Exhibition : Frische Früchte für Verrottendes Gemüse (Fresh Fruit for Rotten Vegetables), Schau Fenster, Berlin

Frische Früchte für Verrottendes Gemüse 
(Fresh Fruit for Rotten Vegetables)

Schau Fenster
Lobeckstrasse 30-35 (Kreuzberg)
U8 Moritzplatz
Berlin

Curated by Amelie & Philip Grözinger, Sebastian Schlicher and Jan Kage

Opening : Friday, 17 September from 6pm

Awst & Walther
Madeleine Boschan
Laura Bruce
Heiner Franzen
April Gertler
Jörg Gimmler
Hannes Gruber
Daniel Kannenberg
Christoph Krönke
Nathan Menglesis
Christan Pundschus
Steve Schepens
Viktor Timofeev

Ausstellungseröffnung station 87.01 Scandinavian Blonde am Mi. 1. September 2010 um 20 Uhr

Einladung zur Ausstellungseröffnung im Mousonturm

station 87.01
Scandinavian Blonde 

Anne Lina Billinger und Lena Henke
Musik von Anne Imhof

Mittwoch, den 1. September 2010 um 20 Uhr
Zugang zur Eröffnung über den Seiteneingang
 
Ausstellungsdauer: Do. 2. September bis So. 3. Oktober 2010
Öffnungszeiten: Freitag und Samstag 19 bis 22 Uhr,
Sonntag 15 bis 19 Uhr, während der Vorstellungen und nach Vereinbarung

Künstlerhaus Mousonturm 

Waldschmidtstraße 4 
D-60316 Frankfurt/Main 
phone  +49.69.40 58 95 - 914/-13
fax      +49.69.40 58 95 - 40 
e-mail 
kbb@mousonturm.de
www.mousonturm.de 

Künstlerhaus Mousonturm Frankfurt am Main GmbH
Vorsitzender des Aufsichtsrates: 
Prof. Dr. Felix Semmelroth 
Geschäftsführer und Intendant: Dieter Buroch
Sitz der Gesellschaft: Frankfurt am Main
Handelsregister Frankfurt HRB 52722

OPEN SUBMISSION

OPEN SUBMISSION

For a two day walking residency

TO APPLY
 send an impression of a walk 
(jpg, doc, mov or mp3 format)

SELECTION PROCESS
 Two shortlisted applicants will receive an email questionnaire
One application will be chosen 
The decision is final

Große Elbstr. 36, 3.OG, 22767 Hamburg

Ausstellungseröffnung: Romstein.Lehmann.Tüchsen

Romstein.Lehmann.Tüchsen

Einladung zur Ausstellungseröffnung

Vernissage  Freitag,  03. September 2010 
ab 19 Uhr

Dauer der Ausstellung:
03. September - 05. November  2010

Öffnungszeiten: Di bis Fr 9-19 Uhr, Sa 11-14 Uhr

Galerie hanfweihnacht
Windeckstraße 37
60314 Frankfurt am Main

Telefon: +49-(0) 6937300868

Jason Rhoades 1:12 Perfect World


Installation view, 'Perfect World', Deichtorhallen, Hamburg, Germany, 1999
© The Estate of Jason Rhoades
Courtesy Hauser & Wirth and David Zwirner, New York
Photo: Jens Rathmann

Jason Rhoades 1:12 Perfect World

Hauser & Wirth London
24 September – 18 December 2010
Opening: Thursday 23 September 6 – 8 pm

Hauser & Wirth is proud to announce the gallery's first posthumous show of Jason Rhoades' work and the artist's first European solo exhibition since his death in 2006. The exhibition features '1:12 Perfect World', Rhoades' scale model of his groundbreaking 1999 exhibition, 'Perfect World' at Deichtorhallen in Hamburg. Originally existing as four quarters, the sterling silver model will be brought together at Hauser & Wirth's Piccadilly gallery, viewable in its entirety for the first time. Like his previous exhibition, 'The Black Pussy… and the Pagan Idol Workshop' installed at Hauser & Wirth London in 2005, Rhoades' incredibly complex installation 'Perfect World' created a visual maelstrom of miscellaneous objects and cultural allusions.

'Things have meanings and meanings have multiplicity and the multiplicities have relationships to other meanings. It creates a kind of system which feeds on itself. It's the idea of a perpetual motion machine as a work of art'.
— Jason Rhoades

'Perfect World' (1999) was a 'mega' sculpture, a two-level installation created to fill the entirety of the Deichtorhallen, a gallery space of roughly 15,000 square feet with 80-foot high ceilings. Rhoades constructed the work from polished aluminium tubes and wooden triangles, creating a 'lego system' that allowed for continued expansion and echoed Marcel Duchamp's seminal installation 'Sixteen Miles of String' (1942). '1:12 Perfect World' is a distilled version of this expansive original work, created by the artist as a way to capture and view the entire installation.

Held aloft by the scaffolding-like structure was Rhoades' 1:1 photographic reproduction of his father’s vegetable garden. This second level or 'Eden' was originally conceived as an ideal space, a 'perfect world' for Rhoades to continue his work during the exhibition. It was placed on a platform high up in the gallery and could only be accessed by two viewers at a time using a hydraulic lift. From this viewpoint, the gallery visitors below became part of the work whilst the viewers themselves were immersed in the sculpture, denied the perspective to make sense of its mind-boggling dimensions.

Highlighting these dual aspects of 'Perfect World', the exhibition at Hauser & Wirth includes Rhoades' 'View From Above' (2000), a miniature version of the upper level garden depicting his father's vegetable plot in its entirety, and 'View From Below (Guernica)' (2000), which depicts the floorplan of the second level as it was built, a jagged shape full of treacherous gaps. Accompanying these models are two documentations of the original exhibition: a 'Xerox book' – consisting of approximately 400 drawings and created by the artist during the conception and production of the piece, intended as a sort of user's manual; and segments of film and video shot during the erection of the work. In conjunction with the models, the film and drawings provide a balance between the physical and the ephemeral, the mind's eye and the physical eye.

For Rhoades, both the process and the pursuit of the installation were crucial to the overall effect of the piece. Throughout the duration of the Deichtorhallen exhibition, Rhoades wanted certain actions to continue, such as the cleaning of the aluminium pipes by a large Hammond polisher and the printing of photographs. The sounds of these processes, as well as music played by a Hammond organ nearby, were recorded and used to create 'Sound Piece (Duet for Hammond and Hammond)' (2000), shown in the American Room. As they approach this work, the visitor triggers motion detectors, starting the music. As more people gather around the work, more speakers are activated, recreating the cacophony of the Deichtorhallen exhibition.

Jason Rhoades (1965 – 2006) lived and worked in Los Angeles CA. He is recognised as one of the most significant artists of his generation. Major solo exhibitions of his work include, 'Tijuanatanjierchandelier', Centro de Arte Contemporáneo, Malaga (2006); 'The Black Pussy… and the Pagan Idol Workshop', Hauser & Wirth London (2005); 'PeaRoeFoam, My Special Purpose', MUMOK Museum Moderner Kunst Stiftung Ludwig Wien, Vienna (2004); 'Perfect World', Deichtorhallen, Hamburg (1999); and 'The Purple Penis and the Venus (and Sutter's Mill) for Eindhoven: A Spiral with Flaps and Two Useless Appendages. After the Seven Stomachs of Nuremberg (as Part of 'The Creation Myth')', Stedelijk Van Abbemuseum, Eindhoven (1998). In the year before his death he held 'Black Pussy Soirée Cabaret Macramé' events in his studio, re-imagining the concept of an exhibition as an ongoing and unpredictable social gathering between the artist and his visitors, a decadent undertaking celebrated in the publication 'Black Pussy Cocktail Coffee Table Book' (2007).

Rhoades' works have been included in major international biennials, such as the Venice Biennale (1997, 2007) and the Whitney Biennial (1995 – 1999, 2008). His work has also featured in numerous group exhibitions, including a recent installation of the significant work, 'The Creation Myth', for 'Walking in My Mind', Hayward Gallery, London (2009). In addition, a giant installation by Rhoades was a highlight in the inaugural show of the Friedrich Christian Flick Collection at Hamburger Bahnhof, Berlin (2004). His art can be seen in numerous major public collections including Tate Modern, London; Whitney Museum of American Art, New York NY; Guggenheim Museum, New York NY; and The Rubell Family Collection, Miami FL.

Forthcoming exhibitions:
Anj Smith
'Geometry of Bliss'
7 September – 2 October 2010
Hauser & Wirth New York
Subodh Gupta
25 September – 13 November 2010
Hauser & Wirth Zürich
Louise Bourgeois
'Louise Bourgeois: The Fabric Works'
15 October – 18 December 2010
Hauser & Wirth London
Press Contact:
Catherine Mason
Kristina McLean
+44 (0) 207 183 3577

Nathalie Grenzhaeuser - Trespassing

Nathalie Grenzhaeuser - Trespassing

Kunstverein Langenhagen
Walsroder Strasse 91 A
30851 Langenhagen
Die Ausstellungseröffnung ist am Sonntag den 29. August ab 15 Uhr. Die Ausstellung wird von Ursula Schöndeling kuratiert und ist bis einschließlich 10. Oktober 2010 zu sehen.
Öffnungszeiten
Mittwoch + Freitag: 14 - 18 Uhr
Donnerstag 10 - 18 Uhr
Sonntag: 15 - 17 Uhr
Führungen
Öffentliche, kostenlose Führung: Mittwochs 18 Uhr 
Individuelle Führungen: außerhalb der Öffnungszeiten nach Vereinbarung
Kontakt
Telefon, Telefax: +49 (0)511 77 89 29
email: mail@kunstverein-langenhagen.de

Walking Resident 24: MARTE EKNÆS

Resident 24: MARTE EKNÆS

Leipzig to Dessau

25 - 26 August 2010

Starting point: junction Seehausenerstr / Nordweg, 04158 Leipzig
25 August at 10:30 am
or call +49 (0)173 7116 728 to join the troupe

JOL THOMSON /// BEIGE CUBE /// OPENING ON WEDNESDAY

BEIGE CUBE PRESENTS////////////////////////
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beigecube

Substantially oriented towards perception and experience, my work celebrates these foundational elements of human life. Within life I find mystery: complex structures of consciousness and identity, reflexivity, beauty, poetry, infinite horizon's of potentiality and perspective.

Not necessarily comprehensible, but possibly arguing in favor of the incomprehensible, these works issue from explorations of structuralism and feedback, all of which are self-referential states, activities, or processes (http://plato.stanford.edu/entries/self-reference/).

These works are optimistic and aim to celebrate our humanity, our many endeavors, while asking of us to suspend our sense of the known, of time and space: to open up the horizon for a moment of clarity amongst the chaos, which is undoubtedly harmonious.

Embracing mysteries as mysteries, we pass over any definite explanation and arrive at possibly lucid understandings of ambiguity. Somewhere between poetry and documentary, these works announce my non-, pre-, or post-linguistic understandings of identity, life, and world. They poetically document wonder, the inexplicable, and the complex with a principal theme of intersubjectivity and connectivity.

What is being communicated formally and theoretically issue from these complicated experiences of reflexivity, which are explored spatially, optically, aurally, and linguistically. In these works the "meaning" is not necessarily found within the work itself but, rather, in the experience of the work. In this sense the distance between the participant and the work itself is collapsed.

While I engage with inherent aspects of diverse media, I am also interested in our ability to perceive and communicate and the systems within which these activities occur.

My intention is to open a space for reflection and conversation about these ideas, perceptions and experiences. The inarticulable nature of the findings, for me, makes them all the more meaningful.

Jol Tomson

TOO FAT TOO FIT: Klasse Tobias Rehberger im Nassauischen Kunstverein Wiesbaden

TOO FAT TOO FIT /
Florian Auer / Zoe Barcza / Alfred Boman / Othmar Farré / Moritz Grimm / Sandra Havlicek / Eloise Hawser / Ilja Karilampi / Yasuaki Kitagawa / Annina Matter / Shane Munro / Olga Pedan / Jonathan Penca / Laura Schawelka / Marcel Schiele / Tomislav / Naneci Yurdagül

Kuratiert von / Curated by Elke Gruhn und / and Sara Stehr

29. August bis 31. Oktober 2010 / August 29 to October 31, 2010

Eröffnung / Samstag, 28. August 2010 / 17 bis 20 Uhr + Party
Opening / Saturday, August 28, 2010 / 5 to 8 pm + after party

"We're focusing on the whole pie, not a slice. A slice is good, but it's not good enough to get you fat. We're trying to get fat."
Shaquille O'Neal

Nassauischer Kunstverein Wiesbaden 
Wilhelmstraße 15
D-65185 Wiesbaden

Michael Pfrommer / Solo Show

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Michael Pfrommer / Solo Show

Mittwoch, 18. August 2010, 19.00 - 23.00 Uhr

Auf der "August Engelhardt"

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Atelierschiff der Stadt Frankfurt
Mainwasenweg 29
60599 Frankfurt am Main

station 87.01 im Mousonturm am 01. September um 20 uhr

station 87.01 im Mousonturm am 01. September um 20 uhr

Scandinavian Blonde, die in einer heimlichen Ehe operierenden Künstlerinnen Anne Lina Billinger und Lena Henke stellen vom 1. September bis zum 3. Oktober 2010 in der Galerie Station ihre ganz spezielle Auffassung von „gesellschaftlicher Unbestimmtheit" zur Schau. Innerhalb der Ausstellungsreihe „Lost in Music" gewähren sie dem Publikum Eintritt in eine Arena der Unschärfen und Übergänge zwischen Kunst, Musik und Fankultur – und dem was man dafür hält oder halten möchte.

Scandinavian Blonde ist und ist nicht: Ein Konzert, eine Ausstellung, eine Zusammenkunft. Während der Eröffnung begleitet eine von Anne Imhof kreierte Tonschleife die Installation. Gegenstände bleiben zurück, bieten sich an, Editionen können erworben werden – also doch ein Merchandise-Shop?

Eröffnung Plaza-Ausstellung "LOVE KILLS. FLORIAN HEINKE."

"LOVE KILLS. FLORIAN HEINKE."

am Donnerstag, dem 19. August 2010, 18:30 Uhr

im Commerzbank-Hochhaus
Lobby
Kaiserplatz
60311 Frankfurt

Mit LOVE KILLS. vollzieht Heinke den Abschluss einer großen Werkgruppe, die sich mit Geschichten von Menschen und ihren Beziehungen zueinander, mit Liebe und Freundschaft in ihren vielfältigen Facetten beschäftigt. Der Frankfurter Künstler studierte an der Städelschule bei Christa Näher und hat in den vergangenen vier Jahren seinen eigenen Stil unter dem Label BLACK POP. entwickelt, der im Gegensatz zur Pop Art nicht an Konsum-, sondern vielmehr an Gefühlswelten interessiert ist.
 
Wir freuen uns auf Ihre Voranmeldung unter:
kunst@commerzbank.com

Commerzbank AG
Group Communications
Stiftungszentrum

 >>raum für kultur<<, Gallusanlage 7, 60329 Frankfurt am Main

Tel.: +49 69 263 - 832 10
Fax: +49 69 263 - 547 32

hannes.glock@commerzbank.com
http://www.commerzbank.de

The Garden of Ilja: Last days

Bonny Poon, My Mothers Masseur

Axel Petersén, The Tracks of my Tears

The exhibition is open until Friday the 13th. Today on Thursday the 12th there´s a special time for viewing: 5 - 7pm. Meeting point: ground floor, or just in any of the installations. After that we´re dealing with the very precaire situation of the many layers in charge of the house, and figure out how to vanish. Perhaps we just open up a dimension portal like in "Time Bandits" and disappear. Thanks to all the artists. Watch out for the catalogue.
A number to call in case you get lost: +49 17662006867

See more pictures here

Projekt-Display MOTHER: Thomas Judin sucht aus.

Projekt-Display MOTHER: Thomas Judin sucht aus.
10. August - 22. August 2010
Eröffnung: 9. August 2010, 20 Uhr

Die Ausstellungsreihe „XY sucht aus." des Projekt Displays MOTHER lädt einen Künstler oder Kurator ein, das Programm im Schaufenster zu gestalten. Er kann frei wählen, ob ein Video, ein Spielfilm oder mehrere Formate hintereinander gezeigt werden sollen. Die erste Auswahl verantwortet Thomas Judin. Sein Programm besteht aus "Tag der Abrechnung – Der Amokläufer von Euskirchen" (1994) von Peter Keglevic und dem Musikvideo "Mother" (1993) der Gruppe Danzig.

Synthetic made in Italy

Mother: Hallo Thomas. Vielen Dank, dass du dir Zeit für ein Gespräch nimmst.
Judin: Vielen Dank für die Einladung.
Mother: So. Erzähl doch mal was zu deiner Auswahl!
Weil, du zeigst nicht deine eigene Arbeit, sondern wählst nur etwas aus, was dann zwei Wochen im Schaufenster gezeigt wird.
Judin: Ich habe mich für Peter Keglevics Tag der Abrechnung – Der Amokläufer von Euskirchen mit dem Musikvideo Mother von Danzig als Ouvertüre entschieden.
Mother: Höchst interessant. Was für eine Kombination. Wie verstehst du denn Ouvertüre in diesem Kontext?
Judin: Die Ouvertüre war, überwiegend in frühen Jahren des Kinos, eine kurze musikalische Einleitung vor dem Hauptfilm. In meinem Fall habe ich eine zeitgenössische Variante gewählt: das Musikvideo.
Mother: Verstanden. Und warum diese Kombination?
Judin: Weil die Figur des Erwin Mikolajczyk die unfreiwillige, aber geglückte Darstellung eines gewissen Künsterltypus' zeigt.
Mother: Findet sich das gleiche Thema auch in dem Musikvideo wieder?
Judin: Mother fungiert mahnend als dramatischer Prolog: "Mother, tell your children not to walk my way".
Mother: Hat das eigentlich auch was mit der Körpergröße von Glenn Danzig zu tun? Der misst ja nur 1,50 m, nicht? 
Judin: In gewisser Weise, ja. Möglicherweise hat auch ihn nur die Kunst (Musik, Bodybuilding) vor einem Schicksal wie dem des Amokläufers bewahrt. Danzigs Nickname ist ja Evil Elvis; also von Evil Elvis zu Euskirch Erwin.

Project Display MOTHER: Thomas Judin sucht aus.
10th August 2010 - 22nd August 2010
Opening: 9th August 2010, 8 pm

For the exhibition series „XY sucht aus!", one artist or curator is invited to produce a video program for the project display MOTHER. He or she may freely select and present single works (videos or movies) or assemble a compilation. The artist Thomas Judin is responsible for the first selection. His program includes "Tag der Abrechnung – Der Amokläufer von Euskirchen" (1994) by Peter Keglevic and the music video "Mother" (1993) by the band Danzig.

Synthetic made in Italy

Mother: Hi Thomas. Thank you for taking time to talk.
Judin: Thank you for the invitation.
Mother: Well, please tell us something about your selection for the show because you are not showing your own work. Just something which has been chosen by you will be shown in the window.
Judin: I have decided to show Tag der Abrechnung – Der Amokläufer von Euskirchen by Peter Keglevics and the music video Mother by Danzig as an overture.
Mother: Interesting. What a combination. How do you understand overture in this context?
Judin: In the early years of cinema, the overture had been used as a short musical introduction before the main movie. In my case, I picked the contemporary version: a music video.
Mother: I understand. And why this combination?
Judin: Because the character Erwin Mikolajczyk is the unintended but successful demonstration of a certain artist type.
Mother: Does the same theme occur in the music video as well?
Judin: Mother functions as a dramatic prologue in a dunning way: "Mother, tell your children not to walk my way."
Mother: Can this be connected with the body height of Glenn Danzig? He is only 1.50 m tall, isn't he?
Judin: In a certain sense, yes. Possibly only art (music, bodybuilding) has prevented him from a fate which met the Amokläufer. Danzig's nickname is Evil Elvis, so it goes from Evil Elvis to Euskirch Erwin.

--
MOTHER
Schaufenster, B-Ebene (Dom/Römer)

Resident 23: NINA POWER (WITH ALBERTO TOSCANO)

Resident 23: NINA POWER (WITH ALBERTO TOSCANO)

Friday 6th August 7pm -11pm
Saturday 7th August 7pm - 11pm

Friday
The Coming of the Body: Playful Bodies, Sexual Bodies

8pm: Brief introduction to the themes of the residency by Nina Power:
- Transformations in the way we see bodies between the early 20th century and the early 21st
- The death of cinematic happiness
- The relation between sexuality and work

8.15pm: Screening of Film ist a Girl & a Gun (Gustav Deutsch, 2009), 93 mins

9.45pm: Discussion of themes from the film by Nina Power; reading by Alberto Toscano of extracts from Hervé Juvin's The Coming of the Body (2010).

Screenings in other rooms:
- Eadweard Muybridge, Zoopraxographer (1974, Thom Andersen), 60 mins
- Vintage pornography shorts with original soundtrack by Douglas Murphy

Saturday
The Coming of the Body: Working Bodies

8pm: Screening of brief clips from vintage pornography (1910-1950s) with interspersed commentary from Nina Power and readings from Hervé Juvin by Alberto Toscano.

Screenings in other rooms:
- Melanie Gilligan's Popular Unrest (2010)
- Jean-Luc Godard's British Sounds (1970)

Große Elbstr. 36, 3.OG, 22767 Hamburg