Gruppenausstellung/Group Show

Initiiert und realisiert von/Initiated and realized by Matthias Mayer und Maik Schierloh
in Kooperation mit/in cooperation with Treptow-Ateliers e.V.
11.-13.11.2022
Eröffnung/Opening: Freitag/Friday., 11.11., 17:00-22:00

Öffnungszeiten/Opening times:
Samstag/Saturday, 12.11., 15:00-19:00
Sonntag/Sunday, 13.11., 15:00-19:00

Treptow Ateliers
Wilhelminenhofstr. 83-85
12459 Berlin-Oberschöneweide
(Eingang links neben Lidl-Supermarkt/Entrance left of Lidl supermarket)

Teilnehmende Künstler*innen/Participating artists:

Olaf Bastigkeit,  Joanna Buchowska,  Astrid Busch,  Ben Cottrell, COUNCIL OF MANY (Alexine Chanel & Mickaël Faure) DAG,  Mathias Deutsch, Matthias Dornfeld, Thomas Draschan, Wolfgang Flad, Frederik Foert, Sven-Ole Frahm, Paul Gallagher, Paris Giachoustidis, Andreas Hachulla, Ann-Kristin Hamm, Christian Hellmich, Christian Henkel, Hanna Hildebrand, Birgit Hölmer, Stephan Homann, Franziska Hünig, Heehyun Jeong, Erika Krause, Patricia Lambertus, Oliver Lanz, Adrian Lohmüller, Mahony, Matthias Mayer, Felix Oehmann, Römer + Römer, Maik Schierloh,Heidi Sill, Charlie Stein, Anke Völk, Stefanie von Schroeter, Markus Willeke, Simone Zaugg, Michaela Zimmer, Christof Zwiener und viele mehr/and many more. 

INTRO

Mit dem Ausstellungstitel „BLIND VISION“ wollen wir neben einem Blick auf Berlin auch auf die missliche (Raum-)Situation von Künstler*innen in Berlin insbesondere die der Ateliergemeinschaft Treptow-Ateliers hinweisen. Ihr alter Atelierstandort in der Mörikestraße wurde 2018 nach sechs lebendigen Jahren des Austauschs, der gegenseitigen Unterstützung und gemeinsamen Kunstpräsentation gekündigt. Die Gegenwehr zum Verbleib blieb erfolglos, sodass die Gemeinschaft 2020 eine Zwischennutzung am jetzigen Standort in den Rathenau-Hallen in der Wilhelminenhofstraße als Notlösung fand. Die zu erwartende Hiobsbotschaft kam just in diesen Tagen. Die Ateliergemeinschaft mit 26 Künstler*innen muss auch hier bis zum Ende des Jahres wieder ausziehen (Link aktuelle Stellungnahme Treptow-Ateliers e.V.: https://www.treptow-ateliers.de/post/treptow-ateliers-vor-dem-aus)
//
With the exhibition title “BLIND VISION” we want to point out not only a view of Berlin but also the unfortunate (spatial) situation of artists in Berlin, especially that of the Ateliergemeinschaft Treptow-Ateliers. Their old studio location in Mörikestraße was terminated in 2018 after six lively years of exchange, mutual support and joint art presentation. The resistance to stay remained unsuccessful, so that the community found an interim use at the current location in the Rathenau-Hallen on Wilhelminenhofstraße as a stopgap solution in 2020. The expected bad news came just in these days. The studio community with 26 artists will have to move out again by the end of the year (Link current statement Treptow-Ateliers e.V.: https://www.treptow-ateliers.de/post/treptow-ateliers-vor-dem-aus)

BLIND VISION

Wer in den letzten Dekaden nach Berlin gezogen ist, hat mit gebastelt an der Entwicklung dieser Stadt. Vermittelte sie für die Einen Aufbruchstimmung (ggf. auch „Abhängstimmung“) in einem alternativen und avantgardistischen Sinn, war sie für die Anderen nur eine Projektionsfläche für profane wirtschaftliche Interessen gepusht vom globalen Marktgeschehen. Eine Vision für alle gab es nie. Die Politik war lediglich bemüht, sich aus vielen alternativen Vorstellungen, die Perlen zu picken. So preiste man u.a. etwa das Nacht- und das prekäre Künstler*innenleben in das Berlin-Marketing mit ein. Diese blinde Vision spiegelt jetzt ein Ort des Geschehens. Eine unrenovierte ehemalig industriell genutzte Halle und weitere ehemals als Büros genutzte Räume, die der Künstler*innengemeinschaft „Treptow-Ateliers“ nebst ihrer günstig angemieteten Zwischennutzungs-Ateliers als Spielwiese auf Zeit von einem Investor zur Verfügung gestellt wurde. Die Gemeinschaft selbst öffnete den Raum für Projekte Dritter. Die Rohheit des historischen Ortes, die Lust und Spontanität der alternativ Nutzenden führen zwangsläufig zurück in die Aura Berlins der 1980er und 1990er Jahre. Und natürlich funktioniert Berlin so immer noch. Doch die Atmosphäre trügt, das Erwachen sitzt bereits im Nacken, so wie eine Droge, die langsam ihre Wirkung verliert. Denn das alles endet und zwar ohne Romantizismus. Die Künstler*innen müssen sich schon bald wieder auf ihren nomadischen Weg begeben. Nur, dass sie eben keine Nomad*innen sind, sondern ursprünglich von ihrem geschätzten Arbeitsort vertrieben wurden. Einzigartig ist ihre Reise schon jetzt, denn sie halten in ihrer scheinbar ausweglosen Situation solidarisch zusammen. Was könnte werden, was könnte sein? Warum ist es eine blinde Vision?
//
Anyone who has moved to Berlin in recent decades has played a part in the development of this city. For some, it conveyed an atmosphere of departure (or even “dependency”) in an alternative and avant-garde sense; for others, it was merely a projection surface for profane economic interests pushed by global market events. There was never a vision for all. Politicians were merely trying to pick the pearls out of many alternative ideas. For example, the nightlife and the precarious life of artists were included in the marketing of Berlin. This blind vision is now reflected in a place of action. An unrenovated former industrially used hall and other rooms formerly used as offices, which were made available to the artists’ community “Treptow-Ateliers” together with their cheaply rented temporary studios as a temporary playground by an investor. The community itself opened the space for third-party projects. The rawness of the historic site, the desire and spontaneity of the alternative users inevitably lead back to the aura of Berlin in the 1980s and 1990s. And of course Berlin still works like that. But the atmosphere is deceptive, the awakening already sits in the neck, like a drug that slowly loses its effect. Because it all ends, and without romanticism. The artists soon have to go back to their nomadic way. Only that they are not nomadic, but originally displaced from their cherished place of work. Their journey is already unique, because they stick together in solidarity in their seemingly hopeless situation. What could become, what could be? Why is it a blind vision?

Instagram: @blind_vision_berlin

Following up on her obsession with photography and film, Yuka Sato curated this exclusive online screening program for Place M, featuring Japanese artists (including herself). It goes on until the end of this month. Here is what she has to say about it:

“Crossing Boundaries Between Photo and Film brings together the work of four of the most dynamic contemporary photographers, filmmakers and artists of our time: Osamu Kanemura, Shigeo Arikawa, Shinya Isobe and Mami Kosemura – plus myself. This selection aims to explore both the possibilities of photography and film as well as the creation of innovative expressions at their intersection.”

Please find the details below:

May 20, 2021 at 7 pm, Livestream on Facebook and YouTube.

The works will be accessible for free for 10 days following the May 20th screening.

Featured image: © Shinya Isobe.

Very much looking forward to this: The second Place M film festival!

Place M is a photography gallery located in Shinjuku, Tokyo, that serves as a venue for hybrid, boundary-pushing forms of photographic expression. Two years ago, with the establishment of their film department, they started their own film festival. This year, due to the current pandemic, the second Place M Film Festival will be held online. My good friend Yuka Sato will be directing it, presenting films from diverse cultures and backgrounds as well as enlightening videos of the participating filmmakers as they discuss their work.

Yuka is herself a stunning ‘boundary-pusher’, which is why I am very curious about her version of the festival. I love and admire her ability to combine experimentation and poetry in her films, a combination that I only very rarely come across – which, by the way, I also find in the work of one of my other friends, albeit in a completely different medium, namely the improvisations of saxophone player Frank Gratkowski. (What Wikipedia says about Frank can certainly also be applied to Yuka: on the one hand, the beauty and purity of her images is striking. At the same time, she is an image researcher to whom the expansion of the arsenal, the exploration of image possibilities is very important.) So I hope to find a little of her artistic vision in the works presented, too.

Please find more information on their website: https://www.placemfilmfestival.tokyo/

Here is already an overview of their schedule:

A section of Sanki King’s contribution to the Karachi Biennale 2017: “Mind Palace – Freedom of Thought”. Photo: M. Heidingsfelder

Sanki: “Pleased to announce my new group show and my first-ever international exhibition, Abstraction & Calligraphy: Towards a Universal Language, at Louvre Abu Dhabi in collaboration with Centre Pompidou, sponsored by Montblanc.” Curated by Didier Ottinger (Deputy Director, Musée national d’art moderne, Centre Pompidou), Sanki is showing his work next to Vassily Kandinsky, Jackson Pollock, André Masson, Anwar Jalal Shemza, Paul Klee, Lee Krasner and many other renowned artists – he is now one of them, and at 30, both the youngest artist in this show, and the first Pakistani artist to be working with the Louvre Abu Dhabi.

Show opens on the 17th of Feb and continues till the 12th of June.

To obtain a copy of the press release for yourself; email his assistant at sankiking.studio@gmail.com.

Press release:https://www.louvreabudhabi.ae/…/lad-abstraction…

See also:


Liebe Kolleg*innen und Freund*innen,

wir – die theatrale subversion aus Dresden – freuen uns sehr, dass wir heute in Kooperation mit dem Leipziger Theatermacher und Programmierer Alexander Bauer das digitale Kunst- und Dokumentationsprojekt Archiv der lebenden Toten starten können.

Ihr findet das Archiv unter: https://lebende-tote.de
Das Archiv der lebenden Toten ist ein Ort der zukünftigen Erinnerung. Es sammelt Videobotschaften von Menschen, deren Leben in besonderem Maße durch die COVID-19-Pandemie bedroht ist. Hier können sie – für den Fall ihres Todes – ein digitales Vermächtnis hinterlassen. Das Archiv der lebenden Toten wird diese Zeugnisse für eine kommende Gesellschaft bewahren.
Das Archiv ist eine Online-Plattform, auf der die Videos unkompliziert erstellt und veröffentlicht werden können. Das Archiv der lebenden Toten funktioniert, wenn möglichst viele Menschen mitmachen. Wenn Du also selbst zu einer Corona-Risikogruppe gehörst, mach gerne mit! Wenn Du nicht dazu gehörst, aber Leute kennst, deren Erfahrungen/Meinungen/Geschichten geteilt/geäußert/erzählt werden sollten, informiere sie gerne über das Projekt oder – falls nötig – hilf ihnen sogar bei der Anfertigung eines Videovermächtnisses.

Um über das Projekt auf dem Laufenden zu bleiben, kannst Du uns auf folgenden Plattformen folgen:

Facebook: https://www.facebook.com/ArchivderlebendenTotenTwitter: https://twitter.com/CoronaArchiv
Instagram: https://www.instagram.com/coronaarchiv/

Vielen Dank und mit den besten Grüßen,
Michael Neil McCrae
Künstlerische Leitung – theatrale subversion  / Archiv der lebenden Toten
michael.mccrae@lebende-tote.de

Dear friends, some hopefully enlightening news in these dark times: 
I can finally show my new film AI IS THE ANSWER – WHAT WAS THE QUESTION, this Wednesday at UNDERDOX Filmfestival Munich. Very happy about it, since all other festivals refused this film.

https://www.sueddeutsche.de/muenchen/filmfestival-underdox-experimente-und-explosionen-1.5052936

Film starts at 6:30pm, but be aware, space is limited for the obvious reasons. I’m curious about discussing the question of how to show today’s late capitalism. Some thoughts about it here: https://youtu.be/6nGrHUY4yQE and here: https://medium.com/@christianvonborries/the-disappearance-of-society-in-the-algorithm-16995db01de3

Finally, here is a trailer: https://youtu.be/6nGrHUY4yQE and HKW Berlin will screen the film in April 2021, I’ll keep you updated. Whoever is interested in seeing the entire film, just drop me a line and I can provide a link. 

I’m also happy to share with you my attempt to sing Schubert, Schumann and Eisler, intervowen with texts by Jelinek, Heine, Marx, Kafka and Heiner Mueller. Steirischer Herbst made it possible! https://www.paranoia-tv.com/en/program/content/196-episode-schuberts-despair

It was an honor to participate in a book by the great architect Anne Lacaton. “Qualities of Inhabiting” shows how political housing is, and it really is a rare example in this capitalist world: https://www.pro-qm.de/qualities-inhabiting-studio-anne-lacaton-lacaton-v

One more thing: Since, as you might know, the sudden death of David Graeber, people are gathering in his memory. Yesterday, in Berlin, in two very different settings: 

https://twitter.com/vonberries/status/1315564641196675073

I hope you are all well!

Christian
www.masseundmacht.com

Dear friends, I would love to invite you for a little but special event, as my first retrospective show will open tomorrow (or today depending on when you will read this), Saturday the 26th of September, from 11-18 Uhr, at Kunstparterre in Munich, http://www.kunstparterre.de/. The show is titled Onehundredfortythousandandonehundredsixty hours later and will look back at and into 15 years of painting. If you can’t make the opening you can still see the show until the end of this year, every Thursday from 14-18 Uhr or by appointment. Also for this special occasion I developed in collaboration with Leon Klasen a new web based experience, which you can check out below via the link, regardless of your current location:

http://www.onehundredfortythousandonehundredsixtyhourslater.net/

Harald, Carmen, Anna, Jin and me will be there.

Yursflorian

❤

Pic by Kalin Lindena

While Benni Gurn and I are still working on our John Cage documentary (Cage 64) – thanks to the pandemic – my friend Yui Onodera has already released the beautiful soundtrack that he created for it: “Ray”.

Yui is not only responsible for the soundtrack, I also visited him in Tokyo three years ago, where I conducted a series of interviews with him on how John Cage influenced his work. “Without Cage, I would probably not make any music at all,” he said. It was then when I introduced him to avantgarde legend Toshi Ichiyanagi, whom I had interviewed before – it was great to see the meeting of these two generations. I still remember the shy, respectful way in which Yui greeted Ichiyanagi – which was of course also ‘typically Japanese’: They did not exchange a lot of words, and they didn’t need to, their decent gestures said it all. One of the reasons why I love this country so much.

Here’s the photo we took afterwards.

Since then, Yui has made quite a career (and also collaborated with another musician whose work I like a lot, Robert Lippok; I was lucky to be in Karachi to record his fabulous session at Amin Gulgee’s place). Benni and I especially love the title track, “Ray” – we are very thankful to be able to feature it as the opening music for our film. It somehow reminds me of my favorite track from Wim Wender’s “Pina”, Jun Miyake’s “Lillies of the Valley” – to me, they are both on the same level, and they also share a few characteristics, for instance the subtle, hypnotic rhythm. Yui’s is more meditative, much slower, which works very well with our images – wait and see (hopefully we are finally done in 2022). Until then: Enjoy the music.

https://serein.co.uk/releases/yui-onodera-ray?fbclid=IwAR1fMfE3eG32jI2tz_Hf5JkaU9m3mhySsLRwSjIahCe8sxpX7jNNZRIscrM

Steffen, Lars, Klaus and I proudly present: our book on Spencer-Brown’s text “Design with the NOR”, which can be seen as the predecessor of his cult classic Laws of Form. To be released by Emerald soon, hopefully still within this year. Sharing the publisher’s three cover concepts with you, simply because I like all three of them. We have already decided which one it will be – feel free to give it a guess. (Photo of Spencer-Brown: Mirko Ludewig)