David Adamo has spent the last few years working on sculptural installations that take as their starting point everyday wooden objects built to act as an extension of the human hand, such as axes, bows, arrows and baseball bats, which the artist whittles to the point of uselessness. The resulting sculptures conserve their wooden shavings, discarded parts of the transformed objects, as a testament to the artist’s interest in the performative aspect of the art-making act and as a nod to his past as a dancer and performance artist. In his more recent works, Adamo no longer relies exclusively on what were once functional objects, and instead has begun employing...
After the Butcher
→18. June Performance
→26. June Performance (see video)
→02. July Performance and concert (see video)
→06. July Performance (see video)
→KW Institute for Contemporary Art
Robert Ludwig, Christian Diaz Orejarena, Michel Aniol, Anne Arlt, Vera Buhß, Friedrich Herz, Robert Lakomczyk, Lukas Quietzsch, Philip Shafer, Albert McCloud / Christoph Bannat, Axel Gerber / Gintersdorfer/Klaßen / Katja von Helldorff, Cristian Forte, Senta Burma, Sophie Heartbreakin' Fatale, Nean Lhok, Lady Gaby / JOKAklubi, Ulu Braun, Miss le Bomb...
American artists Daniel Keller and Nik Kosmas have lived and worked in Berlin since starting their artistic collaboration and shared Internet site Aids-3D.com in 2006. One of the central topics of their work is our perception of the increasing merging of real and virtual worlds. For based in Berlin, they have created a modular glass sculpture which incorporates a hologram image of a solar cell. Hologram technology allows a three dimensional object to be captured in its whole extent and rendered spatially through an optical trick, even though all of the information about the object is in...
Graffiti culture is a constant point of reference in Akim’s work. Besides many years as an active graffiti writer, his original field of activity is also the subject of his work within an art context. His video titled Leistungsschau, which –as is typical in the genre of graffiti videos—documents writers in action, and in the context of the exhibition, raises the issue of the criteria of contemporary art. Graffiti figures in Akim’s works not only in the context of the production of various pieces, but as a lived attitude. Accordingly, Akim underlines the impossibility and absurdity of representing...
Özlem Altin’s works are usually installations. Working from a personal collection of pictures, she associatively contrasts the commonalities and contradictions of the images used. She is particularly interested in concepts of the body. Faces, as special features of the body’s identity, are usually covered and disguised. This renders people interchangeable, makes them lose their specific personal quality, and turns them into objects. Altin combines these assemblages of various pictures with other objects to create installations. When pictures of bodies are leant against a chair or a wall, they are not regarded as projection surfaces, but as actual objects in space. The images become...
The artist Julieta Aranda’s work marks processes in which motion and standstill are intertwined — rhythm and circulation are central elements of her installations.
Her work hereby functions on different layers. On the one hand, she plays with our perception: we see part of the work only when we no longer see anything else. Light, shadow and darkness, appearing, disappearing and erasure rely on each other — this becomes palpable. On the other hand, these plays on perception and the humorous titles of her work are loaded with various, often political, references...
Following the invitation, AUTOCENTER moved into the former studio building in Monbijoupark for six weeks; as part of based in Berlin, it will continue its own program in the center of the city. Two group exhibitions, curated by American art critic Max Henry and Berlin artist Manfred Peckl respectively, and a solo show of artist Adrian Jeftichew, will be presented. An integral element of...
Danish artist Nina Beier’s works play with the conventional hierarchies of figure and ground, content and frame, artwork and support… Her work Shelving for Unlocked Matter and Open Problems (2010) consists of found objects: small decorative sculptures belonging to a domestic realm. These are trimmed to support glass shelves. It’s not the shelf that serves to hold up the figurines; instead, the latter are relegated to mere supports for the shelves. At the same time, the resulting “furniture” is in its totality a sculptural piece, which as a work of art is higher up in the cultural hierarchy than the shelf or the...
Rocco Berger’s sculptures resemble mechanical equipment. Raw materials are connected by means of simple mechanics and combined to produce art. Materializations of figures of speech emerge; puns are translated into sculptural functional mechanisms.
In based in Berlin, Berger will show his work Oil Painting (2010). Used oil flows out of a gas can through a Gardena drip irrigation system onto plastic sheeting that is loosely attached to the wall. The sheeting is slightly inflated and moved by the wind of a fan so that the oil runs over it in irregular rivulets, creating an ephemeral, black “drawing.” The oil is then collected in a channel at the bottom and drained into a glass container...
The artistic production of Gerry Bibby is intention- ally difficult to pinpoint, but thereby plants its foot in yet unchartered territory. With his works that emerge through both self-consciously compli- cated and calculatingly precise sculptural gestures, borrowed but also self-composed texts, and elements of carefully choreographed and wildly haphazard performance, Bibby locates an inspiring and inventive redefinition of what one could call process—a process that knows no bounds and that is chock-full of playful subversions and strategic projections inscribed with complex cultural references. ...
Juliette Blightman’s works unfold in time and space like meditative, phenomenological narratives which—at first glance—may not exist at all. Extremely personal in nature, Blightman’s installa- tions, performances and films invite her audience on an almost filmic journey through a glossary of subtle (if not simple or even ordinary) gestures.
The installation for based in Berlin exemplifies Blightman’s penchant for the expansion of personal time and space by summoning an “interior” journey— travelling without moving. The work entitled For often in one we find a day has strayed from another...
Erik Blinderman & Lisa Rave
In based in Berlin Erik Blinderman and Lisa Rave will show The Villages, a new film that merges two locations into a single, fictive place, thereby highlighting their structural analogies.
The retirement community The Villages was built in the middle of Florida during the 1980’s in the style of the 19th century. The buildings look as if they are made of ancient, crumbling brickwork and the parks are decorated with little ruins. Plaques on some houses tell the stories of their fictitious builders. The city resembles a theme park. The second place is Swakopmund, a German colonial settlement...
French artist Juliette Bonneviot works in the area of painting on the construction of images and their numerous levels of interpretation and re-interpreta- tion, among other things. In her work she draws on both high and pop culture, bringing them together. She takes details from images from American action paintings of the 1950s and 60s and the myth of the original artistic gestures on which they are based and uses image editing programmes to transfer them onto virtually-created forms of globes and monoliths.
For based in Berlin she is presenting an...
→01. July Performance with contributions by Leif Elggren, Lars Cuzner, Steven Cuzner and Sam Ashley
The work of Swedish-born artist, composer and writer Erik Bünger re-contextualizes existing media in performances, installations and web projects that challenge divisions between authentic and simulated experiences.
Bünger’s works increasingly approach contem- porary conceptual art, but his combination of audio and visual elements is also linked to literary storytelling. Different timelines coincide, linking past worlds with...
Nina Canell’s work speaks of a certain changeability and uncertainty in which communities of objects quietly interact with each other as modest arrange- ments, balancing motivations to sustain certain frequencies, movements or altitudes. Found objects, natural elements and electrical debris establish temporary, almost performative sculptural alliances, accommodating moments of synchronicity which exist somewhere in between the material and the immaterial, linking solid objects to mental events.
The work Black Light (For Ten Performers) is arguably her least material project to date...
Nicolas Ceccaldi recently produced a series of high-end custom-made surveillance camera prototypes made of melted children’s toys. These biomechatronic dispositives have fantasies of total war inscribed on the surface of their plastic shells and keep a wakeful eye on reality. By plugging them onto video display devices (e.g. a video projector), Ceccaldi performs and investigates the continuous feedback dialogue of post-Fordist surveillance apparatuses, built environments and individuated creativity.
based in Berlin will present Ceccaldi’s newest output resulting from an ongoing reflection on binary polarities such as...
Sunah Choi works with photography, as well as sculpture, video and installation. Her work deals a lot with the notion of chance and is based on a debate around processes of cultural appropriation. She explores the appearance of material as form and the way that forms appear. Choi creates compositions and arrangements of forms that have relation- ships to the particular aesthetics and content with which they are imbued. Her installations are often based on an examination of materials and compositions of objects which are...
Jay Chung & Q Takeki Maeda
Artist duo Jay Chung and Q Takeki Maeda’s works investigate visual and textual narrative structures. A solo exhibition in 2006 consisted solely of the press release and seven framed offset prints, each representing a sentence from the press release in the form of a linguistic diagram. In based in Berlin, Chung and Maeda confront political processes with the functional logic of pop cultural TV formats, such as “American Idol”: In order to effectively produce a winner, there have to be many losers. The work created for the exhibition takes the form of a thought experiment and narrates Klaus Wowereit’s political career applying the logic...
Kerstin Cmelka’s practice has gradually progressed from photography and film into a striking repertoire of live performance. Cmelka’s one-night-perfor- mance for based in Berlin, Change, is an adaptation of a play by Wolfgang Bauer from 1969. This new live work, which Cmelka realized earlier as a film, is part of her ongoing series of Microdramas—a collection of folk-theatre-like performances and films assembled using excerpts from classic dramatic texts, mainstream clichés from cinema and traditional theatre genres. With a cacophony of languages and dialects...
The films of Keren Cytter stage passionate relationship dramas in the manner of small, intimate plays. Viewers are drawn into their vortex, although this immersion never completely succeeds, because the mechanisms generating the illusion are narrated at the same time. In the video Avalanche (2011), a story of love and its disappointment is evoked in four episodes by citing the related filmic and social codes. The fact that the story remains fragmentary and cannot be composed into a coherent...
Kajsa Dahlberg’s works interrogate the content and subtexts of different medial forms of expression: How are collective and individual narratives intertwined? How do political representation, historical discourse and the formation of individual identity interact? And what is the role of the respective medium?
Ein Zimmer für sich / Ein eigenes Zimmer / Ein Zimmer für sich allein / Vierhundertdreiunddreißig Bibliotheken (A Room of One’s Own / Four Hundred Thirty-Three Libraries) consists of thousands of copies of the same book, the German edition of Virginia Woolf ’s feminist classic A Room of One’s Own...
→16. July Performance
→18. July Talk (watch the video here)
→24. July Performance
Mariechen Danz sets scientific and artistic represen- tation systems in motion and makes them dance. Details of historically and ethnically heterogeneous cultures and their knowledge systems are extricated from their original contexts and arranged together. Our usual models for ordering and explaining things implode and the energy captured in them is released.
The observer may feel like having dived...
Giulio Delvè takes starting-points from everyday experience and decontextualizes them to unveil the madness in human behavior. He often works with household objects and tools which—when removed from their customary environment—take on a different “function” and provoke a semantic short circuit. Delvè creates assemblages and installations from familiar materials that already possess an intrinsic narrative function. His works are often structured in strata, reflecting themes and shapes inherent to the performative process of their making: as if the act of construction were but an appendix, an extension of the intellectual operation, whereby the process of creation takes prominence...
Simon Denny explores how material is encountered in an age in which technological overproduction and media overkill are yesteryear’s assumed norm. For based in Berlin, Denny will present a project developed in Aachen, wich focuses on a German production company’s input in shaping the appear- ance of a global media exemplar. The artist will present a sculptural illustration of material surrounding a “scripted journey” and the spaces that provide these. The presentation spotlights the Aachen-based chrome-finishing factory responsible for fitting out the fantasy cruise liner boats of an internationally dominant U.S. entertainment company. The exhibition features a video made by the factory of their products alongside a 3D walk...
Michele Di Menna
→07. July Performance (click here for the video)
Michele Di Menna's unique development as an artist offers an insight into her captivating body of work. Growing up in Vancouver, BC, Michele was involved in dance and performed regularly at local parties and clubs. She also worked as a cabinetmaker before her activities culminated in the decision to study art. Even with her training at the Städelschule in Frankfurt am Main, Di Menna remains true to her autodidactic beginnings. Her performances and sculptures are at once familiar and completely alien. The performances...
→09. June Program
→30. June Program
→20. July Program
→Neuer Berliner Kunstverein n.b.k.
Aleksandra Domanovic´’s work focuses on profound social and media-technological transformations, and their interdependence. The title 19:30 refers to the time at which the TV news used to be broadcast in the countries of the former Yugoslavia. Domanovic´ compiled an archive of these news broadcasts’ so-called “idents” — audio-visual jingles. The modifications of these idents tell the story...
Simon Dybbroe Møller
Simon Dybbroe Møller’s work has often been described in terms borrowed from the field of literature. As condensed linguistic miniatures or hermetic, self-contained aphorisms—as short prose with its own immanent logic. He works in a wild array of media including installation, collage, sculpture and video. Each disparate work appears as a player in a complex orchestration that is Møller’s practice: a loud discussion that mixes, mirrors, flips and tilts the relationships between sight and thought, the random and the staged. In the work Melody Malady (2010), a man sits at a grand piano reading a book and picks out a plinky note or two whenever he comes across a letter or letters in the book that represent a...
Köken Ergun’s works examine the question of cultural identity through rituals in contemporary society within the Turkish community at home and abroad.
His video installation WEDDING is the result of eight months’ research in which he documented over 40 wedding ceremonies in the Turkish community in Berlin, one of the largest in Europe. His gaze records the re-staging of traditions in wedding ceremonies and reflects how much this contributes to preserving the people’s own culture...
Evas Arche und der Feminist
→19. June Opening and Performance
→24. July Opening, performance and soup
Evas Arche und der Feminist is an exhibition series that was founded in 2005 by Pati Hertling and Peter Kisur in the artist-flat of the Honey Suckle Company at the KunstWerken Berlin. Since 2007 Evas Arche und der Feminist was continued by Pati Hertling and Marlous Borm at Gavin Brown’s Enterprise in New York. The basic recipe for their evenings reads: exhibition, music/performance and soup. Even in New York, Evas Arche und der Feminist for a long time remained faithful to their Berlin program and showed a long list of predomi- nately Berlin artists and expats. After a summer at the project space of Galerie Micky Schubert and Lüttgenmeijer’s The Taut and Tame in Berlin’s Tiergarten in 2010, April...
→13. July Open Screening
Matthias Fritsch’s filmic works focus on issues of authorship and property, that have recently enjoyed a heightened interest within the context of open distribution channels on the Internet. Fritsch traces the potential and boundaries of related cultural practices by way of participation. Correspondingly, his works are not only shown in an art context, but he also uses other platforms and distribution channels.
His work We, Technoviking (2010) will be presented in based in Berlin. This clip refers to his video Kneecam No. 1, also known as Technoviking, the original clip of this...
Kasia Fudakowski’s decidedly sculptural practice brings together an organic and synthetic language through figurative and abstract means. Her sculptures often occupy space like actors mimicking human characteristics while tracing a social and cultural process of acquisition and withdrawal of knowledge. Fudakowski’s new sculpture, developed for Monbijou Park, addresses what she calls “the tragedy of 2 dimensions.” Her steel structure, tentatively titled It’s like déjà vu all over again, is not quite figurative but still has a flattened and perhaps even pixilated...
Simon Fujiwara’s works emerge from scripted narratives based on real and fictive archives that question the possibility of manipulating history and affecting collective memory through individual experience.
Fujiwara’s installation Phallusies (An Arabian Mystery) (2010) tells the true story of the discovery of a giant, ancient stone phallus beneath the foundations of a new museum building, somewhere in the Arabian Desert. No records of its existence or disappearance exist. Some say it was destroyed, others saw an unlabelled crate departing for an unknown destination. The truth is in the hands of four British men who were working on the...
The dislocation and relocation of the monument are central to the work of Cyprien Gaillard, which switches back and forth between ancient and modern, as it explores the conservation, reconstruc- tion and destruction of the urban landscape. As a project of the DAAD’s Berliner Künstlerpro- gramm in collaboration with based in Berlin, a monumental 1950s bar style neon on top of the Haus der Statistik at Alexanderplatz will compete with the surrounding advertisement. Neon Indian renders a version of the familiar logo of the US baseball team Cleveland...
Galerie im Regierungsviertel
Judith Albrecht, Ronja Beer, Tjorg Douglas Beer, Tobias Bernstrup, Marc Bijl, John Bock, Monica Bonvicini, Madeleine Boschan, Björn Dahlem, Erró, Anna-Catharina Gebbers / Christoph Schlingensief, Marianne Eigenheer, Harun Farocki, Rainer Ganahl, Andreas Golder, Thomas Helbig, Christian Jankowski, Dionisis Kavallieratos, Christoph Keller, John Kørner, Terence Koh, April Elisabeth Lamm, Annika Larsson, Sara Lunden, Isa Melsheimer, Klaus Mettig, Olaf Metzel, Raymond Pettibon, Daniel Pflumm, Martha Rosler, Thomas Scheibitz, Markus Selg, Katharina Sieverding, Orson Sieverding, Pola Sieverding, Andreas Slominski, Franz Stauffenberg, Alexandros...
Tue Greenfort works in a range of different media including sculpture, installation, video and photog- raphy. He is fascinated by the changing character of nature—past and present—and the effects that human intervention brings to play on the concept of nature. He relates to the way we were able to transform the last hundred years our resources and the effect of this. Environment, nature and society are all central to his work. Greenfort’s work aims to create a critical reconstruction of the contemporary human habitat.
For based in Berlin, he is working on the extension of a project that he previously...
“The cabin where he spent the night was so small that anyone who wasn't a child or a dwarf couldn't lie down full-length inside it. We tried to make love on our knees, but it was too uncomfortable. Later we tried to do it sitting in a chair. Finally we ended up laughing, not having fucked. When the sun came up he walked me to my tent and then he left. I asked him where he lived. In Barcelona, he said. We have to go to Barcelona together, I said.”
Jenny, I was reading this book the author of which is becoming essential for my writing imagination. I read his poetry in Berlin and I was fired up so much that the life of my...
Jan Peter Hammer
Jan Peter Hammer’s main concern in his works is narrative structures which open up a literary context. The Work The Anarchist Banker (2010) is named after the short story written in 1922 by Portuguese poet Fernando Pessoa.
Hammer’s video restages Pessoa’s dialogue between the banker and his secretary as an interview between a banker and a TV moderator. The protagonists enact the dialogue’s original content, which has been adapted to reflect upon the financial practices of neo-liberalism and in light of the financial...
Alexander Hempel performs as an amateurish speaker, teacher or moderator. But despite the fact that he works with elements of the slapstick tradition, he is not a comedian. There are no punch lines, and even if audiences sometimes feel like slapping their thighs in boisterous laughter, their hands stop in mid-air. As an audience we are also part of the setting and witnesses to an embarrassing situation that expands and extends, while Hempel, for example, as an incompetently English-speaking graduate student, tells us all about his life and of the world with the help of a very obvious oil painting. Hempel plays with the expectations inherent in various speech...
For based in Berlin, Norwegian artist Yngve Holen presents a series of sliced appliances designed to hold water, cut to reveal their unremarkable workings. More mauled than dissected, these objects now no longer “hold water”, as they give way to a language of disinterested display. In the industrial process of producing something that is “watertight”, 3D scanners are often used to determine flaws in an object’s seals. As a perverse inverse of this process, the artist produces 3D prints of the would-be contained water, spilled. Scanning...
As well as painting, David Hominal works in a range of media, including installation, sculpture, video and performances, thus investigating the possibili- ties of contemporary painting. His almost obsessive treatment of these genres results in a wild assem- blage of different topics from art history, music and the everyday culture all around us.
At the based in Berlin exhibition he is presenting a series of painted two-cent coins, questioning the value of the image. On the one hand, by painting the coins the artist augments and immortalizes them as unique. On the other hand, he proceeds in serial fashion and...
HUSH HUSH is one of the multiple alter-egos of American artist Christopher Kline, who has been performing in the Berlin underground scene for the past five years under different pseudonyms such as Snakebraid, Night Music, and in the groups Wooden Veil and Gemeine Gesteine. Mixing r&b, soul, dance and pop, HUSH HUSH describes himself as a self-styled “hit-machine”. Master of profane ceremonies uttering explicit sexual lyrics, HUSH HUSH engenders furious and feverish evening performances. After his tour in North America with Yeasayer, HUSH HUSH presents as an extension of his single Ooze and especially for based in Berlin the event Oozestravaganza...
The Invisible Playground collective reveals the in- visible playgrounds of Berlin and other cities: these places and non-places are dissected, and rules from computer games are adapted and transformed for each specific setting. They thus unfold the latencies and potentialities of urban architecture.
Translating games from the virtual to the real also creates a new form of community. Actors, spectators and passers-by interact with each other and their environment in small groups. Anyone who gets involved inevitably becomes a player, although no one has...
Nadia Kaabi-Linke’s installations, objects and pictorial work are site and time-specific within an urban setting. Her work has an historical context and she interrelates her own biography and memories with social, political and geographical elements. She joins opposites beauty and violence, or brutality and refinement.
For based in Berlin, Kaabi-Linke is show- ing These goddamned boys all stealing (Zossener 7) (2008). On the one hand, she uses the technique of frottage to reproduce the image of a penis that she found depicted on the streetwall of an empty apartment building...
Ilja Karilampi works in a variety of media, incor- porating laserprints, aluminum, transparent plastic, nicotine chewing gum, silkscreen, sports gear, MP3s, flyers, social events and a withdrawn form of performance to pitch our perceptions into a dream-like state. Video is central to the work of Karilampi, where the narrative is predominantly about music producers, focusing in particular on underground movements and rap music. Karilampi intermingles found footage, accumulated material and visual effects in an unconventional form of graphic design. For based in Berlin, he presents The Chief...
Tobias Kaspar’s work L'Aquila, Firenze, Genova, Modena, Milano, Palermo, Pescara, Portofino, Pozzuoli, Roma, Trieste, Venezia consists of two sets of six cups, each with a saucer. According to the French author Stendhal, the revolutionary Georges Danton said on the day he was to be guillotined, “You can say, I’ll be beheaded! You’ll be beheaded! He’ll be beheaded! We’ll be beheaded! But you can’t say, I’ve been beheaded!” The 12 (possible) system errors that can be made in declining “behead“ are printed on the cups and the various models were named by the manufacturer of the cups after Italian cities that Stendhal once lived in. This work was...
Nina Könnemann’s videos Sommerleute (Summer People) and Kraft unseres Amtes (By Virtue of Our Office) (both from 2009) show public spaces in Berlin. In both works the artist focuses on public waste bins and the marginal economy they mediate. We see people strolling, throwing away empty plastic bottles and shortly thereafter, others collecting them; sometimes we witness a direct handover. In this cycle, the plastic bottles function as markers of difference, distinguishing those passers-by who throw bottles away from...
Asaf Koriat’s works enthusiastically turn toward popular culture. In based in Berlin he will show The Brave (2006), a single channel split-screen video, which simultaneously shows nine TV recordings of celebrities (Celine Dion, Justin Timberlake, Jessica Simpson, Whitney Houston, Mariah Carey, Beyoncé, Christina Aguilera, Mary J. Blige and Cher), each singing the American national anthem, “The Star-Spangled Banner,” at the opening of the Super Bowl. Each performer strives to sing the anthem in their own unique way and thus assert their position against their...
Wojciech Kosma writes instructions for his staged performances. These notations, which he issues as independent works with the performances and puts into his performers’ hands, form free guidelines to the action. The texts activate the scenes that are then translated into the performative for both the audience and performers.
Kosma is interested in the concept of self- observation, the reflexive effect of being thrown back on oneself, and the resulting differences between spectator and performer. He usually works with the same actors or with children...
As Veit Loers describes her: “Kitty Kraus places abstract symbols in space, encrypted messages made of glass, metal, cloth or found objects, which nightmarishly cross and ‘circumscribe’ the field of the human condition.” The works are beautiful—often monochromatic, blindingly brilliant or nearly invisible. It might be fair to say that Kraus has a self-deprecating or even masochistic obsession with Formalism, but her works are far more dangerous than they first appear. Without being overtly menacing (in fact they are often quite playful), Kraus’ work can be appreciated and even enjoyed on many levels. But don’t be fooled — because to...
Austrian artist Oliver Laric’s work focuses on the productive potential of the copy as compared to the idea of a unique or original work, developing countless different versions of works that are in a state of constant change. For the based in Berlin exhibition, he will install SUVs made by the Shuanghuan company in Monbijou Park. The “CEO” models of these Chinese vehicles are similar in appearance to a German SUV, the BMW X5, which resulted in lawsuits and an import ban in 2008. Laric’s...
In recent years Alexandra Leykauf has worked with strategies of manipulation, deception, and elusive- ness. Her starting point are found photographs that she often uses in collages as a way to change the relationship of what is depicted by the image as well as to decontextualize the images themselves. Representing the already represented, her work reveals the fact that each image can open up to many perspectives and readings. The subject of a theatrical scene offers itself readily to reflect on reality and stage, inside and outside. It suggests to both the observer and the observed that the auditorium, too, can serve as the backdrop for a film or photo shoot, eliciting...
On the second page of her catalogue entitled Klara and published on the occasion of the Non-solo show, Non-group show exhibition (2009/2010) at Kunsthalle Zurich, Klara Lidén writes: “Part of me is this poor architect dealing with the problem of existing structures in the city, part of me is this amateur dancer or performer who wants to return ideas of rhythm to the activity of building, or of reappropriating the built environment.” Lidén's work exists through participation and through protest. It is invariably urban, but decidedly unsentimental. Lidén's work often reveals itself slowly, but when it does, it packs a punch.
For based in Berlin, Lidén presents a remix of the works presented in her recent...
Lipkin’s work addresses questions of labor, valorization and expropriation, often by example of artistic production. The components of his installation each hold an ambiguous status with regard to the traditional category of art, further complicated by the fact that the piece consists entirely of appropriated and commissioned works. A huge shelf by Möbel Horzon — a Berlin brand, often considered an art project against vehement protest of Mr. Horzon — functions as a sculpture. The walls around it hold framed photographs that...
The drawings and minimal objects of Trevor Lloyd deal with the notion of the artistic gesture and attempt to negotiate its position between moments of artistic idealism and human despair. Employing tongue-in-cheek processes and dry humor, he questions the nature, definition and limitations of artistic creation. With source material referencing family, pets and everyday chores, he selects imagery, materials and narratives in which he experiences a tension between both poetic and mundane interpretations.
The starting point for the piece entitled Mom was the realization that his move from California to Berlin had left him without a picture of his mother. His response was...
Maria Loboda’s works link to literature, music, art, mysticism and folklore. She translates ancient languages of hidden codes and embeds them into everyday elements of interior design. Each object is the result of a cultural process or an aesthetic concept full of symbolism and poetry.
In her latest works, Loboda investigates the structures and possibilities of enciphering secret codes and cryptology. The work entitled That’s How Every Empire Falls is a lavishly set dinner table for six people. We see the china, the silverware, the flowers and 118...
Florian Ludwig & Owen Hoskins
First impressions are everything, and the visual identity of based in Berlin had to be designed accordingly. Florian Ludwig (florianludwig.com), a German graphic designer and brand consultant, and Owen Hoskins (owenhoskins.com), an American expat designer and programer, were chosen to spin the strands of sluiced identity-ore and weave them into the final face of based in Berlin, in all its digital and printed forms. The once ramshackle closet at Podewill became the glimmering hull of a submarine on a mission to the heart of the project, and they became frenzied mariners, battling the glittering schools of toothy inDesign files and surfacing only for momentary glimpses of the brilliant sun, cresting porpoises, and to chase sirens' calls. Lashed to the mast, they're making their way back to their newly founded design...
Artist Dafna Maimon mainly works in the medium of video and is interested in the construction of situations that go beyond the surface of the screen and directly involve the spectators. In her video installation The Unbearable Presence of Roots (2010), she placed a large, abstract and seemingly grotesque sculpture of a carrot in the middle of the space. The actors in the films installed above it are at the beginning in their own closed-off film world. Only gradually do they seem to notice the sculpture in the middle of the exhibition space. They break away from the action and look out from the film world...
A man in Chelm once thought up a riddle that nobody could answer: “What’s purple, hangs on the wall, and whistles?” When everybody gave up, he announced the answer: a white fish. “A white fish?” people said. “A white fish isn't purple.” “No,” replied the jokester, “this white fish was painted purple.” “But hanging on a wall? Who ever heard of a white fish that hung on a wall?” “Aha! But this white fish was hung on the wall.” “But a white fish doesn’t whistle,” somebody shouted. “No, so it doesn’t whistle.”
The work of Gareth Moore exists somewhere between performance, documentation, installation and sculpture and often incorporates the corners of life not usually associated with contemporary art per se. Moore is a traveller and explorer; a pedagogue and an archaeologist; a tinkerer and an ap- prentice of various trades. His projects usually develop through a carefully choreographed process of insertion: Moore inserts himself into a situation and uses the tools and materials he discovers there to develop his often subtle, sculptural interventions. The year-long project Uncertain Pilgrimage, for example, used...
In his sculptures, photographs and films, the work of Shahryar Nashat often addresses the representa- tion of the body in art history and the conventions of mediation and presentation. Nashat finds great pleasure in details, and his works—with their near-obsessive methods of framing and cropping — draw the viewer into a world of clandestine forms, artful gestures and stylized posturing.
Torso, Fruit and Mud (1996 — 2011) are three short films shot on Super 8 fifteen years ago — Nashat’s first excursion into the medium of film. Transferred to digital video, and exhibited on wall-mounted monitors, each film offers a voyeuristic view of a young...
Anne Neukamp’s works emerge in the process of a multitude of layers. Abstract surfaces cover representational images of stickers, postcards, logos and pictograms in the style of comics, fine color gradients overlay the rough brushstrokes of previous traces of painting. The pictures are charged and laden in order to be at the same time re-emptied in their rendering. In this context, it is often the contrasts that interest Neukamp. The pictogram is characterized by an attempt to create a representa- tional image using a contour with the fewest possible clear lines, an image which through its reduction then becomes a symbol. This symbol is attacked on other painterly levels in its “nameability” and fails halfway...
“Okiishi has been living between New York and Berlin since 2001, and (Goodbye to) Manhattan combines materials from that experience (filmed between 2006 and 2009) into a seventy-two-minute, semiautobiographical transposition of Woody Allen's classic. Okiishi's cast of characters is pared down to Manhattan's three female protagonists, interpreted by key players in the artist's actual New York / Berlin life. Its script is the Google translation, into English, of the German version of Allen's original. The resultant semantic layering is mirrored in the video's sometimes vertiginous, pixelated editing — still, if there is anything...
Christodolous Panayotou’s works are structured in thematic circles which often function in chapters open to rearrangements. Part of his visual language becomes a manifestation that renegotiates the historical and political narrative, concentrating on the undefined desires and projections of identity dealing with it’s existential quest. His interest to both the individual as well as the collective. Means of “traditions” and rituals are as important as romantic myths and personal subliminal desires. The work Never Land is composed of images selected from...
Pantha du Prince
Hendrik Weber (born in 1975 in Kassel) lives and works in Berlin. He made his debut as Pantha du Prince in 2002 with four music tracks called Nowhere. His first album, Diamond Daze, was released as a CD and double-sided LP in 2004. In 2005 his remix, Butterfly Girl Versions, was released, and was followed by Lichten / Walden in 2006. His second album, This Bliss, came out in 2007. In 2010 he moved to the Rough Trade Records label and released his third album, Black Noise, which was followed in 2011 by his current remix album, XI versions of Black Noise. In 2011 Pantha du Prince was...
Conventions of filmic storytelling, voiceover narration, character acting and exciting pacing are found in Amy Patton’s videos. Her work explores how we make sense of objects, image and text with the imperfect understanding and irrationality of the way we think. An interest in language and oral storytelling characterizes her work from the beginning.
The Mirror of the Simple Souls Who Are Annihilated and Remain Only in Will and Desire of Love is an early 14th-century vision and manuscript by the French Christian mystic, anarchist and “Free Spirit” heretic Marguerite Porete. Also inspired by the writings of Georges Bataille, the film shows a cast of...
Dirk Peuker’s works are very personal approaches to a portrait. His studies are not only about longings, broken dreams, fractured relationships or memories from the past, but also about subjective sensations and associative moments.
His experimental film work Flat Roofs For Mussolini (2011), which was realized in collaboration with the artist Bettina Nürnberg, talks about Italian Rationalism at Lake Como and the buildings by Giuseppe Terragni, who was an important pioneer of this style and tried to persuade the fascist regime to adopt his architecture as an official style. During a creative period lasting only 13 years, Terragni produced a body of work unique in terms of...
Ralf Pflugfelder explores the spatial aesthetics of utopias and their narratives, themes he develops sequentially over the course of different shows. He works across several media including drawing, painting, sculpture, video and sound. His installations—which are often “scale-less”—open up the potential interplay between sculpture, physical intervention and sonic design as narrative devices in art.
In 2010 at Program e.V. in Berlin, he presented part of a larger fiction (1’003) developed for an earlier exhibition entitled Dubai Düsseldorf with Markus Miessen...
Aurélia Defrance, Julie Grosche mit Beiträgen von: Aude Pariset, Maxwell Simmer, Clémence Seilles und Raoul Zöllner, Anne de Vries. The PMgalerie was founded in 2009 as a non-commercial project space in Berlin-Neukölln by Aurélia Defrance and Julie Grosche, both of whom have studied fine art. This may be the reason why they are so interested in organising curatorial and artistic work as an intensive process of exchange, at the end of which a joint work emerges, the exhibition. Defrance and Grosche present young international and Berlin based...
Agnieszka Polska’s starting points are often found footage and images from science or art magazines from the 1960s and 70s. Through manipulation and reproduction of existing historically important excerpts, Polska points out the possibility of new interpretations of historically important events in her video animations. She questions the authority that photography enjoys as a documentary medium.
Gardener’s Responsibility consists of the video The Garden and a series of photo collages entitled Arton which refer to the problem of absence as a conscious gesture...
Roseline Rannoch has a delicate sensibility for spaces, materials, states of matter, and the meanings ascribed to them. Her sculptures work off ingrained structures, which she re-orders.
In her work for based in Berlin, spatial order and perspective are put into question. Rannoch displays an imperious manner and an utter lack of respect towards the exhibition space and the materials used, when she transforms them—an existing access is closed...
The works of Mandla Reuter emerge from the problem of trying to free site specificity of the contingencies of its own circumstances. Reuter’s conceptual work exists where the physical and discursive “sites” collide—at once disruptively and assimilatively—through simple manipulative gestures. Often his architectural interventions alter the structure of a building in such a way as to alter (either enable or prevent) one’s passage through it.
For based in Berlin, Reuter’s work Nothing to See Nothing to Hide begins to dismantle the exhibi- tion building in Monbijoupark, already slated for demolition shortly thereafter. Inspired perhaps initially by the likes of...
Yorgos Sapountzis is interested in sculptures, specifically public sculptures. In his performances the artist, together with the inhabitants of the city, seeks out these bodies of stone or bronze. These encounters of flesh and stone, movement and stasis, oscillate between ceremonial parades and subversive demonstrations. Sapountzis’s sculptural installations also maintain a tension between anarchy and an examination of tradition.
For based in Berlin, Sapoutnzis developed the work Die Arbeiter und die Badenden...
Through an obsessive handling of free patterns, Swiss artist Thomas Sauter translates pattern painting into a contemporary form of overlay and simultaneity in an abstract painting cycle created over a long period of time. A diverse array of relationships to the history of painting, such as Impressionism, Abstract Expressionism and Action painting, are conveyed to the décor of the seating upholstery of Berlin’s subway or a banal wallpaper, for example. For the exhibition based in Berlin, Sauter is rendering his images onto special aluminum rims that are normally used...
Lena Inken Schaefer
Lena Inken Schaefer’s works are objects which often hide an unclear meaning full of unveiled secrets. Her concern lies in interactions between ornaments placed in a landscape. Their materiality changes its meaning and is read through gestures and actions and their processes. Perceptions are interrupted as views are altered. Her works are characterized by a strong conceptual approach. She examines the question of visibility, history and theory. She talks about ornament as a tool of separation and decoration as seen in the evolution of ornamental behavior, which used to separate itself from its surroundings...
The work of Ariel Schlesinger makes playful, occasionally kinetic and often threatening sculptures seem to be as much the work of an unhinged inventor as that of a post-conceptual artist. He blurs the line between outsider inventor and studio-bound artist. His practice is based on “self-taught” engineering and an energetic spirit. In his work, there are often two layers: at first sight you see a poetic gesture, but often there is a political twist and a threat of destruction.
For based in Berlin, Schlesinger is showing A Car Full of Gas (2009)...
→KW Institute for Contemporary Art
Jeremy Shaw’s videos, photographs, sculptural objects and interventions often deal with the activities and representations of youth subcultures, altered states of consciousness and the psychedelic.
His new work for based in Berlin is a variation on these themes. Growing up in Vancouver, the 1981 film Christiane F: Wir Kinder vom Bahnhof Zoo was Shaw’s (as for many people of his generation around the world) first striking impression of Berlin. Having since moved to Berlin, Shaw’s work plays on the repetition of history with an entirely new generation of young people relocating to...
The photographs used in the based in Berlin exhibition’s graphic design are double exposures by photographer Heji Shin. Studio shots from the Thomas Demand studio were superimposed with pictures of its garden to create these images. The technical requisites, stored artworks and mounted photographs are overlaid with images of the rampant gardens and bushes in the studio’s rear courtyard, so that these photographs resist any original claim of being an unambiguous image.
The photos’ technique and the subject matter merge in a multiplicity of perspectives, thus creating simultaneity. The technique used, which integrates shots of plants and gardens, doubles the image’s subject...
German American artist Timur Si-Qin’s works analyse the prevailing political and economic systems of the worlds of advertising and consumerism. These systems of promises, utopias and illusions are corrupted by the artist’s interventions.
For based in Berlin, he asked the curators to install a football stadium LED banner system in Monbijou Park. The costs incurred in renting the electronic advertising banner are to be covered by the companies advertised on it. This meeting of the mechanisms of a contemporary art exhibition with the systems of the football and advertising worlds highlights the economic and political differences in...
Dominik Sittig’s dark paintings, dominated by red-brown colours and many layers of materials, have a powerful presence in the space. Their sophisticated texture is the result of the build up of layers upon layers, with Sittig reproducing masses of different elements from the repertoire of the conventions that define the medium of painting. He then coats the paintings with a sewer-brown varnish. As well as their sheer plasticity and the faint shimmer under the almost monochrome seal, the canvas’s colourful margins testify to the genesis of these works. Notions such as authentic expression, transgression and originality oftentimes still predominate in...
Juliane Solmsdorf ’s works combine opposing materials. Her sculptures are gestures, erotic tension generated through emotions like violence or gentleness. However, they are more than simple, abstract gestures; they’re actual characters with a narration speaking about human existence. Her installation of Untitled works from her series Neuer Lustgarten (2008) show how Solmsdorf ’s works bring together both figurative and abstract forms, ready-made and constructed materials. They hide secret intentions and narratives. Many of these sculptures directly mimic human forms and characters by making gentle anthropomorphic gestures. They speak of social and cultural processes. There is something highly performative and physical about the works which divide and block the space at the same time, controlling the flow of people walking and passing by them. MM
Fiete Stolte’s work captures his own personal time zone, which can be described as a mental space with a performative character. A day has 21 hours and a week has 8 days. Stolte lives and works according to his own clock, in his own microcosms. His starting point was a journey around the world departing from Berlin and flying eastwards via Hong Kong, Sydney, Honolulu, Los Angeles, New York, London and back to Berlin, which he documented in 8 Days in a Week, a work in which gaining an extra day with an extra sunrise and an extra sunset makes one believe that not time is out of joint but everyone around is. Time in general is difficult to visualize without duration. One could say that his...
Jana Unmüßig is a choreographer, but in a different way than the protagonists preceding her generation: she has internalized the critique of representation of Jérôme Bel and Xavier Le Roy, but shifted their accent. The grammar and conventions of the stage are no longer displayed as the main subject in her work; rather, in a highly concentrated mode, she seeks a moment of movement that coils up out of the familiar vocabulary. This operation of...
The work of Danh Vo, a Danish citizen born in Vietnam, traces a winding path through complex cultural and personal histories. Everything is fair game in Vo’s associative mapping of narratives in his almost archaeological constellations of objects. In a flurry of carefully manufactured contradictions, his installations indicate the construction of identity to be as much farce as cultural phenomenon.
The work presented at based in Berlin is the first chapter of a larger project investigating images of liberty — or rather the image of liberty: The Statue of Liberty. Based on the original presentation of the pieces of the statue at the Centennial Exhibition in Philadelphia in 1876 before they were finally assembled in...
A group of 22 dancers comprising of artists and curators in Berlin took part in a 2-day documented ‘Tanztheater’ workshop, where they practiced dance routines from Pina Bausch’s Kontakthof, in which simple everyday gestures are choreographed to explore the relationships between men and women, individuals and groups, thereby mirroring the various dynamics amongst artists and curators who work together. In the resulting video work, the choreography extends across two distinct ‘windows’ of ‘practice’ and ‘performance’.
“Casting” plays a pivotal role in Kontakthof...
→20. June Performance
→27. June Performance
→04. July Program
→11. July Program
→18. July Talk (watch the video here)
→18. July Program
Performances by artist and stuntwoman Helga Wretman comment on the instrumentalisation of the world of products and consumption that surrounds us. They are usually developed in collaboration with other artists and in a process of exchange with...
The videos by Shingo Yoshida constitute an investigation of the individual and his or her place and relevance in today’s reality. They reveal the difficulty for contemporary human beings to integrate themselves into a constantly changing environment, to find an identity and function within globalized realities, mutating and confused cultures, and increasing migrations. His work raises the question of one’s origin, roots and identification, and stresses the notion of psychological and geographical territories. In the video SOS Morse code-Fernsehturm (2010), the artist stages himself at the top of the Fernsehturm...