ARTIST TALK | DANI GAL


Artist‘s Talk with Dani Gal
at Migros Museum für Gegenwartskunst
3 March 2016, 18:30hrs


Dani Gal, The Record Archive, 2005-2015, Collection Migros Museum für Gegenwartskunst, Detail

We are pleased to announce gallery artist Dani Gal talks to Nadia Schneider Willen (collection curator, Migros Museum für Gegenwartskunst) about aspects of recollection, collective memory, and the ways in which his work deals with history.

Dani Gal has had solo exhibitions at the Jewish Museum, New York (2014), Kunsthalle St. Gallen (2013), and the Turku Art Museum, Finland (2013). He contributed to group shows at Kunsthalle Wien, Vienna (2014), n.b.k., Berlin (2014), the 12th Istanbul Biennial (2011) and the 54th Biennale di Venezia (2011).

3 March 2016, 18:30hrs
Migros Museum für Gegenwartskunst
Limmatstrasse 270
CH–8005 Zurich

Safety Deposit Box


Frankfurt

Safety Deposit Box
4/3/2016 - 11/3/2016

Louis Eisner
Mathis Gasser
Emily Jones
Guy Lee
Hannah Lees
Andrew Mealor
Michael Ray-Von
Yuri Patterson
Hayley A. Silverman
Sydney Shen
Jasmin Werner

Bruno Zhu

Lock Up International is proud to present Safety Deposit Box, a group show co-curated with Celena Ohmer, inside a bank vault in Frankfurt. All the works are stored in their own safety deposit box, awaiting the viewers request to unlock them.

To view please make an appointment by emailing access@lockupinternational.com

We look forward to welcoming you.

Lock Up International is a transient project space in storage units worldwide.
http://lockupinternational.com

HEARTBREAK HIGHWAY


HEARTBREAK HIGHWAY
Lena Henke

February 27- March 26, 2016
Opening Saturday February 27, 7-10 PM

Followed by a live performance by Lonely Boys
across the street at Call Box bar starting at 11 pm
https://soundcloud.com/lonelyboys

Real Fine Arts,
673 Meeker Ave, Brooklyn, NY 11222

HEARTBREAK HIGHWAY

… when you operate in an overbuilt metropolis, you have to hack your way with a meat ax. (Robert Moses)

The poetry of New York is organ, organ, organ … organ of calves’ lungs, organ of Babel, organ of bad taste, wrote Salvador Dalí about the city, which he found so exhilaratingly irrational and anti-modern that it could only be the capital of Surrealism.

Considering Henke’s new installation, Dalí’s particular strain of surrealism comes to mind. Not the automatic creation of some of Breton’s followers, but the neurotic affirmation of Dalí’s Paranoid-Critical Method. This method is basically at play whenever true obsession with a topic occurs. It could be described as an artful imitation of a paranoid way of looking at the world, in which all facts and events fall into the place that the paranoiac has sought out for them. Henke’s work here does relate to her fascination with New York urban planning and with Robert Moses and his opponent Jane Jacobs in particular. But, really, it is Henke’s delightfully unreasonable obsession with horses that drew her attention to a project on Barren Island and its Dead Horse Bay rather than to another. The paranoiac always hits the nail on the head, no matter where the hammer’s blows fall.

Barren Island, located in the Jamaica Bay, was home to a community of rag-pickers and waste workers until the mid-1920s. Pre-Moses, it was transformed from a communitarian place smelling of fish oil and animal remains into the city’s first airport: Floyd Bennett. The necessary additional grounds were built by combining tons of sand with the trash that the evicted inhabitants left behind. Even today, these slowly eroding grounds leak waste like a dirty secret. Ten years later, in the mid-1930s, Moses built Marine Park Bridge to connect the mainland and Barren island to the Rockaways. Somewhat simplified, one could say that the bridge functioned as a link between Moses’s rational Corbusier-inspired city planning and the grimy, organic underbelly of New York. It was this co-existence of the grandiose and glitzy with the bodily and odorous that fascinated Dali and appalled Le Corbusier. In his Delirious New York, Rem Koolhaas’ posits the two men’s antagonism as an ideological war around the ways in which we cohabitate in a metropolis.

It is obvious where Henke’s sculptures range on the Corbusier—Dalí sliding scale. They are hybrids of horse-feet and containers, and, as Henke points out, can also be thought of as doll houses or buildings. There is a horse-foot car; a milk carton which serves as a shelter; a female figure that, in an overdetermination of her gender, is also a vagina. Madelon Vriesendorp’s fantastic representations of anthropomorphized high-rises making out come to mind (her drawing Flagrant Delit was fittingly the cover image of Delirious New York). Where Vriesendorp’s work plays off of the contrast between the buildings’s form and their actions, Henke’s objects conflate the two into earthy, sexed, breathing things. Her ‘buildings’ affirm a corporeal and hysterical messiness — unbeholden to any fixed form or function. If we stick to the idea of buildings, these not-quite-models are spiritual sisters to wacky projects such as the Long Island Big Duck, a duck-shaped drive-in constructed in 1931 by farmer Martin Maurer, used to sell ducks and eggs.

One of the cattle gates which obstruct and guide the path to the sculptures, has a horse head at its center. Henke first used the same technique of the cast rope in relation to her research into landscaping. Imagine a bird’s eye view onto a English landscape garden with its winding paths. Here, this pastoral map is conflated with an urban grid of city streets, ensnaring Henke’s sculptures.

As we see right now in Williamsburg and Greenpoint, “rational” city planning isn’t over. The forms of new buildings allegedly still follow function, but the primary functions are served somewhere entirely different - in the stock portfolios of real estate speculators. Henke’s anti-modern symbolism and particular take on American extravagance cast a hypothetical stone of fleshy subjectivity into a lake of architectural conventions based on cost-analysis and standardized form. Let Lena Henke have Robert Moses’s meat ax.

She can redesign Williamsburg. In this “new” neighborhood of Greater Horse Shoe Crap let the building code read:

1. All Residential Buildings shall be constructed in the form Animal Hooves and Paws (Architects for higher-rent districts will be permitted to choose from excrement-based forms)
2. City Hall shall be a Large Slobbering Tongue.
3. The YMCA shall be housed in a Friendly Vagina.
4. Mast Brothers Chocolate will be relocated into a series of Provisional Mud Huts stamped from an Ass-Shaped Mold.

- Stephanie Weber

I pledge Allegiance / On Stellar Rays NYC / Sunday, February 28, 2016


I pledge Allegiance

on Sunday, February 28, 2016 from 6 - 8 pm
at
On Stellar Rays
1 Rivington Street New York, NY 10002
with works by:
Jason Benson
Kerstin Brätsch, Debo Eilers & Nic Xedro
Dani Leder
Jonas Lipps
Caroline Mesquita
Keegan Monaghan
Nolan Simon & Dylan Spaysky
Tobias Spichtig
Jamian Juliano-Villani
music by:
Tobias Spichtig & Theresa Patzschke

an excerpt from the text "The Pledge of Allegiance", Artforum, Nov. 1982 by Rene Ricard

curated by
Elisa R. Linn & Lennart Wolff

exhibition period:
February 29, 2016 - April 03, 2016

PICTURE BERLIN 2016 // Extended Deadline: 27 February


Applications for 2016 are still being accepted!
The Extended Deadline is:

27. February

The PICTURE BERLIN application is not only free to download but it is also free to apply.

PICTURE BERLIN, now has 2 programs - our 7 week Summer Session (29 June - 16 August) in Berlin that mixes the freedom of an artist residency with the rigors of an art academy. This summer we have an incredible lineup of over 30 artists and curators who will be doing lectures, critiques, walks, performances and discussions. The program offers multiple exhibition opportunities as well!

The new 10 day Fall Session (28 October - 6 November) is geared towards the professional development of one's practice - complete with portfolio reviews, studio visits, a professional coaching workshop. walks, discussions, and tours of both gallery and artist run spaces.

Check out our new PICTURE BERLIN mini documentary made by PB(12) alums
Eduardo Mattos and Fernanda Figueiredo on Youtube.

Join us and become a part of the bigger international
PICTURE BERLIN community!

PELINTI by MURRAY GAYLARD


PELINTI
MURRAY GAYLARD

AUSSTELLUNGSERÖFFNUNG
4. MÄRZ 2016, 19.00 – 21.00

5. MÄRZ – 2. APRIL
DI MI DO FR 14.00 – 19.00
SA 11.00 – 16.00

PPC
PHILIPP PFLUG CONTEMPORARY
BERLINER STRASSE 32
60311 FRANKFURT AM MAIN

+49 160 918 811 63
MAIL@PPCONTEMPORARY.COM
WWW.PPCONTEMPORARY.COM

Viola Bittl - Times Wire


Viola Bittl
Times Wire

Zur Ausstellungseröffnung erscheint der gleichnamige Katalog mit 40 Papierarbeiten in Originalgröße abgebildet.

Eröffnung und Katalogpräsentation am Donnerstag, 18. Februar 2016, 19 Uhr

Ausstellungsdauer: 19. Februar bis 28. Februar 2016
Öffnungszeiten: Mittwoch bis Sonntag von 15 - 19 Uhr

Projektraum Basis
Elbestraße 10
60329 Frankfurt