Schöneberger Gallerywalk and open ateliers 5/6.November

4. SCHÖNEBERGER GALERIERUNDGANG UND OFFENE ATELIERS

Sonnabend, 5. November 2011 12-20 Uhr
Sonntag, 6. November 2011 12-18 Uhr


32 Ateliers und 24 Galerien öffnen am 5. und 6. November 2011 zum vierten Mal ihre Türen im Berliner Stadtteil Schöneberg. Alle Freunde zeitgenössischer Kunst sind am Sonnabend von 12 bis 20 Uhr und am Sonntag von 12 bis 18 Uhr herzlich eingeladen.
Das Interesse und die Begeisterung für Kunstspaziergänge nehmen von Jahr zu Jahr sprunghaft zu, da macht auch Berlin keine Ausnahme. Im vergangenen November schlenderten hunderte durch das frostige Schöneberg, wärmten sich an Farben, Objekten, Gesprächen, Tee und Rotwein in den Ateliers und kletterten sogar vier Treppen im Hinterhof hinauf oder in den Hauskeller hinunter.

Im Berliner Stadtteil Schöneberg arbeiten und leben seit je viele Künstler – Maler, Schauspieler, Schriftsteller, Filmemacher und Musiker. Eine von ihnen war die Malerin Gertrude Sandmann; als Jüdin und Lesbe in der NS-Zeit verfolgt, hat sie mitten in Berlin-Schöneberg in der Eisenacher Strasse bis 1981 gelebt und gearbeitet.
Neben der klassischen Galerie für aktuelle deutsche und internationale Kunst gibt es in Schöneberg auch den Wohnungsflur als Ausstellungswand, die Eintags-Wohnzimmergalerie und die Produzentengalerie. Und: Nicht wenige der Berliner Galerienomaden haben ihre Zelte in Mitte abgebrochen und bewegen sich über Tiergarten nach Schöneberg. Mittlerweile sind so viele hier angekommen, dass wir den Rundgang in diesem Jahr auf zwei Tage ausgedehnt haben.
Das geographische Zentrum liegt auch in diesem Jahr wieder bei den Initiatoren im Geviert um die Akazienstrasse, allerdings mit lebendigen Ausläufern in alle Himmelsrichtungen.

DIE GALERIEN 18m Galerie / Berlin Avantgarde / Caspers Galerie / dorisberlin / Galerie Berlin Baku / Galerie cubus-m / Galerie Gondwana / Galerie Listros / Kubackis Wohnzimmergalerie / Galerie SubjectObject / galerie für jkd/ Galerie Kuhn & Partner / Galerie KunstKo / Galerie Kunst Krämer / Galerie Quarts Berlin / Gilla Lörcher Contemporary Art / Haus am Kleistpark / Haus am Lützowplatz / Kit Schulte Berlin / Kulturhaus Schöneberg / Galerie Corridor 23 / mianki. Gallery / Museum der unerhörten Dinge / StreetArt Gallery B25 / Under the Mango Tree / Werkstattgalerie /

DIE OFFENEN ATELIERS Klaus Abromeit / Katharina Bach / Ulla Barth / Hannah Becher / Sabine Beuter / Christine van Beveren / Sonja Blattner / Uliane Borchert / Petra Brenner / Judith Brunner /Sophia Camargo / Kiddy Citny / Ibrahim Coskun / Christiane Duttmann / Jürgen Frisch / Christian Jacob / Stephan Harmanus / Thomas Hillig / Christian Jacob / Sabine Kasan / Susanne Kienbaum / André Kirchner / Mona Koenen / Eva-Marie Kreuzberger / Doris Kuwert / Wolfgang Leonhardt / Isabel Mertel / Sabine Noll / Gabriele Oelschläger / Horst Felix Palmer / Jani Pietsch / Karina Po?piech / Marina Prüfer / Eberhard Reinacher / Ursèl Ritter / Thomas Schliesser / Robert Schmidt-Matt / Egon Schrick / Andrea Schumann / Hermann Spoerel /Burchard Vossmann / Helga Wagner / Volker Wartmann / Knut Werner-Rosen / Christoph Siedenschnur / Jessica Slominski / Angela Zumpe /

Unsere 24 freundlichen SPONSOREN sind kiezbekannt, umso mehr spricht ihre Unterstützung für sie: anziehbar, Bel Etage Café Bilderbuch, Biolino, boesner, Cafe Miss Go Lightly, Cafe Sur, Dein Mac, DinAzwei Grafikwerkstatt, FlorArtistic, Gasthaus Renger-Patzsch, Hausverwaltung Bärbel Haussmann, Hobby Rüther, Jansenbar, Möve im Felsenkeller, Nelia Modedesign, Papierhaus Schöneberg, Pinguin Club, Praxis Dr. S. Greiner, Rahmen art, Rioja-Weinspezialist, Schneewittchen Reisen, Sicherheitstechnik Schmidt, Wein+Glas, Wild und Geflügel Albrecht.


"FERNE GANZ NAH" Tanz in der Ausstellung  "IN BETWEEN" Brandshofer Deich 112

Die Werkstattgalerie präsentiert im Rahmen der Ausstellung

IN BETWEEN
Zwischen Neuer Abstraktion und Neuer Konkretheit
mit
Mary Bauermeister, Clément Borderie, Alexander de Cadenet,
Ter Hell, Pascual Jordan, Rudolf zur Lippe,
Ingeborg zu Schleswig-Holstein, Hartmut Stielow


ein Tanzwochenende

Samstag, 15.Oktober ab 20 Uhr

Philipp van der Heijden
Sven Kacirek, Jascha Viehstädt


°selbstgestalt°
Solo von Philipp van der Heijden
getanzt von Jascha Viehstädt
Produktion Lukas: Schmidt-Rohr/Kästner
Tanzinitiative Hamburg
°dergestalt°
Konzert des Komponisten und
Percussionisten Sven Kacirek
°mitgestalt°
Improvisation in gemeinsamer
Recherche von Möglichkeiten

Finissage:
Sonntag, den 16.Oktober ab 13 Uhr
Marc Stuhlmann


°Eine Erinnerung an die Gegenwart°
Tanzperformance

Speicherhallen am
Brandshofer Deich 112
20539 Hamburg

Zufahrt über Billhorner Röhrendamm an den neuen Elbbrücken
Bus 120 – Billhorner Röhrendamm; S3,S31 – Hammerbrook, S2,S21- Rothenburgsort


In Between                               Zwischen Neuer Abstraktion und Neuer Konkretheit

IN BETWEEN
Zwischen Neuer Abstraktion und Neuer Konkretheit
06.-16.10.2011

Ausstellung in den Speicherhallen am Brandshofer Deich 112, D-20539 Hamburg

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. 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.


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




Werkstattgalerie | Eisenacher Str. 6 | D-10777 Berlin
www.werkstattgalerie.org | info@werkstattgalerie.org | T+49.30.21002158


Pierre Jouve at Deichtorhallen Hamburg

EYES ON PARIS
PARIS in photobooks from 1890 to the present
SEPTEMBER 16, 2011 – January, 8 2012 at the House of PHOTOGRAPHY

DEICHTORHALLEN HAMBURG
DEICHTORSTRASSE 1–2
20095 HAMBURG

OPENING on September 15, 2011 at 7 pm at the House of Photography


Paris is considered to be the cradle of photography. It was here that the technology was first made public – on August 19, 1839 – and instantly enthused the waiting world. Paris with its artists, scientists and craftsmen proved to be the ideal breeding ground for the medium. Moreover, from the outset the city itself was the subject for ambitious photographic projects.

Without a doubt Paris is the most photographed city in the world. Above all, in the 20th century the metropolis on the Seine emerged as the starting point for important cycles regardless of whether photographing artists sought to confirm a myth or instead eyed it critically. Photography in 20th century Paris not only reflected important stages in modern art and cultural history but equally outlined the opportunities for photographic perception. The present exhibition, whose title is inspired by Henry Miller, sets out to demonstrate the latter by means of a fascinating tour.

Eyes on Paris shows how artists engaged in photography (French and immigrants alike) saw, experienced and captured Paris with the camera. The artists’ gaze oscillates between documentary interest and subjective perception, a chronicler’s duty and the projection of personal feelings. Around 400 photographic works by important representatives of 20th-century photography enter into a dialog with epoch-making books, portfolios or rare portfolio works. After all, no other city in the world has been the subject of as many outstanding publications as has Paris: from Atget to Ed van der Elsken, from Robert Doisneau to William Klein.

Vintage print and Vintage book in dialog – the Hamburg exhibition ventures into new territory and simultaneously does justice to the enormously increased interest in the printed image. Not only does the show bring together all the important 20th century books on Paris (with photographic illustrations). It also tells about their genesis and reception – with the aid of selected prints, book dummies or documents.

The exhibition covers the period from around 1890 to the present day. Original black-and-white and color photographs will be on display, works by classic photographers (from Kertész to Izis), not to mention groups of works by young, contemporary photo-artists whose post-modern view of a changing Paris confirms the city’s status as an ongoing challenge for international art photography.
On around 1,000 square meters of exhibition space visitors can experience a tour of 20th-century Paris that repeatedly harbors surprises, and cross-references architecture and urban history, everyday culture and art practice. Scheduled to run for some four months the show can safely be considered the most ambitious project on the 20th-century photographic iconography of Paris.

With works by Eugène Atget, Laure Albin Guillot, Jane Evelyn Atwood, Stefania Beretta, Emmanuel Boudot-Lamotte, Brassaï, Mario von Bucovich, René Burri, Peter Cornelius, Robert Doisneau, Ed van der Elsken, Ilja Ehrenburg, Marc Foucault, Shinzo Fukuhara, Jean Claude Gautrand, René Groebli, Andreas Gursky, Ernst Hahn, Fritz Henle, Lucien Hervé, Roger Henrard, Candida Höfer, Birgit Hvidkjær, Pierre Jouve, Tore Johnson, Günes Karabuda, André Kertész, Johan van der Keuken, Ihei Kimura, William Klein, Germaine Krull, Andréas Lang, René Maltête, André Martin, Moï Ver, Patrice Molinard, Nicolas Moulin, Albert Monier, Jeanine Niepce, Pierre Peissi, René-Jacques, Bettina Rheims, Willy Ronis, Sanford H. Roth, Roger Schall, Jarret Schecter, Kishin Shinoyama, Otto Steinert, Louis Stettner, Christer Strömholm, Bettina Rheims, Emmanuel Sougez, Romain Urhausen, Yvon, Thomas Zacharias.

The exhibition at Deichtorhallen Hamburg’s Haus der Photographie will be curated by Hans-Michael Koetzle (Munich) and runs from Sept. 16, 2011 thru Jan. 8, 2012. It will be accompanied by a comprehensive publication as a standard reference work on photographic Parisian 20th-century literature, which will be brought out by Hirmer Verlag, Munich

OPENING on September 15, 2011 at 7 pm at the House of Photography. Dirk Luckow (Director of Deichtorhallen), Prof. Barbara Kisseler (Kultursenatorin), Charles Malinas (Institute Français Deutschland), Ingo Taubhorn (Curator House of Photography) und Hans-Michael Koetzle (Curator of the exhibition).


A richly illustrated catalogue will be published by Hirmer Verlag, Munich. Hans-Michael Koetzle (Ed.): Eyes on Paris. Paris im Fotobuch 1890 bis heute, circa 400 pages, various illustrations, hardcover, circa 39,80 Euro

Further information can be found under wwww.deichtorhallen.de


INBETWEEN - NEW ABSTRACTION & NEW CONCRETION

INBETWEEN
NEW ABSTRACTION & NEW CONCRETION
24.08.-03.10.2011

Werkstattgalerie presents six artists whose works are closely related, despite very disparate styles: a new abstractness that, in reality, is a different kind of concretion.

Alexander de Cadenet, Barbara Gaile,
ter Hell, Rudolf zur Lippe,
Bruno de Panafieu, Ingeborg zu Schleswig-Holstein



Through the phases of "abstract art" in the 20th Century, the traditional view was contrasted with a new objectivity. The anecdotal narrative painting had been left aside. It was no longer recognizable. Currently a “new abstraction” is being reported, though having different intentions. The artists of the "Werkstatt" exhibition are abstract, by having nothing to do with the "representation of something", they discover new concreteness instead of current reality, or to manipulate existing objects. Through their discoveries pictures open up to possible realities, which perhaps the eye has never met yet, perhaps related to phenomena with which were just too far away now.

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.

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. Her paintings are not developing in jumps but are rather evolving slowly one out the other similar to the growing of plants. In recent years her colours became more transparent and lucid. Oil turns into a watercolor lightness. Colors are superimposed in layers, visibly soft translucent colors that permeate each other, thus creating spaces. The images are rather empty, from one to many, the motives are seen as if through a zoom in even more detail without the image size changes.Parallel with oil paintings, watercolors are produced, mostly in small, intimate format. Both learn from each other and promote themselves.

Barbara Gaile avoids an painterly approach, favouring texture instead; while emphasising the origin of colour in light and retaining the self-sufficient value of pigment, she preserves its “sound” but not its materiality. The materiality of Barbara’s works is recreated; it is different - like the materiality of a living organism. The suggestive character of the works is so strong that they put us in a state of sustained contemplation and meditation. Barbara’s works appear to stand openly before the viewer yet at the same time they are closed in their autonomous existence. It seems that we are contemplating some kind of living organisms, bodies with healed scars and opalescent skin.

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.

The geometric work of Bruno de Panafieu is based on the simple-order principles of nature that can create complex structures. These orders have fascinated mankind from time immemorial and have been recalled in the primitive art, architecture, science and religion. From this broad collective consciousness his works on paper and bronze get their appeal.

The Interconnections series of Alexander de Cadenet refences the spectrum of human life in their subject matter: be it the symbolism of a volcanic eruption reminding the viewer of both the cosmis and biological moment of creation, or the metaphor of a meandering river of life, yet they also invoke the trials of living in their making process. De Cadenet directs the paint, but the vagaries of gravitatio pull or paint solubility invite minor discrepancies – as does the freewheeeling engraving process that borders the paint. These formal idiosyncrasies mimic the tangential ways that life makes a habit of pulling one in.

"What to do in the consciousness of processes of change," aks Ter Hell. A corporeal awareness, that is insisting through the picturesque trials, to show "true potentialities." They "devote themselves to the divined on both sides of the conceptually definable" says Ingeborg Holstein. Rudolf Lippes gestures are "orders of another kind" which are "not planned or composed and also can not be reconstructed."
Many of these experiences are new to the technology of mass communication, close to the sentence of Camus: "I was a little part of this force, which led me struggle first, then it became very strong, then I was finally it, since I could not distinguish the blows in my body any longer from the great deep beats of the heart of nature, which is present everywhere. "

Opening Wednesday 24th August at 6pm

Werkstattgalerie
Eisenacher Str. 6
D-10777 Berlin

T:+49.30.21002158
info@werkstattgalerie.org
Di-Fr 12-19h, Sa 12-18h


Werkstattgalerie at Art Vilnius

ARTVILNIUS’11
13.-17. July 2011

Werkstattgalerie
Booth 3.10
LITEXPO, Laisves prosp. 5, Vilnius, Lithunia

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.


Schöneberger Art Walk Saturday 25.06.11

Schöneberger ART Walk

Ein besonderer Spaziergang durch Kunst und Kiez
Jeden letzten Samstag im Monat von 11.00 bis 17.00 Uhr


Neun Schöneberger Galerien laden jeden letzten Samstag im Monat zum SchönebergerARTwalk ein.
Der erste Walk startet am 25. Juni 2011 und wird während
der Sommerpause fortgesetzt.
In den vergangen drei Jahren haben sich einige junge Galerien rund um Nollendorf- und
Winterfeldtplatz angesiedelt. Der Kiez atmet Kunst. Es erinnert an die 20iger Jahre, als
viele Künstlerinnen und Künstler in Schöneberg ihre Ateliers hatten und Tür an Tür mit
Schriftstellern, Schauspielern und Tänzern arbeiteten und lebten.
Mit vereinten Kräften laden nun die Galerien Artstoff, Berlin Avantgarde, dorisberlin,
Galerie cubus-m, Galerie Gilla Lörcher, Haus am Lützowplatz, Kit Schulte
Contemporary Art, mianki. Gallery und Werkstattgalerie ein, die Gegend rund um den
Nollendorfplatz neu zu entdecken. Ein Bummel von Galerie zu Galerie, entlang der
Schaufenster von Antiquitäten- und Einrichtungsgeschäften, von Floristen,
Kunsthandwerkern, Modeateliers, von kleinen Fachgeschäften für Whisky, Öle und
Weine.
Und nicht zu vergessen: die kleine kulinarische Pause - ein Cappuccino in der Sonne im
Plausch mit Kulturschaffenden oder eine Puderzuckerwaffel auf die Hand im Gedränge
des Winterfeldtmarktes.

Junge Kunst im jungen Kiez. Jeden letzten Samstag im Monat, von 11 bis 17 Uhr.

www.schoenebergerartwalk.de

Kontakt Info:
Kit Schulte, Kit Schulte Contemporary Art, Winterfeldtstraße 35, 030/21005237, info@kitschulte.de
Andreas Herrmann, Mianki Gallery, Kalkreuthstraße 15, 030/364 327 08, info@mianki.com
Andreas Divas, Artstoff, Zietenstraße 19, 017232/67254 info@artstoff.com


Pierre Jouve -The Dark Side of Paris- Opening 27th May at 7pm

Zur Eröffnung der Einzelausstellung von Pierre Jouve laden wir Sie am Freitag, den 27. Mai 2011 ab 19 Uhr
herzlich in die Werkstattgalerie ein.

Pierre Jouve, ehemaliger Journalist für die internationale Presse, bekam 2006 die außergewöhnliche Erlaubnis der Pariser Polizeipräfektur, mit seiner Kamera über ein Jahr lang die täglichen Polizeioperationen zu verfolgen. In dieser Zeit entdeckte er ein faszinierendes und noch nie gesehenes Paris voller Verhaftungen und Verbrechen jeglicher Art.


Polemically Small Exhibitionopening Friday 15th April at 7 pm

Zur Eröffnung der Ausstellung


Polemically Small

kuratiert von Edward Lucie-Smith

laden wir Sie am

Freitag, den 15.April ab 19 Uhr

in die Werkstattgalerie ein.


Es spricht Edward Lucie-Smith (London).


Die Ausstellung ist bis zum 14. Mai 2011 zu sehen.



We cordially invite you to the opening of the exhibition

Polemically Small

curated by Edward Lucie-Smith

Friday, 15th April 2011 at 7 pm

at Werkstattgallery.

Speaker: Edward Lucie-Smith(London).

The exhibition will run until 14th Mai 2011.

Werkstattgalerie
Eisenacher Str. 6
D-10777 Berlin
Email: info@werkstattgalerie.org
Phone: +49.(0)30.21002158
Open: Tu-Fr 12-20h, Sa 12-18h

Near Nollendorfplatz U1-U4, M19, 179


Exhibitionopening Daniel Hourdé 11th February at 7 pm

We cordially invite you to the opening of the exhibition of


Daniel Hourdé

New Drawings and Sculptures



Friday, 11th January 2011 at 7 pm at Werkstattgallery.

Speaker: Christiane Germain (Paris).

The exhibition will run until 25th March 2011.

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
D-10777 Berlin
Email: info@werkstattgalerie.org
Phone: +49.(0)30.21002158
Open: Tu-Fr 12-20h, Sa 12-18h

Near Nollendorfplatz U1-U4, M19, 179

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?


Opening of the Exhibition of Ingeborg zu Schleswig-Holstein 14th January at 7 pm

Ingeborg zu Schleswig-Holstein

15th January – 5th. February 2011

Friday, 14th January at 7 pm

A Katalogue will be published.

Speakers: Rudolf zur Lippe and Drew Hammond.


Werkstattgalerie
Eisenacher Str. 6
10777 Berlin

info@werkstattgalerie.org
T: 030.21002158


Giovanni Manfredini Exhibition until 9th January 2011


GIOVANNI MANFREDINI

PIAGHE E GLORIA

12th November – 9th January 2011


The Exhibition can bee seen until the 9th of January 2011.
The gallery is open during the seasons.

Werkstattgalerie
Contact: Mirko Freiwald / Pascual Jordan
Eisenacher Str. 6
D-10777 Berlin

Open: Tu-Fr 12-20h, Sa 12-18h
Phone: +49.30.21002158
Mail: info@werkstattgalerie.org


Drawings attributed to Francis Bacon till 2nd November

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 Busshuttlerservice 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
Phone: +49.30.21002158
Web: www.werkstattgalerie.org


Rudolf zur Lippe : "Das Denken zum Tanzen bringen" 27.08.-11.09.2010

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


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


Opening Reception "Memento" Friday 4th Juni 8 pm

We cordially invite you to the opening of the exhibition

Memento


Gio Black Peter, Robert Flynt,
Gerhard Hintermann,
Daniel Hourdé,
Zachari Logan, Nicolas Spinosa

Exhibition Dates: 05.06.-10.07.2010
Opening Reception:
Friday, 4th June 2010 from 8-11 pm

Werkstattgalerie
Eisenacher Straße 6
D-10777 Berlin

Phone: +49.30.21002158
Web: www.werkstattgalerie.org
Mail: info@werkstattgalerie.org
Opening Hours: Tu-Fr 12-8 pm, Sa 12-6 pm


Opening Reception "ter Hell: Movement Motion" Wednesday 5th May at 8pm

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
Eisenacher Str. 6
10777 Berlin

Tel.: +49.30.21002158

Nähe Nollendorfplatz: U1-U4, Bus M19
Öffnungszeiten: Di-Fr 12-20h, Sa 12-18h


Gallery Weekend: Finissage "Optimistic American Discords"

OPTIMISTIC AMERICAN DISCORDS
A New Generation of Artists from the United States

Finissage: Saturday 01st May 2010

curated by Edward Lucie-Smith and Roni Feldman

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.”

Edward Lucie-Smith

Image: Casey Vogt „Against the Grain“,house paint, collage on panel, 61cm*61cm, 2009

Berlin Collective presents Artist Talks moderated by Marc Glöde and Sophie Eliot Sunday 21st March 2010 at 5 pm

Werkstattgalerie
Eisenacher Str. 6
10777 Berlin

Phone: +49.30.21002158
Mail: info@werkstattgalerie.org

Near Nollendorfplatz: Tube U1-U4, Bus M19
Open: Tu-Fr 12-8 pm, Sa 12-6pm


Opening Reception "OPTIMISTIC AMERICAN DISCORDS" Tonight at 8 pm

OPTIMISTIC AMERICAN DISCORDS
A New Generation of Artists from the United States
19th March-16th April 2010

Opening Reception: Friday 19th March 2010 at 8 pm
curated by Edward Lucie-Smith and Roni Feldman

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.”

Edward Lucie-Smith

Image: Casey Vogt „Against the Grain“,house paint, collage on panel, 61cm*61cm, 2009

Berlin Collective presents Artist Talks moderated by Marc Glöde and Sophie Eliot Sunday 21st March 2010 at 5 pm

Werkstattgalerie
Eisenacher Str. 6
10777 Berlin

Phone: +49.30.21002158
Mail: info@werkstattgalerie.org

Near Nollendorfplatz: Tube U1-U4, Bus M19
Open: Tu-Fr 12-8 pm, Sa 12-6pm


Opening Reception "IranianBodies" Friday 19th February from  8-11 pm

IRANIAN BODIES

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 have an erotic 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, 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


Image: Mitra Farahani Paravent, acrylic on canvas, 400cm*170cm, 2009


Werkstattgalerie
Eisenacher Str. 6
D-10777 Berlin

Nähe Nollendorfplatz U1-U4, Bus M19, 187
Opening Hours: Tu-Fr 12-20h, Sa 12-18h
Phone: +49.30.21002158
Mail: info@werkstattgalerie.org


Opening "British Art Now" Friday 13th November at  8 pm

BRITISH ART NOW

Exhibition curated by Edward Lucie Smith.

Oleg Tolstoy, Luke Jackson, Sam Jackson, Hugo Dalton

Opening: Friday 13th November 2009 from 8pm with an introduction
from Edward Lucie-Smith.

The artists 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


Comet Prussia

„Comet Prussia“
Closing: Wednesday, 4th November 2009 from 8 -10 pm

Solveig Karen Bolduan, Genia Chef, Jean-Ulrick Desért, Bernhard Heisig, Ter Hell, Edward Lucie-Smith, Sylwek Luczak, Klaus Vogelgesang, Marc Wayland, Alexander Zakharov


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.

Abb.: Klaus Vogelgesang "Preußisch Blau", Mixed Technic on Cartoon, 200*150 cm, 2009

Werkstattgalerie
Eisenacher Str. 6 | 10777 Berlin Germany |

Tel: +49(0)30 21002158
Web: www.werkstattgalerie.org
Mail: info@werkstattgalerie.org


Master Patrick "Berlin Years" Exhibitionopening  20.08.2009

Master Patrick „Berlin Years“

Sideshow: Gio Black Peter

20. August – 07. September 2009

Eröffnung: Donnerstag, 20. August 2009 20-22 h


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)

Werkstattgalerie
Eisenacher Str. 6
10777 Berlin

Phone +49(0)30 21002158
info@werkstattgalerie.org
Di -Fr 12-20h, Sa 12-18h


Tania Kandratsenka -Spielzeit- Exhibitionopening 18th June 2009 at 8 pm


"Mankind: Versions & Perversions" curated by Edward Lucie-Smith Opening 3rd April  8pm

Ausstellung vom 04.April - 15.Mai 2009

Vernissage: Freitag, 03. April 2009 20-23 Uhr

in Anwesenheit vieler beteiligter Künstler samt Einführung durch den Kurator.

Die Ausstellung zeigt Fotografien von zehn internationalen Künstlern aus Amerika und Europa mit dem Schwerpunkt männlicher Akt.

Teilnehmende Künstler:
Gianluca Chiodi (Mailand), Tobias A. Feltus (London), Robert Flynt(New York), Frank Gabriel (Den Haag), Edward Lucie-Smith (London), Roberto Rincon (London), Vladimir Tatarevic (Belgrad), Marc Wayland (London), Jonathan Webb (Paris), Dimitris Yeros (Athen).

Am Samstag, den 04.April signiert Edward Lucie-Smith das neue, von Ihm mitherausgegebene "Tom of Finland XXL"-Buch (Taschen, ISBN 978-3-8228-2607-2,Hardcover, 666 Seiten, Din A3 ) zwischen 14-16h.

Werkstattgalerie
Eisenacher Strasse 6
D-10777 Berlin-Schöneberg

Öffnungszeiten: Di - Fr 12 -20 Uhr, Sa 12-18 h
Email: info@werkstattgalerie.org Phone: 030 2100 2158


09.02.09 Exhibitionopening "The First Day Of Spring" - Marianne Hopf, Natasza Niedziolka & Sylwek Luczak

We cordially invite you and your friends to the opening of the exhibition

The First Day Of Spring

with works by

Natasza Niedziolka, Marianne Hopf
Light/Videoinstallation by Sylwek Luczak

supported by the Polish Institut Berlin and
Pool Production GmbH / FilmFestival Cottbus

Monday 09. February 2009 from 8 - 11 PM

Music by Austin Brown and Gabe Molnar

Werkstattgalerie
Eisenacher Strasse 6
10777 Berlin-Schöneberg

www.werkstattgalerie.org Phone: +49.30.21002158
info@werkstattgalerie.org Tu-Fr 12-20 h, Sa 12-18 h


Opening Reception: My Gay Eye 31.10.08  8 pm


Next Exhibitionopening "Democracy & Violence" 11th September 08, 8pm


Next Exhibition: Martin von Ostowski Retrospective 06.06.-19.07.08


Closing of the exhibition "beyond eternity" with Golo Gott Thu, 06.03.08 18-21h


Closing of the Exhibition "All Artists: Engels & Demons" 05.01.08 at  3 pm

We cordially invite you and your friends to the closing of the exhibition

All Artists: Engels & Demons

with works by

Alexander von Agoston, Cocopierre, Greg Day, Thomas Gabriel,
Rinaldo Hopf, Pascual Jordan, Michael Kopietz,
Paul Kremp, Michael Müller, Martin von Ostrowski, Master Patrick,
Ines von Sassen, Alexis W, Jürgen Wittdorf, Mesaoo Wrede,XerXeX

Saturday 05. January 2007 at 3 PM
Mesaoo Wrede and Alexander von Agoston will read from their new short stories and poems.




Werkstattgalerie
Eisenacher Strasse 6
10777 Berlin- Schöneberg

www.werkstattgalerie.org Phone: +49.30. 2100 2158
info@werkstattgalerie.org Tu - Fr 12-20 h, Sa 12-18 h





Arte at Werkstattgalerie

"Through the night with Rosa von Praunheim and Todd Verow"
Arte makes a feature film about the two filmdirectors at the Werkstattgallery


Opening of the exhibition "My gay eye" Friday, 19.10.07

We like to cordially invite you and your friends to the opening of the exhibition

My gay eye

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

together with the presentation of the anthology
„My gay eye 4“ published by Konkursbuchverlag

Friday 19. Oktober 2007 at 18 P.M.


Introduction by Claudia Gehrke (Publisher) und Rinaldo Hopf (Curator)

Werkstattgalerie
Eisenacher Strasse 6
10777 Berlin-Schöneberg