Lars Friedrich
- Rosa Luxemburg Straße 22
- 10178 Berlin
- +49 30 22355970
Nolan Simon
Paintings for School
- Eröffnung
- 25.04.2013
- 18–21 Uhr
- Ausstellung
- 26.04.–08.06.2013
- Fr/Sa 13–18 Uhr
To clarify, what I meant was something like, Paintings for Places for Learning, but that could be anywhere, really, and Paintings for Anywhere sounds indecisive. School is more contentious than learning - public school, private school, boarding school, homeschooling, schools of thought and political action, business and trade schools ... schools are about selection.
Last time I didn’t have time to talk about school. At the time, I talked about paintings hanging on walls, or not hanging on walls. This show will be 12 or 13 paintings, all which will hang on the wall. I recently finished a painting of a woman’s face. She’s biting into an orange slice. It’s supposed to look like she has two mouths. Actually, a lot of these paintings happen twice - deer deer, smile smile, peach peach peach peach, nipple nipple, painting this painting in that painting. My friend says they have more to do with sublimation and repression than school - that they’re hiding perverted content. But, where are people more perverted than in school?
I guess they could kinda go anywhere. My paintings, I mean. They’re small.
Last summer I went to the Goetheanum in Dornach with some friends. It’s this huge concrete school Rudolf Steiner designed and built in the 20s. There’s a theater in the center where children perform anthroposophical plays that spell out sentences and last hours. The ceiling looks like it was painted by Jutta Koether and Marc Chagall.
On the way back to the village, there’s a bulletin board that says, “Freie Waldorf Kinder” with pictures of their young students. It reminded me of a Steven Wright joke, “I went to the cinema, and the prices were: Adults $5.00, children $2.50. So I said, 'Give me two boys and a girl.'“
I don’t particularly think these paintings have much to do with Waldorf or Steiner or Dornach, but they may have more to do with sublimation and repression, like my friend said, and they’re definitely about selection.
Nolan Simon
Paintings for School
Exhibition views, 2013
Nolan Simon
Anne, 1 to 1, or You’re in or you’re out, and even if you’re in you might be out
30 x 20 in / 76.2 x 50.8 cm
oil on canvas, 2013
Nolan Simon
Orange Slice Painting or My Face When you dig down one more layer and it’s all about a deeper sort of antagonistic respect for people
19 x 24 in / 48.3 x 61 cm
oil on canvas, 2013
Nolan Simon
The Balcony or My Face When this isn’t some kind of metaphor
40 x 30 in/ 101.6 x 76.2 cm
oil on canvas, 2012
Nolan Simon
Studio with Phillip Birch’s ‘Bread Sculpture’, 2012 (alluding to Paul Thek’s ‘Bread and Buttocks’, 1980)
10 x 13 in / 25.4 x 33 cm
oil on canvas, 2013
Nolan Simon
Basket of Peaches
9 x 12 in/ 22.9 x 30.5 cm
oil on canvas, 2013
Nolan Simon
Peach or Doll
9 x 7 in/ 22.9 x 17.8 cm
oil on canvas, 2013
Anita Leisz
- Eröffnung
- 15.03.2013
- 18–21 Uhr
- Ausstellung
- 16.03. – 20.04.2013
- Fr/Sa 13–18 Uhr
Anita Leisz, 2013
Grundierspanplatte/laminated chipboard priming foil
83 x 73 x 8,2 cm
Anita Leisz, 2013
Grundierspanplatte/laminated chipboard priming foil
45 x 73 cm
Anita Leisz, 2013
Grundierspanplatte/laminated chipboard priming foil
185 x 73 x 11 cm
Anita Leisz, 2013
Grundierspanplatte/laminated chipboard priming foil
195 x 73 x 11 cm
Anita Leisz, 2013
Grundierspanplatte/laminated chipboard priming foil
58,5 x 73,5 cm
Georgia Sagri
- Screening: CHoROS, 2013 & DOG, 2013
- 10.03.2013
- 17 Uhr
Alexander Hempel
- Performance
- 07.12.2012
08.12.2012
- 20 Uhr
20 Uhr
- Ausstellung
- 14.12.2012 – 19.01.2013
- Fr/Sa 13–18 Uhr
Lakela Brown Park McArthur Inka Meissner
- Eröffnung
- 04.10.2012
- 18–21 Uhr
- Ausstellung
- 05.10.– 10.11.2012
- Fr/Sa 13–18 Uhr
LaKela Brown
Guess Which Finger?
Plaster, acrylic, and wood
2012
LaKela Brown
Cake
Paper and glue 2012
Park McArthur
a soft limp key
Video, 16:45 min 2011
Park McArthur
a soft limp key
Video, 16:45 min 2011
Inka Meißner
the couch
Imprint of an etching
2012
Inka Meißner
the couch (with colours)
Imprint of an etching
2012
- Eröffnung
- 13.07.2012
- 18–21 Uhr
- Ausstellung
- 14.07. – 22.09.2012
- Fr/Sa 13–18 Uhr
Département des Projets, 2012
taxidermied turtle (temporarily missing), pvc, mold
45.5 x 76 x 47 cm
Social Networking in front of an Albert Speer lamp in occupied Paris in 1942, 2012
oil, shitake mushrooms, electronics and epoxy resin on canvas
40 x 50 cm
THE GRIM ONE, FARMER’S MARKET, 2012
synthetic spiderwebs, shitake mushrooms, electronics, polymer latex and inkjet decals on linen
40 x 50 cm
When I hit the Cold Salad Bar, I am Possessed by SATAN, 2012
felt pen, woodstain, epoxy resin and inkjet decals on linen
61 x 76 cm
Nicola Brunnhuber
- Eröffnung
- 05.06.2012
- 18–21 Uhr
- Ausstellung
- 08.06.– 07.07.2012
- Fr/Sa 13–18 Uhr
Peter Wächtler
Das Kino im Alten Mühlenviertel
- Eröffnung
- 28.04.2012
- 14–17 Uhr
- Ausstellung
- 29.04.– 02.06.2012
- Fr/Sa 13–18 Uhr
untitled 1, 2012
detail
untitled 3, 2012
detail
untitled 2, 2012
detail
untitled 2, 2012
detail
untitled 3, 2012
ceramic, glas plinth
117 x 43 x 26 cm
unique
untitled, 2012
print on self-adhesive windows vinyl
417 x 209 cm
Press release
“The Cinema in the Old Mill Quarter“
The reliefs of the three clay objects depict sceneries taken from in between everyday life, labor and nightmarish scenes:
The classroom of an evening school, a brawl, two urban lumberjacks cutting a tree down whose upper end turns into a chimney, a man packing a van, a couple walking through the city. The characters hole-like mouths are open and through them, via wireless speakers within the sculptures, one can hear a looping playlist of songs and sounds. The claim to end slavery of the traditional gospel “ God down Moses” is followed by the slightly tacky Karaoke version of U2’s “With or Without You.” In between the four songs there are different sounds played, such as the one of ships tied in the harbor or the one of a broken inkjet printer trying to fulfill its task. Songs and sounds are loosely programed and do not follow a straight rhythm.
The windows are covered with a see through foil used for advertising on trams and facades. The prints show three details of a historical portrait of Geronimo, Chief of the Apache Indians overwritten with European handwriting of the 18th century. You would find this graphical combination of fake cultural and political patina in museums for ethnology, literature archives or on Starbucks menu cards.
These foils give a back ground design for the three clay objects and their fake historical context overlaps with the melancholic title of the show “Das Kino im Alten Mühlenviertel” (“The Cinema in the Old Mill Quarter”). This cinema could relate to a provincial meeting point for early appointments with alternative culture, artistic quality, anti-capitalistic values, deviation and ideas of unconditioned love. The soundtrack of disappointment, failure, abuse through institutions and power games, the list of good and half-good contributions by you and your friends gets endlessly long. The prophecies of the Bad-Day Blues Songs turn themselves into provincial green sceneries freed from any empathy, whose characters crave for intensity and change, on their own and or other people’s costs.
“Das Kino im Alten Mühlenviertel“
Die drei Tonskulpturen zeigen Reliefdarstellungen zwischen Arbeit und Alltag: das Klassenzimmer einer Abendschule, eine Schlägerei, zwei Waldarbeiter, die einen Baum zersägen, dessen oberes Ende zu einem Schornstein wird, ein Mann der einen Umzugswagen bepackt, ein Paar, das durch die Stadt geht. Die lochartigen Münder der Figuren stehen offen und aus ihnen klingt über die kabellosen Lautsprecher in den Objekten eine playlist von nachgesungenen Songs und Geräuschen. Die Forderung nach dem Ende der Sklaverei unter Androhung von Gewalt im „Go down Moses“ Gospels folgt auf U2s hingehauchtes „With or Without you“. Zwischen den insgesamt vier Songs erklingen Soundfiles, wie das eines kaputten Inkjet Druckers, oder das von im Hafen liegenden und knarzenden Schiffen. Die Abfolge von Geräuschen und Songs ist lose, es gibt keinen festen Rhythmus oder Pausen.
Die Fenster sind mit einer Werbefolie verhängt, wie sie auch zum Bekleben von Fassaden oder Straßenbahnen benutzt wird. Die drei Folien zeigen unterschiedliche Details einer historischen Fotografie des Indianerhäuptlings Geronimo, überschrieben mit einer geschwungenen Handschrift aus dem 18. Jahrhundert. Die triviale politische und kulturelle Patina erinnert an graphische Formate von Museumspädagogik in Institutionen wie etwa dem Humboldtforum, Literaturhäusern oder der Speisekartengestaltung im Starbucks.
Der historische Kontext, der für die drei Tonboxen durch dieses Hintergrunddesign entsteht, überschneidet sich mit dem Ausstellungstitel, der an das „Kino im Alten Mühlenviertel“ erinnert, ebenfalls ein fiktiver Treffpunkt innerhalb einer alternativen, umgenutzten Infrastruktur einer Kleinstadt, wo man sich mit Begriffen von künstlerischer Qualität, Kritik am Kapitalismus, Marktverweigerung und Liebe, die sich nicht verbiegen musste, verabredete. Der Track der Enttäuschung, der Instrumentalisierung, der Institutionalisierung, die Liste gut oder halbguter Beiträge deiner Freunde wird immer länger. Die sehnsuchtsvollen Bad-Day-Blueswelten der Weltkneipen erfüllen und verdichten sich selbst zu provinziellen, empathielosen Szenarien, deren Charaktere nach Intensität und Veränderbarkeit gieren, auf Kosten anderer oder von sich selbst.
Hans Friedrich Lissmann
Weath
- Eröffnung
- 09.03.2012
- 18–21 Uhr
- Ausstellung
- 10.03.– 07.04.2012
- Fr/Sa 13–18 Uhr
untitled, 2012
silver gelatin print mounted on floatglas
200 x 100 x 0,8 cm
unique
untitled, 2012
silver gelatin print mounted on floatglas
200 x 100 x 0,8 cm
unique
untitled, 2012
silver gelatin print mounted on floatglas
200 x 100 x 0,8 cm
unique
untitled, 2012
silver gelatin print mounted on floatglas
200 x 100 x 0,8 cm
unique
untitled, 2012
silver gelatin print mounted on floatglas
200 x 100 x 0,8 cm
unique
untitled, 2012
copper foil and copper, processed by vinegar essence
210 x 10 x 5 cm
Unique
Weath is the profile name of one amateur model who wasn't able to join my project because of several other things he had to do. On the phone he told me that it really would not work as he just could not find the time it needs for a serious shooting. He told me again that he could not meet me, but if he could he would pose as an antique statue. I think maybe the models have a lot of problems at work or at home and they told me nothing funny happens and that it feels that only the others, in the streets or in the park, are in a good mood and that the main problem is to find a lasting work and life balance. Also relationships are not easy and often difficult to keep up.
I asked the models I met to re-do the gestures and mimical expressions they are offering on their profile within the category of thoughtful.
I know a man. He is very old and lays in bed in his small appartment the whole day long. But when he was younger he painted all the ruined houses in the city. He also lived in an old ruined house, but a bit out of the city. He had no family or friends and that feels ok to him. His neighbours were a bit worried about his solitaristic behaviour. Throughout the years, some cats visited him because he let them in and gave them food. After dinner, as they were relaxing, he drew them and later he made small white clay-models of them. When I visit him now in his small appartment, I see those cats sitting on a small bookshelf close to the entrance. When I'm with him, we talk a bit. But he only has energy for a few minutes. He is very interested in animals. The last thing he told me was that wolves express with their eyes much more than dogs. House dogs have forgotten everything. But some time ago he had seen pictures of stray dogs in Andalusia, which were stray dogs for several generations. Those dogs had a very special gaze.
The work was generously produced by
the Etablissement d'en face, Brussels in April 2011.
Thank you!
The boy
smelled shit
and pulled
over.
The dog was
cold, passing
by. He was
hanging out
the window.
She thought
everything
would get
ruined but she
was wrong.
In fact it was
cleaner, crisp
and windy.
Time was just
enough.
She left the
key under the
rock. She
pulled the
door and
looked up.
The boy gazed
at her. “hi”
“hi”
Are you a
visitor? The
speaker at the
end of the
corridor.
Two doors
ahead of a
water
fountain,
a corner with
an interior
plant, seven
years there.
On the left
some
information,
straight ahead
a window.
More
description:
four chairs,
one desk,
papers inside
the can.
Leathering
(something
with skin) on
the floor.
It is morning,
impossible
perfumes in
the air. A
gigantic rock.
A golden rock
is rolling down
the mountain.
Expecting
steam
in the forests.
Warm
illusions,
Paralyzed
mosquitoes,
hairy leaves,
waxed trees.
crawling
barks,
retirement
bungalows are
shut down.
Ants are
carrying a
bunch of
seeds out of a
hole. The bird
is out.
Kids are not
disturbed,
pulling
cardboards
and scratching
grounds.
The radio
transmits
news from
yesterday, it is
morning still.
Look, the
clouds.
She didn’t
know. She was
looking for a
store.
She had one
plastic bag in
her right
hand. Then
left and then
right.
Whispers,
playing with
an arm vein.
Touching table
cloth.
Crackers, cold
coffee, three
steps under
the weather.
There is some
kind of
tension.
Hans-Christian Lotz
- Eröffnung
- 21.10.2011
- 18–21 Uhr
- Ausstellung
- 22.10. – 21.12.2011
- Fr/Sa 13–18 Uhr
Rain over Water, 2011
166 x 100 cm
Rain over Water, 2011
166 x 100 cm
Rain over Water, 2011
166 x 100 cm
Rain over Water, 2011
166 x 100 cm
Ohne Titel, 2009/2011
31,6 x 23,6 cm