- Artist of the Week
As a part of our mondaynews newsletter each week we featured a berlinerpool artist from our archive.
The choice is made in correspondence to a theme set based on cultural life in Berlin and the current projects of berlinerpool.
The diverse approaches each artist represents give a deeper understanding of the theme of the month.
This project is a new approach to work with berlinerpool archive when we link artists who explore similar theme and discover various perspectives through theirs unique way of work.
From the strictly practical point of view The Artist of the Week project is like stretching or visit in the gym for berlinerpool archive. The files had to be sorted, online profiles updated, new content arrived and enriched the archive.
The collection is being prepared to be published.
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Themes
DECEMBER: EXPERIMENTAL SPACES
NOVEMBER: EXPRESSIVE BODIES
OCTOBER: ALTERNATING PERCEPTION
SEPTEMBER: COLLABORATION
AUGUST: PROCESS
JULY: FRAGMENTED MEMORY
JUNE: PUBLIC INTERACTION AND COMMUNICATION
MAY: PERFORMANCE ART :BODY ACTION/INTERACTION
APRIL: SOCIETY'S INFLUENCE ON IDENTITY
MARCH: TURKISH ARTISTS SHOWCASE
FEBRUARY: EXPERIMENTAL PHOTOGRAPHY
JANUARY: FOUND IMAGE : MY IMAGE?
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Below you can find chapters which has been unfolded in mondaynews newsletter through out the year 2011:
DECEMBER: EXPERIMENTAL SPACES
Merve Sendil
http://www.berlinerpool.de/?profiles=Artists&id=167
My work provides clues on the life I`m living in and what I wish to see happen in it. As I assamble the world I dream of, I acquire my resources from the time I`m actually living in. Each of my production reveals diverse facades of a new world, which I bring together by employing different techniques and materials.
A forest of myriad colors, the circus, camouflaged super heroes, drawings made on walls with cables that terminate with music coming out of headphones as well as my artist`s book which contains my narration of a life depicting the exact opposite of my choices in real life, and which results as a fantastic fiction story, are all the essentials of this new world. On the other hand, the open archive I`ve dubbed under the name of “Underscene Project” and which compiles the recordings of amateur groups, as well as my analog pirate radio transmissions are all activities in which the world I live in has been realigned.
Mario Asef
http://www.berlinerpool.de/?profiles=Artists&id=38
"Raumprothesen (work in progress) Public space is characterized by its vibrancy and constantly morphing appearance. Such changes often leave behind the structural remains of a past function that are excluded from newer building plans. They are remnants now converted into seating or meeting points for young people of all social classes. These non-categorized elements of urban public space are designated here as Raumprothesen (spatial prosthetics) and declared design worthy.
In this vein, Raumprothesen has been developed for several exhibition spaces, which, once installed, can be seen as a unified extension of the existing architecture and serves as a meeting point for gallery visitors and as stage for Berlin’s street musicians or even for performance artists. If functions as improvised seating that endeavours to portray social space on a symbolic level as the ideal location for co-existence.
The idea is to generate a contextual shift in how cultural output is valued, whereby cultural producers and cultural consumers engage one another according to a different set of rules. Both visitors and artists interact with the space on a physical level. Beer bottles, cigarettes, and other litter left over from the opening night won’t be cleared away but will become the trace evidence of an earlier social interaction and incorporated as part of the existing installation.
Made out of insulation board, the Raumprothesen will erode until completely disintegrated. Symbolic social space and its aestheticizing can no longer be sustained and therefore disintegrates under the banal, everyday use of its function. At the end of the exhibition the remnants of the event will be installed in public space. They become a part of skateboard ramps, incorporated into graffiti, or used for seating. Now it’s only a question of time how long the impermanent material can hold its own ground."
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NOVEMBER: EXPRESSIVE BODIES
Katrin von Lehmann
http://www.berlinerpool.de/?profiles=Artists&id=133
"What do blind people see, and how do they see it? This is a question which has constantly preoccupied Katrin von Lehmann from the beginning of her work as an artist, one which she attempted to answer in her final degree project at the Academy of Arts in Munich in 1991. Her work as a care assistant had brought her into contact with the blind. Through this work she learnt, as if she had taken part in a medical case study, how the failure of one organ of the body – in this case the eye – can reveal its particular significance and function. So how do the blind see? Obviously, the eye’s physical function is not the only component of "seeing”.
This leads to a more general question, one which concerned Katrin von Lehmann even at this early stage of her career and later took on a central role in her work: How is the world experienced? And then: what part do pictures play? How can you live without pictures? For an artist, these are perhaps the most profound questions that can be asked.
Katrin von Lehmann made an attempt to approach the experience of "blind seeing" by "blind drawing". With her eyes shut and drawing from memory alone, she created pictures of the blind people with whom she had come into contact during her work. These drawings are webs of finely-spun lines and filigree strokes, gradually thickening and solidifying into bodies in the drawing process. In this way von Lehmann tries to imitate the experiential world of the blind, like them using her hands to "see"; through the feeling hands, an intangible image is born in the mind, which itself is transformed back through the hands into a physical picture. Thus, the track of the drawing hands, where the forces of body, mind and soul meet, creates a new picture out of the "model" – the original picture – experienced by the senses..." Text: Ronald Berg
Ev Pommer
http://www.berlinerpool.de/?profiles=Artists&id=469
My work mirrors a physical manifestation of feelings and sensations.
I look for images that express experiences, emotions and situations of human existence.
My work focuses on the horizontal and vertical dimensions of the human body -those vectors that create presence in a room and awake spatial awareness. Important is the form, a gesture, as well as the relationship of form, observer and the room itself
Jin Kyung Lee
http://www.berlinerpool.de/?profiles=Artists&id=340
If I love Jérôme Bosch’s painting, it is for its resistance to the mechanism of reality. The human body submits itself to certain rules that are at once rigorous and invisible, existing in the mechanism of reality. Bosch rebels against this logic and, in doing so, survives as a body - superior through his paintings. In this way, the space he describes to us becomes a superior
reality that is in the end more real than the reality we perceive. The video, « Le jardin des délices», created in 2011 takes off with this idea of reality in relation to the human body. The two characters, Mary and George, exist in a space where linear time is eliminated by the intervention of a mechanism surrounded by their bodies.
The neutrality of their expressions and their robotic movements evoke the cyborg. Nevertheless, I would say they are as human as a human; for these creatures try to resist this mechanism despite not understanding what is happening around them. And their resistance which seems almost innocent thus resembles ourselves and our own absurdity.
Erika Matsunami
http://www.berlinerpool.de/?profiles=Artists&id=281
As a fine artist who works with video, film, photography and sound media, I examine my environment in the artistic context of an audiovisual performance and/or mixed-media installation. In addition, I collaborate with various international artists as part of my work on other art projects.
The senses of seeing, hearing and feeling (material) are important components of the expressive form of both my visual and audio work, as well as my mixed media installations. Examples of my work include the projects “still/silent” (2007-2009) in collaboration with the composer and pianist Antonis Anissegos and continued in 2010 together with the composer and instrumentalist Chris Dahlgren, and “B.O.D.Y.” (2000-2011), a piece of work consisting of a wall installation with sound and photographs of skin and body parts. Through haedphones, the audio can be heard as a synthesised sound of the body’s rhythm. This boosts both the intensity of the audio and stimulates the visual perception. For the performance in the site-specific installation, “uniqueness” is an important component of the work since every encounter is a unique incident which holds the possibility of capturing a new perspective.
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OCTOBER: ALTERNATING PERCEPTION
Bram Braam
http://www.berlinerpool.de/?profiles=Artists&id=401
"Where chaos begins, classical science stops. (Gleick) For as long as the world has had physicists inquiring into the laws of nature, it has suffered a special ignorance about disorder: in the atmosphere, in the turbulent sea, in the fluctuations of wildlife populations, in the oscillations of the heart and brain. The irregular side of nature, the discontinuous and erratic side--these have been puzzles to science, or worse, monstrosities.
Yet it is human nature to want to explain this as much as possible to have control over these situations. In the work "Occupied spaces," there are a number of architectural structures shown comprising algorithmic constructions. These structures behave as intruders in their natural environment. It is like a piece of nature embedded in an ordered system mathematistisch. This meeting provides friction but also leaves a collaboration between these two extremes. Despite the contradiction between nature and culture work in a way to use the material in a kind of kinship is decided between the origin and processing, between nature and culture."
Barbara Eitel
http://www.berlinerpool.de/?profiles=Artists&id=65
"The appropriation of rooms and spaces is a main focus of my work. Mine impartiality towards the place is the key. Important is readiness to discover various layers of the place. It can happen via observation or exploration.
Either through experience, documentation research or collecting memories...
At the end appears a new room which is a construct of bids of information given by the old one."
Cesar Llamas
http://www.berlinerpool.de/?profiles=Artists&id=279
CESAR LLAMAS, New York City- based artist with multi-faceted discipline in painting, sculpture, multi-media, photography, video and installation arts.
He has participated in numerous art exhibitions since the early 80's
throughout Asia, Europe, Australia and the United States. Currently exhibiting "NEW YORK CITY ROADKILLS" at one of the historical locations
in N.Y.C. With this series, Cesar Llamas is making a ground-breaking turning point in his development as an artist, as he makes the transformation from classical to abstract/futuristic expressions.
Nazan Azeri
http://www.berlinerpool.de/?profiles=Artists&id=98
For me, the individual is not a creature surrounded by walls. Society actually lives within me and the images that are reflected in my works are my memory, my state of womanhood, the society in which I live and the state that the world is in. These intermix with my internal processes and transform into visual images. These images are actually metaphors of all these processes.
Ulrike Helms
http://www.berlinerpool.de/?profiles=Artists&id=136
Reality and fiction serve as a source for image and sound in my video work. In netting these sources together, the original context is removed to allow a change in perspective. The viewer is left on unsure ground. Central to the work is direct experience and memory. Fragments, phrases and rumours are exposed to evoke borderline issues. The unfathomable, absurd and illusional are made visible. Emptiness within our supposedly cheerful social lives is highlighted. Our visions are turned into reality, our work into free time and history into stories.
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SEPTEMBER: COLLABORATION
Gökçe Süvari
http://www.berlinerpool.de/?profiles=Artists&id=172
Born in Izmir. The artist works together with X-OP, a gradually growing network of artists, researchers, operators, producers and cultural institutions with the aim to establish an European platform for the creation of art.
With its places, spaces and its user accustomed technological infrastructure it fosters the mobility of the participants, while strengthening the Inter-European collaboration, common production and interdisciplinary approach to art.
Nika Oblak & Primoz Novak
http://www.berlinerpool.de/?profiles=Artists&id=177
Nika Oblak & Primoz Novak have been working as an artist’s cooperative since 2003. In their art practice they make a critical examination of contemporary media and capital driven society as they dissect its visual and linguistic structure. Infused with humor their works draw parallels between the commercial and the art worlds. Oblak and Novak operate in the border zones between reality and fiction, and adopt the visual tactics and seductive constructions commonly employed in the mass media to lure the consumer. They often appear as protagonists of their works and they act out different roles. Their practice spans from video, photography, new media and installation.
VestAndPage (Verena Stenke & Andrea Pagnes)
http://www.berlinerpool.de/?profiles=Artists&id=354
Verena Stenke and Andrea Pagnes have been working together since 2006 as VestAndPage in performance art, visual art and filmmaking. Theirs is a true life-art project: male and female, partners in profession and life, they have found the perfect common ground where to ingrain art into life and vice-versa. Their performance projects have acted in many senses as ambassadors for the kind of work they make together, evolving from a number of disciplines, which follows an intuitive, process-led practice: Stenke’s background in theatre, contemporary dance and makeup artistry, and Pagnes’ in visual art, creative writings, social theatre and curatorship. Their work develops organically through a tight collaboration, from conception to realization in reciprocal inspiration and influence. They make use of and look upon their experiences lived along their life journey as pure art matter, which can be transformed into live actions capable to involve the audience physically and emotionally, leaving an imprint in the memory of the past by combining philosophy and poetry to artistic expression. During these first five years of collaboration, VestAndPage have been deepening what actually means Performance art as a practice, rather than a discipline: that is, that which allowing to reduce the gap between the realm of reality and the ineffable. Cooperating in inevitable artistic resonance and infection, they have discerned that to encompass live performances for an audience and/or video camera belongs to a process of making, where actions and images originate to reveal a poetics that is both personal and universal- where individual and social spheres generate in union, rejection, collision, invasion, incorporation, and identification between each other. Hence, the task for a Performance artist as a social body, and more even as a duo, is to avoid the precariousness of individualistic, mono-spherical statements, trying to see (together) through the configuration of things, and being aware that whatsoever final result or temporary conclusion will be always partial. For Stenke and Pagnes, making art in a bipolar sphere is to be conscious that what is individual is also reciprocal, that nothing exists on its own, and that the phantasm of an intimate sphere, which contains only one inhabitant (the single itself), is a real-fiction that modern society tries to uphold for ensuring the solitary confinement of each individual in a networked foam. What resonates in the bipolar bubble of VestAndPage, at best disperses in the social environment in which they act globally.
Luis Fernández Pons & Jasmina Llobet
http://www.berlinerpool.de/?profiles=Artists&id=175
Llobet & Pons' artistic practice focuses on the broad concept of everyday objects and the language of things, these ideas being the starting point for various multidisciplinary projects. After a careful study of the context in which they find themselves working, through dialogue, through playful investigations and the frequent use of humour and irony, the artists approach matters of importance and banality in society. Llobet & Pons are particularly interested in the relationship between objects and artefacts, turning elements from the everyday upside down and using them as significant entities to build intricate combinations and let new metaphors and meanings emerge.
Llobet & Pons have been doing projects together since 2002, but apart from working as an artist partnership they have also worked in collaborative projects with sociologists, architects and artists. For example, they realized a project with an architect about the lack of housing for young people in Spain, and with a Spanish writer they produced an investigation about the popular mascot Snowflake, the white gorilla from Barcelona Zoo.
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AUGUST: PROCESS
Nuno Vicente
http://www.berlinerpool.de/?profiles=Artists&id=367
(…) Influenced by the Arte Povera, Concept Art as well as by Joseph Beuys, for Nuno Vicente it is not the final work that is crucial. Instead, his works are created only through the process of thinking and experience of the viewer. Playing with the processuality, with the fragility and volatility of elementary materials in connection with existential questions combines in his work quite naturally with a sensitive presence and poetic impact of the materials involved.
(About Dropping time onto the matter, Berlin 2010. Text: Anne Faser)
Tatjana Fell
http://www.berlinerpool.de/?profiles=Artists&id=122
Starting from a conceptual, context based viewpoint Tatjana Fells art
work moves along the edges of visibility and latent existence. It
questions structures of order and referral and explores possibilities
for new relations. Focal point of her work is to investigate established
systems of valuation, validation and hierarchies, their effects on
society and revising possibilities of individual impact. Her mainly
multilayered and site specific installations, consist out of various
media as photography, video work, text and built furniture elements
unfolding their relational network by integrating visitors within its
participatory elements.
Based in Berlin, Tatjana Fell is active in various single and collective
projects which relate to discourses, theory, integrate the public and
build up networks.
Kelly Anders
http://www.berlinerpool.de/?profiles=Artists&id=379
As part of my research in relation to plants, the senses, movement, choreographies, observation and time-space I have established a “set” where I can continuously be present in this changing architecture of growth. Setting up a space in the Concordia Greenhouse where these organisms can grow and be observed by video cameras and direct observation has provided a rich experience in adaptation and has initiated a state of becoming more aware of another organisms time-scale. They, like humans are a time-based medium, and we collaborate together at a sort of virtual intersection. To some extent, I would like to drift closer to their world-- the slowness, the circular, the direct reflection of exterior stimuli such as sun, nutrient and rest. These complex elements make up our lives but are often invisible or taken for granted -we don't rest when we need to, we consume and waste many natural materials. Throughout the past couple months, I enter into and out of their space- they are always changing, always growing and in comparison, my growth seems less visible. Perhaps my hair is longer,
or I trim my fingernails but I am not spiraling towards the sky a foot a week like the vines, or stretching my roots to the earth inches per day like the squash - or am I? by k. andres april 15, 2010
Thomas Monses
http://www.berlinerpool.de/?profiles=Artists&id=391
Each of my work is initially based on a photographic image. And for me, every image has a certain kind of imprecision. This imprecision I would call meaning or a reality, which is mounted on top of the image that itself never has asked for. The process takes places as soon as the image gets out of its pre-determined context.
As we speak in terms of (classic) photography, whereas the photograph is developed, processed and eventually fixed on paper, I use the photograph and re-process it within my work. This results mostly in a painting, but also in drawing, photograph or sometimes also in an object.
Every single work functions as an element of my whole artistic process. Art is patchwork, and with every additional element its context is extended and re-reflected. It is images I need, in order to create my own reality, which will never be finished. And in the best case, my work offers a proposal, on how to look at things.
Michael Markwick
http://www.berlinerpool.de/?profiles=Artists&id=305
Michael Markwick’s paintings and drawings are generated from imagination and past and present experiences with nature, such as in the Grunewald Forest in Berlin. He was raised near wetlands and forests where life, decay, and growth all collided. The numinous power of nature resonated within the landscape, with these oppositions of growth and death. Through frequent re-working, his paintings take on a varied and rich surface of color and form. Paint is scraped, pushed, and poured on canvases in very physical acts of working, ranging from explosive to subtle ways. The viewer is drawn into landscapes that are beautiful yet sometimes distressing. Much of Markwick’s work pairs themes which, when viewed together, highlight an innate tension or dichotomy — for example, using ironic playfulness in color to contrast with sober feelings of life and death. His expressive paintings and drawings often push into abstraction, while still staying grounded in experience.
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JULY: FRAGMENTED MEMORY
Christopher Steadman
http://www.berlinerpool.de/?profiles=Artists&id=442
I have these memories, I have these dreams, and when I awake it seems I am not fully awake
a 3-screen video installation, synchronised with 6 audio tracks that surround the viewer.
The visuals focus on the passing landscape from a train traveling through Transylvania at twilight. The six audio tracks circle around the viewer with a soundscape created by myself using sounds from the filming and a voice-over telling fragments of a story. The piece plays with the familiar misconception of memory as a record or store. The story gets repeated, is changed with every repetition. The visuals remain fixed through the frame of the window, determined by the course of the rails.
Michael Ebert
http://www.berlinerpool.de/?profiles=Artists&id=374
“still” is an installation which extends on all 3 floors of the exhibition space in the wolstenholme project house.
A piano string comes out of a drilled hole in the ground floor and continues its way through the 1st floor up to the 2nd floor, where the piece of string disappears in a hole again. the holes are at the same parallel spot on each floor, each of them has a width of 5cm. through the holes you can see the other floors.
The string vibrates in different ways on each floor: a nervous, fast trembling on the ground floor, a calm swinging on the 1st floor and pulsating like a human vein on the 2nd floor. standing close to the string you’ll hear a subtle sound, generated by its movement. one might say it extends beyond the building, like an infinite string. or it could be a spine, holding the building together, trembling with effort.
Viviana Alcalde
http://www.berlinerpool.de/?profiles=Artists&id=84
"La mémoire is a photography project which deals with the idea of space and the place we occupy in it. It has developed into a video collage. This video project is based on a journey through someone’s life, experiences, memories and places, where things appear and disappear, as a déjà vu, in a cyclical trip through the identity, and where space, nature or architecture are shown through mirrors and reflections."
Gabriele Worgitzki
http://www.berlinerpool.de/?profiles=Artists&id=179
Gabriele Worgitzki works with pictures and videos that discuss phenomenon of time. Viewer is located in a place filled with people, but somehow the time of the protagonists and environment can not be synchronised. Overlay of images and sounds creates new reality destroying the consistence of a place.
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JUNE: PUBLIC INTERACTION AND COMMUNICATION
Doris Koch
http://www.berlinerpool.de/?profiles=Artists&id=397
Doris Koch (conceptual artist and M.A. in cultural studies) has been developing and realizing (curating) art and research projects with a participatory impact in public spaces for some 20 years. In dialog with people she is creating unusual projects in which people of various ages, professions, and origins are involved in multifaceted ways. Several forms of communication are mixed.
With her projects she is enabling a public space for encounters and debate. Currently she is linking sociological, artistic and participatory elements in research projects. This has far-reaching consequences for research, for art and also for participatory practice on the whole.
In an article, published at www.journal-fuer-psychologie.de in June 2011, she depict the relevance of the artistic approach for participatory practice in sociological research.
Stefanie Schairer
http://www.berlinerpool.de/?profiles=Artists&id=344
The story of „What to do with pink bags?“:
„What to do with pink bags?“ is an interdisciplinary, poetic and participatory art project, which I started in 2007 during my shows in Germany and The United States. Since then I have been developing and continuing this idea – an ongoing process. I use the same question, but my creative discussion
happens within several contexts. In 2010 I made an installation on a fence at the airport Tempelhof during the art festival „48 hours in Neukölln“, Berlin. At the same time I had a sound installation with answers (Interviews with people) installed in a Coffee Shop in Neukölln. During this festival I collected answers.
People could arrange their answers on cards to become part of the whole
installation. I am still collecting answers and looking for interesting spaces and showrooms to continue this project. Visitors become part of the whole art project by participating.
Susanne Bosch
http://www.berlinerpool.de/?profiles=Artists&id=103
Statement
„My work concentrates on: Art in public space, installation and site-specific pieces in exhibition spaces.
Besides that I curate exhibitions and organize discussion panels, workshops and seminars concerning themes in the field of art. I work on long-term projects that deal with specific themes: from 1998-2002 I worked in a large-scale public art piece »Restpfennigaktion« based on left-over capital in the form of small change (money), ideas, wishes and utopian visions. The project took place throughout Germany and had several thousands participants.
Since my residency in Istanbul in 2003 I have focused on the importance of public space in countries that violate human and basic democratic rights. Migration as a potential for in terms of wishing for a better future someplace else as well as the experience of being a foreigner have become my central interest since 2004. Both examples have coherent the interest in the potencial of visions. Working with that potential I realize the power of changing of spectators/ partcipants and artists, which has a creative and artistic character.“
Julien Collieux
http://www.berlinerpool.de/?profiles=Artists&id=261
Internationale, 2006-2007, 1 min.
Julien Collieux pushed in the hand of each one of the seven participants a plastic whistle, small and red, reminding us a gymnastic class. On the naked floor, a circle drawn with chalk, divided in compartments and shaded. The seven participants stomp on it, walk in circles and sequentially, each one elicits from its instrument a specific sound. The legs and flutes accelerate, creating a rhythm that join into melody. We can hear The International. Christa Manta, Bucharest.
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MAY: PERFORMANCE ART :BODY ACTION/INTERACTION
Steffi Weisman
http://www.berlinerpool.de/?profiles=Artists&id=326
"Steffi Weismann's artistic productions focus on situations that emerge between performer and audience as well as from interactions between human beings and machines. Her reflections about the omnipresence of technology in our daily lives emphasize the ambivalence of this complex relationship and turn often towards absurdity by her strategy to humanize the machines. Most of her performances deal with the balance of control and loss of control."
Juliane Zelwies
http://www.berlinerpool.de/?profiles=Artists&id=289
Turning Points
A table, two chairs, paper, pens, interested visitors and the artist herself
"For the performance Turning Points, interested visitors are asked to sit down with the artist individually in order to describe what they retrospectively understand as turning points in their life. Hereon Juliane Zelwies maps - in collaboration with the respective participant - the outcome of these private conversations with paper and pencil.
In this way of private story telling, the artist gains insight into how people describe their personal stories to a stranger as the participant is offered the possibility to share a personal experience without the necessity to know the other person privately: The story told might be fake or true.
The initial performance took place in August 2010 at the Banff Centre for the Arts in Alberta, Canada and then traveled to Berlin for the show Schnell und Schmutzig at Markthalle IX Eisenbahnstraße. In December 2010 the performance took place during NOT COOL: Out of Balance - Adventus Performance by Zachary Fabri at Galerie OPEN in Berlin-Kreuzberg."
Yurie Ido
http://www.berlinerpool.de/?profiles=Artists&id=375
"My performance is a combination of action, sound and video. A
projector is used to cast a video at the backcloth showing images as a
graphic backdrop for the performance.
The video projection also provides a special illumination for the
performer. The visual material I use in the projection consists of my
drawings. During the performance, I am in control of timing and speed
of my action in order to match the rhythms to the sound and the video
projection."
Nezaket Ekici
http://www.berlinerpool.de/?profiles=Artists&id=115
"Form it able"/ Berlin
Performance Installation 2010
In the space, there are different size of white pedestals fixed . The artist and the models are grouped on the pedestals or on the floors.
Next to each pedestal are photos of painting on musicstands, on which groups of figures from art history of the past 600 years ( for Sandro Botticelli, Angelika Kaufmann, Orazio Gentileschi, Alexander Andreyevitch Ivanov, Guido Cagnacci, Egon Schiele, can be seen.
A voice of the artist recorded on a cd, animates the viewer to work on the models with their own hands according to the paintings. All viewers are encouraged to participate. The viewer will become an active part of the artwork, while the models remain passive over the whole period of the performance / installation. The viewer assumes the role of the sculptor for the model copying the original.
Thus the viewer has not only the passive role of spectator, reduced to the consumer, but learns by mimicking.
The artist and the modells stand and lie at the in the beginning on the pedestals or on the floor. Viewers are encouraged to model the characters as they do on the painting. Viewers are encouraged by the voice off to go there to model.
Two helpers in the room support by approaching the viewer .
The performance ends when all models are modeled perfectly one by one and can be seen as a sculpture park in the overall picture.
Duration of the Performance:
45 min.
Dovrat ana Meron
http://www.berlinerpool.de/?profiles=Artists&id=378
I do not believe in one statement nor see myself committed to any style or medium which might restrict my creation. Each one of my Live Performances and projects is explorative statement at the time that it is being created and performed. I perform in conventional Art spaces as well as public spheres, urban or nature environments. Some performances are purely action others are more physical, verbal or medial or mixture between various genres. Whether I perform solo for audience or interact with the public. Collaborating with other Artists or alone for the video, my projects range in theme context and duration. Among my practice; site specific, site related performance, socio-political Performance Art, Installations and Butoh. I am fascinated by elusive mediums such as; live performance art, land art and acoustic art. My major present interest is the complexity between Live performance Art and commodity, performance in public spaces, Institution citric and the invasion of political interests to the arts and the influence that Politic has on the arts. In example when I have the feeling that my performances are invited or rejected because of my Jewish / Israeli background!
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APRIL: SOCIETY'S INFLUENCE ON IDENTITY
Fillipo Berta
http://www.berlinerpool.de/?profiles=Artists&id=409
Fillipo Berta, Territories,2009 Performance
"Standing in an area covered in gravel, a number of people are required to make the same movement: to delineate a personal barrier with their feet. Everyone is expected to mark off his own territory, regardless of the presence of the others. This activity produces an intimate psychological relationship between the individual and the space representing him, between the spaces of others and the whole area, expressed in the individual’s interpretation of the required task. The act of establishing one’s own territory in a common space represents the definition of oneself in social relationships. The action can be compared to constantly going over one’s signature with a pen, to the point of tearing the paper. The deeper someone digs into the gravel with his foot, the more defined the border of his territory becomes. The white gravel and the black earth below are the “black on white” which define the self to the eye. The size and shape of the single space become the visible metaphor for the individual personality. Defining oneself becomes a struggle between the colonizers and the colonized, which shows itself in the various interactions between the people involved. Satisfying one’s own need for territory involves invading and occupying the space of others or, conversely, not attempting to define a precise shape but occupying as much space as possible while avoiding the others. The dust rising up from the moving feet and the noise of digging into the gravel complete the impression of a hard struggle. "
Paula Muhr
http://www.berlinerpool.de/?profiles=Artists&id=297
"My work employs predominantly the medium of photography as a means of exploring socio-cultural mechanisms and strategies of constructing sexuality, gender, desire and normality.
I am especially interested in the historical and present mediation of photography and other lens-based media in the construction of knowledge and in the creation of social norms of acceptable and desirable appearance and behaviour.
The concept of identity is a recurring theme in my work. - How is identity constructed? What social mechanisms are effective in this process? What is the role of visual media such as photography? How influential are social norms in establishing the power of images on the individual? What are taxonomic strategies and ideological underpinnings of representational systems of e.g. literature, art, commercials, science, and medicine?
I use research methods and I install staged photography with found materials, texts, speech and sounds. Concerning found footage, I aim to create a semantic shift and destabilise the authority of the original contexts of the material.
My most recent works question historical scientific and social practices reflected in films, medical portrait photography and written material of the late nineteenth and early twentieth century. These historical representations are at the roots of our present-day practices of mapping and controlling the body in terms of knowledge and regulatory mechanism. In m work, I thematise their influence on the contemporary gender discourses.
By referencing the physiognomic studies from 18th and 19th century, the early history of photography and Charcot’s discovery of hysteria, I analyse the scientific and historical context pertinent to my own image production. In “Females Under Tension” and related works I examine the validity of (pseudo)scientific and medical practices aimed at defining normality. By recontextualising and deconstructing medical images which originally served as ‘objective’ illustration and, thus, evidence of pathology, I infuse them with ambiguity and facilitate a shift in their meaning. Thereby I question the production of scientific knowledge through usage of visual material, and the structure of power in discourses on mental health."
Gözde Ilkin
http://www.berlinerpool.de/?profiles=Artists&id=139
"I am interested in people who stranger themselves from the society. Our social and sexual identities are taught to us by the society . I use the puppets to describe these roles. Seeing the puppets are like looking in the mirror: people can see themselves while looking at them.
The ‘Album of the Family’ is at first sight a traditional one. But when we look closer, we realize that we cannot distinguish the mother from the father or the male from the female. Roles are not defined. "
Rabea Eipperle
http://www.berlinerpool.de/?profiles=Artists&id=77v
Push It
Videos,2007,each 3 min. 30 sec.
"In den Videos tanzen Männer und Frauen zu einer von mir entworfenen Choreographie zu dem Lied Push it von Salt -N - Pepa. Die inszenierte Choreographie beinhaltet Tanzstile, welche von weiblichen und von männlichen Rapsängern in Musikvideos und bei Konzerten verkörpert werden. Die von mir zusammengestellten und koordinierten, weiblich und männlich zugeschriebenen Ausdrucksformen werden in der Choreographie des Videos von dem Männern und Frauen frontal zur Kamera getanzt.
The video shows men and women dancing to Salt-N-Pepa’s song Push it according to my own choreography. This choreography encompasses dance styles as performed by both female and male rappers in music videos, and during live concerts. Facing the camera, the men and women enact both female and male dance styles that I have compiled and rearranged in my choreography."
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MARCH: TURKISH ARTISTS SHOWCASE
Yesim Agaoglu
http://www.berlinerpool.de/?profiles=Artists&id=298
“Yeşim Ağaoğlu concentrates on art making with performances, visual
material and objects. At the beginning her poems written on yellow paper
with conventional typewriter occupy the center of these works. The
yellow pages are a basic material and modest elements of communication
with the people, but when they are arranged in huge geometrical heaps in
the exhibition spaces they also become a Fluxus installation. Her
presence in the exhibition space is considered as performance, even if
she does not make performance in the sense that she is directly involved
into the process of the art work, but her continuous blending into the
viewers attendance gives the impression of a performance. Indeed at one
work she invited a travesty to distribute her poems on travesty.” -
Beral Madra, April 2008"
Nalan Yirtmac
http://www.berlinerpool.de/?profiles=Artists&id=80
‘Nalan Yırtmaç was an active member of a group of young artists who managed to enunciate a post-punk scene in Istanbul in the first half of nineties. Psychedelic iconographies and figures taken from urban subcultures, aesthetic references to local kitsch and the ironic use of low-tech media used to shape their activities based around music and these have recently been transposed to different modes of visual production.
Nalan Yırtmaç, whose formal painting formation in the fine art academy allowed her to focus on the visual dimension right from the start, has documented the quotidian adventures of this subcultural collective in a journal-like methodology.’
Gülay Semercioglu
http://www.berlinerpool.de/?profiles=Artists&id=166
'It seems that women artists often focus on the so called female qualities
such as 'patience' and 'craftsmanship' in their work. They are by and large works that are in harmony with the intrinsic quality of the material,
and reflect the female sensitivity by their method of production
and their inherent attribute. On the other hand, Semercioglu's
enamelled wire crochet Knittings, both display and deny this same sensitivity.
While Semercioglu's knittings fulfill her sensitivity as a female
they also seem to reject it. This duality leaves the viewer
with ambiguous feelings.”
Gonca Sezer
http://www.berlinerpool.de/?profiles=Artists&id=170
“Examining Gonca Sezer’s works, we can easily see the examples of the political economy that Foucault though ‘spacies-human’Gonca Sezer’s concern is, asking questions about how life is reproduced economically and genetically by the power.
How does the control is articulated with the individualised power?
It seems that in Gonca Sezer’s photograph and desings, the endevour
is to present the image of how individuality existing, born babies
are unfilied almost being packeged and how these packaged are made
undifferentiated uniforms of future soldiers genereted by power.”
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FEBRUARY: EXPERIMENTAL PHOTOGRAPHY
Monika Rechsteiner
http://berlinerpool.de/?profiles=Artists&id=163
“Monitori the series are an attempt to broaden the picture of a
landscape photography; want to see more than is possible by limiting the
viewfinder of a camera is. Landscapes from Finland and Norway are
partially filtered through a panoramic lens. Nature appears so broken
out of focus in the prism of the media. The panoramic lens glorified
covers, and at the same time, it will open up new visual spaces and levels.”
Oliver Möst
http://berlinerpool.de/?profiles=Artists&id=191
‘Oliver Möst's video work is a continuation of his photographic work. At
first glance it is characterised by a conspicuous lack of definition,
which is the artist's guiding aesthetic principle both in his
photographs and in his video work. The principle of sharpness make us
aware of the core of the artist's perceptional awareness. Möst's own
process of perception is the theme of all his work. He suffers from poor
sight, so that his glasses have to compensate for 2.0 dioptres in the
left eye and 6.0 in the right. His photographic and film work allow us
to experience the photographer's subjective eye and to see his
idiosyncratic perception and the way he experiences the space around him.’
Sofia Bempeza
http://berlinerpool.de/?profiles=Artists&id=360
‘The principle idea of my work is the research of public space or to be more specific the urban development in the late capitalist era. My interest in spatial structures is based in aesthetic principles developed in confrontation with existing locations and situations. In this way I execute different strategies to produce local interferences in urban space. My latest interest in the Karl-Marx-Allee area deals with the evolution of post-socialist architecture in former east European cities.’
George Drivas
http://berlinerpool.de/?profiles=Artists&id=276
“Closed Circuit is an investigation. It is an unsolved criminal case
which takes place in NYC. Closed Circuit is a report. It is a story
captured minute by minute by a technological eye. Closed Circuit is a
drama. It could be a romance, just the lack of it or instead a
passionate love at first sight. Closed Circuit all happens under
surveillance.”
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JANUARY: FOUND IMAGE : MY IMAGE?
Bruno Di Lecce
http://www.berlinerpool.de/?profiles=Artists&id=333
Since Marcel Duchamp’s ‘Fountain’ (1917), the found object has been subject to artistic exploration and use within many modern art movements. This month's theme focuses on the found image and questions the re-appropriation of such images in the work of contemporary artists. Bruno Di Lecce, the mondaynews artist of the week, uses a series of family videos filmed in Super 8, covering two generations-worth of family occasions both sacred and profane, in his 2007 work ‘Corto Circuito’.
Irina Novarese
http://www.berlinerpool.de/?profiles=Artists&id=388
Using found photographs as starting point Irina Novarese intends to reflect on the perceptive, associative and not least physical space that is identity.
Nancy Atakan
http://www.berlinerpool.de/?profiles=Artists&id=328
‘Starting from personal experience, family photographs and stories about relatives who initially established the shopping center in which the off-space, 5533, exists, Lost Suitcase turns facts into fiction. Photographs stimulate imagination and association. Objects outlive humans and leave traces, carry smells, and reflect the atmosphere of what remains. Objects document and carry memory. Even when these objects come from someone known to the artist, they can be used to tell a story and to create a narrative that generates feelings in spectators about events, people, and eras.’
As a part of our mondaynews newsletter each week we featured a berlinerpool artist from our archive.
The choice is made in correspondence to a theme set based on cultural life in Berlin and the current projects of berlinerpool.
The diverse approaches each artist represents give a deeper understanding of the theme of the month.
This project is a new approach to work with berlinerpool archive when we link artists who explore similar theme and discover various perspectives through theirs unique way of work.
From the strictly practical point of view The Artist of the Week project is like stretching or visit in the gym for berlinerpool archive. The files had to be sorted, online profiles updated, new content arrived and enriched the archive.
The collection is being prepared to be published.
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Themes
DECEMBER: EXPERIMENTAL SPACES
NOVEMBER: EXPRESSIVE BODIES
OCTOBER: ALTERNATING PERCEPTION
SEPTEMBER: COLLABORATION
AUGUST: PROCESS
JULY: FRAGMENTED MEMORY
JUNE: PUBLIC INTERACTION AND COMMUNICATION
MAY: PERFORMANCE ART :BODY ACTION/INTERACTION
APRIL: SOCIETY'S INFLUENCE ON IDENTITY
MARCH: TURKISH ARTISTS SHOWCASE
FEBRUARY: EXPERIMENTAL PHOTOGRAPHY
JANUARY: FOUND IMAGE : MY IMAGE?
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Below you can find chapters which has been unfolded in mondaynews newsletter through out the year 2011:
DECEMBER: EXPERIMENTAL SPACES
Merve Sendil
http://www.berlinerpool.de/?profiles=Artists&id=167
My work provides clues on the life I`m living in and what I wish to see happen in it. As I assamble the world I dream of, I acquire my resources from the time I`m actually living in. Each of my production reveals diverse facades of a new world, which I bring together by employing different techniques and materials.
A forest of myriad colors, the circus, camouflaged super heroes, drawings made on walls with cables that terminate with music coming out of headphones as well as my artist`s book which contains my narration of a life depicting the exact opposite of my choices in real life, and which results as a fantastic fiction story, are all the essentials of this new world. On the other hand, the open archive I`ve dubbed under the name of “Underscene Project” and which compiles the recordings of amateur groups, as well as my analog pirate radio transmissions are all activities in which the world I live in has been realigned.
Mario Asef
http://www.berlinerpool.de/?profiles=Artists&id=38
"Raumprothesen (work in progress) Public space is characterized by its vibrancy and constantly morphing appearance. Such changes often leave behind the structural remains of a past function that are excluded from newer building plans. They are remnants now converted into seating or meeting points for young people of all social classes. These non-categorized elements of urban public space are designated here as Raumprothesen (spatial prosthetics) and declared design worthy.
In this vein, Raumprothesen has been developed for several exhibition spaces, which, once installed, can be seen as a unified extension of the existing architecture and serves as a meeting point for gallery visitors and as stage for Berlin’s street musicians or even for performance artists. If functions as improvised seating that endeavours to portray social space on a symbolic level as the ideal location for co-existence.
The idea is to generate a contextual shift in how cultural output is valued, whereby cultural producers and cultural consumers engage one another according to a different set of rules. Both visitors and artists interact with the space on a physical level. Beer bottles, cigarettes, and other litter left over from the opening night won’t be cleared away but will become the trace evidence of an earlier social interaction and incorporated as part of the existing installation.
Made out of insulation board, the Raumprothesen will erode until completely disintegrated. Symbolic social space and its aestheticizing can no longer be sustained and therefore disintegrates under the banal, everyday use of its function. At the end of the exhibition the remnants of the event will be installed in public space. They become a part of skateboard ramps, incorporated into graffiti, or used for seating. Now it’s only a question of time how long the impermanent material can hold its own ground."
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NOVEMBER: EXPRESSIVE BODIES
Katrin von Lehmann
http://www.berlinerpool.de/?profiles=Artists&id=133
"What do blind people see, and how do they see it? This is a question which has constantly preoccupied Katrin von Lehmann from the beginning of her work as an artist, one which she attempted to answer in her final degree project at the Academy of Arts in Munich in 1991. Her work as a care assistant had brought her into contact with the blind. Through this work she learnt, as if she had taken part in a medical case study, how the failure of one organ of the body – in this case the eye – can reveal its particular significance and function. So how do the blind see? Obviously, the eye’s physical function is not the only component of "seeing”.
This leads to a more general question, one which concerned Katrin von Lehmann even at this early stage of her career and later took on a central role in her work: How is the world experienced? And then: what part do pictures play? How can you live without pictures? For an artist, these are perhaps the most profound questions that can be asked.
Katrin von Lehmann made an attempt to approach the experience of "blind seeing" by "blind drawing". With her eyes shut and drawing from memory alone, she created pictures of the blind people with whom she had come into contact during her work. These drawings are webs of finely-spun lines and filigree strokes, gradually thickening and solidifying into bodies in the drawing process. In this way von Lehmann tries to imitate the experiential world of the blind, like them using her hands to "see"; through the feeling hands, an intangible image is born in the mind, which itself is transformed back through the hands into a physical picture. Thus, the track of the drawing hands, where the forces of body, mind and soul meet, creates a new picture out of the "model" – the original picture – experienced by the senses..." Text: Ronald Berg
Ev Pommer
http://www.berlinerpool.de/?profiles=Artists&id=469
My work mirrors a physical manifestation of feelings and sensations.
I look for images that express experiences, emotions and situations of human existence.
My work focuses on the horizontal and vertical dimensions of the human body -those vectors that create presence in a room and awake spatial awareness. Important is the form, a gesture, as well as the relationship of form, observer and the room itself
Jin Kyung Lee
http://www.berlinerpool.de/?profiles=Artists&id=340
If I love Jérôme Bosch’s painting, it is for its resistance to the mechanism of reality. The human body submits itself to certain rules that are at once rigorous and invisible, existing in the mechanism of reality. Bosch rebels against this logic and, in doing so, survives as a body - superior through his paintings. In this way, the space he describes to us becomes a superior
reality that is in the end more real than the reality we perceive. The video, « Le jardin des délices», created in 2011 takes off with this idea of reality in relation to the human body. The two characters, Mary and George, exist in a space where linear time is eliminated by the intervention of a mechanism surrounded by their bodies.
The neutrality of their expressions and their robotic movements evoke the cyborg. Nevertheless, I would say they are as human as a human; for these creatures try to resist this mechanism despite not understanding what is happening around them. And their resistance which seems almost innocent thus resembles ourselves and our own absurdity.
Erika Matsunami
http://www.berlinerpool.de/?profiles=Artists&id=281
As a fine artist who works with video, film, photography and sound media, I examine my environment in the artistic context of an audiovisual performance and/or mixed-media installation. In addition, I collaborate with various international artists as part of my work on other art projects.
The senses of seeing, hearing and feeling (material) are important components of the expressive form of both my visual and audio work, as well as my mixed media installations. Examples of my work include the projects “still/silent” (2007-2009) in collaboration with the composer and pianist Antonis Anissegos and continued in 2010 together with the composer and instrumentalist Chris Dahlgren, and “B.O.D.Y.” (2000-2011), a piece of work consisting of a wall installation with sound and photographs of skin and body parts. Through haedphones, the audio can be heard as a synthesised sound of the body’s rhythm. This boosts both the intensity of the audio and stimulates the visual perception. For the performance in the site-specific installation, “uniqueness” is an important component of the work since every encounter is a unique incident which holds the possibility of capturing a new perspective.
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OCTOBER: ALTERNATING PERCEPTION
Bram Braam
http://www.berlinerpool.de/?profiles=Artists&id=401
"Where chaos begins, classical science stops. (Gleick) For as long as the world has had physicists inquiring into the laws of nature, it has suffered a special ignorance about disorder: in the atmosphere, in the turbulent sea, in the fluctuations of wildlife populations, in the oscillations of the heart and brain. The irregular side of nature, the discontinuous and erratic side--these have been puzzles to science, or worse, monstrosities.
Yet it is human nature to want to explain this as much as possible to have control over these situations. In the work "Occupied spaces," there are a number of architectural structures shown comprising algorithmic constructions. These structures behave as intruders in their natural environment. It is like a piece of nature embedded in an ordered system mathematistisch. This meeting provides friction but also leaves a collaboration between these two extremes. Despite the contradiction between nature and culture work in a way to use the material in a kind of kinship is decided between the origin and processing, between nature and culture."
Barbara Eitel
http://www.berlinerpool.de/?profiles=Artists&id=65
"The appropriation of rooms and spaces is a main focus of my work. Mine impartiality towards the place is the key. Important is readiness to discover various layers of the place. It can happen via observation or exploration.
Either through experience, documentation research or collecting memories...
At the end appears a new room which is a construct of bids of information given by the old one."
Cesar Llamas
http://www.berlinerpool.de/?profiles=Artists&id=279
CESAR LLAMAS, New York City- based artist with multi-faceted discipline in painting, sculpture, multi-media, photography, video and installation arts.
He has participated in numerous art exhibitions since the early 80's
throughout Asia, Europe, Australia and the United States. Currently exhibiting "NEW YORK CITY ROADKILLS" at one of the historical locations
in N.Y.C. With this series, Cesar Llamas is making a ground-breaking turning point in his development as an artist, as he makes the transformation from classical to abstract/futuristic expressions.
Nazan Azeri
http://www.berlinerpool.de/?profiles=Artists&id=98
For me, the individual is not a creature surrounded by walls. Society actually lives within me and the images that are reflected in my works are my memory, my state of womanhood, the society in which I live and the state that the world is in. These intermix with my internal processes and transform into visual images. These images are actually metaphors of all these processes.
Ulrike Helms
http://www.berlinerpool.de/?profiles=Artists&id=136
Reality and fiction serve as a source for image and sound in my video work. In netting these sources together, the original context is removed to allow a change in perspective. The viewer is left on unsure ground. Central to the work is direct experience and memory. Fragments, phrases and rumours are exposed to evoke borderline issues. The unfathomable, absurd and illusional are made visible. Emptiness within our supposedly cheerful social lives is highlighted. Our visions are turned into reality, our work into free time and history into stories.
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SEPTEMBER: COLLABORATION
Gökçe Süvari
http://www.berlinerpool.de/?profiles=Artists&id=172
Born in Izmir. The artist works together with X-OP, a gradually growing network of artists, researchers, operators, producers and cultural institutions with the aim to establish an European platform for the creation of art.
With its places, spaces and its user accustomed technological infrastructure it fosters the mobility of the participants, while strengthening the Inter-European collaboration, common production and interdisciplinary approach to art.
Nika Oblak & Primoz Novak
http://www.berlinerpool.de/?profiles=Artists&id=177
Nika Oblak & Primoz Novak have been working as an artist’s cooperative since 2003. In their art practice they make a critical examination of contemporary media and capital driven society as they dissect its visual and linguistic structure. Infused with humor their works draw parallels between the commercial and the art worlds. Oblak and Novak operate in the border zones between reality and fiction, and adopt the visual tactics and seductive constructions commonly employed in the mass media to lure the consumer. They often appear as protagonists of their works and they act out different roles. Their practice spans from video, photography, new media and installation.
VestAndPage (Verena Stenke & Andrea Pagnes)
http://www.berlinerpool.de/?profiles=Artists&id=354
Verena Stenke and Andrea Pagnes have been working together since 2006 as VestAndPage in performance art, visual art and filmmaking. Theirs is a true life-art project: male and female, partners in profession and life, they have found the perfect common ground where to ingrain art into life and vice-versa. Their performance projects have acted in many senses as ambassadors for the kind of work they make together, evolving from a number of disciplines, which follows an intuitive, process-led practice: Stenke’s background in theatre, contemporary dance and makeup artistry, and Pagnes’ in visual art, creative writings, social theatre and curatorship. Their work develops organically through a tight collaboration, from conception to realization in reciprocal inspiration and influence. They make use of and look upon their experiences lived along their life journey as pure art matter, which can be transformed into live actions capable to involve the audience physically and emotionally, leaving an imprint in the memory of the past by combining philosophy and poetry to artistic expression. During these first five years of collaboration, VestAndPage have been deepening what actually means Performance art as a practice, rather than a discipline: that is, that which allowing to reduce the gap between the realm of reality and the ineffable. Cooperating in inevitable artistic resonance and infection, they have discerned that to encompass live performances for an audience and/or video camera belongs to a process of making, where actions and images originate to reveal a poetics that is both personal and universal- where individual and social spheres generate in union, rejection, collision, invasion, incorporation, and identification between each other. Hence, the task for a Performance artist as a social body, and more even as a duo, is to avoid the precariousness of individualistic, mono-spherical statements, trying to see (together) through the configuration of things, and being aware that whatsoever final result or temporary conclusion will be always partial. For Stenke and Pagnes, making art in a bipolar sphere is to be conscious that what is individual is also reciprocal, that nothing exists on its own, and that the phantasm of an intimate sphere, which contains only one inhabitant (the single itself), is a real-fiction that modern society tries to uphold for ensuring the solitary confinement of each individual in a networked foam. What resonates in the bipolar bubble of VestAndPage, at best disperses in the social environment in which they act globally.
Luis Fernández Pons & Jasmina Llobet
http://www.berlinerpool.de/?profiles=Artists&id=175
Llobet & Pons' artistic practice focuses on the broad concept of everyday objects and the language of things, these ideas being the starting point for various multidisciplinary projects. After a careful study of the context in which they find themselves working, through dialogue, through playful investigations and the frequent use of humour and irony, the artists approach matters of importance and banality in society. Llobet & Pons are particularly interested in the relationship between objects and artefacts, turning elements from the everyday upside down and using them as significant entities to build intricate combinations and let new metaphors and meanings emerge.
Llobet & Pons have been doing projects together since 2002, but apart from working as an artist partnership they have also worked in collaborative projects with sociologists, architects and artists. For example, they realized a project with an architect about the lack of housing for young people in Spain, and with a Spanish writer they produced an investigation about the popular mascot Snowflake, the white gorilla from Barcelona Zoo.
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AUGUST: PROCESS
Nuno Vicente
http://www.berlinerpool.de/?profiles=Artists&id=367
(…) Influenced by the Arte Povera, Concept Art as well as by Joseph Beuys, for Nuno Vicente it is not the final work that is crucial. Instead, his works are created only through the process of thinking and experience of the viewer. Playing with the processuality, with the fragility and volatility of elementary materials in connection with existential questions combines in his work quite naturally with a sensitive presence and poetic impact of the materials involved.
(About Dropping time onto the matter, Berlin 2010. Text: Anne Faser)
Tatjana Fell
http://www.berlinerpool.de/?profiles=Artists&id=122
Starting from a conceptual, context based viewpoint Tatjana Fells art
work moves along the edges of visibility and latent existence. It
questions structures of order and referral and explores possibilities
for new relations. Focal point of her work is to investigate established
systems of valuation, validation and hierarchies, their effects on
society and revising possibilities of individual impact. Her mainly
multilayered and site specific installations, consist out of various
media as photography, video work, text and built furniture elements
unfolding their relational network by integrating visitors within its
participatory elements.
Based in Berlin, Tatjana Fell is active in various single and collective
projects which relate to discourses, theory, integrate the public and
build up networks.
Kelly Anders
http://www.berlinerpool.de/?profiles=Artists&id=379
As part of my research in relation to plants, the senses, movement, choreographies, observation and time-space I have established a “set” where I can continuously be present in this changing architecture of growth. Setting up a space in the Concordia Greenhouse where these organisms can grow and be observed by video cameras and direct observation has provided a rich experience in adaptation and has initiated a state of becoming more aware of another organisms time-scale. They, like humans are a time-based medium, and we collaborate together at a sort of virtual intersection. To some extent, I would like to drift closer to their world-- the slowness, the circular, the direct reflection of exterior stimuli such as sun, nutrient and rest. These complex elements make up our lives but are often invisible or taken for granted -we don't rest when we need to, we consume and waste many natural materials. Throughout the past couple months, I enter into and out of their space- they are always changing, always growing and in comparison, my growth seems less visible. Perhaps my hair is longer,
or I trim my fingernails but I am not spiraling towards the sky a foot a week like the vines, or stretching my roots to the earth inches per day like the squash - or am I? by k. andres april 15, 2010
Thomas Monses
http://www.berlinerpool.de/?profiles=Artists&id=391
Each of my work is initially based on a photographic image. And for me, every image has a certain kind of imprecision. This imprecision I would call meaning or a reality, which is mounted on top of the image that itself never has asked for. The process takes places as soon as the image gets out of its pre-determined context.
As we speak in terms of (classic) photography, whereas the photograph is developed, processed and eventually fixed on paper, I use the photograph and re-process it within my work. This results mostly in a painting, but also in drawing, photograph or sometimes also in an object.
Every single work functions as an element of my whole artistic process. Art is patchwork, and with every additional element its context is extended and re-reflected. It is images I need, in order to create my own reality, which will never be finished. And in the best case, my work offers a proposal, on how to look at things.
Michael Markwick
http://www.berlinerpool.de/?profiles=Artists&id=305
Michael Markwick’s paintings and drawings are generated from imagination and past and present experiences with nature, such as in the Grunewald Forest in Berlin. He was raised near wetlands and forests where life, decay, and growth all collided. The numinous power of nature resonated within the landscape, with these oppositions of growth and death. Through frequent re-working, his paintings take on a varied and rich surface of color and form. Paint is scraped, pushed, and poured on canvases in very physical acts of working, ranging from explosive to subtle ways. The viewer is drawn into landscapes that are beautiful yet sometimes distressing. Much of Markwick’s work pairs themes which, when viewed together, highlight an innate tension or dichotomy — for example, using ironic playfulness in color to contrast with sober feelings of life and death. His expressive paintings and drawings often push into abstraction, while still staying grounded in experience.
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JULY: FRAGMENTED MEMORY
Christopher Steadman
http://www.berlinerpool.de/?profiles=Artists&id=442
I have these memories, I have these dreams, and when I awake it seems I am not fully awake
a 3-screen video installation, synchronised with 6 audio tracks that surround the viewer.
The visuals focus on the passing landscape from a train traveling through Transylvania at twilight. The six audio tracks circle around the viewer with a soundscape created by myself using sounds from the filming and a voice-over telling fragments of a story. The piece plays with the familiar misconception of memory as a record or store. The story gets repeated, is changed with every repetition. The visuals remain fixed through the frame of the window, determined by the course of the rails.
Michael Ebert
http://www.berlinerpool.de/?profiles=Artists&id=374
“still” is an installation which extends on all 3 floors of the exhibition space in the wolstenholme project house.
A piano string comes out of a drilled hole in the ground floor and continues its way through the 1st floor up to the 2nd floor, where the piece of string disappears in a hole again. the holes are at the same parallel spot on each floor, each of them has a width of 5cm. through the holes you can see the other floors.
The string vibrates in different ways on each floor: a nervous, fast trembling on the ground floor, a calm swinging on the 1st floor and pulsating like a human vein on the 2nd floor. standing close to the string you’ll hear a subtle sound, generated by its movement. one might say it extends beyond the building, like an infinite string. or it could be a spine, holding the building together, trembling with effort.
Viviana Alcalde
http://www.berlinerpool.de/?profiles=Artists&id=84
"La mémoire is a photography project which deals with the idea of space and the place we occupy in it. It has developed into a video collage. This video project is based on a journey through someone’s life, experiences, memories and places, where things appear and disappear, as a déjà vu, in a cyclical trip through the identity, and where space, nature or architecture are shown through mirrors and reflections."
Gabriele Worgitzki
http://www.berlinerpool.de/?profiles=Artists&id=179
Gabriele Worgitzki works with pictures and videos that discuss phenomenon of time. Viewer is located in a place filled with people, but somehow the time of the protagonists and environment can not be synchronised. Overlay of images and sounds creates new reality destroying the consistence of a place.
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JUNE: PUBLIC INTERACTION AND COMMUNICATION
Doris Koch
http://www.berlinerpool.de/?profiles=Artists&id=397
Doris Koch (conceptual artist and M.A. in cultural studies) has been developing and realizing (curating) art and research projects with a participatory impact in public spaces for some 20 years. In dialog with people she is creating unusual projects in which people of various ages, professions, and origins are involved in multifaceted ways. Several forms of communication are mixed.
With her projects she is enabling a public space for encounters and debate. Currently she is linking sociological, artistic and participatory elements in research projects. This has far-reaching consequences for research, for art and also for participatory practice on the whole.
In an article, published at www.journal-fuer-psychologie.de in June 2011, she depict the relevance of the artistic approach for participatory practice in sociological research.
Stefanie Schairer
http://www.berlinerpool.de/?profiles=Artists&id=344
The story of „What to do with pink bags?“:
„What to do with pink bags?“ is an interdisciplinary, poetic and participatory art project, which I started in 2007 during my shows in Germany and The United States. Since then I have been developing and continuing this idea – an ongoing process. I use the same question, but my creative discussion
happens within several contexts. In 2010 I made an installation on a fence at the airport Tempelhof during the art festival „48 hours in Neukölln“, Berlin. At the same time I had a sound installation with answers (Interviews with people) installed in a Coffee Shop in Neukölln. During this festival I collected answers.
People could arrange their answers on cards to become part of the whole
installation. I am still collecting answers and looking for interesting spaces and showrooms to continue this project. Visitors become part of the whole art project by participating.
Susanne Bosch
http://www.berlinerpool.de/?profiles=Artists&id=103
Statement
„My work concentrates on: Art in public space, installation and site-specific pieces in exhibition spaces.
Besides that I curate exhibitions and organize discussion panels, workshops and seminars concerning themes in the field of art. I work on long-term projects that deal with specific themes: from 1998-2002 I worked in a large-scale public art piece »Restpfennigaktion« based on left-over capital in the form of small change (money), ideas, wishes and utopian visions. The project took place throughout Germany and had several thousands participants.
Since my residency in Istanbul in 2003 I have focused on the importance of public space in countries that violate human and basic democratic rights. Migration as a potential for in terms of wishing for a better future someplace else as well as the experience of being a foreigner have become my central interest since 2004. Both examples have coherent the interest in the potencial of visions. Working with that potential I realize the power of changing of spectators/ partcipants and artists, which has a creative and artistic character.“
Julien Collieux
http://www.berlinerpool.de/?profiles=Artists&id=261
Internationale, 2006-2007, 1 min.
Julien Collieux pushed in the hand of each one of the seven participants a plastic whistle, small and red, reminding us a gymnastic class. On the naked floor, a circle drawn with chalk, divided in compartments and shaded. The seven participants stomp on it, walk in circles and sequentially, each one elicits from its instrument a specific sound. The legs and flutes accelerate, creating a rhythm that join into melody. We can hear The International. Christa Manta, Bucharest.
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MAY: PERFORMANCE ART :BODY ACTION/INTERACTION
Steffi Weisman
http://www.berlinerpool.de/?profiles=Artists&id=326
"Steffi Weismann's artistic productions focus on situations that emerge between performer and audience as well as from interactions between human beings and machines. Her reflections about the omnipresence of technology in our daily lives emphasize the ambivalence of this complex relationship and turn often towards absurdity by her strategy to humanize the machines. Most of her performances deal with the balance of control and loss of control."
Juliane Zelwies
http://www.berlinerpool.de/?profiles=Artists&id=289
Turning Points
A table, two chairs, paper, pens, interested visitors and the artist herself
"For the performance Turning Points, interested visitors are asked to sit down with the artist individually in order to describe what they retrospectively understand as turning points in their life. Hereon Juliane Zelwies maps - in collaboration with the respective participant - the outcome of these private conversations with paper and pencil.
In this way of private story telling, the artist gains insight into how people describe their personal stories to a stranger as the participant is offered the possibility to share a personal experience without the necessity to know the other person privately: The story told might be fake or true.
The initial performance took place in August 2010 at the Banff Centre for the Arts in Alberta, Canada and then traveled to Berlin for the show Schnell und Schmutzig at Markthalle IX Eisenbahnstraße. In December 2010 the performance took place during NOT COOL: Out of Balance - Adventus Performance by Zachary Fabri at Galerie OPEN in Berlin-Kreuzberg."
Yurie Ido
http://www.berlinerpool.de/?profiles=Artists&id=375
"My performance is a combination of action, sound and video. A
projector is used to cast a video at the backcloth showing images as a
graphic backdrop for the performance.
The video projection also provides a special illumination for the
performer. The visual material I use in the projection consists of my
drawings. During the performance, I am in control of timing and speed
of my action in order to match the rhythms to the sound and the video
projection."
Nezaket Ekici
http://www.berlinerpool.de/?profiles=Artists&id=115
"Form it able"/ Berlin
Performance Installation 2010
In the space, there are different size of white pedestals fixed . The artist and the models are grouped on the pedestals or on the floors.
Next to each pedestal are photos of painting on musicstands, on which groups of figures from art history of the past 600 years ( for Sandro Botticelli, Angelika Kaufmann, Orazio Gentileschi, Alexander Andreyevitch Ivanov, Guido Cagnacci, Egon Schiele, can be seen.
A voice of the artist recorded on a cd, animates the viewer to work on the models with their own hands according to the paintings. All viewers are encouraged to participate. The viewer will become an active part of the artwork, while the models remain passive over the whole period of the performance / installation. The viewer assumes the role of the sculptor for the model copying the original.
Thus the viewer has not only the passive role of spectator, reduced to the consumer, but learns by mimicking.
The artist and the modells stand and lie at the in the beginning on the pedestals or on the floor. Viewers are encouraged to model the characters as they do on the painting. Viewers are encouraged by the voice off to go there to model.
Two helpers in the room support by approaching the viewer .
The performance ends when all models are modeled perfectly one by one and can be seen as a sculpture park in the overall picture.
Duration of the Performance:
45 min.
Dovrat ana Meron
http://www.berlinerpool.de/?profiles=Artists&id=378
I do not believe in one statement nor see myself committed to any style or medium which might restrict my creation. Each one of my Live Performances and projects is explorative statement at the time that it is being created and performed. I perform in conventional Art spaces as well as public spheres, urban or nature environments. Some performances are purely action others are more physical, verbal or medial or mixture between various genres. Whether I perform solo for audience or interact with the public. Collaborating with other Artists or alone for the video, my projects range in theme context and duration. Among my practice; site specific, site related performance, socio-political Performance Art, Installations and Butoh. I am fascinated by elusive mediums such as; live performance art, land art and acoustic art. My major present interest is the complexity between Live performance Art and commodity, performance in public spaces, Institution citric and the invasion of political interests to the arts and the influence that Politic has on the arts. In example when I have the feeling that my performances are invited or rejected because of my Jewish / Israeli background!
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APRIL: SOCIETY'S INFLUENCE ON IDENTITY
Fillipo Berta
http://www.berlinerpool.de/?profiles=Artists&id=409
Fillipo Berta, Territories,2009 Performance
"Standing in an area covered in gravel, a number of people are required to make the same movement: to delineate a personal barrier with their feet. Everyone is expected to mark off his own territory, regardless of the presence of the others. This activity produces an intimate psychological relationship between the individual and the space representing him, between the spaces of others and the whole area, expressed in the individual’s interpretation of the required task. The act of establishing one’s own territory in a common space represents the definition of oneself in social relationships. The action can be compared to constantly going over one’s signature with a pen, to the point of tearing the paper. The deeper someone digs into the gravel with his foot, the more defined the border of his territory becomes. The white gravel and the black earth below are the “black on white” which define the self to the eye. The size and shape of the single space become the visible metaphor for the individual personality. Defining oneself becomes a struggle between the colonizers and the colonized, which shows itself in the various interactions between the people involved. Satisfying one’s own need for territory involves invading and occupying the space of others or, conversely, not attempting to define a precise shape but occupying as much space as possible while avoiding the others. The dust rising up from the moving feet and the noise of digging into the gravel complete the impression of a hard struggle. "
Paula Muhr
http://www.berlinerpool.de/?profiles=Artists&id=297
"My work employs predominantly the medium of photography as a means of exploring socio-cultural mechanisms and strategies of constructing sexuality, gender, desire and normality.
I am especially interested in the historical and present mediation of photography and other lens-based media in the construction of knowledge and in the creation of social norms of acceptable and desirable appearance and behaviour.
The concept of identity is a recurring theme in my work. - How is identity constructed? What social mechanisms are effective in this process? What is the role of visual media such as photography? How influential are social norms in establishing the power of images on the individual? What are taxonomic strategies and ideological underpinnings of representational systems of e.g. literature, art, commercials, science, and medicine?
I use research methods and I install staged photography with found materials, texts, speech and sounds. Concerning found footage, I aim to create a semantic shift and destabilise the authority of the original contexts of the material.
My most recent works question historical scientific and social practices reflected in films, medical portrait photography and written material of the late nineteenth and early twentieth century. These historical representations are at the roots of our present-day practices of mapping and controlling the body in terms of knowledge and regulatory mechanism. In m work, I thematise their influence on the contemporary gender discourses.
By referencing the physiognomic studies from 18th and 19th century, the early history of photography and Charcot’s discovery of hysteria, I analyse the scientific and historical context pertinent to my own image production. In “Females Under Tension” and related works I examine the validity of (pseudo)scientific and medical practices aimed at defining normality. By recontextualising and deconstructing medical images which originally served as ‘objective’ illustration and, thus, evidence of pathology, I infuse them with ambiguity and facilitate a shift in their meaning. Thereby I question the production of scientific knowledge through usage of visual material, and the structure of power in discourses on mental health."
Gözde Ilkin
http://www.berlinerpool.de/?profiles=Artists&id=139
"I am interested in people who stranger themselves from the society. Our social and sexual identities are taught to us by the society . I use the puppets to describe these roles. Seeing the puppets are like looking in the mirror: people can see themselves while looking at them.
The ‘Album of the Family’ is at first sight a traditional one. But when we look closer, we realize that we cannot distinguish the mother from the father or the male from the female. Roles are not defined. "
Rabea Eipperle
http://www.berlinerpool.de/?profiles=Artists&id=77v
Push It
Videos,2007,each 3 min. 30 sec.
"In den Videos tanzen Männer und Frauen zu einer von mir entworfenen Choreographie zu dem Lied Push it von Salt -N - Pepa. Die inszenierte Choreographie beinhaltet Tanzstile, welche von weiblichen und von männlichen Rapsängern in Musikvideos und bei Konzerten verkörpert werden. Die von mir zusammengestellten und koordinierten, weiblich und männlich zugeschriebenen Ausdrucksformen werden in der Choreographie des Videos von dem Männern und Frauen frontal zur Kamera getanzt.
The video shows men and women dancing to Salt-N-Pepa’s song Push it according to my own choreography. This choreography encompasses dance styles as performed by both female and male rappers in music videos, and during live concerts. Facing the camera, the men and women enact both female and male dance styles that I have compiled and rearranged in my choreography."
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MARCH: TURKISH ARTISTS SHOWCASE
Yesim Agaoglu
http://www.berlinerpool.de/?profiles=Artists&id=298
“Yeşim Ağaoğlu concentrates on art making with performances, visual
material and objects. At the beginning her poems written on yellow paper
with conventional typewriter occupy the center of these works. The
yellow pages are a basic material and modest elements of communication
with the people, but when they are arranged in huge geometrical heaps in
the exhibition spaces they also become a Fluxus installation. Her
presence in the exhibition space is considered as performance, even if
she does not make performance in the sense that she is directly involved
into the process of the art work, but her continuous blending into the
viewers attendance gives the impression of a performance. Indeed at one
work she invited a travesty to distribute her poems on travesty.” -
Beral Madra, April 2008"
Nalan Yirtmac
http://www.berlinerpool.de/?profiles=Artists&id=80
‘Nalan Yırtmaç was an active member of a group of young artists who managed to enunciate a post-punk scene in Istanbul in the first half of nineties. Psychedelic iconographies and figures taken from urban subcultures, aesthetic references to local kitsch and the ironic use of low-tech media used to shape their activities based around music and these have recently been transposed to different modes of visual production.
Nalan Yırtmaç, whose formal painting formation in the fine art academy allowed her to focus on the visual dimension right from the start, has documented the quotidian adventures of this subcultural collective in a journal-like methodology.’
Gülay Semercioglu
http://www.berlinerpool.de/?profiles=Artists&id=166
'It seems that women artists often focus on the so called female qualities
such as 'patience' and 'craftsmanship' in their work. They are by and large works that are in harmony with the intrinsic quality of the material,
and reflect the female sensitivity by their method of production
and their inherent attribute. On the other hand, Semercioglu's
enamelled wire crochet Knittings, both display and deny this same sensitivity.
While Semercioglu's knittings fulfill her sensitivity as a female
they also seem to reject it. This duality leaves the viewer
with ambiguous feelings.”
Gonca Sezer
http://www.berlinerpool.de/?profiles=Artists&id=170
“Examining Gonca Sezer’s works, we can easily see the examples of the political economy that Foucault though ‘spacies-human’Gonca Sezer’s concern is, asking questions about how life is reproduced economically and genetically by the power.
How does the control is articulated with the individualised power?
It seems that in Gonca Sezer’s photograph and desings, the endevour
is to present the image of how individuality existing, born babies
are unfilied almost being packeged and how these packaged are made
undifferentiated uniforms of future soldiers genereted by power.”
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FEBRUARY: EXPERIMENTAL PHOTOGRAPHY
Monika Rechsteiner
http://berlinerpool.de/?profiles=Artists&id=163
“Monitori the series are an attempt to broaden the picture of a
landscape photography; want to see more than is possible by limiting the
viewfinder of a camera is. Landscapes from Finland and Norway are
partially filtered through a panoramic lens. Nature appears so broken
out of focus in the prism of the media. The panoramic lens glorified
covers, and at the same time, it will open up new visual spaces and levels.”
Oliver Möst
http://berlinerpool.de/?profiles=Artists&id=191
‘Oliver Möst's video work is a continuation of his photographic work. At
first glance it is characterised by a conspicuous lack of definition,
which is the artist's guiding aesthetic principle both in his
photographs and in his video work. The principle of sharpness make us
aware of the core of the artist's perceptional awareness. Möst's own
process of perception is the theme of all his work. He suffers from poor
sight, so that his glasses have to compensate for 2.0 dioptres in the
left eye and 6.0 in the right. His photographic and film work allow us
to experience the photographer's subjective eye and to see his
idiosyncratic perception and the way he experiences the space around him.’
Sofia Bempeza
http://berlinerpool.de/?profiles=Artists&id=360
‘The principle idea of my work is the research of public space or to be more specific the urban development in the late capitalist era. My interest in spatial structures is based in aesthetic principles developed in confrontation with existing locations and situations. In this way I execute different strategies to produce local interferences in urban space. My latest interest in the Karl-Marx-Allee area deals with the evolution of post-socialist architecture in former east European cities.’
George Drivas
http://berlinerpool.de/?profiles=Artists&id=276
“Closed Circuit is an investigation. It is an unsolved criminal case
which takes place in NYC. Closed Circuit is a report. It is a story
captured minute by minute by a technological eye. Closed Circuit is a
drama. It could be a romance, just the lack of it or instead a
passionate love at first sight. Closed Circuit all happens under
surveillance.”
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JANUARY: FOUND IMAGE : MY IMAGE?
Bruno Di Lecce
http://www.berlinerpool.de/?profiles=Artists&id=333
Since Marcel Duchamp’s ‘Fountain’ (1917), the found object has been subject to artistic exploration and use within many modern art movements. This month's theme focuses on the found image and questions the re-appropriation of such images in the work of contemporary artists. Bruno Di Lecce, the mondaynews artist of the week, uses a series of family videos filmed in Super 8, covering two generations-worth of family occasions both sacred and profane, in his 2007 work ‘Corto Circuito’.
Irina Novarese
http://www.berlinerpool.de/?profiles=Artists&id=388
Using found photographs as starting point Irina Novarese intends to reflect on the perceptive, associative and not least physical space that is identity.
Nancy Atakan
http://www.berlinerpool.de/?profiles=Artists&id=328
‘Starting from personal experience, family photographs and stories about relatives who initially established the shopping center in which the off-space, 5533, exists, Lost Suitcase turns facts into fiction. Photographs stimulate imagination and association. Objects outlive humans and leave traces, carry smells, and reflect the atmosphere of what remains. Objects document and carry memory. Even when these objects come from someone known to the artist, they can be used to tell a story and to create a narrative that generates feelings in spectators about events, people, and eras.’
