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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

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

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.

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.

The dream of life in the magical reality of Petrit Halilaj - Xibt Contemporary Art Magazine - 08/20

The dream of life in the magical reality of Petrit Halilaj * XIBT Contemporary Art Mag
The artistic research of Petrit Halilaj (born in Kostërrc, Skenderaj-Kosovo, in 1986) could be considered part of the artistic and literary current of the magical realism where reality and imagination, political and folklore elements, personal and collective memory are mixed.

martedì 1 gennaio 2019

THE WORLD ON PAPER: THE OPENING EXHIBITION OF THE PALAISPOPULAIRE | DEUTSCHE BANK COLLECTION | CURATED BY Friedhelm Hütte

Künstler I Artist: Maria Lassnig

Titel I Title:

Portrait Arnulf Rainer, 1949

Pencil

31.5 x 45 cm

© Maria Lassnig Stiftung/Foundation

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.

Doug Aitken, Ultraworld D, 2005,

Collage; printed paper, colored paper, cardboard, and tape in artist’s frame
Framed 39.6 x 50 x 4 cm, © Doug Aitken and Galerie Eva Presenhuber, Zürich / New York

Zilla Leutenegger, Moondiver II, 201, Wall drawing with video installation, projection, color, sound, 4 min., loop, Variable dimensions, © Zilla Leutenegger, courtesy Galerie Peter Kilchmann, Zurich

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.

Philip Kojo Metz, The Black Kwadrat, Installation view, © KWADRAT-Gallery und Fotos by: Markus Georg

lunedì 19 novembre 2018

STEVE BISHOP | DELIQUESCING | KW INSTITUTE FOR CONTEMPORARY ART | BERLIN | 3 NOV 18 – 6 JAN 19

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

STEVE BISHOP
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.

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

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

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

venerdì 7 settembre 2018

SIMON FUJIWARA ~ EMPATHY I ~ ESTHER SCHIPPER ~ until September 30, 2018

Simon Fujiwara Empathy I, 2018 5D simulator installation (with video, sound, motion, water, and wind) Duration 3:49 min Outer dimensions of box: 3,71 x 7,6 x 5,35 meters. Edition of 3.
Courtesy: the artist and Esther Schipper, Berlin
Photo: © Andrea Rossetti

SIMON FUJIWARA
EMPATHY I
ESTHER SCHIPPER
until September 30, 2018

How many times have I found myself sitting at the table in a Café, imagining the life of the person
sitting next to me.

So many other times I ignored how people I care could feel when I was hurting them!

But thinking further on: Can we actually feel how someone else is feeling when is deported and
starved on a boat in the middle of the sea? Is cruelty linked to control the last form of pleasure?

Well, in both cases, what we are talking about is called EMPATHY! This means to get under someone
else's skin.

The first solo show at Esther Schipper, by the londoner Simon Fujiwara, naturalized Berliner, is
evolving around this topic.

In the exhibition space is reproduced a waiting hallway, with chairs put in square around a table, a
ticket dispenser for a take-a-number system, the the red numbers to show when is your turn, a water
distributor and even a wifi free connection spot. On the table are several copies of the book “50
shades of gray” by E. L. James. The shallow but best seller novel about a refined as much as boring
pseudo-sadomasochistic love story.

The waiting room is not just a waiting-for-waiting situation. Even though that would have been cool
enough. But it’s the access before the ‘real’ artwork: an experience-simulation video in a dark room
created in the gallery.

Only two people at times get into the room.I went in together with a nice stranger and sympathetic
curator.

We were in for about 10 minutes. A guide told us to sit in the chairs and fest our belt. Then the show
begun: a scrumbeled and exciting collection of several experiences simulations, the kind you can find
in some theme-parks.

We were forced into the POV of someone else. I smashed into a window for start, flew against the
wind, splashed into the water… so much fun!

Fujiwara built a genuine artificial experience of feeling through the other under the supervision of the
Big Brother ( who? Fujiwara himself ?). I felt a little bit like in one of those sci-fi fiction where my
conscience was embodied in a robot. A little bit like in Westworld. But at the same time, it seemed to
me a sort of fetish-feeling, as the copies of the books in the waiting room and the waiting room itself.
We shared something together though...and I thought it was real!

The simulator room is a disavowal. This mechanism is contesting the right of a thing to be what it is.
What Freud describes as a fetish is the frozen image through which a men deny the absence of a
penis in a woman. “This is the last moment in which one could still believe” using Deleuze words. If
we could steal from Deleuze once more we could call it a ‘neutralization for protection’ that idealize,
suspending the reality to protect us from the consequences that knowing it would carry.

As in the experience proposed by Fujiwara, we are forced into an all-costs-amusement of which we
have lost the real pleasure. More than slaves, it seems to me, we are prisoners of it. However it is
unclear of whom we are prisoners.

Exhibition view: Simon Fujiwara, Empathy I, Esther Schipper, Berlin, 2018
Courtesy: the artist and Esther Schipper, Berlin
Photo: © Andrea Rossetti

venerdì 29 dicembre 2017

Daniele Milvio BRACHE @ Supportico Lopez, Berlin

Daniele Milvio, Brache, Installation view at Supportico Lopez, Berlin, 2017

Daniele Milvio’s solo-show Brache at Supportico Lopez, in Berlin (until January 27th, 2018),

has something of the illusion of a street magician. The artist's work has never been far from using

a code that belongs to literature. Schifanoia, Cacafoco, Leggi e Credi are some of the titles of

his previous exhibitions. What happens to Supportico Lopez is slightly different though.

Brache reminds of a series of idioms. The 'brache' in Italian are the trousers: the word is associated

with the saying of 'calare le brache', a 'brache calate', which recalls feeling naked, exposed, disarmed.

On the other side, in German, ‘brache’ means uncultivated, wild.

The exhibition demonstrates a critical and courageous moment in the artist's journey, which also

involves a private side of his life.

The exhibition insists on the idea as clear and confused and at the same time distinct and obscure,

according to the Leibnizian theory, taken by Gilles Deleuze in Difference and Repetition.

The works are exhibited in semi-darkness. Along the wall, in front of the entrance, there are a

series of boards on which are affixed papers. These collages are made with documents of

various origins, letters of lawyers, insurance companies and public officers etc. Everything is

further written, marked, by the unintelligible handwriting of Daniele Milvio.

At the back of the room, the thing that perhaps I liked the most: two bronze street lamps made with

a globe attached on very long and decorated stems, attached on a base made by a bell. To see

them was how to recognize an object in a dream.

On the wall that opens archway towards the smaller room, are installed a series of drawings, colorful

infernal masks. They bear the names of various characters: un batticazziere,

l’incensurato, l’iscaiuolo, Er Più, È un ragazzo sensibbile, Faina etc.

In the smaller room, there is another globe and a last panel with some written paper and a drawing

of three carabinieri. The carabinieri, with the typical boat-shaped hat, could be the same

who captured Pinocchio, Collodi's puppet, who in the dream of becoming 'a real child', wild at

heart, subverts all the rules.

So are the series of drawings and graphics, not far from the influence of free association,

surrealist automatic writing and visual poetry, those papers were collected over the years since he

was a child of 10 years. They are inscribed on white sheets or already 'marked' from real

life experiences of the artist.

Daniele Milvio builds in the exhibition an inextricable link between life and art that can

be assimilated to a work of constant translation between images and real words and vision.

The word pun, which gives the title to the show, reminds me of the continuous relationship

between word and image. Just like in magic. The start is the press release of the exhibition written

in English and German: a letter from Daniele Milvio to Stefania Palumbo and Gigiotto

Del Vecchio, founders and curators of Supportico Lopez. In his letter Milvio writes that his

drawings / graphics are illegible and this has nothing to do with the fact that the exhibition

takes place in Germany.

Instead, in my opinion, this is precisely the point. His writing, incomprehensible, if not to his

close circle, his drawings of infernal masks, exorcise the feeling of being 'out of place'

of deterritorialization.

It would be useless to think of being able to decipher these signs. There is no will to reveal

and analyze. Daniele Milvio does not regress to the search for a mysterious identity and even less

to search for the lost object. It would be useless and right.

He looks at the root of a life, which led him to this point. Once again, Daniele Milvio plays with

the idea of the End, or rather of time as an endless circle.

The torrent of untranslatable words, so re-contextualized in the exhibition, does not want to close

the visitor in a defined horizon, put him /her on the corner in a game of mirrors and reflections,

but on the contrary, open many possibilities with signs, masks, incomprehensible words.

Daniele Milvio, Brache, Installation view at Supportico Lopez, Berlin, 2017

A moment at the opening of Daniele Milvio, Brache, Supportico Lopez, Berlin, 2017