Feature, 04.09.2013

SOU FUJIMOTO – FUTUROSPECTIVE ARCHITECTURE
CCB – Garagem Sul, Lisbon
10.09. – 17.11.2013

SouFujimotoColl

Credits: House N by Sou Fujimoto Architects, Photo: © Iwan Baan |

Constantly shifting relationships between interior and exterior is one of Sou Fujimoto’s intellectual leitmotifs – which can be discovered in his first monographic exhibition in Europe Futurospective Architecture, presented in Lisbon at the architecture gallery Garagem Sul. Originally conceived by the Kunsthalle Bielefeld, the show displays texts, models and photographs documented and commented on by the architect himself, who seeks to offer more than a retrospective of his buildings and architectural work realized thus far, and to think the architecture of the future akin to a forest. In his words Architecture emerges where the flow is intensified.

Sou_Fujimoto_85-1

SOU FUJIMOTO, KUNSTHALLE BIELEFELD, GARAGEM SUL

Feature, 04.09.2013

JEUNES COMMISSAIRES
Institut français / Bureau des Arts plastiques initiates young curators’ program

JEUNES COMMISSAIRES establishes new forms of supporting young curators in France and Germany. The program focuses on aiding in their professional integration and accompanies their first steps into the international art world. Serving as a platform for discourse and experience, JEUNES COMMISSAIRES not only offers opportunities for practical intervention within professional structures but also links between young curators and experts for a direct and long-term exchange. Alongside get-togethers and conferences with different curators and directors from Berlin’s art institutions, the participants will also meet independent, progressive curators and will conduct studio visits. The website www.jeunescommissaires.de not only allows insight in the workshop via photo documentations, but portrays its participants in interviews on their curatorial activities and their expectations on the program.

JeunesCommissaires

INSTITUT FRANCAIS

Feature, 03.09.2013

ALBERT OEHLEN – INTERIEURS
Galerie Max Hetzler
07.09. – 19.10. 2013

AlbertOehlen_01

Credit: Albert Oehlen, / 5, Courtesy: Albert Oehlen & Galerie Max Hetzler, Berlin, Photo: Stefan Rohner

When in 2008 Albert Oehlen was asked why he had recourse to fragments of advertising posters in his new paintings, he answered: “I wanted emotions! At some points, I had to admit to myself that my approach to art was a bit sober. […] At the same time, I’d always wanted to do Pop Art, big, colourful things with immediate appeal.” (Interview by Max Dax, in: Albert Oehlen 1991-2008 Galerie Max Hetzler and Holzwarth Publications, Berlin, 2008). The ‘trashiness’ of the advertisements is now all over the picture. Simultaneously, the compositions are all evocations of interieurs (interiors), playing with shapes and textures of furniture elements, but also with architecture and perspective, as well as with characters’ silhouettes. There is an obvious ambiguity between figuration and abstraction, produced by the contrast between the imagery of the advertisements and the new picture created. These new large-scale works by Albert Oehlen will be presented in the exhibition Interieurs at the gallery’s new space in Bleibtreustraße 45, Berlin-Charlottenburg.

AlbertOehlen_InterieursColl

Credit: Abert Oehlen, / 36, Courtesy: Albert Oehlen & Galerie Max Hetzler, Berlin, Photo: Lothar Schnepf

MAX HETZLER

Feature, 29.08.2013

WE-TRADERS | SWAPPING CRISES FOR CITY
Goethe-Institut Madrid, Lissabon, Toulouse, Torino, Berlin
September 2013 – November 2014

O-Espelho_3

Citizens across Europe are currently taking the initiative to re-appropriate urban space. A group of neighbours transforms wasteland into public space. Garden plot owners open their grounds to unemployed youths to test their small-scale business ideas. Communities are becoming patrons where they were once supplicants. Identified as “We-Traders” they redefine the relation between value, profit and public good and are able to motivate fellow citizens to follow suit. They respond to crisis in several arenas of urban life, be it economic, social or ecological and diffuse the boundaries between buyers and sellers: consumers become co-producers. Through interactive forums, workshops and exhibitions the project connects initiatives by artists, designers, architects and activists from Lisbon, Madrid, Toulouse, Turin and Berlin, where the current crisis manifests different facets from empty coffers and social polarisation to a lack of civic sense as a result of excessive growth.

WeTraders_Coll

 

WE TRADERS

Feature, 20.06.2013

JEREMY SHAW – VARIATION FQ
Schinkel Pavillon
23.06. – 21.07.2013

Jeremy Shaw’s work explores altered states of consciousness and the cultural and scientific practices that aspire to, or attempt to map, transcendental experience. Often involving the documentation of physical and ritualistic activities of subculture, his videos, photographs, and installations offer propositions around the translation of experiences often considered untranslatable. In the exhibition Variation FQ, Jeremy Shaw premieres his latest work – a 16mm film that places the transgender vogue dancer, Leiomy Maldonado, within the aesthetics of Norman McLaren’s 1968 ballet film, “Pas de deux”.

Credit: Jeremy Shaw, Variation FQ, Installation View Schinkel Pavillon, Photo: Nick Ash

Credit: Jeremy Shaw, Variation FQ, Installation View Schinkel Pavillon, Photo: Nick Ash

Variation FQ seduces and confronts the viewer with the beguiling force of Leiomy Maldando’s highly dramatic and evolved voguing performance. Voguing is a primarily black and Latino, gay dance subculture that began in New York in the late 1960’s, and in spite of minor mainstream recognition, remains largely marginalized. Using high contrast black and white, step-and-repeat effects, and an original soundtrack composed by Shaw himself, the film amplifies and extends the unique, cathartic movements the protagonist’s dance, both graceful and violent. Variation FQ is a study of the co-evolution of subculture, gender, dance, and special effects.

JeremyShaw_VariationFQ_SchinkelPavillon_1_5_700_700-2

Credit: Video Stills Variation FQ – Jeremy Shaw

SCHINKEL PAVILLON

Feature, 01.06.2013

WINTER – CENTRAL ASIAN PAVILION
55th International Art Exhibition – La Biennale di Venzia
01.06. – 23.11.2013

WINTER - CENTRAL ASIAN PAVILION_03

Credit: Ikuru Kuwajima, from the series Astana Winter Urbanscapes, 2010-2011

WINTER, the Central Asian Pavilion, unfolds its concept through six artistic positions and discursive statements, staged in the Pavilion by artists from Kazakhstan, Uzbekistan, Tajikistan and Kyrgyzstan. The site-specific installation ‘Breathe Quietly’ by Vyacheslav Akhunov originates in a sketch from 1976 as an unrealised public monument, satirically reflecting the culture of intimidation and state propaganda at the time. By exhibiting this piece today, the artist invites viewers to see the present situation in Uzbekistan, through the lens of the Soviet period. Other works, such as Saodat Ismailova’s double projection video, Zukhra and Aza Shade’s film ‘The Disappearing City’ explores the role of women in contemporary Central Asia, where tradition still plays a major role.

WINTER---CENTRAL-ASIAN-PAVILION_0

Credit: Aza Shade, The Disappearing City, 2011, film still

Ikuru Kuwajima’s photographic series ‘Astana Winter Urbanscapes’ and Kamilla Kurmanbekova & Erlan Tuyakov’s site-specific installation ‘Zhol’, explore the field of architecture, as being subject to appropriation by ideology. Kuwajima documents the recent architectural developments in Astana, while Kurmanbekova & Tuyakov re-interpret the classic yurt into an architectural installation and transitory passage. Sergey Chutkov & Anton Rodin’s collaborative project ‘Letters from Tajikistan’ was made possible through an open call for letters across a broad strata of Tajik society, resulting in a semantic map of Tajik and Central Asian realities. The Pavilion opened to the art world during the preview of the Biennale di Venezia, with the discussion forum ‘Perspectives Beyond Stagnation’, organized in partnership with LIAF (Lofoten International Art Festival). Invited guest speakers, Gopal Balakrishnan and Aaron Schuster addressed issues relating to themes of exhibition, such as the convolutions of capitalism, transgression and constraint.

WINTER_Coll

Credits: Ikuru Kuwajima, from the series “Astana Winter Urbanscapes,” 2010-2011 | Vyacheslav Akhunov, Breath quietly. Courtesy of the artist.

LA BIENNALE DI VENEZIA

Feature, 23.04.2013

GALLERY WEEKEND BERLIN 2013
26. – 28.04.2013

DEU, Deutschland, Germany, Braunschweig, 2013,  Ausstellung Eva Kotatkova "Theatre of Life" im Kunstverein Braunschweig, Copyright photo: Fred Dott, Sept 2013

Credit: Eva Kotatkova (Installation view Kunstverein Braunschweig, courtesy Meyer Riegger)

Discovering art in gallery spaces and gaining insight into the contexts of its production: with some 51 participating galleries, Gallery Weekend Berlin constitutes an exquisite art experience. The range of galleries also offers a panoramic view of an art city which holds special significance within the art world, and which serves as a production place for many internationally acclaimed artists. Hereby it focuses explicitly on the gallery space as a quasi-condensed version of the art world: as the singular place where art making and art market, but also exhibiting and viewing art, coexist so closely together.

GW2013

Credits: Aye Erkmen, tre Colori (courtesy Galerie Barbara Weiss, Berlin) | George Condo, Day and Night (courtesy Sprüth Magers, Berlin London) | Özlem Altin (Courtesy the artist and Circus, Berlin) | Henri Chopin, from a manuscript by Henri Chopin (courtesy Fondazione Morra, Naples and Supportico Lopez, Berlin)

GALLERY WEEKEND BERLIN

Feature, 12.03.2013

CULTURE:CITY
Akademie der Künste, Berlin
15.03. – 26.05.2013

CultureCity_05

Credit: Inner-City Arts, Los Angeles, 2008 – Community centre / art school – Architect: Michael Maltzan Architecture – Photo: Iwan Baan; Centre Georges Pompidou, Paris, 1977

The exhibition Culture:City encourages everyone to think consistently about the future of our cities and takes a critical eye to the relationship between architecture and the social reality of the 21st century, showing the impact of art and culture on cities and architecture. The selection of international examples presented – ranging from spectacular architectural and art projects, via the creative reuse of empty buildings and city areas, through to citizens’ initiatives – opens up a panorama of constructed concretisation of culture thus allowing us not only to take stock of the surroundings but also to evaluate and assess each individual case.

CultureCity_Coll

Credit (from left to right): Architects: Studio Piano & Rogers, architects (Renzo Piano and Richard Rogers) – Courtesy: RPBW, Renzo Piano Building Workshop  |  Detroit SOUP – A monthly dinner funding micro-grants for creative projects in Detroit. – Photo: David Lewinski

Does the social, cultural and architectural rootedness in the city work and does this lead to new forms of cultural production? Or does the construction project merely represent a symbol strong on marketing, yet another island in a city’s public spaces characterised by increasing fragmentation?

The debate thus triggered in the exhibition, curated by Matthias Sauerbruch, is continued in the form of lectures, film screenings, concerts, sound installations and conferences a.o. with Jacques Herzog, Peter Cook, Patrick Bouchain, Peter Eisenman, Selgas Cano Arquitectos a.o. to Berlin.

CultureCity_0

Credit: Filmstill: Modern Times – Director: Cyril Amon Schäublin – Building: SANAA-Gebäude, Standort der Folkwang Universität der Künste – © Cyril Amon Schäublin

CultureCity_01

Credit: Filmstill: After hours – Director: Steffen Köhn – Building: Berghain – © Phillip Kaminiak

CULTURE: CITY, AKADEMIE DER KÜNSTE

Feature, 13.02.2013

KATHARINA GROSSE – TWO YOUNGER WOMEN COME IN AND PULL OUT A TABLE
De Pont Museum of Contemporary Art, Tilburg (NL)
16.02. – 09.06.2013

Grosse_Depont_1

Installation view at De Pont Museum of Contemporary Art, Tilburg (NL)

Two Younger Women Come in and Pull out a Table surveys the multifaceted strand of painting in the artist’s tremendous body of work. A decade of large-scale works on canvas will be on view alongside site-specific interventions in different mediums: voluminous polystyrene objects, textile accumulations, oversized balloons and the walls of the museum are all used as carriers of images.

Grosse_Depont_Coll

Installation views at De Pont Museum of Contemporary Art, Tilburg (NL)

The factory hall of the former wool mills, which forms the kern of the exhibition, is taken up by an extensive, color-intensive installation. Bunches of grapes, made out of large PVC and latex balloons, and measuring four meters in size float under the historical ceiling construction. This gigantic labyrinth corresponds with the towering laminated polystyrene objects that occupy the museum’s entrance hall. The sheer magnitude and structure of these bodies render it impossible to capture the work in its entirety from a singular point of view. Here, seeing necessarily implies movement in space.

Grosse_Depont_6

Credits: Installation view at De Pont Museum of Contemporary Art, Tilburg (NL); Photos: Peter Cox; ©Katharina Grosse + VG Bild-Kunst Bonn, 2013

KATHARINA GROSSE