Katharina Grosse, It Wasn't Us * XIBT Contemporary Art Mag
A special exhibition of the Nationalgalerie - Staatliche Museen zu Berlin Hamburger Bahnhof - Museum für Gegenwart - Berlin by Elda Oreto Katharina Grosse turns the world into a canvas and everything into a work of art, the exhibition "Katharina Grosse: It Wasn't Us", curated by Udo Kittelmann and Gabriele
Visualizzazione post con etichetta Berlin. Mostra tutti i post
Visualizzazione post con etichetta Berlin. Mostra tutti i post
giovedì 26 novembre 2020
Katharina Grosse, It Wasn’t Us until 10 January, 2021 / A special exhibition of the Nationalgalerie / Staatliche Museen zu Berlin / Hamburger Bahnhof Museum für Gegenwart, Berlin - Xibt Contemporary Art Magazine
Catherine Biocca, Milky Seas / PSM, Berlin - Xibt Contemporary Art Magazine
Catherine Biocca, Milky Seas / PSM, Berlin * XIBT Contemporary Art Mag
The methods of verbal communication allow for an aggression that permanently affects our feelings. Even when these words are not directly addressed to us. Catherine Biocca in the solo-show Milky Seas presented at the PSM Gallery in Berlin, investigated the mechanisms of fear, aggression and violence that are continuously and more or less subtly part of our daily life.
Émilie Pitoiset / MANIAC - Xibt Contemporary Art Magazine
Émilie Pitoiset / MANIAC * XIBT Contemporary Art Mag
In the MANIAC exhibition, at the gallery Klemm's in Berlin, from 10 September to 24 October 2020, the French artist Émilie Pitoiset investigated the way in which the control over our body movements, and particularly dancing, are the manifestation of the acceleration linked to mechanisms and relations built by the expansion of a capitalist system.
K.H. Hödicke at Palais Populaire - Xibt Contemporary Art Magazine
K.H. Hödicke at Palais Populaire * XIBT Contemporary Art Mag
Frantic flashing neon signs overflow from the gray facades of concrete buildings and intertwine in a constellation of advertising posters and glimpses of underground life in Berlin, almost a ghost town, sweet and dark, this is the scenario created by Karl-Horst Hödicke in his inexhaustible artistic practice.
domenica 27 settembre 2020
The Quantification Trilogy of Jeremy Shaw / Julia Stoschek Collection - Xibt Magazine Online
The Quantification Trilogy of Jeremy Shaw * XIBT Contemporary Art Mag
How could we imagine the human body if not as a door or a vehicle, as something that can be crossed and that crosses, perhaps a path but it is also its own obstacle in a dialectic of growth.
giovedì 16 aprile 2020
The Upside-Down world of Yngve Holen | Xibt Contemporary Art Magazine | 02/2020
The Upside-Down world of Yngve Holen * XIBT Contemporary Art Mag
by Elda Oreto When I entered the world of Yngve Holen, I had the impression men were hybrids of flesh and synthetic material. It's as if the artist dreams of clandestine experiments in which the brain is injected with substances that induce hallucinations and excruciating headaches.
Sonia Gomes I Rise – I’m a Black Ocean, Leaping and Wide | Xibt Contemporary Art Magazine
Sonia Gomes I Rise - I'm a Black Ocean, Leaping and Wide * XIBT Contemporary Art Mag
Sonia Gomes never considered a career as an artist. She discovered her vocation by accident, long after she thought herself established in another occupation. Almost as if she had found her way after a long off-piste run.
martedì 1 gennaio 2019
THE WORLD ON PAPER: THE OPENING EXHIBITION OF THE PALAISPOPULAIRE | DEUTSCHE BANK COLLECTION | CURATED BY Friedhelm Hütte
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Künstler I Artist: Maria Lassnig
Titel I Title:
Portrait Arnulf Rainer, 1949
Pencil
31.5 x 45 cm
© Maria Lassnig Stiftung/Foundation
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THE WORLD ON PAPER:
THE OPENING EXHIBITION OF THE PALAISPOPULAIRE
DEUTSCHE BANK COLLECTION
CURATED BY Friedhelm Hütte
Until 7. January 2019
The opening exhibition of the Palais Populaire in Berlin shows the infinite worlds of the media of paper in art : drawings, collages, watercolours etc from many contemporary artists, among which: Doug Aitken, Josef Albers, Richard Artschwager, Yto Barrada, Georg Baselitz, Thomas Bayrle, Joseph Beuys, Marc Brandenburg, Günter Brus, Michael Buthe, John Cage, Johanna Calle, Los Carpinteros, Carlfriedrich Claus, William N. Copley, Keren Cytter, Adriana Czernin, Hanne Darboven, Michael Deistler, Felix Droese, Marcel Dzama, Maria Eichhorn, Larissa Fassler, Parastou Forouhar, Günther Förg, Ellen Gallagher, Rupprecht Geiger, Isa Genzken, Hermann Glöckner, Ludwig Gosewitz, Katharina Grosse, Ivan Grubanov, Karl Haendel, EddiE haRA, Lucy
Harvey, Bernhard Heisig, Arturo Herrera, Eva Hesse, Rebecca Horn, Shirazeh Houshiary, Leiko Ikemura, Jörg Immendorff, Anish Kapoor, William Kentridge.
300 artworks for 133 artists, coming from 35 countries from the DB collection have been presented in the three floors palace in the center of Berlin.
The exhibition, curated by Friedhelm Hütte, shows the variety of DB collection. In fact, the collection will be explored and interpreted in different ways all around 2019.
The museum presents under a nonconventional form, offering to visitors a wide range of ways to experience art from artist talks to guided tours, art workshops for kids to activities related to sport etc.
If you are abroad or for other reasons cannot experience the Palaispopulaire, it's possible to download an App on the cell phone to have a virtual guided tour through exhibition and to check the calendar of events.
The exhibition The World on Paper is subdivided into sections which take names from some artworks.
Among the work exhibited there is the Moondiver II (2018) by the Swiss artist Zilla Leutenegger. In the large drawing projected on the stairs at the entrance of the Palaispopulaire, a crane is lifting the Moon up like in an effective Trompe-l'oeil. In Higher beings Command a series of drawings by Sigmar Polke (1968), that is also giving a name to a section of the show, the simple blank paper is the place where different abstract shapes take form. Moreover, there are also Raquib Shaw animal cosmos, Joseph Beuys everyday life collages, Andy Warhol cowboys comics, even the first drawings by Maria Lassnig etc.
The World on Paper is not just a unique world but a constellation of to infinite universes coexisting at the same time.
The worlds of many artists are coexisting at the same time in what it seems like the philosophy of Giordano Bruno who in 500 century claimed the existence of more than one universe. For Bruno the infinite multitudes of worlds are connected together and artists as magicians could disclose to the others with a hermetic knowledge.
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| Doug Aitken, Ultraworld D, 2005, |
Framed 39.6 x 50 x 4 cm, © Doug Aitken and Galerie Eva Presenhuber, Zürich / New York
Katharina Grosse, Ohne Titel, 1995, Oil, 9 parts, Total 300 x 240 cm, © VG Bild-Kunst, Bonn 2018
giovedì 20 dicembre 2018
PHILIP KOJO METZ | THE BLACK KWADRAT @ KWADRAT, BERLIN | 11.11.2018 - 07.12.18
Philip Kojo Metz, The Black Kwadrat, Installation view, © KWADRAT-Gallery und Fotos by: Markus Georg
PHILIP KOJO METZ
THE BLACK KWADRAT
KWADRAT, BERLIN
11.11.2018 - 07.12.18
A monolithic Black Box is filling up the space of Kwadrat gallery. It is almost impossible to walk in but for a narrow corridor that let the visitor surround the mysterious object.
Philip Kojo Metz ’s third exhibition at KWADRAT crisscrosses several forms of art. It also builds a multilayered structure which reminds a bit of the Chinese box system. It starts from Malevich to finish with the poet Alexander Pushkin, via the use of Social Media. Philip Kojo Metz, a German-Ghanaian artist resident in Berlin, focuses on overdrafts between forms of arts and topics with a strong performative attitude.
Near to The Black Kwadrat sculpture, there is a black hollow room. In fact, the two installations, the full box, and the empty space are complementary.
Visitors take place in the middle of the black room to get a photo portrait. This image is then posted on Instagram.
The Black Box installation is an homage to Kazimir Malevich, the Russian painter who lived at the beginning of 1900 and revolutionized the idea of Painting ( and Art ) with the Black Square, literally a black square painted on a white canvas.
Malevich’s paintings were a statement: painting as a representation of nature was over. The media of painting was free by the necessity of representing something.
It was the time to move in a new direction: abstract painting. That’s where it starts Modern Art.
Now, the Black Kwadrat is ironically provoking a possibility of change too. The social experiment, with the Instagram, it shows the possibility to free the Art from certain ‘social’ constrictions. Differently, from other art projects which used Instagram as an experimental channel, for example, Richard Price or Amalia Ulman, Kojo Metz’s project works like a magic tool that swallows the visitors to project their virtual self into the web.
Near the black walls, it is hanging a painting: a piece of wall with a gunshot hole in it.
The gallerist Martin Kwade told me that the idea was to shot a wall inside the gallery, but of course, this was not possible. The shooting is a direct quotation to a Pushkin short novel, The Shot, which is connected to the tragic duel that caused the writer’s death.
The last deathly shot eternalized him while the shooting in the gallery is harmless but delivers the visitors image into the perpetual flow of social networks.
In front of the Black Box, the visitor is almost a primitive hominid in front of the Monolith in Kubrick’s movie “2001: A Space Odyssey", from the novel of Arthur C. Clarke.
In the original story, the strange object came from nowhere, from the depth of the space. No one knows what it is and no one knows what is it for. But it does something: it triggers the primitives men to use the weapon.
lunedì 19 novembre 2018
STEVE BISHOP | DELIQUESCING | KW INSTITUTE FOR CONTEMPORARY ART | BERLIN | 3 NOV 18 – 6 JAN 19
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Steve Bishop, installation view of the exhibition
Deliquescing, installation in five parts, KW Institute for
Contemporary Art, Berlin, 2018, photo: Frank Sperling
Courtesy the artist and Carlos/Ishikawa, London
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DELIQUESCING
CURATOR ANNA GRITZ
ASSISTANT CURATOR MAURIN DIETRICH
KW INSTITUTE FOR CONTEMPORARY ART BERLIN
3 NOV 18 – 6 JAN 19
“I like to remember things my own way. How I remembered them, not necessarily the way they happened.” Fred Madison, Lost Highways.
Memory betrays, deceives. We all know this. Reality is constantly manipulated, rewritten, even invented. The truth is stretched from one side to the other. It's even ourselves to deceive ourselves. In some cases the memory slips away like water in a tap drain. But what are we without our memories?In the exhibition Deliquescing the British artist Steve Bishop speaks of memory through its alteration par excellence: Alzheimer's disease.
The exhibition, curated by Anna Gritz and co-curated by Maurin Dietrich, consists of a large site-specific installation. The entire KW's floor is transformed into a simulated waiting room for a paradoxical laboratory. The entrance to the rooms is obstructed by plastic curtains. As soon as you enter the space a spectral atmosphere envelops you. A soft and opaque moist is embracing everything.
In the first room there is a wall covered with shelve which exposes a line of big rocks, wrapped in plastic, with small numbers on them, probably a date. On some of the rocks, puffy white mushrooms have flourished. They seems to have healing properties for Alzheimer's disease. As a matter of fact, these mushrooms are created by a particular mold that, thanks to the humidity, exudes a liquid that becomes the white puffy fungus. The exhibition refers precisely to the transforming capability of memory that fluidly takes different forms.
Next to the wall with the mushroom, there is a small monitor where it scrolls a report of a woman in an early phase of Alzheimer's. The woman tells her experience and her feelings about being ill and about her relationship with her mother, who was also ill. She explains that she often pretends to recognise people when she talks to them. And when she was a child she used to lie to her mother, when she "forgot" her father's death, making up a story just to make her happy.
In the next room, a film shows a deserted town in northern Canada, built in 1981 to house the workers of a nearby mine and then abandoned in 1983. Nowadays only a guardian lives there. His job is to prevent nature from taking over, in a constant effort not to fall into oblivion. In the corridors between the two spaces a thin transparent curtain is covering the original KW's walls. Through we could see some photos of the abandoned town. Near the exit, two huge freezers keeps the large moldy rocks.
These rocks are not our memories, but the emotions that anchor us to them. The whole installation of Bishop is a bit of a reproduction of our inner state. Feelings are resting in a corner ready to be defrosted. But once outside, exposed to the mistiness of thought and life they are transformed and liquefied, producing something else.
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mercoledì 19 settembre 2018
HENRIK OLESEN | HEY PANOPTICON! HEY ASYMMETRY! + PROOF OF WORK | CURATED BY SIMON DENNY IN DIALOGUE WITH DISTRIBUTED GALLERY, HARM VAN DEN DORPEL, SARAH HAMERMAN AND SAM HART, KEI KREUTLER, AUDE LAUNAY AND ANNA-LISA SCHERFOSE @ SCHINKEL PAVILLON | 8.9- 21.12.2018
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Exhibition view, Hey Panopticon! Hey Asymmetry!, Schinkel Pavillon, 2018, Berlin
Photo: Jens Ziehe
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CryptoKitties/Guile Gaspar
Celestial Cyber Dimension, (Kitty.127), 2018, CryptoKytty, hardware, wallet, display case, Dimension undefinable Courtesy Private Collection Photo: Hans-Georg Gaul Henrik Olesen Hey Panopticon! Hey Asymmetry! + Proof of Work curated by Simon Dennyin dialogue with Distributed Gallery, Harm Van Den Dorpel, Sarah Hamerman and Sam Hart, Kei Kreutler, Aude Launay and Anna-Lisa Scherfose. Schinkel Pavillon 8.9 - 21.12.2018 |
The future of the Society of Control is the link between the two exhibitions at the Schinkel Pavillon, “Oh Panopticon! Hey Asymmetry!” by Henrik Olesen Presented in the Pavilion and “Proof of Work - art/ cryptocurrency”, a group show curated by Simon Denny in dialogue with Distributed Gallery, Harm van den Dorpel, Sarah Hamerman and Sam Hart, Kei Kreutler, Aude Launay and Anna-Lisa Scherfose, presented in the crypt.
The two exhibition analyzes the same theme but head in two different directions.
Henrik Olesen, who is showing his works in Berlin after a long time of absence, is directly addressing the topic. “Proof of Works” seems to want to stretch the conditions of our economic society to its extreme consequences, offering the vision of its own limit.
The starting point of Olesen’s exhibition is the architectural organization of the Schinkel Pavillon that the artist explicitly associates to Discipline and Punish: The Birth of the Prison by Michael Foucault.
Institutions analyzed in Foucault’s book, like the prison, are organized in a way that there is one observer who has a privileged point of view and have the power to control a multiplicity of individuals. At the same time the structure of the Schinkel Pavillon is built to give a 360-degree control viewpoint on Berlin’s landscape.
Olesen plays over this connection to create a scenario where the game between viewer and viewed is constantly alterated.
In the entrance to the exhibition a wall is blocking the passage, it is the obstacle but also the mediator and the artwork to the view of the exhibition.
On the opposite side of the wall there is a series of colored boxes with a side in plexiglas. Inside the boxes there are differents printed papers with the same motives recurring in the show. On some of the windows, black canvas with printed quotations from Discipline and Punish or the title of the show are blocking the view of the landscape. Colored wood panels are placed on the floor in the middle of the room. On the top of it a collection of everydays food utilities coloured or black painted.
Olesen built an ambivalent structure. The freedom of seeing and knowing is constantly limited but at the same time this limitations are the conditions for us to see and know the reality.
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Referring to: The Master-Slave-Dialectic!, 2018
Plexiglass, glue
160 x 152 x 31 cm Unique Courtesy the artist and Galerie Buchholz Photo: Jens Ziehe |
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Exhibition view, Hey Panopticon! Hey Asymmetry!, Schinkel Pavillon, 2018, Berlin
Photo: Jens Ziehe
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Discipline and Punish, 2018
Silkscreen on MDF, acrylic paint 140 x 110 cm Unique Courtesy the artist and Galerie Buchholz Photo: Jens Ziehe |
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HEY PANOPTICON 1, 2018
Acrylic paint on MDF, plexiglas, inkjet print on transparent foil 69 x 50,5 x 7,5 cm Unique Courtesy the artist and Galerie Buchholz Photo: Jens Ziehe |
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The Discipline and Punish Box!, 2018
Cardboard, print on film
31 x 51 x 41 cm Unique Courtesy the artist and Galerie Buchholz Photo: Jens Ziehe |
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Box, 2018
Silkscreen on wood, acrylic paint, lacquer, inkjet print on paper, plexiglas 32 x 39 x 32 cm Unique Courtesy the artist and Galerie Buchholz Photo: Jens Ziehe |
The economical drift is at the center of the group show ”Proof of Work”, with works and projects by Cryptokitties, Aria Dean, Distributed Gallery, Harm Van den Dorpel, FOAM ( Ryan Kohn King, Ekaterina Zavyalova, Nick Axel and Kristoffer Josefsson), Sarah Herman and Sam Hart, Decentralized Autonomous Kunstverein ( Nick Koppenhagen and Wesley Simon, Kei Kreutler, Left Gallery ( Harm Van den Dorpel and Paloma Rodriguez Carrington ), Wayne Lloyd, Mark Lombardi, Jonas Lund, Rob Myres, Hayal Pozanti, Billy Rennekamp, Jason Rohrer, Miljohn Ruperto and Ulrik Helftoft, 0XΩ ( Avery Singer and Matt Liston ), Terra0 ( Paul Seidler, Paul Kolling and Max Hampshire ), with a conversation program by New Models ( Caroline Busta, Lil Internet, Daniel Keller ).
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FOAM (Ryan John King, Ekaterina Zavyalova, Nick Axel and Kristoffer
Josefsson)
Tropical Mining Station, 2017 Pneumatic membrane, cryptocurrency miner, plexiglas casing, plinth, fans Dimensions variable Courtesy the artists Photo: Hans-Georg Gaul |
The curators drew a rhizomatic structure to produce the exhibition. This structure repeat a system of Cryptocurrency, like Bitcoin. This exhibition is also a way for people like me, who is not so practical with the matter, to get closer to this topic. In this alternative economic system, a Proof of Work is a safety procedure to guarantee the value and the transparency of a currency. This is a decentralized, self-organized system based on a general consensus. And which aim to produce a new system of regulations where there is no third party do discriminate and define value.
Every artworks in the exhibition is at the same time re-cycling elements from the cryptocurrency system to transform it in art: the Chaos Machine, 2018 by Distributed Gallery is a machine who eats and burns EU money, changing it in a Bitcoins, that could be used to play music as a Jukebox; Tropical Mining Station, 2017 by FOAM (Ryan John King, Ekaterina Zavyalova, Nick Axel and Kristoffer Josefsson) is a huge balloon inflated by a cryptocurrency miner software; Harm van den Dorpel’s Nested Exchange Series is a group of drawings realized by an automated process created by the artist himself. A special mention goes to Celestial Cyber Dimension, (Kitty. 127), 2018 by CryptoKitties/Guile Gaspar that is described by the curatorial team as “one of the most notorious crossovers between an art context and a blockchain”. Cryptokitties is a blockchain based virtual game that became very popular in 2017 and was sold at a Christie’s auction for $ 140,000. The artwork shows a possible way to expand and innovate the channels of economical exchanges. Sam Hart and Sarah Hamerman selected a group of works for a section focused on the topic of secrecy which is extremely important in matter of cryptocurrency.
The extremely appealing exhibition crosses the path of an alternative economic system where freedom is accessible only in a cryptic way to the ones who can understand it.
Harm van den Dorpel
Distributed Gallery
Chaos Machine, 2018
Various material
192 x 52 x 52 cm
Courtesy Distributed Gallery
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CryptoKitties/Guile Gaspar
Celestial Cyber Dimension, (Kitty. 127), 2018 Detail Courtesy Private Collection Photo: Hans-Georg Gaul |
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Wayne Lloyd
How We Won the War on Socialism, 2000 Oil and acrylic on canvas 216 x 164.5 x 5.5 cm Courtesy the artist Photo: Hans-Georg Gaul |
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Billy Rennekamp
Leather Spheres, 2013 Leather, thread, and rubber mounted with The Ball ClawTM Dimensions variable Courtesy the artist Photo: Hans-Georg Gaul |
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0xΩ (Matt Liston and Avery Singer)
Dogewhal, 2018
3D print, stainless steel 43 x 28 x 43 cm Courtesy the artists and Kraupa-Tuskany Zeidler, Berlin Photo: Hans-Georg Gaul |
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Exhibition view, Proof of Work, Schinkel Pavillon, 2018, Berlin
Photo: Hans-Georg Gaul
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Exhibition view
Proof of Work Schinkel Pavillon, 2018, Berlin Photo: Hans-Georg Gaul |
Lammer Asbestus, 2018
Multi layered UV prints with white channel between CNC-cut plexiglass, packaging
material, screw system, 100 x 100 x 3 cm
Courtesy the artist and Upstream Gallery, Amsterdam
Photo: Hans-Georg Gaul
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