Lars Friedrich


Kantstrasse 154a, 10623 Berlin

Do.–Sa. 13–18h

+49 30 31014267

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 TZK

“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 TZK Ilya Lipkin TZK Ilya Lipkin TZK Ilya Lipkin TZK Ilya Lipkin TZK Ilya Lipkin TZK Ilya Lipkin TZK Ilya Lipkin TZK Ilya Lipkin TZK Ilya Lipkin TZK Ilya Lipkin TZK Ilya Lipkin TZK Ilya Lipkin TZK Ilya Lipkin TZK Ilya Lipkin TZK

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