Das olfaktorische System beim Menschen. Der Einfluss von Gerüchen auf das Verhalten (German Edition)

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In this digital era, a new interaction between creation and life sciences is in motion. Biotechnologies are now a medium used by artists, designers and architects. If digital simulation tools allow us to recreate the living, we must ask ourselves the question: how do we programme the living? In partnership with Ircam, Designing the Living [La Fabrique du vivant] examines the changes in the concept of nature linked to technological production.


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The exhibition retraces an archaeology of the living and artificial life. Decidedly forward-looking, it presents the most significant creations and innovations in the field of art, design and architecture through works by some fifty designers. Its matter is changeable; certain works are undergoing a process of growth or deterioration. Among the hundred or so works on exhibit, some have been created especially for this event. Between biology and genetics, design takes a cross-disciplinary approach, like a biotechnological artefact where living matter dictates the form.

Bio-materials, produced from biological organisms fungus mycelium and bacteria, etc. Sustainable objects by designers Jonas Edvard and Maurizio Montalti Officina Corpuscoli explore the potential of fungus mycelium, or the biodegradable objects by Eric Klarenbeek produced from microalgae are among many others. To create an architectural sculpture in situ, specially designed for the exhibition, the American artist David Benjamin The Living uses a new building method based on bricks which grow together and are assembled by bio-welding. Micro-organisms thus become an architectural medium and building material.

The architects implement models based on the self-generating processes of matter, simulating the evolving systems of developing life. They produce new composites, made from both living and synthetic materials the Aguahoja project by Neri Oxman with her laboratory at the MIT Media Lab to develop environmental projects energy efficiency, pollution-removing materials and bio-photovoltaics, etc.

The installations on an architectural scale presented here are authentic biotechnological ecosystems. Marcos Cruz and his BiotA Lab at University College London present panels in bio-receptive concrete, designed to foster the growth of micro-organisms, moss and lichen in an urban environment. The French agency X-TU is leading research around organically-inspired architecture, in the firm belief that living organisms are the bio-technological revolution of the future.

The congruence of living matter and technologies took hold in the field of artistic creation towards the mids. In , Eduardo Kac advocated transgenic art, transforming natural organisms by inoculating them with synthetic genes or by transferring the genetic material of one organism to another in an effort to create new forms of life. Artists explored the hybridisation of human and plant cells Spela Petric, Elaine Whittaker using new technologies, or created self-generating works with endlessly developing forms Hicham Berrada.

Riechen-Chemoelektrische Transduktion-Neurobiologie-Biologie-Lernvideo

Alexandra Daisy Ginsberg, Christina Agapakis and Sissel Tolaas recreated the scent of plants which had disappeared in the 19th century. The emblematic Crystal Works by the Japanese artist and designer Tokujin Yoshioka constitute a highlight of the exhibition. He developed a unique production procedure which enables the development of organic forms through a crystallisation process, resulting in objects such the Venus Chair. The German artist Andreas Greiner presents photos which capture life by electronic microscopy.

Lastly, projects from the field of scientific and medical research are also featured. Am kommenden Sonntag, dem A ritual that creates meaning through repetition requires that its results not be determined in advance. For BPA, a regular practice of studio visits becomes such an unforeseeable ritual, with a series of fortnightly conversations between two people in which themes emerge, questions are formulated, and meanings can be re created and described in each visit.

There will be three artists in each of the three locations. Ein Ritual, das seine Bedeutung bei jeder Wiederholung neu herstellt bedarf dem produktiven Fehlen eines vorbestimmten Resultates. In perpetual motion, the buoy reproduces the movements of its original setting, off the Atlantic coast. It is in this way that the visitors find themselves metaphorically under the ocean, and can directly perceive the sway of its waves, which can be either gentle, or wild.

The artist works on the human perception of natural phenomena, either by using highly technical approaches, or by simple site specific gestures. As a random alternation of moments of calm and violence, this hypnotic installation plunges the visitors into the heart of an immersive relationship with nature. Far from being idealised, it takes over the Palais de Tokyo and is unveiled in an extremely unstable way, a tireless heaving that reminds us of the tender osmosis that links us, just like our vain desire to control our environment, with the risk of utterly destroying it.

Februar, 21 h Inspired by the figure of Tethys — a sea goddess in Greek mythology, the daughter of the sky Ouranos and of the earth Gaia — Julius von Bismarck has conceived the original project Die Mimik der Tethys the expressions of Tethys , for which he has moved the oceans. NOWs: unbuntpunkt. As we start a new year, we take a look at some of the most promising artists making waves in the German capital — from those who are just shy of making their big breakthrough to those bubbling beneath the surface.

Here are some of our favourites: Feuerwerkautomat. Courtesy of Malte Bartsch Malte Bartsch caught our attention because of the inclusive, interactive and social components to his practice. In September at the Biesenthal, the multidisciplinary artist exhibited an old ATM reconfigured as a wood burning stove. Audiences were encouraged to burn their money, if they so wished. Blinder Beifall, Courtesy of Jeewi Lee. Originally from Seoul, Jeewi Lee has been based in Berlin since By using natural materials such as salt and rock, Jeewi investigates the trace left by human activity, reimagining it as a luminescent stamp.

Her most arresting piece, Blinder Beifall , consists of a circus ring composed of salt instead of sand, flanked with large white kerbstones. Jeewi then invited a variety of entertainers to perform in the salt — the final art work was the marks left in the substance. Read full article here. Her practice involves audiovisual installations and performances, electroacoustic multichannel compositions, experimental film work and sound design and music for film.

The Allegorist stands for an imaginative journey through all ages, for a better future. It mixes all styles and genres and sets no limitations. Every great idea is welcomed and included into the mindset of a diverse unity. The Allegorist sings in the fictional and majestic Mondoneoh language, to connect all nations and honour all our ancestors.

In , he co-founded dissident punk band Ornament und Verbrechen with his brother Ronald, inspired by industrial trailblazers Throbbing Gristle. The Krautrockish band ushered in a new generation of electronic acts committed to acoustic investigations and improvisation of all stripes. Each month, Berlin-based emerging musicians have the chance to be mentored in composition, production and live performance by established musicians. During each one-month residency, two emerging artists receive feedback and advice from their mentor, work in a private music studio, develop their live set in the ACUD Clubs concert space, as well as present an online radio show.

Each residency will culminate in a live set performed by the mentees at a showcase event, on a lineup alongside their mentor. Februar 21 h Acud Macht Neu presents: the fourth edition of the creative development program Amplify Berlin features live sets from mentees Jana Irmert and The Allegorist followed by a live set from their mentor Robert Lippok.

Februar, 17 h Teil III A City Curating Reader. What are the contingencies of working outside of the protection of the institutional walls? What makes city curating? It contextualizes art within the broader questions of the grammar of the public sphere and of what constitutes publicness today. It also reflects on the concept of context-specific city curating, performativity and art conceived in minutes rather than square meters. Art projects, conversations and essays plot a narrative of how art can cultivate encounters with the unpredictable, negotiate the uncommonness, and provoke the counter-publics to come.

Parzellengrenzgang am Nordhafen, Das Wochenende der Europaparlamentswahlen Mai zu realisieren. Beim Workshop am 1. Bitte schaut Euch unten die kurzen Beschreibungen der drei Gruppen an, die die Vorhaben und den damit verbundenen Zeitaufwand beschreiben. Die Plakat-Gruppe wird sich mit dem Medium Plakat auseinandersetzen. Als Material werden u. Im Rahmen von vier Nachmittags-Treffen, werden neue Stimmen der Nachbarschaft identifiziert, aufgenommen und zusammenmontiert.

In an interview, the artist talks about his or her work and the thoughts they have about their own artistic practice. Juni Fonden and Solar Fonden. Get a copy online at rouletterusse. Link for 3d exhibition view here. Selbst das Bild, das wir von der Natur haben, entsteht heute im Computer. Besitzt Kunst also das Potential einer Orientierungshilfe bzw. Room 4 Resistance resident DJ Occult spins ghettotech and booty bass; celebrated music journalist Joe Muggsdelivers an ambient set; passionate dancer, attentive listener, and Rinse France resident Marylou appears; and Morphine label boss Rabih Beaini can be relied on to deliver a confounding set chock-full of gems.

More music is still to come! NOWs: Raster. Labor at CTM Festival. With Labor, Raster explore artistic processes, and how they diverge and develop from the same starting point or set of conditions. Five tables with minimal Eurorack setups and a handful of studio monitors form the basis of the piece. The analogue hardware generates and manipulates control voltages, forming a framework in which the artists can complete, connect, and interact with the modules.

As the setup does not contain any sound producing components, participating artists will select sound sources themselves, which could range from minuscule to gargantuan sonic objects. They may choose to mechanically generate sound, or to integrate microphones and amplify sound. Labor references both academic and DIY histories of analogue synthesis, exploring open and dynamic fields of hardware experimentation. The intention of the setup is to enable interested audience members to directly observe cause and effect, so digital software will be avoided.

The figure is both one of a reactionary nature and ghost of life. It observes from a vantage point that others never decide to tread. The Sceptical Chymist is not an agent in the network but the Gardner of the Rhizome. His installations mark a world of his own viewing and that of his own making. This can be seen both as the Imaginarium and the Archive. In his new works, he guides the viewer into infinite drifting angles of clandestine territories, criss-cross woven textile sheets make up the body of this new border.

These monotone Spanish plastic architectures discreetly hide the mass-manufactured winter vegetable urban fuel line from Spain to Germany. An epic bed of white plastic crusts the southern tip of Spain. Covert yet visible via Google Earth, not a human in sight. Man kann sie ebenso als Traumwelt wie als Archiv betrachten. Versteckt, aber mittels Google Earth trotzdem erkennbar. Kein Mensch ist in Sicht. NOWs: Ecologies of Darkness. Building Grounds on Shifting Sands. Bridges are meeting places, they allow for possibility and for discourse. The collaboration Artists Care About Bridges is hosting a series of fundraising events on the third weekend in Advent at Acud Macht Neu; including a club night, an art auction as well as the sale of Christmas trees from organic farming.

Artists Care About Bridges agrees that this is unbearable and against any humanitarian values. Migration is and has always been part of our society! Instead of closing borders, we need to provide more bridges, to encourage a Europe that is open, and support cities that show solidarity and provide harbors that are safe and humane. We declare our solidarity with societies who are forced to flee their homes. From German and European policy makers, we demand the establishment of safe routes for refugees, to stop the criminalization of sea rescue and to receive them in a human way whilst respecting their rights.

Build a bridge by extending your hand and joining us in creating an open, inclusive and progressive Europe. Her music proclivities are not resigned only to her output under that name on Los Angeles imprint Friends of Friends or to her previous work she did as a member of Berlin-based globalist club project Jahcoozi. Rooted in her love of UK sounds, she delivers a banquet selection of contemporary club sounds from all over the world to keep the bodies popping and people hungry.

They are profound improvisational odysseys, which explore deep planes of emotions. Simply put: Techno with groove. There is a growing list of reputable artists, supporting joint social action by donating an art work for the auction. Winterling, Tobias Zielony and more. The auction catalogue will be online via www. Auktionator: Fares Al-Hassan www. The Christmas trees for sale are from organic slow growing fields in the area around Leipzig.

Migration ist der Motor, der Kultur und Gesellschaft schon immer bereichert hat. Cook und Zebra Katz gemacht. Einfach gesagt: Techno mit Groove. Winterling, Tobias Zielony. Der Auktionskatalog ist ab Bis Folgt uns auf Instagram artistscareaboutbridges. Dabei steht die Wirkkraft von Kunst im Vordergrund. Welchen Einfluss hat Kunst auf die Gesellschaft? Die verbliebene Negativform des Einschlags kann von allen Seiten betrachtet werden.

Mit Naturgewalten setzt sich auch Julius von Bismarck, der ebenfalls bei Olafur Eliasson studierte, auseinander. Der stundenlange Zweikampf zwischen Mensch und Natur scheint unentschieden. Der Betrachter setzt sich in Beziehung zum Objekt. Das Ende des Dialogs ist dabei nicht festgeschrieben. Nur wenige rote Markierungen deuten auf die Grenze hin.

Das gerahmte Werk liegt auf dem Boden in einer Transportkiste. Ein Aufkleber weist auf die fragile Fracht hin, doch das Glas ist dennoch gebrochen. They are best friends. And sometimes they are partners in their artistic work. The first major exhibition of these two as a duo will take place at the end of in the Kunstpalais. 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: with his works he analyzes the present — and dives deep into the earth. 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: he set himself up on a parabolic turntable with a mattress, a desk, a laptop and food and spent the entire duration of the fair in this room in constant motion under the influence of gravity and centrifugal force. 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.

Störung der Sinnesverarbeitung

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. 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. 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.

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. Funded by: Senate Department for Culture and Europe. Mi These developments not only affect our way of thinking and doing, but also our relationships with each other. Technology acts both as an independent voice and as a mediator and translator for human encounters. NOWs: any other where by Nina Schuiki. Nina Schuiki, I still see you in everything, NOWs: Persona grata. 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: an occasion for artists to explore all the dimensions of what constitutes or corrodes the notions of hospitality and alterity through their own vision and sensitivity.

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. NOWs: Neue Nationalgalerie — Die Publikation mit rund eindrucksvollen, weitgehend unbekannten Fotografien bebildert die besondere Ausstellungsgeschichte des Museums. Find a preview about the Festival of Future Nows by Christina Werner by clicking on the image below:.

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. Dies sind einige der Fragen, denen wir nachgehen wollen. Praktisches: Gute Stadtschuhe, ggf. Jacke, Regenschirm und was man braucht, um in der Stadt zu wandern. Kontakt bei Fragen oder Interesse: kontakt amrandvoneuropa.

Spaziergang 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. Limits of Space. 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. 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.

NOWs: house of bone body of stone by Dan Stockholm. 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: from year-old columns; to newly constructed buildings destroyed in the Syrian conflict. 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. NOWs: 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: towards infinity and eternity.

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. NOWs: Camera Urbana. Kuratorin: Dr. NOWs: Nature Unleashed. Nature Unleashed: 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. Catastrophes are omnipresent. 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. Entfesselte Natur. Dabei spannt sich der Bogen der ausgestellten Werke von den Jahren um bis in die unmittelbare Gegenwart. 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.

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 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.

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. Programm Teil 1 NOWs: offen Vol. Seitdem hat er sich zu einem der profiliertesten Britischen Maler entwickelt.

NOWs: Meine Schwelle. Pauly Read the essay on the exhibition by Adriana F. Pauly Kurzessay zur Ausstellung von Adriana F. 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. Kuratiert von Julia Katharina Thiemann.

NOWs: Art Biesenthal The exhibition asks: 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: a choir of sea-shells, a landscape of drunken tree roots, a singing saw, a viewing tower, fossils reflecting on the methane holes appearing in the Siberian Tundra, and a film collage about changing sex in ecology.

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. NOWs: Noss Noss — stories, traces, passages.

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. Weltkrieg und dem Mauerfall entstehen? Hier werden Sie unterhalten. Dazu sind wir hier. Es gibt nichts Besonderes zu sehen. Oder doch? 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? Eine konsumkonforme Presswurst? 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.

NOWs: Demi-Gros. 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: the group exhibition of the Villa Romana Fellows uses forgotten local postitions, the olive grove is the site of a video jungle, concerts and performances are streamed in real time, imagined spaces question given architectures and hierarchies. 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.

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. 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: sensitivity for decision-making. 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: learning spaces, workshops, an auditorium, a performative laboratory tower for experimental water filtration systems, a discursive kitchen, a bar as a protest generator and a fast food greenhouse. 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. Project proposals. Photo: Christina Werner Discussions around the kitchen table.

Photo: Christina Werner. 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. Concept: Leon Eixenberger Composition: S. Konzeption: Leon Eixenberger Komposition: S. NOWs: Contemporary Opportunities. 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. 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. 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. 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. On Translation 1. Current Distribution of Languages 1. Universal Languages 1. The limits of Translation Conclusion 2. Time 2. Activity and Passivity Subjectivity and Objectivity 2. Substance 2. Unity and Multiplicity 2. Causality 2. Being 2. Potentiality 2. Portuguese as an Investigation Tool Conclusion 3. Conversation and Small Talk 3. Poetry and Word Salad 3. Oration and Babbling 3. Amplified Language 3. Music 3. Visual Arts 3. Civilization 4. History, Nature, Civilization 5. 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. 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 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. 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?

Craig Venter Institute. Greiner considers these pictures as portraits, like larger-than-life, celebratory depictions of individuals that have had an outsized impact on the public sphere. At work in these images, and troubled by them, are the moral and existential implications of portraiture. To represent an individual is to fix their likeness to a moment.

From that point on, the individual carries out parallel lives: one propelled into continuous change, the other frozen; one guided by subjectivity, the other by the narrative interpretation of others. Andreas Greiner b. This April the Kunstverein Heilbronn presents a solo exhibition with new a soundpiece and photographic work.

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

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.

Louis, USA Dwell in Other Futures is a two-day festival of art and ideas exploring the collisions of race, urbanism, and futurism, providing a platform for alternate visions of the St. Louis to come. Landscape design is an art form that co-produces knowledge, memories and stories through performance, perception and participation. When the design of our public spaces is inclusive, it becomes democracy in action.

Civic values are spatialized and can be negotiated as a material dialogue articulated through critically oriented play. You are invited to co-materialize a spatial design ritual welcoming the St. Louis Chouteau Greenway. Each platform will be provided with a bullhorn. Everyone is invited to make statements up to 3 minutes in length. The old idea of the original masterpiece will not dissolve, but will change fundamentally — reproductions are images that reproduce their own creation process in a refined and now highly technical way, thereby relativizing the earlier claim of art to produce unique originals.

Reproduction means today: to take up old pictures and new procedures in order to transform them into new pictorial realities with applied reproduction techniques. Everything that can be repeated and, above all, digitalized today can be reproduced at will. The result is always a result between a changed original pattern original and a newly documented form of reproduction, which gradually emerges through an ever-new reproduction. Beeinflusst das jeweils Reproduzierte unsere alte Vorstellung von einem einmaligen Original? Jahrhundert: Fotografie; Jahrhundert: 3-D- Druck , wird sich wahrscheinlich noch fortsetzen.

NOWs: Passpunkt. What sets a photograph of a mountain panorama apart from that of a valley? Numerous prizes, residencies and international exhibitions testify to her artistic achievements. Was unterscheidet das Foto eines Bergpanoramas von dem einer Talaufnahme? The show brings together 73 artists of different generations and cultural backgrounds whose selected works, in a wide range of media, invite critical awareness on the fragility of nature and human life while poetically invoking the regeneration of living systems.

The exhibition and the programing are co-curated by Phong Bui and Francesca Pietropaolo. The inspiration for our Social Environment comes from an understanding of our work as a creative act, which produces the monthly journal, public forums, and informal gatherings that are a platform for the diverse voices of our community. In Venice, we will produce our monthly issues in addition to a special issue of the River Rail, a publication documenting our exhibition and its interdisciplinary public programming bringing together artists, scientists, scholars, poets, writers, and musicians focusing on environment and climate change.

Sketch of Tool Shed. Courtesy the artist. Louis Washington Boulevard St. If, as urbanist and author Jane Jacobs asserts, we need eyes on the streets then we need ears on the streets, too. Participants in the first phase of the project—including members of the Samaritan United Methodist Church, Third Baptist Church, and other CAM neighbors—construct and wear hearing devices based on early 20th-century technologies to engage protocols of listening. Ellingsen and CAM staff guide walkshops to observe and collect sounds from the surrounding neighborhood, with musicians, poets, field scientists, and landscape architects.

These field recordings are gathered, archived, and mixed into sound installations, creating aural portraits. Visitors can experience soundscapes of St. The project is generously supported by the Divided City, an urban humanities initiative funded by the Andrew W. Together with curator and architectural theorist Beatriz Colomina, artists Olafur Eliasson and Julius von Bismarck, as well as architect Sam Chermayeff, Lukas Feireiss explores the experience, design, reflection and imagination of space.

Common to these positions is a multi-layered approach to space that addresses, questions and challenges the senses and sensations in very different ways. Kunstbiennale Venedig im Mai Gemein ist den inhaltlichen Positionen ein vielschichtiger Zugang zum Raum, welcher die Sinne und Empfindungen auf ganz unterschiedliche Weise anspricht, hinterfragt und herausfordert. Das Symposium findet in englischer Sprache statt. Heart rate in beats per minute bpm is transmitted externally to the artwork by a sensor, facilitating a new form of communication and interaction. This direct experience turns the physical body into a place where light, information, movement and space intersect.

In the digital age, the transmission of light, or electricity and information plays a key role. This transmission is not linear: similar to our heartbeats, it takes a pulsing, wave-like form alternating current, binary code. In the installation, a straight beam of light is bent into a curve on all sides. The heart is not only an efficient mechanical pump. It is a location of empathy, emotional connection and direct communication. This living impulse connects us all — regardless of ethnic origin, gender, age or religion — including other forms of life such as animals.

Even the planet earth has a heartbeat. Its magnetic field constantly pulsates to its own rhythm. Strom und Information eine wichtige Rolle. Das Herz ist nicht nur eine effiziente mechanische Pumpe, sondern ein Ort der Empathie, der emotionalen Verbindung und der direkten Kommunikation. Ihr Magnetfeld pulsiert konstant im eigenen Rhythmus. Mai , 13h, 14h, 15h Juni , 13h, 14h, 15h Freier Eintritt. Wir treffen uns erneut am Bei diesem Treffen wollen wir den Parcours, die Stationen und unsere weiteren Aktionen festlegen. Treffpunkt am Sonntag, den Mai ist 14h im Sellerpark.

Die Postergruppe wird sich noch einmal treffen, um die finale Auswahl der Poster zu machen. Through performance, sculpture, photography and video, his projects often stem from fieldwork in remote locations with acute geophysical identities — such as volcanoes, ice-fields and radioactive sites. Silent World is a meditation on the undersea realm as an oneiric atmosphere: a space that is central to our imagination precisely because of its unfamiliarity and indistinct aspects. Marshalling photography and video, the exhibition stages encounters between human outlines and their visible dissolution.

Despite this profusion, however, it is a silent world—as no individual can comprehensively speak for it. Yet that does not stop us from trying. The fact is, however, that the ocean is largely still mystery. Silent World debuts a series of photographs of free divers disappearing into liquid obscurity. Naked and, in pictorial terms, dissolving, his figures physically enter another layer of the ocean imaginary. These are lakes and rivers within oceans; unique micro-biological universes. Contributing to a picture of the oceanic system that has grown significantly more complex in recent decades, such worlds within worlds are relatively recent discoveries.

As we come to better understand the sea, domains from evolutionary theory through to climate science are being revolutionized. From where—and to what? During filming the camera was positioned looking skyward, towards the light. In terms of spatial orientation, the installation proposes an inverse scenario—whereby the sun occupies a submerged position, shining up from the deep. The conceptual gravity of the gesture is heightened by this reversal. As well as turning down into up, and up into down, fire appears to be present in water.

Moreover, the apparently falling divers in the photographs may yet be ascending; and the audience, according to this logic, not upright but flipped. Everything has undergone a sea-change. The ocean is an ancient well of metaphor that has served religious thought and philosophy from the beginning of recorded history. Commonly, it represents an ungraspable magnitude; an infinite.

This mystical idea delivers colonial hubris—for how can one expropriate what is seemingly unlimited? How can depths, unfathomable in their vastness, be exhausted; and is there not always another fish in the sea? We are only now being disabused of such ideas. Proposing a deep dive into real things, his exhibition reminds us that this sea is the furthest thing from a metaphysical ideal. The above is a press text from Nadim Samman. The exhibition catalogue published by the gallery features an essay from Samman titled The Diver, and will be available at the gallery in May.

In Wirklichkeit haben die Ozeane viele ihrer Geheimnisse bewahrt. Als Beitrag zum in den letzten Jahrzehnten komplexer gewordenen Gesamtbild des ozeanischen Systems sind solche Welten innerhalb von Welten eine recht neue Entdeckung. Oder fangen die Bilder sie in einem anmutigen Sturz in die Tiefe ein? Unten wird oben, oben wird unten, ein Feuer scheint in der kalten Tiefe zu brennen. Alles ist im Umbruch. Der oben stehende Pressetext stammt von Nadia Samman. April, NOWs: Auf der Grenze.

Begleitprogramm zur Ausstellung: Paul Ingendaay und Raul Walch. NOWs: Der Palast. Weitere Vorstellungen: Mai, Down to earth. In the exhibition, the question of what we are doing to our planet is asked through a historical reflection of how we got to this precarious moment. The landscape, nature, and our surroundings have changed dramatically in the last years.

The two renowned contemporary artists Rune Bosse and Camilla Berner add a current dimension to the subject with new works that are locally anchored and site-specific.

MaAB - Medizin am Abend Berlin interdisziplinär: Oktober

Mednick University of Toledo. Much unrest, much kinship, to carry on. Registration at: schreiner jtw-spandau. Mai, Sa Mai, So Mai, Mo Mai, Do Mai, Fr Mai, Mi Viel Unruhe, viel Verwandtschaft, um weiterzumachen. Um Anmeldung wird gebeten: schreiner jtw-spandau. Read the full article here. Und auch das FBI. NOWs: homecomings 1, 2, 3, etc. Encountered only through happenstance or hearsay, a timeless lore grew around the house.

House Project became a resonating series of works, appearing in multiple iterations, inversions, and reductions in form. Perec starts with the page and zooms outward to space itself, always mirroring and reflecting the influx of the everyday in his call to read and reread surrounding spaces.

The collected contributions oscillate between self-referential modes—creating full-circle loops within singular practices—and far-reaching trajectories, gaining momentum and associations upon every rereading. Like Perec, many works call for an attuned presence, and in so doing, proffer a homecoming at the very site of reading. Malte Bartsch ist in Braunschweig geboren und aufgewachsen. Detaillierte Informationen zum Begleitprogramm hier.

Kommt vorbei! Louis-based artists and designers working at the intersection of art and landscape. The project is organized by Gavin Kroeber. An Anthropocene River. Tickets and more here. Performing inside a specially-designed installation by textile artist Freya Don, the band present new music that couples powerful, progressive melodies with strings and brutal electronics.

Their performance is preceded by State of Possession, a live interactive presentation by Soojin Chang created to be experienced one-on-one with the artist, and a DJ set from producer Graham Sutton of band Bark Psychosis and drum and bass project Boymerang. The evening will also include the debut of recent These New Puritans video projects made in collaboration with photographer Harley Weir, filmmaker Daniel Askill and artist Hans-Henning Korb.

Founded by twin brothers Jack and George Barnett, These New Puritans are an English experimental music group whose music is not easily categorised. Their fourth album Inside the Rose will be released 22 March Daniel Askill is a critically-acclaimed Australian filmmaker and long-time collaborator of These New Puritans. His unique sensibility spans a diverse body of work, which includes music videos, films, stage, commercials, photography and video installations.

Her performance and video works are driven by examinations into the agency and fertility of both humans and nonhumans. Her work seeks to deconstruct systems of oppression and power in order to rethink ecological destruction. She uses appropriation to challenge authorship and renegotiate representations, survival mechanisms, and immigration patterns of colonised cultures and diasporas. Freya Don is a London-based artist known for her dramatic, painterly use of textiles and collaborations with Harley Weir. Freya previously worked with the Barnett brothers on their music video for the single Inside the Rose and the subsequent album artwork.


  • The Secret Wedding Dress (Mills & Boon Modern);
  • Baptism and Gifts of the Holy Spirit.
  • Anamnese- und Untersuchungsbogen!
  • General Economic History.
  • Bibliography Assistance Dogs - Bibliografie Assistenzhunde | Pfotenpiloten.
  • The Light.
  • Hans-Henning Korb is an artist based in Berlin. His practice combines sculpture, installation and performance, and often involves music, film, computer animation, virtual worlds, plants, and organic processes. Graham Sutton is an English musician, songwriter, composer and record producer. He is best known for his role as the leader and key figure of seminal post-rock band Bark Psychosis, as well as his work as a producer for alternative rock bands since the late s.

    Harley Weir is London-born photographer and director known for creating intimate images and films in her personal, editorial and commercial work. Harley had her first solo exhibition in at Foam, Amsterdam, where her work is now in the permanent collection. She is a regular exhibitor at Photo London and Paris Photo. Her second solo exhibition Homes opened at the Brighton Biennial in September Relying both on history and context, and imaginative leaps, the artist Yuichiro Tamura examines the background of places and things as he spins a fanciful story composed of various elements.

    Referential Image by Yuichiro Tamura 1. The Viewer: Expressions Rooted in Participation Needless to say, the museum could not survive without visitors. Storage and Symbols: Museum Architecture and Outdoor Sculpture The Hiroshima City Museum of Contemporary Art is in itself a work of architecture designed by Kisho Kurokawa, and the sculpture on permanent display combines with various design elements within the building to create a place for storing and viewing art.

    Moreover, in order to emphasize the fact that Hiroshima is an atomic-bombed city, its name is often written in the katakana syllabary in English, we have used all caps to convey the same meaning. To achieve this, one of our primary tasks is to save works of contemporary art, which often make use of non-traditional materials and methods, and which are based on completely different concepts.

    Art Direction by Mata Mata While striving for continuity and accumulating data, the museum considers different approaches and directions according to each project. Re-Search: Exploration and Deviation? A New Installation by Yuichiro Tamura Relying both on history and context, and imaginative leaps, the artist Yuichiro Tamura examines the background of places and things as he spins a fanciful story composed of various elements.

    In-Between, Openings, Etc. Perhaps these efforts indicate that certain expressions that cannot be conveyed using the traditional museum framework. Galerie 4 — Centre Georges Pompidou Places Georges Pompidou Paris Discover an archaeology of living things and artificial life in an exhibition that presents, in a forward-looking manner, the recent works of fifty creators along with the research coming from scientific laboratories. The very material of the exhibition is evolving, certain works being involved in a process of growth or degeneration. One hundred projects are exhibited, several of which have been designed for the occasion.

    The cycle brings together artists, engineers, scientists and entrepreneurs, all the protagonists of the sensory and the intelligible, who affect and transgress our present. In this digital era, a new interaction between creation and life sciences is in motion. Biotechnologies are now a medium used by artists, designers and architects. If digital simulation tools allow us to recreate the living, we must ask ourselves the question: how do we programme the living?

    In partnership with Ircam, Designing the Living [La Fabrique du vivant] examines the changes in the concept of nature linked to technological production. The exhibition retraces an archaeology of the living and artificial life. Decidedly forward-looking, it presents the most significant creations and innovations in the field of art, design and architecture through works by some fifty designers.

    Its matter is changeable; certain works are undergoing a process of growth or deterioration. Among the hundred or so works on exhibit, some have been created especially for this event. Between biology and genetics, design takes a cross-disciplinary approach, like a biotechnological artefact where living matter dictates the form.

    Bio-materials, produced from biological organisms fungus mycelium and bacteria, etc. Sustainable objects by designers Jonas Edvard and Maurizio Montalti Officina Corpuscoli explore the potential of fungus mycelium, or the biodegradable objects by Eric Klarenbeek produced from microalgae are among many others. To create an architectural sculpture in situ, specially designed for the exhibition, the American artist David Benjamin The Living uses a new building method based on bricks which grow together and are assembled by bio-welding.

    Micro-organisms thus become an architectural medium and building material. The architects implement models based on the self-generating processes of matter, simulating the evolving systems of developing life. They produce new composites, made from both living and synthetic materials the Aguahoja project by Neri Oxman with her laboratory at the MIT Media Lab to develop environmental projects energy efficiency, pollution-removing materials and bio-photovoltaics, etc.

    The installations on an architectural scale presented here are authentic biotechnological ecosystems. Marcos Cruz and his BiotA Lab at University College London present panels in bio-receptive concrete, designed to foster the growth of micro-organisms, moss and lichen in an urban environment. The French agency X-TU is leading research around organically-inspired architecture, in the firm belief that living organisms are the bio-technological revolution of the future. The congruence of living matter and technologies took hold in the field of artistic creation towards the mids. In , Eduardo Kac advocated transgenic art, transforming natural organisms by inoculating them with synthetic genes or by transferring the genetic material of one organism to another in an effort to create new forms of life.

    Artists explored the hybridisation of human and plant cells Spela Petric, Elaine Whittaker using new technologies, or created self-generating works with endlessly developing forms Hicham Berrada. Alexandra Daisy Ginsberg, Christina Agapakis and Sissel Tolaas recreated the scent of plants which had disappeared in the 19th century. The emblematic Crystal Works by the Japanese artist and designer Tokujin Yoshioka constitute a highlight of the exhibition.

    He developed a unique production procedure which enables the development of organic forms through a crystallisation process, resulting in objects such the Venus Chair. The German artist Andreas Greiner presents photos which capture life by electronic microscopy. Lastly, projects from the field of scientific and medical research are also featured.

    Am kommenden Sonntag, dem A ritual that creates meaning through repetition requires that its results not be determined in advance. For BPA, a regular practice of studio visits becomes such an unforeseeable ritual, with a series of fortnightly conversations between two people in which themes emerge, questions are formulated, and meanings can be re created and described in each visit.

    There will be three artists in each of the three locations. Ein Ritual, das seine Bedeutung bei jeder Wiederholung neu herstellt bedarf dem produktiven Fehlen eines vorbestimmten Resultates. In perpetual motion, the buoy reproduces the movements of its original setting, off the Atlantic coast. It is in this way that the visitors find themselves metaphorically under the ocean, and can directly perceive the sway of its waves, which can be either gentle, or wild.

    The artist works on the human perception of natural phenomena, either by using highly technical approaches, or by simple site specific gestures. As a random alternation of moments of calm and violence, this hypnotic installation plunges the visitors into the heart of an immersive relationship with nature. Far from being idealised, it takes over the Palais de Tokyo and is unveiled in an extremely unstable way, a tireless heaving that reminds us of the tender osmosis that links us, just like our vain desire to control our environment, with the risk of utterly destroying it.

    Februar, 21 h Inspired by the figure of Tethys — a sea goddess in Greek mythology, the daughter of the sky Ouranos and of the earth Gaia — Julius von Bismarck has conceived the original project Die Mimik der Tethys the expressions of Tethys , for which he has moved the oceans. NOWs: unbuntpunkt. As we start a new year, we take a look at some of the most promising artists making waves in the German capital — from those who are just shy of making their big breakthrough to those bubbling beneath the surface.

    Here are some of our favourites: Feuerwerkautomat. Courtesy of Malte Bartsch Malte Bartsch caught our attention because of the inclusive, interactive and social components to his practice. In September at the Biesenthal, the multidisciplinary artist exhibited an old ATM reconfigured as a wood burning stove. Audiences were encouraged to burn their money, if they so wished. Blinder Beifall, Courtesy of Jeewi Lee.

    Originally from Seoul, Jeewi Lee has been based in Berlin since By using natural materials such as salt and rock, Jeewi investigates the trace left by human activity, reimagining it as a luminescent stamp. Her most arresting piece, Blinder Beifall , consists of a circus ring composed of salt instead of sand, flanked with large white kerbstones. Jeewi then invited a variety of entertainers to perform in the salt — the final art work was the marks left in the substance.

    Read full article here. Her practice involves audiovisual installations and performances, electroacoustic multichannel compositions, experimental film work and sound design and music for film. The Allegorist stands for an imaginative journey through all ages, for a better future. It mixes all styles and genres and sets no limitations. Every great idea is welcomed and included into the mindset of a diverse unity. The Allegorist sings in the fictional and majestic Mondoneoh language, to connect all nations and honour all our ancestors. In , he co-founded dissident punk band Ornament und Verbrechen with his brother Ronald, inspired by industrial trailblazers Throbbing Gristle.

    The Krautrockish band ushered in a new generation of electronic acts committed to acoustic investigations and improvisation of all stripes. Each month, Berlin-based emerging musicians have the chance to be mentored in composition, production and live performance by established musicians. During each one-month residency, two emerging artists receive feedback and advice from their mentor, work in a private music studio, develop their live set in the ACUD Clubs concert space, as well as present an online radio show.

    Each residency will culminate in a live set performed by the mentees at a showcase event, on a lineup alongside their mentor. Februar 21 h Acud Macht Neu presents: the fourth edition of the creative development program Amplify Berlin features live sets from mentees Jana Irmert and The Allegorist followed by a live set from their mentor Robert Lippok. Februar, 17 h Teil III A City Curating Reader. What are the contingencies of working outside of the protection of the institutional walls? What makes city curating?

    It contextualizes art within the broader questions of the grammar of the public sphere and of what constitutes publicness today. It also reflects on the concept of context-specific city curating, performativity and art conceived in minutes rather than square meters. Art projects, conversations and essays plot a narrative of how art can cultivate encounters with the unpredictable, negotiate the uncommonness, and provoke the counter-publics to come. Parzellengrenzgang am Nordhafen, Das Wochenende der Europaparlamentswahlen Mai zu realisieren.

    Beim Workshop am 1. Bitte schaut Euch unten die kurzen Beschreibungen der drei Gruppen an, die die Vorhaben und den damit verbundenen Zeitaufwand beschreiben. Die Plakat-Gruppe wird sich mit dem Medium Plakat auseinandersetzen. Als Material werden u. Im Rahmen von vier Nachmittags-Treffen, werden neue Stimmen der Nachbarschaft identifiziert, aufgenommen und zusammenmontiert.

    In an interview, the artist talks about his or her work and the thoughts they have about their own artistic practice. Juni Fonden and Solar Fonden. Get a copy online at rouletterusse. Link for 3d exhibition view here. Selbst das Bild, das wir von der Natur haben, entsteht heute im Computer. Besitzt Kunst also das Potential einer Orientierungshilfe bzw. Room 4 Resistance resident DJ Occult spins ghettotech and booty bass; celebrated music journalist Joe Muggsdelivers an ambient set; passionate dancer, attentive listener, and Rinse France resident Marylou appears; and Morphine label boss Rabih Beaini can be relied on to deliver a confounding set chock-full of gems.

    More music is still to come! NOWs: Raster. Labor at CTM Festival. With Labor, Raster explore artistic processes, and how they diverge and develop from the same starting point or set of conditions. Five tables with minimal Eurorack setups and a handful of studio monitors form the basis of the piece. The analogue hardware generates and manipulates control voltages, forming a framework in which the artists can complete, connect, and interact with the modules. As the setup does not contain any sound producing components, participating artists will select sound sources themselves, which could range from minuscule to gargantuan sonic objects.

    They may choose to mechanically generate sound, or to integrate microphones and amplify sound. Labor references both academic and DIY histories of analogue synthesis, exploring open and dynamic fields of hardware experimentation. The intention of the setup is to enable interested audience members to directly observe cause and effect, so digital software will be avoided. The figure is both one of a reactionary nature and ghost of life. It observes from a vantage point that others never decide to tread. The Sceptical Chymist is not an agent in the network but the Gardner of the Rhizome.

    His installations mark a world of his own viewing and that of his own making. This can be seen both as the Imaginarium and the Archive. In his new works, he guides the viewer into infinite drifting angles of clandestine territories, criss-cross woven textile sheets make up the body of this new border. These monotone Spanish plastic architectures discreetly hide the mass-manufactured winter vegetable urban fuel line from Spain to Germany.

    An epic bed of white plastic crusts the southern tip of Spain. Covert yet visible via Google Earth, not a human in sight. Man kann sie ebenso als Traumwelt wie als Archiv betrachten. Versteckt, aber mittels Google Earth trotzdem erkennbar. Kein Mensch ist in Sicht. NOWs: Ecologies of Darkness. Building Grounds on Shifting Sands. Bridges are meeting places, they allow for possibility and for discourse.

    The collaboration Artists Care About Bridges is hosting a series of fundraising events on the third weekend in Advent at Acud Macht Neu; including a club night, an art auction as well as the sale of Christmas trees from organic farming. Artists Care About Bridges agrees that this is unbearable and against any humanitarian values.

    Migration is and has always been part of our society! Instead of closing borders, we need to provide more bridges, to encourage a Europe that is open, and support cities that show solidarity and provide harbors that are safe and humane. We declare our solidarity with societies who are forced to flee their homes. From German and European policy makers, we demand the establishment of safe routes for refugees, to stop the criminalization of sea rescue and to receive them in a human way whilst respecting their rights.

    Build a bridge by extending your hand and joining us in creating an open, inclusive and progressive Europe. Her music proclivities are not resigned only to her output under that name on Los Angeles imprint Friends of Friends or to her previous work she did as a member of Berlin-based globalist club project Jahcoozi. Rooted in her love of UK sounds, she delivers a banquet selection of contemporary club sounds from all over the world to keep the bodies popping and people hungry. They are profound improvisational odysseys, which explore deep planes of emotions.

    Simply put: Techno with groove. There is a growing list of reputable artists, supporting joint social action by donating an art work for the auction. Winterling, Tobias Zielony and more. The auction catalogue will be online via www. Auktionator: Fares Al-Hassan www. The Christmas trees for sale are from organic slow growing fields in the area around Leipzig. Migration ist der Motor, der Kultur und Gesellschaft schon immer bereichert hat.


    1. Leben-Zelle Messung der Geruchsstoff Rezeptor Aktivierung mit einem Echtzeit-cAMP-Assay.
    2. Search for people or projects:.
    3. Institut für Raumexperimente.
    4. The Boy Next Door.
    5. The Neo Fourth Dimension Concept. A new perspective.

    Cook und Zebra Katz gemacht. Einfach gesagt: Techno mit Groove. Winterling, Tobias Zielony. Der Auktionskatalog ist ab Bis Folgt uns auf Instagram artistscareaboutbridges. Dabei steht die Wirkkraft von Kunst im Vordergrund. Welchen Einfluss hat Kunst auf die Gesellschaft? Die verbliebene Negativform des Einschlags kann von allen Seiten betrachtet werden. Mit Naturgewalten setzt sich auch Julius von Bismarck, der ebenfalls bei Olafur Eliasson studierte, auseinander. Der stundenlange Zweikampf zwischen Mensch und Natur scheint unentschieden. Der Betrachter setzt sich in Beziehung zum Objekt.

    Das Ende des Dialogs ist dabei nicht festgeschrieben. Nur wenige rote Markierungen deuten auf die Grenze hin. Das gerahmte Werk liegt auf dem Boden in einer Transportkiste. Ein Aufkleber weist auf die fragile Fracht hin, doch das Glas ist dennoch gebrochen. They are best friends. And sometimes they are partners in their artistic work. The first major exhibition of these two as a duo will take place at the end of in the Kunstpalais. 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: with his works he analyzes the present — and dives deep into the earth. 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: he set himself up on a parabolic turntable with a mattress, a desk, a laptop and food and spent the entire duration of the fair in this room in constant motion under the influence of gravity and centrifugal force. 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. 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. 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. 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. Funded by: Senate Department for Culture and Europe. Mi These developments not only affect our way of thinking and doing, but also our relationships with each other. Technology acts both as an independent voice and as a mediator and translator for human encounters.

    medpoint - Fortbildungskalendar

    NOWs: any other where by Nina Schuiki. Nina Schuiki, I still see you in everything, NOWs: Persona grata. 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: an occasion for artists to explore all the dimensions of what constitutes or corrodes the notions of hospitality and alterity through their own vision and sensitivity.

    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. NOWs: Neue Nationalgalerie — Die Publikation mit rund eindrucksvollen, weitgehend unbekannten Fotografien bebildert die besondere Ausstellungsgeschichte des Museums.

    Find a preview about the Festival of Future Nows by Christina Werner by clicking on the image below:. 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. Dies sind einige der Fragen, denen wir nachgehen wollen.

    Praktisches: Gute Stadtschuhe, ggf. Jacke, Regenschirm und was man braucht, um in der Stadt zu wandern. Kontakt bei Fragen oder Interesse: kontakt amrandvoneuropa. Spaziergang 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. Limits of Space. 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. 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.

    NOWs: house of bone body of stone by Dan Stockholm. 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: from year-old columns; to newly constructed buildings destroyed in the Syrian conflict. 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. NOWs: 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: towards infinity and eternity. 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. NOWs: Camera Urbana. Kuratorin: Dr. NOWs: Entfesselte Natur. Nature Unleashed: 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. Catastrophes are omnipresent. 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. Entfesselte Natur. Dabei spannt sich der Bogen der ausgestellten Werke von den Jahren um bis in die unmittelbare Gegenwart. 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. 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 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.

    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. Programm Teil 1 NOWs: offen Vol. Seitdem hat er sich zu einem der profiliertesten Britischen Maler entwickelt.

    NOWs: Meine Schwelle. Pauly Read the essay on the exhibition by Adriana F. Pauly Kurzessay zur Ausstellung von Adriana F. 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. Kuratiert von Julia Katharina Thiemann. NOWs: Art Biesenthal The exhibition asks: 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: a choir of sea-shells, a landscape of drunken tree roots, a singing saw, a viewing tower, fossils reflecting on the methane holes appearing in the Siberian Tundra, and a film collage about changing sex in ecology.

    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. NOWs: Noss Noss — stories, traces, passages.

    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?


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