Donnerstag, 25. September 2014

NatHalie Braun Barends at Kunsthalle Mannheim. Update

The artworks installed by the artist transform the architecture of the Kunsthalle. However due to changes in the Kunsthalle administration the works safety is threatened. We would like to once more attract our readers attention to the issue of artistic work within museum institutional frameworks. The case has been covered in a number of articles in the German press and court hearings are underway. We wish artist NatHalie Braun Barends all the best.

Mittwoch, 24. September 2014

dotLand at A SPACE

on Friday, September 26th from 8pm
Kremmener Straße 9-11/Wolliner Straße 18-19, Berlin-Mitte

Participating artists : Øystein Aasan, Saâdane Afif, Keren Cytter, John Duncan, Elbee Bad, Thomas Eller, Petra
Feriancova, Carlos Garaicoa, Elena Gavrisch, Jeroen Jacobs, Chelsea Knight, H.H. Lim, Alex Martinis Roe, Maria
Mitsopoulou, Marco Montiel-Soto, Kazuki Nakahara, Olaf Nicolai, Sigrun Paulsen, Leila Pazooki, David Prytz, Adam
Raymont, Dodi Reifenberg, Tomás Saraceno, Egill Sæbjörnsson, Schizm Magazine, Vassiliea Stylianidou, Sophie-
Therese Trenka-Dalton, Ino Varvariti, Oliver Walker, Sara Wallgren.

Organization and exhibition coordination: Eleonora Farina
Opening: Friday September 26, 8:00 pm

Exhibition dates : Saturday, September 27 and Sunday, September 28 from 11:00 am to 6:00 pm
The show's title is a statement in itself. dotLand neither delineates nor indicates a country set within physical borders. It is an open territory in which communities of intentions and ideas are shared, in dedication to Jean-Luc Nancy's Being Singular Plural as metaphor of a social and intercultural encounter and exchange that takes its momentum from the shared experience of Berlin by Peninsula's members. 
Peninsula is an interdisciplinary platform dedicated to developing a dialogue with Berlin's international artistic and cultural community. It is a group of artists, curators and art critics largely Italian, who have settled in Berlin during the last decade that seeks to foster a confrontation with the moment at hand by engaging architects, writers, musicians and all those who operate within the cultural sector. Peninsula takes its cue from the concept of Third Culture as a Third Space. It is an idea of culture constantly reconstituting and rewriting itself beyond geopolitical boundaries.
dotLand has the support and the hospitality of Natulis Group AG and the patronage of the Berlin Italian Cultural Institute.

Mittwoch, 17. September 2014

ABC Berlin 2014/Galerie Neu Berlin

Galerie Neu is all about the new. For what it takes to make old look new see below. It's not the result but the way that matters. 

Marc Camille Chaimowicz Forty and Forty... with Klara Liden and Manfred Pernice

Linienstrasse 119, Berlin-Mitte

Montag, 1. September 2014

NatHalie Braun Barend's “HHole” (Holei Hole) at the Kunsthalle Mannheim

By Dr. Phil. Lily Fürstenow-Khositashvili

With Marcel Broodthaer's “Musée d'Art Moderne” back in the 60-ies and its institutional critique, it has been long evident that gone are the days when museums used to function as spaces
for the cultural enlightenment of the bourgeois public sphere. The traditional “historical” museum invested with pedagogical and emancipatory functions relatively free from commercial interests turned instead into an institution of production of contemporary art. As elements of culture industry influenced by art markets, entertainment, spectacle, marketing, advertising, political intrigues and public relations museums and “kunsthallen” are likely to open up new spheres for artistic and curatorial practices.

Those attempting at defining the autonomous, artist-created spaces within the museum context are particularly dependent on the administrative and ideological powers represented by museums. Installations and direct intervention policies used by certain artists to separate themselves from the institutional powers of order and domination are as destined to failure as ever. Yet one hopes against hope.

It comes as no surprise that an artist's attempt to inscribe oneself into an institutional framework by a sign of void, a Hole for example (with the capital H as the author NatHalie Braun Barends puts it), would become an issue of a heated controversy. An opening penetrating all the levels of the building of the Kunsthalle Mannheim entitled “HHole for Mannheim” by Braun Barends literally breaks the frames, allegorical or real. Her artwork is an attempt to re-frame, a poetic aspiration to redefine the artist's space within the traditional white cube and, in NatHalie's case, an example perfectly showcasing the precariousness of artistic freedoms within contemporary cultural industry.

NatHalie Braun Barend's HHole in the Kunsthalle Mannheim as an artistic gesture of marking the space, re-directing our vision from the inside to the outside, opening up new horizons, reinterprets the old art historical metaphor of seeing, of creating a window towards the outside in order to better visualise what is to be seen. James Turrell seemingly inspired by HHole created a similar installation five years later in Bremen. The “Holei” Hole by NatHalie Braun Barends was the first of the permanent multimedia installations created by her for Kunsthalle Mannheim. Her other installation, PHaradise, at the cupola and side wings of the Kunsthalle Billing Bau, transformed the building's architecture and established a luminous artistic dialogue with the installation of James Turrell - Floating Windows - and the sculpture park.

The administrative changes within the Kunsthalle Mannheim, sadly enough, take their toll on the policies of what is being exhibited and what not, what stays and what disappears. Ironically it's the HHole, piercing all the levels of the central part of the Kunsthalle's Athene Trakt, that was initially celebrated but later, with the museum's administrative changes, suffered because of internal intrigues. What's the sense of a void, an opening within a society that would not see through? Evident is however that an artwork as well as the sign of its actual absence marked by the void is the liberating artistic gesture that is subject to arbitrary destruction, once again adding to the discourse about a museum as an institution of power, ideological influence and external determinacy.