"RELENTLESSLY BEATING RELENTLESS BUSH"

"RELENTLESSLY BEATING RELENTLESS BUSH"

Willarson Brandt & José Montealegre

opening at JOHAN

Städelschule
Dürerstraße 10
60596 Frankfurt am Main

Opening
November 15
7-10 pm

Exhibition
November 16 - 21

Ani Schulze and George Rippon

E X H I B I T I O N   O P E N I N G
Ani Schulze, George Rippon
Voyage autour de ma chambre
kuratiert von Oona-Léa von Maydell

Reisebürogalerie, Cologne
Diko Reisen
Komödienstraße 48
50667 Köln

Opening: Thursday, November 17th, 6 – 9 pm
18/11/2016- 07/01/2017

Photo: Ian Edmonds

MICHAEL SEIDNER. SIEBZEHN


Einladung zur Eröffnung der Sammlungspräsentation 
MICHAEL SEIDNER. SIEBZEHN
25. November 2016 bis 2. April 2017

Donnerstag, 24. November 2016, 18 Uhr

Dr. Eva Kraus, Direktorin Neues Museum, und 
Manfred Rothenberger, Direktor Institut für moderne Kunst Nürnberg,
im Gespräch mit dem Künstler

In Michael Seidners Malereien, auf meist kleinformatigen Leinwänden, entstehen Setzungen von übereinander liegenden Farbschichten mit abstrakten, gestischen Kompositionen. Immer sind es farbige Stimmungsbilder, die stark aufgeladen sind. Inspirieren lässt er sich von klassischer wie auch zeitgenössischer Musik, aktuell auch von prähistorischer Höhlenmalerei, die auf ihn eine Faszination ausübt. Seidners Arbeiten sind expressive und doch stille, starke wie auch lyrische Artikulationen, melodische Bildwelten. Farbexistenzen ohne symbolische Verweise, sie vertrauen sich allein der Alchemie des Mal-Aktes an, in der sich Farbmaterie in pure Erscheinung umwandelt.

Der 1985 in Erlangen geborene Künstler studierte an der Akademie der Bildenden Künste Nürnberg und an der Städelschule in Frankfurt. Die Museumsinitiative Freunde und Förderer des Neuen Museums e. V. erwarb zwei Gemälde von Michael Seidner, die in einem durch Leihgaben ergänzten Ensemble, vom Künstler selbst gehängt, erstmalig vorgestellt werden.

NEUES MUSEUM
Staatliches Museum für Kunst und Design Nürnberg 
Klarissenplatz 90402 Nürnberg

Fuß im Zement. Poesie. Plus ein Lieblingswort.


Fuß im Zement. Poesie. Plus ein Lieblingswort.
Malerei und Lichtobjekte von Stefan Wieland

Eröffnung 12.11.2016 
von 19 - 22 Uhr


Ausstellung vom 12.11. - 17.12.2016
 
Stefan Wieland ist der erste Künstler, der in unserem neuen Projektraum im Pop UP - Laden MARTERIE präsentiert wird. Seine Arbeiten spielen gekonnt mit den Wechselbeziehungen von Figuration und Farbe, so verschmelzen sie in seinen Lichtobjekten Farbe und Form zu einem poetischen Lichtbild, welches seine Geschichte mal ganz zart und manchmal auch sehr kraftvoll der Betrachterin oder dem Betrachter geradezu zuflüstert. 

 
Nicht weniger dynamisch ist seine Malerei, in der sich Farbe und Form zwar miteinander vereinigen, die beiden Elemente aber dennoch ein ganz besonderes und poetisches Eigenleben in perfekter Harmonie und empfundener und fast greifbarer Haptik miteinander führen. 

Marterie – Art & Materie
Art
In unserem Ausstellungs- und Projektraum zeigen wir zeitgenössische Kunst.
Ein Raum für nationale und internationale Positionen.

MARTERIE
Geleitsstrasse 5, 63065 Offenbach
Kontakt: marterie.art@gmail.com

Olga Pedan 'Schemes' / opening Nov 10, 6-9pm


Olga Pedan
'Schemes'
Nov 11 - Dec 17, 2016
opening Nov 10, 6-9pm

text by Jack Brennan


currently at the gallery


LAST DAYS OF 
'Your Swath, My Jab'
Amy Sillman, Cornelia Baltes, Honza Zamojski
Sep 3 - Oct 29, 2016

upcoming artfair


DAMA  
Nov 3-6, 2016 
Palazzo Saluzzo di Paesana, Torino, IT 
www.d-a-m-a.com

solo presentation by
Cédric Eisenring


--
DREI

Arndtstrasse 4
D-50676 Cologne
+49 221 46753979
www.drei.cologne

OPEN STUDIOS im ATELIERFRANKFURT 18-20NOV2016

OPEN STUDIOS im ATELIERFRANKFURT

Freitag, 18. November 2016 --- 17-22 Uhr und ab 23 Uhr DANCE @AF
Samstag, 19. November 2016 --- 16-20 Uhr und ab 20 Uhr Lesung und Jazz-Konzert
Sonntag, 20. November 2016 --- 14-18 Uhr                                        

Hessens größtes Kunstzentrum ATELIERFRANKFURT (AF) öffnet seine Türen. Drei Tage lang sind die Besucher während 'OPEN STUDIOS' eingeladen hinter 130 Ateliertüren zu schauen und die Arbeitswelt von etwa 200 Künstlern und Kreativen im AF zu erleben.
Ein vielseitiges Programm rundet das Wochenende der offenen Ateliers ab. Zu entdecken gibt es viel, denn die Künstler und Kreativen haben ein umfassendes Begleitprogramm entwickelt: Sie geben Einblick in ihr Schaffen, diskutieren im Rahmen von Künstlergesprächen über ihre Arbeit, zeigen Video-Kunst, Performances und Vieles mehr.

Die neu entstehende KANTINE – das vereinseigene Lokal – lädt zum Verweilen und Speisen ein und getanzt werden darf am Freitag, 18. November 2016 ab 23 Uhr, bei DANCE@AF mit DJ-Legende Heinz Felber und anderen Musik-Künstlern.
Die Ateliertüren im AF sollen ab jetzt jährlich für die Besucher geöffnet werden.  Wir freuen uns auf Ihren Besuch!

DAS SICH STÄNDIGE ERWEITERNDE PROGRAMM IST UNTER WWW.ATELIERFRANKFURT.DE ABRUFBAR

FOLGEN SIE UNS AUF FACEBOOKTWITTER UND INSTAGRAM.

Atelierfrankfurt
Schwedlerstraße 1-5
60314 Frankfurt am Main

Moritz Grimm, EVA @ Natalia Hug, opening reception November 3


Moritz Grimm
EVA

November 4 - December 17, 2016
Opening reception Thursday November 3, 7-9pm

The work of Moritz Grimm is of a perpetually oscillating nature. Moving rapidly and often between a multitude of dipoles Grimm’s practice is at time dif cult to pin down and de ne.There is a seemingly classical nature to his aesthetic; sculptures, paintings and drawings rendered in clay, paint and other mediums that carry within them the gravitas of art history. However, one often nds oneself second- glancing at Grimm’s work.What at rst looked like a innocently gurative Degas-esque dancer in clay for example, turns out to be a stripper mid-pole dance. Similarly, what appears as a drawing from an Art- Deco era coffee advert ultimately reveals itself as a rendition of a dominatrix complete with opera-gloves, horse whip and exposed breasts. These allusions to classical forms and materials, and their use as vessels to carry more present-day imagery alluding itself to the contemporary condition, is perhaps a de ning feature of Grimm’s works and practice in general.

Through their combining of temporally disparate elements, these hybridizations manage to buck time, so- to-speak, and converge in the realms of what might be described as ‘timeless’. However, unlike a musician or composer who’s fans span generations and thus who’s music retains a temporally relevant quality, the works of Moritz Grimm purposely veer rather dramatically into the onslaught of time, and face the Benjaminian wreckage head-on. Grimm’s purposeful combining of the classical and the contemporary in this manner, forces his works to operate within an anachronistic space opened up via what is essentially a cultural loophole.They did not ‘earn’ their atemporal status as most artifacts do, but rather acquired it as a necessary side-product of their very being.

The show presented here perfectly exempli es Grimm’s tendency towards the anachronistic and its origins perhaps offer us some material with which to unpack its various elements.The exhibition’s title ‘Eva’ is taken from the name of the artist’s partner’s mother who passed away before he could have met her. After moving with his partner into the mother’s old apartment, Grimm began to develop a fascination with her old belongings still stored at the apartment and began exploring them and eventually mining them as a source of inspiration. Grimm moved into a place rich in personal history, and yet had to re- personalize that space on his and is partner’s terms; a potentially daunting task when that history is so close to heart. Similarly as one produces artworks one enters into cultural space rich with history and similarly one has to gure out how to navigate that space in dialogue with and at times against its pre- existing occupants.

Though may be unintended as such, one work stands out as a locus for the exhibition; a central conceptual hub of sorts.

“Schlaftablette” is a ceramic girl laid down inside a glass vitrine her dress host to a colony of live snails. Recalling Snow White in her glass cof n our Snow White also drifts in a magical slumber as snails crawl up and over her and make their way through her opened dress. As her name implies Snow White is a cryogenically frozen time capsule preserved from decay and much like the belongings of Grimm’s mother-in-law, she is awaiting her re-awakening. Here however we are presented with snails rather than dwarfs and an artist in place of a prince.

The inclusion of live snails is curious indeed. It’s tempting to look at a gesture like this and to come to some kind of post-apocalyptic analysis that invokes notions of nature re-asserting itself over the fallen and decrepit monuments and structures of a once proud society. However, the fact that snails are the creature of choice – as opposed to worms and maggots for example – begs us to soften the metaphor slightly. Snails, after all, are not quite the creatures of death and pestilence we might expect to nd as the harbingers and conveyors of armageddon.

Snails are however slow and often perceived as mindless automata.The zombi ed-consumers of the garden, their ambling method is one of deliberate procession; the goal is to nd food and eat, ad in nitum. Also known for the trail of slime left in their wake, this residue - a friction reducing lubricant - is used to allow the snail to get from A to B as deftly as possible and here in lies another potential clue. Perhaps the snails are doing just this very thing for us here, that is, providing a thin lm of lubrication to aid in our navigation and consumption of the artwork at hand.

Perhaps however the snail represents no more than exactly what we expect it to. The slow and methodical pace at which a snail lives is, as the case may be, the perfect anti-metaphor for the contemporary condition; an antithesis that contains within it a possible antidote to our fast paced, fast lived and voraciously consumptive post-internet society. As we hurtle through time at an unprecedented rate, inventing and re-inventing every six months or so and waiting with bated breath for the coming of the next iThing, it is becoming less and less common to stop and take a look back at what has passed, to re- awaken history and let it live with us here, in the present rather, than leave stored and frozen in books and boxes.

Moritz Grimm (b. 1989, Frankfurt) received his master’s degree in sculpture in 2014 from Städelschule, Frankfurt am Main, Prof. Tobias Rehberger. Grimm recently exhibited in Husslehof, basis Projektraum, Museum für Moderne Kunst, Frankfurt am Main, Kunstverein Wiesbaden, Wiesbaden, Real Positive, Köln. Grim lives and works in Frankfurt am Main.

NATALIA HUG
Jülicher Straße 14
50674 Köln, Germany
www.nataliahug.com
info@nataliahug.com

HIER WAR ES SCHÖN


Angélique Dailcroix
Bernd Fischer
Thomas Ganter
Merja Herzog-Hellstén
Georg Hüter
Michael Kolod
Susana Ortiz Maillo
Nino Pezzella
Max Markus Schröder
Friederike Walter
Heide Weidele
Katarzyna Zommer

2017 wird die Heimat des Werkstatthaus-Offenbach abgerissen und durch moderne wohneinheiten ersetzt. Wir danken allen Ausstellungsbesuchern, Kursteilnehmern und Unterstützern. Wir freuen uns darauf, in einer letzten gemeinsamen Ausstellung nochmals Arbeiten der eingeladenen Künstler zeigen zu können.
Bernd Fischer & Max Markus Schröder

Infos zur Ausstellung und den teilehmenden Künstlern auf:
werkstatthaus-offenbach.de & facebook.com/whoffenbach

Programm

Eröffnung
Freitag 2.12.2016 18:00 Uhr Sonntag 4.12.2016 13:00 - 18:00 Uhr

Öffnungszeiten
Samstag 3.12.2016 13:00 - 20:00 Uhr

Samstag: Filme im Treppenhaus
14:00-14:30 Cosmic Trigger (Max Markus Schröder)
15:00-15:30 104 Porträtierte Porträts (Bernd Fischer, je 15 Sekunden)
16:00-16:30 Cocullo (Nino Pezzella, 30 Minuten)
17:00-17:30 Zum Briefkasten (Nino Pezzella, 13 Minuten)
18:00-18:30 Interim Omnibus (Max Markus Schröder)
19:00-19:30 Gelebte Zeit, 100 Schnappfilme (Bernd Fischer, je 15 Sekunden)

Sonntag: Gespräch im Basement
15:00 Geteilte Ansichten
Schaffen Betrachten Fühlen Denken (Künstler sind anwesend)

BILDUNG+PROJEKTE
Grabenstr. 9 · Hinterhaus · Basement
63071 Offenbach
www.werkstatthaus-offenbach.de

Unterstützt vom Amt für Kultur- und Sportmanagement Offenbach am Main

Ekrem Yalcindag @ Opelvillen * ARTIST TALK 6. Nov.

OPELVILLEN RÜSSELSHEIM

EKREM YALCINDAG 

KÜNSTLERGESPRÄCH
am letzten Tag der Ausstellung
Sonntag  6. November  17 Uhr
Das Gespräch findet in deutscher Sprache statt  


Katalog zur Ausstellung  Hatje Cantz Verlag

Opelvillen Rüsselsheim
Ludwig-Dörfler-Allee 9
65428 Rüsselsheim
Mi 10-18 Uhr
Do 10-21 Uhr
Fr-Sa 10-18 Uhr

It's all natural... /


Julius von Bismarck / Janusch Ertler / Zoë Field / Thimo Franke / Mia Goyette / Tiril Hasselknippe / Mathias Kessler / Rachel Pimm / Elsa Salonen / Anna-Lisa Theisen / Andreas Wißkirchen

5. November bis 11. Dezember 2016
Eröffnung / Freitag, 4. November 2016, 18 Uhr

Nassauischer Kunstverein Wiesbaden
Wilhelmstraße 15
65185 Wiesbaden

PROPS opening 27/10 Simon Fujiwara, Maria Loboda, Andrew Mealor at Peles, Berlin

props

Simon Fujiwara
Maria Loboda
Andrew Mealor

opening thursday 27/10/16
7-9pm
from 28/10/16
show open by appointment
please contact pelesempire@gmail.com
PELES EMPIRE
Karl-Marx-Straße 58 (HH)
12043 Berlin

Guess Who’s Coming to Dinner???

BOOK LAUNCH !!! 
IOTU PROJECTS IN COLLABORATION WITH MOTTO BOOKS ZÜRICH & RéUNION PRESENTS 3XOKAN

OCTOBER 21st 6PM-?
IOTU PROJECTS presents
Guess Who’s Coming to Dinner???

Book Release @ Motto Zürich
on the 21st of October
starting at 6pm 

music:
yzno 
dialog 
possa 

http://okan.wtf/
http://www.iotuprojects.com/
http://reunion.la/Reunion/intro.html

Stayfriends 3



Lars Karl Becker
Martin Wenzel
Tomislav 

Exhibition opening / Ausstellungseröffnung
28. Oktober, 2016, 19 Uhr

Duration / Ausstellungsdauer
29. Oktober  - 3. November 2016

Elbestraße 10
60329 Frankfurt am Main

OPENING 25.10.2016, 19h - Laura Schawelka - Ornamentation

OPENING 25.10.2016, 19h

Ornamentation
Laura Schawelka

I’m describing this image from memory.
He is lying face down on the table with his arms straight by his side and his palms turned to the ceiling in an uncomfortable seeming twist. His black silk pajamas look festive. His face has been turned to the camera with closed eyes looking almost as if he has been laid out for a wake on a dining table and crudely flipped over.
His body divides the image in half. Disregarding the horizontal pose he was photographed in portrait format, forcing the interior to become part of the scene. The corner of the room is windowless and entirely clad in dark brown wood, barely lit by a brass chandelier and some sconces. Scattered behind his body on the large table are the remnants of a meal, trash piled on an empty plate and some glasses and cups. There are several jumbled dark blue chairs around him. The image is bare of any indicators of time. On the wall behind the table is a credenza with some decorative objects. Between two identical Greek-style vases stand a collectible plate that features a large Playboy bunny logo in gold and two bottles of Playboy water. Above it, partly overlapped, hangs a small Jackson Pollock painting in a lavish frame (a copy of an original sold at auction many years ago). Interrupting this symmetrical altar-like setup is a black handbag bursting open with a white plastic bag popping out. Other than him there are no people in the photograph.

OPENING 25.10.2016, 19h
26.10.2016 - 12.02.2017

https://www.facebook.com/events/2016508475242167/

TheTip
Oppenheimer Landstraße 85H
60596 Frankfurt am Main, Germany
TheTip.de
https://www.facebook.com/thetipfrankfurt

Record Launch: Thursday, October 20th 7 PM


WARP WEFT Thomas Bayrle / Bernhard Schreiner

Some Personal Appearances Bernhard Schreiner

Live drum accompaniment by Dennis Duck and Ted Byrnes



October 20, 2016
7 pm
356 Mission / Ooga Booga
LA, CA 90033

-- 

21 ottobre - Matera - presentazione Paola Anziché, Fondazione SoutHeritage

Maverick Campus
Infrastruttura di ricerca, formazione e co-progettazione artistica pluridisciplinare
Paola Anziché, Natural Fibers, 2016, scultura (particolare), fibra naturale intrecciata. Courtesy l’artista.
 
Maverick Lab #3 / 21-24 ottobre 2016 
Matera, Fondazione Sout
Heritage per l’arte contemporanea 
S. Paolo Albanese (PZ), Banxhurna - Centro per la creatività e Aula Consiliare Palazzo di Città 

Inserito nell’ambito di VisioniUrbane, progetto promosso dalla Regione Basilicata, Maverick Campus si propone come un organismo di studio, ricerca e progettazione complementare ai centri di formazione e di ricerca istituzionali e privati. Il campus, che si svolge da settembre 2015 a dicembre 2016 nello spazio pubblico materiale (i quattro Centri per la Creatività della Regione Basilicata) e in quello immateriale (Maverick Campus Internet Suite), pone al centro delle sue attività lo studio della relazione tra pratiche artistiche e pluridisciplinari, luogo, territorialità e sfera pubblica e comune.

In apertura del Lab #3 del Maverick Campus, venerdì 21 ottobre dalle ore 18.00 alle ore 19.30, Lisa Parola del collettivo a.titolo, presenterà nella sede della Fondazione SoutHeritage di Matera il progetto RES.Ò e il volume Working Geographies RES.O’ International Art Residency Program.

Un progetto questo, che per temi e formato rappresenta un caso studio rispetto anche all’importante appuntamento di Matera 2019 Capitale Europea della Cultura, sia in termini di rapporto con la progettazione pubblica, sia in relazione alla partecipazione dei cittadini e all'interazione tra arte e sfera pubblica. RES.Ò infatti, è un programma di residenza internazionale promosso dalla Fondazione CRT per l'Arte di Torino e coordinato dalle principali istituzioni operanti nel territorio di riferimento in relazione alla mobilità degli artisti dal Piemonte verso Brasile, Egitto, India, Colombia e viceversa.

Sempre venerdì, nell'ambito della presentazione di RES.Ò, i visitatori potranno interagire con una scultura di Paola Anziché, coinvolta nella seconda edizione del programma. Nella sua ricerca l’artista utilizza spesso materiali ed elementi vegetali dei luoghi nei quali si trova a vivere temporaneamente per ricerche o residenze. Scultura, oggetti e azioni nati dall’intento di restituire la sua esperienza visiva e materiale di luoghi e di geografie estesa. Natural Fibers (2016, h. 240 cm,) sarà esposta negli spazi  antistanti la navata centrale del nuovo spazio SoutHeritage, dove il pubblico potrà abitarla, usarla e esperirla.

Maverick Campus / cos'è
Il programma di Maverick Campus, diretto da Angelo Bianco e Giusy Checola è caratterizzato da una dimensione processuale, dialogica e produttiva che include l’osservazione; l’analisi; l’elaborazione teorica e pratica; il confronto dal vivo e on line con esperti, artisti e ricercatori di diverse discipline nazionali e internazionali; e la progettazione locale ed extraterritoriale. Il programma 2015-2016 di Maverick Campus, inoltre, intende riflettere sulla “qualità” della partecipazione del pubblico inteso come abitante, cittadino o visitatore, e dunque come fruitore, attivatore e co-creatore di processi di trasformazione spaziale, sociale e culturale nel territorio, argomento sempre più predominante delle politiche cittadine. Il programma completo del campus, composto da laboratori, conversazioni, screening video e  incontri aperti al pubblico, è disponibile nello spazio web del Campus.
Archiviazioni / cos'è
Archiviazioni è un progetto che nasce con l'allestimento del primo archivio del Sud d'Italia specializzato sul rapporto tra arte e sfera pubblica, dal quale si è generata una serie di attività laboratoriali, formative ed espositive, ideato e diretta da Giusy Checola nel 2009 come parte del programma Lab 12:00, promosso dalla Fondazione SoutHeritage. Dal 2011 Archiviazioni è anche un'associazione culturale, ospitata per il primo anno di attività presso gli spazi del Laboratorio di Arte e Architettura di Lecce, con la co-direzione di Luigi Presicce e la collaborazione di Anna Cirignola, Elvira De Masi, Toti Semerano, Salvatore Baldi, Margherita Fanizza e Federica Scorza, a cui nel 2012 si sono sostituiti Pietro Gaglianò, Diego Segatto e Susanna Ravelli, la cui partecipazione è confluita nel progetto editoriale A-Journal (2013). Ad oggi il progetto continua la sua ricerca e progettazione artistica interdisciplinare lavorando sulla transregionalità e sull'extra-territorialità nelle macro-aree meridionali.
Partners
MUDAM - The Grand Duke Jean Museum of Modern Art, Lussemburgo
VOLUME - What You See Is What You Hear, Parigi
CECILIA - Centro per la Creatività Tito-Potenza
UNIVERSITA’ DELLA BASILICATA - Dipartimento delle Culture Europee e del Mediterraneo: architettura, ambiente, patrimoni culturali dell’ Università degli Studi della Basilicata; 
ARCHIVIAZIONI - Arte e progettazione nella sfera pubblica, Puglia e Basilicata 


Informazioni
Maverick Campus Lab # 3
Venerdì 21 ottobre 2016
Sede espositiva della Fondazione SoutHeritage
Matera, via S. Potito 7
Dalle ore 19.00 alle ore 20.30
Dal 22 al 24 ottobre 2016Banxhurna - Centro per la creatività della Val Sarmento / Area Pip, S. Paolo Albanese (PZ)
Palazzo di città di S. Paolo Albanese – Aula Consiliare /  Via A. Smilari, 19, S. Paolo Albanese (PZ)
orari: dalle ore 10.00 alle ore 12.30 e dalle ore 17.30 alle ore 20.30
www.maverick-campus.org / maverick@southeritage.it / t. +39 0835 240348

Link
Maverick Campus Internet Suite / www.maverick-campus.org
RES.Ò / www.reso-network.net
Paola Anziché / www.paolanziche.net
 
Archiviazioni. Arte e Progettazione nella Sfera Pubblica / www.archiviazioni.org
Fondazione SoutHeritage / 
www.southeritage.it
Progetto prodotto nel quadro di: Matera 2019 / Capitale Europea della Cultura