NATHALIE GRENZHAEUSER - THE ARCTIC SERIES. PART II


NATHALIE GRENZHAEUSER
THE ARCTIC SERIES. PART II

ERÖFFNUNG
16.4.2016, 16 UHR

AUSSTELLUNG
17.4. – 29.5.2016

FINNISSAGE MIT BOOKRELEASE 
29.05.2016

Kunsthalle, Karlsburg 4, 27568 Bremerhaven
Öffnungszeiten: Dienstag bis Freitag 11.00 bis 18.00 Uhr,
Samstag und Sonntag 11.00 bis 17.00 Uhr
http://www.kunstverein-bremerhaven.de/

Opening Reisebürogalerie Thursday 14th April / 18:00-22:00


Eric Bell and Kristoffer Frick, "Virus Doctor", 2015

"Ich komme aus wir."
Eric Bell and Kristoffer Frick, François Lancien-Guilberteau, Max Marion Kober, Michele Di Menna


E R Ö F F N U N G  /  O P E N I N G
Donnerstag, 14. April 2016, 18–22 Uhr
Thursday, April 14th, 2016, 6-10 pm


15. April – 17. Juni 2016
April 15th – June 17th, 2016

Ich komme aus wir.
 
Die Auswahl der Künstler und Künstlerinnen erfolgt über gemeinsam zurückgelegte Strecken. Der Begriff des Netzwerks, dem gleichsam eine negative Konnotation innewohnt, da er auf eine Begrenztheit deutet, wird in der Auswahl unterwandert und gebrochen.

Die gezeigten Werke arbeiten mit fragilen Identitäten, Subjektformen und Rollenmustern der Gegenwart, die ihr eigenes Selbstverständnis in den Vordergrund stellen. Bilder, die aussehen wie verschiedene Aggregatzustände einer Form. Alltägliche Gegenstände, die in noch alltäglicheren Situationen enigmatisch kombiniert sind, tauchen wieder und wieder und wieder auf.

Die Kuratorin vereint die Sichtweisen der Künstler und Künstlerinnen, die mit der Inszenierung von Alltag, Vorstellung, Fleisch, Unendlichkeit, Gedichten, Unsterblichkeit, Androgynität und Kuben arbeiten.

All dies sind Aspekte, die mit dem menschlichen Dasein verbunden sind und die Positionen vereinen, die zu dunklen, sadomasochistischen, selbstreferentiellen – möglicherweise auch zu esoterischen Taten – tendieren und sich doch im kunstinternen Diskurs befinden.


Dies kann in seinen Extremen zugleich treffend und nicht zutreffend sein.

Die Ausstellung spiegelt etwas Zwitterhaftes im Umfeld der Sehnsucht nach Vollkommenheit, Ontologie und Vampirismus wider.

Die Ausstellung ist kuratiert von Oona-Léa von Maydell.

Reisebürogalerie
Diko Reisen
Komödienstraße 38
50667 Köln / map

Öffnungszeiten: Mo–Fr: 9–18:30 Uhr und Sa: 10–14 Uhr 

Opening Hours: Mo–Fri: 9am–6.30pm and Sat: 10am–2pm

NEW PLEASURE LIBRARY I @ OFFICE DU PAIN


TUESDAY - 05.04.16 - 20.30
NEW PLEASURE LIBRARY I @ OFFICE DU PAIN
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LIVE:

PART WILD HORSES MANE ON BOTH SIDES (Manchester)
Ritualistic rural psychedelia on flute, percussion and electronics
https://soundcloud.com/experimedia/part-wild-horses-mane-on

https://www.youtube.com/watch?v=OBwgzAlDHc0

JSCA (Rotterdam)
Static Machine Music, Pulsating sine- and square waves
https://soundcloud.com/jsca-3/sets/demo-tape
https://soundcloud.com/alien-passengers/jsca-no-ends


"Pleasure only starts once the worm has got into the fruit,
to become delightful happiness must be tainted with poison.” (Georges Bataille)

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Office du Pain
Wächtersbacherstr. 82

U4/7 >  Gwinnerstr., POCO left, meatfactory, Erodis...

THE BERLIN CASE


THE BERLIN CASE
07 April – 26 June 2016

Artists:
Matthias Beckmann, Astrid Busch, Nezaket Ekici & Shahar Marcus, Larissa Fassler, Frederik Foert, Ingo Gerken, Uwe Jonas, Daniel Lergon, Pia Linz, Frank Piasta, Justine Otto, Elisabeth Sonneck, Max Sudhues, Timm Ulrichs, Peter Welz, Wolfgang Flad, Jens Wolf

The ambigious term "case" has diverse meanings such as event, lawsuit, a situation as well as various kinds of receptacles. Here it works as a metaphor for a wide spectrum of contemporary artworks and their different themes, conceptual strategies and uses of material, form and media.

This radically subjective selected compilation aims to dilute the dated limitations of an artistic concept that has so far been reduced to a reified and materialistic understanding. Drawings, photographs and panel paintings were shown as well as floor works, sculptural objects and spatial gestures: site-specific works will serve as a link between the actual room and a virtual space, and video installations and performances will involve visitors in immaterial and temporary processes.

The simultaneity of highly diversifying artistic strategies and materials in the exhibition corresponds with the flexibility of our perception, as it is constantly fluctuating between fleeting and static moments. The plurality of artistic mindsets and positions as such becomes a value, and even apparently abstract works of art are apt to develop far-reaching political dimensions, referring to values of democracy, to equal rights, and tolerance.

Consequently, THE BERLIN CASE is not focusing on a specific subject, wherefore it is directly reaching out to the visitor, whose subjective impressions and reflections count, emanating from very own and private experiences. Here starts the communicative potential of the show: students of the Ural Federal University will discuss the works as ‘live speakers’ and hence advance the artistic intention of the show, in dialogue with the visitors.

Russia includes the frontier between Europe and Asia (where Yekaterinburg is located) which is geographically only roughly defined – that refers back to the fact that Europe is far from being a unity but rather signifies a politically, culturally as well as spiritually utterly heterogeneous category. In this field of tension our contacts not only with the cultural scene of Yekaterinburg grew. Our and the intention of all participating artists in THE BERLIN CASE is to contribute in a fruitful way to a mutual, understanding and intellectual debate in growing relations between the people of both countries.

Elisabeth Sonneck, Max Sudhues

Every Saturday and Sunday:
Live speakers program in collaboration with Ural Federal University, Yekaterinburg

Daily opening times:
The Boris Yeltsin Presidential Center, Boris Yeltsin street, 3
+7 (343) 312-43-43; +7 (909) 006-70-70
Tu — Su: 10:00 — 21:00

Patronage:
German Consulate General, Yekaterinburg; Institut für Auslandsbeziehungen; Berlin Senatskanzlei - Kulturelle Angelegenheiten; "Cultural transit" Foundation

ESCAPE-PATHFINDER


Where others see a storm he sees the perfect wave
Where some give up he finds another gear
Where others get lost he finds room for inspiration
Where others are facing obstacles she finds a way through
Where some take the beaten track she leaves the life less ordinary
Where others reached the end of the road he starts the adventure
Where other see a legendary off roader we see a new generation

Marcello Spada
Escape-Pathfinder
5 April – 14 May

Opening 4 April, 19:00 Uhr 
 

Tornado Trinkhalle present
Wodka Tysoni energy cocktail

1822-Forum der Frankfurter Sparkasse
Fahrgasse 9, Frankfurt am Main

Henrik Olai Kaarstein
Well Received Lies
5 April – 14 May 2016
Opening 4 April 2016, 7pm
T293
Via Ripense 6, Roma
info@t293.it

The expression “it’s complicated” is often called on to describe the status of romantic affairs. Its clichéd ring makes you cringe as you pronounce it. Yet, it undeniably comes in handy when someone probes the state of your current involvements. Facebook has even introduced the term as a category in their relationship menu, alongside the standard labels “in a relationship” and “single”. Perhaps stating “it is complicated” would be more honest in any case, as all relationships are contingent on a partial disclosure, and kept up by behaviours that espouse fidelity mainly to reassure. Under the sheen of commitment less admirable drives always scheme. For his show Well Received Lies at T293, Henrik Olai Kaarstein evokes this scene of pending transgression to propose affinity in a group of images spanning from intimate photos of friends and lovers, to cinematic variations on the theme “forbidden love” and global politics.

A pink wedding dress is suspended from the ceiling above a tacky carpet of fake roses. The lower part of the dress is adorned with prints showing political meetings related to the US intervention in the Arab World (Powell lunching with Reagan, Rice posing with Gaddafi, Bush Senior with a Saudi-Arabian prince). A set of stairs enables a private rendezvous between viewer and object, undermining the official air that both images and garment exude. The face of political representation is collapsed onto the fabric (literally and figuratively) of romantic love. The prolonged scrutiny of marriage forces disclosure. Post Wikileaks such post-coital transparency has bled from the bedroom over into the realm of international relations. The state suggested is the global intimacy that limitless information access promises.

Kaarstein’s “Portrait” -series also elicit the quality of garments, both in terms of texture and by their proximity to the naked body. Images sourced from a private folder on the artist’s computer, depicting friends and lovers in different stages of intimacy (a man’s corset-clad torso up close, another man splayed naked across a bed, a woman casually reclined in a chair, a sleeping cat) have been printed in b&w in large formats and then retouched with coal and chalk. Kaarstein’s curved hatchings bring illusory volume and a sort of vertigo effect to the images, melding figure and ground. Pictorial content is exchanged for ambience. Kaarstein’s coy aestheticization is furthered by the b&w palette. His subjects are coaxed from the affective realm of homemade “soft porn” into low dimensional decór, acclimatized to a culture of constantly shifting attachments. All titles point, with varying degrees of exactitude, to geographical locations (Hans Holmboes Gate; Oslo; Documenta 13; Roma; Rio), mapping a restless sifting through people and places.

A flimsy corridor of large dirtied collages made of adjoining sections of paper and satin, drop from beams stretching through the gallery. Stills lifted from films dealing with difficult or forbidden love (Brokeback Mountain, Hiroshima Mon Amour, Birth, Monster, Crazy/Beautiful, Secretary) have been printed through an online service for assembling makeshift movie posters. These prints have then been cut up and large sections of the pictures removed. Abstract outlines and fields of diluted colour float around these isolated embraces. The proliferation of disembodied hands now groping bland abstractions rather than flesh, suggests a transfer of libidinal investment onto the unresponsive surfaces of art works (or screens) the formation of a compact between hot, receptive flesh and a different type of object altogether. “Lovers, they all lie so beautifully.

-Stian Gabrielsen

T293 Via Tribunali 293 80138 Napoli T +39 081 295882 – Via Ripense 6 00153 Roma T +39 06 89825614 info@t293.it www.t293.it

HIGGSTEDDY

HIGGSTEDDY

Silja Yvette
Christine Straszewski

Ausstellungseröffnung: Freitag, 1. April 2016 um 20 Uhr.


PROGRAMM IM APRIL

HIGGSTEDDY_TALK 
Samstag, 16.04.2016, Beginn 21 Uhr  
(zur KURZEN NACHT DER GALERIEN UND MUSEEN WIESBADEN)  

II PERFORMANCE DAY 2016, WIESBADEN 
in Zusammenarbeit mit I O Cultural Network e. V. 
Sonntag, 24.04.2016 von 14 - 20 Uhr 

Ausstellungsdauer: 2.-24. April 2016 
Öffnungszeiten: Mi-Fr 16-18 Uhr und nach persönlicher Vereinbarung 

ADRESSE

KAISER&CREAM. ART DISTRICT
Büdingenstraße 4-6, 65183 Wiesbaden
T +49 - 611 - 205 211 5
C +49 - 176 - 816 650 31

SILJA YVETTE
ATELIER 
Fürstenbergerstraße 221
60323 Frankfurt

www.siljayvette.de

CENTURY WASTE



Soon Boon
Elizabeth Englander
Yuki Kishino
Kitty Kraus
Jonas Lipps

Opening Sun March 27
7 PM
The Duck
329 Greenwich St.
New York 10013

Jasmin Werner - The smell of cultured air


Jasmin Werner
The smell of cultured air
M.I. Auguststraße 10, 10117 Berlin
24 March - 2 April

Here - Preview Saturday 9th April 5pm-7pm.


Here - Preview Saturday 9th April 5pm-7pm.

JAMIE CREWE 
EMILY SPEED
LILLY ATKINSON
ADAM LEWIS-JACOB
STEPHANIE MANN
ALEX RATHBONE
DOMINIC WATSON
MAT DO
FRANCIS DISLEY
LARS KARL BECKER
ISABELLE COOK
FRASER MCDONALD

For Glasgow International, Deuce Deuce presents Here, an exhibition, research space and showroom. Here is a point for dissemination and discussion deconstructing the fortification of trend where bloggers, designers, artists and architects produce artworks, writing, garments and homeware. Dissecting the intentions of personal aesthetic and the politics of production, taste and stratification.

We are pleased to announce we will be launching two new multiples at Glasgow International – a collection of bedding sets, and a series of capes. Each product has been developed specifically to explore a direct intimacy and relationship with the body, to be worn for protection, isolation or armour.

The new collection will be displayed in the show room and available to purchase through our website, launching at 5pm onSaturday 9th April.

In addition, Here will also incorporate a group exhibition of works by the commissioned artists and a resource area of research and film, creating space to meditate and be with an object and a place to understand its legacy and heritage before you begin a personal relationship with it.

Deuce Deuce (b.2012) is a nomadic curatorial collaboration between Elizabeth Murphy and Amy Jones, exploring the crossover between art, apparel and the absorption of sub-culture into the mainstream. Testing the potential of an artist’s multiple and realizing it through a series of ready to wear items and accessories. Creating products that defy stereotypical gender tastes, Deuce Deuce works with a unisex approach creating art objects to integrate into every lifestyle. Questioning notions of ownership, display and decoration and exploring the rupture in reproduction. We force the aspirations of printed matter from artwork to functioning fashion object.

www.facebook.com/deucex2
pro.deucedeuce@gmail.com

http://glasgowinternational.org/events/jamie-crewe-emily-speed-adam-lewis-jacob-stephanie-mann-alex-rathbone-dominic-watson-mat-do-frances-disley-lars-karl-becker/

Supported by Skypark, The Glasgow School of Art Masters Series and The Eaton Fund

With Special Thanks to Dundee Print Collective, Isabelle Cook, Henri Meadows, Sean Campbell, Sally Sears-Black, Gordon, Douglas, Erin Busswood, Monica Foote, David Excoffier, Justyna Ataman, Fiona McCubbin, Kevin Hunt, Donald Hargrove, Madeline Hall, Hannah Graham, Lisa Kirsop and Glasgow International

Image credit - Mat Do, THRDS 12/1/2016

THE NIGHT BELONGS TO YOU



The Night Belongs To You
Erling Viktor & Daniel Tsal

24.-28. März 2016

Eröffnung:
Do 24. März 19-21 Uhr mit Livemusik by K-MART

Öffnungszeiten
Fr + Mo 13-19 Uhr & Sa + So 13-17 Uhr

WERKSTATTGALERIE
Eisenacher Straße 6
10777 Berlin
www.werkstattgalerie.org

MDM E + Weekend Release Parties

FOR YOUR CONSIDERATION: OFFICE DU PAIN, LES TRUCS, FNFN & KNERTZ PRESENT MMODEMM: A FRANKFURT BASED LABEL FOR PARTYS AND CASSETTES.
 

~
MMODEMM happily announces its next release: 
MDM E – a five-cassingle-box-set with tracks by:


    •    LUMIGRAPH
    •    FORD FOSTER
    •    HUMAN DISORDER
    •    TAKAHIRO MUKAI
    •    ALESSANDRO ADRIANI


Order 1 of 80 numbered boxes or buy digital release now via Bandcamp
 

~
DATES


MDM E PARTY: BERLIN

MAR 24  DE Berlin - Sameheads (Richardstraße 10)
with DJ KARL CARL (MMODEMM), RYOMA SASAKI (Transit Records)
+ LIVE: LUMIGRAPH (Opal Tapes, Mr Saturday Night), ROLANDE GARROS (MMODEMM)
Facebook Event

MDM E PARTY: FRANKFURT A/M 

MAR 26  DE Frankfurt a/M - Konfuzius Franz (Mainzer Landstr. 229)
with ALLESANDRO ADRIANI (Mannequin Records), RYOMA SASAKI (Transit Records), ANTONIO (Sama Recordings) + LIVE:  LUMIGRAPH (Opal Tapes, MrSaturday Night
Facebook Event
 

FIRST COME FIRST SERVE: PLEASE BE THERE ~ON TYME AS WE TEND TO GET CROWDED 
 
~ 

MMODEMM.COM 
FACEBOOK
SOUNDCLOUD
BANDCAMP

Ghislain Amar - 'Amar AMAR'


Opening: 24.03.16, 6PM COME
And by appointment March 25, 26, 27, 28 DOWN
Email: comedown95@gmail.com TO
Or call: +31(6) 397 837 27 US

Projektraum basis
Elbestraße 10, 60329 Frankfurt am Main

https://www.facebook.com/events/1684349735168541/
http://basis-frankfurt.de/en/event/amar-amar
suggested opening by LM

dwarphs molde paper planes


TS MID MARCH. ITS TIME TO REALIZE THAT THERE IS WAY MORE TO LIFE. 

DWARPHS and MOLDE (FINALLY) return bringing their definition of perfection PAPER PLANES. 

YOU KNOW YOU OUGHT TO GET OUT MORE. 
YOU KNOW YOU OUGHT TO INDULGE IN EXZESS
YOU KNOW YOU NEED TO BE AT THIS SHOW. 

EXZESS 19.03.2016

Leipziger Str. 91
60487 Frankfurt

Peyman Rahimi - ira


ira
Peyman Rahimi

Opening: 18.03.2016
Duration: 19.03. - 07.05.2016

Galerie Kai Erdmann
Klosterwall 4
20095 Hamburg

Foto: Bernhard Schreiner

LDD 02 | Paola Anziché 360.000 KNOTS 10 marzo ore 18-21 | Laboratorio del Dubbio, Torino


360.000 KNOTS 
Starting with the specific display context, Paola Anziché gathers a series of recent works, the result of research conducted during the past year. Through exploration of the wide range of possibilities of the various materials used and the architectural forms evoked and freely reworked, a game of relations emerges between installed presences and suggested allusions, between an architecture that is never seen as neutral and the material-sensorial reality of the sculptures.

Several appointments will accompany the exhibition, offering visitors a series of different perspectives on the areas and themes addressed in the latest works by the artist.

Paola Anziché lives and works in Turin and Milan. She took a degree at the Städelschule, Staatliche Hochschule für Bildende Künste,Meisterschülerin, Frankfurt, Germany. 
Upcoming exhibitions include "Design after esign" for XXI Triennale alla Triennale in Milan. IN 2017 she will show at Turner Contemporary curated by Karen Wright, Margate, Inghilterra. She has done residencies in international programs: in 2015 the HIAP Residency Program of Helsinki and the Residency Program at Yarat, in Baku, Azerbaijan. She held solo show in museums and art centers such as: in 2015 the Kichik QalArt, Yarat, Baku, Azerbaijan, at the Gam in Turin as part of Vitrine 270° exhibition series curated by Stefano Cagol Collicelli, and the Fondazione Remotti in Camogli, curated by Francesca Pasini, in 2010 the Fondazione Fondazione Sandretto Re Rebaudengo, with "Greater Torino", curated by Irene Calderoni and Giorgina Bertolino.

Conference by Sandro Caranzano, 10th March 7- 9 pm.
“The Pazyryk Carpet is undoubtedly the oldest rug in the world. Discovered in Siberia in the summer of 1947 during excavation in a Scythian prince’s tomb (kurgan) and dating back to the 5th century BC, it was miraculously conserved thanks to the layers of semi-frozen soil that had settled in the tomb. The Pazyryk Carpet is the expression of an ancient Central Asian culture known above all thanks to its elaborate tombs, which have yielded artifacts and mummies. The burials were often accompanied by the ritual sacrifice of a horse, a widespread practice among ancient Scythian peoples.


Decorated with recurring geometric motifs, a series of deer and a row of horsemen, the Pazyryk masterpiece has been placed alongside the imagery of the Assyrian palace of Khorsabad, with which it has a shared cultural background. Made at the time of Cyrus the Great and Darius I, king of Persia, the large rug now conserved at the Hermitage in St. Petersburg is an exceptional which embodies the true essence of a never terminated dialogue between nomadic and stationary peoples, between the urge for exploration and discovery and the desire for self-representation and enjoyment of sumptuary goods.”S. C. 

Sandro Caranzano is a professional archaeologist, who has conducted various territorial research projects. He is the author of scientific and educational publications. For years he has been engaged in in-depth study of the archaeology of the Near East, and he has conducted research at the Temple of Artemis in Jerash, Jordan, for the Archaeological Research and Excavation Center of the University of Turin. He has written studies and publications on prehistoric Europe (especially the Metal Ages). He works with specialized journals, universities and heritage offices. He is a member of Schliemann & Carter, a firm that focuses on study and tourism of archaeological sites in the Mediterranean area. Since 2013 he has directed the Italian archaeological mission at the Selca necropolis in Albania (4th century BC).

Meeting with Francesca Picchi, 23rd March
 
Francesca Picchi is an architect and journalist, living and working in Milan. She has taught a course in History and Theory of Industrial Design at the Milan Polytechnic, worked at for the Barragan Foundation in Basel and was a member of the editorial staff of the magazine Domus from 1994 to 2012. She recently took part at the 14th Venice Architecture Biennale Fundamentals and edited a monograph on the work of James Irvine for the publishing house Phaidon. Her publications include: Ettore Sottsass (Phaidon London 2014), Perché un libro su Enzo Mari (Motta Editore Milan 1997). Exhibitions: Kuramata's Toky (Spazio Zegna, Milan), Enzo Mari: il lavoro al centro (Centro d'Arte Santa Monica, Barcelona).