GRAND TOUR: AGE OF PYRAMID AND POSTCOLONIAL PILGRIMAGE Kommentare deaktiviert für GRAND TOUR: AGE OF PYRAMID AND POSTCOLONIAL PILGRIMAGEGROUP EXHIBITION

Exhibition Grand Tour: Age of Pyramid and Postcolonial Pilgrimage – presenting art works based on common platform: to re-construct and re-think colonial imagination of Others and Otherness as subconscious and mystical opposite to dominant Western Ego.Presenting art works based on common platform: to re-construct and re-think colonial imagination of Others and Otherness as subconscious and mystical opposite to dominant Western Ego.

Starting reference of the artistic research based project Grand Tour: Age of Pyramid and Postcolonial Pilgrimage is tradition of Grand Tour. In late 18th and 19th century Nobile youth from Great Britain travelled to Continental Europe; Italy, Greece and Egypt. Origin of this travel was colonial idea these destinations represent the origin and base of Western (European) culture and arts. Grand Tour was based on research on architectonic, sculpture and painting heritage and ruins of old civilizations. Johann Wolfgang von Goethe stated that he count his second birth from the day he step to Rome. Hidden aspect of Tour was macho colonial imagination on promiscuity of southern woman. For such reasons Grand Tour was not recommended to Nobile ladies. According to Byron sexual education of macho youth included on Tour was based on sexual labour prices and perception that each Italian lady has several lovers. In his intimate life, Lord Byron proclaimed Countess Teresa Guiccioli ‘lady of my love’. One of the results of Grand Tour was fascination with the pyramids and sphinx’s, finally
constructed as follies in the gardens of Nobile families in 19th century from Habsburg Monarchy to Germany and Great Britain. Grand Tour pilgrimages brought us on the other side mystic obsessions and relive of occultist ideas, contrary to Enlightenment ideas of transformation of the states through Social Contract and belief in History of Humanity as process of Irreversible Progress. Embodied presence in the real Great Pyramid in Giza of Napoleon or Richard Dadd shows us revival of esoteric tradition, started during Grand Tour and finally confirmed Year 1875 in New York City when Helena Petrovna Blavatsky established Theosophical Society.In the project Grand Tour: Age of Pyramid and Postcolonial Pilgrimage artistic research and field work have been realised in real space, and due to the Virus restriction in virtual reality (Cyber Space, according to William Gibson). Participants created works in all direction; from Africa to North Europe, from Latin America to Europe, from North America to Balkan, and all other variety. Exhibition in Schau Fenster, curated by Josip Zanki, introduces art works by Manolo Cocho, Mexico City; Khaled Hafez, Cairo; Rimantas Plunge, Kaunas; Jovana Popić, Berlin; Suzanne Reese Horvitz and Robert Roesch, Philadelphia; collaborative practice Postcolonial Pilgrimage (Josip Zanki and Academy of Fine Arts student’s Lara Ana KulenovićIngeborg Reichel and Luka Tomić), Zagreb. All together they analysed, created and critically represented various aspects of Grand Tour through different media and platform as video, site specific installation, performance and performativity action, print and photography.
Manolo Cocho developed an artistic research Sphinx Pyramid (2020) in different archaeological sites in the centre of and along the Mexican jungl.Cocho observed pyramids and other constructions and many different representations of supernatural mythic beings or other natural forces. His work is recreating position of the mythic beings around the world as connection between human and nature, between ordinary and sacred, between local and cosmic.
Khaled Hafez video work The A77A Project (On Presidents & Superheroes), created 2009, is a 2-D and 3-D animation on video and still footage of a figure of his favourite ancient gods, Anubis. The figure dwells in the streets of urban Cairo today, intermingling with paradoxical citizens and situations; reflecting the social and economic challenges in Egyptian society. Mirror Sonata in Six Animated Movements (2015) is an animated video project based on six themes tackled within the painting practice of Khaled Hafez and his research of the complex Egyptian identity. Khaled Hafez work is presented with the courtesy of Nome Gallery, Berlin.
Rimantas Plunge photo-collage works Pictures Time Scroll 0, 1, 2 (2021) is an author-initiated discussion on a complex issue what happens in front of the camera lens, and what is behind in the process of cognition. Plunge is creating three iconic images based on a research of the Grand Tour concept of travelling; romantic city panorama, oriental moonlight and fairy tale landscape.
Jovana Popić in her work Morlachia (2021) developed out of the artist´s dialogue with Alberto Fortis, 18 century Italian natural scientist; by traveling north to Berlin´s provincial hinterland. The artist herself being a descendant of the Morlacks, spontaneously stepped into a dialogue with the writer´s gaze at her own culture, which is rebellious and romantic, but at the same time colonial and economically driven.
Suzanne Reese Horvitz in her video Sphinx (2020) deconstructs idea of metamorphosis and transformation of artist to mythological creature, deeply based in ‘Western’ culture as enigmatic gender representation and reflection of human subconscious. According to the artist this series started with a dream about the Greek Myth, Leda and the Swan, and shared political and cultural events of the pandemic (the horror and the isolation) have led her to question sensual, alluring images.
Collaborative practice Postcolonial Pilgrimage (2020) created by Josip Zanki and student’s Lara Ana KulenovićIngeborg Reichel and Luka Tomić is based on artistic intervention in two historical sites in city of Zadar; Park of the Queen Jelena Madijevka and Sphinx. Josip Zanki recreated Caspar David Freidrich Kreidefelsen auf Rügen in Park, opening the question of Otherness and migration in post Virus Europe. Lara Ana Kulenović interprets history of Zadar’s Sphinx converting it to documentary fiction. Ingeborg Reichel initiated conversation with the Zadar’s Sphinx, gathering spectacular information. On the same site Luka Tomić performed stereotype of psychedelic British tourist in Croatia.Exhibition Grand Tour: Age of Pyramid and Postcolonial Pilgrimage presenting art works based on common platform: to re-construct and re-think colonial imagination of Others and Otherness as subconscious and mystical opposite to dominant Western Ego.
OPENING: 26.03.2021, 7 pm
TIME: 26.03 – 18.04.2021
PLACE: SCHAU FENSTER
Lobeckstr. 30-35 – 10969 Berlin

LINK: DAS ARTY

PERSPECTIVES #2 PREFACE Kommentare deaktiviert für PERSPECTIVES #2 PREFACEGROUP EXHIBITION

TOMORROW IS THE QUESTION. SEEK MOVEMENTS.

Group exhibition with works by Hollie Miller, Jovana Popic, Madeleine Schwinge, Jonny Star, Charlie Stein

OPENING:Friday, 4 December 2020, 18 – 21

TIME: 5 December – 16 January 2021

LOCATION: re:future Lab, Reinbeckstr. 32,12459 Berlin, Germany

LINKRE FUTURE LAB

STADTMASCHINE KUNST @ MDC meets BERLIN SCIENCE WEEK 2020 Kommentare deaktiviert für STADTMASCHINE KUNST @ MDC meets BERLIN SCIENCE WEEK 2020DIGITAL EVENT

TIME: November 2nd, 5 – 6 pm

PLEASE REGISTER HERE

In a digital fishbowl talk, the nucleus of STADTMASCHINE KUNST is to be crystallized: How can the discourse between artists, scientists and users about art and research be physically shaped? 

The laboratory STADTMASCHINE KUNST @MDC is working on improving science communication with the means of the visual arts: the complex research contents are to be made visually tangible with the involvement of society. 

Where are the opportunities, where are the limits of this experiment? What should the STADTMASCHINE KUNST look like in concrete terms so that research, art and society can interact? We invite you to discuss with us! 

In this fishbowl discussion of the initiative STADTMASCHINE KUNST at the Stiftung Zukunft Berlin you can exchange ideas with artists and scientists about their respective work as well as explore the interfaces that leads to a concrete, unconventional and cross-border STADTMASCHINE KUNST.

Am 2. November um 17.00 Uhr diskutieren Künstler*innen und Wissenschaftler*innen in einem Fishbowl-Talk im Rahmen der BERLIN SCIENCE WEEK mit dem Publikum, wie gesellschaftliche Fragen mit den Mitteln der Kunst in die Forschung eingebracht werden können.

Die Veranstaltung ist online frei zugänglich.

Es gilt den Nucleus der STADTMASCHINE KUNST @MDC herauszukristallisieren!

Gemeinsam mit dem Max Delbrück Centrum für Molekulare Medizin (MDC) hat die Initiative STADTMASCHINE KUNST (SMK) bei der Stiftung Zukunft Berlin ein erstes Labor zur Sondierung einer praktischen Umsetzung der Interaktion von Kunst und Gesellschaft eingerichtet.

Wie können Forschung und Gesellschaft in produktiven Austausch geraten? 

Die Idee der Initiative SMK ist es, eine verstetigte Plattform der Interaktion von Kunst und Gesellschaft in den verschiedenen Teilbereichen der Stadt zur Verfügung zu stellen. Im Austausch mit den jeweiligen Partner*innen wurden Spielregeln erstellt (ähnlich der Instruktionen von Fluxus-Partituren zu Performances). Mit diesen sollen sich Akteur*innen wie Nutzer*innen (Teilhaber*innen) des jeweiligen Bereichs (Wissenschaft, Gesundheit, Soziales, Verkehr, Bau, etc.)  mit Künstler*innen zu bestehenden Bedarfen bzw. Problematiken austauschen, um interdisziplinäre Lösungsansätze zu finden. In der Begegnung mit den Künstler*innen wird ein Transformations-Prozess angestoßen, der der Stadtgesellschaft zu Gute kommt.  

Die herausfordernde Phase, in der sich unsere Gesellschaft aktuell befindet, erfordert neue Konzepte; unter anderem auch für die Ethik, die Kommunikation und das Vorgehen wissenschaftlicher Forschung. Wissenschaftlich zu analysierende Phänomene und ihre komplexen Zusammenhänge können durch künstlerische Experimente ermittelt, aufgezeigt, überhöht und in die Zukunft weitergedacht werden, so meinen die Initiatoren der Initiative STADTMASCHINE KUNST in ihrem Manifest. 

Es diskutieren: 

Veronika Dräxler (Medienkünstlerin, Performerin, Autorin)

Anton Henssen (Krebsbiologe, pädiatrischer Onkologe und Konzeptkünstler)

Thom Kubli  (Künstler und Komponist)

Uwe Ohler (Systembiologe und Musiker)

Jovana Popic (Künstlerin, Doktorandin der Anthropologie)

Ian Stewart (Neurobiologe, Doktorand und Kurator von EDGE)

Moderation: Jan Kage (Kurator, Moderator, Musiker)

Diskutieren Sie mit und melden sich hier zum Fishbowl-Talk STADTMASCHINE KUNST @MDC meets BERLIN SCIENCE WEEK 2020 an. 

Mehr Informationen zu der Veranstaltung finden Sie über die Website der BERLIN SCIENCE WEEK sowie auf facebook oder unter den Hashtags #stadtmaschinekunst #berlinscienceweek #mdcberlin #stiftungzukunftberlin #wiewollenwirleben #kunstundgesellschaft BE

BERLIN SCIENCE WEEK

STIFTUNG ZUKUNFT BERLIN

MAX DELBRÜCK CENTRE

PROLOGUE IN DIALOGUE – THE ARTIST AND THE ARTISTS COLLECTION Kommentare deaktiviert für PROLOGUE IN DIALOGUE – THE ARTIST AND THE ARTISTS COLLECTIONGROUP EXHIBITION

Group exhibition with works by Joseph Beuys, Paula Doepfner, Marlene Dumas, EVA & ADELE, Valérie Favre, Caroline Kryzecki, Jovana Popic, Madeleine Schwinge, Jonny Star, Claire Tabouret

OPENING: Wednesday October 1st 2020, 6 pm

TIME: 01.10 – 14.11. 2020

LOCATION: re:future Lab, Reinbeckstr. 32,12459 Berlin, Germany

LINK: RE FUTURE LAB

REISEN ALS ZEICHEN IN DER ZEIT Kommentare deaktiviert für REISEN ALS ZEICHEN IN DER ZEITGROUP EXHIBITION

REISEN ALS ZEICHEN IN DER ZEIT

OPENING: Wednesday, 25.June 2020, 8 pm

TIME: 25.06 – 30.08. 2020 

LOCATION: Allgemeiner Konsumverein e.V. Hinter Liebfrauen 2, 38100 Braunschweig

LINK: ALLEGMEINER KONSUMVEREIN

„Reisen als Zeichnen in der Zeit“ ist nach „Körper als Fläche im Raum“ die zweite Ausstellung mit Künstler:innen der letzten 20 Konsumvereinsjahre. Die Künstlerin  Esther Ernst, die 2017 mit „Wer radiert, verliert“ bei uns war, haben wir als Kuratorin eingeladen, vom eigenen Werk ausgehend Kolleg:innen dazu zu bitten. 
Die Redewendung „in etwas bewandert sein“ gefällt uns deshalb gut, weil sie den Zusammenhang zwischen wissen und wandern veranschaulicht und dabei den Aspekt der Bewegung und Erfahrung akzentuiert. Ob zu Fuß quer durch Deutschland wandernd, einen Schweizer Berg erklimmend, eingeklemmt im Flugzeug sitzend, als Stipendiat:in weit weg oder in der eigenen Stadt residierend, die eingeladenen Künstler:innen verbindet eine große Sehlust und eine leidenschaftliche Einlassung auf die jeweiligen Orte.
Schreiben, zeichnen, malen, filmen und erzählen hilft, das Erlebte zu begreifen und zu teilen. Wir zeigen Ihnen Bilder vom 11. Längengrad, dem Leben in der Gropiusstadt, Stills aus Beijing, eine geführte Tour durch die Alpen, eine Karte im Wind, eine abgegossene Landschaft und ein Holzkopf mit Windanzeiger. Gerade nach den Erfahrungen des Wanderns und Reisens in den Wohnungen, der Beschränkung des physischen Seins wird die Begegnung mit dieser Kunst der Zeit eine besondere sein.

USEFUL Kommentare deaktiviert für USEFULGROUP EXHIBITION

USEFUL – EVEN WHEN ITS SEEMS TO BE USELESS, THAT’S F-UTILE

OPENING: Wednesday November 27th 2019, 6 pm

TIME: 28.11 – 14.12. 2019

LOCATION: Sanfermosette, via San Fermo 7, Milano

LINK: USEFUL

A project by Valentina Romen with works by Marta Boan, Yiqing CaiTereza Duskova, Jovana Popic and Vincent Vintage Bijoux

in via San Fermo 7, Milan 

It is not true that art is useless. Art seduces us with the importance of being useless and embodies important social, economic, aesthetic, magic and ritual functions.

Jewels in particular always had precise functions.

The seal guaranteed authenticity, buttons and buckles supported the dress, the amulet attracted fortune or prevented bad luck, the spices contained in the pomander revived the senses or relieved discomfort, the châtelaine united everyday necessities on the belt, a ring could communicate loyalty to someone.

The group show Useful brings together the work of three contemporary jewellery designers, a drawing by a visual artist and a selection of historical objects from the collection of Manuel Menini (Vincent Vintage Bijoux). Each artist cultivating his own curiosity, the only real engine to understand the usefulness of the useless and the uselessness of the useful.

Marta Boan (Barcelona) dedicates the body of work „Useful“ to utility, jewels with a hidden function. The goldsmith artist is interested in changing the vision of things, without inventing anything new, but simply doing the object again in her own way, with an aesthetic reduced to the minimum. martaboan.com

The jewellery artist Tereza Duskova (Düsseldorf) has a joyful approach to design. Calming with a rattle, playing narcissistically with your own reflection or simply enjoying a moment of ephemeral beauty with a magic candle. Who wears her jewellery becomes an active part in the action.   terezaduskovastudio.com 

“Risk of fracture” by the jewellery artist Yiqing Cai (Düsseldorf) remembers a birth bracelet. Choker or arm band, a layer of porcelain is embedded in silicone. In order to wear it, a gesture of damage is necessary.   yiqingcai.com 

Some historical pieces take us back to the sophisticated aesthetics of the useful jewel, collected by Manuel Menini in his boutique Vincent Vintage Bijoux (Milan). The magnifying glass or the golden pen around the neck, precious tools to be used. vincentvintagebijoux.com 

In the work „Routes“ the multimedia artist Jovana Popic (Berlin) reinterprets the notes taken by the pilots on radium-soaked plates during night flights in the Second World War. Their military use is transformed into a code drawing, into a diary based personal testimony.   jovanapopic.com

Bringing into dialogue different voices in an exhibition organized annually in the space of San Fermo Sette in Milan, is another occasion for Valentina Romen to tell her interest in jewel. 

The passion for art and architecture has led her to study art history and to travel the world, as well as to explore the boundaries of various creative dimensions. After many years of experience in the contemporary art scene, Valentina has evolved into an independent jewellery maker, expressing her creativity through carefully selected shapes and materials. For Valentina, jewellery is not merely the fusion of metals, but rather the ideal concurrence of visions coming from distant expressive worlds.

Useful 

Even When It Seems to Be Useless,

that is f-utile

Dates: from Thursday 28th of November to Saturday 14th of December 2019   

Opening: Wednesday 27th of November, 6 pm

Opening hours: 2 pm to 8 pm 

Where: Sanfermosette, via San Fermo 7, Milan

FRAMED #23 Kommentare deaktiviert für FRAMED #23SOLO SHOW

OPENING: 22. June 2019, 8 pm

FRAMED #23

Art: Jovana Popić

Music: Daniel Freitag

Music Curator: Yael Nachshon
Art Curator: Dorit Rubin-Elkanati

Jovana Popić

Jovana Popić was born in Zadar, Croatia. She began her formal art studies at the Faculty of Fine Arts in Belgrade under the Serbian State Scholarship for Science and Art Talents. In 2006 she received the Friedrich Naumann Foundation Scholarship and later the President’s Prize toward her master’s degree under Rebecca Horn at the Universität der Künste-Berlin. Other awards include the Sennheiser’s Future Audio Artist Award, Codice MIA 2016 Award, Award of Ulrich and Burga Knispel Foundation, grants of the Trust for Mutual Understanding, Karl Hofer Gesellschaft, the United Kingdom of Norway, and other various artist grants and residencies. Popić has exhibited work in Europe, United States and Asia. She presently lives in Berlin.
My artifacts originate from the traces I find—traces of place, of memory, of ideas and of time, traces of a culturally shaped life story that together comprise something of universal recognition, meaning and value. My works are grounded on a modus operandi that occupies different positions in different moments. My installations are heterotopias; they are based on navigation across a universe of signs and meanings, and inhabit spaces in between, rather than occupying any single place.

http://jovanapopic.com/

Daniel Freitag

Daniel Freitag is a songwriterand multi-instrumentalist from Berlin who made an impressive debut with his solo album „Still“. An exploration of emotional and sonic depths that effortlessly integrated diverse genres and influences into a cinematic journey. Brass lines over old rhythm machine grooves, Beach Boys choirs meeting Morricone guitars and over eerie synth sounds a fragile and haunting voice.

At Framed Daniel Freitag will premiere several songs from his upcoming album. Alternating between electric guitar and piano, accompanied by Nils Ostendorf on trumpet/synth and an old rhythm machine, an intimate, yet adventurous live set is to be expected.

www.danielfreitag.com

FRAMED
ART. MUSIC. FRIENDS

Monthly cultural events, combining live music concert with an art exhibition.

Magical events where artists, musicians and their audience engage in an experience at an intimate setting.

Doors open: 20h00
Concert starts: 21h00

Don’t forget to book your tickets in advance (number of tickets is limited):

https://framed.berlin/product/framed-23/

https://framed.berlin