NOWs: Book Release by Das Numen

13. Mai 2016 / Dialog, Nows

Das Numen, Berlin-based artists’ collective of Julian Charrière, Andreas Greiner, Markus Hoffmann, and Felix Kiessling, introduces its first mono-graphic publication by the same name, ‚Das Numen‘. The book includes recent and previous projects and a associative reflection on these by Melanie Franke, Carson Chan, Paul Feigelfeld and Otto E. Roessler. The reader is taken on a journey through interlocking references and his own individual experience.

The release is accompanied by a reading performance that will take place in the DAZ. ‚The Numen Chorus‘ de- and reconstructs the different text layers of the publication with a distinctive noise. The result is a tangible sound experience created by four overlaying reading voices. Readings by: Paul Feigelfeld, Lucas Töpfer, Melanie Franke, Toni Jessen and Anja Schwanhäußer.
A bar will offer local cocktails and a hub for the visitors to discuss both the publication and the ideas behind ‚Das Numen‘. The launch will be celebrated with specially transformed cocktails made with purified, site-specific water that has been sourced from the Spree river.

The evening will be held in German and English.

Meet Das Numen at Deutsches Architektur Zentrum DAZ, Friday, May 13, 2016, 7 p.m.

Vorheriger Eintrag

NOWs: Time Lost by Timea Anita Oravecz

14. Mai - 21. August 2016 / Nows ⟶

NOWs: Timea Anita Oravecz, Installationview: Windless, Variations for the Eu Flag Nr.2., 2016 and Welcome to EU, 2016 Timea Anita Oravecz, Detail: Windless, Variations for the Eu Flag Nr.2., 2016 Timea Anita Oravecz, Installationview: Windless, Variations for the Eu Flag Nr.1., 2016 Timea Anita Oravecz relates contemporary narratives of social and professional mobility from the periphery to the center(s). Her work and stories embedded in those unfold in the various cities of the allegedly borderless European Union. Her most recent works Welcome to EU, 2016 and Variations for the EU Flag Nr.2., 2016 reflecting the ambivilance of EU’s representation and symbols are on view at OKK – Organ kritischer Kunst from 29 April to 1 May 2016. Works from her Time Lost (Series), 2015-2017, present a personal approach looking at the experience of travel and crossing borders from the artists perspective and background: „In the pieces, the artist foregrounds some salient aspects of her personal and artistic identity: her Central European origin is exposed in some works – like in the Time Lost (Series) –, while several other projects explicitly narrate her history of itinerancy from the perspective of her working-class background. (…) Taking the shape of embroideries, Time Lost (Series), 2015-2017, presents the administrative documents for which the artist had to apply during the nine years she spent travelling in a presumably borderless and united Europe as an art student and scholarship holder from Central Europe. Oravecz tried to meet the bureaucratic requirements as best as she could. Accordingly, she embroidered every letter, code, stamp and signature on the „forms“, even though the task proved time-consuming, senseless and, due to the countless details, simply impossible – not to mention that she occasionally hurt herself with the needle,“ writes Beata Hock. Timea Anita Oravecz presents a selection of works from the Time Lost (Series) in the context of the exhibition The Travellers at Zachęta – National Gallery of Art in Warsaw from 14 May to 21 August 2016. By looking at the experience of voyage and migration in the art of Central and Eastern Europe, the exhibition sheds light on the contemporary identity of the region. Timea Anita Oravecz: Time Lost Nr III (Series), 2008, hand embroidery on fabric Timea Anita Oravecz: Time Lost Nr II (Series), 2008, hand embroidery on fabric Timea Anita Oravecz: Time Lost Nr IV (Series), 2015, hand embroidery on fabric NOWs: Timea Anita Oravecz, Installationview: Windless, Variations for the Eu Flag Nr.2., 2016 and Welcome to EU, 2016 Timea Anita Oravecz, Detail: Windless, Variations for the Eu Flag Nr.2., 2016 Timea Anita Oravecz, Installationview: Windless, Variations for the Eu Flag Nr.1., 2016 Timea Anita Oravecz relates contemporary narratives of social and professional mobility from the periphery to the center(s). Her work and stories embedded in those unfold in the various cities of the allegedly borderless European Union. Her most recent works Welcome to EU, 2016 and Variations for the EU Flag Nr.2., 2016 reflecting the ambivilance of EU’s representation and symbols are on view at OKK – Organ kritischer Kunst from 29 April to 1 May 2016. Works from her Time Lost (Series), 2015-2017, present a personal approach looking at the experience of travel and crossing borders from the artists perspective and background: „In the pieces, the artist foregrounds some salient aspects of her personal and artistic identity: her Central European origin is exposed in some works – like in the Time Lost (Series) –, while several other projects explicitly narrate her history of itinerancy from the perspective of her working-class background. (…) Taking the shape of embroideries, Time Lost (Series), 2015-2017, presents the administrative documents for which the artist had to apply during the nine years she spent travelling in a presumably borderless and united Europe as an art student and scholarship holder from Central Europe. Oravecz tried to meet the bureaucratic requirements as best as she could. Accordingly, she embroidered every letter, code, stamp and signature on the „forms“, even though the task proved time-consuming, senseless and, due to the countless details, simply impossible – not to mention that she occasionally hurt herself with the needle,“ writes Beata Hock. Timea Anita Oravecz presents a selection of works from the Time Lost (Series) in the context of the exhibition The Travellers at Zachęta – National Gallery of Art in Warsaw from 14 May to 21 August 2016. By looking at the experience of voyage and migration in the art of Central and Eastern Europe, the exhibition sheds light on the contemporary identity of the region. Timea Anita Oravecz: Time Lost Nr III (Series), 2008, hand embroidery on fabric Timea Anita Oravecz: Time Lost Nr II (Series), 2008, hand embroidery on fabric Timea Anita Oravecz: Time Lost Nr IV (Series), 2015, hand embroidery on fabric

Nächster Eintrag

NOWs: Into the Hollow by Julian Charrière

29. April - 25. Juni 2016 / Nows ⟶

NOWs: Julian Charriere, Metamorphism XIV, 2016 © Julian Charriere, VG Bild-Kunst, Bonn For his exhibition “Into the Hollow”, Julian Charrière transforms the space at gallery Dittrich & Schlechtriem into a cabinet of geological curiosities from a possible post-digital era. Selected pieces of manipulated molten rock are displayed in vitrines like topological fragments in a natural history museum from a time yet to come. The presented objects are hybrids of congealed magma. Charrière has melted, transmuted and amalgamated current technological gadgets (smartphones, notebooks, hard drives etc.), including their stored memory, within molten rock. The minerals used for those technical devices are excavated at different locations around the world, then shipped to countries like India, China or the United States to be assembled into technological devices, a process that may be considered a cultural crystallization of a globalized production scheme. Materials sourced from various geographies are brought together in physical objects by which we are all digitally connected. When these become outdated they are sent to e-waste sites, where they are handpicked and separated in order to fuel more technology, thus re-entering the circulation process. Julian Charrière interrupts this recycling flow by prematurely transmuting these delicate devices. Through this forcible intervention, he initiates a geo-artistic reflection on our digital consumer culture, a ‘geo-reset’: back to the future. A full exhibition catalog including a text by Paul Feigelfeld will be published and available through the gallery. An interview with Julian Charrière on „Fossiling the Future“ by Penny Victoria Rafferty is featured in sleek magazine. „Into the Hollow“ is on display at Dittrich & Schlechtriem from 29 April until 25 June 2016. Julian Charriere, Metamorphism XVII (Detail), 2016, © Julian Charriere, VG Bild-Kunst, Bonn; Courtesy Dittrich & Schlechtriem, Berlin; photo Hans-Georg Gaul Julian Charriere, Metamorphism XIX (Detail), 2016, © Julian Charriere, VG Bild-Kunst, Bonn; Courtesy Dittrich & Schlechtriem, Berlin; photo Hans-Georg Gaul Julian Charriere, Installlationview Into the Hollow at Dittrich & Schlechtriem, 2016, © Julian Charriere, VG Bild-Kunst, Bonn; Courtesy Dittrich & Schlechtriem, Berlin; photo Hans-Georg Gaul Julian Charriere, Installationview: Into the Hollow at Dittrich & Schlechtriem, 2016, © Julian Charriere, VG Bild-Kunst, Bonn; Courtesy Dittrich & Schlechtriem, Berlin; photo Hans-Georg Gaul NOWS: Julian Charriere, Metamorphism XIV, 2016 © Julian Charriere, VG Bild-Kunst, Bonn Für seine seine Ausstellung „Into the Hollow“ hat Julian Charrière die Räumlichkeiten der Galerie Dittrich & Schlechtriem in ein geologisches Kuriositätenkabinett aus einer möglichen postdigitalen Ära verwandeln. Die Installation zeigt ausgewählte und bearbeitete Stücke geschmolzenen Gesteins in Glaskästen wie topologische Fragmente in einem Museum für Naturgeschichte der fernen Zukunft. Die ausgestellten Objekte sind Hybride aus erstarrtem Magma. Charrière hat sie aufgeschmolzen und umgewandelt und dabei technische Apparate von heute (Smartphones, Notebooks, Festplatten usw.) mitsamt den auf ihnen gespeicherten Daten in das flüssige Gestein eingebettet. Die seltene Erden, die in solche technischen Geräte verarbeitet sind, werden an verschiedenen Orten rund um den Erdball abgebaut und dann in Länder wie Indien, China oder die Vereinigten Staaten transportiert, um dort zu technischen Geräten zusammengesetzt zu werden; in diesem Vorgang nimmt ein globales Ensemble von Produktionsprozessen gewissermaßen kulturelle Gestalt an. Materialien, die den verschiedensten geografischen Zusammenhängen entstammen, verbinden sich zu physischen Objekten, die uns alle digital miteinander verknüpfen. Wenn diese veralten, landen sie auf Elektroschrotthalden, wo sie von Hand sortiert und getrennt werden, um neuen Technologien als Nahrung zu dienen und so in den Zirkulationsprozess zurückzukehren. Julian Charrière unterbricht den Recyclingkreislauf, indem er die empfindlichen Geräte vor der Zeit in etwas ganz anderes verwandelt. Mit diesem gewaltsamen Eingriff stößt er eine geo-künstlerische Reflexion auf unsere digitale Konsumkultur, ein ‚Geo-Reset‘ an: Zurück in die Zukunft. Ein umfangreicher Katalog mit einem Essay von Paul Feigelfeld ist über Galerie erhältlich. Ein aktuelles Interview mit Julian Charrière über „Fossiling the Future“ von Penny Victoria Rafferty veröffentlicht sleek magazine. „Into the Hollow“ ist vom 29. April bis 25. Juni 2016 in der Galerie Dittrich & Schlechtriem zusehen. Julian Charriere, Metamorphism XVII (Detail), 2016, © Julian Charriere, VG Bild-Kunst, Bonn; Courtesy Dittrich & Schlechtriem, Berlin; photo Hans-Georg Gaul Julian Charriere, Metamorphism XIX (Detail), 2016, © Julian Charriere, VG Bild-Kunst, Bonn; Courtesy Dittrich & Schlechtriem, Berlin; photo Hans-Georg Gaul Julian Charriere, Installationview: Into the Hollow at Dittrich & Schlechtriem, 2016, © Julian Charriere, VG Bild-Kunst, Bonn; Courtesy Dittrich & Schlechtriem, Berlin; photo Hans-Georg Gaul Julian Charriere, Installationview: Into the Hollow at Dittrich & Schlechtriem, 2016, © Julian Charriere, VG Bild-Kunst, Bonn; Courtesy Dittrich & Schlechtriem, Berlin; photo Hans-Georg Gaul

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NOWs: Book Release by Das Numen

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