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

28 April 2018 / 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

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“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.

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‘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.

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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.
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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: 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: 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.

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

Re-Imagining Berlin

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