04.2022

ONE SPACE, TWO GALLERIES

Egor Kraft, Semi-truth is the Perfect Lie, 2022, generative computational installation, Courtesy alexander levy

Meret Oppenheim, Poster Pelztasse (fond rouge), 1971, Offset (nach Foto von Man Ray), 53 x 76 cm, Foto: Henning Rogge, Courtesy: LEVY Galerie, © ProLitteris, Schweiz.

Alexander Levy will join forces with his father’s gallery, at least geographically. Both will re-open at the same address in Berlin-Moabit, but their programmes remain separate. While alexander levy focuses on contemporary positions and will inaugurate a space dedicated to video works, LEVY features artists from Surrealism, Nouveau Réalisme, and Pop Art. Their first double-opening during Gallery Weekend Berlin will feature Russian-Austrian artist Egor Kraft who is working at the frontier between art, technology, and activism and a group show with Daniel Spoerri, Meret Oppenheim and Man Ray.

04.2022

54 YEARS WITH BRUCE NAUMAN

Bruce Nauman, Practice, Installation view, 2021, © Bruce Nauman/Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn, Courtesy Konrad Fischer Galerie

Bruce Nauman, Untitled (Two Men Shaking Hands), 1994, © Bruce Nauman/Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn, Courtesy Konrad Fischer Galerie

Bruce Nauman, Six Sounds Problems, 1968, © Bruce Nauman/Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn, Courtesy Konrad Fischer Galerie

In 1968, Bruce Nauman presented his very first European solo exhibition “Six Sound Problems for Konrad Fischer” in Düsseldorf, marking the beginning of what came to be a long-lasting collaboration with the Konrad Fischer Galerie. Now 54 years and 18 solo exhibitions later, Nauman presents the video installation “Practice” at the gallery, a new piece in which he continues to make his body, particularly his hands, the main subject of his work. Framing this installation, the gallery will also show a selection of prints by the artist, which he started during his studies back in the 1960s.

04.2022

FORMER FOUNDRY TURNED GALLERY

John M. Armleder, Solid Coated, Installation view, 2022, Courtesy the artist and Mehdi Chouakri Berlin, Photo: Patxi Bergé

Serielle Formationen, Installation view, 2022, Courtesy the artist and Mehdi Chouakri Berlin, Photo: Patxi Bergé

Gallery Mehdi Chouakri takes on a new location in a former foundry at Wilhelm Hallen, a listed industrial site in the district of Berlin-Reinickendorf. The new space features an exhibition room and accessible archive, the Charlotte Posenenske Cabinet, as well as a study, office and viewable depot. Philipp Mainzer, Office for Architecture and Design, has redesigned the 1,000 square meters of the saw-tooth roof construction. Functionality and an emphasis on the existing structure were at the forefront of the installations and conversions.

04.2022

A STRANGER WHO ENTERS OUR MIDST

Andrius Arutiunian, You Do Not Remember Yourself, 2022, Photo: Gabrielė Mišeikytė

For the 59th International Venice Biennale the Armenian Pavilion is renamed after the notion of “gharīb”, a word of almost-cryptogenic origins that has long been associated with clandestine activities of music making, illegal social clubs and the underground. Sound artist and composer Andrius Arutiunian, experiments with the “gharīb” as a dissonance to the prevailing understanding of time, rhythm and attunement with a series of installations and a central large-scale instrument playing with natural resonances and diaphony.

03.2022

MOVING IMAGES AT DUESSELDORF PHOTO+

Christiane Peschek, ohne Titel, 2022, Courtesy Christiane Peschek

Alwin Lay, Klammer (made in…), 2022, © Alwin Lay, VG Bild-Kunst, Bonn 2022

Marta Zgierska, Afterbeauty IV, 2018, © Marta Zgierska, Courtesy Marta Zgierska

Hito Steyerl, November, 2004, Courtesy of the artist, Andrew Kreps Gallery, New York and Esther Schipper, Berlin

All eyes on sonic and visual media, the biennale düsseldorf photo⁺ challenges the boundaries of photography as a medium. Institutions, galleries and independent participants collaborate for an entire month, activating the city’s synergies of artistic production and theoretical discourse throughout the festival. The main exhibition at Düsseldorf’s Akademie Galerie “Think We Must” presents works by a diverse set of international artists and questions our perception of images, their context and representation.

03.2022

SHAKING UP BERLIN’S GALLERY MAP

Petrit Halilaj & Alvaro Urbano with Annette Frick, Die Blüten von Berlin, Installation view at ChertLüdde, 2022, Photo by Andrea Rossetti, Courtesy of the artists and ChertLüdde

Charlotte Posenenske, Series B Reliefs, 1967-2021, Courtesy Mehdi Chouakri

Joan Jonas, Draw on the wind, 2018, Courtesy Heidi Gallery

Bruce Nauman, “Cockeye Lips from Infrared Outtakes”, 2006, Courtesy the artist and Konrad Fischer Galerie

The 2022 edition of Gallery Weekend Berlin shifts the focus back to the physical space. Visitors and local audiences can experience Berlin’s gallery landscape from a different angle and are invited to expand their typical routes with new spaces, for example, at ChertLüdde, Mehdi Chouakri and alexander levy, Annette Kicken, Max Hetzler or Michael Werner. Emerging positions can be found just around the corner from established artists like Bruce Naumann and Hague Yang.

03.2022

CLEAN HANDS, CLEAN CONSCIENCE

The skincare products of Zurich-based company Soeder are manufactured locally, contain only natural ingredients and can be refilled throughout Switzerland. Be it soaps, creams, disinfectants, deodorants or lubricants, the team behind founders Hanna and Johann is constantly on the lookout for the latest aromas, often in collaboration with chef friends and other creatives, or even their favourite nightclub. While the first soaps were conceived in their home kitchen, Soeder now runs its own factory just outside of town and is expanding its refill system across Europe. So be sure to keep your bottle.

03.2022

ARCHITECTURE IS ALL OVER BASEL

The first Basel Pavilion, presented on the Dreispitz site. Rendering © isla

How do globalisation, digitalisation, migration, climate change and the pandemic affect the built and unbuilt spaces of our urban environment? The inaugural edition of Architekturwoche Basel will address these questions under the title “Reale Räume” with a focus on three current development sites in Basel and the opening of the first Basel Pavilion. Various formats including tours, moderated talks and roundtables encourage an open dialogue between experts and local protagonists.

02.2022

DRAWING, DRAPING AND REMEMBERING

Rosemary Mayer, Untitled (08.26.71), 1971, Estate of Rosemary Mayer, Photo: Estate of Rosemary Mayer

Rosemary Mayer, Balancing, 1972, Estate of Rosemary Mayer, Photo: Trevor Lloyd and Andrea Rossetti / Chert Lüdde

Rosemary Mayer, Self Portrait, ca. 1979, Estate of Rosemary Mayer, Photo: Rosemary Mayer

“Rosemary Mayer: Ways of Attaching” is the first institutional retrospective devoted to the 1943 New York-born artist. The exhibition in the Ludwig Forum Aachen shows an extensive overview of her many drawings, the complete collection of her large-scale fabric sculptures and documentation of her performances. Mayer was one of the founding members of the renowned all-women cooperative gallery A.I.R., weaving feminist activism with a subtle and poetic approach, into her artistic practice.

02.2022

CHERTLÜDDE GOES SCHÖNEBERG

Petrit Halilaj & Alvaro Urbano, 20th of May 2016 (Cherry), 2020; Installation view; Courtesy of Petrit Halilaj & Alvaro Urbano, Berlin ChertLüdde, Belin and Kamel Mennour, Paris; Photo by ImagenSubliminal

Annette Frick, We remember Ovo and the many other Drag Queens and performers who died from complications with HIV, 2001; Courtesy the artist and ChertLüdde

After 13 years in Kreuzberg, ChertLüdde moves to the former cult costume and party store Deko Behrendt in Schöneberg. The first show, “Die Blüten von Berlin”, by artist duo Petrit Halilaj & Alvaro Urbano and the photographer Annette Frick pays tribute to the gallery’s previous inhabiter. In the new space, the Bungalow series dedicated to young artists continues alongside the bookstore, now located at the entrance. In parallel, a new program called Deko now replaces the front sign with outdoor artistic interventions.

02.2022

PLASTIC FANTASTIC?

Shellworks, jars made from Vivomer, a bioplastic produced with the help of microbes, 2021 © Shellworks, Photo: Catharina Pavitschitz

The Ocean Cleanup, system 002 deployed for testing in the Great Pacific Garbage Patch, 2021 © The Ocean Cleanup

Edward Hack, Pineapple syrup bottle, c. 1958; Courtesy of Museum of Design in Plastics, Arts University Bournemouth

Precious Plastic, shredded plastic; Courtesy of Precious Plastic

Plastics have shaped our daily lives like no other material: from packaging to footwear, furniture, automobiles, or architecture. A symbol of carefree consumerism and revolutionary innovation, plastics have spurred the imagination of designers for decades. Today, we are questioning ourselves how we are to restrict our future use of plastic to those areas where their use is essential. With “Plastic: Remaking Our World” the Vitra Design Museum takes a look at the past of this controversial material and gives an outlook to the possibilities design offers.

02.2022

STRIKE A POSE

August Sander, Ohne Titel (Raoul Hausmann als Tänzer), 1929 © Die Photographische Sammlung/SK Stiftung Kultur – August Sander Archiv, Köln; VG Bild-Kunst, Bonn 202

The role of fashion as a means of expression and representation in arts is illustrated in the many paintings and drawings within the Berlinische Galerie collection – from the cool Dada dandies of the 1920s to avant-garde clothing designs in contemporary art. The exhibition “Images in Fashion – Clothing in Art” sheds light on artists’ relationship to fashion and its influence on art over the last century. How do artists dress? How is fashion used as a medium today?

02.2022

MADE IN GERMANY

With a love of detail and a fresh eye for familiar typologies, Kevin Rack and Johann Kuhn founded the design company Blockbau in 2020 after studying architecture. The duo from Karlsruhe specialises in furniture design and develops all products themselves or in collaboration with young designers. Production takes place in southern Germany: for this, the two work with regional partners, some of which have been involved in furniture production for generations.

01.2022

MAERZMUSIK: VISIBLE AND INVISIBLE RELATIONS

Berliner Festspiele’s MaerzMusik – Festival for Time Issues 2022 focuses on the visible and invisible relations that hold everything together, in music and beyond. With featured artists and guests such as Éliane Radigue, Benjamin Patterson, Klangforum Wien and ONCEIM, the festival presents a program within which relationality can be rethought, redrawn and artistically experimented with.

01.2022

OUT IN THE OPEN: GEORGIA O’KEEFFE’S RETROSPECTIVE

Black Mesa Landscape, New Mexico / Out Back of Marie’s II, 1930, Georgia O’Keeffe Museum, Santa Fe, NM. Gift of The Burnett Foundation, 1997, © Georgia O’Keeffe Museum / 2021, ProLitteris, Zurich, Photo: Georgia O’Keeffe Museum, Santa Fe / Art Resource, NY

Oriental Poppies, 1927, Collection of the Frederick R. Weisman Art Museum at the University of Minnesota, Minneapolis. Museum purchase. © Georgia O’Keeffe Museum / 2021, ProLitteris, Zurich

Pelvis with a Distance, 1943, Indianapolis Museum of Art at Newfields, Gift of Anne Marmon Greenleaf in memory of Caroline Marmon Fesler, © Georgia O’Keeffe Museum / 2021, ProLitteris, Zurich

From her 1915 abstract experiments to her late works in the 1970s, Georgia O’Keeffe at the Fondation Beyeler is a rare opportunity to discover in such depth the career of one of the most important landscape and nature painters of the 20th century. Arranged topographically, the vast retrospective is set to explore Texas, South Carolina, or New York as well as the majestic scenery of New Mexico, under O’Keeffe’s innovative gaze.