  |   |   | 01 Mary Bauermeister 02 Clément Borderie 03 Mary Bauermeister 04 Pascual Jordan 05 Hartmut Stielow 06 Hartmut Stielow |
At the Horizon of Time
Vernissage: Freitag 18.November 2011 ab 18 Uhr
Mary Bauermeister, Clément Borderie, Pascual Jordan, Hartmut Stielow
Die Künstler dieser Ausstellung verbindet trotz sehr unterschiedlicher Konzepte eine Verwandschaft in Ihren Werken, die vom Einfluß der Natur auf Ihr Schaffen bestimmt wird.
Mary Bauermeister kann als eine Protagonistin der Kölner Fluxus-Bewegung der 60er/ 70er Jahre gelten, die auch international bedeutsam wurde. In ihrem legendären Atelier in der Lintstraße trafen sich 1960-62 Größen wie John Cage, George Brecht oder Nam June Paik, um in Performances, Happenings, Lesungen und Konzerten Kunst als eine Zusammenführung von Medien zu inszenieren. Zu manchen ihrer Ausstellungen wurde Musik von Karl-Heinz Stockhausen gespielt, mit dem sie verheiratet war und mit dessen Kunst die Ihre das Interesse an Fragen der Komposition verband. Heute arbeitet Mary Baumeister auf ihrem Ateliergelände in Rösrath, von dem ausgehend sie ihre an kosmologischen Theorien orientierten Gartenanlagen plant. Die hier gezeigten Kollagen aus gesammelten Flusssteinen waren ursprünglich Durchamp gewidmet, der sie sehr mochte. Wie sich, was sie findet, unter ihren Augen, ihren Händen zusammenfindet, drückt sich in Formen aus, die sich zwischen denen der Natur und denen der menschlichen Geschichte bewegen.
Der Bildhauer Hartmut Stielow ist Schüler von Bernhard Heiliger. Schon früh positionierte sich Stielow außerhalb der zeitgenössischen Kunstdiskussion und bezog sein Handeln auf die Tradition der Stahlplastik. Die großen wie die kleinen Skulpturen aus Roststahlstrukturen und hellen Granitblöcken erinnern im Erscheinungsbild an die abstrakte Kunst des 20.Jahunderts. Sie sind aber grundsätzlich anders beseelt. Nicht gedachte Formen werden in Materialien umgesetzt. Die Konkretheit des Steines in seiner Schwere und die Konkretheit des Eisens in seiem Tragen begenen einander. Das Eisen umschließt den schweren Stein in einer feinen Balance, die Gegensätze werden zu einer Einheit zusammengefügt. Seine Thematik ist das Lasten und Tragen, Aufruhen und Emporheben wie in seiner "Pieta"- abstrahiert von allem Figürlichen und konkret wie alle Vorgänge des Lebens. Stielows Arbeiten zeichnen sich aus durch ihre Offenheit und die ihnen innewohnende Ruhe.
Pascual Jordan hat eine vielseitige Entwicklung figürlichen Malens, besonders des Porträts hinter sich gelassen. Es folgte eine Periode der Auflösung des Gegenständlichen, so buchstäblich, dass von ihr „fliegende Teile“ die Bilder zu bestimmen scheinen. In Wirklichkeit waren aber bereits die fern nuancierten Hintergründe das Wesentliche. Ihre Partikel folgen der Frage, welche neuen Welten sich aus den zerfallenen bilden werden. Inzwischen legen sich Farbschichten von dunklem oder matt leuchtendem Glanz über die alten Strukturen, die nur noch unsichtbar ihr Zueinander und gegeneinander den Bildern mit auf die Wege geben. Manchmal breitet sich souverän ihr Zwischen aus, malerische Spieglung von Luft und Licht des Meeres. In den Tönen lebt die Liebe des Malers zu der Farbenkunst der Meister, die er verehrt.
Im Herbst sind die Formen von Clement Borderie, diese sonderbaren Gestelle aus Eisen, mit Maltuch bespannt, um den Wechsel der Zeiten und der Elemente festzuhalten, mit abgefallenem Laub bedeckt. Diese Blätter werden vom Winterwind vertrieben werden, bevor, dann, die Frühlingsregen in die Leinwände eindringen. Staub, Insekten, Pollen, Blüten, Zweige und die Verschmutzungen der Luft lassen sich darauf nieder. Dabei prägen sie dem Tuch ihre Bahnen, ihre Farben, ihre Formen auf. So entstehen die Werke von Borderie in einem Prozess wie dem der Fotografie, nur zeitlich verzögert in Zeitlupe. Indem er seine Gestelle an derart entfernten Orten aufstellt wie Vole Sacré bei Verdun, Paris, Berlin oder Havanna, sammelt Borderie den Staub, den Regen, das Gedächtnis dieser Böden und dieser Städte, gibt Borderie zu entdecken, was sie unterscheidet und was sie gemeinsam haben.
Werkstattgalerie
Eisenacher Str. 6
D-10777 Berlin
Di-Fr 12-19 Uhr, Sa 12-18h
info@werkstattgalerie.org
T+49.30.21002158
     |      |      | 02 Hartmut Stielow 03 Clement Borderie 04 Alexander de Cadenet 05 Mary Bauermeister 06 Pascual Jordan 07 Ter Hell 08 Rudolf zur Lippe 09 Rudolf zur Lippe 10 Rudolf zur Lippe 11 Rudolf zur Lippe 12 Ter Hell 13 Ingeborg zu Schleswig-Holstein 14 Eröffnungsrede von Hubertus Gaßner 15 Clement Borderie |
IN BETWEEN
Zwischen Neuer Abstraktion und Neuer Konkretheit
06.-16.10.2011
Ausstellung in den Speicherhallen am Brandshofer Deich 112, D-20539 Hamburg
Vernissage: Donnerstag 6.Oktober ab 18 Uhr
Mary Bauermeister, Clément Borderie, Alexander de Cadenet,
Ter Hell, Pascual Jordan, Rudolf zur Lippe,
Ingeborg zu Schleswig-Holstein, Hartmut Stielow
Die Werkstattgalerie Berlin präsentiert auf 3500 m2 in den historischen Speicherhallen am Brandshofer Deich unter dem Titel "IN BETWEEN" 8 Künstler und Künstlerinnen einer "Neuen Abstraktion" die Wege einer neuen Konkretheit öffnet. Durch die Phasen der „Abstrakten Kunst“ im 20. Jahrhundert wurde der traditionellen Gegenständlichkeit eine neue Sicht entgegengestellt. Das Anekdotische erzählender Malerei wurde beiseite gelassen. Es ging nicht mehr um unmittelbare Wiedererkennbarkeit. Gegenwärtig meldet sich eine neue Abstraktion, allerdings in verschiedenen Intentionen.
Eine Welle „neuer Abstraktion“ verlängert oft virtuell geltende Realität ins virtuell Manipulative. Die Künstlerinnen und Künstler der "Werkstatt"-Ausstellung sind dagegen abstrakt, indem sie nichts mehr zu tun haben mit dem „Darstellen von Etwas“. Durch die Entdeckungen in ihrer Arbeit öffnen sich mögliche Wirklichkeiten, die vielleicht dem Auge nur noch nie begegnet waren, vielleicht verwandt sind mit Erscheinungen, die uns nur bisher zu fern waren. Dabei zeigen sich Verwandschaften, die von einem allgegenwärtigen Wirken der Naturgesetzmässigkeiten bestimmt sind.
Nach ihrer Arbeit mit Andy Warhol hat Ingeborg zu Schleswig-Holstein die Intentionen früher Wegbereiter wie Nay oder de Kooning aufgegriffen und radikalisiert. Dabei sind eigene Farbwelten entstanden, die jetzt gerade in eine neue Strenge gelangen. Ihre Bilder entwickeln sich nicht so sehr in Sprüngen, eher langsam, ein Bild aus dem anderen. Sie sagt: "Es ist ein fast pflanzlicher Wachstums- oder Veränderungsprozess. Farbräume entstehen, vielleicht der Musik ebenso nahe wie der Malerei. Zwar verklingen sie nicht, bleiben aber ungreifbar." Von einer inneren Bewegtheit geht eine intensive Ruhe aus, die die Betrachter in ihre Entdeckungen hineinzieht.
Die pointierteren Gesten von Rudolf zur Lippe kommen genau dem von verschiedenen bestimmten Bewegungen her entgegen. Frühere Phasen gestischer Malerei, bei Jean Degottex oder Henri Michaux, bilden den Hintergrund dafür, wie er ungeahnte Spannungsfelder zu entdecken gibt. Zwischen Rhythmus und Verweilen spannen sich Schwingungen und Kraftimpulse aus. Bestimmte gestische Energien kommen in seinen Bewegungen mit dem Pinsel auf Papieren oder Leinen zum Ausdruck und strahlen von den Bahnen aus.
ter Hell kommt aus der abstrakt gestischen Malerei des Informel und des abstrakten Expressionismus. Im provozierend selbstbewussten, direkten Gestus malte und sprühte er banal erscheinende Sprüche, Bekenntnisse oder auch nur einzelne Worte, die gleichzeitig Elemente der Graffiti-Kunst enthielten. In seiner Bildsprache postuliert er eine Veränderung von Bewusstseinsstrukturen, von Auflösung hin zum energetischen Verständnis und zur „Collage-Identity“. Ausgangspunkt seiner Malerei sind präzise gesellschaftstheoretische Analysen, die uns die komplexen Wechselwirkungen zwischen Individuen und Gesellschaft verdeutlichen. Inzwischen entdeckt er die Nähe seines Schaffens zur Natur.
Mary Bauermeister arbeitet seit 1957 in Köln und New York. 1960-62 organisierte sie in ihrem legendären Atelier in der Kölner Lintgasse 28 experimentelle Ausstellungen, Lesungen und Konzerte „neuester Musik“ mit Künstlerkollegen wie Cage, Beuys, Christo u.v.a. Diese Konzerte und Aktivitäten waren in Deutschland die Grundlage einer Bewegung, die man später „Fluxus“ nannte. 1962 folgte Sie dem Ruf der neuen Kunst (Pop Art) im Umkreis von Rauschenberg nach New York, wo sie dann 12 Jahre lang sehr erfolgreich arbeitete. Wie sich, was sie findet, unter ihren Augen, ihren Händen zusammenfindet, drückt sich in Formen aus, die sich zwischen denen der Natur und denen der menschlichen Geschichte bewegen.
Die minimalistische „Interconnection“ Serie von Alexander de Cadenet spiegelt das Spektrum des menschlichen Lebens :sei es in der Symbolik der kosmischen und biologischen Schöpfung, oder in der Metapher eines mäandernden Flusses des Lebens. Dabei werden seine Werke beim Entstehungsprozess ebenso machtvoll von der Natur beeinflusst, etwa durch Variationen der Gravitation oder unterschiedliche Farblöslichkeiten, wie das Leben selbst.
Die komplexen Installationen von Clement Borderie zeichnen sensible Strukturen auf Leinwände und machen die Eigenschaften und die Zeit eines Ortes erlebbar, indem sie über mehrere Jahreszeiten hinweg, wie in einer Fotografie mit Langzeitauslöser, den Staub, Laub, Pollen, Regen und menschliche Umwelteinflüsse in feinen, abstrakten Strukturen einfangen.
Der Bildhauer Hartmut Stielow ist Schüler von Bernhard Heiliger. Schon früh positionierte sich Stielow außerhalb der zeitgenössischen Kunstdiskussion und bezog sein Handeln auf die Tradition der Stahlplastik. Seine bevorzugten Materialien sind Stahl und Granit, die in seinen Arbeiten miteinander in Wechselwirkung treten. Der Dualismus von Natur und Technik bestimmt zunehmend seinen künstlerischen Werdegang. Das Eisen umschließt den schweren Stein in einer feinen Balance, die Gegensätze werden zu einer Einheit zusammengefügt. Seine Thematik ist das Lasten und Tragen, Aufruhen und Emporheben wie in seiner "Pieta"- abstrahiert von allem Figürlichen und konkret wie alle Vorgänge des Lebens. Stielows Arbeiten zeichnen sich aus durch ihre Offenheit und die ihnen innewohnende Ruhe.
„Sehen und erleben im Bewusstsein von Wandlungsprozessen“ sagt Ter Hell. Ein leibhaftiges Bewusstsein, das solange durch die malerischen Erprobungen insistiert, bis sich „wahrhaftige Potentialitäten“ zeigen. Sie „widmen sich dem Geahnten diesseits und jenseits des begrifflich Definierbaren“ sagt Ingeborg zu Schleswig-Holstein. Rudolf zur Lippes Gesten gehen „Ordnungen anderer Art" nach, die „nicht geplant oder komponiert und auch nicht rekonstruiert werden können“.
Seine Kunst macht vehemente Vorschläge gegen die Vormacht mechanischer, hierarischer Prinzipien im Zugriff auf die Lebensformen der Menschen, das Denken und die Welt.
Viele dieser Erfahrungen sind neu gegenüber der technischen Massenkommunikation, auf die Vertreter einer anderen "neuen Abstraktion" ihre Konzepte aufbauen, dem Satz von Albert Camus nah: „Ich war ein wenig Teil dieser Kraft, die mich da schwimmen ließ, dann sehr stark, dann war ich schließlich sie, da ich die Schläge meines Körpers nicht mehr unterschied von den großen tiefen Schlägen des Herzens der Natur, das überall anwesend ist.“
Vernissage: Donnerstag 6.Oktober ab 18 Uhr
Brandshofer Deich 112, historische Speicherhalle
D-20539 Hamburg
Es spricht: Hubertus Gaßner, Direktor der Hamburger Kunsthalle
Aufführung einer Komposition von Augustin Maurs
Zazie de Paris , Performance
Ausstellungszeiten ab 7.Oktober: Di-Sa 12-19 Uhr
Samstag 15.Oktober ab 20 Uhr
Tanznacht "Ferne ganz Nah" mit
Philipp van der Heijden, Sven Kacirek, Jascha Viehstädt
(Tanzinitiative Hamburg)
und
Finissage am Sonntag, den 16.Oktober ab 13 Uhr
mit der Tanzperformance „Eine Erinnerung an die Gegenwart“
von Marc Stuhlmann
Mit freundlicher Unterstützung von:
Klausmartin Kretschmer und Wolfgang Sabrowsky
Speis und Trank von manufaktur EINS www.manufaktureins.de
  |   |   | 01 Alexander de Cadenet 02 Rudolf zur Lippe 03 Bruno de Panafieu 04 Barbara Gaile 05 ter Hell 06 Ingeborg zu Schleswig-Holstein |
IN BETWEEN
NEW ABSTRACTION and NEW CONCRETION
24.08.-03.10.2011
Alexander de Cadenet, Barbara Gaile,
ter Hell, Rudolf zur Lippe,
Bruno de Panafieu, Ingeborg zu Schleswig-Holstein
Through the phases of 20th Century abstraction, the traditional view contrasts with a new objectivity. Anecdotal narrative painting has found that it is no longer recognizable. Currently a New Abstraction has emerged, albeit with different criteria than earlier forms of abstraction. The "Werkstatt" exhibition is abstract, but repudiates representation by means of a tension between abstraction and concreteness rather than by depiction of everyday reality, or the distortion of existing objects. Through such discoveries, the pictorial opens itself to the reality of possible worlds that the eye has never beheld, but which are no less related to phenomena.
Rudolf zur Lippe’s pointed gestures approach such conditions by virtue of disparate bilateral movements. These works that transcend earlier gestural precedents in Jean Degottex and Henri Michaux, offer unsuspected fields of tension. Here, vibrations and pulses of force oscillate between rhythm and stasis.
After her work with Andy Warhol, Ingeborg zu Schleswig-Holstein advanced and radicalized pioneers such as Emil Nolde and Ernst Wilhelm Nay. The result is her own world of color that continues to develop a new rigor. From their inner dynamism radiates an outward calm that draws the visitor into their revelations. Her paintings develop not in abrupt leaps, but instead evolve gradually one from the other, similar in this sense, to organic growth. In recent years, her colors have become more transparent and lucid. Oil paint becomes a watercolor lightness. Colors superimpose themselves in soft layers that permeate each other with ambiguous possibilities of depth, thus creating dynamic spatial possibilities. Empty volumes therefore are no less replete with alternatives. Motifs appear as if through a zoom lens in greater detail, without changes in the size of the image. Parallel with the oil paintings, the artist also makes watercolors, mostly in a small, intimate format. These genres both inform each other and assert their own individual characters.
Barbara Gaile avoids a painterly approach altogether, instead favoring texture while emphasizing the origins of color in light, and retaining the self-sufficiency of pigment. She preserves its “tone” but not its materiality. The materiality of her works seems continually to recreate itself like that of a living organism. Their evocative character is so strong that they induce in the viewer states of contemplation and meditation. These works appear to stand openly before the viewer; yet, at the same time, they are enclosed in their own autonomy.
Ter Hell's paintings generate abstraction from colored spaces, symbols, and text. In his pictorial language, he postulates a change in the structure of consciousness, toward a synthesis of energy and understanding that yields a "collage-identity." His point of departure is a detailed analysis of social theory. Along with Salome, Rainer Fetting, and Elvira Bach, Ter Hell belongs to the Berlin "Young Wild Artists” group which came to international prominence in the early eighties.
The geometric work of Bruno de Panafieu is based on the simple-order principles of nature that can generate complex structures. These orders have fascinated mankind from time immemorial and evoke Tribal Art, architecture, science and religion. From this historical universality his works on paper and bronze derive their power.
The Interconnections Series of Alexander de Cadenet encompasses the spectrum of human life: be it the symbolism of a volcanic eruption that recalls both the cosmos and the biological moment of creation, or the metaphor of a meandering river of life. But in its execution, the series also alludes to the life’s trials. De Cadenet directs the paint, but the vagaries of gravity or paint solubility impose discrepancies, as does the freewheeling engraving process that borders the pigment. These formal idiosyncrasies mimic the tangential ways that life confounds conscious intention.
"What is to be done in the consciousness of processes of change?" asks Ter Hell. A corporeal awareness, that insinuates itself in pictorial possibilities, in order to reveal "true potentialities." They "refer to the divine on both sides of the conceptually definable," says Ingeborg Holstein. Rudolf Lippe’s gestures are "orders of another kind" which are "neither planned nor composed, and also cannot be reconstructed."
Many of these experiences are new to the technology of mass communication, but close to the Camus’s phrase: "I was a little part of this force, which first led me to struggle; then it became very strong; then I was finally it, since I could no longer distinguish the blows to my body from the great deep beats of the heart of nature which is present everywhere."
Werkstattgalerie ´
Eisenacher Str. 6
D-10777 Berlin
info@werkstattgalerie.org
www.werkstattgalerie.org
info@werkstattgalerie.org
Di-Fr 12-19h, Sa 12-18h
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Die Werkstattgalerie präsentiert zum Saisonauftakt im Projektraum Photographien von Friedrich Lippe
Eröffnung: Donnerstag, 11. August 2011 um 19 Uhr
Abschied vom Inventar
Auch die Fotogrfie gewinnt ihre Verbindlichkeit nicht mehr aus der Wiedergabe der einzelnen Elemente. Die Aufnahmen von Friedrich Lippe, die bis zum 18.August in der Werkstattgalerie gezeigt werden, vergegenwärtigen Situationen. "Unterwegs" zwischen Lichtern und Gebäuden oder als Zeugen dessen, wie da Menschen in ein Gegenüber geraten, zueinander, gegeneinander und mit der Stimmung von Orten. Sensible Eindrücke vermitteln Situationen- Verletzlichkeit, aufblitzen, chillen, sinnieren, Verwunderung....
Werkstattgalerie ´
Eisenacher Str. 6
D-10777 Berlin
info@werkstattgalerie.org
www.werkstattgalerie.org
info@werkstattgalerie.org
Di-Fr 12-19h, Sa 12-18h
   |    |    | 01 Giovanni Manfredini 02 Rudolf zur Lippe 03 Pascual Jordan 04 Alexander de Cadenet 05 ter Hell 06 Ingeborg zu Schleswig-Holstein 07 Rudolf zur Lippe 08 Installationview Art Vilnius 09 Bruno de Panafieu |
ARTVILNIUS’11 13.-17. July 2011
INBETWEEN NEW ABSTRACTION & NEW CONCRETION
Alexander de Cadenet, ter Hell,
Pascual Jordan, Rudolf zur Lippe, Giovanni Manfredini,
Bruno de Panafieu, Ingeborg zu Schleswig-Holstein
Werkstattgalerie presents at the artfair ArtVilnius 2011 seven artists whose works are closely related, despite very disparate styles: a new abstractness that, in reality, is a different kind of concretion.
The “New Abstraction” no longer abstracts from existing reality, but emancipates itself from conventional definitions and views of what is permitted to count as real: possible, imagined, explorable realities open up. They find an expression of their own that joins the photos from astrophysics and microscopic worlds. They also overcome the principles of traditional composition.
Its pictures do not develop in relation to things; instead, the artists take up certain energies, follow them, and carry them further. Such energies manifest themselves as movements or colors, for example. Giving them expression is a process that is itself energetic – one can also say gestural – and that gradually condenses and spreads in layers. Accordingly, the viewer needs time to penetrate into the suggested constellations that emerge between the layers of painting, colors, or gestures.
After her work with Andy Warhol, Ingeborg zu Schleswig-Holstein took up and radicalized the intentions of early pioneers like Nay and DeKooning. The result is her own worlds of color, which are now developing in a new rigor. Their inner dynamism radiates an intense calm that draws the visitor into their discoveries.
Rudolf zur Lippe’s pointed gestures approach precisely that from disparate specific movements. Earlier phases of gestural painting, with Jean Degottex and Henri Michaux, are the background of how he offers unsuspected fields of tension for discovery. Vibrations and pulses of force stretch between rhythm and lingering.
Whereas hitherto the focal point of the work of Giovanni Manfredini was the existentialist selfportrait, the figurative has now given way to a luminous disc that seems to lift itself away from its deep black ground. Through a sfumato effect, which he employs with varying intensity by burning the surface, Manfredini complements the chiaroscuro effect of the image. The title of this group of works – Estasi (Ecstasy) – aptly describes the atmosphere created by these hovering, gleaming forms that seem to emerge from another, completely unknown dimension. No matter how they may be interpreted, they operate like dreams, inspiring the imagination of everyone who looks at them.
Ter Hell's paintings are abstracting from colorspaces, symbols, drawing- and writingstructures. In his pictorial language, he postulates a change of consciousness structures, towards the resolution of energy and understanding to a "collage-identity". Starting point of his paintings are precise analysis of social theory, which clarify the complex interactions between individuals and society. Ter Hell belongs among Salome, Rainer Fetting and Elvira Bach to the group of the "Young Wild Artist", the Berlin based group, which made German art EnVogue internationally at the beginning of the 80s.
These studies are completed by the latest work by Pascual Jordan and Alexander de Cadenet, who's abstract work are dealing with composition, dissolution and networks.
Werkstattgallery at
Art Vilnius 13-17th July
Booth 3.10
LITEXPO, Lithuanian Exhibition and Convension Centre,
Laisves prosp. 5, Vilnius, Lithunia
    |     |     |
Pierre Jouve
Marianne Brisée / The Dark Side of Paris.
27.05.-28.07.2011
Vernissage: 27. Mai ab 20h in Anwesenheit des Künstlers.
Pierre Jouve (* 1943), ehemaliger Journalist für die internationale Presse, ist Fotograf, Schriftsteller und Filmemacher, darunter u.a. Dokumentationen über Jacques Chirac und Francois Mitterrand.
Er bekam 2006 die außergewöhnliche Erlaubnis des Pariser Polizeipräfekten, mit seiner Kamera die täglichen Polizeioperationen über ein Jahr lang zu verfolgen. Nach einigen Tagen entdeckte er ein faszinierendes und noch nie gesehenes Paris voll von Verhaftungen und Verbrechen aller Art. Auf seiner Reise begegnet er nicht nur Opfern und Tätern, sondern hat auch Zugang zu allen Organen der Rechtspflege in ihrem alltäglichen Kampf gegen die Gewalt.
Er hat aus nächster Nähe die Grausamkeit des Schicksals beobachtet und erfasst in seinenen Bilder die Ästhetik der Gewalt und sozialen Benachteiligung. Seine analogen Snapshots, die während der Einsätze der Polizisten und Rettungsteams entstanden, sind nicht nur Zeitdokumente und Beweißmittel, sondern verweisen mit einer ganz eigenen Ästhetik auf Werke der Kunstgeschichte.
Er selbst schreibt zu diesen Erfahrungen:
>>Auf diese so ungewöhnliche Reise hat mich die Pariser Polizei mitgenommen. Eine Vision der rohen Realität, der Realität, die durch das Gesetz verdeckt wird, durch die staatliche Zensur, oder sie wird einfach durch die Gesellschaft ignoriert, verdrängt, die, insgesamt, sich nicht gern in ihrem wahren Spiegel betrachtet. Es sind Bilder eines Verzeichnisses, das die Justiz, die Polizei und die Politiker aus tausend Gründen maskieren, auch um Opfer und Kriminelle gegen den gierigen Blick der Medien zu verteidigen.
Jede Vision kann auf ihre Weise falsch interpretiert oder verkehrt werden. Eine Reise in den Schmerz der Anderen ist eine Reise in einen selbst. Wir prüfen uns, tasten unsere eigene Menschlichkeit ab, unsere Toleranz, unsere Achtung vor dem Gesetz, unsere Komplizenschaft mit den Systemen, die uns beherrschen.
Die Polizei und die Justiz schreiten ein, untersuchen, nehmen fest, beschuldigen, urteilen, bringen ins Gefängnis, versuchen sich an einer unmöglichen Rettung, betupfen die Wunden.
Diese Seite des Menschen fasziniert derart, dass eine Sensation der Wiederholung freigesetzt wird, ein unendliches Rad des Unglücks, das den Augenblick des Fortgehens einläutet, einen dazu bringt, den jeweiligen Bericht abzuschliessen.
Aber diese Visionen kleben an der Seele, wie bei den Leuten der Justiz, den Medizinern, den Beerdigungsleuten, den Thanatologen usw. deren Geist und Intelligenz von der harten Realität geformt worden sind, vom Schweigen der Selbstmörder und der Mordopfer.
Mit der Polizei in diesem Paris der zahllosen Polizeistationen, Krankenhäuser, Kirchen und Gotteshäuser, Gerichte, Friedhöfe, all der Orte, die die Wahrheiten der conditio humana bestimmen, steht man ebenso vor der Masse, der Umwelzung, der Globalisierung. Man steht vor dem Rassismus, vor dem Fremden in Potenz. Man steht sich selbst gegenüber angesichts dieser Spannung. Die Sympathie für den Festgenommenen, das Mitleid mit ihm. Festnahmen, auf welcher Seite steht man?
Die 2009 im Musée d'Art Moderne de Saint-Etienne Métropole gezeigten Arbeiten werden nun in der Werkstattgalerie vom 27.Mai an zu sehen sein.
Werkstattgalerie
Eisenacher Str. 6
10777 Berlin
T: +49 (0)30 21002158
www.werkstattgalerie.org
info@werkstattgalerie.org
Di-Fr 12-20h, Sa 12-17h
  |   |   | 01 Henrik Lebede 02 Dominic Shepherd 03 Alexander Zakharov 04 Sam Jackson 05 Gavin Tremlett 06 Genia Chef |
Polemically Small
Genia Chef, Sam Jackson, Hendrik Lebede,
Dominic Shepherd, Gavin Tremlett, Alexander Zakharov.
curated by Edward Lucie-Smith
Opening: Friday 15th April at 7 pm.
Speakers: Edward Lucie Smith
What’s the polemic? Why small? This exhibition, of small, sometimes very small, works of contemporary art is essentially a rant about the outmoded rhetoric of size that is still embraced by what likes to call itself the avant-garde. New cutting-edge artists have been painting small now for some time. It’s happening here in London; it’s happening in Germany, still the real centre for avant-garde activity in Europe; it is happening among a certain number of Italian artists. It may be happening elsewhere as well. The interest in small-scale art is inevitably starting to spread to other genres – sculpture, photography and video.
Huge art, in Modernist terms, was essentially an invention of America in the 1940s. Very big Abstract Expressionist paintings were the “barbaric yawp” (to quote Walt Whitman) that proclaimed the new cultural dominance of the United States. Before that the important Modernist painters had only occasionally painted on a very big scale, to suit a special occasion. Picasso’s Guernica is a good example.
Big abstract paintings made themselves at home in the lofts of South-of-Houston-Street New York, then being colonized by artists. These originally industrial spaces seemed to offer plenty of wall. Love it, live with it, if necessary trash it. New art, though big, was still cheap. Later, with the multiplication of new museums in America and elsewhere, big paintings seemed to have a logical purpose. Admiring critics wrote pieces about the way in which these overweening canvases offered a new experience in wraparound vision. Inevitably, however, the space available soon started to run out. How many Pollocks, de Koonings and Rothkos does it take to fill a vast gallery space to the point of bursting? Too many painters were producing big canvases, with the result that a lot of contemporary art, even art safely in the possession of museums, now spends most of its time in store. Where ambitious private collectors are concerned, we have become used to the term ‘warehouse art’. The proud possessors are known to own it. It’s also known that they don’t live with most of it. In a real sense, art that isn’t being looked at doesn’t exist. Warehouse art is non-art. An awful lot of ambitious but misguided artists are still producing it.
If we look at the art of the past, art earlier than Modernism, we find a mixture of big art and small art. The big art was almost invariably produced for absolutely specific purposes – never on spec. It adorned churches and palaces. It offered a focal point to a public square. Small scale art was sometimes produced without a patron in mind, simply for the market, as most art is produced today. Many of the great masterpieces of the past are disconcertingly small. Portraits by Van Eyck and Memling. Religious paintings by Antonello da Messina. Some, though not all, of Rembrandt’s self-portraits. Samuel Palmer’s landscapes of the Shoreham period. Even the Mona Lisa. They need to be looked at in a different way from wraparound art – slower, more contemplative – dare one say it? – more loving.
Today many young artists are forced, through economic necessity, to work in very small spaces. Collectors, even when prosperous, don’t have unlimited wall space. How many wraparound canvases can you house in a two-bedroom flat? There is an obvious disjuncture between what is being made and its supposed destination. An art market that produces solely for museums and warehouses surely isn’t in a healthy condition.
This exhibition is meant to do two rather ambitious things within a physically small space. First, to suggest that contemporary art is changing, and changing rather faster than usual. An important part of this change is the rebellion against huge size. Artists are making small work not because they are forced to (though in some cases that is increasingly true), but because they actually want to – because small art, in current conditions, is actually cutting edge, and delivers a new and dissident message. “Look at me in a different way,” it says. Secondly, linked to this, the show invites visitors to explore, on their own terms, how this different way of looking functions, and what it may possibly deliver.
Edward Lucie-Smith
Werkstattgalerie
Eisenacher Str. 6
10777 Berlin
T: +49 (0)30 21002158
www.werkstattgalerie.org
info@werkstattgalerie.org
Di-Fr 12-20h, Sa 12-17h
    |     |     | 01 Fracis Bacon (attr.) 02 Fracis Bacon (attr.) 03 Fracis Bacon (attr.) 04 ArtParis 2011 05 ArtParis 2011 06 ArtParis 2011 07 Exhibitionviews at 74 Rue Quincompoix 08 Exhibitionviews at 74 Rue Quincompoix 09 Exhibitionviews at 74 Rue Quincompoix 10 Exhibitionviews at 74 Rue Quincompoix 11 Exhibitionviews at 74 Rue Quincompoix 12 Exhibitionviews at 74 Rue Quincompoix |
Werkstattgalerie and Galleria Nove
Berlin
Drawings Attributed To Francis Bacon
As everyone interested in Bacon’s work knows, Bacon many times, and often vehemently, denied that he made any use of drawing. This is contradicted however by an early interview with the critic David Sylvester (Bacon’s most frequent interlocutor), which is preserved on film. In it, Bacon admits that he does draw, but coyly says that puts his drawings aside and doesn’t look at them, when the moment comes to paint a picture.
Yet, since Bacon’s lonely death in Madrid in 1992, a mass of evidence has emerged to show that he not only did draw, but drew prolifically. When he died, for example, a canvas he had just be- gun was found in his Reece Mews studio in London. On it was a masterly full-scale drawing for the composition he intended to paint. Numerous scraps of paper with drawings on them, some mere scribbles to be true, were found when the Reece Mews studio was disassembled, to be afterwards reconstructed in Dublin.
If the material that emerged from Bacon’s studio after his death is problematic because of its lack of real artistic quality, the same cannot be said of the exhibited drawings. These are ambitious works, signed and on a large scale, clearly made as independent works of art. They in many ways seem to sum up the essence of what Bacon tried to do.
There seem to have been several motivations for making them, apart from Bacon’s desire to commemorate a friendship. One was simply restlessness. Though happy to get away from the confines of his studio, Bacon still wanted to make art – but art of a light and portable kind (though not all of the drawings were made in Italy, some appear to have been done in London). At the end of his life, he wanted to try a new medium, one that had clearly always daunted him. He also seems to have wanted to correct mistakes made in the past. One striking feature of this series of drawings is that they recapitulate themes from work made much earlier in his career. Though the drawings belong to the last decade of Bacon’s artistic activity, their subjects are those that Bacon became associated with in the 1950s – the Popes after Velazquez and the portraits of businessmen. The Pope images are expanded into a series of portraits of ecclesiastics, perhaps inspired by what Bacon saw in the streets of Italian towns. There are also portraits of friends and images of the Crucifixion, a subject that preoccupied the artist through-out his life. Bacon frequently expressed dissatisfaction with the early works that had made his reputation, and these are an attempt to do better.
He seems to have thought of the drawings as being essentially unofficial. He went to con-siderable trouble to keep their existence secret from his commercial representatives, the powerful Marlborough Gallery, who wished to preserve his shamanic persona even more than he did. One fascinating aspect of these drawings is that they are the work of a Laocoon, a man struggling hard to escape from the entwining serpents of his own myth, and to return to the pleasure of making art for its own sake – no other reason than that.
Edward Lucie-Smith
Werkstattgalerie and Galleria Nove
Berlin
present on the occasion of the Art Paris fair
the artists
Daniel Hourdé, Pierre Jouve, Rudolf de Lippe, Giovanni Manfredini,
Narmine Sadeg, Ingeborg zu Schleswig-Holstein
c/o Galerie Modem
74 Rue Quincampoix
75003 Paris
we invite you to the opening of the exhibition
31 st March 2011 at 18.00 h
in the presense of the artists
Exhibition: 01.04.-03.04.11 12-18 h
Werkstattgalerie and Galleria Nove present Rudolf de Lippe and Ingeborg zu Schleswig-Holstein, two artists whose works are closely related, despite very disparate styles: a new abstractness that, in reality, is a different kind of concretion. The “New Abstraction” no longer abstracts from existing reality, but emancipates itself from conventional definitions and views of what is permitted to count as real: possible, imagined, explorable realities open up. They find an expression of their own that joins the photos from astrophysics and microscopic worlds. They also overcome the principles of traditional composition.
Its pictures do not develop in relation to things; instead, both artists take up certain energies, follow them, and carry them further. Such energies manifest themselves as movements or colors, for example. Giving them expression is a process that is itself energetic – one can also say gestural – and that gradually condenses and spreads in layers. Accordingly, the viewer needs time to penetrate into the suggested constellations that emerge between the layers of painting, colors, or gestures.
After her work with Andy Warhol, Ingeborg zu Schleswig-Holstein took up and radicalized the intentions of early pioneers like Nay and DeKooning. The result is her own worlds of color, which are now developing in a new rigor. Their inner dynamism radiates an intense calm that draws the visitor into their discoveries.
Rudolf zur Lippe’s pointed gestures approach precisely that from disparate specific movements. Earlier phases of gestural painting, with Jean Degottex and Henri Michaux, are the background of how he offers unsuspected fields of tension for discovery. Vibrations and pulses of force stretch between rhythm and lingering.
Whereas hitherto the focal point of the work of Giovanni Manfredini was the existentialist selfportrait, the figurative has now given way to a luminous disc that seems to lift itself away from its deep black ground. Through a sfumato effect, which he employs with varying intensity, Manfredini complements the chiaroscuro effect of the image with a further traditional technique of art-historical significance. The title of this group of works – Estasi (Ecstasy) – aptly describes the atmosphere created by these hovering, gleaming forms that seem to emerge from another, completely unknown dimension. No matter how they may be interpreted, they operate like dreams, inspiring the imagination of everyone who looks at them.
In choosing a disinherited humanity, rooted in an anatomical realism marked by the stigmata of time, Daniel Hourdé fills a singular space in the world of contemporary sculpture. With his hands as his preferred tool, he works his models in wax. Wax lends its malleability to express the erosion of the flesh, as imprinted by the sculptor. The gesture is urgent, sacrificing fullness of form and classical harmony on the altar of truth. Fiery, but never improvised, his gesture is precise: dissecting, furrowing elavating veins and tendonsfrom a corporal fabric that clothes a frame whose every bone can be numbered. Strength and vigour circulate in these bodies whose final metamorphosis is cast in bronze.
Pierre Jouve was exceptionally authorized by the prefecture of the police to follow, armed with his camera, the daily Parisian policeoperations. After some days, he discovers a fascinating and "never seen" Paris full of arrests and crimes of all kinds. His photographies are paintings of the the “daily” life of Paris. He had observed at close the cruelty of fate. To this blunt truth, he had applied humanism in his art. In his new poetic series Pierre Jouve explores the fragility of life, recalling the strength of his previous experience.
After studying painting at the University of Tehran, Narmine Sadeg moved to Paris in 1977, and continued her studies at the Ecole des Beaux-Arts, at the Sorbonne, and at the Paris-Diderot University. Her recent work consists of drawings and mobile sculptures. These are half human beings, half toys, apparently delicately balanced. They evoke moments of suspense, of waiting for something to happen. Narmine Sadeg’s work does not reflect specifically Iranian traits, but offers a consideration of the human condition in a larger sense.
Werkstattgalerie
Contact: Mirko Freiwald / Pascual Jordan
Eisenacher Str. 6
D-10777 Berlin
www.werkstattgalerie.org
info@werkstattgalerie.org
Tel: +49.30.21002158
    |    |    | 01 Colin Maillard 02 La Vanite mise a Nue par ses Thuriferes 03 Chut Chut Cher Daniel 04 Broken Dreams 05 Les Epines de La Voluptě 06 Les Epines de La Voluptě 07 Installation von Zeichnungen auf Karton, Dimension variabel, 2011 08 Mixed-Media Abstraktion, 65x 50cm, 2011 09 Homomorphisme 10 Mixed-Media Abstraktion, 65x 50cm, 2011 |
Daniel Hourdé
New sculptures and drawings
February 12th -March 28th
Opening: Friday, 11th February at 7pm.
Humanity Bared- Daniel Hourdé
Daniel Hourdé's sculptures is all about the human body. His bronzes belong to the great humanist tradition, that of the ancient Greeks, who introduced the contortions of melancolia into their sculpture. Their tormented representations foreshadow the Mannerist movement whose vital ambiguity is the life-giving expression its artists bring to the organic sensuality of the human body.
The body, whose existential freedom Hourdé celebrates as rooted in a lost, destabilized society in search of points of reference. Imitating the Creator's bold gesture of breathing life into inert matter, the sculptor has been questining the body since time immemorial. Reclaiming its corporality or simply allusive, the body states its relationship to iconoclasm in recalling the immense power of image. To which Daniel Hourdé dares to reply. In choosing a disinherited humanity, rooted in an anatomical realism marked by the stigmata of time, he fills a singular space in the world of contemporary sculpture. With his hands as his preferred tool, he works his models in wax, the medium dear to artists of the Renaissance. Wax lends its malleability to express the erosion of the flesh, as imprinted by the sculptor. The gesture is urgent, sacrificing fullness of form and classical harmony on the altar of truth. The expressionism of his male nudes recalls the tormented bodies of Ligier Richier and Germain Pilon's recumbent statues of Henri II and Catherine of Medicis. The body furrowed, bloodless, twisted, with muscles coiled. The body inhabited, to quote Baudelaire, with the mysterious, intangible beauty of this thin carcass, with flesh to clothe it before being torn away to join a macabre dance, still topical today. The body in metamorphosis (Narcissus, Athena, the Minotaur), for the myth of a universe governed by lightning, as expressed by Heraclitos.
Le Destin est pressé and other of his sculptures present scenes of being condemned to fatal destinies, with the incongruous surprise of an ordinary accessory brutally interrupting the story. Myth gives way to imagination,. Fallen angels whose days are numbered, stirred by a vital exuberance, a final surge of revolt and the desire to exist, his charcters are masked or reveal premature skulls in their accepted solitude. All through the eye of a memorialiste who looks upon himself and others with a lucidity tinged with humour. Facing his model, Daniel Hourdé sculpts the bodily labyrinth with a vehemence, tracing the exact interactions of its lines, attentive to the tension of an arc, the interrupted rhythm that punctuates a surface, accentuating a proportion, which will suggest the élan of life. Fiery, but never improvised, his gesture is precise: dissecting, furrowing...elavating veins and tendonsfrom a corporal fabric that clothes a frame whose every bone can be numbered. And the sketch naturally imposes itself. In an ardent graphic outpour, bodies fall upon the page, captured in that uncontrollable instant of thought and gesture in fusion. Daniel Hourdé shapes invisible reality. In his hands it becomes a signifier. His sculpture is to be seen and touched. Strength and vigour circulate in these bodies whose final metamorphosis is cast in bronze. Chiselling and burnishing awaken the life dormant in their forms, vibrating in the play of light. Firing exorcises time: conferring eternity upon these worn and weathered bodies.
Galleria Nove
Anna-Louisa-Karsch-Str.9
10178 Berlin
T: +49 (0)30 247816368
www.galleria9-berlin.com
info@galleria9-berlin.com
Di-Sa: 11-18h
Werkstattgalerie
Eisenacher Str. 6
10777Berlin
T: +49 (0)30 21002158
www.werkstattgalerie.org
info@werkstattgalerie.org
Di-Fr 12-20h,Sa 12-18h
    |     |     | 01 Ohne Titel 02 Ohne Titel 03 Ohne Titel 04 Ohne Titel 05 Ohne Titel 06 Ohne Titel 07 Ohne Titel 08 Ohne Titel 09 Ohne Titel 10 Ohne Titel 11 Ohne Titel 12 Ohne Titel |
Ingeborg zu Schleswig-Holstein
14.Januar – 05. Februar 2011
Vernissage: Freitag, der 14. Januar ab 19 Uhr in Anwesenheit der Künstlerin.
Wenn man an Ingeborg zu Schleswig-Holstein denkt, tauchen diese Farben auf in ihrer delikaten Vehemenz. Ihre erstaunliche Kraft bestimmt im Grunde die Bilder aller Phasen der Malerin, aber auf wie unterschiedliche Weisen! Sie treten in den früheren Werken mit einer Selbstsicherheit auf, die verblüfft und entzündet. Gegenwärtig könnte man an Selbstversunkenheit denken, wenn sie nicht darin diese Intensität entwickeln würden, die uns so entschieden in ihre Tiefen und Höhen hineinzuziehen vermögen.
Ingeborg zu Schleswig-Holstein ist eine Malerin zwischen der Welt von New York und der Welt, die man einmal „die alte“ nannte mit allen ihren Epochen von Fra Angelico bis ins 20. Jahrhundert. Aber sie ist eine Künstlerin zwischen den Welten. Dieses Zwischen ist in ihrer Arbeit ein Spannungsfeld geworden.
In den früheren Bildern schwingen noch die Figuren und Proportionen, das Oben und Unten, das Rechts und Links der europäischen Kompositionsgeschichte nach. Und woher kommen die Farben, die man manchmal unbändig nennen möchte?
Die einfachste Antwort heisst, von Andy Warhol, bei dem sie schliesslich lange genug Assistentin war, in der berühmten „factory“. Doch nur der Entschluss, der Wirkung der Farben ihren freien Lauf zu lassen, hat etwas mit der New Yorker Pop-Art zu tun. Ihre Freiheit ist auch frei von der lauten Attraktion, für die Warhol sie eingesetzt hat. Die Farben ihrer Bilder sind so aufgetaucht, wie es in Europa geschehen ist, natürlich bei Yves Klein, beim Blau der Bauhausmaler und letztlich doch auch im Blau des Frau Angelico.
Das hängt zusammen mit einem wesentlichen Schritt in der Entwicklung der Abstraktion, den Ingeborg zu Schleswig-Holstein über den amerikanischen Mentor hinaus gegangen ist – so wesentlich, dass man im Erscheinungsbild keine Verwandtschaft erkennt. Doch sie begreift in der Tat Warhol so, dass er zu einem Wegbereiter der Ablösung der Malerei von Gegenständlichkeit wird. Indem ihn von den Dingen nur ihre Oberfläche zu interessieren schien, wurden sie gegenüber ihrer materiellen Gegenständlichkeit zum Zitat. Das kann man als einen Abschied vom Gegenständlichen interpretieren, wenn auch in die andere Richtung als die, in die abstrakte Kunst sie vollzogen hat. Maler wie Ernst Wilhelm Nay haben dann diesen Flächen jede Erinnerung an die Dinge genommen, um der Farbe ihr Eigenleben zu entdecken. Und tatsächlich hat Ingeborg zu Schleswig-Holstein in Hamburg bei einem Schüler von Nay studiert.
Bei ihr, sagt sie, sieht man in die Farben hinein. Sie dienen nicht mehr der Darstellung des Bekannten. So führen ihre vielen Schichten in das Unbekannte. Die Flächen werden nicht mit Acryl verschlossen. Die vielen Schichten der Ölfarben gelangen in ein eigenes Spiel. Darin entstehen Räume, die aber nicht mit zentralperspektivischen Raumeffekten verwechselt werden können.
Was heisst es, von Räumen zu sprechen? Solche Räume, die wirklichen Räume, entstehen in den Wirkungen all dessen, was in ihnen auftritt. Beziehungsräume. Das Optische ist Mittler zu unserem Auge, das Mittler ist zu unseren mit vollziehenden Empfindungen, unserem mit Gefühlen sich verbindenden Erleben, unseren erkundenden und entdeckenden Gedanken.
Wenn sich in uns, wahrscheinlich sehr weitgehend, ohne dass wir es ausdrücklich bemerken, innere Beziehungsräume auftun zwischen unserem Erleben und unseren Gedanken und den Empfindungen der Sinne, dann tun sie nur in uns etwas auf, das uns frei macht von den Erwartungen der gewohnten Alltagswelt, besonders von den visuellen Erwartungen, Bekanntes wiedererkennen zu müssen.
In ihrem neuen Eigenleben bekommt die eine oder die andere Tönung des Rot ins kaum wahrnehmbar Blaue diese Bedeutung, die uns in ihre Spannungen hineinzieht.
„Die gewohnte Wahrnehmung der Menschen bewegt sich in einer sehr selektiven Bandbreite der Masstäbe“, sagt sie. Was in ihren Bildern sich ereignet, sind jedoch nicht Versuche, andere Dimensionen abzubilden, sondern Gedichte auf Möglichkeiten, die zwischen ihren Farben hervortreten – oder sich noch in ihnen verstecken.
Allerdings geht es selbstverständlich dieser Malerin nicht einfach um die Öffnung ins sehr Grosse oder ins sehr Kleine. Eher kommt in den Beziehungen ihrer Farben mit einander zum Ausdruck, was für beide Räume neben der üblichen Umwelt auf eigene Weisen wahr ist. Sie verwendet den Begriff Wahrheit dafür. Damit zeigt sie darauf, dass so diese Öffnungen eben nur die Kunst in der Strenge und Unbedingtheit ihrer eigenen Ansprüche und in den Reflexionen ihrer technischen Mittel einer Alltagswelt gegenüberstellen kann. Ein „Guck mal“ oder lass es bleiben, genügt halt nicht. Die Leidenschaft für jenes Andere überträgt sich nur, wenn alle Kühnheit und alles Können, wenn alle Poesie und alle Provokation für das Thema mobilisiert werden. Die Darstellung von Gegenständen hat sich vor der Erscheinung dieser Gegenstände, ihren Bezügen zur Welt und ihren Wirkungen auf uns zu verantworten. Jeanne Hersch hat deshalb äusserst kritisch gefragt, wovor sich denn die „abstrakte Kunst“ in ihren Werken zu verantworten habe. An den Resonanzen und den Störungen in den Bildern von Ingeborg zu Schleswig-Holstein wird deutlich, dass es die grossartige Bedeutung ihrer Fragen und Entdeckungen ist, die nicht verraten werden darf, weder durch Gefälligkeit noch durch Unentschiedenheit, durch Stolz schon gar nicht. Dass sie dies zu ihrer Disziplin macht, bis in genaueste, nie endende Erprobungen von Pigmenten, Bindemitteln, Pinseln, darauf könnte sie eigentlich stolz sein. Aber sie hat Wichtigeres zu tun, für sich und für uns. Eben jene „Wahrheit“ aufleuchten zu lassen.
(Auszüge aus einem Text von Rudolf zur Lippe)
Vernissage in beiden Galerien am Freitag , den 14. Januar ab 19 Uhr in Anwesenheit des Kurators.
Ein Shuttleservice zwischen beiden Galerien wird angeboten
Ein Katalog mit ca. 50 Abbildungen und Texten von Rudolf zur Lippe und Drew Hammond erscheint zur Ausstellung.
Galleria Nove
Kontakt: Marilena Vacchi
Anna-Louisa-Karsch-Str. 9
D-10178 Berlin
Öffnungszeiten: Di-Sa 11-18h
Tel: +49.30.247816368
Web: www.galleria9-berlin.com
Werkstattgalerie
Kontakt: Mirko Freiwald / Pascual Jordan
Eisenacher Str. 6
D-10777 Berlin
Öffnungszeiten: Di-Fr 12-20h, Sa 12-18h
Tel: +49.30.21002158
Mail: info@werkstattgalerie.org
   |    |    | 01 Ohne Titel aus der Serie Estasi 02 Ohne Titel aus der Serie Estasi 03 Ohne Titel aus der Serie Estasi 04 Ohne Titel aus der Serie CORPI 05 Ohne Titel aus der Serie CORPI 06 Ohne Titel aus der Serie CORPI 07 Ohne Titel aus der Serie Estasi 08 Nel segno della croce 09 Autoritratto |
GIOVANNI MANFREDINI
PIAGHE E GLORIA
12th November – 23rd December 2010
Vernissage: Friday 12th November at 8 pm at both galleries.
Galleria Nove and Werkstattgallery show in a new collaboration for the first time in Germany works by Italian artist Giovanni Manfredini. The solo exhibition titled "Piaghe e Gloria", will open on Friday, November 12 and lasts until 23rd December 2010.
Giovanni Manfredini was born in 1963 in Modena. At the age of two years he suffered severe burns. After several painful skin grafts, which should renew and replace his own skin, the suffering became unbearable and he was no longer willing to undergo further operations. This molting process, which had originated from fire, Manfredini transfers onto the surface of his paintings.
In 1988 his first work cycle "Altar of Solitude" was exhibited at the Biennale Artisti dell'Europa Mediterranea in Bologna. A year later this work was bought by the Contemporary Drawing Collection of the Galleria Civica in Modena and put on permanent display.
Since 1992 he develops his own style of painting and became the young Italian master of Chiaroscuro-painting.
Onto the paintingsurface a mixture of shell-flour and resin is applied. After a lengthy drying process, this area is dusted and darkened with a Bunsen burner. On this treated surface Manfredini prints his own body or parts of it. The impression created by this process resembels an absolute mimesis: a realistic representation with bodyhair and blood vessels, the strong black and white contrasts often make it look like photographs or radiographs. Parts or the whole body appear light in a dark environment, the internal drawing to be read only by shades of gray. The often used postures in his work reminiscent the Passion of Christ. Due to the spiritual and religious depth and intensity of his work two of his CORPI paintings have been displayed in the church of Santa Maria del Popolo in Rome along with works by Caravaggio
In his more recent works, Giovanni Manfredini has been replacing the human body by a circular template. Whereas hitherto the focal point of his work was the existentialist selfportrait, the figurative has now given way to a luminous disc that seems to lift itself away from its deep black ground. Through a sfumato effect, which he employs with varying intensity, Giovanni Manfredini complements the chiaroscuro effect of the image with a further traditional technique of art-historical significance. The title of this group of works – Estasi (Ecstasy) – aptly describes the atmosphere created by these hovering, gleaming forms that seem to emerge from another, completely unknown dimension. No matter how they may be interpreted, they operate like dreams, inspiring the imagination of everyone who looks at them.
In his forthcoming exhibition, Piaghe e Gloria, Giovanni Manfredini will be showing new works from his Corpi and Estasi series. These works, which differ enormously in size, from pocketformat to monumental, including a large tondo, will plunge the gallery into a vast black-andwhite cosmos. Here, too, the title of the exhibition is most apt, for it poetically alludes to the artist’s idea of preserving his images, which have their origins in infernal fire and physical pain, for eternity. Human and superhuman, body and soul, the source and the end, these are the contradictions that come together in the work of Giovanni Manfredini.
His works are in public collections such as the Bonn Art Museum, the Kunsthalle Stuttgart, the Museum of the City Waiblingen and the MoMA Toronto and other.
Galleria Nove
Contact: Marilena Vacchi
Anna-Louisa-Karsch-Str. 9
D-10178 Berlin
Open: Tu-Sa 11-18h
Phone: +49.30.247816368
Web: www.galleria9-berlin.com
Werkstattgalerie
Contact: Mirko Freiwald / Pascual Jordan
Eisenacher Str. 6
D-10777 Berlin
Near Nollendorfplatz U1,U2, M19
Open: Tu-Fr 12-20h, Sa 12-18h
Tel: +49.30.21002158
Mail: info@werkstattgalerie.org
   |    |    | 01 Screaming Pope 02 Pencil on Paper, 64cm*44,5cm, year not indicated, 03 Pencil on Architectpaper, 58cmx45cm, year not indicated, signed 04 Pencil on Board, 99,5cm*70cm, year not indicated, signed 05 Pencil on Board, 99,5cm*70cm, year not indicated, signed 06 Pencil on Board, 70cm*50cm, year not indicated, 07 Pencil on Paper, 64cm*44,5cm, year not indicated, 08 Pencil on Board, 99,5cm*70cm, year not indicated, signed 09 Pencil on Architectpaper, 150cm*100cm, year not indicated, signed |
FRANCIS BACON'S DRAWINGS
17th September -2nd November 2010
curated by Edward Lucie-Smith
As everyone interested in Bacon’s work knows, Bacon many times, and often vehemently, denied that he made any use of drawing. This is contradicted however by an early interview with the critic David Sylvester (Bacon’s most frequent interlocutor), which is preserved on film. In it, Bacon admits that he does draw, but coyly says that puts his drawings aside and doesn’t look at them, when the moment comes to paint a picture.
Yet, since Bacon’s lonely death in Madrid in 1992, a mass of evidence has emerged to show that he not only did draw, but drew prolifically. When he died, for example, a canvas he had just begun was found in his Reece Mews studio in London. On it was a masterly full-scale drawing for the composition he intended to paint. Numerous scraps of paper with drawings on them, some mere scribbles it is true, were found when the Reece Mews studio was disassembled, to be afterwards reconstructed in Dublin.
An even greater mass of material of this type turned up in the possession of Barry Joule, who had evolved from being Bacon’s neighbor into being his odd-job man and general Mr Fixit. Joule’s account was that Bacon, shortly before his death, had handed him the drawings, with the words “You know what to do with these, don’t you?” Some people, knowing of Bacon’s frequent denials that he drew, might have understood this as an instruction to destroy them, but Joule chose to think otherwise.
While it is true that much of the Joule material is of disappointing quality artistically – a lot of it consists of rough drawings made on top of photographs torn from books and magazines, with others on top of photos, such as portraits of Bacon’s old nanny, also for a time his housekeeper, that were very personal to Bacon himself – there are powerful reasons for accepting it as genuine. One series of drawings in the Joule archive – made on top of illustrations ripped from boxing magazines dating from the late 1940s - has a direct link to a series of drawings purchased as genuine by the Tate shortly before the Joule archive emerged. These drawings, also made on top of illustrations ripped from boxing magazines, belonged to Paul Danquah, a friend with whom Bacon shared a flat in the early 1950s. Danquah, who later emigrated to Tangier, seems to have given them by Bacon when they were co-habiting.
The Joule material appears to cover a long period, and to be closely linked to a number of well-known paintings by Bacon. The artist closely guarded access to his studio and it is hard to imagine him allowing anyone, even a boy friend, to sit there in a corner, manufacturing Bacon related drawings. The two chief consorts of the middle and later years of his career, George Dyer, an ex-burglar of notable incompetence, who committed suicide in 1971, on the eve of Bacon’s first major retrospective in Paris; and John Edwards, who though shrewd and loyal, was uneducated, dyslexic and illiterate, seem particularly unlikely candidates.
The Joule material – and other drawings related to it – have been a permanent embarrassment to a part of the British art establishment ever since they first made their way into the public gaze.
If the material that emerged from Bacon’s studio after his death is problematic because of its lack of real artistic quality, the same cannot be said of the drawings exhibited in this new exhibition. These are ambitious works, signed and on a large scale, clearly made as independent works of art. They in many ways seem to sum up the essence of what Bacon tried to do. Why were they made, and why have they remained at least half-hidden for so long?
The evidence is that Bacon, at the end of his career, found his celebrity increasingly oppressive. His solution was to slip away to places where he was little known or not known at all, where he could stroll from bar to bar and from restaurant to restaurant, and amuse himself as he wished. One of his favorite places for escapes of this kind was Italy. A constant companion in his Italian adventures was a young and handsome American-Italian called Cristiano Lovatelli Ravarino. There is plenty of evidence that they were often seen together, in locations as different from one another as Bologna and Cortina d’Ampezzo. The drawings shown are presentation drawings, resembling in this the drawings that the ageing Michelangelo made for the young Tommaso Cavallieri.
There seem to have been several motivations for making them, apart from Bacon’s desire to commemorate a friendship. One was simply restlessness. Though happy to get away from the confines of his studio, Bacon still wanted to make art – but art of a light and portable kind (though not all of the drawings were made in Italy, some appear to have been done in London). At the end of his life, he wanted to try a new medium, one that had clearly always daunted him. He also seems to have wanted to correct mistakes made in the past. One striking feature of this series of drawings is that they recapitulate themes from work made much earlier in his career. Though the drawings belong to the last decade of Bacon’s artistic activity, their subjects are those that Bacon became associated with in the 1950s – the Popes after Velazquez and the portraits of businessmen. The Pope images are expanded into a series of portraits of ecclesiastics, perhaps inspired by what Bacon saw in the streets of Italian towns. There are also portraits of friends and images of the Crucifixion, a subject that preoccupied the artist throughout his life. Bacon frequently expressed dissatisfaction with the early works that had made his reputation, and these are an attempt to do better.
Bacon regarded his relationship to Ravarino as unofficial, in the sense that he could never get his friend to commit himself to something fully public – Ravarino worried what his family would say. He seems to have thought of the drawings as being essentially unofficial as well. He went to considerable trouble to keep their existence secret from his commercial representatives, the powerful Marlborough Gallery, who wished to preserve his shamanic persona even more than he did.
One fascinating aspect of these drawings in that they are the work of a Laocoon, a man struggling hard to escape from the entwining serpents of his own myth, and to return to the pleasure of making art for its own sake – no other reason than that.
Edward Lucie-Smith, August 2010
Opening of the Exhibitions: Friday 17th September at 8 pm in the presence of the curator.
A Shuttleservice between the galleries is provided
A catalogue with images of 50 drawings and an introduction by Edward Lucie-Smith will be released on the opening day.
Galleria Nove
Contact: Mrs. Marilena Vacchi
Anna-Louisa-Karsch-Str. 9
D-10178 Berlin
Open: Tu-Sa 11-18h
Phone: +49.30.247816368
Web: www.galleria9-berlin.com
Werkstattgalerie
ContaCt: Mr. Mirko Freiwald / Pascual Jordan
Eisenacher Str. 6
D-10777 Berlin
Open: Tu-Fr 12-20h, Sa 12-18h
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Mail: info@werkstattgalerie.org
  |   |   | 01 Chinatusche auf Packpapier, 300cm*70cm, 2006 02 Chinatusche auf Kunststofffolie, 300cm*90cm, 2010 03 Chinatusche auf Transparentpapier, 300cm*90cm, 2010 04 Chinatusche auf schwarzem Karton, 300cm*50cm, 2005 05 Chinatusche auf Packpapier, 300cm*70cm, 2006 06 Chinatusche auf Kunststofffolie, 300cm*75cm,2010 |
Rudolf zur Lippe
„Das Denken zum Tanzen bringen“
Gestische Malerei
27.08.-11.09.2010
Vernissage der Ausstellung: Freitag, der 27.August 2010 ab 20 Uhr.
Seit der ersten Ausstellung von Rudolf de Lippe in Heidelberg 1964 brachte der herausragende Kritiker Albert Schulze Vellinghausen ihn in Verbindung mit Ben Nicholson, dessen lebensvoller Strich ihn beeindruckte als Beziehung und Grenze zugleich zwischen Räumen, und mit Antonio Calderara mit seinen monochromen Bildern. Dieses Vorgehen wird Rudolf de Lippe für viele Jahre ebenso verfolgen, wie er auch geometrische Collagen aus Zeitungen und anderem Papier macht.
In der Bretagne, während er gerade seinen Umgang mit dem Pinsel zu verflüssigen sucht, bekommt er eine Rolle Packpapier von 3 Metern Länge und 70 Zentimetern Breite zu kaufen. Nun geht er in Erprobungen und entdeckt, dass er seine Malerei vom traditionellen Format ausdehnen kann zu einer Art Unendlichkeit in einer Dimension, die, selbst wenn sie Grenzen hat, kein Oben und Unten, keinen Anfang und kein Ende kennt und von allen Seiten betrachtet werden kann. Später hat ihn seine riesige Installation für die Stadt Sarajevo mit dem Masstab der urbanen Landschaft konfrontiert. Dreihundert Bahnen sind auf Papier entstanden und vierzig auf Leinen, von denen die Hälfte gegenwärtig zwischen den Pfeilern der Marktkirche in Hannover hängen.
Mit der Zeit entwickelt sich die Arbeit in jenem ganz selbstverständlichen Atemzug. Ihre vollen und leeren Zeiten, bis zu den Tropfen der Tinte, die manchmal die Stille akzentuiren. Man denkt an Jackson Pollock, doch auf diesen langen Bahnen ist kein Raum für ein Zögern noch eine Zeit zur Umkehr. Der Leib des Malers, zugleich biegsam und gespannt in der Meditation vorbereitet, gleicht dem des Tänzers, der seinen Elan für einen Sprung sammelt. Man erinnert sich an den Film, den Rudolf de Lippe über Maurice Béjart gemacht hat. An seine Begegnung mit diesem Künstler, der Freiheit in eine absolute Disziplin brachte. Im Gegensatz dazu erinnert man sich an die Forschungen von Rudolf de Lippe über Geometrisierung der Bewegung in der Geschichte des Militärs und bis in die der französischen Gärten.
Seine Bildung durch den Austausch mit grossen Philosophen unserer Zeit, durch seine Arbeit in Indien und in Japan hat ihn in dem bekräftigt, was er instinktiv praktizierte: Körper und Geist kommen in einer einzigen Bewegung gleichzeitig ins Spiel, um die Eindrücke, die Empfindungen Ausdruck werden zu lassen, im Sinne jener Durchlässigkeit, die der Zen-Lehrer Dürckheim lehrte, mit dem er durch Jahrzehnte gearbeitet hat, wie auch im Aikido. Schritte auf dem Seil, die der Gefahr entgehen müssen, in Vagheit oder ins Dekorative zu verfallen.
Der Künstler, dem Rudolf de Lippe sich am nächsten fühlt, ist Jean Degottex, ein französischer Meister der lyrischen Abstraktion. Mit einer seiner Arbeiten, fast ein Comic, zeigt Degottex die Geburt und die Entwicklung eines Zeichens, die Beziehung zwischen dem Pinsel, der Hand, dem Körper, dem Schlag des Herzens und der Bewegung. Der Pinsel geht mit dem Atem, die Geste hält erst an, wenn der Atemzug endet – ein fast mystisches Ritual.
„Wieviel Kraft werden die Bilder haben, unsere Bereitschaft zu wecken, unsere Erinnerungen aus verschütteten Erlebnissen vom Auftauchen der Gesten in uns, um uns zum Leben zu bringen...“ sagt Rudolf de Lippe zu Degottex in seinem Buch „Sinnenbewusstsein“ von 1987.
Bei Rudolf de Lippe entwirft die genaue, schnelle Geste das Auffliegen eines Vogelschwarmes. Als Maler und Philosoph besteht er darauf, dass die Fülle nicht der Leere im Wege steht und dass die Leere dazu auffordert, die Bewegung weiter zu verfolgen.
So entstehen künstlerische, literarische und philosophische Annäherungen an das Phänomen, die auf einander antworten. In seiner Philosophie des Wandels und der Bewegung, die im Herbst 2010 beim Alber Verlag unter dem Titel: „Das Denken zum Tanzen bringen“, wie auch die Ausstellung, erscheint, sagt er: „Ich begriff, dass ich mich von dem Bewegungsgeschehen der Stare in kalligraphische Übungen führen lassen sollte. Es kam zu diesen Arbeiten, lange bevor ich meinen Satz bei John Cage wieder zu lesen bekam: ,Die Vögel steigen in mir auf!'.“
Das ist die Natur: Auch wenn die Vögel nicht dargestellt sind, man nimmt die Energien ihrer Flugbahnen wahr. Deren Überlagerungen lassen Ordnungen entstehen, die Fragen an den Betrachter stellen.
Christiane Germain
Paris, Juli 2010
Zur Person:
Christiane Germain hat durch die 70ger Jahre mit ihrem Mann Eric die Galerie Germain in Paris geführt, die die meisten der heute grossen Namen aus dieser Periode bekannt gemacht hat – von James Lee Byars bis Jürgen Klauke. Sie hat die erste Vereinigung von Galerien der Rive Gauche für gemeinsame Ankündigungen initiiert und mit Paul Menz den Austausch zwischen Pariser und deutschen Galeristen vorweggenommen.
Seit 1985 hatte sie eine Sendung über Architektur und Kunst bei Europe1, schreibt Bücher und Artikel in zahlreichen internationalen Zeitschriften, produziert Filme über Kunst und Design, ist Jurorin für das PS1 New York, den DAAD und in Tokio (mit Susan Sonntag, Elanna Heiss u.a.) Ihr neuestes Buch: „Paris – Berlin“ Ramsey, 2009.
Vernissage der Ausstellung: Freitag, der 27.August 2010 ab 20 Uhr.
Uraufführung einer Kompositum von Christian Ofenbauer (Mozarteum Salzburg)
Marc Stuhlmann (Köln) wird für die Vernissage ein Tanzsolo erarbeiten.
Es spricht Adrienne Goehler.
Werkstattgalerie
Eisenacher Str. 6
D-10777-Berlin
Phone: +49.30.21002158
Di-Fr 12-20h, Sa 12-18h
   |    | ![Robert Flynt & Nicolas Spinosa
untitled / sin nombre
aus der Serie [:tandem]
unique inkjet print with mixed media, 42cm*30cm, 2010](http://www.werkstattgalerie.org/content/events/thumbs/31_3.jpg)   | 01 Daniel Hourdé 02 Robert Flynt 03 Robert Flynt & Nicolas Spinosa 04 Nicolas Spinosa 05 Gerhard Hintermann aus der Serie 06 Zachari Logan 07 Nicolas Spinosa 08 Gerhard Hintermann aus der Serie 09 Robert Flynt |
Memento
Robert Flynt, Gerhard Hintermann, Daniel Hourdé, Zachari Logan,
Gio Black Peter, Nicolas Spinosa
Exhibition Dates: 05.06.-10.07.2010
Opening Reception: 04.06.10 from 8-11 pm
The current exhibition is focussing on the body between life and death and is asking the question which traces are left behind after death and how visiual art can capture this.
One example can be seen in the mixed media installation from the sculpturer Daniel Hourdé in which a lifeseize pencildrawing of a male couple is underlayered with real linen.(180cm*146cm, 2002).
In his installation «Jims world» Gerhard Hintermann is giving a hommage to the Swiss photographer Karlheinz Weinberger (1921–2006), Photographer for the legendary gay magazine “Der Kreis”.
Weinberger led during the 50's and 60's, typical for those times a double life. Working daytime in a warehouse and in his sparetime, making erotically charged pictures of Beatniks, Rockers and men with tattoos.
From 2001 till 2006, Gerhard Hintermann attended Karlheinz Weinberger, his mentor and friend. During this time he also organized Weinbergers extensive archive.
Photos taken in Weinbergers home, shortly after his death, reflect his bourgois life mixed with the Beatnik lifestyle cult. Next to a sofa with crocheted covers, cherub figurines and a standard-lamp, attributes of bourgois „Gemütlichkeit“, hang the emblems of motorcycle clubs – mismatched worlds. The typical conflicts of gay men throughout the Post War aera.
Large-sized colour photos printed on vat paper stand for a posthume portrait and are also an allegorie for life as a gay in the 20th century. The photos are supplemented with a slide-show, with pictures which so far have not been on view.
The artists Robert Flynt and Nicolas Spinosa shared strong interest in the performative act in relation to the making of visual art, with an intensive focus on the body and its re-presentation.
Their initial meeting consisted of three intensive photo shoots built around Spinosa’s practice: initially he served as a model for Flynt’s idiosynchratic shooting technique: tracing the body with flashlights in a completely dark room over relatively long exposure periods. Then Flynt traced Spinosa during the “performing” of his painting creations, following the body as it was painting, imprinted, traced and drawn on large sheets of paper on the studio floor. Additional shooting with completed earlier paintings on both the walls and floor of the studio created additional imagery, and Spinosa was also actively engaged in the making of the photographs through drawing with light (via other flashlights), as well as through conventional mark making.
Flynt subsequently edited the photographic images, using many for his own work, often layered or sequenced with found imagery. The modified digital files were emailed to Spinosa, who had them printed out as light-jet prints and then further drew and painted on these already collaborative images: the [:tandem] series.
The final products are naturally unique images, neither entirely photographs nor paintings, the result of a multifaceted “conversation” between the two artists, where the line between one individual’s aesthetic and the other’s has become almost completely blurred.
Werkstattgalerie
Eisenacher Str. 6
10777 Berlin
Germany
Near Nollendorfplatz U1-U4, Bus 179
Web: www.werkstattgalerie.org
Email: info@werkstattgalerie.org
Phone: +49.30.21002158
Open: Tu-Fr 12-19h, Sa 12-18h
   |    |    | 01 Formation 02 Holon 03 Multivision II 04 Germany I 05 Germany II 06 Germany III 07 Revolutionäre Energie 08 Organisierte Rev. Energie ist Key 09 Movement Motion |
ter Hell : Movement Motion
Vernissage: Mittwoch, 05.Mai 2010 ab 20 Uhr
Ausstellung: 06.05.-28.05.2010
Die Ausstellung “ter Hell: Movement Motion” konzentriert sich auf das jüngste Schaffen des Künstlers ter Hell .
ter Hell's ungegenständliche Malerei hat Abstraktion von Farbräumen, Systematisierungen, Zeichen- und Schriftstrukturen zum Gegenstand.
In seiner Bildsprache postuliert er eine Veränderung von Bewusstseinsstrukturen, von Auflösung hin zum energetischen Verständnis und zur „Collage-Identity“.
Ausgangspunkt seiner Malerei sind präzise gesellschaftstheoretische Analysen, die uns die komplexen Wechselwirkungen zwischen Individuen und Gesellschaft verdeutlichen.
Als wesentliche Kraft dieser Wechselwirkung definiert ter Hell „X“, die organisierte revolutionäre Energie. Diese ist notwendig, um im Spannungsfeld widerstreitender egoistischer Einzel- und Gruppeninteressen ein neues Bewusstsein von Identität, der Collage-Identity zu entwickeln.
Werkstattgalerie
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10777 Berlin
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Nähe Nollendorfplatz: U1-U4, Bus M19
Öffnungszeiten: Di-Fr 12-20h, Sa 12-18h
    |     |    | 01 Grant Vetter 02 Roni Feldman 03 Roni Feldman 04 Grant Vetter 05 Casey Vogt 06 Casey Vogt 07 Jon Barwick 08 Jon Barwick 09 Ryan Peter Miller 10 Elizabeth Ferry 11 Elizabeth Ferry |
curated by Edward Lucie-Smith and Roni Feldman
19th March-16th April 2010
Opening Reception: Friday 19th March 2010 at 8 pm
BERLIN COLLECTIVE presents Artist Talks moderated by Marc Glöde and Sophie Eliot Sunday 21st March 2010 at 5 pm
Jon Barwick, Roni Feldman, Elizabeth Ferry, Ryan Peter Miller, Grant Vetter, Casey Vogt
The six young American artists in this show have formed a group that they have named ‘Cacophonic’. Forming groups is, of course, the traditional way in which young artists band together in order to get a hearing. Think, for example, of the Futurists at the start of the 20th century and of the Surrealists who followed them. Roni Feldman, a member of the group and my co-curator, says that their work is a reaction to a decade that began with planes crashing into the World Trade Center in New York, and ended with an equally resounding economic crash – a period of “complexity and dissonance, marked by a clamorous rise in technology, especially the technology of information, as well as by wars and other forms of disaster.” He and his colleagues engage with a world of conflicting values, in the visual arts as well as in politics, and welcome the uproar that results. “We are wary of didacticism.” He says, “and recognize that a work of art is, first and foremost, a unique sensory experience. The balance between content and physical presence in our work reflects an enduring optimism in the face of the odds that we believe is typical of our generation of American artists.”
Jon Barwick constructs mixed-media paintings that acknowledge the hyper-paced, technology-driven, media-saturated society of the Twenty-First Century. The multi-layered compositions reflect the complexities of the information age, and capture the singular moment of everything happening at once. Imagery for these works originate as drawings and doodles but are scanned, photographed, printed, or redrawn before reaching the final composition. By maintaining a dialogue between the hand-drawn and computer-generated, Barwick creates visual metaphors for our day-to-day interaction with technology. The resultant fields of color and imagery are at once beautiful and overwhelming. They present a sublimation of information.
Roni Feldman applies the blurred, ethereal nature of airbrushed acrylic to paint multitudinous human features. He forms tensions between individual and crowd, abstraction and representation. Using varying degrees of matte and gloss black paint, the imagery may be invisible at first glance, but as viewers pass before them, the figures refract revealing an elaborate composition. In them, whirls of figures celebrate, mourn, protest, consume, dance, and embrace alongside others that drown, burn, and dissolve. Feldman’s crowds evoke the power and ecstasy of unified intention alongside a potential descent into mob mentality. The compositions recall the idealistic pursuit of 1960's psychedelia, van murals, and other airbrush art forms, but in Feldman’s work, airbrushed paint is like a thin veil that separates utopia and dystopia, civilization and chaos.
Elizabeth Ferry blurs the edges between the corporeal and ethereal. Ranging from simple grids to elaborate stacks of folded fabric, Ferry composes color and form into rhythms that perpetually, illusionistically reconfigure themselves. Through carefully cued light and site sensitivity, they shift from mundane materials to enigmatically charged visual sensations. For example, at first glance Ferry’s grids appear as formal white structures set upon a wall painted with bright colors. However, a move from side to side reveals that the edges of the structure are painted with discordant dashes of fluorescent hues that refract upon the wall. Subverting the fast pace of everyday transactions between people, places, and information, Ferry applies abstraction and illusion to offer moments of sensitive reflection.
Ryan Peter Miller uses paint as both his material and subject. Each of Miller’s works expresses an inventive application of paint. In one work, he applies paint as multitudinous stacked units in a tower. In another work he casts acrylic paint as puzzle pieces. In a third piece, Miller casts a full body self portrait in white acrylic paint. For Miller, paint is raw material, loaded with turgid historical significance, that can be grouped and restructured into non-traditional supports. Miller calls painting a democratic process, reflective and responsive to history and culture, but with endless potential for evolution and re-contextualization.
Grant Vetter’s Rendition paintings are slathered with sinewy gobs of fleshy hues. The works effect the transcendent painterliness of Abstract Expressionism, but also the corporeal gore and almost forensic examination of mutilated skin. The word “rendition” implies a subjective experience or recollection, but is also defined as “deportation for war crimes” and “torture by proxy.” Although Abstract expressionism was often seen as a symbol of democratic freedom and individual expression, Vetter explicitly takes up the themes of trauma, subjection and oppression as it relates to the current War on Terror.
Casey Vogt creates ornate, mandala-like compositions that serve as a backdrop for politically-charged figurative scenes. The most recent figures explore Americans' relationships to drug use, the War On Drugs, and the pharmaceutical industry. The backgrounds are composed of masses of layered dots and myriad colors, recalling a pharmacopoeia of pills.. They act as a painterly and metaphysical contrast to the
socio-political narratives presented by the figures. With their euphoric colors and psychedelic compositions, Vogt's work proposes painting as another mind-altering substance.
Werkstattgalerie
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10777 Berlin Phone: +49.30.21002158
Near Nollendorfplatz:
Tube U1-U4, Bus M19
Open: Tu-Fr 12-8 pm, Sa 12-6pm
    |     |     | 01 Mitra Farahani 02 Mitra Farahani 03 Mitra Farahani 04 Fereydoun Ave 05 Mitra Farahani 06 Fereydoun Ave 07 Ramin Haerizadeh 08 Narmine Sadeg 09 Ramin Haerizadeh 10 Nikoo Tarkhani 11 Ramin Haerizadeh 12 Nikoo Tarkhani |
IRANIAN BODIES
Opening Reception: Friday 19th February at 8pm
Curated by Edward Lucie-Smith and Janet Rady.
Fereydoun Ave, Mitra Farahani, Ramin Haerizadeh, Narmine Sadeg, Nikoo Tarkhani.
Iranian contemporary art, with the exception of the cinema, has only swum into western consciousness fairly recently. Because of the political tensions between the West and Iran, it is still largely misrepresented and misunderstood. Before looking at the specific cases offered by this exhibition, there are some general observations to be made. The first is that Iran possesses an extremely ancient culture, going back some three thousand years. The art of the present day has deep roots in that culture – to an extent often missed by western observers. The second is that Tehran, the largest city in the Middle East, with a population of nearly 8 million, has a lively indigenous art world. Most of the leading Iranian artists still live in their own country, at least part of the time and are proud to do so. The third is that, despite the Iranian Islamic Republic’s reputation for moral repression, the Iranian art of the present is often paradoxically very much concerned with the human body, and is frequently subtly infused with sexual connotation. The present show is designed to illustrate that fact.
Its contents will come as no surprise to anyone who has either visited Tehran, or who has any acquaintance with earlier Persian art and literature. Safavid miniatures from the time of Shah Abbas (1588-1629) often illustrate erotic subject matter. Hafez, Iran’s best-loved poet (ca. 1320-1390), as the entry on him in Wikipedia notes, “took as his major themes love, the celebration of wine and intoxication, and exposing the hypocrisy of those who have set themselves up as guardians, judges and examples of moral rectitude.” Striking features of today’s Tehran cityscape are huge propaganda murals. Many celebrate the tragic heroes of the bloody Iran-Iraq war of 1980-88. They are linked to an age-old Shia cult of martyrdom, but the protagonists are represented as if they were Hollywood film stars, looking out from the billboards on the Los Angeles Sunset Strip. With their handsome features and swimming eyes, these handsome young men seem designed to appeal to men and women alike.
The exhibition offers the work of five artists, two men and three women. The work of the men, Fereydoun Ave and Ramin Haerizadeh, demonstrates clearly how firmly rooted Iranian contemporary art is in Iranian popular culture. Fereydoun Ave’s series of digital prints, Rostam in Late Summer Revisited, refers to one of the heroes of the great Iranian epic, the Shahnameh or Book of Kings, written by the poet Ferdowsi around 1000 a.d. As Iranians know, Rostam's symbolic attributes of manly strength and martial valor reappear today in the wrestlers known as pahlavans, who are practitioners of a traditional Sufi cult of physical exercise. This cult of wrestling permits a greater degree of male nudity than is usually permitted in Iran, and encourages an admiration of the male body.
Ramin Haerizadeh’s Men of Allah series, with its lubricious, effeminate mullahs, based on self-portraits of the artist, is inspired by a kind of Iranian folk theater called Taaziye, popular in the 19th century and still current today, where women’s roles are played by men. In one scene, much liked by the Iranian public, Ghassem, the brother of Imam Hossein, the founder of the Shia branch of Islam, is married to a chador-clad female who turns out to be a bearded man. The result, in Harizadeh’s hands, is a sly satire on clerical manners and morals. It is worth noting that Iran is the only Islamic nation with a strong theatrical tradition, which often relates, as here, to an equally strong tradition of figurative art. This tradition embraces images of effeminacy as well as images of strength, as is witnessed by the numerous portrait miniatures of seductive page-boys from the time of Shah Abbas.
The images offered by the three women artists are even bolder than those offered by the men. Aficionados of contemporary art who know little or nothing about Iran are always surprised to discover how many gifted women artists the country produces. Yet the Iranian artist with the biggest international reputation is undoubtedly Shirin Neshat, who remains true to her roots though she has now lived for many years in America. Another reaction, when westerners discover that women create a good deal of the most interesting art now being produced in Iran, is to assume, despite this, that women artists are constantly inhibited by a struggle against the conditions Iranian society imposes on them. The truth is that Iranian art made by women does have a strongly feminist streak, but that this feminism is different from its western equivalent. In particular, women artists living and working in Iran do not want to give up their roots in Iranian culture, and are offended to be thought of as being victims perpetually preoccupied by victimhood.
The three artists featured here have been chosen to illustrate the boldness of their approach. Nikoo Tarkhani deals with the female body, and her sometimes fragmented nude self-portraits powerfully convey her sense that women in a contemporary Islamic society are struggling to piece together a contemporary identity. They can be compared, in this sense, with the very different self-portrait images of Ramin Haerizadeh. Mitra Farahani, who is a film maker in addition to being a painter and a maker of graphic works, tends to focus on the naked male body, which she treats on occasion with a boldness that easily exceeds most of the treatments of this subject one sees in the West. The sculptor Narmine Sadeg seems to refer to the strong tradition of puppet theater in Iran. The Iranian director Behrouz Qaribpour has become internationally famous for his puppet opera presentations, and recently received a major Italian award for his work. The puppet plays are closely related to the Taaziye school of live theater. The word Taaziye means ‘elegy’, and productions are typically presented in connection with the Day of Ashura, when Shia Muslims lament to death of the Imam Hossein. They can be thought of as the equivalents of Christian Passion Plays, yet, like the Passion Plays of the Middle Ages, tragic subject matter does not exclude an element of robust humor. It is noticeable not only that Sadeg’s figures can be swung about at will on the rods that pierce and support them, but also that her nude males have conspicuously small genitals. As a result they seem like images of powerlessness - a retort to Fereydoun Ave's images of strength.
Iranian contemporary art is constantly in dialogue with the society that surrounds and supports it. Like art in many Middle Eastern and Far Eastern societies, it invites the spectator to read visual images on several different planes, both linear and temporal. This gives a resonance and depth that is now often lacking in western equivalents.
(Edward Lucie-Smith)
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    |     |     | 01 Oleg Tolstoy 02 Oleg Tolstoy 03 Oleg Tolstoy 04 Sam Jackson 05 Sam Jackson 06 Sam Jackson 07 Luke Jackson 08 Luke Jackson 09 Luke Jackson 10 Hugo Dalton 11 Hugo Dalton 12 Hugo Dalton |
BRITISH ART NOW
Exhibition curated by Edward Lucie Smith.
Oleg Tolstoy, Luke Jackson, Sam Jackson, Hugo Dalton
Opening: Friday 13th November 2009 from 8 pm with an introduction
from Edward Lucie-Smith.
The Artist will be present.
Sunday, 15th November at 4 pm
MannSbilder Fotosalon with Edward Lucie Smith: Flesh & Stone
@ Werkstattgalerie
Though the exhibition features only four artists, it is intended to give a kind of snapshot view of what is happening in the London art world today.
The current view of London as a center for avant-garde activity was formed rather more than a decade ago, and was linked to the rise of the so-called BritPop artists or YBAs (Younger British Artists). It reached an early culmination with the Sensation! Exhibition of 1997, seen at the Royal Academy. The works in this were drawn entirely from the holdings of one individual, the advertising magnate Charles Saatchi.
Some of the artists closely associated with the YBA movement have gone on to major international celebrity, chief among them Damien Hirst. Some have faded from the scene. One at least is dead. Angus Fairhurst committed suicide in 2008, at the age of 41. The fact is that the survivors are no longer young- they are now all in their forties.
The British, and indeed the international, art worlds have however been unwilling to recognize that times have changed, that there are newer kinds of art being made in London. Indeed, the tendency has been to feature artists who are felt to be ‘typically British’ because they are paler carbon copies of those who immediately preceded them.
The four artists featured here have been chosen to stress difference, not likeness. One, Oleg Tolstoy, is a photographer. In London, as elsewhere, photography is increasingly important as a creative medium. As his name suggests, he is not of British descent, and perhaps this gives him a sharper eye for what is happening in British society. However his work belongs entirely to the contemporary London context and stresses, in particular, the variety of types that are now to be seen in the streets of a huge, ethnically diverse city. His images speak of togetherness, and at the same time of apartness. That is typical of London today.
Hugo Dalton is a maker of projections, who also produces a wide variety of other kinds of installation work. He has undertaken commissions in New York and in Hong Kong, and recently collaborated with Christopher Wheeldon’s international dance company Morphoses. When they performed last month at Sadlers Wells, several reviewers commented that they represented a revival of the eclectic, experimental spirit of the Ballets Russes, as this existed in the 1920s, after Diaghilev’s severance from Russia. One way in which Dalton differs from his seniors is that, like Diaghilev and his designers, he is not afraid of elegance.
The two painters, the brothers Sam and Luke Jackson, offer a radical break from the giganticism of much recent painting. Their work is radically miniature, and is intended as a rebuke to the rhetorically overblown quality of much recent art. A similar spirit can be found in some of the recent work made by artists of the Leipzig School in Germany. The Jacksons’ link to their YBA predecessors is that they are not afraid to be provocative. Their small works often ask large questions about sexuality, politics and aspects of human personality. Their paintings are the tip of an iceberg: I know of a number of other young artists now working in Britain who paint on the same scale and in a similar fashion, though perhaps (it must be said) with a little less punch. In the Jacksons’ hands, a small painting can be a karate-chop.
Edward Lucie-Smith
With many thanks to Kay Saatchi, for her help with this project.
Werkstattgalerie
Eisenacher Str. 6
10777 Berlin
Nähe Nollendorfplatz U1-U4, Bus M19, 187
Öffnungszeiten: Di-Fr 12-20h, Sa 12-18h
Tel: +49.30.21002158
info@werkstattgalerie.org
   |    |    | 01 Klaus Vogelgesang 02 Bernhard Heisig 03 Ter Hell 04 Alexander Zakharov 05 Genia Chef 06 Jean-Ulrick Désert 07 Edward Lucie-Smith 08 Solveig Karen Bolduan 09 Sylwek Luczak |
„Comet Prussia"
Exhibition 24.09.-31.10.2009
Opening: Thursday 24th September 2009 from 8 -10 pm
with an introduction by Edward Lucie-Smith
Solveig Karen Bolduan, Genia Chef, Jean-Ulrick Desért,
Bernhard Heisig, Ter Hell, Edward Lucie-Smith, Sylwek Luczak, Klaus Vogelgesang, Marc Wayland, Alexander Zakarov
No state unites so many contradictions as are to be found in Prussia. The name comes from a Baltic tribe; this tribe had nothing to do with the Brandenburg heartland. It became a kingdom outside the framework of the Holy Roman Empire. For the most part of its history its territories were never contiguous with those of the imperial realm. Prussia was first and foremost an idea, a world conjured up by force of will. Sometimes it was a vision of an ideal community. It was a kingdom whose rulers invited intellectuals to be their guests, and which offered refuge to Huguenots. It was also a kingdom that made its rebellious soldiers run the gauntlet.
It gained its intrinsic energy from its own contradictions, and flew like a comet through history until its fall in 1945. Prussian virtues – diligence, honesty, loyalty and simplicity –were the virtues of an organism with a delicate constitution, of a state always in danger of catastrophic collapse. Carl Zuckmayer described the Prussia of Wilhelm II as exhibiting a shrunken version of its original ideals.
This country, which had spawned a number of fundamentally different protagonists – among them Frederick II, Alexander von Humboldt, Otto von Bismarck, Wilhelm II and Marlene Dietrich – lost its material identity at the Potsdam Conference of 1945, which banned the very idea of Prussia.
Works by artists examining this idea are now on show at the WerkstattGallery, Berlin from 24 September to 31 October.
They attempt to show what the Prussian state-idea has become today, purging it of nostalgia (as was of course necessary) and projecting it on to a contemporary screen.
Artists from America, Germany, Great Britain, Poland and Russia use this screen to exhibit their own personal view of Prussia, thus extending seemingly broken lines of development into the present.
Werkstattgalerie
Eisenacher Str. 6
10777 Berlin
U1-U4 Nollendorfplatz
Open: Tu-Fr 12-8 pm, Sa 12-6pm and by appointment
  |   |   | 01 Master Patrick 02 Master Patrick 03 Master Patrick 04 Gio Black Peter 05 Gio Black Peter 06 Gio Black Peter |
Ob Kunstevents, Society- und Glamourpartys oder schwule Szeneveranstaltungen, auf dem roten Teppich mit Filmstars oder im queeren Underground mit Subkulturgrößen – Master Patrick ist mit seiner Kamera immer vor Ort. Als der „Mann mit der schwarzen Ledermaske“ ist der in Freiburg im Breisgau als Patrick Bartsch geborene Multi-Media-Künstler längst zum unübersehbaren, omnipräsenten Szenefigur geworden.
Von Österreich aus führte sein Weg über Frankreich und Köln schließlich nach Berlin. In seiner Ausstellung „Berlin Years“ zeigt Master Patrick nun eine Auswahl seiner in den vergangenen fünf Jahren in der Hauptstadt entstandenen Fotoarbeiten.
Neben klassischer Studiofotografie – inszenierte Porträts beispielsweise von Filmregisseur Rosa von Praunheim und Männeraktstudien – stehen dokumentarische Bilder von Laufstegen, Konzertbühnen und roten Teppichen (mit Bildern u.a. von Tom Cruise und Nina Hagen). Einen ganz besonderen Stellenwert nehmen jedoch seine Momentaufnahmen aus dem vielfältigen queeren Leben in Berlin ein.
Für Master Patrick gibt es keine Perfektion: weder den perfekten Menschen, die perfekte Stadt oder das perfekte Kunstwerk. In jeder seiner Arbeiten wird man Fehler finden: „bewusst gesetzte wie z.B. Steckdosen in einem Porträtbild oder unbewusste wie unkorrigierte Farbspritzer bei Acrylarbeiten“, erklärt Master Patrick. In den für die Ausstellung ausgewählten Arbeiten stehen Schnappschüsse gleichberechtigt neben aufwendigen Inszenierungen, Glamour neben Trash. Weltstars im Rampenlicht finden sich einträchtig neben Underground-Exzentrikern, klassische Dokumentation kollidiert mit dem ironischen Spiel mit Klischee und Banales mit Erhabenen.
Als graphische Ergänzung zeigt die Ausstellung neueste Arbeiten des Undergroundkünstlers Gio Black Peter. Dieser inszeniert sich in seiner Heimatstadt mit exzessiven Sex-Performance-Shows und –Videos, arbeitet als Maler, Zeichner, Fotograf, Musiker und Gelegenheitsschauspieler. So war er beispielsweise in Bruce LaBruce letztem Film, dem in Berlin gedrehten schwulen Zombie-Trash-Streifen „Otto Or Up With Dead People“, zu sehen.
Die Bilderwelten des in Guatemala als Giovanna Andrade geborenen und im Alter von fünf Jahren in die USA emigrierten Künstlers beschäftigen sich gleichermaßen mit der sexuell aufgeladenen queeren Subkultur und der farbenfrohen New Yorker Straßenkunst.
Gio Black Peter verwendet für seine Zeichnungen vorgefundene Materialien wie z.B. U-Bahnpläne und Plakate als Malgrundlage. Seine expressiven Kunstwerke werden so in vielschichtiger Weise zu einer Reminiszenz an das alte New York - ein mit Graffiti bedeckter Dschungel, in dem das Gefühl der Gesetzlosigkeit regierte und jede Nacht ein neues wildes Abenteuer versprach.
(Text:Axel Schock)
Vernissage:
Donnerstag 20.August 20-22h, mit einer Einführung von Rosa von Praunheim , danach Afterparty@SLUM
2.September: MannsBilder -Master Patrick führt durch die Ausstellung,
um Anmeldung wird gebeten
Finissage: 5.September 15-18h
Werkstattgalerie
Eisenacher Str. 6
10777 Berlin
    |     |     | 01 Ikarus (2008) 02 Die Nacht (2007) 03 Die Spielzeit (2008) 04 Die Szene (2009) 05 Der neue Standard (2008) 06 Die Flucht (2008) 07 oT (2009) 08 oT (2008) 09 Spielzeit II (2008) 10 Benjamin und Pauline (2009) 11 Touristen (2009) 12 Manipulation (2009) |
Die Malerin Tania Kandratsenka (*1980) lebt und arbeitet in Minsk/Weißrussland. Sie ist Dozentin an der dortigen Kunstakademie. Erstmalig in Berlin zeigt sie einen Bilderzyklus in dem sie Kindheitserinnerungen und historische Zitate zu kompositorisch kraftvollen Bilder verarbeitet.
Tania Kandratsenka ist zur Eröffnung der Ausstellung anwesend.
Werkstattgalerie
Eisenacher Strasse 6
10777 Berlin-Schöneberg
www.werkstattgalerie.org Phone: +49.(0)30.2100 2158
info@werkstattgalerie.org Tu - Fr 12 - 20h, Sa 12 – 18h
    |    |    | 01 Frank Gabriel 02 Dimitris Yeros 03 Vladimir Tatarevic 04 Gianluca Chiodi 05 Robert Flynt 06 Jonathan Webb 07 Roberto Rincon 08 Marc Wayland 09 Tobias A. Feltus 10 Edward Lucie-Smith |
„Mankind:Versions & Perversions“
Exhibition curated by Edward Lucie-Smith from 4st April – 15th May 2009
Opening: Friday, 3rd April 2009 8-11 pm
Participating Artists:
Gianluca Chiodi (Milan), Tobias A. Feltus (Edinburgh), Robert Flynt (New York),
Frank Gabriel (The Hague), Edward Lucie-Smith (London), Roberto Rincon (London),
Vladimir Tatarevic (Belgrade), Marc Wayland (London), Jonathan Webb (Paris),
Dimitris Yeros (Athens).
This selection of male imagery is an attempt to break through some of the stereotypes that now
characterize this particular photographic genre. On the one hand, photographs of the nude or nearnude
male are thought of as controversial, because of their homoerotic content, which contravenes
social norms in many cultures. On the other hand, they are avant-garde in a fashion that doesn’t
usually apply to female nudes. The latter tend to annoy entrenched feminists, who see them as proof
of the theory of the ‘controlling gaze’ – proof of the way in which male scopophilia demeans
women. The rest of the world simply tends to think of them as kitsch, which is to say as images that
may indeed provide erotic stimulation, but which have little or no presence as artistically intended
object.
The link between erotic representation and the idea of avant-gardism is of course a long established
one. Erotic content tends to guarantee the bold, controversial nature of images that, without this,
would seem tamely unexceptional. In other words, eroticism is the easy route to shock, and shock
and artistic experimentation are now, at least in the minds of the general public, inseparably joined.
Additionally, where nudes are concerned, naked males have somehow achieved a position of artistic
if not social respectability that is now for some reason denied to females.
The present, extremely international anthology of photographic images of the male uses an
extremely wide variety of techniques, and shows how far the term ‘photography’ can now be
stretched. It also demonstrates very different approaches, on the part of individual photographers, to
the same subject matter. Human bodies have been a central theme for art, and particular for western
art, since the time of the Greeks and the Romans. And for long periods, it was the male body that
preponderated, while representation of women, clothed or naked, took a very secondary place. This
show is intended to interrogate that tradition, and also to revive it. If anything in it can be regarded
as truly avant-garde, that is an accident of history. Indeed, if there is anything revolutionary about it,
this can be found in the way it questions many clichés about the nature of artistic innovation.
Edward Lucie-Smith (March 2009)
      |       |       | 01 Marianne Hopf 02 Marianne Hopf 03 Marianne Hopf 04 Marianne Hopf 05 Marianne Hopf 06 Marianne Hopf 07 Natasza Niedziolka 08 Natasza Niedziolka 09 Natasza Niedziolka 10 Natasza Niedziolka 11 Natasza Niedziolka 12 Natasza Niedziolka 13 Natasza Niedziolka 14 Natasza Niedziolka 15 Natasza Niedziolka 16 Sylwek Luczak 17 Sylwek Luczak 18 Sylwek Luczak |
The First Day Of Spring 10.Februar – 07.März 2009
Marianne Hopf, Natasza Niedziolka und Sylwek Luczak
Vernissage: Montag 09.Februar 2009 ab 20 Uhr
mit Musik von Austin Brown und Gabe Molnar.
Die Ausstellung zeigt zwei Künstlerinnen und einen Künstler mit sehr eigenen Positionen zur Verwendung von Form, Farbe und Licht.
Marianne Hopf's Bilder sind weder motivisch noch bezüglich ihrer Gattung einfach zu verorten: Haben wir es mit gegenständlicher oder abstrakter Malerei zu tun? Gebührt dem malerischen Ereignis, der schieren Aktion oder der Darstellung fremder Welten der Vorrang? Welten, die- sofern wir sie denn überhaupt lokalisieren wollen- am ehesten im mikrobiologischen Bereich anzusiedeln wären. Entscheidender als das „Was ?“ ist, wie sich hier der spontane, intuitive Pinselduktus mit den transpersonalen Strukturen verbindet. Diese harmonische Spannung zwischen Struktur und Emotion machen den herben Reiz ihrer Arbeiten aus.
Mit dramatischem Gespür lässt Marianne Hopf Kräfte und kontrastive Formen aufeinander und ineinander treffen, und beweist sich dabei als originäre Zeichnerin, der es um Vielschichtigkeit, wachsende Raumtiefe und Transparenz geht.
Natasza Niedziolka, Meisterschülerin von Prof. Tal R an der Düsseldorfer Kunstakademie, scheint uns zunächst in eine spielerische, naive (Traum-)Welt zu entführen, doch liegt Ihrem Schaffen ein strenges Konzept zu Grunde: Durch eine konsequente Formenreduzierung und Vereinfachung weniger Bildelemente entwickelt Sie eine vielschichtige eigene Bildsprache.
Diese Vereinfachung wird häufig durch eine Überarbeitung mit ungewöhnlichen Materialien wie Stoffen , Reisszwecken und Tackernadeln gebrochen, wodurch die Werke eine neue Komplexität erhalten. Mag Ihre Farbwahl zunächst ihren Ursprung in folkloristischen Trachtenmustern haben, so entwickelt Sie auch diese konsequent weiter wie der Betrachter an Ihren Holzskulpturen „peacock towers“ erleben kann.
Sylwek Luczak, international bekannt durch seine Licht- und Videogroßprojekte (Berlin Lights) , bringt uns durch seine Licht/Videoinstallation „3...6...9...seconds of light“ während der Berlinale dem Frühling näher. Die Kompositionen von Bildern entstehen im Raum meistens zufällig und wiederholen sich fast nie.
Die Arbeit erzählt vom Einfluss des Lichts auf unsere Wahrnehmung. Der Zuschauer steht mitten drin und kann selbst zahlreiche Zusammenhänge zwischen den verschiedenen Schichten entdecken.
Seine Arbeit wird unterstützt vom Polnischen Institut Berlin und Pool Production GmbH / FilmFestival Cottbus.
Werkstattgalerie
Eisenacher Strasse 6
10777 Berlin-Schöneberg
www.werkstattgalerie.org
info@werkstattgalerie.org
Phone:+49(0)30 21002158
Di - Fr 12-20 h, Sa 12-18 h
           |            |           | 01 Hans Abbing 02 Anja Müller 03 Roland Berger 04 Black Peter 05 Brian Kenny 06 Brandon Herman 07 Alexander von Agoston 08 Ivar Kaasik 09 John Kirby 10 Martina Minette Dreier 11 Rinaldo Hopf 12 Pascual Jordan 13 Jonathan Webb 14 Carlos Forns Bada 15 Christopher Schulz 16 Gonzalo Orquin 17 Raphael Perez 18 Jörg Nikolaus 19 Nicolaus Schmidt 20 Henning von Berg 21 Raphael T. Deinert 22 Ivo Hofste 23 Gerhard Hintermann 24 Alex Mene 25 Roberto Rincon 26 Aleksandr Schumow 27 Steam 28 Alexis W. 29 Etienne Zerah 30 XerXeX 31 Slava Mogutin 32 Alberto de las Heras |
      |       |       | 01 Jn.Ulrick Desert 02 Jn.Ulrick Desert 03 Jn.Ulrick Desert 04 Rinaldo Hopf 05 Rinaldo Hopf 06 Rinaldo Hopf 07 Nänzi 08 Gerhard Hintermann 09 Master Patrick 10 Nänzi 11 Genia Chef 12 Genia Chef 13 Thomas Gabriel 14 Rorro Berjano 15 Raphael Otto 16 Miguel Soler 17 Angie Bonino 18 Angie Bonino |
      |       |      | 01 Selbst mit Rose 02 BRD-Schwimmer 03 Königin Luise 04 Drei mal Sechs 05 Freiheit 06 Romeo-Carsten mit Messer 07 Erinnerung an Romeo und Julia 08 Romeo mit Gläsern 09 Zwei Freunde 10 Selbstportrait mit Palette 11 Weiterleben 12 Vergewaltigug 13 Das ganze Leben 14 Gekreuzigt 15 CSD-Umbrella 16 Warum Kunst? 17 Perche Arte? |
    |     |     | 01 Michael Kopietz 02 Alexander von Agoston 03 Jürgen Wittdorf 04 Pascual Jordan 05 Greg Day 06 Mischa Gerwick 07 Alexander von Agoston 08 Golo Gott 09 Michael Roggenbach 10 Jürgen Wittdorf 11 Pascual Jordan 12 Rinaldo Hopf |
      |       |      | 01 St. Sebastian 02 Skulls 03 Little Buddha 04 Hidden Place 05 Secret of the Rose 06 Day and Night 07 Körperrolle 08 Kopfrolle 09 Beijhos2 10 Beijhos 11 Körperrolle2 12 Kubus 13 Pyramide 14 Kugel 15 Ich bin ein Findling 16 Salome Portrait 17 Katharina |
    |     |    | 01 Alexis W 02 Jürgen Wittdorf 03 Rinaldo Hopf 04 Mesaoo Wrede 05 Michael Müller 06 Ines von Sassen 07 Alexander von Agoston 08 Martin von Ostrowski 09 Michael Kopietz 10 Pascual Jordan 11 Paul Kremp |
 |
      |       |      | 01 Rinaldo Hopf 02 Micha Gerweck 03 Muskboy 04 Tulip Enterprises 05 Cocopierre 06 Jan Schüler 07 Jürgen Wittdorf 08 Michael Müller 09 Pascual Jordan 10 Ohm Phanphiroj 11 Walter Pfeiffer 12 XerXeX 13 Edward Lucie-Smith 14 Master Patrick 15 Jörg Nikolaus 16 Anne Hody 17 Martin E. Kautter |
Opening of the exhibition
My gay eye 19.10.07 at 6 p.m.
together with the presentation of the anthology My gay eye 4
published by Konkursbuchverlag.
Introduction by Claudia Gehrke (Publisher) und Rinaldo Hopf (Curator)
with works by
Alexis W, Bernd Banaski, Cocopierre, Greg Day, Micha Engbert, Frank Gabriel, Micha Gerweck, Anne Hody, Rinaldo Hopf, Pascual Jordan, Martin E. Kautter, Paul Kremp, Edward Lucie-Smith, Master Patrick, Bas Meerman, Slava Mogutin, Michael Müller, James F. Murphy, Muskboy, Jörg Nikolaus, Roger Payne, Walter Pfeiffer, Ohm Phanphiroj, Matthias Roloff, Rene Schmalschläger, Jan Schüler, Pet Silvia, Jörg Simon, Wieland Speck, Oliver Spott, Schwules Museum Berlin, Spritzz.com, David Trullo, Tulip Enterprises, Anja Weber, Jürgen Wittdorf and XerXeX
  |   |  | 01 Ines von Sassen 02 Michael Kopietz 03 Solveig Karen Bolduan 04 Martin von Ostrowski 05 Solveig Karen Bolduan |
not available
 |  |  | 01 Isfahan Ornament 02 Stones 03 Berliner Grotesque- Türeinfassung |
    |     |    | 01 "Jesus & Johannes" 02 Christus gekreuzt 03 Enjoy Opus Dei - Part 1 04 Fishers of Men (2005-2006) 05 Ecce Homo Videoinstallation 06 Maria Magdalena 1 07 The Last Moment 3 08 Abendmahl 09 Friendship - Krieger 10 Les garcon fruits de la passion 11 Die Peinigung Jesu |
![Robert Flynt & Nicolas Spinosa
untitled / sin nombre
aus der Serie [:tandem]
unique inkjet print with mixed media, 42cm*30cm, 2010](http://www.werkstattgalerie.org/content/events/31_3.jpg)
