Linguistic, Performative, Sound & Vision, Spacial

Gallery Weekend Berlin 2017: Adam Pendleton, Donna Huanca, Luigi Presicce, Helga Paris, Jeongmoon Choi & Stefan Panhans

A selection of artists and their work shown at galleries, off-spaces, showrooms, municipal galleries and private collections in Berlin.
Most of them will be on display for longer – check them out!

Italian artist Luigi Presicce is exhibiting in Berlin at M+Project which organized the exhibition «Nostalgia del Futuro» with the Italian artist who is shortlisted for the Premio Anna Morettini this year. ⠀

Italian artist Luigi Presicce is exhibiting in Berlin at M+Project which organized the exhibition «Nostalgia del Futuro» with the Italian artist who is shortlisted for the Premio Anna Morettini this year. ⠀

Italian artist Luigi Presicce is finally exhibiting in Berlin for the first time, because luckily M+Project organized the exhibition «Nostalgia del Futuro» with the Italian artist who is shortlisted for the Premio Anna Morettini this year. ⠀
Although working in performance art, he dates his initiation to become an artist back to his time as teenager when he got in contact with the large-sized paintings by American artist Julian Schnabel. ⠀
The son of a fisherman was born near Lecce in southern Italy and started with a series of self-portraits on sheets which evokes a certain religious reference: The Veil of Veronica, which became a central icon in the Western Church. ⠀
But it must be clearly stressed that Presicce rejects every religious dogma, even when he integrates religious elements in his works to form a hybrid symbolism that deals with various iconographic and iconologic references and as a consequence creates his own individual mythology. ⠀
The mix of performance and pictoriality was the significance of his work ever since his first works and actually his art can be seen as a form of media art – in a literal sense that it tries to preserve the special quality of intermediality and stimulate comunication between different spheres which can’t be clearly devided by general logic. This combination is defined by «tacit knowledge» and its connected skills, ideas and experiences – like sailing does require it or like it is embodied in artistic performances. ⠀
Also modernist movements incorporated this special, sometimes «magic» wisdom – a part of the history of modernism which is mostly ignored, but to a greater extent inspiring generations of artists. ⠀
They work in this special tradition and never forget about the utopian qualities of historic and tacit wisdom – the way Luigi Presicce incorporates it is just striking. •

Stefan Panhans and Andrea Winkler set up an exhibition under the title «A Gallerina's Dream (Arbeitstitel)» at Galerie im Turm.

Stefan Panhans and Andrea Winkler set up an exhibition under the title «A Gallerina’s Dream (Arbeitstitel)» at Galerie im Turm.

Under the title «A Gallerina’s Dream (Arbeitstitel)» Stefan Panhans and Andrea Winkler set up an exhibition at the municipal Galerie im Turm which is located directly at Frankfurter Tor. ⠀
Andrea Winkler works with objects which are displayed on stage designs and evoke the world of commodity fetishism. Stefan Panhans creates social spaces of self-expression as his protagonists of hyper media environments appear as a unitiy of the human, images and avatars – therefore the works of both artists match perfectly. ⠀
Panhans presents his latest Video «Freeroam À Rebours, Mod#1.1» in the exhibition. It transfers the special way of movements of game avatar renderings on human dancers – which is irritating, if not disturbing, because it underlines the incorrect movements of the humanoid game characters, when these errors morph into patterns of dance and cleary display the different modes of digital insufficiency. ⠀
Panhans also transfered this concept successfully into literature and has just released a novel called «We just left shore». ⠀
While filming these sequences not only the digital bodies of avatars were replaced through the bodies of the performers, but also the immaterial eye of renderings of computer games was substituted by a physical camera, which is located for example in a drone. Thus the visual results of mimicry of the analogue and the digital are achieved, and stongly supported also by the fancy dresses of the actors, which form parts of the exhibited sculptures. ⠀
The process of observing and replicating another’s behavior duplicates also in the setting of the exhibition which the artists want to be seen as an environment where the visitors melt with the created situation of the gallery space as stage and the artists become hosts, showmasters and directors.
But the question remains: Which recreates what and who imitates who? •

«Berlin» is the title of the exhibition by photographer Helga Paris at the exhibition space «Between Bridges» run by Wolfgang Tillmans.

«Berlin» is the title of the exhibition by photographer Helga Paris at the exhibition space «Between Bridges» run by Wolfgang Tillmans.

«Berlin» is the simple as appropriate title of the exhibition by photographer Helga Paris (*1938) at the exhibition space «Between Bridges» run by Wolfgang Tillmans. Her photos were taken between 1969 and 1982 in the eastern part of the city which was back then the capital of the German Democratic Republic and completly different under several aspects as it is now. ⠀
Helga Paris was born in Gollnow and moved to Berlin’s district Prenzlauer Berg where she lives up to now. Her works are dealing with the everyday life surrounding her, which includes portraits and street photography. ⠀
Here we see the images «Jugendweihe René Köstner» («René Köstner’s Youth Ininitiation Ceremony») from 1980, combined with «Frau Köstner» («Mrs. Köstner») from 1974. ⠀
Her photos stress the archivial aspect of photography, as her imagery shown appears like a time capsule more than ever, as this part of the town has changed like almost no other: It had massive open spaces in the cityscape dating back to WWII which were never closed, but just left abandoned to their own devices, because new socialist-modernist buildings to live in were built at the edge of the city. ⠀
Marienburger Straße, Winsstraße, Christburger Straße, Kollwitzstraße, Immanuelkirchstraße and other places have a different sound and recall other memories to elder generations and also to those who were just born before the fall of the Berlin wall and who know those places from a clearly other time when a different lifestyle was connected to them. ⠀
Her son, Robert Paris, was also part of the art scene of East Berlin and worked as photographer with a focus on architecture, for example the series «Lichter aus dem Untergrund» («Lights from the underground») with photos of underground tunnels that were left abandoned because of the division of Berlin. • ⠀

The artwork «Unterbruch» by Jeongmoon Choi at the group show «In den Raum zeichnen – umreißen» at Galerie Parterre in Berlin

The artwork «Unterbruch» by Jeongmoon Choi at the group show «In den Raum zeichnen – umreißen» at Galerie Parterre in Berlin

If you think the artwork «Unterbruch» («Interruption») by Jeongmoon Choi consists of stobe light, you are wrong. This work is made of threads which are accurately installed by the artist and painted with flourescent color to form a space-filling installation exhibited under ultra violet light. ⠀
The viewers are invited to wander around the whole room and even to walk over the parts which cover the floor. Here we see Jeongmoon Choi with the art historian Ursula Panhans-Bühler walking inside the work. ⠀
This minimalist artwork is ment to change the perception of the exhibition room and the space it defines by folding and unfolding a ribbon of light which appears like a drawing developing from a flat surface to a three-dimensional reflection of perspective. ⠀
The artist from Seoul, South Korea, who lives in Berlin since 2001, started with painting and discovered threads as a material for her works later on in 2005. Through her art Jeongmoon Choi is not only opening a dialogue about the difference between eastern and western conceps of space, but also the fundamental connections of some of its certain visual formations. ⠀
For example works like «Unterbruch» remind a lot of visitors of the aesthetic of the film «Tron» which was released by Disney-Studios in 1982 and was one of the first films ever to include longer sequences which got digitally generated. ⠀
Although her original intention differs from associations like these and she never saw the film or draw inspiration from it, it proves that there are certain basic concepts of space and virtuality which may be interrupted, but get regulary activated and reappear in various contexts. ⠀
The artwork is now on display at the group show «In den Raum zeichnen – umreißen» at Galerie Parterre as part of a series of exhibitions connected to drawing in different municipal galleries in Berlin. ⠀
It is highly recommended to experience it! •

«Epithelial Echo» is a mixed-media sculpture by Donna Huanca which is shown in the exhibition «Jaguars And Electric Eels» at the Berlin dependance of Julia Stoscheck Collection.

«Epithelial Echo» is a mixed-media sculpture by Donna Huanca which is shown in the exhibition «Jaguars And Electric Eels» at the Berlin dependance of Julia Stoscheck Collection.

«Epithelial Echo» is a mixed-media sculpture by Donna Huanca (*1980) which is shown in the exhibition «Jaguars And Electric Eels» at the Berlin dependance of Julia Stoscheck Collection. It is completed by a site-specific performance which was shown a second time again after the opening on occasion of the Gallery Weekend 2017. ⠀
Let’s start with the title of the work: Epithelium is one of the four basic types of biological tissue, along with connective tissue, muscle tissue and nervous tissue, and it covers the inner and outer surfaces of bodies of multicellular organisms. Therefore it’s part of the skin and glands for example. The echo in the title refers to the artistic process of Donna Huanca in which she photographs skin of her models who were previously performing for her, prints these images on canvas and reworks them with color. ⠀
In the slow and meditative performances directed by her turn also the models into a canvas, because they get painted with layers of cosmetics, latex and color and on top of that they interact with the installation and its materials. ⠀
The artworks and its participants – including the visitors – expose boundaries and explore various forms of gender, existence, matter, sexuality to name only a few topics which are represented by the skin not as a passive concept, but as a physical entity which interacts on the contested fields of power and submission. ⠀
Although working in mixed-media she is mostly filed unter the label painter which is a description as limited as her art is open to artistic collaboration and clear-sighted vision.
Her art fits perfectly into this carefully curated exhibition of handpicked artists which arouses the curiosity how exactly Julia Stoscheck Collection will up the ante with its next show. • ⠀

A sculpture by Adam Pendleton currently on display at his solo exhibition «shot him in the face» Kunstwerke Berlin

A sculpture by Adam Pendleton currently on display at his solo exhibition «shot him in the face» Kunstwerke Berlin

The letters «WE» cut out of mirrors with prints on it and leaned against the wall form a sculpture by Adam Pendleton (*1984) currently on display at his solo exhibition «shot him in the face» Kunstwerke Berlin. The press release of the art institution calls the exhibition a «gesture», because the rest of it constists of one big wall which devides the exhibition space. (The exhibition is very well documented on the artist’s website.) ⠀
The collage printed on this wall from images of various sources features also the first sentence of the poem «Albany» by Ron Silliman which are as follows: «If the function of writing is to ‹express the world› » ⠀
And not only to express it one might say, but to form the world trough texts which release not only one possible meaning, but form a four-dimensional space, in which different «écritures» conjunct and compete against each other like Roland Barthes argues in «La mort de l’auteur». Therefore they are interwoven quotes deriving from the different focuses of cultures. ⠀
So this «WE» could ask about the watching subjects wandering through the exhibition space and forming an ever changing and never finally concluding group of individuals – which very probably wouldn’t define itself as a «WE» even – and stand in opposition to the «WE» of the assembled artworks in the exhibition. Its multitude of meanings opens up to a lot of interpretations, also to the recently popular term of «We, the people» which has been quoted in the utmost diverse contexts. ⠀
Maybe this «WE» could also be the left out starting point of the exhibition title – if we assume that there is something left out even –, to form the blind spot and almost a battlefield from which Adam Pendleton’s works unfold? ⠀
However – it seems that we just can’t escape the grammar, as Nietzsche has already claimed. • ⠀

 

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