NOWs: Seven Exhibitions at Brandenburgischer Kunstverein

25. März - 03. Juni 2018 / Nows

Felix Kiessling, Weisses Arsen

Seven Exhibitions

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.

Vorheriger Eintrag

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

30. März - 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)

Nächster Eintrag

NOWs: Habitat by Miriam Jonas und Andreas Greiner

24. März - 06. Mai 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.

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NOWs: Seven Exhibitions at Brandenburgischer Kunstverein

Seven Exhibitions

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