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Carefully, very carefully!! Always better to read Martin Heidegger in context. Der Spruch des Anaximander, GA Explanation of the page numbers. The Main Index pages numbers are to the. Normally, references are to the page numbers in the printed book. These differences are explained below. These page numbers are for the. Afterward by the editors. Printed book of GA 96 is from page 1 to The Online.

Whereas they appear on page 10 of the. The Main Index below is an index to the. Additional examples of German words from the text about America and Americans. The index page numbers are for the. On entering the exhibition space one is welcomed by insert title of artwork a nickel-silver sculpture depicting cell division—a reproductive act and conceptual starting point of the exhibition.

This science fiction audioplay reverberates within the main room of the gallery, composed of a luminicent aquarium and pulsating watertubes synchronised with the soundscape. Along the walls Greiner presents a new series of photographs showing miscroscopic images of algeas, titled Billions of Heart Beats Slowed Down into Synchronicity, as well as tumor cells, titled Hybrid Matter Studies and Panorama of a Landscape, realised with the scientist S. How sure are we of our fundamental convictions of life and death, right and wrong?

Craig Venter Institute. Greiner considers these pictures as portraits, like larger-than-life, celebratory depictions of individuals that have had an outsized impact on the public sphere. At work in these images, and troubled by them, are the moral and existential implications of portraiture. To represent an individual is to fix their likeness to a moment. From that point on, the individual carries out parallel lives: one propelled into continuous change, the other frozen; one guided by subjectivity, the other by the narrative interpretation of others.

Andreas Greiner b. This April the Kunstverein Heilbronn presents a solo exhibition with new a soundpiece and photographic work. Was verstehen wir heute im Zeitalter der Digitalisierung und synthetischer Biologie unter Natur? Die Treppe zum Ausstellungsraum herunterkommend steht eine in Neusilber gegossene Skulptur, die eine Zellteilung darstellt. Diller realisiert worden sind. Andeas Greiner geb. Seine Arbeit wurde in zahlreichen Einzel- und Gruppenausstellungen in sowohl nationalen als auch internationalen Institutionen gezeigt.

Berlin is more than concrete, it is a revolving and evolving cut and pasted being. As we shift and shuffle along its many pathways we imprint upon it our own mark, but let it not be underestimated the extent to which it itself imprints upon our souls. These include spoken word dancers, comedians, dancers, photographers and visual artists.

In their own unique language they collaborate to explore the importance and necessity of re-imagining Berlin. It seeks to underscore the importance of unpacking polarisations and cyclical patterns and radically re-think how we address, tackle and perceive these all-important challenges. The bar at the venue will only be serving non-alcoholic beverages.

Tickets 7 Euros at the door before 7. One Solution Revolution: the entire floor of the gallery is being converted into a treadmill — it will be impossible to view the works at a standstill because the virtual standstill can only be achieved by uniform movement. Visitors are encouraged to experience the endless movement, albeit not alone, but collectively at the same pace.

But in the performance Ecocentric System it was the artist himself who spent nearly a week sitting on a concrete wheel that turned so fast around his own axis, that for him the outside world was barely recognizable. The artist, surrounded by people, could hardly perceive the world outside his system and inevitably everything began to revolve around himself. Now there is a change of perspective and von Bismarck takes the audience into view. It creates a whole new viewing situation that does not tolerate passivity.

Louis, USA Dwell in Other Futures is a two-day festival of art and ideas exploring the collisions of race, urbanism, and futurism, providing a platform for alternate visions of the St. Louis to come. Landscape design is an art form that co-produces knowledge, memories and stories through performance, perception and participation. When the design of our public spaces is inclusive, it becomes democracy in action. Civic values are spatialized and can be negotiated as a material dialogue articulated through critically oriented play.

You are invited to co-materialize a spatial design ritual welcoming the St. Louis Chouteau Greenway. Each platform will be provided with a bullhorn. Everyone is invited to make statements up to 3 minutes in length. This can be playful, political, philosophic or poetic. You are invited to make a statement. Please bring poems, songs, something to read, something prepared, something improvised. All ages welcome. All species welcome. For the period of Berlin gallery weekend and the second time in its history, the square meter studio spaces of Lehderstrasse 34 will host an incredibly diverse exhibition of paintings, sculpture, multimedia, installation, film and photography.

In the exhibition the works approach subjects that deconstruct repetitive structures such as memory, history, language questioning concepts of perception, knowledge and reality. Behind these ancient and modern facades, narratives are derived and accumulated via the natural and artificial materials that make up the city. Contrasting grand architectural gestures against the prosaic, the film interrogates how the modern production of spaces preserves identity, yet also has the capacity to generate cultural amnesia.

Using basic equipment and partly self-built instruments, sounds were created — a conscious counter-concept to the contemporary mainstream. The extensive supporting programme consists of a series of concerts, film showings, panel discussions and an interdisciplinary symposium. Censorship and scarcity produced richly imaginative and frequently ironic types of work. The exhibition presents a selection of contemporary testimonies, some for the first time, including musical instruments fashioned by the artists themselves, Super 8 films, Samizdat magazines and documentary recordings of performances.

This exhibition and concert programme returns the story to its birthplace, forging new bonds with the contemporary music scene. NOWs: Andreas Greiner. The music for the video composed by Tyler Friedman is an acoustic reproduction of the visible movements on the surface of the skin. It is these wonderful, sometimes magical phenomena of nature in all their intriguing facets that Andreas Greiner first captures scientifically, and then translates into an artistic language to thus make them accessible to the viewer and, yes sometimes, to even celebrate them, as in the images of the squid.

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Within the framework of scientific test arrangements, Andreas Greiner examines certain characteristics of living beings and transfers them into the context of art. Nature as the point of departure for his work and the scientific methodology as his artistic approach are combined in his works with a clear aesthetic position that does actually suggest the notion of a living sculpture. As might be expected, there is in his work a concern for the living being itself, for the animal as part of our world.

In this work, he portrays four chickens: Heinrich, who is photographed in traditional semi-profile; Karl, with an X-ray of the skeleton; Elisabeth, who is represented by a DNA analysis, and Margarete, where he presents a histological section of her breast tissue. In allowing the animals to leave the anonymized field of living beings by naming them and applying traditional portrait formats, Andreas Greiner also criticizes the anthropocentric view that the value of nature results from its usefulness for humans, while clearly refusing his consent.

It serves to preserve the memory of the tortured creature, optimized by continuous breeding for faster and larger meat growth and for the living conditions in factory farming. The transfer of the skeleton to a monumental scale using a 3D printer is an artistic act.

To the viewer, its result might hardly be recognizable as a chicken, but rather be identified as a dinosaur such as in a Natural History Museum. In its November 18 issue, the FAZ newspaper interviews the American writer Jonathan Franzen about his penchant for birds, and he substantiates his love for these animals with the eternal wonder that they are among the oldest creatures on Earth.

It is, he says, as if I am looking at a flying dinosaur. Last but not least, it is also about the question of the creation of life — as an artist and also as a scientist. Andreas Greiner, born in Aachen, initially studied medicine and, after his Physikum, he switched to the field of art. He concluded his studies in as a master student of Olafur Eliasson. Andreas Greiner has realized a new work for this exhibition.

TEUFELSKINDER von Jules Amedée Barbey D'Aurevilly

High definition CT-scan of a dead-found broiler chicken, 3D print, Installation view. Im Rahmen wissenschaftlicher Versuchsanordnungen untersucht Andreas Greiner bestimmte Eigenschaften von Lebewesen und transferiert sie in den Kunstkontext. In ihrer Ausgabe vom Diese Frau, ein Pfau im Schein der Baustrahler. Sie entwirft eine Erinnerung. Ein Wesen ihrer kollektiven Kunstproduktion ist das Prozesshafte zu zeigen, entsprechend dazu arbeitet sie mit verschiedenen Medien.

Ziggy and the Starfish consists of a mechanical waste processing crab, a film exploring the diversity of sexuality in the ocean, scientific interviews and moving singing stones dating back millions of years. And to make an end is to make a beginning. A documentary. In it became clear just how appropriate and fateful the choice of name would prove to be, for that was when Tambora became active, triggering what was—and still is—the largest volcanic eruption in recorded human history.

But it produced other colours, too. The sunsets changed due to the countless aerosols in the atmosphere. The works created by J. Turner and Caspar David Friedrich during this period exhibit a remarkable spectrum of colours. It has been argued that both painters, as chroniclers of their time, consciously chose to depict the differences in sunlight. A warm, bright red, oscillating between an orangeyyellow and autumnal brown—this is the colour of palm oil. It is extracted from the fruit of the oil palm, forming a raw material that is nowadays present in nearly half of all supermarket products.

From margarine to chocolate, from lipstick to skin cream, from candles to washing powder, the fruit of the oil palm forms the basis of them all. Although the material has almost universal applications, far less is known about how and where it is extracted, or about the consequences associated with the harvesting process.

The growth in oil palm plantations has resulted in monocultural farming, ground poisoned by pesticides, and rainforests cleared to make more land available for agriculture. Entire swathes of land—primarily in Malaysia and Indonesia—are changing in appearance. Thanks to the fixed grid pattern used for planting palms, a completely unique visual rhythm is in the process of being created. What from the air looks like a seemingly infinite mesh of lines is actually the star-shaped crowns of domesticated palm trees, all thronging together. Paths cross and connect the land area. Under the treetops extends a barren landscape, strewn with fallen palm fronds and partially covered with grasses and ground cover plants.

An infinite loop of hard, electronic rhythms cuts through the infinite peace and quiet of the field full of trees. A palm oil plantation shudders, shaken by light and sound. The scenery fluctuates between tempting and threatening. The eponymous series of works extends over the three horizontal spaces of Kunsthalle Mainz, following a set choreography.

Step for step, room for room, the visitors approach a rave. They follow the rhythms and sounds of electronic music, becoming ever more submerged in a setting veiled by wafting mist until they reach the heart of the exhibition: a film shot in a palm-oil plantation in the Far East. It is a film that persuasively presents the excessive, exploitative decimation of nature to visitors who are intoxicated by music.

The ubiquity of palm oil as a material is analogous to our total lack of interest in how it is produced; the physical absence of people changes abruptly into the omnipresence of their actions. At the same time, they conjure up collective trance-like states and experiencing the transcendence of time.

Women Phenomenologists on Social Ontology

On the occasion of the exhibition a publication will be released. Ganze Landstriche — vorrangig in Malaysia und Indonesien — wechseln ihr Erscheinungsbild: Durch das starre Raster, in dem die Palmen gepflanzt werden, entsteht eine ganz eigene visuelle Rhythmik. Farbige Blitze erhellen die dunkle Nacht in einem dicht bestellten Palmacker. Harte, elektronische Rhythmen in Endlosschleife durchschneiden die endlose Ruhe des Baumfeldes. Juni, 19 h Vortrag von Prof. The exhibition runs in two consecutive sessions. Adbar is an Amharic term that refers to spiritual places where ritualistic performances take place and offerings are made.

These spiritual places also serve as communal and public spaces, also for secular community gatherings. The project investigates the embodiment of protective spirits within various elements of the natural landscape. Growing up in Dessie, northern Ethiopia, Robel Temesgen witnessed the fading of this long-established tradition and the subsequent development of new rituals, in tune with contemporary lifestyles. The Adbar series navigates through the physical and metaphysical elements of a landscape using recollections, lived experiences and fantasies of the space and people of sacred places.

He currently lives and works in Addis Ababa, Ethiopia. Werner — return with their most inventive album to date, Dimensional People. The new album finds the Berlin-based duo reunited with Thrill Jockey, a powerful aesthetic partnership marked by such seminal albums as Radical Connector , Idiology , and Niun Niggung After a series of notorious dance floor releases, Dimensional People reveals them working deep within their own vernacular, digging into fertile terrain of their inexhaustible vault of digital and acoustic experimentation, and charismatically making elemental components new again.

This album makes clear how their craft is of discovery, of finding new contexts for places, sounds, memories, sensations, ambiences, technologies, relationships, and of course, people. The cast of characters are as unique as they are vast, clearly a rich quarry for the prodigious duo. Dimensional People, initially titled new konstruktivist socialism, gives each participating guest a platform to imprint the album as whoever or whatever they want to be: a narrator, a perfect moment, a jam, an ensemble member, an abstract sound, a multiple persona, a mood, a soloist.

Originally premiering as a spatial composition using object-based mixing technology playing with the possibilities of sonic design and collective musicianship, the recording expands upon these ideas. Dimensional People expresses itself as a dynamic piece orchestra, telling a story in sound. Each player is a multifaceted character, the recording an imagined stage, and the production is direction, lighting, and setting changes.

Mouse on Mars offer sound as a means to encourage open-minded societies, aided by cutting-edge technology including their own MoMinstruments music software or a spatial mixing technique called object based mixing, with which a spatial version of the work was created. It is a conceptual puzzle composed around one harmonic spectrum within one rhythmic scheme, mostly in the tempo of bpm inspired by Chicago footwork, so the dance floor is not entirely absent. Looking ahead, Dimensional People will also be realized through installation, presenting the work as an immersive listening experience, as well as performance.

CD version in mini-LP style gatefold package. See here. The entrance to the room goes through a narrow little twisted staircase. In other words, when you enter the room, you really get the feeling of being underground, in another world. For the exhibition ABYSS, Rune Bosse and Anna Bak have created an installation in which their individual works and practices interact with each other and with the room. Below the surface of what is visible to us, a lot of processes are at work. There is fungi, bacteria, roots and spores in everything, they interfere and all about everything, but maybe these elements also help to keep up with it all and without these intrusive forces it would all fall apart.

A world where organic forces work both to intervene in space and keep the room up, a processual transformation on the verge between total decay and a stage immediately before rebuilding. The sound in the room is an enhanced version of the Schumann resonance. NOWs: I travelled 1. Anne Duk Hee Jordan: I traveled 1. Specific installation with stone and a fishing net between existing buoys NOWs: I traveled 1. Glacial erratic stone are not native to our region.

During the last ice age, the Saale Ice Age, around , B. Later as well, foreign stones ended up in Bruges when the city was part of the Hanseatic route, a maritime trading route from Estonia to France. They were used in monuments, churches and cemeteries. The stone hangs between two buoys and it appears as if it were being held up by a net. These sorts of buoys are used to guide ships navigate to their destination.

It thus appears as if the stone, after endless roaming, has at last reached its destination. The illogical structure, contrasting the blackness of the stone and the lightness of the net, creates a tension between perception and reality. This also leads to the question of how the stone ended up in this spot. Was it by means of natural migration or via recent transport by humans? As a result of its unusual position, the stone seems to have its own personality. The stone is an itinerant witness that observes human activity.

It reminds us of the transience of human life, while the stone itself is immortal. Find location here. It is a project, launched in , in which the sea often plays the main role. In Beaufort , the sea will be illuminated as a place that is both uncontrollable but at the same time links us to the rest of the world. Every participating artist comes from a country that borders on the sea. An underlying theme of this edition is the role of permanent monuments.

Ivana Franke: Retreat into DarknessTowards a Phenomenology of the Unknown Human perception and the exploration of the unknown have been the subject of artistic investigation for centuries. She examines our perceptual processes when we confront something phenomenologically unknown. Pont, and Anil K. Pont, Bilge Sayim, Anil K. Muss sie um uns werben wie ein Schaufenster um ungeduldige Passanten?

Muss sie es uns leicht machen, darf sie schwierig sein? Miriam Jonas, whose works often move between the poles of perfect surfaces and their immanent, covered uncanny effects, overlays the bear cages with a new layer of material. Hybrid visual references form a scenario in which an anthropomorphisation is taken literally and the formal species-neutrality of the prison architecture becomes tangible.

What is the effect of an optimisation of the conditions within the cages while maintaining functionality? Their glow in a dark room mentally leads us back to the origins of all life. In the outdoor enclosures, a biotope for algae is forming — a project with architect Ivy Lee Fiebig, who, living on-site, enters into a symbiosis with the algal bloom in the creation of a biological cycle. Poetry Jazz: Wax and Gold. NOWs: Muster Raum.

NOWS archived

Marc Wellmann, Anette Ahme, Dr. How do we want our city to be viewed? Berlin is changing rapidly and we have to ask ourselves in which direction we are heading. On 24th and 25th of March their room interventions and conceptual works will create a space for discourse that is completed by a panel discussion on Sunday, 25th at pm. Thus, as soon as places are endowed with meaning and buildings are capitalised to embody certain visions of the future, decisions have to be taken.

Whether a ruin is left untouched or being demolished, whether reconstruction seems reasonable or rather the composition of an entire new building: Either way a new factuality is set up. So what kind of Berlin is developing there right before our eyes? But the aim is to rebuild the whole Bauakademie.

182nd Knowledge Seekers Workshop, Thursday, July 27, 2017

If yes, would this mean to stick to a reconstruction true to the original or would this require a contemporary interpretation? And what kind of events shall be installed there, which contents have to be conveyed? Commonly, those thoughts are being discussed in architectural offices, museums or in ministries, but not within the specific premises at the centre of discussion. We want a debate that is closely linked to the place where it belongs.

Since its inception, photography has harnessed not only light but also the technical skills to capture one moment in time. These are complemented by the work of the renowned photographer Erwin Olaf, whose series Waiting addresses the insufferableness of waiting. Olaf also addresses the tremendous upheaval in Chinese society in his current series, Shanghai, which is exhibited for the first time in Germany. Magic Feelings is an unusual series of black and white portraits by the German photographic artist Thomas Wrede, which catch the enraptured, almost indefinable facial expressions of people in the breathtaking moment of the steep descent of a rollercoaster ride.

These works can be read as social commentary on our exceedingly digitised and efficient times, which leave less room for the useless, boring or unpredictable. Seit ihrer Erfindung verbindet sich mit der Fotografie nicht nur das Licht, sondern auch die technische Fertigkeit, einen einzigartigen Moment des Lebens festzuhalten. Vom See program. The multi-lingual performance comprises slam poetry, electronic music sampling, live beats and cascading vocals, celebrating inclusive expressions of gender.

Named after the most poisonous snake on the planet, The Black Mamba transmutes poison into medicine through an urban contemporary sound. She bridges the worlds of jazz, soul, electronica, Indian classical, opera, cabaret, afrobeat and hip-hop. Natasha Mendonca is an award-winning filmmaker and electronic musician from Mumbai, India. The Hungarian artist, raised in Budapest during the years of socialism, combines her own background with a wide variety of social and cultural aspects she has found in the several Western nations she has lived in over the last twenty years.

What emerges is poetics rooted in the dichotomy between culture of origin and need for integration. Each work is closely connected to the socio-cultural situation where it was created, so Paradise Lost is presented as a reflection on the reinterpretation of marxist-leninist ideology by Bolivarianism and communist guerrillas in South America, in a context that is different and far from what the artist knew first-hand during her childhood in Hungary. Colombia is a diverse country, recovering from fifty years of civil war. On paper, it is a rich nation both naturally and from a humane point of view: the hospitality and general good mood of Colombians make this country seem like a real earthly paradise.

Actually, a less superficial analysis, which takes into account the games of power, war, the internal struggles between the government and the guerrillas, reveals all the violence and poverty that affect this territory and make is a real hell. In Colombia, she collected direct testimony from people who wanted to share their stories with her.

Specifically, the Hungarian artist takes inspiration from the second book, dedicated to the Inferno, where Milton describes conflicts between various military and political factions, combining them with the fifty-year war fought in the Latin American country and only formally concluded. The interest in the socio-political mechanisms of the situations examined for her artistic research, as well as the active participation and attention to the cultural facets of the places experienced in person, intertwine with that need for nomadism so closely interconnected to daily life, which becomes, for her, raw material and inspiration, as well as a real way to approach life and what surrounds her.

She has won several grants eg. She has won several grants e. NOWs: Welcome to the Jungle. The show brings together several hundred works, which show, for example, how objects used to be presented in early cabinets of curiosities, which forms of display emerged in the 20th century, and how art is presented today. A historical section in the main galleries of the Kunsthalle will form the prelude to the exhibition itself.

It includes two of the earliest known examples of photographs documenting an exhibition. Even earlier forms of exhibition will be illustrated by means of floor plans, hanging plans, images of galleries, and tools of display, such as historical showcases and pedestals from the 17th and 18th centuries. Another focus, also shown at the Kunsthalle, will be the art of the exhibition in the 20th century: this was a time when new approaches to displaying were experimented with, often by the artists themselves. Some of these were so extreme as to have remained revolutionary to this day.

This is presented as a digital reconstruction and re-interpreted by Polish artist Goshka Macuga. For example, museum carpets and benches have been playfully reworked into elaborate choreographic objects. In addition, the exhibition can be experienced outside the premises of the Kunsthalle itself. Current works attest to the fact that almost any site can be transformed into a temporary exhibition space by the mere creation of a curatorial situation. It is in this sense that the exhibition will conquer the urban space of Baden-Baden: shop windows, a bridge which crosses the river Oos, even the trees of the famous Lichtentaler Allee will be turned into exhibition spaces.

Amid all the changes in the centuries-long history of the exhibition, there has been one constant: an exhibition is not an exhibition without its audience. In the fast changing character of Addis Ababa, the coffee spots have become an integral part of everyday life in areas ranging from the fancy multipurpose malls to the demolished as well as new construction sites in the city. Focusing on artists whose practices explore methods of self-preservation, the featured work demonstrates how gestures of resistance can be choreographed through performance and communal action.

The program includes a performance by Analisa Teachworth, in collaboration with Jonas Wendelin; video screenings presented by Jacksonville-based artist Redeem Pettaway; an exploration of surveillance, control, and seduction by Julia Scher; and live concerts from Zsela and Deli Girls. The program is complemented by additional programming presented throughout the museum, including an ongoing performance by Michelle Young Lee examining the labor of care, a video installation by Sara Hornbacher, and a recital situated within an environment created by Sarah Zapata with poetry and readings from Zapata, Maya Martinez, Rin Johnson, Sophia Le Fraga, and Natasha Stagg.

They mostly slept, were fed only inside the bear pit out of public view, and freed from their representative role. Periods of rest in which physiological processes shut down, mental tension subsides and where consciousness shifts between vague perception and purposeless actions, are disharmonious with neoliberal performance orientation. In her previous works, Linda Kuhn has addressed the withdrawal from goal-orientated action.

With protective cladding for sculptures, she creates retreats for the elements found within the enclosures, and in the process, ascribes to them new plastic qualities. By means of architectural interventions that circumvent habitual perceptual patterns, Alvaro Urbano deconstructs relations between inside and outside, dream and reality.

Considering hibernation, he suspends the bear cages from their intended use and focuses on the imaginary potential of their immured and barred architecture. The question then of what bears dream about ultimately reflects hibernation itself as a space of the imaginary. Courtesy the artist Fotos: Katharina Rose. These serial results often remain arrested in the form of an infinite loop or seem to circle infinitely onward. Both artists share an interest in these issues: they encounter one another for the first time in the exhibition Space Coordinates.

In this way, a bright, semi-transparent ring is created made of wax with a visible wick, where the candle is shifted as a light source and instrument for measuring time in the form of a loop. In a chain of wood over twelve meters long entitled Everything is not lost , Schuiki reorganizes found tables and chairs from the streets of Shanghai into a regular arrangement of points in space.

Here as well, beginning and end are linked to one another and the resulting endless loop recalls popular prayer beads. The new series Hand consists of abstract photographs that Schuiki prints directly onto glass: the motifs turn out to be chance shots taken with cameras on mobile phones showing the inside surfaces of hands. The portal of the touch screen, constructed for tactile permeability, is reversed to a blocked view and gains an unexpected power as a photograph.

The window as a light source for the architectural interior is repeated in analog slide frames as a mediating window through which the light falls to produce an image. Kuimet casts the light image back onto a wall and this results in images of blinded windows, additional windows in the exhibition space.

The window as a window as a window thus remains in the projector box while the slide carousel continues turning. The work , developed as a black and white film, takes this as a point of departure and shows a sculpture from by Estonian artist Edgar Viies. The viewers walk around the filmed object on the screen. At the same time, both artists do not view these periods in a nostalgic way. Instead, they cast a contemporary view of art of the s and s that is programmatically expressed in the title of an earlier work by Schuiki: Condensation Modernism.


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Works of Kuimet are in the collection of the Espace Photographique Contretype, Brussels and the Carousel Colletion, as well in many private collections in Estonia. In Nina Schuiki received the work and research scholarship of the federal state government of Berlin and the project scholarship of the chancellery of Austria. Nico Anklam is an art historian and curator. Most recently he realized a traveling exhibition and performance program around the Fluxus composer Henning Christiansen between Denmark and Norway.

Currently he works as a research fellow at the University of Greifswald on art and image production of the 19th century in Northern Europe and its colonies. The conversation will be held in English. Januar , 17 — 20 Uhr Ausstellung: Januar — Diese seriellen Resultate verbleiben oft in einer Form von Endlosschleife arretiert oder scheinen sich unendlich zyklisch fortzusetzen. Nina Schuiki enthebt in endless candle eine Kerze ihrer Licht spendenden Funktion und streckt sie soweit, dass sie zu einem Kreis verschmilzt.

So entsteht ein heller, semitransparenter Ring aus Wachs mit sichtbarem Docht, in dem die Kerze als Lichtquelle und Zeitmesserin in die Form des Loops verschoben wird. Kuimet wirft das Lichtbild neuerlich auf eine Wand und so entstehen Bilder von verblendeten Fenstern als weitere Fenster im Ausstellungsraum. Kuimets Film konserviert sie in diesem Zustand um sich selbst kreisender, konstanter Neuausrichtung auf einer beidseitig einsehbaren Leinwand.

Kuratiert von Nico Anklam Paul Kuimet geb. Nina Schuiki geb. Nico Anklam ist Kunsthistoriker und Kurator. Jahrhunderts in Nordeuropa und dessen Kolonien. Januar, um 19 Uhr. The church was jokey, but not a joke. It had a deity, called Who, to answer the mysterious questions of the universe. What does the future hold? Who knows. Matthias Sohr, Strut, The dream of grasping phenomena in their own language has long animated scientific endeavors, offering an irresistible provocation to the arts.

Observation and experiment are typically treated as diametrical poles of experience. In contrast to the passive innocence and receptivity of observation, experiment carries the connotation of action, intervention and manipulation. And yet experiments are frequently contrived for the precise purpose of rendering phenomena observable that would otherwise fall outside of the range of our sensory perception or technological detection.

Particles are scattered, model organisms are bred, dyes are released in bloodstreams and waterways in order to reveal latent images and trigger our capacity to notice possible configurations of the world. In the work of Urbano and Schuiki, shadows, gusts of wind, and rays of light are arrested in their path as if noticed by the peripheral vision of the walls themselves.

Activating perspectival alternatives to the manner in which spaces and objects may perform for the camera, Jo proliferates politics of observation and calls them into dialogue. Caught in the act of observing and being observed ourselves, our capacity to distinguish between reality an illusion is tested—and with it our desire to touch a world beyond that of our own making. The above text excerpt is contributed by Dehlia Hannah. Beobachtung und Experiment gelten normalerweise als entgegengesetzte Pole der Erfahrung.

Der oben stehende Textbeitrag ist von der Autorin Dehlia Hannah. Engagement with everyday objects plays a fundamental role in this process. Despite their sculptural nature, the objects also thematise essential issues of painting, such as the treatment of colour, form, structure and framing.

Ibarra develops the procedural character in the form of performance, which he will show at the opening of the exhibition. Their ephemeral existence is based on childhood memories, physical feelings and Shakespearean plays to find resonances in the body of the visitors. The goal is to create a bridge between the university and the art world. The jury was composed of: Prof. A woman was buried in the floor of a kitchen in her hometown, she remained still for an hour. Rafael Ibarra: Untitled ; Installation; Woman, rope, 20 min. A woman was tied to a tree in her hometown.

Throughout the duration of the piece she remains silent contemplating the landscape. Ab dem Trotz ihres skulpturalen Charakters thematisieren die Objekte auch wesentliche Fragen der Malerei, wie z. Ibarra zeigt u. Mit dem Preis ist eine gemeinsame Ausstellung und ein eigener Katalog verbunden. With Public Science, Matthias Sohr gives an account of things we encounter in our cities on an everyday basis without us paying attention to them, and yet they are in constant dialogue with our bodies.

His sculptures — whether incorporating armrests, bathroom structures or floor markings — endorse shapes and reliefs that are as much a part of art history as they are of the street, thus integrating our everyday life at the price of an almost unconscious assimilation. He lives and works in Lausanne. The exhibition completely appropriates the three stories of the gallery. On the basement level, metallic cigarette butts and withered leaves linger on the floor next to an invented infrastructure made up of paper pipes and paper ventilation shafts.

One story up, paper and cardboard boxes—made out of metal like the letters—are scattered across a grey carpet, underneath the suspended paper ceiling. A corridor guides the viewer past shut office doors. Upstairs in the attic, unaddressed letters pile up below the mail slot in the entrance door. Their bent flatness and their generic papery presence resembles the spaces downstairs, they too are backgrounds for unidentified protagonists. All the artefacts and infrastructure on show were made by Urbano, using paper with printed textures and hand-painted metal. The effect of this camouflage is a mixture of stepping into the everything-is-possible realm of a rendering window where texture-tiles are seamlessly plastered onto cylinders, spheres and squares, and touching the actual fragility of a physical sketch model.

An office space feels real to most of us, although the generic office itself, much like the mythical non-place, is a powerful illusion. It is meta-fiction composed of a grey carpet that fits but not perfectly, a suspended ceiling with light and acoustic panels, cardboard boxes that have contained office supplies and documents, stacks of loose paper that fed a bulky photocopy machine—I think of office gossip and bored interns. And yet, Altbau is weirdly dreamlike, it is other and it is inverted. The installation invites the viewer to step in for an absent protagonist-inhabitant of this abandoned office and its locked rooms, and it simultaneously prevents any interaction.

The installation excludes and frustrates on a material level: if you were to look for traces or information in one of the sealed letters, its metal edges would resist viciously. This is what it feels like to fall in and out of fiction. Text by Natalie P.

NOWs: Responsive Design. Mit seinen Installationen, Videoarbeiten und Performances untersucht Julius von Bismarck den menschlichen Wahrnehmungsapparat und fordert unsere perzeptiven Gewohnheiten heraus. In welcher Beziehung steht Unbestimmtheit zum Wissen?

Kuratiert von Dr. Ivana Franke: Animated Sphere, Due to limited capacity, please RSVP to bobspogobar kw-berlin. Many paths lead to Europe. The most dangerous is the sea route. Azimut is an attempt to rethink artistic contemporaneity. Azimut is political; it is narrative and full of poetry. In the Winter of , Raul Walch travelled to Lesbos. This, the first of several visits, marks the beginning of Azimut. In nautical terms the Arabic word refers to the intended course, or azimuth, of a journey from beginning to end.

In navigational terms the north is a reference point. For those who have chosen the route across the sea, the north encompasses both hope and horror. Time and again Walch has explored global migration flows — investigating and deconstructing their materiality. The question as to whether an artistic idea can become a product remains pertinent throughout his work. In Azimut he takes it one step further: can an artistic idea save lives?

From discarded tarpaulin he fashioned colourful kites. The temporary architectures of Arrival Cities have long become symbols of instability and uprootedness; in Azimut they are structures of freedom and empowerment. Where there are kites there is humanity. The next step is to turn them into Rescue Kites; lighthouses flying above the water to direct the ships; fluorescent mosaics in the wind that oppose the politics of nationalism. The book contains texts by Paul Feigelfeld and Alexander Karschnia as well as a conversation with Olafur Eliasson and drawings by the artist.

It appears in an edition of copies and has 12 differently designed covers. Es erscheint in einer Auflage von Exemplaren und hat 12 unterschiedlich gestaltete Cover. Zum Buch sind zwei Edition entstanden. NOWs: Spaces of Commoning — a book launch. Free entrance. With Stefan Gruber, Moira Hille, Annette Krauss and Julia Wieger Spaces of Commoning: Artistic Research and the Utopia of the Everyday is the outcome of a research project pursued by a group of artists, architects, and social theorists, who, in the face of exhilarating politics of accumulation and dispossession, explore commoning as the subject as well as the means of their collective study.

The power of the commons, this book suggests, does not reside in the promise of a coming together free of friction. As different dimensions of power organize the terrain of the social, social movements are often caught between competing agendas, and in the gap between aims and everyday life.

It is precisely the sites of these struggles that the book calls spaces of commoning. As such, this study is part of a much wider recognition of the necessity to rethink and undo the methodological premises of Western sciences, arts, and architecture, and to raise unsettling questions on research ethos, accountability, and the entanglement of power and knowledge. Woven together by a serially enlisted cast of agents, the project engages in a wider discussion of globally enabled and dismantled forms of exchange amidst a late-capitalist networked production.

To facilitate small-scale distribution, transport of our books, zines and perodicals is carried out by LIGHT LOGISTICS, a person-to-person network enabled by the surplus carrying power of couriers engaging a mobile space for intimate and flexible forms of reading. All artworks have been conceived for the water, and visitors are invited to swim, row or sail between the works. Instead of the usual foundational elements of walls, ceiling and floor, in this exhibition the artists have to deal with water, weather and wildlife.

Even the water is not entirely reliable, with the water level varying depending on rainfall and industry. In the absence of the kind of certainties they are used to, the artists had to rethink their methods of artistic production and presentation in order to develop new works especially for the exhibition. The second part of the exhibition takes place from 28th July until 10th September at Kunstverein Arnsberg, and in August on the river Ruhr. The project will be further expanded by workshops on location with students.

There will be a comprehensive education programme with guided tours from the lakeside and on the water. Entry, tours and performances are free. Contact: info odyssey. Der zweite Teil der Ausstellung findet in Arnsberg statt: vom Juli bis zum September im Kunstverein Arnsberg, sowie im August auf der Ruhr. Kontakt: info odyssey. Into The Wild presents a table of long forgotten herbs, edible fragrance flowers, and ancient root knots.

The visitors are invited to take part in an enjoyable adventure of their own perception and to consume in direct access to the presented fruits. The dinner table becomes a lavish heterotopy. It refers to crops which were formerly offered in the local markets, and have almost disappeared. Such as The Night Candle, originating from North America, used to be one of the most important medicinal plants. In the 16th century, it was brought to Europe as an ornamental plant and cultivated in gardens.

One quickly learned to use the potential of the plant as a vegetable. Die Tafel stellte eine lukullische Heterotopie dar. Im Into The Wild wird ein sinnlicher Geschmacksspaziergang werden. Constanza Macras and her Company DorkyPark take up a diachronic perspective from the past and present to look at self-representation, spanning from classical portrait painting to historical photo documents to digital selfies taken with mobile phones.

THE POSE deals with memory in relationship to the physical architectural space and the collective memories it carries. Funded by HKF — Hauptstadtkulturfonds. The permeation of graphics, sculptures, architecture, movement, and sounds with mathematics, optics, physics, and neuroscience in their work leads us to experience sensations that seem to be outside of our sensory limitations. Furthermore, they approach their art as mechanisms that simultaneously produce and uncover limits of perception.

The interdisciplinary nature of the exhibition connects to the history of the Museum of Contemporary Art: the neo-avantgarde movement New Tendencies, to which a part of the permanent setup of the museum is dedicated.

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The exhibition Perceptual Drift Galaxies in Mind by Ivana Franke takes visitors on a journey through various levels of artistic exploration by analysing our visual and spatial perceptual thresholds. Starting with a complete visual relocation in a series of installations in dark spaces, leaning on bodily sensations in intentionally unstable optical conditions, it continues on to a series of objects and prints—models meant to exercise visual comprehension and awareness of invisible structures that comprise the image of the world, revealed through quasy-hallucinatory visual experiences in the observers minds.

After the initiation path that starts as a complete dizziness, we move on to rational constructs and spatial speculations, and ultimately towards a conscious experience of vast unknown areas permeating our minds and the phenomenal reality. They use them as a scenario for the construction of impressive audio, kinetic, and optical installations, which take on the particularities of the exhibition spaces, thereby opening the possibility of endless site-specific adaptations.

Every sensation is open to personal perception, reflection, and, finally, randomness in terms of completely personal experience that leaves behind the limitations of everyday cognition. Ivana Franke is a visual artist based in Berlin. In her works, she investigates the interface between perception, cognition and the environment, focusing on perceptual thresholds.

Her most recent exhibition, Retreat into Darkness. Other exhibitions include Manifesta 7, and MoMa P. They represented Nordic countries at the 49th Venice Biennial and participated with a solo show at the 27th Sao Paolo Biennial. Wooden construction, polystyrene panels, white LED-lights, micro-controller, bench. Frequency range of flickering lights: 10—33 Hz. Each flash duration 6 mins. Duration of the sequence 6 mins 24 secs. Courtesy of the artist. Werner and Dessner brothers. On July 6, the feedback channels converge with each other during an installative performance in Athens.

The eight composition fragments each consist of a continuously modulated feedback channel based on a harmony. This results in oscillations, binaural pulses, and sound artifacts. Traditional techniques of orientation in music are pushed beyond the limits of comprehension. Glottal Wolpertinger deconstructs the principle of the musical drone, the timelessly dense, continuously spreading mass of sound, and uses idiosyncratic, abrupt movements to break with the traditional object character of music. The piece culminates in a live performance before an audience at Romantso in the city center of Athens and then breaks down.

A stereo version of Glottal Wolpertinger as a white CD-R with stamped date, white screen-printed cover on black card sleeve and printed insert is available via farbvision. NOWs: Triangular Project. Participants will develop and exhibit a personal project. They will also be encouraged to reflect on their personal artistic practice and that of their fellow artists.


  • A TALE OF ONE CITY: TOPOGRAPHIES OF PRAGUE BEFORE 1848.
  • Your Agency: Handle With Care.
  • The Scottish Political System Since Devolution.
  • An Eye Is Born (The Green Eye Saga Book 1)!
  • A TALE OF ONE CITY: TOPOGRAPHIES OF PRAGUE BEFORE - vobylusesuje.tk!
  • Table of contents.
  • Books by Ute Frevert.
  • All the info at www. Experimentation is their main tool in approaching the environment. They consider the process as important as the final work of art. Collective work, side by side with invited participants, unfolds into a shared creation of knowledge. NOWs: The Seekers. Each artist works in their own manner to reach subconscious mind states, specific feelings and new ways for creative exploration.

    The outcome of this activity is an unexpected mix of work that crosses subjects including feminism, Buddhist philosophy, architecture, olfactory senses, yoga, botany and running. NOWs: Produktion. Made in Germany Drei. Felix Kiessling: Your map is not correct anymore. The group exhibition pursues the questions of how geographical, political, and institutional structures as well as new technologies are creating important conditions for the production of art in the course of the digital turn.

    In an art landscape that, by international standards, continues to have a unique concentration of institutions art academies and colleges, art associations, and museums , the German scene is a major international site for the production of and discourse on contemporary art. The exhibition focuses on artistic positions that address production processes and examines the sites at which it is produced and presented.

    Besides processual approaches, by way of examples it investigates forms of production that direct the spotlight on network concepts. This becomes palpable based on collective approaches and time-based presentations in which the body and the social attain altered visibilities. As participating institutions, the Schauspiel Hannover, the Festival Theaterformen, and the KunstFestSpiele are contributing the first time, supplementing the question of production and site with additional projects and thus highlighting the changing production conditions of theater and performance not only in spaces of visual art.

    Juni The film moves through the different layers of the museum, revealing that which is otherwise unseen. The soundtrack is created by Robert Lippok. Tilt, 13 min creates a contemporary parallel of an Enlightenment World, employing current museological digital imaging technologies as devices to penetrate the surface of scientific and artistic objects. The film uncovers how new 3D imaging techniques utilized by museum conservation departments bypass the need to directly incise into material culture, instead providing a surrogate and abstracted experience of objects for public consumption.

    NOWs: Tempus circularis. Fagus sylvatica. By Rune Bosse. Rune Bosse: Tempus circularis. Fagus sylvatica, During the days of May 22nd — June 4th a. In the course of these 14 days we will share our current work processes within an open collaborative workspace. We aim to create a poly-central gathering that is self-structured, self-organized and open to contributions from anyone. You are cordially invited to join this process by establishing your own space in the a. The materials and structures available at a. The schedule for these two week will be developed on site by its participants and shared online on the a.

    Here are some key ideas which have informed similar spaces before: encountering processes The potential of this setup is that it allows us to encounter each others processes instead of products of our artistic work. Processes are much more difficult to make visible and to see as they require a different mode of attention and participation. The attempt to witness a process requires a change in the temporal mode and in the mode of being-together in the collective space.

    Anybody is welcome to joint the collective space for any time span, respectful of the fact that Settlement is a predominately a workspace. Although the time frame is short, we hope to create a space that would be engaging to the students, faculty and visitors of the Academy.

    This strategy produces a space that is fragile, self-made, and constantly changing. We believe that such a space influences the sociability within it towards similar qualities — towards a more fluid social contract. In asking for a hands-on construction and deconstruction of its makeshift set-ups, such a space allows for a quicker change of settings and a decentralized mode of self organization.

    Simply put it is a collective workspace, a camp and a hangout, open to all who stop by and would like to contribute to it. Like many other such meetings it is a place of informal exchange and presentation. It is a space for practices instead of products, a place where our individual ideas and processes have not yet achieved a solid state and can flow into each other. There are no tables, no chairs, and the materials and objects resist easy categorization and usability. They have to be mis-used, adapted, they have a will on their own. The built environment has to be negotiated with on the level of the object.

    There is potential in a thing being one thing one day, and a totally different thing the day after. There is also potential in that thing changing hands. You will be surprised how quickly ownership is established from communal beginnings: you just have to take one thing and put is somewhere.

    Settlement is a space that tries very hard not to settle. Miller believes that practice is bound by space, and if space gets shaky, unstable, shareable, so does the practice.