Project, 17.05.2017

Fragments From Our Beautiful Future
The Bumiller Collection
May 19 – Aug 13, 2017

Refuting the idea of linear time, the 10th-century Arab thinkers of Kalam theorised the radical freedom of every single ‘now’. For the sake of God’s creative freedom, they demanded the dissociation of the present moment from the chains of cause and effect, and their ancient theories of ‘cut-up’ give rise to Fragments From Our Beautiful Future. Contemporary Interventions in The Bumiller Collection #3. The exhibition presents the work of Jerusalem-born Steve Labella and Berlin-based Rebecca Raue in a constellation with ancient chess pieces and Persian mirrors from the Bumiller Collection, dating from the 11th to the 17th century. In his series 38 Days of Re-Collection, Sabella imprints black & white photographs upon colored shards of paint, peeled off the walls of houses in the Old City of Jerusalem. Resembling ancient artifacts, the fifteen fragments present a unique archive of personal and collective memory, of home and displacement. Raue’s Kalila wa Dimna series uses acryl and mixed media to intervene in 18th-century illuminated manuscripts printed on aluminum composite panels. A dense layer of commentary is created on the colourful illustrations, and the artist develops a visual language that draws inspiration from the Lettrist appeal of the underlying Arabic texts. Folie1 Folie2

top work by Steve Sabella / bottom works by Rebecca Raue

Feature, 13.05.2017

Kirstine Roepstorff – Danish Pavilion
Biennale di Venezia 2017

Images by Anders Sune Berg

Images by Anders Sune Berg

 

 

“Darkness dissolves form and is the void out of which all things arise.
Therefore, unlearning can be a positive force of progress.” – Kirstine Roepstorff

Developed by visual artist Kirstine Roepstorff for the Danish Pavilion at La Biennale di Venezia — 57th International Art Exhibition, the project influenza. theatre of glowing darkness challenges viewers to embrace darkness as a positive force of healing, transformation, and empowerment. The exhibition explores the metamorphosis that occurs between the destruction of the known and the embrace of the new. The title influenza contains dual meaning: in Italian it means “to influence,” in English it’s a common viral disease. If flu—as metaphor for the 21st century condition—is spread through social contact, its antidote may also be found in its own logic of person-to-person transmission: each individual’s ability to make affective choices, the grassroots power to influence change. It’s conceived as both symptom and cure. influenza consists of an immersive spatial theatre experience and a structural intervention in the pavilion and surrounding gardens. The large-scale installation uses light projections, glass, sound and a recorded dialogue between three disembodied protagonists: Dark River, Midwife, and Seed, to explore darkness as a condition of reconciliation.

Project, 13.05.2017

Dirk Braeckman – Belgian Pavilion
Biennale di Venezia 2017

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Dirk Braeckman’s photographic works bring stillness to today’s constant flow of images and information. For the 57th International Art Exhibition of La Biennale di Venezia, the Belgian pavilion will be presenting a series of the artist’s monumental photographic prints with a grey-tone palette on baryta paper. Since the 1980s, Braeckman has explored the boundaries of the medium and challenged photographic conventions. Using analogue techniques, he has developed his own visual language that focuses on the act of viewing and reflects on the status of the image. His images show anonymous subjects from his immediate surroundings, evoking entirely open stories. Empty rooms in which time seems to stand still, elements of interchangeable interiors or human figures – all separate from any specific identity, place, time or emotion. Instead of instant gratification, Braeckman might even take years before developing a negative as he wants to approach them in a more distanced manner. Experimentation is crucial for both the registration by the camera and the subsequent processing: the artist essentially creates his images in the darkroom. Over- and underexposure, manipulation and development of the negative and photographic paper consistently result in new and unrepeatable images; grain, spots, cropping and flattening of perspective resist an immediate reading or interpretation of his work. Instead, they only hint at the underlying poetic potential.

Project, 03.05.2017

Swiss Grand Award for Art /
Prix Meret Oppenheim 2017
The laureates

Switzerland’s Federal Office of Culture soon presents the seventeenth Swiss Grand Award for Art / Prix Meret Oppenheim to three outstanding Swiss culture practitioners: conceptual artist Daniela Keiser works with the media of photography and language, which she translates into different exhibition and presentation formats. Peter Märkli’s architecture, teachings and drawings are widely recognised and particularly valued by the younger generation of architects. The author and curator Philip Ursprung is honored for his cross-disciplinary research in history, art and architecture. The Swiss Grand Award for Art / Prix Meret Oppenheim was founded in 2001 by the Federal Office of Culture in collaboration with the Federal Art Commission. It honors figures from the worlds of art and architecture as well as criticism, curation and research whose work is of particular relevance and importance for contemporary art and architecture in Switzerland and beyond. The laureates, and this year’s winners of the Swiss Art Awards, will receive their accolades on June 12th, 2017, in Basel. The exhibition SWISS ART AWARDS, which showcases the participants in the second round of the Swiss Art Competition, also includes film portraits of the Swiss Grand Award for Art / Prix Meret Oppenheim 2017 recipients.

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left: Daniela Keiser, Out of the Blue (1998/2016) Installation Nr. 10. Installation view Kunsthalle Vebikus, Schaffhausen (2016). Courtesy of the artist and STAMPA Galerie, Basel © Daniela Keiser. Photo: Daniela Keiser // middle: Peter Märkli’s La Congiunta, Giornico 1992. Photo: Heinrich Helfenstein // right: Cover of the new book by Philip Ursprung ‘Der Wert der Oberfläche – Essays zu Architektur, Kunst und Ökonomie’. gta Verlag, 2017. // Portraits by Katalin Deér / BAK, 2017.

Feature, 28.04.2017

Gallery Weekend Berlin
28–30 April 2017

Gallery Weekend Berlin is a celebration of the galleries and serves as a culmination of their year-round activity. As they discover artists, maintain lasting relationships with them, and continually promote and disseminate their work worldwide, the galleries are a point of contact for curators, critics, and collectors. Sprawled across 47 spaces in the city, easy to find with the Gallery Weekend Map

All from Instagram BUREAU N

All from Instagram Gallery Weekend

Project, 27.04.2017

Between Spaces – ZKR Center for Art and Public Space
Apr 28 – Oct 8, 2017

piece by Tomás Saracena (2017) and installation by Diana Sirianni

piece by Tomás Saracena (2017) and installation by Diana Sirianni

How do political and economic interests shape the urban environment? Which boundaries and power structures are encoded in it? In Between Spaces, 15 artists examine questions and contradictions found in urban life. The exhibition places work by Gordon Matta-Clark and perspectives on East Berlin into a dialogue with current artistic positions. The featured artists appropriate unused spaces and lend new forms to the inconspicuous spaces in-between. From 1970s New York to 1980s East Berlin and the global village of today, various frames of reference are brought together with the notion of urban space acting as the social, artistic and political hub of a society. Artistic positions on urbanism and public space, with Gordon Matta-Clark, Isa Melsheimer, Sabine Peuckert, Andrea Pichl, Diana Sirianni, Annemirl Bauer, Sibylle Bergemann, Simon Faithfull, Antje Fretwurst-Colberg, Brigitte Fugmann, Raumlabor, Marjetica Potrc, KUNSTrePUBLIK, Tomás Saraceno, and Ursula Strozynski.

ZKR

Simon Faithfull, 0o00 Navigation Part2 – A Journey Across Europe and Africa, 2015. Courtesy the artist and Galerie Polaris, Paris / Andrea Pichl, “Bau auf, bau auf.” 2010-2017. Courtesy the artist and Krome Gallery / Gordon Matta Clark, Splitting, 1974 Courtesy of the Estate of Gordon Matta-Clark & Galerie Thomas Schulte

 

Feature, 12.04.2017

The Anti-Museum
An anthology devoted to a radical artistic engagement

book cover and Marcel Broodthaers with camel in front of Palais des Beaux-Arts de Bruxelles © Maria Gilissen

book cover and Marcel Broodthaers with camel in front of Palais des Beaux-Arts de Bruxelles © Maria Gilissen

“Museums should be invisible. With an imaginary museum you can do whatever you want.” –
Maurizio Cattelan

What does the term anti-art encompass? It’s shaped by an array of concepts that reject prior definitions of art and question the art system and how it functions. “The Anti-Museum“, an extensive anthology by Mathieu Copeland and Balthazar Lovay, addresses the idea of anti-art through numerous contributions by renowned artists and writers. From interviews and historical reprints to manifestos and commissioned essays, the 794-page encyclopaedic tome presents the first comprehensive exploration of the radical and paradoxical concept that is the ‘anti-museum’ – a term so present in art history and yet one that has never been the object of detailed investigation. The museum has always been a target for criticism, whether it comes from artists, thinkers, curators, or even the public. Dedicated to all forms of “anti” such as Anti-Art, Anti-Technology, Anti-Design and Anti-Philosophy, the publication features numerous texts from the 60s until today – including newly commissioned as well as never-before-translated pieces – to define the idea of anti-art in a broad sense, evoking attempts to disrupt rules and customs in artistic disciplines.

Review, 11.04.2017

BUREAU N went south
for documenta 14

After leaving its home in Kassel for a few months, documenta has moved to Athens for the first part of its 14th iteration, and we were there to experience its multifarious program sprawling across museums, cinemas, residential spaces, pavements and even radio stations and kiosks, to name a few of the locations. Four years in the making, under the working title “Learning from Athens”, one of the topics addressed in documenta 14 is the meaning of education and its reconstitution through the works of more than 160 international artists. Following the press conference opening featuring a cacophony of all participating artists and members of the team onstage, the artistic director Adam Szymczyk encapsulated this year’s approach: “Unlearning what we believe we know is the beginning. There are no masters that can tell us how to live or what to do. We are in need to mobilize energies and act through unlearning. As we abandon preconceptions, and some of our hopes too, we immerse in the darkness of now knowing. And only from that state can we then make small steps towards something different.” More than a couple of times we were urged to “get lost” in the city, fully experience the public realm and embrace the peripatetic manners of ancient Greek philosophers. Among numerous spaces and places, the program took us from the impressive building of the Athens Conservatoire built in the ‘50s as a vision of central European rationalism, to the former brewery housing the National Contemporary Art Museum, to the Polytechnion – an emblem of historical resistance, to a pavement inscribed with Samuel Beckett’s poetry, and a kiosk turned into an electronic music station on a picturesque plateia. Sound has indeed a prominent role in the program and is an essential part of its impact. Sonic elements are dispersed throughout, whether as protagonists or as discreet additions permeating the visual spectrum; appearing announced or other times fully conquering your headspace. It often felt like this year’s documenta should be heard more than seen.

As April 9th marked the first day of the 1,850-mile journey on horseback to Kassel starting from the side of the Acropolis, we also anticipate the second part of documenta and the evolution of this ‘continuum’.

 

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Feature, 28.03.2017

The Power of the Arts – Open Call
Fostering social equality through arts and culture

 

Anton Unai for The Power of the Arts © Philip Morris GmbH

Anton Unai for The Power of the Arts © Philip Morris GmbH

As an active response to the social challenges of our times, a new creative initiative advocates for the seamless integration and inclusion of people with a refugee and migration background in Germany through the arts, music, theater, and dance. One in five people in Germany have a migratory history, two-thirds of which belong to the first generation. We don’t always celebrate the same festivities. We don’t always speak the same language. We don’t always believe in the same deity. But it’s undeniable that the world of the arts can act as an equalizing and unifying resource, and that’s the direction we should be moving towards to. With The Power of the Arts initiative, launched by the Philip Morris GmbH, each year an independent jury selects four winning projects, awarded with 50,000 euros each, put forward by non-profit institutions and creative artists. All participants use numerous artistic disciplines to endorse social and cultural equality as well as deeper understanding among individuals. What serves as the main purpose of the initiative is to encourage an open, interculturally shaped society that leaves no room for discrimination and marginalization. Creativity and people’s abilities are invested in coexistence and collaborative progress.
Project submissions and information on the call for applications from 27 March until 9 June 2017.

Feature, 17.03.2017

As you said
Paul Elliman at KW
Mar 18 – May 14, 2017

Paul Elliman Autumn/Winter 2016/17, (2017) Poster campagne, Courtesy the artist

Paul Elliman, Autumn/Winter 2016/17, (2017) Poster campaign, Courtesy the artist

British artist Paul Elliman has consistently engaged with the production and performance of language as a material component of the socially constructed environment. In a world where objects and people are equally subject to the force fields of mass production, Elliman explores the range of human expression as a kind of typography. His exhibition As you said includes various works, both existing and new, that test the boundaries of our communication through letter-like objects, language- like vocal sounds, actions, shapes, silences, and movements of the body. Whether concealed by clothing or techniques of mimicry, our gestures and the desire for language are always within easy reach of the violently communicative raw material of the city. As you said is structured around a set of vitrines devised by the artist Ian Wilson —which Elliman considers as sculptures, objects of display, and sites for discourse—and a pair of billboards. Elliman employs the vitrines as a framing device for a selection of his work from over the last 25 years, while the billboards extend the exhibition out into the streets of Berlin.