Lars Friedrich


Kantstrasse 154a, 10623 Berlin

Do.–Sa. 13–18h

+49 30 31014267

Georgia Sagri

Household

Eröffnung 14.09.2018 von 17-21 UhrAusstellung 15.09.- 27.10.2018


Michael Franz

Eröffnung 07.06.2018 von 18-21 UhrAusstellung 08.06.- 14.07.2018

Mike Franz

Installation view

Mike Franz

Installation view

Mike Franz

Installation view

Mike Franz

Untitled (O.M. 01), 2017 / pencil, ballpoint on paper / 50 x 70 cm

Mike Franz

Untitled (O.M. 02), 2017 / pencil, ballpoint on paper / 50 x 70 cm

Mike Franz

Untitled (O.M. 03), 2017 / pencil, ballpoint on paper / 50 x 70 cm

Mike Franz

Untitled (O.M. 04), 2017 / pencil, ballpoint on paper / 50 x 70 cm

Mike Franz

Untitled (O.M. 05), 2017 / pencil, ballpoint on paper / 50 x 70 cm

Mike Franz

Untitled (O.M. 06), 2017 / pencil, ballpoint on paper / 50 x 70 cm

Mike Franz

Untitled (O.M. 07), 2017 / pencil, ballpoint on paper / 50 x 70 cm

Mike Franz

Untitled (O.M. 08), 2017 / pencil, ballpoint on paper / 50 x 70 cm

Mike Franz

Untitled (O.M. 09), 2017 / pencil, ballpoint on paper / 50 x 70 cm

Mike Franz

Untitled (O.M. 10), 2017 / pencil, ballpoint on paper / 50 x 70 cm


Peter Wächtler

Thunderdome has fallen

Eröffnung 27.04.2018 von 18-21 UhrAusstellung 28.04.- 02.06.2018

The video Untitled (Clouds), 2018 overwrites a stopframe animation around a straw-hatted creature on a lonely mountain with a poem unfolding in the centered subtitles. In six short vignettes the creature’s routine and his habitat, flying skills and gazing is portrayed in an a‑dramatical sucession. The cloud formations, shot by filming clouds of ink in a fishtank from below, are animating a colorful sky overstreching a dried wasteland of rocks moving in parallax (plaster, chickenwire) aiming for a recognisable, coherent set-up for plots of Fantasy. This coherence is ignored by the text, it’s voice as much disconnected to fantasy as to a life in line with its own presets and concepts. The works in the show are keeping very close to their cultural revenants, being engulfed, drenched, soaked with genre to stay in the systemic self-similarity of their cultural brackets and tasks. The most essential part of civil progress is to keep going. Be it the Musical styled paper boys as the cheeky part of the Great Depression, the lively life of splashy fish or the see through illusion of stop-motion, the works are aiming for a spot to still swim, sing and swing under a poisinous green sky that is ruled with an iron fist.

Peter Wächtler – Installation view

Installation view

Peter Wächtler – Untitled (Clouds)

Film still: Untitled (Clouds), 2018, 10:36 min

Peter Wächtler – Untitled (Clouds)

Film still: Untitled (Clouds), 2018, 10:36 min

Peter Wächtler – Untitled (Clouds)

Film still: Untitled (Clouds), 2018, 10:36 min

Peter Wächtler – Installation view

Installation view

Peter Wächtler – Installation view

Installation view

Peter Wächtler – Installation view

Installation view

Peter Wächtler – Paperboy I

Paperboy I, 2018 / plaster / 43 (H) x 28 (L) x 22 (T) cm

Peter Wächtler – Paperboy II

Paperboy II, 2018 / plaster / 39 (H) x 29 (L) x 18,5 (T) cm

Peter Wächtler – Paperboy II

Paperboy II, 2018 / plaster / 39 (H) x 29 (L) x 18,5 (T) cm

Peter Wächtler – Paperboy III

Paperboy III, 2018 / plaster / 31 (H) x 30 (L) x 30 (T) cm

Peter Wächtler – Paperboy III

Paperboy III, 2018 / plaster / 31 (H) x 30 (L) x 30 (T) cm

Peter Wächtler – Untitled

Untitled, 2018 / pastel on paper / 216 x 127 cm

Peter Wächtler – Untitled

Untitled, 2018 / pastel on paper / 211 x 127 cm

Peter Wächtler – Untitled

Untitled, 2018 / pastel on paper / 215 x 125 cm


Nora Kapfer

Daisy Chained

Eröffnung 23.02.2018 von 18-21 UhrAusstellung 24.02.- 07.04.2018

Nora Kupfer Daisy Chained 2018

Installation view

Nora Kupfer Daisy Chained 2018

Installation view

Nora Kupfer Daisy Chained 2018

Installation view

Nora Kupfer Daisy Chained 2018

Installation view

Nora Kupfer Daisy Chained 2018

Installation view

Nora Kupfer Daisy Chained 2018

Hem, 2018 / Bitumen on canvas / 190 x 180 cm

Nora Kupfer Daisy Chained 2018

Elltell, 2018 / Bitumen and paper on wood / 122 x 90 cm

Nora Kupfer Daisy Chained 2018

Pensée sauvage I, 2018 / Bitumen and paper on wood / 50 x 45 cm

Nora Kupfer Daisy Chained 2018

charged and running in reverse, 2017 / Bitumen, acrylic, chalk and paper on wood / 50 x 45 cm

Nora Kupfer Daisy Chained 2018

Pensée sauvage III, 2018 / Bitumen and paper on wood / 140 x 150 cm

Nora Kupfer Daisy Chained 2018

I‘s kitchen, 2017 / Bitumen and paper on wood / 83 x 80 cm


LaKela Brown

Eröffnung 10.01.2018 von 18-21 UhrAusstellung 11.01.- 17.02.2018

Abstraction is something that takes place in the mind as well as in the material reality of our lives. It’s not just that we read signs and they are meaningful, that we see images and they might hurt us. The reality of abstraction is that we essentially think about ourselves in terms of the money we make as de ning the value we have. Certain forms of con dence can be directly translated into numbers attached to bank accounts, which are at the same time both abstract and often all too concrete. The reality of abstraction in everyday life is not just that of art being true to itself, but of us counting on it to tell us who we are, and how much.

LaKela Brown’s first solo show at Lars Friedrich plays with several forms of the reality of the abstract, from casting real objects in plaster to making coins, from the modernist grid to the forms in which we mediate (social) history. Her sculptural and relief works are often divided regularly in a non-hierarchical display of limited varying forms: earrings, rope-chain, ornamented and heavy expressions of worth and self-valuing, as well as identifying marks like those of the artist’s teeth. In these, a sense of forensic evidence is juxtaposed with playful adornment, radicalizing the question of whether who you are is where you came from (and if you can escape that). Whose formalism, the plaster casts seem to ask, playing on a subtle subjectivity reminiscent of Agnes Martin; and whose visual punch lines, the David Hammons-inspired “chicken heads.”

LaKela Brown’s work subsumes these elements into one method and material, suspending distinctions between fake and real, relaying a different kind of value, one that lies in different forms of representation.

Anke Dyes

LaKela Brown 2018

Installation view

LaKela Brown 2018

Installation view

LaKela Brown 2018

Installation view

LaKela Brown 2018

Installation view

LaKela Brown 2018

Installation view

LaKela Brown 2018

Installation view

LaKela Brown 2018

Installation view

LaKela Brown 2018

Doorknocker Earrings Arrangement Relief, 2018 / Plaster / 51 x 41 cm

LaKela Brown 2018

Triangle Bamboo Earrings Relief and Sunken Relief Arrangement, 2018 / Plaster / 51 x 41 cm

LaKela Brown 2018

Round Bamboo Earrings with Gold Lines Relief, 2018 / Plaster, acrylic / 103 x 83 cm

LaKela Brown 2018

Heart Bamboo Earrings Arrangement Relief, 2018 / Plaster, acrylic / 51 x 164 cm

LaKela Brown 2018

Chickenheads and Heart Bamboo Earrings Sunken Relief, 2018 / Plaster, acrylic / 51 x 41 cm

LaKela Brown 2018

Some of the Things We Wanted and Didn‘t Want, 2018 / Plaster, acrylic / 51 x 41 cm

LaKela Brown 2018

Twelve, 2018 / Plaster, acrylic / 51 x 41 cm

LaKela Brown 2018

Rope Chain with Triangle Bamboo Earrings Relief, 2018 / Plaster / 51 x 41 cm


Nicolás Guagnini

Eröffnung 23.11.2017 von 18-21 UhrAusstellung 24.11. – 23.12.2017

The mirror has three faces.
I use value.
The money is on the floor.
The paintings are ceramics.
I use, value.
The writing on the wall; the bubble speech is empty. It's comic no more.
I: use, value.
Crackled language.
Crucible.
Coins.
Nicolás Guagnini

Installation view

Nicolás Guagnini

Installation view

Nicolás Guagnini

Installation view

Nicolás Guagnini

Installation view

Nicolás Guagnini

Installation view

Nicolás Guagnini Nicolás Guagnini

Faces I, 2017 / Glazed ceramic / 42,5 x 33 x 4,5 cm

Nicolás Guagnini

Faces II, 2017 / Glazed ceramic / 42,5 x 33 x 4,5 cm

Nicolás Guagnini

Faces III, 2017 / Glazed ceramic / 42,5 x 33 x 4,5 cm

Nicolás Guagnini

Faces IV, 2017 / Glazed ceramic / 42,5 x 33 x 4,5 cm

Nicolás Guagnini

Crucible, 2017 / Glazed ceramic / 33 x 42,5 x 4,5 cm

Nicolás Guagnini

The Merchant of Four Seasons, 2017 / Glazed ceramic / 33 x 42,5 x 4,5 cm

Nicolás Guagnini

He Said (Bruce), 2017 / Glazed ceramic / 33 x 42,5 x 4,5 cm


Flora Klein

Eröffnung 06.09.2017 von 18-21 UhrAusstellung 07.09. – 4.11.2017

Flora Klein

Flora Klein

Installation view

Flora Klein

Installation view

Flora Klein

Installation view

Flora Klein

Installation view

Flora Klein

Ohne Titel, 2017 / Acryl auf Leinwand / 70 x 75 cm

Flora Klein

C, 2017 / Acryl auf Leinwand / 100 x 110 cm

Flora Klein

Hund, 2017 / Acryl auf Leinwand / 65 x 70 cm

Flora Klein

Ohne Titel (weiss, blau, grün), 2017 / Acryl auf Leinwand / 75 x 80 cm

Flora Klein

Ohne Titel, 2017 / Acryl auf Leinwand / 70 x 75 cm


Michael Van den Abeele

Forked Apologies
A short texts reading & recent drawings

Sonntag 03.09.2017 um 17 Uhr

Michael Van den Abeele – Forked Apologies

Geogie Nettell 2017

Ausstellung 08.06.–08.07.2017

Depending on how you look at it, aggressive online discourse could be seen as a positive or negative result of media platforms that allow, or demand, regular self expression from people from all walks of life. Within the wider culture, and also specifically within the social spheres visible to me, violent opinion wars fueled by legitimate rage are hosted on corporate platforms and rival factions, with their differing priorities, compromises and blind spots, avoid perspectives they are invested in not hearing. In the end the pros and cons of increasing polarisation weigh against the advantages and disadvantages of meeting in the middle.

Georgie Nettell 2017

Outrage / My opinion / The chains of envy and rivalry that hold everything together / What I think, all 2017

Georgie Nettell 2017

Free thought free speech free markets / If your not a mirror your an echo chamber / Self expression self promotion / Other people’s opinions, all 2017

Georgie Nettell 2017

The cynical refusal to trust outrage / What other people think, all 2017

Georgie Nettell 2017

Outrage, 2017 / Océ ColorWave print, aluminum frame / 84.1 x 118.9 cm

Georgie Nettell 2017

My opinion, 2017 / Océ ColorWave print, aluminum frame / 118.9 x 84.1 cm

Georgie Nettell 2017

The chains of envy and rivalry that hold everything together, 2017 / Océ ColorWave print, aluminum frame / 84.1 x 118.9 cm

Georgie Nettell 2017

What I think, 2017 / Océ ColorWave print, aluminum frame / 118.9 x 84.1 cm

Georgie Nettell 2017

Free thought free speech free markets, 2017 / Océ ColorWave print, aluminum frame / 118.9 x 84.1 cm

Georgie Nettell 2017

If your not a mirror your an echo chamber, 2017 / Océ ColorWave print, aluminum frame / 118.9 x 84.1 cm

Georgie Nettell 2017

Self expression self promotion, 2017 / Océ ColorWave print, aluminum frame / 118.9 x 84.1 cm

Georgie Nettell 2017

Other people’s opinions, 2017 / Océ ColorWave print, aluminum frame / 118.9 x 84.1 cm

Georgie Nettell 2017

The cynical refusal to trust outrage, 2017 / Océ ColorWave print, aluminum frame / 84.1 x 118.9 cm

Georgie Nettell 2017

What other people think, 2017 / Océ ColorWave print, aluminum frame / 118.9 x 84.1 cm


Anita Leisz

Eröffnung 23.03.2017 von 18-21 UhrAusstellung 24.03.–13.05.2017

Anita Leisz 2017

Untitled, 2017 / gypsum fibre board, oxid / 35,5 x 136 x 10 cm

Anita Leisz 2017

Untitled, 2017 / gypsum fibre board, oxid / 35,5 x 135,5 x 10 cm

Anita Leisz 2017

Untitled, 2017 / gypsum fibre board, oxid / 37 x 136,5 x 10 cm

Anita Leisz 2017

Untitled, 2017 / gypsum fibre board, oxid / 35,5 x 136 x 10 cm

Anita Leisz 2017

Untitled, 2017 / gypsum fibre board, oxid / 34 x 127,5 x 10 cm


Mathieu Malouf

"circumambulatory voyage to the melting nucleus of metaphysical uncertainty and extreme mental pain"

Eröffnung 18.03.2017 von 16-19 UhrAusstellung 19.03.–30.04.2017

Die Ausstellung findet in der Rosa-Luxemburg-Strasse 22, 10178 Berlin statt.
Während des Gallery Weekend 2017 erweiterte Öffnungszeiten Freitag 12-18 Uhr / Samstag 12-18 Uhr / Sonntag 12-18 Uhr

The exhibition is taking place in the apartment at Rosa-Luxemburg-Strasse 22, 10178 Berlin.
extended opening hours during Gallery Weekend 2017 / Friday 12am - 6pm / Saturday 12am - 6pm / Sunday 12am - 6pm

Mathieu Malouf – circumambulatory voyage to the melting nucleus of metaphysical uncertainty and extreme mental pain

Installation view „circumambulatory voyage to the melting nucleus of metaphysical uncertainty and extreme mental pain“

Mathieu Malouf – circumambulatory voyage to the melting nucleus of metaphysical uncertainty and extreme mental pain

Installation view „circumambulatory voyage to the melting nucleus of metaphysical uncertainty and extreme mental pain“

Mathieu Malouf – circumambulatory voyage to the melting nucleus of metaphysical uncertainty and extreme mental pain

Installation view „circumambulatory voyage to the melting nucleus of metaphysical uncertainty and extreme mental pain“

Mathieu Malouf – circumambulatory voyage to the melting nucleus of metaphysical uncertainty and extreme mental pain

Fire Island, 2017 / Oil, varnish, rye flakes and wood on canvas / 150 x 200 cm

Mathieu Malouf – circumambulatory voyage to the melting nucleus of metaphysical uncertainty and extreme mental pain

Christian the First Billionaire, 2017 / Oil, wood, leather on canvas / 82 x 102 cm

Mathieu Malouf – circumambulatory voyage to the melting nucleus of metaphysical uncertainty and extreme mental pain

Entering the Metaphysical Space of Shifting Poles Attempting to Witness the Shifting of Poles, 2017 / Oil on canvas / 60 x 80 cm

Mathieu Malouf – circumambulatory voyage to the melting nucleus of metaphysical uncertainty and extreme mental pain

Fannie Mae is Freed From the Shackles of Government Conservatorship and FNMA goes Beyond $50 Easily, 2017 / Oil on canvas / 140 x 130 cm

Mathieu Malouf – circumambulatory voyage to the melting nucleus of metaphysical uncertainty and extreme mental pain

Portrait of Nicholas Ceccaldi, 2016 / Oil and mixed medium on canvas / 120 x 100 cm

Mathieu Malouf – circumambulatory voyage to the melting nucleus of metaphysical uncertainty and extreme mental pain

Wolfgang, 2017 / acrylic, pigment, mushrooms on canvas / 100 x 80 cm

Mathieu Malouf – circumambulatory voyage to the melting nucleus of metaphysical uncertainty and extreme mental pain

Apparition of Frauke Petry at the Grenzkontrolle, 2017 / Oil, varnish and wood on canvas / 150 x 130 cm

Mathieu Malouf – circumambulatory voyage to the melting nucleus of metaphysical uncertainty and extreme mental pain

Etude for „Phillip the Second Billionaire of the #Dynasty Teaching Announcing to the Jews of Palestine that a Second Christian is Coming and that Christian is Phillip Himself”, 2017 / Acrylic and paper on canvas / 70 x 90 cm

Mathieu Malouf – circumambulatory voyage to the melting nucleus of metaphysical uncertainty and extreme mental pain

Neuralgia, 2017 / acrylic, pigment, mushrooms on canvas / 70 x 60 cm

Mathieu Malouf – circumambulatory voyage to the melting nucleus of metaphysical uncertainty and extreme mental pain

„The world as will And representation“, 2017 / acrylic, pigment, mushrooms on canvas / 80 x 70 cm


Jutta Zimmermann

groupuscles

Eröffnung 09.02.2017 von 18-21 UhrAusstellung 10.02.-18.03.2017

Jutta Zimmermann groupuscles

Installation view groupuscles

Jutta Zimmermann groupuscles

Untitled, 2017 / clay / 19 x 14 x 16 cm

Jutta Zimmermann groupuscles

Untitled, 2017 / clay / 19 x 14 x 16 cm

Jutta Zimmermann groupuscles

Untitled, 2017 / clay / 19 x 15 x 14 cm

Jutta Zimmermann groupuscles

Installation view groupuscles

Jutta Zimmermann groupuscles

Installation view groupuscles

Jutta Zimmermann groupuscles

Installation view groupuscles

There are three recognizable gestures, the expression, the ready made and the fiction. As if they take turns or play musical chairs, their content is wandering between the different jobs assigned to the outskirts and inner realms of an exhibition.


Friedrich Lissmann

Early paintings of late friends

Eröffnung 30.09.2016 von 18-21 UhrAusstellung 01.10.-12.11.2016

Friedrich Lissmann Early paintings of late friends

In his second exhibition with the gallery Friedrich Lissmann presents some new black and white oil paintings.

The installation resembles the hovering moment directly after a play comes to an end. When everything and everyone is disassembled back into their individual parts. The separation of figure from environment as well as figures from each other, offers an opportunity to look at things independently and out of context, as if everything were possible and changeable again. But what is at stake is to hang it in balance.

The pasty application of small clusters of paint as a gesture of a pronounced self-awareness, as well as the differentiated use of zinc and titanium white, speaks here of a distinctly painterly confrontation – a confrontation which takes place on slushy grounds. Zinc white has a lower temperature, rather cold, like in one of the corridors. The four turning corridors, when taken together, signal almost a circle. That act of striding through and kneeling in always the same chambers addresses a social wear and tear which is a raddled rug already

Some of the figures are superimposed into their surroundings, some gently glide into new, rigid, material forms. Some of the faces retain an emotional charge, keeping an expression, but without any concrete focus. There are no eyeballs let alone pupils, because there is no longer any opposite. Without an opposite, there is no need to focus. Then you can finally paint for yourself. And for Mudde.

Friedrich Lissmann Early paintings of late friends

Installation view Early paintings of late friends

Friedrich Lissmann Early paintings of late friends

Installation view Early paintings of late friends

Friedrich Lissmann Early paintings of late friends

Installation view Early paintings of late friends

Friedrich Lissmann Early paintings of late friends

Installation view Early paintings of late friends

Friedrich Lissmann Early paintings of late friends

Installation view Early paintings of late friends

Friedrich Lissmann Early paintings of late friends

Installation view Early paintings of late friends

Friedrich Lissmann Early paintings of late friends

Stefano, 2016 / Oil on jute / 110 x 38 cm
Untitled, 2016 / Oil on jute / 48 x 32 cm

Friedrich Lissmann Early paintings of late friends

Beata, 2016 / Oil on jute / 110 x 38 cm

Friedrich Lissmann Early paintings of late friends

Josef, 2016 / Oil on jute / 104 x 35 cm

Friedrich Lissmann Early paintings of late friends

Untitled, 2016 / Oil on jute / 90 x 36 cm

Friedrich Lissmann Early paintings of late friends

1979, 2016 / Oil on jute / 48 x 36 cm

Friedrich Lissmann Early paintings of late friends

2017, 2016 / Oil on jute / 60 x 50 cm

Friedrich Lissmann Early paintings of late friends

Jean, 2016 / Oil on jute / 65 x 40 cm

Friedrich Lissmann Early paintings of late friends

1899, 2016 / Oil on jute / 49 x 34 cm

Friedrich Lissmann Early paintings of late friends

Theo, 2016 / Oil on jute / 109 x 42,5 cm

Friedrich Lissmann Early paintings of late friends

Chair, 2016 / Oil on jute / 44 x 36 cm

Friedrich Lissmann Early paintings of late friends

Untitled, 2016 / Oil on jute / 103 x 37 cm


Ilya Lipkin

I Am Vicky

Eröffnung 01.06.2016, 16 – 21 UhrAusstellung 02.06.– 16.07.2016

Ilya Lipkin

“I was in a kind-a like cowboy-Western movie, that was both like, um, both like a kind of like a theme park or something … We’re riding around on freight trains and floating down rivers that were like really like in a kind-a spaghetti-Western type town on a beautiful hill … could have also been maybe Monticello … And, uh, there was a guy there … That’s the thing I can’t remember, if it was me, because I don’t think it was, it was like another guy who was there like in prison. A (unintelligible) guy. But … maybe it could have also been me, it was like, um, a ... a sharp shooter. We shot either skeet, or … he shot somebody, but he shot something in a way that where he won a prize and he got all this money and he gambled it away but he was kind of like OK, because he was like a hero to everybody. It was a positive ending. That guy didn’t need money. But it was also, also some kind of prison, right, because then afterwards I was like one day at the prison yard and then the next day I took out the (unintelligible) maximum-security prison. And that was like … all of a sudden that wasn’t in this beautiful sudden placed, um, Western town, but it was like in a basement somewhere, like you know that looked like one of those movies or TV shows rather, where they’re about maximum security prison … Everything made out of concrete and metal … And, uh, I’m having like a kind of like a meltdown in the, uh, dream that (unintelligible) because all of a sudden I get to this prison and I realize it’s not going to be very nice at all ... And then I have to choose, like the guard is not there for some reason, so I have to choose and all the, um, names, the names on the doors are (unintelligible) … but I can have a chance at least to look around … to see who my cellmate is going to be …”

Ilya Lipkin Ilya Lipkin Ilya Lipkin Ilya Lipkin Ilya Lipkin Ilya Lipkin Ilya Lipkin Ilya Lipkin Ilya Lipkin Ilya Lipkin Ilya Lipkin Ilya Lipkin Ilya Lipkin Ilya Lipkin Ilya Lipkin

Nolan Simon

Okok

Eröffnung 28.04.2016, 18 – 21 UhrAusstellung 29.04.– 28.05.2016

Nolan Simon Nolan Simon Nolan Simon Nolan Simon Nolan Simon Nolan Simon Nolan Simon Nolan Simon Nolan Simon Nolan Simon Nolan Simon Nolan Simon Nolan Simon Nolan Simon

clearly the future is artificial • intelligence has only furthered the arrival at exhaustion and banality and I prefer fidelity to a specific thing • [much prefer] sewing together pictures as provisional proposals • constantly stretching the hyper image-object ntrinsically these sentences • these paintings • the gallery • this experience • presents itself as a necessary social condition • think before the vastness and spiraling self- referentiality of deep meaning [as a] matter of meaning • literal living in a regimes of excess and travel • in transition, events seem to suggest how to get there with people • with tumblr • modeled and groomed to fit • to have a picture of the productive force • it could be motivated by hand • slow down • expect greater intimacy from social dynamics • power relations • gender dynamics • phased hyperobjects occupy a higher-dimensional space than my vocabulary • I am arguing for its meaning is for everyobe

that ethic stretching back into intimate moments then later talking about paintings generally

Buffy Cain / Nolan Simon


Nicola Brunnhuber
Min Yoon

Smile from the Streets You Hold

Eröffnung 27.02.2016, 18 – 21 UhrAusstellung 03.03.– 09.04.2016

Nicola Brunnhuber and Min Yoon Nicola Brunnhuber and Min Yoon Nicola Brunnhuber and Min Yoon Nicola Brunnhuber and Min Yoon Nicola Brunnhuber and Min Yoon Nicola Brunnhuber and Min Yoon

Sam Pulitzer

Eröffnung 26.11.2015, 18 – 21 UhrAusstellung 27.11.2015 – 16.01.2016

Sam's new suite of works on paper is a rouge companion to a black group shown in 2014. In those drawings too, a genre of early floppy disk scenery was aligned with antique craft and embellishing techniques such as Scandinavian rosemaling or wrought-iron design.

The three media offered here vaguely trace the maturation of a man: colored pencil on paper; ink and correction fluid on paper; then laptop to Xerox toner on paper. These sheets present themselves as clerical records or red blueprints for perennial concerns. Cycles of life and laundry are flattened, witchcraft colludes with juvenalia. Not a scarlet letter ‘A,’ but a B health rating shows in a restaurant window. The rings of a tree-stump resembling a fingerprint or radar pattern, a stairwell to progress or endless descent, the homestead, the schoolhouse, a cropping from a Salem-based hardcore band’s album cover, are all replicated as bi-chromatic cryptography—like folk illustrations for a cultural experience somewhere between a New England past and the dawn of CRISPR.

On these scored parchments, images are plotted, outlined, and iterated like a garment from a sewing pattern. Code is implied as subject and form; as the very fabric of life and something against which one might etch out personhood. The drawings propose a kind of cottage industry scale of production, in contrast to some of Sam’s larger undertakings, like his enchained plexi standees, or “A Colony for ‘Them’.” Those larger works have created psyche-spaces that off-gas fumes from the Hades of exhibition-making or art fair output. In these more modest wares, similar themes are invoked, though further sublimated. They invite themselves in.

Annie Ochmanek

Sam Pulitzer 2015 Sam Pulitzer 2015 Sam Pulitzer 2015 Sam Pulitzer 2015 Sam Pulitzer 2015 Sam Pulitzer 2015 Sam Pulitzer 2015 Sam Pulitzer 2015 Sam Pulitzer 2015 Sam Pulitzer 2015 Sam Pulitzer 2015 Sam Pulitzer 2015 Sam Pulitzer 2015 Sam Pulitzer 2015 Sam Pulitzer 2015 Sam Pulitzer 2015 Sam Pulitzer 2015 Sam Pulitzer 2015 Sam Pulitzer 2015 Sam Pulitzer 2015

The Critical Ass

Das Rheinische Prinzip

Eröffnung 09.10.2015, 18 – 21 UhrAusstellung 10.10. – 14.11.2015

the critical ass das rheinische prinzip the critical ass das rheinische prinzip the critical ass das rheinische prinzip the critical ass das rheinische prinzip the critical ass das rheinische prinzip the critical ass das rheinische prinzip the critical ass das rheinische prinzip the critical ass das rheinische prinzip the critical ass das rheinische prinzip

Tobias Kaspar / Hans-Christian Lotz / Malene List Thomsen

Esoterikmesse.de
Eröffnung 18.09.2015, 14 – 19 Uhr

18. – 20. September 2015
AVZ Logenhaus Emser Straße 12, 10719 Berlin
Sa: 11 – 19 Uhr und So: 11 – 18 Uhr


Alexander Hempel

Performance
Samstag, 19.09.2015, 20 Uhr

Wir haben in den letzten Jahren gelernt, wie man den Umsatz signifikant steigern und den Gewinn in einen Bereich treiben kann, in dem Krankenversicherungskosten im Verhältnis zum Einkommen zu sinken beginnen. Dafür waren eine Reihe von Anpassungen und Einsichten notwendig. Als neue Menschen werden wir uns nun also gegenübertreten. Ich bin schon sehr gespannt darauf! Neben einer handvoll Freestyle-Rapeinlagen, werdet Ihr erfahren mit was für einfachen Tricks man es zu einem überdurchschnittlichen Wohlstand bringen kann. Der ist selbstverständlich nicht für umsonst zu haben. Man könnte dessen Erwerb und Erhalt auch als unbequem beschreiben, da er stetige Aufwände von Körper und Geist verlangt. So ist zusätzlich zu den ermüdenden Produktions- und Verwaltungstätigkeiten ein Geflecht von Beziehungen aufzubauen und zu pflegen, in dem sich zu verhäddern ebenso dazugehört, wie das permanente Angerufenwerden, im Sinne Judith Butlers natürlich. Angerufen von Personen, die mit uns nutzlose und zum Teil menschenverachtende Projekte planen und realisieren, oder von solchen, wo der Übergang zwischen freundschaftlichem und geschäftlichem Austausch schwer auszumachen und zu verhandeln ist. Im Kunstbetrieb ist letztere Sorte eher die Regel als die Ausnahme und ein Grund dafür, weshalb es dort besonders amüsant zugeht. Zum Ausgleich werden jedoch nur sehr wenige mit ausreichend, und eine handvoll Akteure mit üppigen Mitteln bedacht, was mich manchmal traurig macht, auch wenn die liebe Sonne lacht am Morgen und am Abend sich dreht die blaue Kugel wie der Blick in eine Maschine.
Von oben betrachtet geht es also an diesem Spätsommerabend in West-Berlin zum einen um die Herausforderung im ausgehenden Kapitalismus des 21. Jahrhunderts einen Stich zu machen oder eben nicht zu machen, und zum anderen, einen weiteren Tiefpunkt in einen fröhlichen Abschied zu verwandeln.


10.06. – 25.07.2015

Mathieu Malouf Eine Nacht im Tiergarten

Press release & Checklist Images
Past shows