Kunstverein Lippe

opening reception:
Nov 05th 2017,11.30 am
 
introduction: Katharina Grosse
 
duration of the exhibition:
Nov 5th - Dez 10th

Klasse Katharina Grosse stellt aus

Malerei

Die Lippische Gesellschaft für Kunst eV setzt mit dieser Ausstellung ihre im Jahr 2012 begonnene Reihe „Meister und Schüler“ fort. Katharina Grosse, geb. 1961 in Freiburg i. Br., lebt und arbeitet in Berlin. Sie studierte an den Kunstakademien Münster und Düsseldorf. Seit 2010 ist sie Professorin für Malerei an der Kunstakademie Düsseldorf. In ihrer künstlerischen Arbeit entwickelt Katharina Grosse Erscheinungsformen des gemalten Bildes im zeitgenössischen Kontext. Ihr Werk zeichnet sich durch großformatige, raumgreifende Malereien aus, in denen sich Farbe oftmals über materialbezogene Grenzen hinwegsetzt. Infolge ihrer zahlreichen Ausstellungen in namhaften Institutionen avancierte Katharina Grosse zu einer international renommierten Künstlerin, die mit ihren Arbeiten in öffentlichen und privaten Sammlungen vertreten ist.Gemeinsam mit den Studierenden ihrer Klasse an der Kunstakademie Düsseldorf möchte Katharina Grosse im Prozess des gegenseitigen Austausches ein Ausstellungskonzept für die Räume in der Galerie Eichenmüllerhaus erarbeiten. In dieser Vorgehensweise zeigt sich zugleich auch ein wesentlicher Aspekt ihres Lehrverständnisses.

Kunsthalle Düsseldorf

opening reception:
October 20th 2017
 
duration of the exhibition:
Oct 21st 2017 - Feb 7th 2018

AKADEMIE [Arbeitstitel]

In the win­ter of 2017/2018 the Kun­sthalle to­geth­er with KIT will re­spec­tive­ly ad­dress the theme “Acade­my” from dif­fer­ent an­gles. In the third show of the an­niver­sary year, the pre­sent comes to the fore, but with­out hav­ing lost a view of his­to­ry and the Kun­sthalle’s archive. In­spired by the leg­endary ex­hi­bi­tion se­ries “be­tween” (1969-1973), which emerged from stu­dent un­rest and protests against the in­sti­tu­tion —par­tic­u­lar­ly among stu­dents of the Kun­stakademie— the Kun­sthalle Düssel­dorf in­vites pro­fes­sors and stu­dents of the Düssel­dorf and Münster Kun­stakademies as well as the Kun­sthochschule für Me­di­en Köln (KHM) to Acade­my [Work­ing Ti­tle] to con­front from a crit­i­cal, con­tem­po­rary per­spec­tive a range of top­ics that at­tend the archive and to ne­go­ti­ate the sig­nif­i­cance of an his­tor­i­cal lega­cy as well as the prox­im­i­ty of in­sti­tu­tions and academies in the Rhein­land to the pro­duc­tion of art.

Along­side an im­me­di­ate en­gage­ment with the Kun­sthalle’s archive ma­te­ri­als, more ex­ten­sive and ab­stract en­gage­ment with the idea of the archive may en­sue from con­sid­er­a­tion of the archive as a site of mem­o­ry at the cross-sec­tion of her­itage, his­tor­i­cal bur­den, think tank, mem­o­ry-ar­chi­tec­ture and much more. The cat­e­go­ry “archive” and the cat­e­gories in which the archive is in­vest­ed and so by which it is brought about such as art his­to­ry, cul­tur­al iden­ti­ties and in­di­vid­u­al mytholo­gies should be crit­i­cal­ly ques­tioned. What role does the archive play for the in­di­vid­u­al artis­tic cre­ation and the per­cep­tion of an in­sti­tu­tion? How does the now-time [Jet­zt-Zeit] deal with and eval­u­ate the past? To what ex­tent do not on­ly col­lec­tive, but al­so pri­vate archives them­selves rep­re­sent forms of artis­tic prac­tice?  

In col­lab­o­ra­tion with the cu­ra­to­ri­al team of the Kun­sthalle, var­i­ous me­di­al for­mats can be worked through based on the dif­fer­ent em­phases and ap­proach­es of the pro­fes­sors and class­es. As the no­tion “Work­ing Ti­tle” in the ex­hi­bi­tion ti­tle in­di­cates, the ex­hi­bi­tion has an open-end­ed, ex­per­i­men­tal for­mat. Per­ma­nent ac­cess not on­ly to the per­pet­u­al­ly re­newed im­ple­men­ta­tions of the ex­hi­bi­tion but al­so to the dis­cur­sive ex­change, work pro­cess­es and struc­tures will be open to the vis­i­tors.  It is left up to each in­di­vid­u­al the ex­tent to which they take part in the ex­change, sim­ply ob­serve or de­lib­er­ate­ly in­ter­fere and in so do­ing en­ter in­to the artis­tic works and “fi­nal re­sult” of the ex­hi­bi­tion and, by 
ex­ten­sion, in­to the his­to­ry of the in­sti­tu­tion. 
Fur­ther items on the pro­gram agen­da be­tween the­ater, per­for­mance, con­certs, work­shops and pre­sen­ta­tions from in­vit­ed speak­ers will be held un­der the la­bel “Per­form­ing Archive,” in search of ev­er new ac­cents of the archive. In­for­ma­tion re­gard­ing the par­tic­i­pants, the pro­gram and the shift­ing us­es of the spaces will be made avail­able short­ly be­fore the open­ing of the ex­hi­bi­tion.

Group projekt - class of Katharina Grosse
 
Kunsthalle Düsseldorf | Grabbelplatz 4 | 40213 Düsseldorf

Schinkelsche Bauakademie

opening reception:
September 14th 2017, 7pm

Theresa Volpp

Freistil presents the artist Theresa Volpp showing a painting-based installation during ART Berlin. (comissioned work)
Featuring: freistil173 special edition
 
Berliner Bauakademie Schinkel | Schinkelplatz  |  10117 Berlin

2025

opening reception:
April 7th 2017
 
duration of the exhibition:
April 8th- April 28th 2017
 
performance evenings:
April 7th, 14th, 21st and 28th

Elephant and Castle

Within the exhibition “Elephant and Castle” Saskia Krafft and Silke Weißbach bring together their  drawings, paintings and sculptures. The theme of interconnectedness is the main focus. Together with work of artists that they have met during their stops in-country and abroad, the room turns into a web of narrative moments and constructed linkages. The exhibition sheds light on those, who impress us and with whom we collaborate. A conjunction that merges artistic positions.
Besides from the installation, there will be four performance evenings that enlarge the (exhibition) space and the interconnection through time-based works. Distances will be overcome, proximity tested out.

LibraryLondon

opening reception:
January 26th 2017
 
duration of the exhibition:
Jan 27th- Mar 04th 2017

The Spiral

At regular intervals the calcareous matter I was secreting came out coloured, so a number of lovely stripes were formed running straight through the spirals, and this shell was a thing different from me but also the truest part of me, the explanation of who I was, my portrait translated into a rhythmic system of volumes and stripes and colours and hard matter, [...] when you looked closer you discovered all sorts of little differences that later on might become enormous."

-Italo Calvino - Cosmicomics: The Spiral

The Spiral takes its name from an eponymous story by Italo Calvino. Narrated from the perspective of a mollusc, it depicts the animal's peculiar creation. Sensing its making as a form of self-expression, the mollusc becomes mesmerised by its becoming and falls in love with the vicinity. Eventually with eyes, its sight reveals the body as a place that senses both what lies nearby and in the distance.

Like in Calvino's story, the exhibition conflates fascination with repulse, the familiar with the unexpected and a compact world with the delicacy of magnitude. Merging what is supposedly opposed into a single subject of contemplation, the artworks unravel their significance while we are moving through the show. A distant angle evokes the urge for closer examination, whereas proximity demands more space. Micro- and macrocosm are in a constant spiel of give and take, and question the very nature of what we might call a detail or an overview. Within this fusion of conflicting matter lies the odd but captivating of this exhibition's story. Appearing to us like an entangled spiral of sensation, near and far sight unite through one aesthetic journey.

Text by: Christian Lübbert

Pauline BATISTA
Goia MUJALLI
Theresa VOLPP

Dalson Printhouse Gallery

opening reception:
October 27th 2016
 
duration of the exhibition:
Oct 28th- Nov 05th 2016

Foreign Surface

Group exhibition of DAAD scholarship holders in London.

Goldsmiths
University of London

Opening:
14th of July 2016, 6-9 pm

Exhibition:
14th-18th of July 2016

Opening times:
Fr, Sat, Mo 10 am - 7 pm,
Sun 10 am - 4 pm

Goldsmiths MFA Show

Location: Goldsmiths Ben Pimlot Building, Laurie Grove Baths & Richard Hoggart Building. Exhibition is open for everyone.

Westwerk Hamburg

Opening:
31st of March 2016, 7 pm

Exhibition:
1st-17th of April 2016

Opening times:
Tue-Fr 4-7 pm,
Sat 12-7 pm,
Sun 1-4 pm

No Lifeguard On Duty

“There was a wall. It did not look important. It was built of uncut rocks roughly mortared. An adult could look right over it, and even a child could climb it. Where it crossed the roadway, instead of having a gate it degenerated into mere geometry, a line, an idea of boundary. But the idea was real.  It was important. […] Like all walls it was ambiguous, two-faced. What was inside it and what was outside it depended upon which side of it you were on.”

“No Lifeguard on Duty” is a group exhibition focusing on the tension that lies between binaries. Exploring the concept of demarcation (and alternatively, what might or might not occur in its absence), the project invites eight London-based artists to engage with this theme through painting, installation, and video works.

The traditional image of the lifeguard conjures a sense of safety and well-being, and creates a boundary and set of rules. Therefore, the phrase “No Lifeguard on Duty” immediately connotes the opposite, suggesting possible danger or disorder. Here, a duality is established. The absence of a lifeguard blurs otherwise delineated borders and pushes the realm of limitations into a grey territory: safety may be lost, but a certain freedom is gained. The exhibition pays attention to the lines of demarcation – that which separate – and the indefiniteness and incertitude that the space between these lines manifest.

For example, Olivia Hernaïz addresses the stark divide between political parties, doing so in a playful manner by posing semi-childlike questions to leaders of different prominent parties. Her colorful cushions and (what appears to be a) light-hearted approach counter the heavy-handedness of the current political climate.

Pauline Batista’s work questions the difference between reality and myth, or rather, science and intuition and asks the viewer which might be more valid in reflecting upon the human condition. Taking oil and paint to create layers on a glass surface, Batista then projects scenes from the film Apocalypse Now through the glass to ultimately create a blurry, numbed image of violence.

Continuing in this meditation on human nature, Andrea Williamson uses celebrity and pop culture to evoke feelings of empathy and affection. Three iconic women – Lindsay Lohan, Oprah Winfrey, and Pema Chodron – have been morphed by the artist to express relations of care and compassion between them, replacing the stereotypical and judgemental gaze that we so often give. Williamson’s endeavour is a reversal of sensibility; not to seduce the viewer but to create a harmonious hybrid entity intended to ‘rescue the positive affections of love and spirituality from the seemingly superficial.’

Theresa Volpp’s paintings are the product of physical engagement. Glossy paints are poured over canvases that lay on the floor before Volpp shakes them to combine colors. In this way there is no direct effect on the emergence of the surface. The artist produces a loss of control, that reveals itself in the negation of the artists own signature. The implication is an interrogation of boundaries running between the artist’s subject and the object. While visually, the differentiation between colors is fairly evident, an alternative dichotomy is at work-between intentional bodily movements and spontaneity.

In a similar vein to Volpp’s merging of forms, James Clarke creates an overlap of imagery in his work, Torus (London–Hamburg). Influenced by the original handiwork of English World War II mapmakers at Hughenden Manor, Clarke employed their map of Hamburg as a springboard for his seemingly repetitive patterns. Together, these four paintings imbue one with a feeling of movement between borders whilst also serving as a nod to the histories of both London – the artist’s homebase – and Hamburg.

Frederic Klein examines the impact of the natural world upon the individual, rendering his experiences of exploring rugged (and often threatening) landscapes to the canvas. Klein routinely isolates himself in the wilderness, oftentimes for a number of days, allowing for the extreme conditions of his ventures act as a catalyst for his practice. The artist utilizes “subtitles” in his paintings, thus implying a distance exists between the artist and viewer that requires translation.

Similarly, the notion of distance is noticed in the video work of Francis Almendárez. The artist explores spatial dislocation in the context of deterritorialized post-modernity. He seeks the truth among those trampled underfoot by history: refugees herded into camps, women victimized by a brutal patriarchal society, indigenous people relocated and stripped of their identity – in other words, the survivors.

In her series of six paintings, titled “Où est le bec?”, Ingrid Berthon-Moine displays six simplistic figures of the male body, each in a different state of sexual arousement. Though all hang at different heights, the works are aligned along the tips of the erect penises. The title is the phonetic pronunciation of the surname of French novelist Michel Houellebecq, whose characters are regularly fatigued and hopeless. For Berthon-Moine, this depression points to the greater repercussions of capitalism: eventually, our individualism and liberalism provoke an internal tension between indulging limitless gratification, or perhaps, growing weary of constant desire.

 

Tony Tremlett and Caroline Elbaor

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