01. – 03.05.2015

Over the last decade, the perception of the gallery space has developed and changed: exhibition space and architecture increasingly merge into an integrated concept for the perception of art. The transformation of the gallery space takes a central role during this year's Gallery Weekend Berlin, where highly diverse gallery spaces serve primarily to present works of art but also as settings for interaction between gallerists, artists, collectors and enthusiasts. For its eleventh edition, Gallery Weekend Berlin plays host to 47 participating galleries featuring contemporary works by established artists, as well as promising newcomers. Highlighting the important art metropolis that is Berlin, the participating galleries open their doors to a multifaceted art scene, showcasing the numerous internationally exhibiting artists who live and work there.

Photos (from top): absolut art award, Museu do Homem Diagonal / Museum of the Diagonal Man, 2014 (detail), Rio de Janeiro, BR, © Renata Lucas, courtesy of the artist and neugerriemschneider; Daniel Steegmann Mangrané Kiti Ka’aeté, 2011, © Aurélien Mole, courtesy of the artist and Esther Schipper, Berlin; untitled, Erik van Lieshout, courtesy of the artist and Galerie Guido W. Baudach; Metamorphosis 4, 1999–2009, Inge Bjørlo, courtesy of Gerhardsen Gerner, Berlin; Approximation, Mario Pfeifer, courtesy of KOW.

Gallery Weekend
01.05. – 10.07.2015
Andreas Murkudis Berlin

Highlighting the work of artist and goldsmith Georg Hornemann, Studio Universale features 40 pieces, including organic inspired ring sculptures, filigree earrings and necklaces with amber and jade, small art chamber objects and pieces from artist collaborations. Three showcases, made especially for the exhibition, are designed like cabinets of curiosity and what Hornemann calls a modern "Wunderkammer," giving insight into the world of the artists inspirations, which include motives from nature, fairy tales, fables, art and architecture. Drawing, painting, molding, manufacturing and casting models from wax, Hornemann approaches his creations in various ways, which he realises using gems, gold, silver, platinum, bronze and iron, as well as unusual materials like corian and acrylic. His references vary from prehistorical models and antiques of European periods from Art Nouveau to Art Deco, as well as East Asian Art – inspirations which he eventually converts into contemporary objects.

Photo: Kirschblutenring, Georg Hornemann

Andreas Murkudis, Georg Hornemann
18.04. – 31.05.2015
Schinkel Pavillon

Neïl Beloufa's work Superlatives and Resolution, People Passion, Movement and Life is a kinetic sculpture that integrates and refracts a fragmented video onto its moving panels. As the sculpture expands and contracts along its steel tracks within the octagonal space of the Schinkel Pavillon, the video unfolds a narrative that travels across a series of staged interviews. The interviewees, everyday people of youth and health, exalt an unnamed city by describing its merits, such as the different kinds of natural waters that offer the ideal alchemy for recreational sports. The interviews outline a sort of 21st century mythology of a utopia with an ideal work-life balance structured around power naps. Including a dislocated Nico singing about All Tomorrow's Parties in the background.

Photos: Neïl Beloufa, Superlatives and Resolution, People Passion, Movement and Life, 2014, courtesy of the artist and Taipei Fine Arts Museum

Schinkel Pavillon
18.04. – 31.05.2015
Schinkel Pavillon

Gretchen Bender's Total Recall assembles twenty-four stacked TV monitors and three projection screens that blast out an eighteen-minute performance of moving images. Footage sourced from television and movies is edited to a rapid beat alongside a montage of TV commercials for consumer recording devices, played forward, in reverse and in slow motion, in which General Electric machines are presented to be at the heart of feigned familial intimacy. Abstract computer graphics - state-of-the art programming for the time - pulsate through the installation. Animated and morphing corporate logos, movie titles in all caps and Helvetica font, and the black void of intermittently inactive displays form the body of what Bender described as "electronic theatre." For the electronic soundtrack of Total Recall Bender commissioned the New York-based musician Stuart Argabright. The computer graphics were programmed in collaboration with Amber Denker, who had also co-designed the revolutionary digital animations for "Music Non Stop" by Kraftwerk.

Photo: Gretchen Bender, Total Recall, 1987 © David Lambert and Rod Tidnam, Tate Photography

Schinkel Pavillon
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