NOWs: AGORA ARTES

29 April - 14 May 2017 / Nows

Robel Temesgen: Another Old News, 2017

JUNGE AKADEMIE: AGORA ARTES / Interplay of the Arts

at
Akademie der Künste
Hanseatenweg 10, (Halle 3)
10557 Berlin-Tiergarten

JUNGE AKADEMIE (YOUNG ACADEMY) brings together 25 international artists from all areas in a series of diverse dialogues. The Programme Night on 29 April 2017 marks the start of AGORA ARTES, the presentation of works by last year’s Akademie Fellows. The AGORA ARTES / Interplay of the Arts exhibition is shown in a two-week hall installation at Hanseatenweg until mid-May. In video, sound and room installations, María Korol and Robel Temesgen (Visual Arts), Martina Schlusnus (Architecture), Elena Rykova and Niklas Seidl (Music), Kaan Koç and Sergey Lebedev (Literature), Jason Danino Holt and Rima Pipoyan (Performing Arts), Elena Zieser and Rafael Jové (Film and Media Arts) as well as Paulette Penje (Saarland Fellowship) present the results of their teamwork.

In addition to solo works in this year’s final presentations by artist fellows from all the sections of the Akademie der Künste, the JUNGE AKADEMIE is once again showing numerous new productions developed on the basis of collaborative teamwork between the arts. These include transdisciplinary experimental set-ups and also stimulating “laboratory” situations, in which something new can be delved into and explored. Such works are first able to effectively unfold in dialogue between differing views on art. The artists often actively involve their audiences, frequently leading to unexpected perceptions, thoughts and innovations that can open our senses to the unconventional, to surprising perspectives, and to unexpected approaches to finding solutions.

NOWs: Faulenzer by Nina Schuiki

05 May 2017 / Nows ⟶

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

NOWs: Isolation by Fabian Knecht

28 April - 20 June 2017 / Nows ⟶

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

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