CD-release: [Baskaru] Celer, Achim Wollscheid & Bernhard Schreiner

ACHIM WOLLSCHEID & BERNHARD SCHREINER - CALIBRATED CONTINGENCY
NEW CD OUT NOW

When you saw those two names – Achim Wollscheid and Bernhard Schreiner – side by side on a piece of paper, you probably thought "Of course, this collaboration makes so much sense!" Unless you went "Who?"

True, Wollscheid and Schreiner are not what you would call household names of the experimental music scene. Although the former gained serious "street" credit on the Industrial scene in the '80s with his moniker S.B.O.T.H.I. and his collaborations with P16.D4. Wollscheid also cofounded the influential production company/label Selektion. And in the '90s and early 2000s he published a string of brilliant albums of computer music and avant-garde electronics on Selektion and Ritornell. For the past ten years, however, he has released very little music, focusing instead on sound art installations.

Schreiner is a photographer, filmmaker, installation artist, and musician. Like Wollscheid, he presents many more exhibitions than he releases records, and his work in both realms shows strong affinities with the Selektion man.

Calibrated Contingency consists in a continuous 47-minute live performance recorded in Graz in 2011. Both artists are using a computer and minimal external input devices (a boundary microphone, an induction coil, a radio). At the performance, each had a pair of stereo speakers, and all four speakers were arranged in a single line. This CD presents a stereo mix of that performance. And what a performance it is: a complex fabric of mangled frequencies, raw electricity, odd sounds, clips and glitches, woven loosely, with silent holes here and there. Dizzying and otherworldly...

...but isn't that what the sound of our world should sound like?

Soundcloud Player

» More info here...

OFFICE NR. 14


OFFICE NR. 14:
Sunday 21st december

TESTCARD #24
-Digital war besser. Bug report -
http://www.ventil-verlag.de

Präsentation der neuen Ausgabe von Testcard-Mitherausgeber Chris Wilbert.

The lecture will be in german.

Soup: Yes!
Drink: Hot punch
Start: 8pm (sharp!!!)

OFFICE DU PAIN

WÄCHTERSBACHERSTR. 82
U4/7 GWINNERSTR.
(NIGHT)BUS: SCHLITZERSTR.
POCO, TALBI, ERODIS, YELLOW HOUSE
USE BACK ENTRANCE!

LÖWEN KULTAU RAHIMI


LÖWEN KULTAU RAHIMI

19. Dez. 2014 um 19 Uhr

Lange Strasse 31, Frankfurt am Main
www.direktion.de

Sunday 14th December 2014 Opening "Am harten Brot nagen" Vera Palme at Frankfurt am Main, Berlin

Am harten Brot nagen
Vera Palme

Opening Reception: Sunday, 14th December 2014, 6-9 pm
15 December - 1 February 2015

Negative hands

One might not know where to put one´s hands. There is a tradition of dealing with this in christianity called arching. The fingertips touch each other, it´s impossible to say which hand feels the other first.

We know she went to the caves of lascaux this summer. But her renderings are not of beautiful hunter gatherer hands, this is the deformed, sweaty and domesticated hand of the MENSCH.

„Sometimes she jokes about going to a party and just breathing, nobody finds it funny.“ Maybe the paintings were drawn on glass with fatty fingers and you had to breathe them visible.

Normally you can only see the spine of a human if something has gone wrong. If the spine of a book falls off the one is revealed to be made up of the many. The pages fall out like teeth from the cover mouth. To avoid this you could make everything white, write in invisible ink, let the teeth fall gently into snow.

There is a style of modern churches, normal after bauhaus. Translucence, a spiritual framelesness, symbolic frames trump real ones, smokey tape. It's temporary, you’re going to have to build a new one, it´s easy once you have the formula.

Text by Olga Pedan

Frankfurt am Main
Wildenbruchstrasse 15, 12045
Berlin, Germany

www.frankfurt-am.com
info@frankfurt-am.com

Opening hours Sat-Sun from 1-6 pm and by appointment

No People No Cry - Max Eulitz


No People No Cry
Max Eulitz
14. Dezember 2014 bis 25. Januar 2015

Opelvillen Rüsselsheim

Ludwig-Dörfler-Allee 9
D-65428 Rüsselsheim

Opening: sun, dec 14th 11:30 am

Index 14 & Berenberg Preis für junge Kunst


Index 14 & Berenberg Preis für junge Kunst zu Gast im Kunsthaus Hamburg

4.-7.12.2014

Eröffnung Donnerstag 4.12.2014, 20 Uhr
www.index-hamburg.de

Kathrin Affentranger
Sophie Aigner
Stefan Behlau
Babak Behrouz
Christoph Blawert
Calori & Maillard
Ignacio García Sánchez
Balz Isler
Admir Jahic & Comenius Roethlisberger
Christin Kaiser
Katja Lell
Vanessa Maas
Franziska Opel
Alice Peragine
Philip Pichler
Volker Renner
Christian Rothmaler
Timon Schmolling
Anna Skov Hassing
Robert Vellekoop
Jochen Weber

kleine formate


Ausstellungseröffnung am Freitag, 5. Dezember 2014, 19 - 21 Uhr

kleine formate
mit: maria anisimowa, stephan baumkötter, karsten bott, james brooks, jean-luc cornec, jakob gasteiger, valeria heisenberg, julia jansen, jacqueline jurt, via lewandowsky, martin liebscher, arnika müll, gabriele muschel, laura j. padgett, peter rösel, ernst stark, cornelius völker

Dauer der Ausstellung:
6. Dezember 2014 – 17. Januar 2015
Galerieferien: 23. Dezember 2014 – 5. Januar 2015

galerie martina detterer
Hanauer Landstrasse 20-22
60414 Frankfurt am Main
+69 491613

PETERSBURGER SALON 2014


12.12.14 19 Uhr
​i​m Petersbu​r​ger Salon HAMBURG

ANNA U. BERNHARD BLUME * MELISSA LOGAN / CHICKS ON ​SPEED * ANNIKA UNTERBURG * VERENA ISSEL * FRANZISKA NAST * BALDUR BURWITZ * SILKE SILKEBORG * SASCHA SCHÄFKE * BRIGITTA HÖPPNER * EGLE OTTO * MICHAEL DÖRNER * NATALIE GRENZHÄUSER * FLORIAN WÜST * DANIELA WESENBERG * STEFAN MARX * MARC LÜDERS * BIRGIT DUNKEL * VANESSA NICA MUELLER * VOLKER RENNER * PETER SEMPEL * KYUNG-HWA CHOI-AHOI * PHILIPP SCHEWE * OLIVER ROSS * CHRISTIAN DESBONNETS * SUSE ITZEL * CLEMENS FÜRTLER * METTE KIT JENSEN * WE ARE VISUAL * MALTE URBSCHAT * TIMO ROTER * RAH ELEH * DIRK MEINZER * CECILE NOLDUS * CONY THEIS * PITT SAUERWEIN * SIMON HEHEMANN * THORSTEN BRINKMANN * VLAD NANCA NONA INESCU * HODA TAWAKOL * JANA SCHUMACHER * LEIFUR EYJÓLFSSON

Öffnungszeiten:
13.12. – 14.12.14
18.12. – 20.12.14

15 –​ ​18 Uhr, sowie nach Vereinbarung

Admiralitätstr. 71 Hinterhof 1. Stock rechts 20459 Hambur​g​

Khaled Barakeh 'ON THE ROPES' December 04, 2014 ATELIERFRANKFURT


Khaled Barakeh
'ON THE ROPES'

On Thursday, December 04, 2014
19:00 - 22:00

Food and drinks from 19:00

Studio 6.03
ATELIERFRANKFURT e.V.
Schwedlerstraße 1-5
60314 Frankfurt am Main

https://www.facebook.com/events/677047665748093/

hoop the loop (part2)


hoop the loop (part2)
Eine Kolloboration von Sofia Duchovny und Hella Gerlach

Eröffnung 11.12.2014 19 Uhr
12.12. - 20.12.2014 by appointment 01715747566

Basis Project Space
Elbestraße 10
60329 Frankfurt am Main

coming sunday OFFICE XIII

SUN 7.12.      
       8pm (yes)

ASUNA (JPN)
       100 keyboards

                          NATHAN KELLY (AUS)
candid recordings of frustrated public transport users/jerks

            MINIPLAYBACK SHOW (FRNK)
                                   bandsalat von unten, sicsictapes) 

       + birth of diegolas drink
                           + gluewine
+ soup des legumes d´hiver
                                 + tapes

WÄCHTERSBACHERSTR. 82
U4/7 GWINNERSTR.
(NIGHT)BUS: SCHLITZERSTR.
POCO, TALBI, ERODIS, YELLOW HOUSE
USE BACK ENTRANCE!

OPENING: LATE EUROPEAN DECADENCE | WEDNESDAY 3 DECEMBER | 9PM


Magnus Andersen, Julien Nguyen,
George Rippon, Anna Zacharoff

Late European Decadence

4 December 2014 - 31 Janury 2015
Opening: Wednesday 3 December, 9pm

Press Release

1666*

"So farewell, hope; and with hope farewell, fear;
Farewell, remorse! all good to me is lost...

-- Paradise Lost (1667)

*note: at the insistence of certain of the artists, we return to Milton's Satan. We accept that modernism and post-modernism have been included from the beginning in what we know as romanticism. O.k. then Romanticism survives (still in a state of abject horror, no less) as those others fall away. But this is a romanticism shorn of nature, of hope, of extra-capitalist possibility. This is beyond the possibility of an Irish state. We are back at Satan, it seems, brooding over a cliff, looking good silhouetted by flames. England burns. -- mvs

Against collaboration. For competition. Inheriting not even Darwin, this new race of gods is more beautiful than we were. It is more childlike as well or will present itself that way. It shows advanced regression. These have bathed in the acid of the total critique. These know any dialectics fall from and upon the observer; in fact for them the language of dialectics is simply out of date. Philosophy's casual struggles? Merely to set the unconscious in play works wonders in that regard. This is a new commitment to hesitation. Its cynicism is unabashedly naive. One claw in the uncollectible, it is not site specific and depends on the imagination of everyone concerned. It rediscovers the late seventeenth century and avoids the late eighteenth. For these even salad equals death. There is only one bionormal human; the three others display the genetic flaws of the patriarchy. For them, the final degradation came in the nineties. In the inverse or Satanic post-apocalypse, unlike Endymion their fits of convulsions generate creation. That is not to say nothing prickles. Everything "prickles," when they set out, as in Hudibras (1666), "a-coloneling." The revolution has still not even been articulated properly. They will be imbedded in its wall. They walk like half-ghosts through a non-present world in a situation similar to that described by China Miéville in The City and The City (2009), and Jack Vance before him in "Ulon Dhor" (1950). In general, it is only the wider city that is at disadvantage in this situation. We are forever cut off from them. We have no idea what they have achieved in this regard. The self is an alien. A new pre-primitive; certainly, there is no relation at all to modernism. This neo-ancient in fact reaches like the sixteenth century back at least as far as the domestication of the fox, to volcanoed mosaics and first-documented alien landing-sites. Yet even now the shadow of the Crabber passes over like a scythe. A seriousness that makes it no longer quite safe to maintain the adolescence it calls for. What was once the wide open 3d grid of the model railroad set is now the existential prison of history. But what comes next? even as the oceans downgrade, clear cool water bubbles through their nose. Is it your imagination? Not exactly. Only in this drowned world, some would say (even against adversity of the sort that stalked Mrs. Milton and Aphra Behn), do they encounter the undiscovered countries they were created to misrule.

Mark A. von Schlegell

NEUE ALTE BRÜCKE
Hafenstrasse 23
60327 Frankfurt am Main
+49 (0)176 6422 6509
info@neuealtebruecke.com

Florian Auer mit Seth Pick, YOU'RE LIVE, Kunstverein Braunschweig


Florian Auer mit Seth Pick
YOU'RE LIVE

06.12.2014 - 15.02.2015

Kunstverein Braunschweig
Lessingplatz 12
38100 Braunschweig
www.kunstverein-bs.de

New Frankfurt Internationals


New Frankfurt Internationals

Daniel Stempfer
Christoph Esser

29.11. - 07.12.2014

Opening:
28.11.2014 7:00 pm

basis Projektraum
Elbestraße 10
60329 Frankfurt

KATRIN KAMRAU JERONIMO VOSS »METRO / -SKOPIEN«


KATRIN KAMRAU
JERONIMO VOSS
»METRO / -SKOPIEN«

GWK-FÖRDERPREIS KUNST 2014

30. NOVEMBER 2014 – 25. JANUAR 2015

Katrin Kamrau und Jeronimo Voss erhalten in diesem Jahr die GWK-Förderpreise für Kunst der Gesellschaft für Westfälische Kulturarbeit. Der Bielefelder Kunstverein präsentiert den GWK-Förderpreis erstmalig in einer Ausstellung. Die GWK – Gesellschaft zur Förderung der Westfälischen Kulturarbeit fördert neben Musik und Literatur auch herausragende junge Künstlerinnen und Künstler aus Westfalen-Lippe jährlich mit zwei Förderpreisen in der Sparte Bildende Kunst. 

Katrin Kamrau und Jeronimo Voss verbindet eine Auseinandersetzung sowohl mit der gesellschaftlichen und historischen Rolle des Bildes als auch mit den technischen und soziopolitischen Bedingungen dessen Reproduktion. Vor dem Hintergrund des wechselseitigen Interesses für das jeweils andere Werk haben die beiden PreisträgerInnen Katrin Kamrau und Jeronimo Voss unter dem Titel »metro / -skopien« eine gemeinsame Präsentation für den Bielefelder Kunstverein entwickelt, in der sie aktuelle Arbeiten und Neuproduktionen in einen direkten Dialog zueinander setzen. Mehr lesen...

ERÖFFNUNG: SONNTAG, 30. NOVEMBER 2014, 11 UHR
Preisverleihung der GWK-Förderpreise und Eröffnung der Ausstellung »metro /-skopien«. Der GWK-Förderpreis Kunst wird zusammen mit den Musik- und Literaturpreisen in der Aula des Ratsgymnasiums verliehen. Im Anschluss eröffnet gegenüber die Ausstellung von Katrin Kamrau und Jeronimo Voss im Bielefelder Kunstverein.
Ort der Preisverleihung: Ratsgymnasium Bielefeld, Nebelswall 1, 33602 Bielefeld 

KÜNSTLERINNENGESPRÄCH: SONNTAG, 25. JANUAR 2015, 17 UHR
Finissage und KünstlerInnengespräch mit Katrin Kamrau und Jeronimo Voss

PARTNER DER AUSSTELLUNG:
GWK – Gesellschaft zur Förderung der Westfälischen Kulturarbeit e.V.

CORPORATE PARTNER: 
BVA Bielefelder Verlag, Dr. Wolff Arzneimittel, Hörmann KG, JAB Josef Anstoetz KG, Loewe Logistics & Care, Sparkasse Bielefeld, TICK internationale Möbel GmbH, Union Knopf, Architekten Wannenmacher + Möller GmbH

FÜHRUNGEN:
Während unserer Ausstellung finden jeden Sonntag um 17 Uhr kostenlose Führungen statt.


Bielefelder Kunstverein
im Waldhof 
Welle 61
D-33602 Bielefeld

T +49 (0) 521.17 88 06
F +49 (0) 521.17 88 10

kontakt@bielefelder-kunstverein.de

PELES AT WENTRUP, BERLIN, opening this thursday


Peles Empire

DUO

Opening: 27 November 2014, 6 – 9 pm 

Exhibition: 28 November 2014 – 17 January 2015

The source of Peles Empire’s artistic practice is connected with the provenance of its name in the Carpathian Mountains of Romania: Peles Castle. The eclectic building from the 1870s is distinguished by its uncommon concentration of the most disparate styles – each room imitates a different era in architectural history. Barbara Wolff (*1980) and Katharina Stöver (*1982) have worked together as Peles Empire for nine years – their photographic appropriations of this “edifice of copies” and their subsequent ongoing spatial interpretations of the source material constitute a central point of departure for their works. An important strategy used by Peles Empire is copying the copy; inherent as well is the process of translating something spatial into two-dimensionality, which ultimately again manifests itself in three-dimensional objects. Also significant is that although the original documentary image may sacrifice some of its figurative quality through the artists’ manual reproduction of particular parts of the image, it simultaneously gains spatial quality as an abstract object. Peles Empire shows the complex and – in the truest sense of the word – multilayered results of this method in their first solo exhibition at WENTRUP.

The exhibition title "DUO" first of all underscores the genuine connection between original and copy. The two concepts are interdependent and only attain their full meaning through the existence of the other. No copy without an original – needless to speak of originals if there were no copies. Peles Empire is interested precisely in the gap within this relationship, in the process itself, and particularly in the images and forms that the copying process gives rise to in the first place.

Their kinship with artists such as Gordon Matta-Clark, who used the deconstruction of architecture, the disassembling into fragments and uncovering of layers, as productive momentum, is apparent. At the same time, merely through the process of translation, Peles Empire is capable of creating something that Hito Steyerl has called “fractured and flexible temporalities” which, in contrast to Matta-Clark, are not conceived in terms of an ultimate form, but privilege the unfinished. All the more striking are the richly detailed structures that their objects display – possibly precisely because they are not created with finality in mind.

Peles Empire reproduces pictures of spaces in order to create new pictorial spaces from them. Their achievement in the translation lies not only in the transformations from two-dimensionality into spatiality and back, but also in how they are able to transport a real space into the digital realm and then retrieve it for the physical environment of the exhibition. In this context, they not only display the actual splinters and fissures of their sculptural process, but also make it possible to capture the aesthetic fracturings and foldings that are free to develop only within the gap between original and copy.

Their works have been recently shown in a solo exhibition at GAK Bremen, Germany and a group exhibition at The Moving Museum in Istanbul, Turkey. Previous solo exhibitions by Peles Empire in 2013 include Cell Project Space, London; Kunstmuseum Stuttgart, Germany; and GSS, Glasgow. They have also exhibited at Shanaynay, Paris, NKV Wiesbaden, Bundeskunsthalle Bonn, (all 2013), Temple Bar, Dublin; V22, London; and ‘Bold Tendencies’, London (all 2012). In 2011 they were selected for Frieze Projects at Frieze Art Fair, London. 2009 shows include ORTON.nl, Rotterdam. In 2007 they were invited by MAK Center for Art & Architecture at the Schindler House, Los Angeles to exhibit in ‘The Mystery of Life’, as part of their residency.

For further information or press inquiries, please contact steffi@wentrupgallery.com

WENTRUP
Tempelhofer Ufer 22
10963 Berlin
Germany
opening hours tuesday - saturday 11 - 6 pm

"Place" in Amsterdam


Place

Anna Ostoya and Barbara Leoniak

Opening Thursday, November 27, 2014, 6 – 9 pm

November 28, 2014 – January 17, 2015


During Amsterdam Art Weekend (November 27 - 30) Anna Ostoya will be present in the gallery on Saturday, November 29, at 1 pm for the signing of her book.

tegenboschvanvreden is pleased to announce the exhibition 'Place' featuring new works by Anna Ostoya and Barbara Leoniak. Ostoya exhibits two oil paintings and six mixed media compositions on canvas. Leoniak shows a series of sculptures in resin and paper. 'Place' is a continuation of the collaboration between these two artists that began with the exhibition 'Disclosures' at the Bortolami gallery in New York in 2013. The new works at tegenboschvanvreden evolve from Ostoya’s painting 'Place' and Leoniak’s sculpture 'Maidens', both shown in New York. The initial inspiration for these works was Ludwig Kirchner’s painting 'Potzdamer Platz' (1914), which depicts two streetwalkers in the middle of a busy intersection. The painting reflects a distinctly modern form of alienation in a world where war and money rule.

The paradoxes of contemporary alienation are the subject of the new exhibition: the collapsed sense of inside and outside; the confused sense of distance and proximity. Ostoya and Leoniak both engage in these troubled dualities. To them the title 'Place' signals a threat and a yearning to belong to a certain space or system. It stands for a lack of integrity and safety.

In her semi-abstract works 'Zoom 1' and 'Zoom 2', Ostoya paints close-up portraits of the streetwalkers. The double rendering of the image evokes the painterly tradition of repainting significant subjects while also referring to the photographic technique of zooming in and out. In the series of compositions entitled 'Place', Ostoya uses leftover materials from the previous exhibition together with acrylic paints and color pencils. The outlines of a hand appear in some of the compositions. This intensifies the tactile effect.

The anthropomorphic sculptures entitled 'Touchables' by Barbara Leoniak depict anonymous double heads. They are made of molds using strips of cardboard soaked in resin. The sculptures are reminiscent of store mannequins and of cyberspace avatars. Small shifts in the position of their necks and in the angle of their heads, together with variations in the texture of the surface, lend a personal aspect to each piece. A headless torso, another sculpture presented by Leoniak, underlines an uncanny sense of lost identity.

The works in 'Place' can be regarded as autonomous paintings and sculptures, but they can also be seen collectively, as an installation. The installation, with dim lighting and spotlights, conveys an atmosphere of the intangible.

Although Leoniak was Ostoya’s first artistic mentor, the exhibition presents this relationship as being polymorphous and nonhierarchical. Just as their appropriation of modern art gives greater emphasis to recurrence than to innovation, their dialogue stresses artistic communication rather than competition. Their work presents the history of art as a conversation, not a monologue.

Anna Ostoya is an artist living in New York. She graduated from the Whitney Independent Study Program in 2009. Her work has appeared in Manifesta 7, Rovereto, the 2nd Athens Biennial, and in other exhibitions internationally. Ostoya’s recent shows include 'New Photography 2013' at the Museum of Modern Art in New York and 'Transpositions' at La Kunsthalle Mulhouse. This is the second exhibition of the artist at tegenboschvanvreden gallery.

Barbara Leoniak is an artist living in Cracow. She graduated from the Academy of Fine Arts there in 1977. Her work was shown internationally in the 1980’s. She received a golden leaf medal in 1985 and a silver metal in 1990 at the Winter Sculpture Salon in Warsaw.

Supported by the Adam Mickiewicz Institute, Warsaw


tegenboschvanvreden

openingstijden / opening hours
woensdag – zaterdag van 13 – 18 uur / wednesday – saturday, 1 pm – 6 pm

id m theft able [usa] with EGOPUSHER [ch] performing live at IMBISS Tuesday 25th November


id m theft able [usa]
with EGOPUSHER [ch]

Performing live at IMBISS - Daimlerstraße 32, 60314 Frankfurt am Main. 
Tuesday 25th November
Bar & kitchen from 8:30pm - Performances at 9:00pm
FREE ENTRY



Take the Cake - A Performance by April Gertler


Take the Cake
A Performance by April Gertler

Saturday, 29 November
19:00

This performance is part of the exhibition Heim_Spiel Mitte organized by the Frauenmuseum Berlin.

By using the structure of the cooking show as the platform and reference, April Gertler will explore the role of women’s work both inside and outside of the home.

The exhibition opens on 22 November and runs until 20 December.

galerie weisser elefant
Auguststrasse 21
10117 Berlin-Mitte

Nick Bastis - Henrik Olai Kaarstein - Valerie Snobeck / Opening November 15 at Catherine Bastide


Galerie Catherine Bastide

Henrik Olai Kaarstein
Pride

Valerie Snobeck
Go Soft
(Film projection)

Nick Bastis
Making Friends

Opening  Saturday 15 November - 6 to 9 pm
16 November - 24 January, 2014
www.catherinebastide.com

HENRIK OLAI KAARSTEIN - Pride

("Lady Pride, national pride, gay pride, parental pride, maternal pride, artistic pride, female pride, classless pride, pride lecture, we are proud, bongo pride, cock pride, pride tears, tears of pride, proud shit, proud abstraction, proud patience, proud future, Europride, pink pride, proud blue, red pride, proud black, orange pride, proud violet, purple pride, proud white, yellow pride, pride grey, proud flower, proud rose, proud sex, good pride, less good pride, adequate pride, proud Magdalene of Magdala, proud in Persia, proud at home, proud in water, proud with a gun")

- Henrik Olai Kaarstein

Henrik Olai Kaarstein's work is an exploration of the domestic, the intimate and the private in its materials, its rituals and its aspirations. It is often made out of found objects, many of them functioning as a sort of personal image bank and having a sentimental as well as an aesthetic value: a sleeping bag, an office table, a fake rose, a tissue paper box, some underwear packaging, some cardboard sheets, and so forth. His paintings are not painted on conventional canvases, as he uses various objects and materials soaked in paint or stained by it, rather than the paint being deposited on the surface of the canvas. Characters, symbolic systems and recurring imagery are used such as a swimming/drowning divas, some birds, roses, torsos, objectified men, and even some terrorists, all brought into play in colorful abstractions. Kaarstein relies on these various sources to paint even though he works in a intuitive way, allowing mistakes made during the process to remain or even to be highlighted, letting the process of soaking his supports sometimes damage the surface if needs be, to embrace, "the murky line between creation and destruction". The constant feed of news, information and disinformation is source of excitement and fascination for Kaarstein, who equates the confusion delivered by mass media each time a sensational situation arises with something he wants to project in his own art, such as in "Dzhokhar Rose", based on the press images of the surviving sibling of the Boston Marathon Bombers.

Henrik Olai Kaarstein was born in Oslo, Norway in 1989. He has attended the Nordland College of Art and Film, Kabelvåg, Norway and is currently enrolled at the Staatliche Hochschule für Bildende Künste, Städelschule, Frankfurt am Main. He has exhibited in Milan, Oslo, Naples, London, Athens and Rome.

-

VALERIE SNOBECK - Go Soft

There's a monochromatic green filling up the frame. We hear the sound of footsteps approaching. A hand lays down a non-running mechanical pocket watch, and sets up tools nearby. Over the next hour, we see the horologist's hands filmed from above, meticulously take apart, clean up and maintain the watch mechanism before putting it back together. The video unwinds a continuous cycle of removal, resuscitation, and delay.

Valerie Snobeck's video, "Go Soft" uses formal constraints similar to those within the Structural film tradition. Throughout the video the watch does not give us the time, at least not a regimented time of notched minutes. Dismantled, the watch becomes an object to watch. Many objects, gears unlatched from one another, and unlatched from chronology, move in and out of the frame.

Engraved on one of the gears are the letters S H E L L. This watch was originally lubricated with Shell oil. In the 1940s the watch was a promotional item, a way of lubricating the public's opinion into positive thoughts about the oceans, the future and our control of it.

Valerie Snobeck was born in Wadena, MN, in 1980. BFA, St. Cloud State University, 2003, MFA, University of Chicago, 2008. Her work has been exhibited in the United States and in Europe, at the 2014 Whitney Biennial, the University of Delaware, the Smart Museum of Art at the University of Chicago, and the Consortium in Dijon. She lives and works in New York.

-

NICK BASTIS - Making Friends

On this particular morning, Sam's internet was down, so he went out for a stroll along the river. He looked over to the other side and thought he saw his friend Mose. He couldn't be sure from that distance – it could have been someone else with a similar stride and the same hair-do as Mose. Sam decided to take the bridge across the river and see whether it was Mose.

Mose was walking on the other side of the river. As he looked across the river, he thought he saw his good friend Sam. He was almost sure it was Sam, but at the same time, he knew it could have been someone who looked just like Sam with a comparable puffy jacket. He decided to take the bridge across the river to see if it was Sam.

On the bridge, it turned out that it was neither one of them.

- As told by Gijs Milius

Rather than expressing something in particular, the work is more concerned with the mechanisms of expression itself and its contingencies, produced through minor interjections in already occurring processes, flirting with an evacuation of the ego. Well, except for the sculpture of the guy with his penis looped into his own anus. That is an autonomous piece.

Nick Bastis (MFA, 2013, University of Chicago), was born in New York in 1985. Currently based between Brussels, BE and Vilnius, LT. Works recently shown at the Museum of Contemporary Photography (Chicago, US), Fluxia (Milan, IT) and Objectif (Antwerp, BE), upcoming shows at Regards (Chicago, US), Podium (Olso, NO), Kunsthalle Athena (Athens, GR), Chapter NY (New York City, US).

GALERIE CATHERINE BASTIDE
rue de la Regence, 67 (second floor)
Regentschapsstraat, 67
1000 Bruxelles - Belgium
T: +32 2 646 29 71 / F: +32 2 538 61 67
Gallery open Wednesday - Saturday 11am - 6.30 pm
Galerie ouverte du mercredi au samedi, de 11h à 18h30
www.catherinebastide.com

NEW PAINTINGS ON GREY WALLS

NEW PAINTINGS ON GREY WALLS

ALEXANDER TILLEGREEN
MORTEN KNUDSEN

25.10 - 15.11 2014
Opening 24.10. 2014 kl. 17-20


Galleri Tom Christoffersen 

Skindergade 5, 1159 Copenhagen K, Denmark

Oliver Heinzenberger - Girlande


OPENING: 11.11.2014 19:00h

Oliver Heinzenberger - Girlande

Welcome the international flag of good vibes.

Do not be afraid of bad weather - drinks will be served in the cosy office.

OPENING: 11.11.2014 19:00h

TheTip
Oppenheimer Landstraße 85H 
60596 Frankfurt am Main, Germany 

CPH:DOX Film Festival


CPH:DOX Film Festival

Danish Artists Film/Video section presents

Delve a film by Alexander Tillegreen

Screenings at Cinemarteket on
8/11 at 15:00  & on  13/11 at 22:15

FALL


FALL

Buck Ellison, Maki Ishii, Stuart Middleton, Olga Pedan, Rasmus Søndergaard Johannsen, Jasmin Werner

07.11. – 20.12.2014
Opening Friday at 18:00–21:00

Galerie Jochen Hempel, Spinnereistrasse 7, 04179 Leipzig, Germany

Sabine Rak - Pille abgesetzt


Ausstellung:
Pille abgesetzt
Sabine Rak
Vernissage: Do 06.11.2014, 19 Uhr
Finissage: Fr 14.11.2014, 19 Uhr
Ausstellung: 07.-14.11.2014
Besuch der Ausstellung: 0177-82 65 227 rak.sabine@yahoo.de
Vernissage: Thu 06.11.2014, 7 pm
Finissage: Fri 14.11.2014, 7 pm
Exhibition: 07.-14.11.2014
Open by appointment: 0177-82 65 227 rak.sabine@yahoo.de
Ort/Location:
basis Projektraum Elbestr. 10 60329 Frankfurt

EMERGENZE PAOLA ANZICHE’ PASCAL TASSINI in dialogo con PIERO GILARDI

EMERGENZE
PAOLA ANZICHE'   PASCAL TASSINI    in dialogo con    PIERO GILARDI
VERNISSAGE venerdì 7 novembre
Dall'8/11 al 31/12/2014
dal mercoledì al sabato, 14:00 - 19:00

Partendo da Pascal Tassini (Belgio, 1955), scultore belga che ha scelto di annodare le stoffe ripetutamente per farne accumuli biomorfi, morbidi e nodosi, col gesto e la materia, abbiamo pensato a Piero Gilardi (1942) nella sua produzione dei tappeti natura. Come i lavori di Tassini che sembrano emergere come volumi dal nulla, i lavori di Gilardi giocano sull'interpretazione della natura attraverso l'artifizio della mano umana, cioè ritagliano e traducono qualcosa che c'è sempre stato ma sempre più sfuggente. Infine abbiamo chiesto a Paola Anziché (1975) di accompagnare i corpi di Tassini con l'eleganza di tessuti grezzi e primari pazientemente selezionati, cuciti, intrecciati, accuditi, incatenati, portatori di storie universali, culture contadine e dialoghi continentali.

I nodi di Pascal Tassini si intrecciano in forme organiche talvolta difficili talvolta delicate, sempre accoglienti, sbarrandoci il passo su un percorso altrimenti lineare. Richiamano attenzione, non oseremmo scioglierli ma contengono il germe della loro dissoluzione. Le forme naturali che Gilardi ricrea sono selezioni di uno sguardo per altri sguardi, altrimenti disattenti.  E infine i lavori di Anziché sembrano nascere come assemblaggi sulle ali del vento e ritagliare simboli di umanità da un tessuto altrimenti uniforme. Emergenze.

Rizomi art brut nata nel 2010 a Torino, è l'unica galleria che in Italia si occupa esclusivamente di outsider art e art brut. Dalla fondazione ad oggi promuove l'art brut, arte irregolare e spontanea, rappresentando artisti di fama internazionale, indagando i confini dell'arte outsider e pubblicando monografie scientifiche.

ANGEL FACE


ANGEL
FACE

-----------------------------

Natalia Rolón
Ryan Karlsson

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Inauguración /

Fanzine edición limitada

Ponen música: Ich y Listen listen listen

Viernes 31 de octubre
Carlos Calvo 637
19:00 horas

-----------------------------

Nuestra querida amiga Natalia Rolon junto a Ryan Karlsson presenta sus trabajos mas recientes en Big Sur. Natalia actualmente vive en Frankfurt y estudia en el marco de la clase de Michael Krebber en la Städelschule. La muestra Angel Face inaugura el 31 de octubre y estará solo por pocos días

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Shakespeare puso en boca de Romeo y Julieta los twits más románticos que existieron. Un Montesco amó a una Capuleto y pagaron ese prohibido y auténtico amor con la muerte. Lejos hubiese estado el escritor inglés de imaginar el devenir de las parejas, con menos suspiros y más velos, en el siglo XXI.
Natalia Rolon y Ryan Karlsson desenmascaran los vicios contemporáneos de la seducción a través de su señalamiento. Una colección de estrategias para la conquista, que distan de los encuentros en la ventana de Julieta o de las poesías de Romeo.

Una pericia casi publicitaria y la irreverencia de un ready made se ven materializados en esculturas, pinturas y un video hechos en conjunto por ambos artistas. Toallitas demaquillantes intervenidas se combinan con una publicación, que entre otras joyas de la práctica de la seducción, recoge mensajes recibidos a través de webs de citas que ambos fueron coleccionando.

Como advertencias sobre la Hiperrealidad estos trabajos intentan rescatarnos de la confusión entre realidad y fantasía. La perfección, la detención del tiempo y la objetivación del ser son síntomas de este siglo. Al señalarlos con una intención lúdica, los artistas crean un giro en estas adicciones posmodernas y funcionan como un llamado de atención sobre el camino demasiado virtual de las cosas.

Reconociendo el riesgo pero también las ventajas de abrazar estas fachadas imaginarias, suavizan la virtualización de la conciencia al canto del “si no puedes contra ellos, únete”. Si el disfrute pasa por make up con sabor a cereza, las promesas de éxito coexisten con vidas cybernéticas e ir al supermercado se hace a través de Second Life, qué mejor que apropiarse de estas nuevas costumbres. Sin aceptar el rol pasivo de los sujetos de la hiperrealidad que señala Baudrillard, se unen al enemigo para exprimirlo.

En medio de esta imitación de mundos, estos artistas intentan encontrar la mística del ser único. Barrer la imitación para encontrar lo original, sacudir la virtualidad y las flamantes máscaras que venden las revistas, abarca tanto lo personal como la experiencia artística.

Con una búsqueda que intercala atracción y la persecución de la identidad, Rolon y Karlsson develan los trucos modernos no solamente para encontrar el amor sino también un lugar en el devorador mundo del arte contemporáneo, donde también dominan las leyes de la marca propia y de la seducción.

Clara Ríos, octubre 2014.

Office XII - Golden Donna


OFFICE Nr 12:
Tuesday 4th november
- synths cosmique et potiron -

Live:
GOLDEN DONNA (Not Not Fun, US)
http://goldendonna.com/
https://soundcloud.com/goldendonna
Soup: Pumpkin
Drink: Ginger involved
Start: 9 pm


OFFICE DU PAIN
WÄCHTERSBACHERSTR.82
U4/7 BIS GWINNERSTR., 
AM POCO LINKS, PASS THE MEAT FACTORY
GLEICH NACH ERODIS & MEISTER TALBI
IN "KUNSTWERK OST"
Lena Philipp at Running Residency

29th October 6-9 pm, Ridley Road, London
runningresidency.com



a melancholic atmosphere
zhhhhhhhh neon spray
three thick dark grey brush marks
one giant light grey
sprinkling
pouring
turning the painting
WOAHHHH a quick, fat, green- greyish line
a shaky, fine, sensitive, white line
whilst making one the brush keeps falling out of my hand leaving traces
a small yellow dot
and another
pink

i draw a photo from the internet or an object i’m interested in

how would it look like if the world would perish now?
CHAOS, VISUAL HIGHLIGHT

then i take a brush to overpaint the whole
an image formation becomes visible
looks like underwater
weird corals, wing-hands, slices of a cactus, a half of a rabbit

what does the painting say now?
ORGANISE ME, GIVE ME A MEANING
the painting is fucking annoying

i am sitting and talking with my painting for hours
what do you want, what do you want me to give you, what do you think about this or that proposal?
are you confident now, or do you want even more?
communication works via the brush
BUT NOT LIKE THAT, says the painting annoyingly, this was far too harsh UNDO IT!
patience, patience, patience

today, tomorrow, yesterday

Lena Philipp 2014

Gentle Veincut * Poutre * 01.11. 2014 im Exzess


concert****concert****concert
Samstag 01. 11.
21:30, exZess, leipziger str. 91
Gentle Veincut & Poutre

Poutre bedeutet "Brett" und das trifft auf dieses virtuose Noiserock-Trio
aus dem Süden Frankreichs mehr als zu. Anschnallen und Abheben!
Gentle Veincut
Post Punk Dinosaurs from around the Block. 
Blizzard, Storm and Sonic Thunder.

SIC
DIREKTION

Michael Beutler
Benedikte Bjerre
Stephan Engelke
Othmar Farre
& Simon Buckley
Lucas Fastabend
Lola Göller
Ulrich Pester
Adrian Williams

Eröffnung 31. Oktober 2014 19 uhr
Gegrüssung und Einführung
Prof. Dr. Udo Steffens
Bernd Reiss
Finissage 5. Dezember 2014 19 uhr

Austellung 31.Oktober – 5.Dezember 2014
Öffnungszeiten Donnerstag – Samstag 16 – 20 Uhr

Präsidialbau des neuen Frankfurt School Campus
Adickesallee 32-34 Frankfurt/M
Haltestelle U5 Deutsche Nationalbibliothek

Ausstellungseröffnung  SCHMUCK ALS URBANER PROZESS  7. November 2014 - 19.30h  Stadtmuseum Landeshauptstadt Düsseldorf


SCHMUCK ALS URBANER PROZESS 

Ausstellung im Stadtmuseum Landeshauptstadt Düsseldorf
08. November 2014 - 25. Januar 2015


Zur Ausstellungseröffnung am 07. November um 19.30h laden wir herzlich ein. 

Es sprechen:

Dr. Susanne Anna, Direktorin des Stadtmuseums 
Prof. Elisabeth Holder, Fachhochschule Düsseldorf
Prof. Gabi Schillig, Fachhochschule Düsseldorf

'Schmuck als urbaner Prozess' ist ein Forschungs- und Ausstellungsprojekt des Fachbereichs Design / Institute for Research in Applied Arts (IRAA) der Fachhochschule Düsseldorf und des Stadtmuseums Landeshauptstadt Düsseldorf.

Studierende untersuchten verschiedene Erscheinungsformen von Schmuck im urbanen Raum und wurden dabei von den Professorinnen Elisabeth Holder und Gabi Schillig angeleitet. Die gestalterischen und künstlerischen Experimente haben zu neuen, die Definitionen von Schmuck überschreitenden, auf den Stadtraum bezogenen Objekten, performativen Systemen, Aktionen, temporären oder permanenten Installationen und Interventionen geführt. Die konzeptionelle Struktur der Ausstellung bildet ein breites und vielfältiges Spektrum der entwickelten künstlerische Prozesse ab, die den Stadtraum auf unterschiedliche Weise transformieren.

Die in der Ausstellung gezeigten 61 Konzepte reichen von ortsunabhängigen Gestaltungen, die in den Kategorien Material und Inspiration zusammengefasst sind, bis hin zu ortsspezifischen und ortsbezogenen Formen der Interaktion mit ausgewählten Orten und Situationen, die den Kategorien Exploration, Bühne, Anlass und Aufforderung zugeordnet sind. Alle Projekte sind verbunden durch eine analytische und prozesshafte Untersuchung des Düsseldorfer Stadtraums, sowie durch eine experimentelle Vorgehensweise und vielfältige mediale Dokumentation der entstandenen Arbeiten. Durch sie wird unsere Wahrnehmung des städtischen Raums verändert und es entstehen neue urbane Räume der Interaktion und Partizipation.

Berger Allee 2 
40213 Düsseldorf

Öffnungszeiten
Di - So 11.00 -18.00 Uhr
Mo geschlossen

Facebook: 

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erscheint im Frühjahr 2015

Schmuck als urbaner Prozess
Elisabeth Holder, Gabi Schillig (Hrsg.)

Künstlerische Handlungen im öffentlichen Raum
Dokumentation eines Forschungsprojekts

Ernst Wasmuth Verlag Tübingen

Jochem Hendricks - Upcoming Exhibition


Twenty Thousand Years of Yarn
curated by Rubén Grilo
Mark Chang, Megan Cotts, Chemical Guys, Earth, Alicia Framis, Jochem Hendricks, Elf Stacy Rose, Anne de Vries, Ran Zhang, a fake General Idea piece and a selection of booklets edited by Allan McCollum
October 30 – November 22, 2014
Opening: October 25, 7 – 10 pm
Future Gallery, Berlin, http://futuregallery.org:

MMK 2 – BOOM SHE BOOM


MMK 2 – BOOM SHE BOOM

Women of the MMK Collection

19 Oct 2014 – 14 Jun 2015

Künstlerinnen der Ausstellung
Jo Baer / Vanessa Beecroft / Shannon Bool / Andrea Büttner / Vija Celmins / Hanne Darboven / Rineke Dijkstra / Marlene Dumas / Parastou Forouhar / Katharina Fritsch / Isa Genzken / Tamara Grcic / Bethan Huws / Anne Imhof / Barbara Klemm / Eva Kotatkova / Franziska Kneidl / Teresa Margolles / Sarah Morris / Cady Noland / Anja Niedringhaus / Christa Näher / Charlotte Posenenske / Jewyo Rhii / Taryn Simon / Sturtevant / Rosemarie Trockel / Adrian Williams

Die erste Ausstellung im neuen MMK 2 ist den Künstlerinnen der Sammlung des MMK gewidmet. Wie kaum ein anderes Museum der Gegenwartskunst in Deutschland hat das MMK von der ersten Stunde an im Jahr 1991 bis heute ein ganz besonderes Augenmerk auf die Künstlerinnen der letzten Jahrzehnte gelegt. Seit den frühen 1990er-Jahren gingen Werke der großen deutschen Bildhauerinnen und Konzeptkünstlerinnen wie Katharina Fritsch, Isa Genzken und Rosemarie Trockel in die Sammlung ein, flankiert von internationalen Kolleginnen wie Vija Celmins, Marlene Dumas, Cady Noland und Sturtevant. Der Einfluss dieser Künstlerinnen auf die Entwicklung der bildenden Kunst ist fundamental. In ihrer Radikalität und Konsequenz haben sie Stile geprägt und sind bis heute wichtige Vorbilder für die nachfolgenden Generationen. Mit so markanten Positionen von Künstlerinnen wie Jo Baer, Hanne Darboven und Charlotte Posenenske schreibt das MMK die Geschichte der Gegenwartskunst weit in die 1960er-Jahre zurück. Auch im Bereich der dokumentarischen Fotografie, einem der Sammlungsschwerpunkte des Museums, sind mit Barbara Klemm oder Anja Niedringhaus bedeutende Protagonistinnen vertreten. Hauptwerke von Vanessa Beecroft, Rineke Dijkstra, Bethan Huws, Teresa Margolles, Sarah Morris, Christa Näher oder Taryn Simon markieren wichtige Sammlungserweiterungen der letzten Jahre sowie die Werkgruppen der aktuell im internationalen Fokus stehenden Künstlerinnen Andrea Büttner, Shannon Bool und Jewyo Rhii. Von Beginn an hat sich das MMK der Frankfurter Kunstszene gewidmet, und auch hier sind es so individualistische und radikale Positionen wie die von Parastou Forouhar, Anne Imhof, Franziska Kneidl und Adrian Williams, welche die Sammlung des Museums bereichern. Von Tamara Grcic und Eva Kotátková sind eigens für diese Ausstellung Neuproduktionen entstanden. Mit der Vielfalt und Stärke, die von den Werken dieser Künstlerinnen ausgeht, möchte das MMK seine neue Präsenz im Zentrum Frankfurts beginnen. Die Ausstellung umfasst unterschiedliche künstlerische Verfahren und konzeptuelle Ansätze, sie präsentiert eine Vielzahl von Perspektiven und Fragestellungen. Skulpturen und Installationen, Gemälden und Zeichnungen, Filmen und Performances hinterfragen die Künstlerinnen die Repräsentation und gesellschaftliche Konnotation des weiblichen Körpers. Sie beschäftigen sich mit sozialen und globalen Zusammenhängen, untersuchen Formen von Narration und Abstraktion und analysieren Strategien der Raumaneignung. Ihre Werke sind geprägt von individuellen Wahrnehmungen und persönlichen Erfahrungen, sie demonstrieren Subversivität und Mut zur Offenheit.

Das MMK 2 präsentiert zukünftig zweimal im Jahr wechselnde Ausstellungen mit Werken aus der Sammlung.

MMK 2
Taunustor 1
Frankfurt

http://mmk-notes.com/...