slavs and Tatars, Katja Stoye-Cetin, Anna Szilit, Anna Run Tryggvadottir, Markus Uhr, Viron Erol Vert, VIP, Shira Wachsmann, Raul Walch, Clemens von Wedemeyer, Tilman Wendland, Gernot Wieland, Euan Williams, Susanne M. Winterling, Tobias Zielony and more. The auction catalogue will be online via www.revoluzy.org on December 6th. Auktionator: Fares Al-Hassan www.fly-auctions.com Furthermore, there will be the chance to buy artist books as an additional opportunity to donate into the Seebrücke Movement. FUNDRAISING CHRISTMAS TREE SALE 13.12 – 16.12.2018 12 – 9pm at Acud Courtyard Christmas Trees for Sale by Bioland Herbarium Leipzig Herbarium Leipzig promotes and practices organic farming and develops it further through interdisciplinary collaborations. The Christmas trees for sale are from organic slow growing fields in the area around Leipzig. Follow Artists Care About Bridges on Instagram artistscareaboutbridges FUNDRAISING initiated by Artists Care About Bridges at Acud Macht NeuIn support of the international movement SEEBRÜCKE Artists Care About Bridges veranstaltet eine Reihe von Fundraising Events im Acud Macht Neu. Alle Einnahmen werden direkt der international agierenden Bewegung SEEBRÜCKE gespendet. 13.12.2018 ab 22:00 Uhr im Acud Club FUNDRAISING CLUBNACHT 16.12.2018 16:00-19:00 Uhr Acud Studio FUNDRAISING ART AUCTION 13.12. – 16.12.2018 12:00-21:00 Uhr Acud Innenhof FUNDRAISING CHRISTMAS TREE SALE Acud Macht Neu Veteranenstrasse 21 10119 Berlin Im gegenwärtigen sozialen und politischen Klima, in welchem Abschottungspolitik und globaler Nationalismus ins Unermessliche zu wachsen drohen, brauchen wir als KünstlerInnen, KuratorInnen, AktivistInnen und Menschen buchstäblich Brücken, um gemeinsam zu agieren und unseren Handlungsspielraum erweitern zu können. Aus diesem Grund veranstaltet die aktivistische Kollaboration Artists Care About Bridges am dritten Adventswochenende eine Reihe von Fundraising Aktionen am Acud Macht Neu um metaphorisch eine Brücke zu bauen und einen Ort der Begegnung zu schaffen. Eine Clubnacht, eine Kunstauktion, sowie der Verkauf von nachhaltigen Weihnachtsbäumen dienen zur Unterstützung der international agierenden Bewegung SEEBRÜCKE ist eine dezentral organisierte, zivilgesellschaftliche Bewegung, die sich gegen die europäische Abschottungspolitik sowie gegen die Kriminalisierung von Seenotrettung im Mittelmeer richtet. Artists Care About Bridges stehen vollumfänglich hinter der Forderung der SEEBRÜCKE, europaweit sichere Fluchtwege, eine menschenwürdige Aufnahme von Geflüchteten und eine Entkriminalisierung der Seenotrettung zu sichern. Migration ist der Motor, der Kultur und Gesellschaft schon immer bereichert hat. Anstatt Grenzen zu schließen, müssen wir Brücken schaffen und für ein offenes Europa eintreten. Artists Care About Bridges ist eine aktivistische Kollaboration, welche von der Kulturproduzentin Kathrin Pohlmann und der Künstlerin Anne Duk Hee Jordan initiiert, von den Kuratorinnen Pauline Doutreluingne und Petra Poelzl (Karma Ltd. Extended) mitkonzipiert und durch Bioland Herbarium Leipzig und Acud Macht Neu unterstützt wird. FUNDRAISING CLUBNACHT 13.12.2018 ab 22:00 Uhr Acud Club Zum Launch von Artists Care About Bridges gibt es eine Clubnacht mit einem pumpenden Line-Up featuring Nedalot, Perera Elsewhere, DJ Residue (TTT) und Akmê (://aboutblank). Nedalot NEDALOT ist eine in Berlin ansässige Hip-Hop und R’n‘B-DJ, die sich im queeren Untergrund bewegt. Mit ihren kunstvollen Mixen aus klassischem Hip-Hop gepaart mit neuer beatbasierter Bassmusik hat sie sich schon einen Namen als Support für Künstlerinnen und Künstler wie Diplo, A.G. Cook und Zebra Katz gemacht. https://soundcloud.com/nedalot Perera Elsewhere (FoF) – DJ Set Als Kind sri-lankischer Eltern in London geboren und aufgewachsen, sozialisiert von Dub und Notting Hill Carnival, ist Sasha Perera im Jahr 2000 in Berlin gestrandet und hat von dort aus als Sängerin der Band Jahcoozi nachhaltig die Club-Kultur beeinflusst. Anderswo verorten möchte sich Perera allerdings mit ihrem Solo-Projekt Perera Elsewhere, dessen verwaschener Sound, politische Texte und postdigitale Ästhetik seit ihrem Debütalbum „Everlast“ international Wogen schlägt. Auf Reisen sammelt Perera klangliche Inspirationen und vermengt diese mit einer Prise Trip Hop zu grenzübergreifender Popmusik. Im Zuge der Fundraising Clubnacht wird Perera Elsewhere uns mit einem DJ-Set beehren. https://soundcloud.com/bordermovement-2/mother-perera-border-movement DJ Residue (TTT) Techno Excursions Akmê (://about blank) Akmê’s DJ-Sets sind profunde improvisierte Odysseen, die in die Gefilde tiefer Emotionen eindringen. Einfach gesagt: Techno mit Groove. FUNDRAISING ART AUCTION 16.12.2018 16:00-19:00 Uhr Acud Studio Unter dem Leitsatz ‘Baut Brücken und keine Grenzen‘ veranstaltet Artist Care About Bridges eine Kunstauktion. Für diese Auktion haben zahlreiche in Berlin lebende Künstlerinnen und Künstler spontan Arbeiten gespendet, welche im Zuge dieser Auktion ersteigert werden können. Die Liste der beteiligten Künstlerinnen und Künstler wächst stetig. Carla Åhlander, Uli Aigner, Akinbode Akinbiyi, Ariel Efraim Ashbel, Norbert Bisky, Ally Bisshop, Monika Bonvicini, Lysann Buschbeck, Johannes Buss (Radical Adults Productions), Sol Calero, Jennis Li Chengtien, Anouk De Clercq, Isaac Chong Wai, Elly Clarke, Cucula, Lucinda Dayhew, Viviana Druga, Jesper Dyrehauge, Antje Engelmann, FAMED, Azin Feizabadi, Abrie Fourie, Moritz Frei, Simon Fujiwara, Alexandra Gaul, Alexander Gehring, April Gertler, Surya Gied, Michel Gockel, Sebastian Gögel, Monika Grabuschnigg, Roman Graneist, Grit Hachmeister, Matthias Hamann, Paule Hammer, Stine Marie Jacobsen, Clara Jo, Anne Duk Hee Jordan, Steffen Junghans, Aneta Kajzer, Tobias Kaspar, Susanne Keichel, Fabian Knecht, Cyrill Lachauer, Matt Lambert, Lorenz Lindner, Hanne Lippard, Lemia Monet Bodden, Rachel Monosov, Marco Montiel Soto, Raphael Nagel, Henrike Naumann, Heide Nord, Emeka Ogboh, Ahmet Ögüt, Murat Önen, Funda Özgynaydin, Peaches and Black Cracker, Alona Rodeh, Tere Recarens, Matthias Reinmuth, Johannes Rochhausen, Egill Saebjörnsson, Michael Sailstorfer, Sophia Schama, Ralf Schmerberg, Tilo Schulz, Maya Schweizer, Jenna Seedorf, Farkhondeh Shahroudi, Slavs and Tatars, Katja Stoye-Cetin, Anna Szilit, Anna Run Tryggvadottir, Markus Uhr, Viron Erol Vert, VIP, Shira Wachsmann, Raul Walch, Clemens von Wedemeyer, Tilman Wendland, Gernot Wieland, Euan Williams, Susanne M. Winterling, Tobias Zielony. Der Auktionskatalog ist ab 06.12.2018 via http://www.revoluzy.org einsehbar. Auktionator: Fares Al-Hassan www.fly-auctions.com Ebenso wird es die Möglichkeit geben, Bücher von Künstlerinnen und Künstlern bei der Auktion zu erstehen. Der Ertrag des Büchertisches geht ebenso an SEEBRÜCKE. FUNDRAISING CHRISTMAS TREE SALE 13.12 – 16.12.2018 von 12:00-21:00 Uhr Acud Courtyard Verkauf von Weihnachtsbäumen aus kontrolliert biologischem Anbau Vom 13. Bis 16.12. schlägt das Bioland Herbarium Leipzig im Innenhof des Acud Macht Neu seine Zelte auf und bietet Weihnachtsbäume aus kontrolliert biologischem Anbau aus Leipzig zum Verkauf an. Herbarium Leipzig fördert und praktiziert ökologischen Landbau und lässt sein Wissen um diesen immer wieder in eine Vielzahl von interdisziplinären künstlerischen Kooperationen einfließen. Folgt uns auf Instagram artistscareaboutbridges

NOWs: I’m afraid I must ask you to leave

02 December 2018 - 24 February 2019 / Nows ⟶

I’m afraid I must ask you to leaveJulius von Bismarck and Julian Charrière Kunstpalais Erlangen Palais Stutterheim Marktplatz 1 91054 Erlangen Opening: Dec 01, 2018 Julian Charrière and Julius von Bismarck are each outstanding artists. They are best friends. And sometimes they are partners in their artistic work. The first major exhibition of these two as a duo will take place at the end of 2018 in the Kunstpalais. Despite the diversity and autonomy of their works, they are united in their claim to initiate an intensive reflection about our relationship to nature and our place in society through their art. Both work at the interface of art and science. Julian Charrière (* 1987 in Morges, Switzerland) is fascinated by geology and archeology. These however, are not perceived as backward-looking by him: with his works he analyzes the present – and dives deep into the earth. For his large installation at the Venice Biennale 2017 he extracted sediments from the Bolivian salt desert Salar de Uyuni and thus creating a salt-pinned landscape. With these excavations in the salt desert Charrière anticipates excavations at the same site of much greater extent, given that the salt desert is also the world’s largest lithium deposit. And lithium is becoming gradually the most important resource in the digital world. Therefore Charrières Future Fossil Spaces are future archaeologies. Julius von Bismarck (* 1983 in Breisach am Rhein), who like Julian Charrière was a student of Olafur Eliasson, describes himself as a wannabe physicist. Movement, especially in circles, characterizes many of his works. For the Art Basel Unlimited 2015 for example he created an Egocentric system: he set himself up on a parabolic turntable with a mattress, a desk, a laptop and food and spent the entire duration of the fair in this room in constant motion under the influence of gravity and centrifugal force. With other works, such as the video Irma To Come In Earnest on the hurricane in Florida, he discusses our dealings with nature and climate change. As an artist, Bismarck regards it as his social responsibility to raise awareness of current topics and problems. In his work series Punishment he did this, for example, by personally whipping legendary places such as the Alps. When both artists work together, artworks emerge that are equally scientific, sensual, curious, auratic, sophisticated, humorous, and, in the best sense of the word, megalomaniacal. I’m afraid I must ask you to leaveJulius von Bismarck and Julian Charrière Kunstpalais Erlangen Palais Stutterheim Marktplatz 1 91054 Erlangen Eröffnung: 1. Dez. 2018 Julius von Bismarck (*1983 in Breisach am Rhein) und Julian Charrière (*1987 in Morges, Schweiz) vereint eine besondere Herangehensweise an das Kunstschaffen: mit Forschungsreisen bis ans Ende der Welt und quasi-naturwissenschaftlichen Experimenten nähern sie sich dem Thema ihres Interesses, um ihren eigenen Hypothesen dazu schließlich in Skulptur, Video oder Fotografie Ausdruck zu geben – humorvoll und bildgewaltig. Beide arbeiten mit unterschiedlichen Schwerpunkten an der Schnittstelle von Kunst und Wissenschaft. Seit sich Charrière und von Bismarck bei ihrem Studium bei Olafur Eliasson an der Universität der Künste in Berlin kennen lernten, teilen sie sich ein Atelier und sind beste Freunde. Für ausgewählte Projekte finden sie auch in ihrer Arbeit zusammen. Für ihr Werk Some Pigeons Are More Equal Than Others entwickelten Charrière und von Bismarck eine Maschine, in der Tauben auf öffentlichen Plätzen eingefangen, mit natürlichen Farbstoffen eingefärbt und dann wieder in die Umwelt entlassen wurden. Die Taube, oft als schmutziges oder im besten Fall unscheinbares Tier missachtet, erfährt so nicht nur im wörtlichen Sinne neues Ansehen. In Ägypten, Deutschland, Island, Mexiko und der Schweiz beschrifteten sie für die Serie Kunst seit 2012 mit einer Art überdimensionalem Graffiti natürliche Orte. Unter anderem die koloniale Geste des Beanspruchens und Benennens von Natur wird implizit thematisiert, wenn Mountain den Berg, Jungle das Blätterdickicht in riesigen Lettern bezeichnet. Während sie sich in diesen beiden Arbeiten mit menschlichen Eingriffen in die Natur und deren Wirkungen und Aussagen beschäftigen, dreht es sich in ihrer neuesten Arbeit um die symbolische Aufladung einzelner Naturmonumente und die Fetischisierung der Natur: Thounds And Thounds Of Years And Only Now Things Happen entstand anlässlich der Ausstellung im Kunstpalais und ist hier erstmals zu sehen. Mit ihrem gemeinsamen Œuvre stoßen Julian Charrière und Julius von Bismarck eine intensive Reflexion über unser Verhältnis zur Natur an. Arbeiten beide zusammen, entstehen Werke, die gleichermaßen wissenschaftlich, sinnlich, kurios, auratisch, gelehrt, hintergründig und – im allerbesten Sinne – größenwahnsinnig sind. I’m Afraid I Must Ask You To Leave ist ihre erste große Ausstellung als Duo.

NOWs: Towards a Sentimental Cartography of Water

28 November - 14 December 2018 / Nows ⟶

Towards a Sentimental Cartography of WaterGroup show with Nina Schuiki and Das Numen et. al. Greatmore Artists Studios 47-49 Greatmore Street Woodstock Western Cape 7925 South Africa opening: 28 November 2018, 6pm Curated by Stefan Vicedom With Madeleine Bazil // Lizette Chirrime // Das Numen // Denver Jansen // Io Makandal // Koleka Putuma // Nina Schuiki // Dennis Siering Greatmore Art Studios are glad to invite you to the upcoming group exhibition Towards a Sentimental Cartography of Water. The effects of the latest water crisis still shape the social, economical and environmental life of Cape Town and the Western Cape. What once was thought to be a finite state of emergency thus more and more becomes a new form of normality. But which attributes define and characterise this labile situation of a new normal? How has the crisis modified the personal and public relation to water? And to what extent can the crisis even serve as a catalyst for change that transforms the negative implications into a positive outlook? The exhibition Towards a Sentimental Cartography of Water explores these issues through a range of photographic images, drawings, installations and media works by artists based in South Africa and Europe. In an associative way they provide first coordinates for an yet unwritten cartography that describes our far-reaching connectedness with water. The exhibition is organised by Berlin-based curator Stefan Vicedom who currently participates in the Greatmore Art Studios’ residency programme. Towards a Sentimental Cartography of WaterGroup show with Nina Schuiki and Das Numen et. al. Greatmore Artists Studios 47-49 Greatmore Street Woodstock Western Cape 7925 South Africa opening: 28 November 2018, 6pm Curated by Stefan Vicedom With Madeleine Bazil // Lizette Chirrime // Das Numen // Denver Jansen // Io Makandal // Koleka Putuma // Nina Schuiki // Dennis Siering Greatmore Art Studios are glad to invite you to the upcoming group exhibition Towards a Sentimental Cartography of Water. The effects of the latest water crisis still shape the social, economical and environmental life of Cape Town and the Western Cape. What once was thought to be a finite state of emergency thus more and more becomes a new form of normality. But which attributes define and characterise this labile situation of a new normal? How has the crisis modified the personal and public relation to water? And to what extent can the crisis even serve as a catalyst for change that transforms the negative implications into a positive outlook? The exhibition Towards a Sentimental Cartography of Water explores these issues through a range of photographic images, drawings, installations and media works by artists based in South Africa and Europe. In an associative way they provide first coordinates for an yet unwritten cartography that describes our far-reaching connectedness with water. The exhibition is organised by Berlin-based curator Stefan Vicedom who currently participates in the Greatmore Art Studios’ residency programme.

NOWs: Technosphärenklänge #6

23 November 2018 / Nows ⟶

Foto: David Vintiner, Design: NODE Berlin Oslo Technosphärenklänge #6 - Concert and Performancewith Mouse on Mars, Marco Donnarumma & Nunu Kong 23 November 2018, 8 pm Haus der Kulturen der Welt John-Foster-Dulles-Allee 10 10557 Berlin Tickets 8 pm: Marco Donnarumma & Nunu Kong: Alia: Zǔ tài 9.30 pm: Mouse on Mars Dimensional People Ensemble Intelligent technologies are changing the foundations of human life through software, sensors, interfaces, and robots. These developments not only affect our way of thinking and doing, but also our relationships with each other. The sixth edition of Technosphärenklänge illuminates these new realities and explores the interfaces between humans and machines. Marco Donnarumma and Nunu Kong | © Promo Marco Donnarumma & Nunu Kong: Alia: Zǔ tài The world premiere of the performance Alia: Zǔ tài: In the powerful sound choreography by Marco Donnarumma and Nunu Kong, an artificial intelligence connects three dancers equipped with sensors interacting with robotic prostheses to sound and light to create a kinetic feedback loop. Mouse on Mars Dimensional People Ensemble | © Daniel Dittus Mouse on Mars Dimensional People Ensemble On their album Dimensional People, Mouse on Mars use old and new sound technologies to explore the process of music making as a model for a networked, polyphonic society. Technology acts both as an independent voice and as a mediator and translator for human encounters. The Mouse on Mars Dimensional People Ensemble puts guest musicians such as Andrea Belfi, Zach Condon from the band Beirut, Benjamin Lanz from The National, Moritz Simon Geist, and Dodo NKishi along with sound and light machines on the stage. Jan Werner – Live Electronics Andi Toma – Live Electronics, Guitar Andrea Belfi – Drums Zach Condon – Voice, Piano Moritz Simon Geist – Sonic Robots Benjamin Lanz – Trombone Dodo NKishi – Percussion, Drums, Guitar Matthias Singer – Light Max Koerich – Sound Mouse on Mars | © Guillaume Bog Foto: David Vintiner, Design: NODE Berlin Oslo Technosphärenklänge #6 - Concert and Performancewith Mouse on Mars, Marco Donnarumma & Nunu Kong 23. November 2018, 20 Uhr Haus der Kulturen der Welt John-Foster-Dulles-Allee 10 10557 Berlin Tickets 20h: Marco Donnarumma & Nunu Kong: Alia: Zǔ tài 21.30h: Mouse on Mars Dimensional People Ensemble Intelligente Technologien verändern die Grundlagen menschlichen Lebens durch Software, Sensoren, Interfaces oder Roboter. Diese Entwicklungen wirken sich nicht nur auf das Denken und Handeln aus, sondern auch menschliche Beziehungen verändern sich. Die sechste Ausgabe der Technosphärenklänge beleuchtet diese neuen Realitäten und lotet die Schnittstelle zwischen Mensch und Maschine aus. Marco Donnarumma and Nunu Kong | © Promo Marco Donnarumma & Nunu Kong: Alia: Zǔ tài Die Performance Alia: Zǔ tài feiert Weltpremiere: In der klanggewaltigen Choreografie von Marco Donnarumma und Nunu Kong, schließt eine künstliche Intelligenz drei mit Sensoren ausgestattete Tänzer*innen, die mit robotischen Prothesen interagieren, zusammen mit Sound und Licht zu einem kinetischen Feedbackloop. Mouse on Mars Dimensional People Ensemble | © Daniel Dittus Mouse on Mars Dimensional People Ensemble Mit ihrem Album Dimensional People erproben Mouse on Mars mit alten und neuen Klangtechnologien den Prozess des Musikmachens als Modell einer vernetzten und vielstimmigen Gesellschaft. Technologie ist hier sowohl eigenständige Stimme als auch Bindeglied und Übersetzerin menschlicher Begegnungen. Das Mouse on Mars Dimensional People Ensemble bringt neben Gastmusiker*innen wie Andrea Belfi, Zach Condon von der Band Beirut, Benjamin Lanz von The National, Moritz Simon Geist und Dodo NKishi auch Klang- und Lichtmaschinen auf die Bühne. Jan Werner – Live Elektronik Andi Toma – Live Elektronik, Gitarre Andrea Belfi – Schlagzeug Zach Condon – Stimme, Klavier Moritz Simon Geist – Sonic Robots Benjamin Lanz – Posaune Dodo NKishi – Perkussion, Schlagzeug, Gitarre Michael Rauter – Cello Matthias Singer – Licht Max Koerich – Sound Mouse on Mars | © Guillaume Bog

NOWs: IMPACT

23 November 2018 - 06 January 2019 / Nows ⟶

IMPACTGroupshow with Julius von Bismarck, Dorian Gaudin, Felix Kiessling, Minyoung Paik, Anne Pfeifer, Laure Prouvost und Johanna Schelle. Curated by Anna Deilmann Kunst- und Gewerbeverein Regensburg Ludwigstraße 6 93047 Regensburg Opening: 23 November 2018 Die Ausstellung IMPACT gibt einen ersten Einblick in das Schaffen von sieben ausgewählten Künstlerlnnen, deren Arbeiten im Rahmen des von Anna Deilmann kuratierten Projektes Quartier am Kunstpark in Zukunft den öffentlichen Raum der Stadt Regensburg bereichern werden. Dabei steht die Wirkkraft von Kunst im Vordergrund. Wo verläuft die Grenze zwischen Werk und Betrachter? Welchen Einfluss hat Kunst auf die Gesellschaft? Welche Botschaften kann sie überbringen? Der Titel leitet sich aus der beinahe gleichnamigen und eigens für Regensburg realisierten Werkserie Impakt von Felix Kiessling ab. Der Künstler, der am Institut für Raumexperimente in Berlin bei Olafur Eliasson studierte, widmet sich dem flüchtigen Moment von Meteoroideneinschlägen und versucht, ihn greifbar zu machen: die Kollision zweier Körper, den damit einhergehenden physikalischen Ausnahmezustand sowie die kaum zu fassende, kurze Zeitspanne, in der sich enorme Kräfte entfalten. In der Ausstellung zeugen mehrere verformte Aluminiumplatten vom Aufprall eines bis zu einer Tonne schweren, vom Künstler gefertigten ‚Meteoroids‘. Die verbliebene Negativform des Einschlags kann von allen Seiten betrachtet werden. Die Skulpturen rufen die Unberechenbarkeit und Macht der Natur in Erinnerung: So waren es wahrscheinlich Meteoroiden, die das Leben auf der Erde entstehen ließen und es, wie beim Untergang der Dinosaurier, auch wieder auslöschten. Mit Naturgewalten setzt sich auch Julius von Bismarck, der ebenfalls bei Olafur Eliasson studierte, auseinander. Das achtstündige Video Baumanalyse (2013) zeigt wie der Künstler mit der rechten Hand am Stamm einer Eiche entlang streicht. Die tastende Geste entpuppt sich als allmähliche Verletzung der Natur, denn von Bismarck hält ein Taschenmesser in der Hand und trägt einen Jahresring nach dem anderen ab. Seine gleichmäßige Bewegung hinterlässt einen ringförmigen Pfad am Boden und rückt die Eiche noch deutlicher ins Bildzentrum. Der stundenlange Zweikampf zwischen Mensch und Natur scheint unentschieden. Erst am Ende der täglichen Ausstellungsöffnungszeit gibt der Baum nach und fällt. Der Kreis wird zum Sinnbild für den ewigen Lauf von Werden und Vergehen. Metaphorisch kappt der Künstler sowohl ein deutsches Nationalsymbol, als auch seine eigene Ahnengeschichte, denn die Eiche ist traditionell mit dem Wappen der Familie von Bismarck verbunden. Der Künstler bringt also im wörtlichen Sinne seinen Stammbaum zu Fall. Während sich Kiessling und von Bismarck dem Verhältnis von Mensch und Natur widmen, konzentriert sich Dorian Gaudin auf das Verhältnis von Mensch und Maschine. Der Künstler, der an der École nationale supérieure des Arts Décoratifs in Paris studierte und als Sohn von professionellen Tänzern und Choreografen aufwuchs, überträgt sein geschultes Bewusstsein für Körper und Bewegung auf technikbasierte Installationen und Objekte. Gaudin schafft Maschinen, die menschliche Züge annehmen und sich autonom bewegen. Der Anschein von unantastbarer und perfekter Technik wird im Laufe ihrer Performance jedoch gebrochen: Sie verletzen sich, die Oberflächen erhalten Kratzer und Verschleißspuren. Wie Narben am menschlichen Körper zeugen sie von der Lebzeit der Objekte und vom Prozess ihrer Entstehung. Oft werden sie vom Künstler farbig hervorgehoben. Gaudins Werke bewegen sich schließlich zwischen Technophilie und Technophobie: Die Liebe des Künstlers zu Maschinen und technischer Perfektion wird immer wieder durch deren Zerstörung gebrochen. Das Eigenleben seiner Arbeiten wirkt dabei rührend und beängstigend zugleich. In der Regensburger Ausstellung sind Objekte aus der Werkschau Rites and Aftermath zu sehen, die im Palais de Tokyo in Paris gezeigt wurde. Darauf aufbauend entwickelt Gaudin für das Quartier am Kunstpark das Projekt Knot: einen Knoten aus Aluminiumbändern, der den Endpunkt einer Bewegung materialisiert. Auch die monochromen Objekte und Skulpturen von Anne Pfeifer, die an der Akademie der Künste in München bei Jorinde Voigt studierte, bergen ein technisches Innenleben und werden zu lebendigen Maschinen. Im Gegensatz zu Gaudin konzentriert sich die Künstlerin jedoch nicht auf die Bewegung, sondern vor allem auf den Ton. So lässt jedes Objekt eine bestimmte Komposition erklingen, die sich ebenso wie die Proportionen der Arbeit auf den Menschen, auf seine Organe und sein emotionales Innenleben beziehen. Zu hören sind beispielsweise Sounds, die auf den Herzschlag oder Wut, Trauer und Freude referieren. Der Betrachter wird zum elementaren Bestandteil ihrer Arbeiten: In der Spiegelung erkennt er sich selbst, setzt sich in Beziehung zum Kunstwerk, fühlt sich persönlich angesprochen oder wird, wie bei Please sit down (2016) oder der für den Außenraum geplanten Skulptur Cavea, zur Interaktion mit dem Kunstwerk angehalten. Die ‚Landschaften des Inneren‘ untersucht auch Johanna Schelle, die ebenfalls an der Akademie der Bildenden Künste in München bei unter anderem Hermann Pitz studierte. Schelle arbeitet im klassischen Sinne als Bildhauerin: Die bis zu lebensgroßen und aus Lindenholz geschnitzten Figuren sind das Ergebnis gründlicher Studien auf Papier. Modelle in Ton und Gips bereiten das Arbeiten an den finalen Holzskulpturen vor, die abschließend in Pastelltönen bemalt werden. Die Haltung der Figuren deutet Handlungen an, ihre Mimik gibt kaum Aufschluss über ihre Gemütslage. Sie scheinen auf seltsame Weise entrückt, im Moment gefangen und eingefroren. Als emphatisches Wesen, ist der Mensch versucht das Gegenüber, das hier ebenfalls beinahe menschlich erscheint, zu lesen und zu verstehen. Der Betrachter setzt sich in Beziehung zum Objekt. Der Moment des Innehaltens und Betrachtens von Kunst wird vom Werk selbst gespiegelt. Das Ende des Dialogs ist dabei nicht festgeschrieben. Skulptur und Betrachter befinden sich auf der gleichen Bühne, jedoch ohne Skript. Diesen Dialog zwischen Mensch und Kunstwerk treibt Minyoung Paik weiter: So nähert sich die Künstlerin, die ebenfalls an der Akademie der Bildenden Künste in München bei Gregor Schneider studierte, unter anderem gesellschaftlichen und politischen Fragestellungen und schafft einen spielerischen Zugang zu Themen, die gewöhnlich mit großer Ernsthaftigkeit behandelt werden. Die Arbeit Map of Korea 2018 zeigt ein Satellitenbild der koreanischen Halbinsel. In der Landschaftsaufnahme sind die anhaltenden Spannungen zwischen Nord- und Südkorea nicht sichtbar. Nur wenige rote Markierungen deuten auf die Grenze hin. Paiks Blick auf ihr eigenes Land paart sich hier mit einem persönlichen Erlebnis der Künstlerin: Der Verlust von Kunstwerken bei einem Transport – die Arbeiten waren für ein Jahr verschollen – gab Anlass zu dieser Installation. Das gerahmte Werk liegt auf dem Boden in einer Transportkiste. Ein Aufkleber weist auf die fragile Fracht hin, doch das Glas ist dennoch gebrochen. Der Riss verläuft dabei nicht zufällig entlang der Demarkationslinie. In Zukunft werden die gesamtkoreanischen Landesgrenzen auch im Außenraum zu sehen sein, dann jedoch in Form einer Tischtennisplatte. Kunst eröffnet schließlich die Möglichkeit, sich zwischen Realität und Fiktion zu bewegen. Eben diesen Freiraum nutzt Laure Prouvost, die in London am Central Saint Martins College of Arts und der Goldsmiths University studierte. 2013 gewann sie mit Wantee den Turner-Preis. Die Videoarbeit nimmt den Betrachter mit auf die Suche nach ihrem Großvater und einem ‚High Tea‘-Treffen zwischen ihm und seinem Künstlerfreund Kurt Schwitters. Die fiktive Reise in die Vergangenheit ist eng mit der Installation in Regensburg verknüpft. Im Kühlschrank sind Teetassen zu entdecken, die bereits im Video zu sehen waren. Die Keramiken dienen als Modelle für die Skulptur, die auch im Außenraum realisiert werden soll. Zudem lädt die Künstlerin mit Schrifttafeln wie Ideally This Sign Would Make You Sink In Some Warm Tea immer wieder dazu ein, ihr auf der weiteren fiktiven Reise zu folgen. Das Projekt Quartier am Kunstpark wurde von Anna Deilmann für das Immobilien Zentrum Regensburg entwickelt. Als Gründerin von Anna Deilmann Art Concepts widmet sie sich der Schnittstelle von Architektur, Stadt und Kunst mit dem Fokus auf die Konzeption von Kunst-am-Bau-Projekten. Die Ausstellung IMPACT wurde durch den Kunst- und Gewerbeverein Regensburg und die freundliche Unterstützung des Immobilien Zentrums Regensburg ermöglicht. Text: Lydia Korndörfer IMPACTGroupshow with Julius von Bismarck, Dorian Gaudin, Felix Kiessling, Minyoung Paik, Anne Pfeifer, Laure Prouvost und Johanna Schelle. Curated by Anna Deilmann Kunst- und Gewerbeverein Regensburg Ludwigstraße 6 93047 Regensburg Eröffnung: 23. November 2018 Die Ausstellung IMPACT gibt einen ersten Einblick in das Schaffen von sieben ausgewählten Künstlerlnnen, deren Arbeiten im Rahmen des von Anna Deilmann kuratierten Projektes Quartier am Kunstpark in Zukunft den öffentlichen Raum der Stadt Regensburg bereichern werden. Dabei steht die Wirkkraft von Kunst im Vordergrund. Wo verläuft die Grenze zwischen Werk und Betrachter? Welchen Einfluss hat Kunst auf die Gesellschaft? Welche Botschaften kann sie überbringen? Der Titel leitet sich aus der beinahe gleichnamigen und eigens für Regensburg realisierten Werkserie Impakt von Felix Kiessling ab. Der Künstler, der am Institut für Raumexperimente in Berlin bei Olafur Eliasson studierte, widmet sich dem flüchtigen Moment von Meteoroideneinschlägen und versucht, ihn greifbar zu machen: die Kollision zweier Körper, den damit einhergehenden physikalischen Ausnahmezustand sowie die kaum zu fassende, kurze Zeitspanne, in der sich enorme Kräfte entfalten. In der Ausstellung zeugen mehrere verformte Aluminiumplatten vom Aufprall eines bis zu einer Tonne schweren, vom Künstler gefertigten ‚Meteoroids‘. Die verbliebene Negativform des Einschlags kann von allen Seiten betrachtet werden. Die Skulpturen rufen die Unberechenbarkeit und Macht der Natur in Erinnerung: So waren es wahrscheinlich Meteoroiden, die das Leben auf der Erde entstehen ließen und es, wie beim Untergang der Dinosaurier, auch wieder auslöschten. Mit Naturgewalten setzt sich auch Julius von Bismarck, der ebenfalls bei Olafur Eliasson studierte, auseinander. Das achtstündige Video Baumanalyse (2013) zeigt wie der Künstler mit der rechten Hand am Stamm einer Eiche entlang streicht. Die tastende Geste entpuppt sich als allmähliche Verletzung der Natur, denn von Bismarck hält ein Taschenmesser in der Hand und trägt einen Jahresring nach dem anderen ab. Seine gleichmäßige Bewegung hinterlässt einen ringförmigen Pfad am Boden und rückt die Eiche noch deutlicher ins Bildzentrum. Der stundenlange Zweikampf zwischen Mensch und Natur scheint unentschieden. Erst am Ende der täglichen Ausstellungsöffnungszeit gibt der Baum nach und fällt. Der Kreis wird zum Sinnbild für den ewigen Lauf von Werden und Vergehen. Metaphorisch kappt der Künstler sowohl ein deutsches Nationalsymbol, als auch seine eigene Ahnengeschichte, denn die Eiche ist traditionell mit dem Wappen der Familie von Bismarck verbunden. Der Künstler bringt also im wörtlichen Sinne seinen Stammbaum zu Fall. Während sich Kiessling und von Bismarck dem Verhältnis von Mensch und Natur widmen, konzentriert sich Dorian Gaudin auf das Verhältnis von Mensch und Maschine. Der Künstler, der an der École nationale supérieure des Arts Décoratifs in Paris studierte und als Sohn von professionellen Tänzern und Choreografen aufwuchs, überträgt sein geschultes Bewusstsein für Körper und Bewegung auf technikbasierte Installationen und Objekte. Gaudin schafft Maschinen, die menschliche Züge annehmen und sich autonom bewegen. Der Anschein von unantastbarer und perfekter Technik wird im Laufe ihrer Performance jedoch gebrochen: Sie verletzen sich, die Oberflächen erhalten Kratzer und Verschleißspuren. Wie Narben am menschlichen Körper zeugen sie von der Lebzeit der Objekte und vom Prozess ihrer Entstehung. Oft werden sie vom Künstler farbig hervorgehoben. Gaudins Werke bewegen sich schließlich zwischen Technophilie und Technophobie: Die Liebe des Künstlers zu Maschinen und technischer Perfektion wird immer wieder durch deren Zerstörung gebrochen. Das Eigenleben seiner Arbeiten wirkt dabei rührend und beängstigend zugleich. In der Regensburger Ausstellung sind Objekte aus der Werkschau Rites and Aftermath zu sehen, die im Palais de Tokyo in Paris gezeigt wurde. Darauf aufbauend entwickelt Gaudin für das Quartier am Kunstpark das Projekt Knot: einen Knoten aus Aluminiumbändern, der den Endpunkt einer Bewegung materialisiert. Auch die monochromen Objekte und Skulpturen von Anne Pfeifer, die an der Akademie der Künste in München bei Jorinde Voigt studierte, bergen ein technisches Innenleben und werden zu lebendigen Maschinen. Im Gegensatz zu Gaudin konzentriert sich die Künstlerin jedoch nicht auf die Bewegung, sondern vor allem auf den Ton. So lässt jedes Objekt eine bestimmte Komposition erklingen, die sich ebenso wie die Proportionen der Arbeit auf den Menschen, auf seine Organe und sein emotionales Innenleben beziehen. Zu hören sind beispielsweise Sounds, die auf den Herzschlag oder Wut, Trauer und Freude referieren. Der Betrachter wird zum elementaren Bestandteil ihrer Arbeiten: In der Spiegelung erkennt er sich selbst, setzt sich in Beziehung zum Kunstwerk, fühlt sich persönlich angesprochen oder wird, wie bei Please sit down (2016) oder der für den Außenraum geplanten Skulptur Cavea, zur Interaktion mit dem Kunstwerk angehalten. Die ‚Landschaften des Inneren‘ untersucht auch Johanna Schelle, die ebenfalls an der Akademie der Bildenden Künste in München bei unter anderem Hermann Pitz studierte. Schelle arbeitet im klassischen Sinne als Bildhauerin: Die bis zu lebensgroßen und aus Lindenholz geschnitzten Figuren sind das Ergebnis gründlicher Studien auf Papier. Modelle in Ton und Gips bereiten das Arbeiten an den finalen Holzskulpturen vor, die abschließend in Pastelltönen bemalt werden. Die Haltung der Figuren deutet Handlungen an, ihre Mimik gibt kaum Aufschluss über ihre Gemütslage. Sie scheinen auf seltsame Weise entrückt, im Moment gefangen und eingefroren. Als emphatisches Wesen, ist der Mensch versucht das Gegenüber, das hier ebenfalls beinahe menschlich erscheint, zu lesen und zu verstehen. Der Betrachter setzt sich in Beziehung zum Objekt. Der Moment des Innehaltens und Betrachtens von Kunst wird vom Werk selbst gespiegelt. Das Ende des Dialogs ist dabei nicht festgeschrieben. Skulptur und Betrachter befinden sich auf der gleichen Bühne, jedoch ohne Skript. Diesen Dialog zwischen Mensch und Kunstwerk treibt Minyoung Paik weiter: So nähert sich die Künstlerin, die ebenfalls an der Akademie der Bildenden Künste in München bei Gregor Schneider studierte, unter anderem gesellschaftlichen und politischen Fragestellungen und schafft einen spielerischen Zugang zu Themen, die gewöhnlich mit großer Ernsthaftigkeit behandelt werden. Die Arbeit Map of Korea 2018 zeigt ein Satellitenbild der koreanischen Halbinsel. In der Landschaftsaufnahme sind die anhaltenden Spannungen zwischen Nord- und Südkorea nicht sichtbar. Nur wenige rote Markierungen deuten auf die Grenze hin. Paiks Blick auf ihr eigenes Land paart sich hier mit einem persönlichen Erlebnis der Künstlerin: Der Verlust von Kunstwerken bei einem Transport – die Arbeiten waren für ein Jahr verschollen – gab Anlass zu dieser Installation. Das gerahmte Werk liegt auf dem Boden in einer Transportkiste. Ein Aufkleber weist auf die fragile Fracht hin, doch das Glas ist dennoch gebrochen. Der Riss verläuft dabei nicht zufällig entlang der Demarkationslinie. In Zukunft werden die gesamtkoreanischen Landesgrenzen auch im Außenraum zu sehen sein, dann jedoch in Form einer Tischtennisplatte. Kunst eröffnet schließlich die Möglichkeit, sich zwischen Realität und Fiktion zu bewegen. Eben diesen Freiraum nutzt Laure Prouvost, die in London am Central Saint Martins College of Arts und der Goldsmiths University studierte. 2013 gewann sie mit Wantee den Turner-Preis. Die Videoarbeit nimmt den Betrachter mit auf die Suche nach ihrem Großvater und einem ‚High Tea‘-Treffen zwischen ihm und seinem Künstlerfreund Kurt Schwitters. Die fiktive Reise in die Vergangenheit ist eng mit der Installation in Regensburg verknüpft. Im Kühlschrank sind Teetassen zu entdecken, die bereits im Video zu sehen waren. Die Keramiken dienen als Modelle für die Skulptur, die auch im Außenraum realisiert werden soll. Zudem lädt die Künstlerin mit Schrifttafeln wie Ideally This Sign Would Make You Sink In Some Warm Tea immer wieder dazu ein, ihr auf der weiteren fiktiven Reise zu folgen. Das Projekt Quartier am Kunstpark wurde von Anna Deilmann für das Immobilien Zentrum Regensburg entwickelt. Als Gründerin von Anna Deilmann Art Concepts widmet sie sich der Schnittstelle von Architektur, Stadt und Kunst mit dem Fokus auf die Konzeption von Kunst-am-Bau-Projekten. Die Ausstellung IMPACT wurde durch den Kunst- und Gewerbeverein Regensburg und die freundliche Unterstützung des Immobilien Zentrums Regensburg ermöglicht. Text: Lydia Korndörfer

NOWs: Stellar Fauna by Kat Válastur

21 - 24 November 2018 / Nows ⟶

Stellar Fauna by Kat VálasturProduced by HAU Hebbel am Ufer After a showcase and the premiere of Rasp Your Soul in 2017, HAU Hebbel am Ufer presents the new premiere by choreographer and performer Kat Válastur. Divided into two parts, a video installation and a performance, in Stellar Fauna – similarly to her last work – two dancers gradually embody mutant and digital attributes in a poetic way. They repeat a mysterious mantra: “We are waiting for the flood to be free although that would be the end of us.” In a set suggesting an untamed ecosystem, the boundaries between their private and social behaviour are suspended. Stellar Fauna is the creation of an uncanny world made by our world. A discourse about bodies in the wilderness of our time. Due to capacity limitations two performances will take place each day. Wed 21 Nov 2018 7pm / HAU3 8pm / HAU3 Thu 22 Nov 2018 7pm / HAU3 8pm / HAU3 Fri 23 Nov 2018 7pm / HAU3 8pm / HAU3 Sat 24 Nov 2018 7pm / HAU3 8pm / HAU3 English (language no problem) approx. 45 min Trailer Stellar Fauna Concept & choreography: Kat Válastur Performance: Maria Zimpel, Harumi Terayama Light design: Martin Beeretz Sound design & music: Constantin Engelmann, Tobias Purfürst Set design: Leon Eixenberger Additional set design: Filippos Kavakas Costume design: Kat Válastur Costume assistance: Suzan Çamlik Video installation: film directed by Kat Válastur Camera & editing: Clara Jo Production management: HAU Artist Office / Sabine Seifert Touring & distribution: HAU Artist Office / Nicole Schuchardt Premiere 21 November 2018 Production: Kat Válastur / HAU Hebbel am Ufer. Co-production: Fondation d’entreprise Hermès, Théâtre de la Ville (Paris), Theater Freiburg, Fonds Transfabrik – deutsch-französischer Fonds für darstellende Künste. Funded by: Senate Department for Culture and Europe. Stellar Fauna by Kat VálasturProduziert von HAU Hebbel am Ufer Nach einer Werkschau und der Premiere von Rasp Your Soul 2017 präsentiert das HAU Hebbel am Ufer nun die Uraufführung der neuen Arbeit von Kat Válastur. Gegliedert in zwei Teile, eine Video-Installation und eine Performance, baut Stellar Fauna auf Ideen auf, die von der Choreografin und Performerin für die vergangene Arbeit entwickelt wurden. Die zwei Tänzerinnen verkörpern sich nach und nach verändernde und übertrieben digitale Attribute. Sie wiederholen ein furchterregendes Mantra: “We are waiting for the flood to be free although that would be the end of us” (Wir warten auf das Einsetzen der Flut, auch wenn das unser Ende wäre). In einer Umgebung, die ein ungezähmtes Ökosystem suggeriert, werden die Grenzen zwischen ihrem privaten und sozialen Verhalten aufgehoben. Stellar Fauna ist die Schöpfung einer unheimlichen Welt, die von unserer Welt erschaffen wurde. Ein Diskurs über Körper in der Wildnis unserer Zeit. Aufgrund der begrenzten Kapazität finden pro Abend zwei Vorstellungen statt. Mi 21.11.2018 19:00 / HAU3 20:00 / HAU3 Do 22.11.2018 19:00 / HAU3 20:00 / HAU3 Fr 23.11.2018 19:00 / HAU3 20:00 / HAU3 Sa 24.11.2018 19:00 / HAU3 20:00 / HAU3 Englisch (Sprache kein Problem) ca. 45 min Trailer Stellar Fauna Konzept & Choreografie: Kat Válastur Performance: Maria Zimpel, Harumi Terayama Lichtdesign: Martin Beeretz Sounddesign & Musik: Constantin Engelmann, Tobias Purfürst Bühnenbild: Leon Eixenberger Zusätzliches Bühnenbild: Filippos Kavakas Kostüme: Kat Válastur Kostümassistenz: Suzan Çamlik Videoinstallation: Film von Kat Válastur Kamera & Schnitt: Clara Jo Produktionsleitung: HAU Artist Office / Sabine Seifert Touring & Distribution: HAU Artist Office / Nicole Schuchardt Premiere am 21.11.2018 Produktion: Kat Válastur / HAU Hebbel am Ufer. Koproduktion: Fondation d’entreprise Hermès, Théâtre de la Ville (Paris), Theater Freiburg, Fonds Transfabrik – deutsch-französischer Fonds für darstellende Künste. Gefördert durch: Berliner Senatsverwaltung für Kultur und Europa.

NOWs: any other where by Nina Schuiki

27 October - 02 December 2018 / Nows ⟶

Nina Schuiki, I still see you in everything, 2018. teardrop, glass object, air sealed (slide projection) any other wheresolo show Kunstverein Wilhelmshöhe curated by Julia Katharina Thiemann opening: 26 October 2018, 7pm In any other where, Nina Schuiki (born 1983, Graz) presents site-conditioned works that use ephemeral gestures to rediscover the environment and spaces of the Kunstverein Wilhelmshöhe. Space is inseparable from the dimensions of temporality inscribed in it, and Schuiki’s interventions find form to these relations, bringing viewers to question acts of visualisation and the subtle gesture of poetic displacement. The exhibition will be accompanied by a new publication documenting the installation, featuring an introduction by exhibition curator Julia Katharina Thiemann and foreword written by Mona Leidig, leading chairperson of Kunstverein Wilhelmshöhe. Both any other where and the exhibition publication have been realized with the kind support of Stadtwerke Ettlingen GmbH, Freundeskreis Kunstverein Wilhelmshöhe and the Austrian Cultural Forum Berlin. Kunstverein Wilhelmshöhe e.V. Schöllbronner Straße 87 76275 Ettlingen Opening hours: Wed-Sat 3 – 6pm, Sun 11am – 6pm Nina Schuiki, I still see you in everything, 2018. teardrop, glass object, air sealed (slide projection) any other wheresolo show Kunstverein Wilhelmshöhe curated by Julia Katharina Thiemann opening: 26 October 2018, 7pm In any other where, Nina Schuiki (born 1983, Graz) presents site-conditioned works that use ephemeral gestures to rediscover the environment and spaces of the Kunstverein Wilhelmshöhe. Space is inseparable from the dimensions of temporality inscribed in it, and Schuiki’s interventions find form to these relations, bringing viewers to question acts of visualisation and the subtle gesture of poetic displacement. The exhibition will be accompanied by a new publication documenting the installation, featuring an introduction by exhibition curator Julia Katharina Thiemann and foreword written by Mona Leidig, leading chairperson of Kunstverein Wilhelmshöhe. Both any other where and the exhibition publication have been realized with the kind support of Stadtwerke Ettlingen GmbH, Freundeskreis Kunstverein Wilhelmshöhe and the Austrian Cultural Forum Berlin. Kunstverein Wilhelmshöhe e.V. Schöllbronner Straße 87 76275 Ettlingen Opening hours: Wed-Sat 3 – 6pm, Sun 11am – 6pm

NOWs: Persona grata

16 October 2018 - 20 January 2019 / Nows ⟶

Persona grataGroup exhibition with Dan Stockholm, Anri Sala et. al Musée national de l’histoire de l’immigration 293, avenue Daumesnil 75012 Paris 16 October 2018 – 20 January 2019 Co-curated by Anne-Laure Flacelière, MAC VAL collection Study and Development Officer and Isabelle Renard, Collections and Exhibitions Director at the Musée national de l’histoire de l’immigration With works by Bertille Bak, Dominique Blais, Alina Bliumis, Jeff Bliumis, Halida Boughriet, Kyungwoo Chun, Philippe Cognée, Pascale Consigny, Hamid Debarrah, Latifa Echakhch, Eléonore False, Claire Fontaine, Laura Henno, Pierre Huyghe, Bertrand Lamarche, Xie Lei, Lahouari Mohammed Bakir, Moataz Nasr, Eva Nielsen, Gina Pane, Laure Prouvost, Enrique Ramirez, Judit Reigl, Anri Sala, Sarkis, Zineb Sedira, Bruno Serralongue, Chiharu Shiota, Société Réaliste, Dan Stockholm, Barthélémy Toguo… MAC VAL – Musée d’art contemporain du Val-de-Marne Place de la Libération 94400 Vitry-sur-Seine 16 October 2018 – 24 February 2019 Curated by Ingrid Jurzak, MAC VAL Collection Study and Management Officer With works by Eduardo Arroyo, Kader Attia, Marcos Avila Forero, Laëtitia Badaut Haussmann, Bertille Bak, Richard Baquié, Taysir Batniji, Ben, Bruno Boudjelal, David Brognon & Stéphanie Rollin, Mark Brusse, Pierre Buraglio, Mircea Cantor, Étienne Chambaud, Kyungwoo Chun, Clément Cogitore, Philippe Cognée, Delphine Coindet, Matali Crasset, Julien Discrit, Thierry Fontaine, Jochen Gerz, Ghazel, Marie-Ange Guilleminot, Mona Hatoum, Eric Hattan, Laura Henno, Pierre Huyghe, Emily Jacir, Yeondoo Jung, Bouchra Khalili, Kimsooja, Claude Lévêque, M/M, Lahouari Mohammed Bakir, Jean-Christophe Norman, Lucy Orta, Bernard Pagès, Philippe Parreno, Yan Pei-Ming, Cécile Paris, Mathieu Pernot, Jacqueline Salmon, Bruno Serralongue, Esther Shalev-Gerz, Société Réaliste, Djamel Tatah, Barthélémy Toguo, Patrick Tosani, Sabine Weiss… Welcome ! Festival 6 October – 11 November 2018 Programming: Stéphane Malfettes The Musée national de l’histoire de l’immigration and the MAC VAL – Musée d’art contemporain du Val-de-Marne are collaborating to present a project questioning the notion of hospitality through the prism of contemporary creation. Together, the two institutions- a social museum that value contemporary creation and a contemporary art museum that tackles social issues- are happy to present Persona grata, an exhibition organized over the two locations with a rich cultural programming: an occasion for artists to explore all the dimensions of what constitutes or corrodes the notions of hospitality and alterity through their own vision and sensitivity. The acceleration of migratory flows and the growing place these issues occupy in the public debate increasingly question the foundations of our societies. On one hand, camps and walls mushroom and confirm the irreversible setback of our hospitality duty, while on the other, citizen involvement grows to help, support and welcome migrants. Is the answer of today’s harsh society to bring emergency assistance rather than implement long-term and effective hospitality policies? In this context and from the collections of both museums, this artistic partnership aims at highlighting a contemporary creation that reflects today’s world as well as tackling these issues from the point of view of the many artists who have explored the theme of hospitality over the last years. The exhibition will provide a platform for artists to share their analyses, critics and feelings toward national fold, behaviors of rejection and revolt. These artistic testimonies will help us think these questions through and look at ourselves yet without any moralistic judgment. Through this unique and engaged partnership project, the Musée national de l’histoire de l’immigration and the MAC VAL look to raise awareness, foster reflection and debate, and call our certitudes into question. Although central, the issues related to migratory flows do not cross out other neglected –and little known- forms of hospitality toward helpless and weakened populations. The exhibition will bring forth proposals around community life, care for others, the necessity of nursing homes, public health-care and hospitality centers held in a spirit of attentiveness, kindness and sharing we should rehabilitate. Under the eyes of philosophers Fabienne Brugère and Guillaume Le Blanc, authors of La fin de l’hospitalité, this two-fold exhibition will be complemented by a cultural programming: Welcome! at the Musée national de l’histoire de l’immigration (6 October-11 November 2018) and Attention fragile at the MAC VAL (30 November, 1 and 2 December 2018). Persona grataGroup exhibition with Dan Stockholm, Anri Sala et. al. Musée national de l’histoire de l’immigration 293, avenue Daumesnil 75012 Paris 16 October 2018 – 20 January 2019 Co-curated by Anne-Laure Flacelière, MAC VAL collection Study and Development Officer and Isabelle Renard, Collections and Exhibitions Director at the Musée national de l’histoire de l’immigration With works by Bertille Bak, Dominique Blais, Alina Bliumis, Jeff Bliumis, Halida Boughriet, Kyungwoo Chun, Philippe Cognée, Pascale Consigny, Hamid Debarrah, Latifa Echakhch, Eléonore False, Claire Fontaine, Laura Henno, Pierre Huyghe, Bertrand Lamarche, Xie Lei, Lahouari Mohammed Bakir, Moataz Nasr, Eva Nielsen, Gina Pane, Laure Prouvost, Enrique Ramirez, Judit Reigl, Anri Sala, Sarkis, Zineb Sedira, Bruno Serralongue, Chiharu Shiota, Société Réaliste, Dan Stockholm, Barthélémy Toguo… MAC VAL – Musée d’art contemporain du Val-de-Marne Place de la Libération 94400 Vitry-sur-Seine 16 October 2018 – 24 February 2019 Curated by Ingrid Jurzak, MAC VAL Collection Study and Management Officer With works by Eduardo Arroyo, Kader Attia, Marcos Avila Forero, Laëtitia Badaut Haussmann, Bertille Bak, Richard Baquié, Taysir Batniji, Ben, Bruno Boudjelal, David Brognon & Stéphanie Rollin, Mark Brusse, Pierre Buraglio, Mircea Cantor, Étienne Chambaud, Kyungwoo Chun, Clément Cogitore, Philippe Cognée, Delphine Coindet, Matali Crasset, Julien Discrit, Thierry Fontaine, Jochen Gerz, Ghazel, Marie-Ange Guilleminot, Mona Hatoum, Eric Hattan, Laura Henno, Pierre Huyghe, Emily Jacir, Yeondoo Jung, Bouchra Khalili, Kimsooja, Claude Lévêque, M/M, Lahouari Mohammed Bakir, Jean-Christophe Norman, Lucy Orta, Bernard Pagès, Philippe Parreno, Yan Pei-Ming, Cécile Paris, Mathieu Pernot, Jacqueline Salmon, Bruno Serralongue, Esther Shalev-Gerz, Société Réaliste, Djamel Tatah, Barthélémy Toguo, Patrick Tosani, Sabine Weiss… Welcome ! Festival 6 October – 11 November 2018 Programming: Stéphane Malfettes The Musée national de l’histoire de l’immigration and the MAC VAL – Musée d’art contemporain du Val-de-Marne are collaborating to present a project questioning the notion of hospitality through the prism of contemporary creation. Together, the two institutions- a social museum that value contemporary creation and a contemporary art museum that tackles social issues- are happy to present Persona grata, an exhibition organized over the two locations with a rich cultural programming: an occasion for artists to explore all the dimensions of what constitutes or corrodes the notions of hospitality and alterity through their own vision and sensitivity. The acceleration of migratory flows and the growing place these issues occupy in the public debate increasingly question the foundations of our societies. On one hand, camps and walls mushroom and confirm the irreversible setback of our hospitality duty, while on the other, citizen involvement grows to help, support and welcome migrants. Is the answer of today’s harsh society to bring emergency assistance rather than implement long-term and effective hospitality policies? In this context and from the collections of both museums, this artistic partnership aims at highlighting a contemporary creation that reflects today’s world as well as tackling these issues from the point of view of the many artists who have explored the theme of hospitality over the last years. The exhibition will provide a platform for artists to share their analyses, critics and feelings toward national fold, behaviors of rejection and revolt. These artistic testimonies will help us think these questions through and look at ourselves yet without any moralistic judgment. Through this unique and engaged partnership project, the Musée national de l’histoire de l’immigration and the MAC VAL look to raise awareness, foster reflection and debate, and call our certitudes into question. Although central, the issues related to migratory flows do not cross out other neglected –and little known- forms of hospitality toward helpless and weakened populations. The exhibition will bring forth proposals around community life, care for others, the necessity of nursing homes, public health-care and hospitality centers held in a spirit of attentiveness, kindness and sharing we should rehabilitate. Under the eyes of philosophers Fabienne Brugère and Guillaume Le Blanc, authors of La fin de l’hospitalité, this two-fold exhibition will be complemented by a cultural programming: Welcome! at the Musée national de l’histoire de l’immigration (6 October-11 November 2018) and Attention fragile at the MAC VAL (30 November, 1 and 2 December 2018).

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: As We Used to Float by Julian Charrière

27 September 2018 - 08 April 2019 / Nows ⟶

Julian Charrière: As We Used To FloatSolo Exhibition Opening: 26 September 2018, 7 pm Berlinische Galerie Alte Jakobstraße 124-128 10969 Berlin As the recipient of the GASAG Art Prize 2018, Julian Charrière will create a multimedia spatial installation for the Berlinische Galerie that takes visitors underwater in the Pacific Ocean. Seventy years after the United States began testing thermonuclear weapons at Bikini Atoll, the artist set off on an expedition to an area rendered permanently uninhabitable for human life as a result of the environmental contamination. As we used to float is a physical, three-dimensional experience that reveals the legacy of those atomic tests both above and below sea level. These unintentional monuments symbolise the interaction between anthropogenic and natural transformations. For Julian Charrière, they also mark the point in history when humans became one of the biggest factors influencing biological, geological and atmospheric processes on Earth. Julian Charrière was born in Morges in French-speaking Switzerland in 1987. He began studying art in Switzerland in 2006, and in 2007 transferred to the University of the Arts in Berlin, where he finished his studies in 2013 under Olafur Eliasson at the Institut für Raumexperimente. His work has been shown in many countries, including at the main exhibition of the Venice Biennale in 2017. This event at the Berlinische Galerie will be his first solo show at an institution in Berlin. Opening party: video performance and record release of An Invitation To Disappear by Julian Charrière & Inland Berghain 26 September 2018, 11 pm Am Wriezener Bahnhof 10243 Berlin Julian Charrière: As We Used To FloatSolo Exhibition Eröffnung: 26. September 2018, 19:00 Berlinische Galerie Alte Jakobstraße 124-128 10969 Berlin Im Rahmen des GASAG Kunstpreises 2018 zeigt Julian Charrière in der Berlinischen Galerie eine multimediale Rauminstallation, die das Publikum unter die Wasseroberfläche des Pazifischen Ozeans führt. 70 Jahre nach den ersten US-amerikanischen Kernwaffentests auf dem Bikini-Atoll hat sich der Künstler auf Expedition in ein geographisches Gebiet begeben, das durch die verursachten Umweltschäden für den Menschen dauerhaft unbewohnbar gemacht wurde. “As We Used to Float” zeigt die Hinterlassenschaften der Bombentests oberhalb wie unterhalb des Meeresspiegels und macht sie als Raumerfahrung physisch erlebbar. Als ungewollte Denkmäler stehen sie für das Spannungsverhältnis zwischen menschengemachten und natürlichen Transformationsprozessen. Für Julian Charrière markieren sie zugleich den Zeitpunkt, an dem der Mensch zu einem der wichtigsten Einflussfaktoren für die biologischen, geologischen und atmosphärischen Prozesse auf der Erde geworden ist. Julian Charrière ist 1987 in Morges in der französischen Schweiz geboren. 2006 begann er ein Kunststudium in der Schweiz und wechselte 2007 an die Universität der Künste Berlin, wo er 2013 sein Studium bei Olafur Eliasson am Institut für Raumexperimente abschloss. Seine Arbeiten waren bereits in zahlreichen internationalen Ausstellungen vertreten, unter anderem 2017 in der Hauptausstellung der Biennale in Venedig. Die Ausstellung in der Berlinischen Galerie ist seine erste institutionelle Einzelausstellung in Berlin. Opening Party: Video Performance und Record Release An Invitation To Disappear von Julian Charrière & Inland Berghain 26 September 2018, 23:00 Am Wriezener Bahnhof 10243 Berlin

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: SPACE IS THE PLACE (1/4): Thresholds. Limits of Space

14 September - 09 December 2018 / Nows ⟶

SPACE IS THE PLACE (1/4): Thresholds. Limits of SpaceGroup exhibition with Bruce Nauman, Andrea Fraser, Jeewi Lee, Raul Walch, Wermke / Leinkauf Opening Thursday, 13 September 2018, 7 pm BNKR – current reflections on art and architecture Ungererstraße 158 80805 München Under the title SPACE IS THE PLACE the upcoming BNKR-exhibition cycle 2018-2019 conceived by Berlin-based curator Lukas Feireiss is dedicated to the artistic exploration of space. Through a numerous events, solo and group exhibitions as well as an international symposium, SPACE IS THE PLACE investigates the experience, imagination and design of space in theory and practice together with artists, architects, musicians and dancers but also philosophers and scientists. The upcoming exhibition cycle SPACE IS THE PLACE starts with the group exhibition Thresholds. Limits of Space. Based on Bruce Nauman’s seminal work Body Pressure (1974) which provides a set of typed out instructions for merging their bodies with an architectural surface, the exhibition explores the corporal-spatial unit of critically experiencing space through the works of different generations of artists. In her ingenious single channel video performance entitled Little Frank and His Carp (2001), the American artist Andrea Fraser is for example seen walking around the atrium of the Guggenheim Museum Bilbao listening to the institution’s official audio guide, which culminates in an almost erotic encounter between the artist and the architecture. In a newly conceived site-specific work Korean-artist Jeewi Lee makes the invisible visible in the exhibition space, whilst German artist duo Wermke / Leinkauf investigate the surmounting of architectures in Berlin’s former border area in a mixed-media installation and Berlin-based artist Raul Walch transforms city hydrants in the surrounding urban environment into ephemeral fountains. Participating artists Bruce Nauman (1941) is widely regarded as among the most important living American artists and as a catalyst for the recent shift in international artistic practice toward conceptual and performative uses of language and the body. His practice spans a broad range of media including sculpture, photography, neon, video, drawing, printmaking and performance. Andrea Fraser (1965) is a performance artist, mainly known for her work in the area of institutional critique. Fraser is based in New York and Los Angeles and is currently a new genres professor of the Art Department faculty at the University of California, Los Angeles. Jeewi Lee (1987) works with performative and daily occurrences in her site-specific room installations, actions and image series, which come into view as traces and serve Lee as painterly element. For Lee traces concurrently indicate movement (in urban as well as in exhibition spaces) as well as the reflection of the production process itself. In her work Lee looks into and highlights social and historical events that have been burnt into various materials. Wermke / Leinkauf The Berlin based artist duo consisting of Matthias Wermke (1978) and Mischa Leinkauf (1977) works on actions, performances and installations dealing with the hidden possibilities of a city. Using artistic strategies they create temporary irritations, that allow new perspectives on everyday situations. They explore the boundaries of the public sphere to question common standards and constraints. They “open” the city by using not only their bodies but the material and the tools of urban spaces. Moreover, their works often relate to the Genius Loci and the history of a space. Raul Walch (1980) crosses the boundaries of artistic genres in his broad and inventive practise. He works as a sculptor and conceptual artist but also slips easily into the roll of an investigator or becomes part of a performance. His focus is on creating an unconventional approach to social reality, often unexpectedly including observers in the process. Walch’s playful works and actions are not limited to questioning or participation. Instead, he creates ephemeral and largely site-specific interventions that respond to different environments around the world. Curator Lukas Feireiss (1977) works as curator, writer and art director in the international mediation of contemporary cultural reflexivity beyond disciplinary boundaries. He is author and editor of numerous books and curator of manifold exhibitions in the field of art, architecture, design and theory. He has lectured and taught at various universities worldwide, and is head of the new Master of Fine Art and Design Program Radical Cut-Up at Sandberg Instituut, Amsterdam. SPACE IS THE PLACE (1/4): Thresholds. Limits of SpaceGroup exhibition with Bruce Nauman, Andrea Fraser, Jeewi Lee, Raul Walch, Wermke / Leinkauf Eröffnung Donnerstag, 13. September 2018, 19 Uhr BNKR – current reflections on art and architecture Ungererstraße 158 80805 München BNKR, Plattform für Reflektionen in Kunst und Architektur, geht im Herbst in den neuen Ausstellungsturnus. Der Kurator, Künstler und Autor Lukas Feireiss widmet sich 2018/2019 unter dem Titel SPACE IS THE PLACE der künstlerischen Wahrnehmung von Raum. Gemeinsam mit Künstlern, Architekten, Musikern und Tänzern aber auch Philosophen und Wissenschaftlern wird in Form von zahlreichen Veranstaltungen, Einzel- und Gruppenausstellungen sowie einem internationalen Symposium die leiblich-räumliche Einheit des Erlebens, Imaginierens und Gestaltens von Raum erforscht. Gemein ist den unterschiedlichen Positionen ein vieldimensionaler Zugang zum Raum, welcher die Sinne und Empfindungen der BesucherInnen ganz direkt ansprechen, hinterfragen und herausfordern wird. Unter Berücksichtigung theoretisch wie praktisch fundierter Disziplinen erfolgt dabei eine Art künstlerischer Spurensicherung durch welche sich der Raum als Gegenstand der Untersuchung auf vielfältige Weise erschließt. SPACE IS THE PLACE wird durch die Gruppenausstellung Thresholds. Limits of Space eingeleitet. Ausgehend von der Arbeit Body Pressure (1974) des amerikanischen Konzeptkünstlers Bruce Nauman, welche aus einer Handlungsanweisung zur leiblich-räumlichen Erforschung des Ausstellungsortes besteht, präsentiert die Ausstellung unterschiedliche, körperliche Aneignungs- und räumliche Grenzüberschreitungspraktiken von Architektur und gebauter Umwelt in der zeitgenössischen Kunst. Die mit versteckter Kamera im Guggenheim-Museum in Bilbao gedrehte Videoperformance Little Frank and His Carp (2001) von Andrea Fraser kulminiert in einer geradezu erotischen Begegnung mit der Architektur. So entwickelt Jeewi Lee, deren Arbeiten sich immer wieder durch das Sichtbarmachen von unbeachteten Spuren in Räumen auszeichnen, eine neue, ortsspezifische Arbeit in den Räumen des BNKR. Wermke / Leinkaufwidmen sich mit ihrer Arbeit Überwindungsübungen, dem körperlichen Bezwingen von Architekturen im einstigen Berliner Grenzgebiet, während Raul Walch mit Eureka städtische Hydranten zu Wasserfontänen umfunktioniert und damit die Auseinandersetzung in den umliegenden Stadtraum führt. Teilnehmende Künstler Bruce Nauman (1941) zählt zu den bedeutendsten amerikanischen Künstlern der Gegenwart. Seit Mitte der 1960er Jahre arbeitet er mit unterschiedlichen Medien; sein umfangreiches Œuvre umfasst Skulpturen, Filme und Videos, Fotografien, Neonarbeiten, Grafiken, Installationen und Spracharbeiten. Immer wieder beschäftigt er sich dabei mit Fragen der menschlichen Sinneswahrnehmung und konfrontiert den Betrachter oft mit irritierenden bis schockierenden Erfahrungen. Andrea Fraser (1965) ist eine amerikanische Künstlerin, die sich vor allem mit Institutionen kritisch auseinandersetzt. In ihrer künstlerischen Praxis arbeitet sie in den Bereichen Performance und Installation. Sie ist Professorin an der University of California, Los Angeles. Jeewi Lee (1987) arbeitet in ihren ortsspezifischen Rauminstallationen, Aktionen und Bildserien mit performativen oder alltäglichen Ereignissen, die im Werk nur als Spur sichtbar werden und ihr als malerisches Element dienen. Die Spur zeugt von Bewegungen (in urbanen Räumen wie in Ausstellungsräumen) und reflektiert zugleich ihren eigenen Produktionsprozess. Ihre Arbeiten machen soziale und historische Ereignisse sichtbar, die sich in unterschiedlichste Materialien eingebrannt haben. Wermke / Leinkauf Das Künstlerduo Matthias Wermke (1978) und Mischa Leinkauf (1977) schaffen Bilder und Vorstellungswelten, die städtische Räume, deren Bedeutung und Nutzungsmöglichkeiten, überhaupt erst sichtbar machen. In prozessorientierten Interventionen loten sie Grenzen aus und stellen gängige Verhaltensweisen in Frage. Sie erweitern den künstlerischen Handlungsspielraum hinein in einen zeitgenössischen, urbanen Raum und verweisen immer auch auf historische und kulturelle Kontexte um einen gesellschaftlichen Diskurs anzuregen. Meist entstehen Videoinstallationen die weltweit auf Filmfestivals, Museen, Galerien und Ausstellungshäusern gezeigt werden. Raul Walch (1980) überschreitet in seiner künstlerischen Praxis die Grenzen gängiger Kunst-Genres. Er arbeitet als Bildhauer und Konzeptkünstler, schlüpft in seinen Arbeiten aber ebenso natürlich in die Rolle des Performers oder Forschers. Im Mittelpunkt steht immer eine unkonventionelle, künstlerische Auseinandersetzung mit gesellschaftlicher Realität und nicht selten werden die Beobachter selbst zum Teil einer Performance. Die spielerischen Arbeiten und Aktionen von Walch beschränken sich also nicht auf forschende Neugier oder teilnehmendes Beobachten, sondern sind oft ephemere und vor allem ortsspezifische Interventionen, die an den unterschiedlichsten Orten der Welt auf ihr Umfeld eingehen. Kurator Lukas Feireiss (1977) arbeitet als Kurator, Künstler und Autor in der internationalen Vermittlung von Kunst, Kultur und zeitgenössischer Reflexivität jenseits disziplinärer Grenzen. Er ist Herausgeber und Kurator zahlreicher Bücher und Ausstellungen im Bereich Kunst, Design und Architektur. Lehrbeauftragter an verschiedenen Universitäten im In- und Ausland und Leiter des Masterstudiengangs Radical Cut-Up am Sandberg Instituut, Amsterdam.

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: 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 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 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: 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: 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: 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: 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: #30-called Zeitschrift Release Party

27 May 2017 / Nows ⟶

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 An

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