Brandon Ballengée | Katya Gardea Browne | Pinar Yoldas
by Regine Rapp & Christian de Lutz
Ehrhardt Stiftung, Auguststr.
75, 10117 Berlin
Exhibition runs 2 July-4 September, 2016
reception and curators' tour: 4 September, 2016 at 2PM
ebjanic: Aurelia 1+Hz / proto viva generator, Installation
with living system, 2014 Photo: Hana Joič
2 September 2016, 8PM
Exhibition runs: 3 September - 9 October, 2016
Fri-Sun, 2-6PM and by appointment
Workshop/seminar with Robertina ebjanič
and Kat Austen (registration required): 18 September, 2016
Fri-Sun, 2-6PM and by appointment
The exhibition investigates agency and sentience in one of the 'simplest'
of multicellular creatures: the jellyfish, placing it into relation
with a human made machine. Also noteworthy here is the importance
of sound in marine systems, as well as the effects of human intervention
on aural aquatic systems.
her series of works Aurelia 1+Hz the Ljubljana based artist
is interested in both biopolitical and technological attempts
at the prolongation of life as well as a new critical reflexion
of interspecies cohabitation. ebjanič,
whose work involves intensive cooperation with marine biologists
from around the globe, has chosen to work with jellyfish, which
have existed on earth for over 500 million years.
Her interactive installation Aurelia 1+Hz / proto viva generator
from 2014 proposes the mutual coexistence of animal and machine.
In contrast to robots, which are driven by digital artificial
intelligence, this project uses a living organism to bring life
to a simple machine, and in a way, to express itself through the
machine. Living jellyfish actually run the installation: the mechatronic
part, video and sound. The movements and contractions of the jellyfish
are recorded by HD camera. The captured data is then transformed
in real time into code, which in turn navigates the mechanisms
of the installation.
Aurelia 1+Hz / proto viva sonification was realized in
2015 as an audio visual performance with living system,
where the artist extended the Aurelia 1+Hz project to challenge
the phenomena of interspecies communication, sonification of the
environment and the acoustic of the specific space surrounding
the creatures. ebjanič
explains: "Sound loops containing recordings of jellyfish
in a closed environment and pre-recorded sonic experiments from
the sea are mixed in generative score, which is assembled into
immersive sonic and visual experience."
project »Subaquatic / Aquatocene sound scape« from
2016 investigates the phenomenon of underwater noise pollution
created by humankind in the seas and oceans. Over the last few
years ebjanic has produced a number of recordings using
hydrophones. From this archive she presents a sound work in the
exhibition, which explores the phenomenon of human sound pollution.
Underwater noise effects a great number of marine life forms,
who depend on the subaquatic sonic environment to survive.
Animals. Cognition, Senses, Play
Mayeri Maja Smrekar
27 May, 2016, 8PM
Artists talk: 29 May, 2016, 3PM
Dialog and closing reception: 17 July, 2016, 3PM
runs: 28 May 17 July, 2016, Fri-Sun 2-6PM and by appointment.
June open until 9PM)
Left: Maja Smrekar, I Hunt Nature and Culture
Hunts Me, 2014, performance and video; right Rachel Mayeri,
Apes as Family, 2012, Film
Laboratory Berlin is pleased to present the new series Nonhuman
Subjectivities. Based on current philosophical theories of
the object and a critique of anthropocentrism, our attention is
focused on non-human actors.
exhibition On Animals. Cognition, Senses, Play
investigates two groups of animals that are closest to us. Primates,
our nearest 'relatives', have a complex cognitive proximity to
humans, but also differ radically in certain areas. While dogs,
with whom we have made a symbiotic contract., have evolved alongside
us over the last 30,000 years. The works in this exhibition share
Donna Haraway's concept of "cooperative actions": overcoming
conventional dichotomies of nature/culture, human/animal or subject/object
is all about joint action. The artists, Maja Smrekar and
Rachel Mayeri, make use of certain narrative strategies
and the phenomenon of immersion, to approach the perspective of
a nonhuman counterpart. The works of both artists place the instinct
and the senses of the nonhuman at the centre of artistic research,
while aiming to translate the nonhuman cognitive ability by means
of the performance, film and art/science collaboration.
Smrekar's performance I Hunt Nature and Culture Hunts Me,
created during a research residency, investigates the phylogenetics
of the wolf, the wolf-dog-human relationship and animal ethics.
The implied risk and intimacy of Smrekar's performance with hybrid
wolfdogs is contrasted by the reading of cultural texts from Joseph
Beuys, Oleg Kulik and Smrekar. A documentary film also explores
the complex evolutionary story of the canine.
her work Ecce Canis she explores the metabolic pathway
processes that trigger emotional motifs which bind humans and
dogs and let them successfully coexist together. The installation
contains serotonin from both the artist and her Scottish border
collie Byron, which has been transformed by chemical protocols
into an odour - the chemical essence of their human-canine relationship.
films of Rachel Mayeri are the result of years of collaboration
with primatologists. In her series Primate Cinema, Mayeri
has made films for (and about) chimpanzees and other primates.
In Apes as Family we watch a drama based on a tale of both
chimpanzee social customs and domestication. While, as humans,
we find the plot emotionally compelling, we also become caught
up with watching the reactions of a chimpanzee audience watching
the same film on a large TV. Indeed the film is both an example
of 'Primate Cinema', that is a film made for nonhuman primates,
and the complexities of cross-species understanding. Mayeri's
film Baboons as Friends juxtaposes footage of baboons with
a film noir reenactment by human actors, who translate a tale
of lust, jealousy and deceit from the animal to the human.
Rapp & Christian de Lutz (curators)
on the Nonhuman Subjectivities series
possible in part by a generous gift from Michael Schröder.
Laboratory Berlin Projects 2010-2016 as .pdf
Laboratory Berlin Projects 2007-2009 as .pdf
The Other Selves. On the Phenomenon of the Microbiome
Spačal with Mirjan vagelj and Anil Podgornik
Tarsh Bates Joana Ricou
The exhibition, the first of
our new exhibition series Nonhuman Subjectivities, presents
various artistic reflections on the complex microbial environment
found on and within the human body. Scientists say that bacterial
cells are as numerous as human cells in our body. The phenomenon
of the microbiome also brings forth many complex questions about
human identity and our relation to our multiple selves.
François-Joseph Lapointe connects his biological research
with performance art. His latest works of art deal with the microbiome
in our daily lives and physical connections to others. Lapointe
sequences his microbiome to produce metagenomic self-portraits,
Microbiome Selfies, which illustrate the metamorphosis of
his bacterial self.
together with Mirjan vagelj
and Anil Podgornik are interested in the contrast between
the oneness of the human body as biological entity and the multiplicity
of the human microbiome. In their installation Mycophone_unison
the artist-scientist-designer collective has developed a sound map
of intra-action between their microbiomes and the recipient.
Ricou's works blur the fundamental boundary between organism
and environment, taking the shape of photographs of microbial paintings
or performance. Ricou collected samples of her own microbiome and
that of her environment and cultured these in the lab to visualise
Bates artistically explores what it means to be human when we
recognise our bodies as composed of over one trillion cells, of
which only around half are human.
Transhuman Life Forms
The exhibition explores the phenomenon of the prosthesis as
bodily extension in the 21st century. Exploring new technologies
and recent developments in neuroscience and biology, Susanna
Hertrich proposes new transhuman sensory extensions of
what may eventually become 'human 2.0'. The exhibited works
are part of her long-term artistic research project Bodies
& Technology. In Susanna Hertrich's work a narration
is constructed in which the human sensory apparatus is extended
through computer controlled prostheses. The results can be
understood as crossing the boundaries between artistic hypothesis
and technological experimentation. The artworks reflect our
current living environments, as well as critically question
the social, political and physical consequences of the new
technologies utilised in their making.
Growing Geometries - Evolving Forms
artist Theresa Schubert conducts research at the intersection of art,
biology, and technology. She has studied Media Arts & Design at
the Bauhaus University Weimar. Her artistic practice combines various
media such as audiovisual installations, photography or work on paper
which deals with the phenomena of nature not only as a source of inspiration,
but as a material and critical process. By means of transdisciplinary
methods, such as the re-enactment of scientific experiments, biohacking,
theoretical analysis and collaborative practices, her work deals with
the themes of self-organization, computational geometry and morphology.
The starting point for her experiments are simple organisms that arranged
in setups have the opportunity to grow and develop - always under
the control of the artist - sometimes in interaction with people and
Immersion into Noise
works by Joseph Nechvatal
Artist Talk & Noise Music Concert: 25. April, 14 Uhr
Nechvatal (born in 1951 in Chicago) is a post-conceptual artist working
in digital art. He is one of the most important pioneers of 'new media
art,' but at the same time makes use of 'old media' (such as painting
and drawing). What is phenomenal, and in our opinion relevant to the
21st century, is that his paintings are created through a use of custom
artificial life software and computer robotics..
II: πρωτεο / proteo - Joanna Hoffmann
23 January, 2015, 7PM
Opening of the [macro]biologies & [micro]biologies Library:
30. January, 2015, 7PM
Curators Talk: 1 March, 2015, 3PM
/ proteo featuring artworks by Joanna
Hoffmann is the fourth and final exhibition of the [macro]biologies
& [micro]biologies series at Art Laboratory Berlin.
The exhibition explores the minute biomolecules that form a basis
for the phenomena of life.
Joanna Hoffmann's transdisciplinary works combine
art, microbiology, physics and technology. Her use of multimedia
installations, 3d stereoscopy, experimental video animation and
other media explore the visualization of sub-atomic and molecular
as well as cosmic space. Her work relates to advanced scientific
research on the phenomenon of life and to the interplay between
scientific and cultural, sensual and illusive, digital and biological,
natural and synthetic.
I: the bacterial sublime
talk: 28 September 2014, 3PM
with Anna Dumitriu: 30 November,
The third exhibition will be a solo retrospective of British artist
Anna Dumitriu, whose work in the field of art and science
brings together historical narratives, cutting edge biomedical research
and an interest in ethical concerns.
is well known for creating "The VRSA Dress" & and
"The MRSA Quilt" which were made from so-called 'superbugs'.
To create those works she grew bacteria onto textiles and used natural
and clinical antibiotics to create patterns (sterilised prior to
exhibition will also include works from her "Romantic Disease"
series which explores the history of tuberculosis (TB) from artistic,
social and scientific perspectives and covers subjects such as superstitions
about the disease, TB's literary and romantic associations, the
development of antibiotics and the latest research into whole-genome
sequencing of mycobacteria.
1 June, 3PM
- Artists and curators Talk (all artists are present)
Friday 27 June, 6.30 PM - Integrating Nature's elegant
solutions into the design process - a Talk with Dr. Prateep
Beed, Co-Founder of Biomimicry Germany e.V. (in English)
Sunday 6 July, 3 PM - Tour of the exhibition with the curators
and ALB staff
Saturday 19 July, 2 - 4 PM - Children's Workshop with
Desiree Förster in conjunction with the exhibition (in German)
20 July, 3PM - Artist
talk with Maja Smrekar,
followed by finissage
The second exhibition of the
series [macro]biologies & [micro]biologies, [macro]biologies
II: organisms will highlight the works of artists dealing
with multi-celled organisms. Noteworthy is both the relationship
of these organisms to us, as well as their roles as independent
actors. The exhibition focuses on the works of three remarkable,
internationally recognized artists whose work deals with multicellular
organisms: Suzanne Anker (US), Brandon Ballengée
(US) and Maja Smrekar (SI).
Suzanne Anker has been one of the key figures working at the border
between art and biology for several decades. Her work combines inquiry
into science and the newest technologies with a keen aesthetic sense.
Brandon Ballengée pursues a sustainable form of artistic
research in his metier as a visual artist in the field of bioart
and as a biologist in the field of herpetology.Art
Laboratory Berlin will show video documentation of his ongoing project
Malamp Reliquaries, on which Ballengée has worked in
various forms since 2001. The project's aim is to investigate the
potentially unnaturally high occurrence of morphological deformities
among wild amphibian populations
Maja Smrekar is an emerging young artist from Ljubljana, Slovenia,
connecting the intersections of humanities and natural sciences
with her main interest in the concept of life. For the exhibition
at Art Laboratory Berlin Smrekar will present the installation BioBase:
risky ZOOgraphies focussing on an invasive species, the marble
crayfish (Procambarus fallax forma virginalis), and
its form of asexual reproduction in which growth and development
of embryos occur without fertilization, called parthenogenesis.
I: the biosphere
The Center for PostNatural History
Alexandra Regan Toland
Artist Talk with Katya Gardea Browne: 30 March,
2014 at 3PM
of a unified conception of existence, such as "world"
or "nature", today, in the post-anthropocentric era, we
find ourselves confronted rather with a multiplicity of structures
and a blurring of boundaries. This show is part of a series of exhibitions
- [macro]biologies and [micro]biologies - dedicated to artistic
reflection on current drastic changes to how we connect, relate
and interrelate to the worlds around us.
[macro]biologies I: the biosphere we have chosen four important
international artists dealing with the structures and systems of
our world. The exhibition focuses on the ecosystem and the biosphere
with billions of life forms that interrelate with other systems
(i.a. geologie and climate).
The recent works of Mexico City based artist, photographer and filmmaker
Katya Gardea Browne have stressed the cultural and environmental
tensions between urban and rural in and around the megacity Mexico
D.F. The Center for PostNatural History, based in Pittsburgh
in the U.S., is an art and research project (Director: Richard Pell,
Learning Science Advisor: Lauren Allen, Designer: Mason Juday) dealing
with the history of mankind's manipulation of life forms, from early
agriculture to genetic modification. New York based artist Mathias
Kessler's deals, among other things, with the phenomenon of
changing landscapes caused by human intervention. The Berlin based
artist and ecologist Alexandra Regan Toland works on multiple
levels to create social awareness about urban ecological systems.
Synaesthesia / 4:
Translating, Correcting, Archiving
Bolz, Ditte Lyngkær Pedersen, Andy Holtin
Discussing a Phenomenon in the Arts, Humanities and (Neuro-) science"
5 & 6 July, 2013, Glaskasten Theatre, Prinzenallee 33,
/ 4: Translating, Correcting, Archiving presents works by Ditte
Lyngkær Pedersen (DK), Eva-Maria Bolz (D) and Andy Holtin
(USA). The exhibition devotes itself to selected artistic strategies
for decoding the phenomenon of synaesthesia. It is significant that
all three artists experience different forms of synaesthetic perception.
Lyngkær Pedersen's project Why Is Green a Red Word?
is comprised of interviews with synaesthetes and scientists, but
also includes conceptual video works such as What the Hell does
Purgatory Look Like? and drawings depicting the spatial imagination
of number forms by different synaesthetes. Contemporaneous
with the exhibition opening will be the publication of Ditte Lyngkær
Pedersens artist book Why is Green a Red Word?
The work of the Berlin artist and grapheme and lexical synaesthete
Eva-Maria Bolz is dedicated to an exploration of the relationship
between colour, text and perception. In her individual form of synaesthesia
she feels an unchanging association of colours to numbers, letters,
as well as whole words. The project Der Innere Monitor, which
Eva-Maria Bolz presents at Art Laboratory Berlin, follows her subjective
perception that colours and letters form a specific code through
which a text can be translated into blocks of colour.
Holtin has grapheme synaesthesia, connected with a particular
colour-number association. In his video Corrections (2009)
you can see how a hand colours in the numbers of different signs
and nameplates in photographs. Corrections demonstrates the
gap between the object and subjective sense perception as well as
the personal impressions of the artist himself. In his video Connections
(2013) the artist examines the complications he experiences when
objects share a colour with a particular number due to Holtins
individual synaesthetic experience, creating an extended perceptual
History of the Senses
Rowe & Simon Davenport
Sergio Maltagliati & Pietro Grossi
22 March, 7PM; 23 March, 2PM & 7PM ; 24 March, 2PM & 7PM
of the Senses deals with the phenomenon of synaesthesia from the
point of view of art and media history. The two artistic positions
refer back to different movements from the 20th Century giving Art
Laboratory Berlin's four-part exhibition series on synaesthesia
a historical component, whilst nevertheless dealing with contemporary
Banquet for Ultra Bankruptcy, developed for Art Laboratory Berlin
by Carl Rowe & Simon Davenport, forms the starting point
for a series of performances followed by an exhibition. The overarching
theme of synaesthesia provides a basis for the study of aesthetics,
politics and participation, as well as for the reactions of the
participants. A Banquet for Ultra Bankruptcy is made up of
five performances for six guests. During a six-course menu selected
foods are combined with images, sounds and scents. Each course is
designed as an aesthetic experience, allowing the audience to participate
in simultaneous sensations.
work Circus 8 (1986/2008) by Sergio Maltagliati &
Pietro Gross consists of eight pieces and is based on Grossi's
HomeArt programs from the 1960s and 1970s, which automatically generated
sound. Maltagliati has expanded Grossi's principle with software
programs and added visual graphic variations. The visual data generated
by the computer approximates the graphic score for a sound composition.Whilst
the work Circus 8 adds a media historical dimension to Art
Laboratory Berlin's Synaesthesia series, it also brings an
important new component into the discussion: the computer as artificial
brain with its own form of digital synaesthesia.
Space and Perception
with Madi Boyd 10 March, 2012 at 3PM
into the nature of Space and Perception are the basis of Art Laboratory
Berlin's second exhibition in the Synaesthesia series. Synaesthesia,
the experience of two or more sensory impressionsat the same time,
is both an artistic paradigm and neurological phenomenon. Two installations
by Madi Boyd and Carrie C Firman explore the connection
between perception and experience of mind and body from a synaesthetic
point of view.
Boyd is a synaesthete from Great Britain, whose artistic work
focuses on perception and the brain. In collaboration with neuro-scientists,
Dr. Mark Lythgoe and Dr. Beau Lotto, from University College London
her work incorporates and combines installation, film and sculpture.
Her recent project The Point of Perception explores how much
information the human brain needs in order to know what it is looking
C Firman is an emerging electronic artist from the US. Her work
is inspired by studying and experiencing the crossing of senses.
She sees synaesthesia not only as a sensory phenomenon, but also
a fantastic world interface, responsible for completely unique perceptual
Synaesthesia / 1: The Orange Smell
October, 2012, 4PM - Artist talk and workshop with Barbara Ryan
2012, 3PM Artist talk with Annette Stahme
As part of the new series Synaesthesia, Art Laboratory
Berlin presents the first exhibition The Orange Smell of November
with new works by Barbara Ryan and Annette Stahmer.
The artist Barbara Ryans perceptions of the world are
underpinned by her polymodal synaesthesia which in turn forms the
foundation of her artistic work. She experiences her synaesthesia
»as something that is in her parallel conscious as
opposed to something that is in the subconscious, creating a duality
work of the Berlin typographer and artist Annette Stahmer
revolves around language, the relationship between voice and writing,
the act of writing, palimpsests and synaesthesia. The two videos
in the exhibition - A ist blau and Synästhetische
Bilder I - IV - show the artist's mother, a synaesthete who
connects vowels with certain colours.
Embodiment of Time.
Sakamoto with Iñigo Giner Miranda
Opening: 31 August, 2012, 20 Uhr
of the current exhibition series Time & Technology the
exhibition Embodiment of Time presents new works by
Yasuhiro Sakamoto mit Iñigo Giner Miranda and by Dave
Japanese artist and scholar Yasuhiro Sakamoto and the Spanish
composer Iñigo Giner Miranda have developed the installation
Visible Canon. String Quartet without Strings for Four
Loudspeakers and an Art Machine, shown in the front room, especially
for this exhibition. The work transforms the complex time structures
of contemporary and classical music into an acoustic-visual model.
video installation Monitor by the American artist Dave
Hebb is a video and photographic documentation of an environmental
intervention extending over a one-year period. Hebb placed a computer
monitor outdoors and over the entire year documented changes to
the environment several times a week. His piece is played on old
computers and monitors and is inherently unstable, a common problem
of technology as it becomes obsolete. This self-reference is also
shown through the display of the video on the same type of monitor
that is the subject of the piece itself, which is presented more
as an object of media archaeology than merely a means of presentation
Time & Technology
Fantastic Time Machines
Sam Belinfante & Simon Lewandowski
23 March, 2012, 8PM
Artist talk with Shlomit Lehavi: 30 April, 8PM
The exhibition Fantastic Time Machines presents new works
by Shlomit Lehavi and Sam Belinfante & Simon Lewandowski. The
two contributions deal with the phenomenon of time through synchronicity,
simultaneity and succession. These artists have developed special
forms of imaginary time machine.
British artists Sam Belinfante and Simon Lewandowski produced The
Reversing Machine (A Theatre of Kairos and Chronos) especially
for this exhibition. The installation alludes to the notion of Kairos
as opportune time, as opposed to Chronos, the course of time.
The work Time Sifter is by the Israeli born and New York
based artist Shlomit Lehavi who works primarily with new media and
multi-channel video. Her video installation Time Sifter explores
collective memory, collective forgetting and time based media as
a contemporary time machine.
plan b (Sophia New & Daniel
Belasco Rogers) Navigating
27 January 2012, 8PM
the Everyday presents works by plan b, the British artist duo
Daniel Belasco Rogers and Sophia New, and is their first solo exhibition
in Germany. Since 2003 and 2007 respectively, Daniel and Sophia
have been recording every journey they make every day using GPS
devices. Additionally all areas of their digital communication (e.g.
mobile phone text messages) are evaluated and processed artistically.
Their work represents an artistic research by means of a digital
archiving of their movements.
the years this practice has become part of everyday life, a form
of private and personal 'sousveillance', in which the artists generate
their own data, thereby reflecting the approach of those private
and public agencies who collect all available data.
Time & Technology
Performance and exhibition
performance: 2-12 November, 2011
Opening: 25 November, 2011, 8PM
January, 2012 3.30PM: Tour of the exhibition and Artists' talk
with Gretta Louw
+ plan b (Sophia New & Daniel Belasco Rogers) and Igor tromajer;
moderation: Regine Rapp & Christian de Lutz (curators).
exhibition project Controlling_Connectivity by the Australian
artist Gretta Louw is a reflection of the latest forms of digital
communication. Her online performance (2- 12 November 2011) has
laid the basis for an exhibition which will include screen capture
footage, photographs and an installation. For 10 days the artist
was available 24 hr/day for discussions, emails, comments, or interviews
- of both private and professional nature - for any internet user
wishing to take part in the project.
Controlling_Connectivity. Art, Psychology, and the Internet
by Gretta Louw
Bärbel Möllmann - VISIONS NYC - afterthoughts
Opening: 9 September, 2011 8PM
Release Party - VISIONS NYC by Bärbel Möllmann: 30 September,
VISIONS NYC - afterthoughts the Berlin-based artist and photographer
Bärbel Möllmann has gathered a series of amazing portraits
and interviews with New Yorkers from Summer 2001, recording their
individual plans, goals and dreams, and from Summer 2002 recording
their reactions to the events of the previous year.
she began her unique artistic project in July 2001, Möllmann
could not have imagined the attacks on the Twin Towers that would
occur only two months later. The actual events of 9/11 are not directly
seen in the images, but rather felt as a historic turning point
in the interviews and photos taken both before and after September
11. The project is rather about individual New Yorkers and their
respective fates, which are brought convincingly near in these artistic
photographs and authentic interviews, which shows just how strongly
the city of New York and its residents changed in the aftermath
of September 11.
in Dialog: Al Fadhil & Aissa Deebi
My Dreams Have Destroyed My Life. Some Thoughts on Pain
29 April - 26 June, 2011, Fri - Sun, 2-6PM and by appointment
Opening: Thursday 28 April, 2011, 8PM
table discussion Al Tahrir: The Day After, 1 May, 2011, 3PM
Dreams Have Destroyed My Life. Some Thoughts on Pain was first
conceived by the artists during a common artist residency in Taiwan.
Both artists had lost brothers in respective conflicts in their
countries of origin. Al Fadhil has lost two brothers to the wars
in Iraq. One brother died in the Iran-Iraq war. Fadhil's father,
as the parent of a 'martyr,' were granted an audience with the dictator
Saddam Hussein, which was documented with a photograph.
Aissa Deebi's younger brother Nasim died in Israeli police custody
in 1999. Deebi's works in the exhibition will trace his and his
brother's connection to the land they grew up in. A series of holographic
photographs will depict the route from Deebi's childhood home near
Haifa to the coast, a route Deebi and his brother often took together
when they were younger. The superimposition of geography, memory
and historical space come together in Deebi's installation to form
a palimpsest of the personal and the political.
01.2011 - 13.3.2011
LeWitt: Artist's Books
21 January 2011, 8PM
19/20 February, 2011
American artist Sol LeWitt (1928 - 2007) was an influential figure
in minimalism and is considered one of the most important representatives
as well as co-founder of American conceptual art. The term "conceptual
art" goes directly back to LeWitt: "If the artist carries
through his idea and makes it into visible form, then all the steps
in the process are of importance. The idea itself, even if not made
visual, is as much a work of art as any finished product. All intervening
steps - scribbles, sketches, drawings, failed works, models, studies,
thoughts, conversations - are of interest. Those that show the thought
process of the artist are sometimes more interesting than the final
product." (Paragraphs, Artforum, June 1967)
intensive artist books production was extremely versatile: he used
different designs and formats as well as varied techniques from
color lithography to offset printing. Finally the phenomena of reproducibility
was part of the concept: "Also, since art is a vehicle for
the transmission of ideas through form, the reproduction of the
form only reinforces the concept. It is the idea that is being reproduced."
Tania Antoshina, Mo Foster, Marcela Iriarte, Christian de Lutz, Jane
Mulfinger, Bob & Roberta Smith, Jessica Voorsanger.
curated by Francesca Piovano
29 October 2009 8PM
26 November 2010 8PM
Special event: 30 November 2010 A reading by Mo Foster at the East
of Eden bookstore
Andy Warhol declared that everyone would be famous for 15 minutes,
he probably didn't realized how true that was going to be.
It is no longer necessary to have a particular talent, nowadays
absolutely any one who is prepared by whatever means to be entertaining,
can become a 'celebrity'. Then mass media, along with popular culture,
will see that celebrities are consumed as spectacle giving them
a package of meanings that has nothing to do with their intrinsic
explore the issues of celebrity cult and modern heroes and to put
them in a multifaceted international context, the exhibition Stardust
Boogie Woogie has brought together 7 artists from different
countries and backgrounds. Their work is around the notion of stardom
and its related lifestyle (Jessica Voorsanger, Jane Mulfinger, Marcela
Iriarte), of socialist personality cults (Christian de Lutz, Tania
Antoshina) and of popular culture (Bob & Roberta Smith, Mo Foster).
Toland and Myriel Milicevic -
Wunschgarten: Wild Urban Offshoots
27 August 2010, 8PM
4 September, 2010, 2-6PM
exhibition Wunschgarten: Wild Urban Offshoots is a collaboration
by the artists Alex Toland and Myriel Milicevic and part of the
series Artists in Dialog. Both work on the border between
art and life and environmental sciences. Together they have chosen
the immediate area around Art Laboratory Berlin (the Soldiner Kiez)
as a place to investigate interactions between the local human population
and urban flora and fauna. The exhibition functions as a laboratory
for the production of maps, drawings, models and prototypes. Wunschgarten
is a series of dialogues: between the artists and the local community,
between city dwellers and nature, between urban planning and urban
wilderness. Toland considers the project 'habitat hacking' and Milicevic
describes the project as 'reconstructing cross-species life worlds'.
2-1/4-n/2 x 21/4-n/2
Heidi Hove & Jens Axel Beck
Friday, 28 May, 2010, 8 PM
Performance/ work in progress (open to the public): 31 May - 3 June,
Artist talk: Saturday 12 June, 2010, 6PM
exhibition 2-1/4-n/2 x 21/4-n/2
by the Danish conceptual artists Heidi Hove and Jens Axel Beck is
the first exhibition in our new series Artists in Dialog.
Both are interdisciplinary artists, whose practice includes sculptural
objects and installations as well as architectural, spatial and
social interventions. A point of convergence in their work is a
focus on daily life and the public and private spaces that we daily
travel through. Their work examines how we navigate and organise
ourselves in the world. Through simple and diverse manipulations,
the daily and the recognisable are brought out of their regular
Art on the Californian-Mexican Border
Katya Gardea Browne
Luis G. Hernandez
Friday, 23. April 2010, 20 Uhr
Artist Talk with Michelle Chong: So. 25. April 2010, 4PM
exhibition project OFF FENCE. Art on the Californian-Mexican
Border is an artistic platform with five positions, exploring
the cultural overflow, overlap and tensions in the border region
of Southern California and Northwest Mexico. The artists come from
Los Angeles and Mexico City.
Feizabadi, from Repititions-Revolutions -Rituals
and Law IV
Creative Rights. On Appropriation, Copyright and Copyleft
Feizabadi, Gilbert & George, Christian de Lutz, Triple Candie
The Creative Rights Library with documentation on Shepard
Fairey vs AP, Richard Prince vs Patrick Cariou, Creative Commons,
The Fair Use Projekt, Piratpartiet, etc.
27 November 2009, 8PM
Workshop: "Copyright and related topics for artists.
musicians, filmmakers and other creative producers" with Andreas
Lichtenhahn (lawyer), in German.
28 November 2009, 15h
Rights. On Appropriation, Copyright and Copyleft investigates
questions concerning the use, re-use and misuse of images and information
in the contemporary art world from artistic, legal, political and
the late 1970s appropriation of images and information by such artists
as Sherrie Levine and Richard Prince has become a common and accepted
technique, part and parcel of postmodernism's critical approach.
Indeed it follows a tradition that goes back through pop art and
nouveau realisme to Dada and cubist collage. Not without ethical,
aesthetic and legal controversy, a number of law cases involving
appropriation seems to have increased in recent years involving
artists such as Jeff Koons, Richard Prince and Shepard Fairey. The
exhibition Creative Rights consists of three parts: The exhibition
with four artistic positions, the Creative Rights Library with extensive
material on the presented artists and other recent law cases as
well as a workshop on the theme of copyright.
Art and Law III
- Critical Art Ensemble
& Institute for Applied Autonomy
2. October 2009, 8PM
Artist Talk: 4. October 2009, 4PM
Film Screening: Strange Culture, 2. November 2009,
7.30 PM (see events)
exhibition Seized by Critical Art Ensemble (CAE) and the
Institute for Applied Autonomy (IAA) is the third part of our series
Art and Law. The
exhibition documents the FBI raid on the house of CAE member Prof.
Steve Kurtz in May 2004, following the death of his wife Hope. In
the weeks prior to the raid Steve and Hope Kurtz had been preparing
for an exhibition examining GM agriculture at Mass. MOCA.
emergency worker of the fire department responding to Steve Kurtz's
911 call found materials in their houserelated to the upcoming exhibition
suspicious and informed the FBI. The raid, conducted by FBI-officers
wearing hazmat suits, and blocking off a half block radius of the
home, caused much media attention. (more
copyright 2009 by Michael J. Mulley