Impressions from Gallery Weekend Berlin

GoArt! Berlin
April 30, 2018

During the 14th Gallery Weekend – the seasonal start of the art year in Berlin – hundreds of galleries all over the city present their exhibitions that can be considered the highlights of the season, inviting visitors up until June. In established and less known areas throughout Berlin, from Mitte to Kreuzberg and Charlottenburg, galleries opened their doors. GoArt! Berlin was part of it – find some impressions from the Gallery Weekend below.

Galerie Max Hetzler, Goethestraße Charlottenburg

Solo Show: Loris Gréaud – Lady Rogeurs, Sir Loudrage, a still life

Max Hetzer

Contemporary Fine Arts, Charlottenburg

Solo Show: Raymond Petition – … no hugs coming

CFA
CFA

Camera Work, Charlottenburg

Solo Show: Vincent Peters

Camera Work
Camera Work

Galerie Tore Süßbier, Charlottenburg

Solo Show: Christian Hosen – Konkreter wird’s nicht

Tore Süßbier
Tore Süßbier

XC. HuA Gallery, Schöneberg

Duo Show: Fred. H.C. Liang and Tomas Vu’s – Silver Lining

xchua

Blain Southern, Schöneberg

Solo Show: Frank Thiel – Quinceañeras

Solo Show: Liliane Tomasko – a dream of

Blain Southern
Blain Southern

Jürg Judin, Schöneberg

Solo Show: Edouard Baribeaud – An Old Story for Our Modern Times

Judin

Paper Positions, Mitte

Group Show

Paper Positions

ngorongoro – Artist Weekend, Weißensee

Group Show: Christian Achenbach, Tim Noble and Sue Webster, Anselm Reyle

Achenbach
Reyle
Tim Noble and Sue Webster

Photos: GoArt!

Frank Thiel Show: Photo Blain Southern

Paper Positions: Photo Paper Positions

James Turrell at Jewish Museum Berlin

April 24, 2018

It is something special, to experience a light installation of James Turrell live and in color. Since April 12th, the Jewish Museum is showing the installation “Aural” – an original from 2004. The artwork will be exhibited till September 30th of 2019.

It was Dieter and Si Rosenkranz, an art collector couple, who made the gift of this artwork to the museum. “Aural” has never been shown in this way and is currently to be seen in a temporary building in the museum’s garden during the stated period of time.

The time that „Aural“ was exposed in Valencia, one could only see it bathed in the color blue. For the exposition in the Jewish Museum, James Turrell amplified the walk-in installation with new colors, where you can now experience one of his “Ganzfeld Pieces”[1](“a German word to describe the phenomenon of the total loss of depth perception as in the experience of a white-out”) with 13.000 single LEDs on over 200m² for the first time in Berlin.

[1]http://jamesturrell.com/work/type/ganzfeld/

James Turrell was born in 1943 in Los Angeles. As one of the most important contemporary artists, he dedicates all his work since over fifty years to the medium light. What matters most to Turrell in the examination of light, is the human perception of light. He aims to free the perception from any kind of associative and symbolic thinking.

In the end, what Turrell achieves with his “Perceptual Art”, as he himself describes it, is, that the perception itself becomes observed: “Seeing yourself see” is how James Turrell describes the experience of his Ganzfeld-installations. The “Aural” enables taking a look at the inside, as well as self-reflection and an almost trance-like state of observance.

During the press conference, program director Léontine Meijer-van Mensch gets to the heart of it: “You need to take your time for Turrell.”

At first, the eyes need to get used to the change of color and the dematerialized state of this room with no dimensions and contours. Essentially, this artwork offers the possibility of seeing the museum as a “place of deceleration”. Nowadays the idea of decelerating can become part

Considering the meaning of the “Aural” for the museum, Peter Schäfer, director of the Jewish Museum straightens out: “As any good artist, Turrell does not dictate how to interpret his work.”

In Judaism, the symbolism of light has a high significance: It stands for the presence of God and goes way back to the creative act. In the wilderness sanctuary, before the construction of the Jerusalem temple, there was always a burning light. Still today, there is always the burning “eternal flame” (Hebrew: ner tamid) in the synagogue beside the Torah Shrine.

Besides, Schäfer also refers to the kabbalah, Jewish mysticism.  Here, God is understood as an unrecognizable force at first – without beginning nor ending – who, initially appearing as a dark, colorless flame, becomes tangible and visible in the form of all the colors there are.

For those, who would like to see another although smaller Ganzfeld of James Turrell: You can do this at Museum Frieder Burda in Baden-Baden from June 9th till October 28th of 2018.

__________________________________________

Photos: Key visual portrait James Turrell, photo Grant Delin

Photos 2,4,5: James Turrell, Ganzfeld Aural, 2018; © Jewish Museum Berlin, photo Florian Holzherr

Tours + Travel 

Sigrid Neubert – Modern Architecture in Photography

March 28, 2018

Sigrid Neubert (*1927) is one of Germany’s most renowned architectural photographers. In the past six decades, she has produced aesthetic images of modern buildings and urban landscapes. Later, Neubert was also interested in nature photography while creating poetic, partly mystical imagery. A selection of works by Sigrid Neubert is currently on display in the Museum für Fotografie (Museum of Photography) of the Staatliche Museen zu Berlin . The exhibition runs until June 3rd, 2018.

Miriam Bers talked to the two curators of the exhibition – the head of the photography collection of the Kunstbibliothek (Art Library) Dr. Ludger Derenthal, and the architect and art historian Dr. Frank Seehausen.

MB: Mr. Derenthal, according to which criteria do you create your program?

LD: In the Museum of Photography we present the whole history of this important visual medium from its beginning in the middle of the 19th century to the present day, often in thematic exhibitions and with works from our collection.

MB: How did the current cooperation with you and Frank Seehausen come about?

LD: We were very fortunate to have the opportunity to compile a representative selection from the comprehensive archive of Sigrid Neubert and incorporate the works into our collection. Therefore it was our aspiration to create an exhibition that involves her complete oeuvre – landscape and architectural photography. We curated the exhibition together: I was responsible for the nature part and Frank Seehausen, who also wrote the book about Sigrid Neubert’s architectural photography that will soon be published by Hirmer, took care of the architecture section.

MB: The current exhibition with works by Sigrid Neubert summarized in four keywords?

FS: The architectural photography is presented in four thematic chapters as the core of Neubert’s lifework with manifold references to her free work. We aim to encourage visitors to search for points of view, motives, similarities and differences. Archival material and, above all, architectural drawings make the dialogue between the photographer and the architects comprehensible.

LD: Talking about the landscape photography, two aspects are important to me: Sigrid Neubert has used photography both as a medium of expressing emotions as well as a medium for the development of a unique design vocabulary which together form a very instructive contrast.

MB: What do you think about the relationship between Sigrid Neubert’s architectural photography and the New Vision (Neues Sehen)? The press release also refers to 1950s American photography…

FS: In her architectural photography, Neubert has increasingly distanced herself from the US influences of the 1950s and gradually developed her own formal and content-related approach by carefully working out not only the plasticity of the buildings, but also the interaction of the buildings with the environment and its residents. In comparison, we also show works by Julius Shulman, who influenced Neubert in the 1950s.

MB: Architectural photography can be very elaborate. Which techniques did Sigrid Neubert apply? Did she work in a team?

FS: Neubert mostly worked on her own utilizing only a few facilities. For more than 30 years, she used a field camera and preferred to shoot in black and white on 9×12 glass negatives until the 1970s. This generated particularly high-contrast images in perfect technical quality. However, these harsh contrasts – that were characteristics of her work – were not only stylistic device but should also compensate the poor print quality of many architecture magazines. For Neubert it was important to enter an intensive dialogue with the buildings, which in a sense, she regarded as the representative of the architect’s personality.

MB: The current exhibition also includes landscape photography – atmospheric interpretations of the same – that the artist has focused on over the last few decades. How do you explain her dedication to nature?

LD: After many years of producing commission works for architects and magazines, Sigrid Neubert has created her own field of artistic impact. She has always worked in thematic categories, working on some topics for decades. This shows how intensively she has thought about the medium of photography and its possibilities.

MB: Last but not least a question to you, as the two curators of the exhibition: What kind of photography can be found in your living room?

LD: A lightbox with a black-and-white photograph of Reiner Leist showing the skyline of New York.

FS: An architectural photograph by Franz Lazi from Stuttgart produced in 1950.

Photos: © Staatliche Museen zu Berlin, Kunstbibliothek / Sigrid Neubert

Exhibition Info

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Less is more – New York’s Armory Show 2018

March 15, 2018

2018 Armory Show presented itself with a clear layout and less galleries than within the last years and was therefore very pleasant to visit. Up from the welcoming and uncomplicated New Yorker handling of invitations for the specialist audience and collectors who arrived from all over the world, the whole setting of the fair was extremely well organized. The layout of the booths with in between enough space for sculptural works, a great light design, bright carpeting and centrally located bars and lounges were not only photogenic but made the visitor feel very comfortable.

Armory is – like Frieze and Art Basel – one of the most important sales fairs and does not claim an overall overview of all contemporary art trends. On the contrary it communicates an idea of the sophisticated “must haves” of the new season. Lots of excellent art works from the 50s to the 70s such as small Gerhard Richter pieces (each over 600.000 Dollars), Cy Twombly’s, a huge Nam Jun Paik installation at Gagosian and beautiful David Hockney’s made modern art collectors’ hearts beat faster.

Some of the curated booth designs we liked were the ones of Wetterling (Stockholm, among others showing works of Jim Dine, photo left), Marianne Boesky Gallery (New York, with works of Hannah van Bart and Hans Op de Beek) and Mizuma Art Gallery (Tokyo, showing works by Japanese – Australian duo Ken + Julia Yonetani photo above).

However the curated parts such as Focus and Platform/The Contingent also exhibited relevant contemporary art pieces against a political background. Very spectacular was the mural of the well-known French urban artist JR – a huge photo work presented by the Armory Show, Artsy and Deitch Projects- So Close mounted at the Armory buildings’ façade facing Ellis Island – which 12 million immigrants and refugees had passed between 1892 and 1954. It shows a vision of immigrants in a line, created with templates of old photographic Archive material of The Ellis Island Museum of Immigration and recently by JR taken pictures of Syrian refugee camps.

Another eye-catching position was Cry Havoc by young South African artist Mary Sibande (gallery MOMO from Johannesburg and Cape Town, photo left) addressing women’s power boiling over. Last but not least and a discovery at least from a European point of view in the Focus section were the notable powerful collages, textiles and prints of the 1938 in the U.S. born Afro-American artist Emma Amos (at Ryan Lee Gallery, New York), working on gender, racial and geographical perspectives.

 

Art Consulting

J.R. photo: Teddy Wolff, courtesy of The Armory Show

Other photos: courtesy of GoArt! Berlin