Unter der Friedhofseiche (German Edition)

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The book also includes a master index to Volumes 39 and 40, which covers all of Westphalia. Written in English by Kevan Hansen, the volume was principally written to help family historians resolve where their family may have gone to church — and left vital records behind that may be seen today. This is the fortieth of a series covering all of Germany. The series is still in production. In many cases, even the smallest places are listed in this series — some with as little population as one person! These places are as of about If the place existed prior to that date, it will most likely be listed.

If the place was named after that date, the chances drop. The book is available in soft cover or in a hard cover library quality binding. Time limit is exhausted. Each volumes of the series does the following: Identifies the parish where an ancestor worshipped based on where they lived.

Despite the diversity and autonomy of their works, they are united in their claim to initiate an intensive reflection about our relationship to nature and our place in society through their art. Both work at the interface of art and science. These however, are not perceived as backward-looking by him: For his large installation at the Venice Biennale he extracted sediments from the Bolivian salt desert Salar de Uyuni and thus creating a salt-pinned landscape.

And lithium is becoming gradually the most important resource in the digital world. Movement, especially in circles, characterizes many of his works. For the Art Basel Unlimited for example he created an Egocentric system: With other works, such as the video Irma To Come In Earnest on the hurricane in Florida, he discusses our dealings with nature and climate change. As an artist, Bismarck regards it as his social responsibility to raise awareness of current topics and problems.

In his work series Punishment he did this, for example, by personally whipping legendary places such as the Alps. When both artists work together, artworks emerge that are equally scientific, sensual, curious, auratic, sophisticated, humorous, and, in the best sense of the word, megalomaniacal.

Beide arbeiten mit unterschiedlichen Schwerpunkten an der Schnittstelle von Kunst und Wissenschaft. Towards a Sentimental Cartography of Water. The effects of the latest water crisis still shape the social, economical and environmental life of Cape Town and the Western Cape. What once was thought to be a finite state of emergency thus more and more becomes a new form of normality.

But which attributes define and characterise this labile situation of a new normal? How has the crisis modified the personal and public relation to water? And to what extent can the crisis even serve as a catalyst for change that transforms the negative implications into a positive outlook? The exhibition Towards a Sentimental Cartography of Water explores these issues through a range of photographic images, drawings, installations and media works by artists based in South Africa and Europe. In an associative way they provide first coordinates for an yet unwritten cartography that describes our far-reaching connectedness with water.

The participating artists connect their works with the specific locations, introducing background information on site. Skype Seminar with Christina Werner, 3. Work presentation by Atef Al Jaffal Participants: Skype Seminar with Christina Werner, Work presentation by Tabarek Al Atrakchi Participants: Divided into two parts, a video installation and a performance, in Stellar Fauna — similarly to her last work — two dancers gradually embody mutant and digital attributes in a poetic way.

They repeat a mysterious mantra: Stellar Fauna is the creation of an uncanny world made by our world. A discourse about bodies in the wilderness of our time. Due to capacity limitations two performances will take place each day. Maria Zimpel, Harumi Terayama Light design: Leon Eixenberger Additional set design: Filippos Kavakas Costume design: Clara Jo Production management: Senate Department for Culture and Europe. Sie wiederholen ein furchterregendes Mantra: Maria Zimpel, Harumi Terayama Lichtdesign: Mouse on Mars Dimensional People Ensemble Intelligent technologies are changing the foundations of human life through software, sensors, interfaces, and robots.

These developments not only affect our way of thinking and doing, but also our relationships with each other. In the powerful sound choreography by Marco Donnarumma and Nunu Kong, an artificial intelligence connects three dancers equipped with sensors interacting with robotic prostheses to sound and light to create a kinetic feedback loop. Technology acts both as an independent voice and as a mediator and translator for human encounters. Nina Schuiki, I still see you in everything, Wed-Sat 3 — 6pm, Sun 11am — 6pm. Festival 6 October — 11 November Programming: Together, the two institutions- a social museum that value contemporary creation and a contemporary art museum that tackles social issues- are happy to present Persona grata, an exhibition organized over the two locations with a rich cultural programming: The acceleration of migratory flows and the growing place these issues occupy in the public debate increasingly question the foundations of our societies.

On one hand, camps and walls mushroom and confirm the irreversible setback of our hospitality duty, while on the other, citizen involvement grows to help, support and welcome migrants. The exhibition will provide a platform for artists to share their analyses, critics and feelings toward national fold, behaviors of rejection and revolt. These artistic testimonies will help us think these questions through and look at ourselves yet without any moralistic judgment. Although central, the issues related to migratory flows do not cross out other neglected —and little known- forms of hospitality toward helpless and weakened populations.

The exhibition will bring forth proposals around community life, care for others, the necessity of nursing homes, public health-care and hospitality centers held in a spirit of attentiveness, kindness and sharing we should rehabilitate. Es entsteht ein gemeinsam erlebter Moment. Malte Bartsch Design, Code: Liebermann Kiepe, Jonas Sieben Typeface: Gaisyr by Dinamo Kontakt Presse: Festival of Future Nows — Workshop Addis. Site visit in order to establish the idea for a potential festival in Addis Ababa, followed by festival proposals by the participating students and group discussions.

Neue Nationalgalerie — Fabian Knecht Die Ausstellungen: Die Publikation mit rund eindrucksvollen, weitgehend unbekannten Fotografien bebildert die besondere Ausstellungsgeschichte des Museums. She works at the intersection of experimental music and sound art. She composes for ensembles, makes works for radio, creates interactive sound and media installations and performs live electronic music. The systems Robert set up for Redsuperstructure now come into deeper relief, as he applies a greater understanding of their workings in order to eke out, sculpt their possibilities in his own image.

Much of the material came from improvisation and sketches made in preparation for his live shows. This quickfire process amassed a range of material which was then more considerately cut to shapes and layerd not applied Autonomy, which ranges from almost Rian Treanor-esque stutter drums mixed with dense yet wide atmospheres in his title track, and twisted across the album, from frenetic acid dancehall mutations in Varieties of Impact, to the meter-messing trance of Scene 3 which sounds like something Vladimir Ivkovic might play, and thru to the necessary, hoped for dose of emotive lushness with brimming optimism of All Objects Are Moving.

But he really saves some of the best for last in Samtal, a 14 minute piece recorded in duo — but not together — with Klara Lewis at EMS Stockholm, where we effectively hear two autonomous minds at work, making for a smart contrast with the singularity of the preceding tracks. Shotspotter 2 — Blurry Boundaries. Am Rand von EuropaCity. Dies sind einige der Fragen, denen wir nachgehen wollen. Jacke, Regenschirm und was man braucht, um in der Stadt zu wandern. Kontakt bei Fragen oder Interesse: Ritual Reality by Elise Eeraerts.

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Auch der Standort der Galerie selbst wird in der Ausstellung reflektiert. The aim of this project is to nurture artistic empowerment. Beyond their artistic and geographic context, the works on show share a common functionality, reflecting the circumstances of their production. The objects assembled in Miete Strom Instagram reveal a host of strategies and work methods that have arisen out of necessity among the artistic community.

In their independent artistic practice, both are known to explore the re-contextualisation of made objects by continuously challenging the genre limitations of sculpture, conceptual art and performance. Walch and Winkler see Miete, Strom, Instagram as a platform for introducing a range of business initiatives and a space to share and discuss experiences.

Miete Strom Instagram runs an own daily shuttle service between the Art Berlin Fair and the exhibition space. Concretest poem, Black mdf Nadja Buttendorf: Cigarucci with NIL cigarette, Glazed ceramic, cigarette, felt. Through a numerous events, solo and group exhibitions as well as an international symposium, SPACE IS THE PLACE investigates the experience, imagination and design of space in theory and practice together with artists, architects, musicians and dancers but also philosophers and scientists.

Participating artists Bruce Nauman is widely regarded as among the most important living American artists and as a catalyst for the recent shift in international artistic practice toward conceptual and performative uses of language and the body. His practice spans a broad range of media including sculpture, photography, neon, video, drawing, printmaking and performance. Andrea Fraser is a performance artist, mainly known for her work in the area of institutional critique.

Jeewi Lee works with performative and daily occurrences in her site-specific room installations, actions and image series, which come into view as traces and serve Lee as painterly element. For Lee traces concurrently indicate movement in urban as well as in exhibition spaces as well as the reflection of the production process itself.

In her work Lee looks into and highlights social and historical events that have been burnt into various materials. Using artistic strategies they create temporary irritations, that allow new perspectives on everyday situations. They explore the boundaries of the public sphere to question common standards and constraints.

Moreover, their works often relate to the Genius Loci and the history of a space. Raul Walch crosses the boundaries of artistic genres in his broad and inventive practise. He works as a sculptor and conceptual artist but also slips easily into the roll of an investigator or becomes part of a performance. His focus is on creating an unconventional approach to social reality, often unexpectedly including observers in the process.

Instead, he creates ephemeral and largely site-specific interventions that respond to different environments around the world. Curator Lukas Feireiss works as curator, writer and art director in the international mediation of contemporary cultural reflexivity beyond disciplinary boundaries. He is author and editor of numerous books and curator of manifold exhibitions in the field of art, architecture, design and theory.

Gemein ist den unterschiedlichen Positionen ein vieldimensionaler Zugang zum Raum, welcher die Sinne und Empfindungen der BesucherInnen ganz direkt ansprechen, hinterfragen und herausfordern wird. Limits of Space eingeleitet.

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Ihre Arbeiten machen soziale und historische Ereignisse sichtbar, die sich in unterschiedlichste Materialien eingebrannt haben. And Berlin mixologist Herr Lindemann will serve specifically conceived drinks to introduce the idea of a social food sculpture by Anne Duk Hee Jordan.

Poetry-Jazz in Addis Ababa. An Essay by Eric Ellingsen. Eric Ellingsen The Rehearsal: The story behind the scenes, though, is a compelling one. The date is March 24, Addis Ababa is in its second state of emergency.

The new and current prime minister of Ethiopia, Abiy Ahmed Ali, will be appointed nine days from now, though nobody now knows who will be appointed or the day the appointment will occur. During this same spring, a group of German, US, and Ethiopian musicians, poets, artists, and curators met in Addis Ababa for the fifth edition of Poetry-Jazz. Poetry-jazz has become a form of art practiced by different groups in Addis Ababa. We are meeting for the fifth time in six years in a kind of creative hopscotch, traveling between Berlin and Addis Ababa.

Together, we instigate a semi-ancient form of Ethiopian poetry called Wax and Gold. This time we all agree that the gold, usually hidden in the wax, is to be on the outside of what we make together. We want all gold, heavy things, heaviness itself, something solid that melts, like some heavy metals, at the temperature of the hand. We seek the gold through a form known as poetry-jazz, which combines music and poetry. Songs in Ethiopia are stories, physical spaces where history is continually approached, negotiated, tuned, and re-turned to.

If poetry resists the intelligence almost successfully, as Wallace Stevens says, then in poetry-jazz rehearsals, we seek the almost more than the absolutely there, the almost more than the already there waiting-for-you-to-arrive. Read Tales of Silence: The front entrance to Fendika blends into the street-side storefronts. Stockholm uses sculpture as an interface, link, or passage through which places and bodies — across temporal as well as spatial distances — are set in relation to each other. Architecture is a frequent reference point of his work, as he centers on on the conceptual fields of present and past, presence and absence, fleeting and enduring.

Thus, objects which emerge in different temporal moments are concentrated. They begin to embody the analogy of the inscription of light traces in the photographic negative that maintain an indexical relationship to the past.

It serves as sculptural containers fixing a presence like an imprint and so transposing the sculptural object into the present even when it is only a fleeting glimpse that materializes so enduringly in this way. The process ends with Stockholm translating this act of touching into object form by producing a number of negative plaster casts of his hands. The casts are fixed by metal rods, which simultaneously offer protective anchorage and oppressive restriction. Metal scaffolding connects the floor and ceiling of the exhibition space and serve as displays for his organic plaster sculptures.

In spite of the dangers faced in Syria, Nourhan has been collecting architectural fragments from all over Damascus.

The fragments are compiled from a wide spectrum of constructions: Also on view in the show is the interactive site specific glass work: Trapped between two panes of glass, colored ink changes its form and concentration according to the tilt of the exhibition space and the movement of the audience who are invited to walk on the glass. Spiele mit der Ewigkeit. The group exhibition Spiele mit der Ewigkeit Plays with eternity brings together twelve artists from Berlin and Seoul whose work engages with time and its infinity, with space and its boundaries, with forces of reality and the freedom of the unreal.

Since prehistoric times people have dealt with the question of eternity, addressing the phenomena of time and eternal life. This search is present in the exhibition. The works ask for what could be and what could happen, even besides our limits of perception. Their artistic strategies are based on everyday observations, on collecting scientific data, on traditions and rituals. The exponates revolve around visibility and invisibility, flirting with the ephemeral, and strive for eternal art, following their playful impulse: The song deals with the mortality of artworks, at the same time emphasizing their immateriality and plays with the ephemeral in art, which seems to be transient in every moment and yet claims its eternity.

Curated by Keumhwa Kim. The Image of Catastrophe since features approximately exhibits, including paintings, drawings, prints, sculptures, photographs, films and videos. As viewers make their way past blazing fires, earthquakes, floods, volcanic eruptions and sinking ships, they will take note of pictorial constants in the expression of such disasters but will also become aware of the differences in depiction from one era to the next. The trajectory of exhibited works spans an arc from the years around to the present day.

Contemporary works serve to anchor the theme in the here and now and underline its topicality. It is only in our perception, in our active engagement with such drastic events that they take on distinctive contours and reveal their typical face. Every age makes its own catastrophes and redefines the criteria by which certain events are labelled as such. These fundamental observations form the basis for the exhibition project. Dabei spannt sich der Bogen der ausgestellten Werke von den Jahren um bis in die unmittelbare Gegenwart. Katastrophen geschehen nicht einfach, sie werden gemacht. Erst in der Rezeption, in der aktiven Auseinandersetzung mit derart einschneidenden Begebenheiten erhalten sie ihre Kontur und offenbaren ihr charakteristisches Gesicht.

Diese grundlegenden Bestimmungen bilden die Basis des Ausstellungsprojekts. Now the employers have left the building, the vaults are open and the cash machines are dismantled. This institution of faith in cash, trust in money and illusion of prosperity for the many not for the few has moved out. Within this empty shell, one cannot help asking, what else is substantial nowadays, what else is echt? In a world interspersed with spectacle, illusions, hollow visions and unfulfilled dreams, it does not get only harder to authenticate a thing, but also exchanges its meaning dynamically.

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Using the bank as a collective laboratory of visions and statements regarding the meaning of realness today in our society, the exhibition brings together 32 works from 25 artists and groups around the sub themes of matter, body and authenticity. Intersections of Common Space and Time. Intersections of Common Space and Time is a collaborative approach in addressing where and what public space is in contemporary urban settings in megacities of Asia. As urbanization, urban population and density continue to grow and privatization becomes a norm, shared space and time for public shrinks in all aspects.

This second collaboration further rethinks and reimagines public spaces from small in-between spaces of temporal and mobile coincidences to larger open stationary spaces and all the way to online spaces of manipulated encounters. These spaces reflect and cohabit with coincidences, manipulation, stationary and mobile forms constantly breaking boundaries between private and public in its urban landscape.

The basis for this project are micro-surveys implemented in Haebangchon, Intersections of Common Space and Time extends its discourse with artists, architects, filmmakers and local communities in forms of lectures and panel talk, Fragmentation of Common Space: Looking at Artistic and Architectural Interventions and Immersions; participatory workshops, Reimagining the Future of Common Space with Micro-Communities and various activations of public spaces from public screening Indecisive Cinema II; rooftop video installation, in, around and beyond a gaze; mobile video installation and performance, Ten Second Glance.

Program I 28 August , 7 — 9: Das zum zweiten Mal stattfindende kollaborative Projekt Intersections of Common Space and Time soll den Teilnehmerinnen und Teilnehmern einen gemeinsamen Ansatzpunkt bieten, um sich mit dieser wichtigen Frage auseinanderzusetzen. Looking at Artistic and Architectural Interventions and Immersions.

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Programm Teil 1 Seitdem hat er sich zu einem der profiliertesten Britischen Maler entwickelt. Pauly Read the essay on the exhibition by Adriana F. Mai , 19 Uhr Participating artists: Pauly Kurzessay zur Ausstellung von Adriana F. Applied Autonomy by Robert Lippok. The title of the new album is a clear indicator as to what the Berlin-based producer has been up to during the last couple of years, both on a conceptual level as well as how he molds his ideas into tracks. Has this state been reached, the artist is free to focus on other equally important aspects, balancing the various shades, pushing ideas even further to really make them shine and blossom in their self-declared autonomy.

The more light one lets in, the more layers become visible. Big chunks of the material with which the album has been produced derive from sketches specifically made for a club performance. Rather than meticulously devising each and every detail, Lippok focussed instead on recording as many fragments as possible in a short period of time, elements which he could later combine and layer on stage.

Based on this material and his experience experimenting with it in a live environment, the album slowly began to shape. An album culminating in a collaboration with Klara Lewis, with whom Lippok spent 2 days at the EMS studios in Stockholm, approaching the idea of autonomy from yet another angle. During the session, both musicians played and performed simultaneously, yet not explicitly together, lost in their own thoughts and ideas, only subconsciously taking in what the other one was coming up with.

Over the last couple of years, he has made a name for himself with his spectacular AV performances. Order online at Raster Media. Nuclear Sanctuary by Markus Hoffmann. Kuratiert von Julia Katharina Thiemann. What kind of animal mutations will happen in the near future, what species will be efficient in the context of the worldwide changing ecology? Where will humans go? Will they colonise space or even the sea?

Galerie Wedding transforms into an immersive landscape consisting of amorphous organic and mechanic sculptures that move within the space: With this exhibition Anne Duk Hee Jordan aims to illuminate new perspectives and the tangible effects of climate change on sea and land. Jordan, who has a professional background in marine ecology, sustainable cooking and art, presents a humourous and well researched perspective on processes of adaptation that go beyond human time.

Tour through the exhibition on 27 September at 4. Noss Noss — stories, traces, passages. Noss Noss - stories, traces, passagesGroup Show Opening: Thousands of displacement experiences have their origin or their outcome in these three cities which, facing the sea, are interfaces between worlds.

How does the migration experience fit into historical, public or personal objects, documents or stories? This is one of the central questions dealt with in the exhibition. The exhibition in Marseille is the continuation of this project. Seventy years after the United States began testing thermonuclear weapons at Bikini Atoll, the artist set off on an expedition to an area rendered permanently uninhabitable for human life as a result of the environmental contamination.

As we used to float is a physical, three-dimensional experience that reveals the legacy of those atomic tests both above and below sea level. These unintentional monuments symbolise the interaction between anthropogenic and natural transformations. His work has been shown in many countries, including at the main exhibition of the Venice Biennale in This event at the Berlinische Galerie will be his first solo show at an institution in Berlin.

Seine Arbeiten waren bereits in zahlreichen internationalen Ausstellungen vertreten, unter anderem in der Hauptausstellung der Biennale in Venedig. Die Ausstellung in der Berlinischen Galerie ist seine erste institutionelle Einzelausstellung in Berlin. Auch von der ehemaligen deutsch-deutschen Grenze ist unser Feld markiert und das wirft weitere Fragen auf: Weltkrieg und dem Mauerfall entstehen?

Hier werden Sie unterhalten. Dazu sind wir hier. Es gibt nichts Besonderes zu sehen. Wir alle sind mittendrin in unserer selbstgeschaffenen Welt des Konsums, des Internets, der Zerstreuung, der Selbstoptimierung. Was macht das mit uns? Was lassen wir zu? Welche Doktrinen beherrschen uns?

Passiert da etwas mit uns, ohne dass wir es merken oder geben wir uns dem Spektakel des Alltags lustvoll und sehenden Auges hin? Die, die neben mir steht oder der am Ende des Raumes? Eine traurige Clownin, ein Divus? Oder ein Unicum, das man heimlich bestaunen kann? Conceived as an experimental glimpse for our upcoming season, a selection of work will be on view of artists with forthcoming solo exhibitions.

Allies of the gallery will also contribute work and discourse. Sound art will make an appearance in a live act, politics will be explored in a standup comedy night, movement and dance workshops will be followed by a sci-fi rap concert. Devised with the intent for dialogue, overlap and exchange, our summer program is not a singular position, but a multifaceted, open-ended alternative to a summer group show. The title of the show, Demi-Gros, refers both to a traditional unit of measure in foodstuffs a gross, or a dozen dozen , and to middlemen who connect wholesale and retail in commerce.

All the artworks are presented in a wooden box of not even the size of a shoebox in a wall safe.

The uncurated show reflects the breadth of the Berlin art scene with artists of 17 nationalities, aged between 27 and 74 the average being 44 , working in an unusual format. Exploring the exhibition requires the collaboration of the visitor. And it can be quite difficult to reinsert the artworks in the box… Peter Ungeheuer, Berlin, July Why is it only possible to conceive the future in slogans of static protection and demarcation today?

The speculation in Would Have Been allows for transgression of spatial and temporal boundaries, to introduce the past into the present via the medium of a trace that can put the future in motion. Hybrid and transcultural perspectives draw the focus towards parallel realities. Everyone constantly constructs his or her own reality, there are trillions of parallel microuniverses. The world is made up of the ideas of the world. The imagination has many sources and techniques at its disposal.

Open Studios is a collaborative venture: Villa Romana Fellows Antibody by Fabian Knecht. He changes patterns of perception and action, transgresses art concepts and power structures, and questions social relations and norms by countering them with strong and provocative images. AntibodyBook Release Samstag, Lydia Ahrens, Isabelle Meiffert Gestaltung: Built from the waste material produced by an analogue film lab, this installation aims to re-materialize leftovers created by the film development process. This degraded film material contains within it the seeds of its own destruction.

Degraded film being degraded. Mirror Walk at Bait Tarkib. Floating University — The future of the kitchen. Designing around the kitchen table. With numerous partners they experiment with knowledge transfers and the formation of transdisciplinary networks to challenge routines and habits of urban practices — Floating University Berlin. The site is an almost forgotten place in the center of Berlin: An old, concrete rainwater basin right next to the Tempelhof airfield.

A third landscape on the verge of disapearance. Here raumlaborberlin builds a generic structure, a drilling platform for a scarce urban resource: Students and scientists from more than twenty international universities come together with artists from all over the world, local experts, architects, musicians, and dancers. Together, they research and investigate the daily routines and practices of urban living and formulate visions and ideas for a better future city In the territory around the rainwater basin Floating University is looking for contemporary, resilient forms of urban practice with a visionary focus on an unknown future.

In April, students and their teachers from Berlin, Europe and elsewhere collaborate on building the campus: Spaces are created for exchanging knowledge within experimental, educational formats. A place where transdisciplinary research teams and diverse positions come together to tackle the complex questions of urban practices.

Christina Werner Discussions around the kitchen table. Christina Werner The kitchen at the Floating University. Studierende und Lehrende aus Berlin, Europa und anderswo bauen gemeinsam ihren Campus: From the idea of I drive, associated with individualism, capitalism, and the idea of freedom represented by the automobile, to I am being driven, which embodies the mindset of Silicon Valley as it seeks to outsource numerous daily tasks in order to make life easier and smarter.

Whereas we previously surrendered to our egos, we now surrender directly to cognitive networks controlled by a handful of corporations. Our passivity stands in opposition to the necessary democratization of new technological systems — a constructive, slow, and continuous process. Kick-Off Workshop — Karada Introduction.

An introduction to the neighborhood. Hella Mewis One minute experiment. Hella Mewis Three minute parachute presentations by all participants. Hella Mewis Three minute parachute presentation by Zaid Saad Three minute parachute presentations by all participants. Arts Seminar in Baghdad. Hella Mewis — Swarm Walk. Excercises at Abu Nawas Park. Hella Mewis — Photos by Christina Werner, unless otherwise noted. By doing this, 2 OG is the center of independent cultural production at Molkenmarkt 2 and always interested in developing the area and its diverse facilities as well as opening it for the public.

This workshop and action series will be continued this this year in Berlin. Raul Walch invites the participants of Floating University as well as the inhabitants of the refugee shelter on the Tempelhof airfield and others interested, for his workshop and collective flying experiments.

The polymorphic flying objects will float above the fences of the airfield and expand the floating university into the sky. May 18 — 20, 11 am — 5 pm Raul Walch continuously visited the Greek border areas where he developed various flying objects together with refugees.

Find more information at http: Man kann ein Buch aufschlagen, aber auch etwas hart zerschellen lassen, man kann an einem bestimmten Ort zu einerbestimmten Zeit aufschlagen, aber auch den Preis. Temporal Shifts, stilll NOWs: In the exhibition the works approach subjects that deconstruct repetitive structures such as memory, history, language questioning concepts of perception, knowledge and reality. Behind these ancient and modern facades, narratives are derived and accumulated via the natural and artificial materials that make up the city.

Contrasting grand architectural gestures against the prosaic, the film interrogates how the modern production of spaces preserves identity, yet also has the capacity to generate cultural amnesia. Tuesday — Sunday, 12 pm — 8 pm Admission is free For more information: Temporal Shifts, installation view Clara Jo: Temporal Shifts, installation view. He begins to postulate that language is not simply a map of the world but also the driving force for projecting worlds and enters then into a feedback with what is projected. Language Perceived From Without 1.

Language Perceived From Within 1. The Multiplicity of Languages 1. Current Distribution of Languages 1. The limits of Translation Conclusion 2. Activity and Passivity Subjectivity and Objectivity 2. Unity and Multiplicity 2. Portuguese as an Investigation Tool Conclusion 3. Conversation and Small Talk 3. Poetry and Word Salad 3. Oration and Babbling 3. History, Nature, Civilization 5. Rune Bosse and Anna Bak: The entrance to the room goes through a narrow little twisted staircase. In other words, when you enter the room, you really get the feeling of being underground, in another world.

For the exhibition ABYSS, Rune Bosse and Anna Bak have created an installation in which their individual works and practices interact with each other and with the room. Below the surface of what is visible to us, a lot of processes are at work. There is fungi, bacteria, roots and spores in everything, they interfere and all about everything, but maybe these elements also help to keep up with it all and without these intrusive forces it would all fall apart.

A world where organic forces work both to intervene in space and keep the room up, a processual transformation on the verge between total decay and a stage immediately before rebuilding. The sound in the room is an enhanced version of the Schumann resonance. It matters what moves by Ally Bisshop. The Finissage Party will feature a performance by Jasmine Guffond, who will perform a new work that responds and plays with the exhibition. Carefully working with the resonant frequencies inherent to the architecture and objects within the space, Jasmine will explore the properties of sound as a vibrational force and consequently remind us that every object and every being, contains resonant frequencies that can be activated through sound.

Working across the fields of expanded sculpture and experimental writing, her interest is less in crafting finished art forms than in staging encounters with open processes, threshold events, and zones of material indeterminacy. Born in Australia, Ally has lived and worked across Sydney and in Berlin since Re-Imagining Berlin with Yves Mettler a. Berlin is more than concrete, it is a revolving and evolving cut and pasted being. As we shift and shuffle along its many pathways we imprint upon it our own mark, but let it not be underestimated the extent to which it itself imprints upon our souls.

These include spoken word dancers, comedians, dancers, photographers and visual artists. In their own unique language they collaborate to explore the importance and necessity of re-imagining Berlin. It seeks to underscore the importance of unpacking polarisations and cyclical patterns and radically re-think how we address, tackle and perceive these all-important challenges.

The bar at the venue will only be serving non-alcoholic beverages. Tickets 7 Euros at the door before 7. Hybrid Matter by Andreas Greiner. What is the meaning of nature in an age of digitalization and synthetic biology? The way in which we experience nature is defined by our prior knowledge and socialization, however what we experience in nature is changing rapidly. Human manipulation of evolutionary processes are posing ethically, socially, and ecologically critical questions which demand answers. On entering the exhibition space one is welcomed by insert title of artwork a nickel-silver sculpture depicting cell division—a reproductive act and conceptual starting point of the exhibition.

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

How sure are we of our fundamental convictions of life and death, right and wrong? Greiner considers these pictures as portraits, like larger-than-life, celebratory depictions of individuals that have had an outsized impact on the public sphere. At work in these images, and troubled by them, are the moral and existential implications of portraiture. To represent an individual is to fix their likeness to a moment. From that point on, the individual carries out parallel lives: This April the Kunstverein Heilbronn presents a solo exhibition with new a soundpiece and photographic work.

Was verstehen wir heute im Zeitalter der Digitalisierung und synthetischer Biologie unter Natur? Die Treppe zum Ausstellungsraum herunterkommend steht eine in Neusilber gegossene Skulptur, die eine Zellteilung darstellt. Diller realisiert worden sind. Seine Arbeit wurde in zahlreichen Einzel- und Gruppenausstellungen in sowohl nationalen als auch internationalen Institutionen gezeigt.

Saturday 2 June Press Preview and Vernissage: A total of 99 artists including 10 collectives will be participating in the biennial. During the biennial works — including 49 new commissions — will be shown in nine different venues across Riga. There will also be 10 public sculptures and site-specific interventions in various locations around the city.

Many of the participating artists will present more than one work, appearing in several of the venues, thus providing an opportunity for visitors to gain a more in-depth insight into their practice. The artists participating in the public program and making performances will be announced at later date. The majority of these spaces are within 20 minutes walking distance of each other, creating a sustainable parcours and allowing visitors the time to experience the exhibition and the artists, as well as to discover the city.

The spaces not only serve as an aesthetically captivating frame for the concept of the biennial and its artworks but are also an integral part of the broader cultural and historical narrative of the city of Riga and the wider Baltic region. Dwell in Other Futures. Louis, USA Dwell in Other Futures is a two-day festival of art and ideas exploring the collisions of race, urbanism, and futurism, providing a platform for alternate visions of the St. The earth is blue like an orange greenway Public performance: April 28, pm at the Pulitzer Foundation, PXSTL site field across from the Pulitzer Foundation The earth is blue like an orange greenway is 1 a social engagement design experiment 2 a communication process for citizen based co-design agency 3 a ceremony welcoming the coming of the St Louis Chouteau Greenway.

Landscape design is an art form that co-produces knowledge, memories and stories through performance, perception and participation. When the design of our public spaces is inclusive, it becomes democracy in action. Civic values are spatialized and can be negotiated as a material dialogue articulated through critically oriented play. You are invited to co-materialize a spatial design ritual welcoming the St. Each platform will be provided with a bullhorn. Everyone is invited to make statements up to 3 minutes in length.

This can be playful, political, philosophic or poetic. You are invited to make a statement. Please bring poems, songs, something to read, something prepared, something improvised. Atlas, ; installation NOWs: What connects the works of these individual artists is the specific use of light, as subject and material. For the period of Berlin gallery weekend and the second time in its history, the square meter studio spaces of Lehderstrasse 34 will host an incredibly diverse exhibition of paintings, sculpture, multimedia, installation, film and photography. Immer noch der Lauf der Dinge by Julius von Bismarck.

Visitors are encouraged to experience the endless movement, albeit not alone, but collectively at the same pace. But in the performance Ecocentric System it was the artist himself who spent nearly a week sitting on a concrete wheel that turned so fast around his own axis, that for him the outside world was barely recognizable.

The artist, surrounded by people, could hardly perceive the world outside his system and inevitably everything began to revolve around himself. Now there is a change of perspective and von Bismarck takes the audience into view. It creates a whole new viewing situation that does not tolerate passivity. Diese Frau, ein Pfau im Schein der Baustrahler. Sie entwirft eine Erinnerung.

Ein Wesen ihrer kollektiven Kunstproduktion ist das Prozesshafte zu zeigen, entsprechend dazu arbeitet sie mit verschiedenen Medien. Andreas GreinerKunstverein Heilbronn Algae light up in blue when touched; high-yield-varieties of chicken from fattening farms are bred with short, absurdly thick legs to support their heavy bodies; a squid in Japan glows at a depth of meters to find a mate: The music for the video composed by Tyler Friedman is an acoustic reproduction of the visible movements on the surface of the skin.

It is these wonderful, sometimes magical phenomena of nature in all their intriguing facets that Andreas Greiner first captures scientifically, and then translates into an artistic language to thus make them accessible to the viewer and, yes sometimes, to even celebrate them, as in the images of the squid. Within the framework of scientific test arrangements, Andreas Greiner examines certain characteristics of living beings and transfers them into the context of art.

Nature as the point of departure for his work and the scientific methodology as his artistic approach are combined in his works with a clear aesthetic position that does actually suggest the notion of a living sculpture. As might be expected, there is in his work a concern for the living being itself, for the animal as part of our world. In this work, he portrays four chickens: Heinrich, who is photographed in traditional semi-profile; Karl, with an X-ray of the skeleton; Elisabeth, who is represented by a DNA analysis, and Margarete, where he presents a histological section of her breast tissue.

In allowing the animals to leave the anonymized field of living beings by naming them and applying traditional portrait formats, Andreas Greiner also criticizes the anthropocentric view that the value of nature results from its usefulness for humans, while clearly refusing his consent. It serves to preserve the memory of the tortured creature, optimized by continuous breeding for faster and larger meat growth and for the living conditions in factory farming.

The transfer of the skeleton to a monumental scale using a 3D printer is an artistic act. To the viewer, its result might hardly be recognizable as a chicken, but rather be identified as a dinosaur such as in a Natural History Museum. In its November 18 issue, the FAZ newspaper interviews the American writer Jonathan Franzen about his penchant for birds, and he substantiates his love for these animals with the eternal wonder that they are among the oldest creatures on Earth.

It is, he says, as if I am looking at a flying dinosaur. From dinosaurs to high-performance chicken: Last but not least, it is also about the question of the creation of life — as an artist and also as a scientist. Andreas Greiner, born in Aachen, initially studied medicine and, after his Physikum, he switched to the field of art. He concluded his studies in as a master student of Olafur Eliasson. Andreas Greiner has realized a new work for this exhibition. Monument for A Contemporary Dinosaurs Ross , High definition CT-scan of a dead-found broiler chicken, 3D print, Installation view.

Im Rahmen wissenschaftlicher Versuchsanordnungen untersucht Andreas Greiner bestimmte Eigenschaften von Lebewesen und transferiert sie in den Kunstkontext. In ihrer Ausgabe vom Vom Dinosaurier bis zum Hochleistungshuhn: Werner — return with their most inventive album to date, Dimensional People.

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

This album makes clear how their craft is of discovery, of finding new contexts for places, sounds, memories, sensations, ambiences, technologies, relationships, and of course, people. A number of prolific guests joined the production: The cast of characters are as unique as they are vast, clearly a rich quarry for the prodigious duo. Dimensional People, initially titled new konstruktivist socialism, gives each participating guest a platform to imprint the album as whoever or whatever they want to be: Originally premiering as a spatial composition using object-based mixing technology playing with the possibilities of sonic design and collective musicianship, the recording expands upon these ideas.

Dimensional People expresses itself as a dynamic piece orchestra, telling a story in sound. Each player is a multifaceted character, the recording an imagined stage, and the production is direction, lighting, and setting changes. Mouse on Mars offer sound as a means to encourage open-minded societies, aided by cutting-edge technology including their own MoMinstruments music software or a spatial mixing technique called object based mixing, with which a spatial version of the work was created.

It is a conceptual puzzle composed around one harmonic spectrum within one rhythmic scheme, mostly in the tempo of bpm inspired by Chicago footwork, so the dance floor is not entirely absent. Looking ahead, Dimensional People will also be realized through installation, presenting the work as an immersive listening experience, as well as performance.

CD version in mini-LP style gatefold package. People Festival, Funkhaus, Berlin. In it became clear just how appropriate and fateful the choice of name would prove to be, for that was when Tambora became active, triggering what was—and still is—the largest volcanic eruption in recorded human history. But it produced other colours, too. The sunsets changed due to the countless aerosols in the atmosphere. The works created by J. Turner and Caspar David Friedrich during this period exhibit a remarkable spectrum of colours. It has been argued that both painters, as chroniclers of their time, consciously chose to depict the differences in sunlight.

A warm, bright red, oscillating between an orangeyyellow and autumnal brown—this is the colour of palm oil. It is extracted from the fruit of the oil palm, forming a raw material that is nowadays present in nearly half of all supermarket products. From margarine to chocolate, from lipstick to skin cream, from candles to washing powder, the fruit of the oil palm forms the basis of them all. Although the material has almost universal applications, far less is known about how and where it is extracted, or about the consequences associated with the harvesting process. The growth in oil palm plantations has resulted in monocultural farming, ground poisoned by pesticides, and rainforests cleared to make more land available for agriculture.

Entire swathes of land—primarily in Malaysia and Indonesia—are changing in appearance.

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Thanks to the fixed grid pattern used for planting palms, a completely unique visual rhythm is in the process of being created. What from the air looks like a seemingly infinite mesh of lines is actually the star-shaped crowns of domesticated palm trees, all thronging together. Paths cross and connect the land area.

Under the treetops extends a barren landscape, strewn with fallen palm fronds and partially covered with grasses and ground cover plants. In Das Hungerjahr, Heinrich Bechtolsheimer describes the appearance of the sky in the Rheinhessen region in October An infinite loop of hard, electronic rhythms cuts through the infinite peace and quiet of the field full of trees. A palm oil plantation shudders, shaken by light and sound.

The scenery fluctuates between tempting and threatening. The eponymous series of works extends over the three horizontal spaces of Kunsthalle Mainz, following a set choreography. Step for step, room for room, the visitors approach a rave. They follow the rhythms and sounds of electronic music, becoming ever more submerged in a setting veiled by wafting mist until they reach the heart of the exhibition: It is a film that persuasively presents the excessive, exploitative decimation of nature to visitors who are intoxicated by music.

The ubiquity of palm oil as a material is analogous to our total lack of interest in how it is produced; the physical absence of people changes abruptly into the omnipresence of their actions. At the same time, they conjure up collective trance-like states and experiencing the transcendence of time. On the occasion of the exhibition a publication will be released. Aber er brachte auch andere Farben: Ganze Landstriche — vorrangig in Malaysia und Indonesien — wechseln ihr Erscheinungsbild: Durch das starre Raster, in dem die Palmen gepflanzt werden, entsteht eine ganz eigene visuelle Rhythmik.

Farbige Blitze erhellen die dunkle Nacht in einem dicht bestellten Palmacker. Harte, elektronische Rhythmen in Endlosschleife durchschneiden die endlose Ruhe des Baumfeldes. Juni, 19 h Vortrag von Prof. Retreat into Darkness by Ivana Franke. Retreat into DarknessTowards a Phenomenology of the Unknown Human perception and the exploration of the unknown have been the subject of artistic investigation for centuries.

The artist Ivana Franke combines these two aspects in her project Retreat into Darkness: Towards a Phenomenology of the Unknown. She examines our perceptual processes when we confront something phenomenologically unknown. Pont, and Anil K. Pont, Bilge Sayim, Anil K. German, English — Ivana Franke: Robel Temesgen at Modern Art Museum: Gebre Kristos Desta Center.

Thursday 12 April 5: The exhibition runs in two consecutive sessions. Adbar is an Amharic term that refers to spiritual places where ritualistic performances take place and offerings are made. These spiritual places also serve as communal and public spaces, also for secular community gatherings. The project investigates the embodiment of protective spirits within various elements of the natural landscape. Growing up in Dessie, northern Ethiopia, Robel Temesgen witnessed the fading of this long-established tradition and the subsequent development of new rituals, in tune with contemporary lifestyles.

The Adbar series navigates through the physical and metaphysical elements of a landscape using recollections, lived experiences and fantasies of the space and people of sacred places. He currently lives and works in Addis Ababa, Ethiopia. Since its inception, photography has harnessed not only light but also the technical skills to capture one moment in time. These are complemented by the work of the renowned photographer Erwin Olaf, whose series Waiting addresses the insufferableness of waiting.

Olaf also addresses the tremendous upheaval in Chinese society in his current series, Shanghai, which is exhibited for the first time in Germany. Magic Feelings is an unusual series of black and white portraits by the German photographic artist Thomas Wrede, which catch the enraptured, almost indefinable facial expressions of people in the breathtaking moment of the steep descent of a rollercoaster ride. These works can be read as social commentary on our exceedingly digitised and efficient times, which leave less room for the useless, boring or unpredictable.

Seit ihrer Erfindung verbindet sich mit der Fotografie nicht nur das Licht, sondern auch die technische Fertigkeit, einen einzigartigen Moment des Lebens festzuhalten. Seven Exhibitions at Brandenburgischer Kunstverein. Was macht eigentlich eine Ausstellung aus? Muss sie um uns werben wie ein Schaufenster um ungeduldige Passanten? Muss sie es uns leicht machen, darf sie schwierig sein?

Marc Wellmann, Anette Ahme, Dr.

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