DAMSTUHLTRAGER

COMMUNITY OUTREACH: MARK ANDREAS

noreply@blogger.com (Admin) — Wed, 07 Dec 2011 15:36:00 +0000

DIY Windturbine Workshop WITH

BRUNO-TAUT-GRUNDSCHULE BERLIN

and MARK ANDREAS at CHECKPOINT ENERGIE

curated by DSG's Inken Bornholdt

In a unique project between Mark Andreas, Checkpoint Energie der Verbraucherzentrale Energieberatung and kids of Bruno-Taut-Grundschule Berlin a set of wind turbines were made of recycling bike wheels. In a bicycle friendly city, this project builds on Berlin’s excellent example of eco-consciousness alternatives to relying on gas. Students learned about mechanics of wind energy and gained insight into how Germany is leading the global path to clean energy.

MORE PHOTOS COURTESY OF EDGAR SCHULZ

TV BERLIN COVERAGE

Special Thanks to: Birgit Holfert, Cosima Osang & the Checkpoint Energie Team

ABOUT:

CHECKPOINT ENERGIE / VERBRAUCHERZENTRALE ENERGIEBERATUNG is a public information and resource center based in the heart of Berlin. Providing qualified consulting services, regular talks and events, Checkpoint Energie aims to generate discourse and develop fresh ideas addressing energy consumption, management and conservation.

MARK ANDREAS’ past Public Art projects include an expedition to the Arctic Circle with the Farm Foundation, E-halle, Hampton’s Home & Garden House, Flamingo Sculpture Garden and AALTO. He has exhibited and lectured at Universities internationally.

DAM STUHLTRAGER has organized Public Art projects with some of the most visible venues in the world. A Berlin project space was started in 2011 to serve as a venue to host noncommercial projects and an international residency program.

Address:
Verbraucherzentrale Energieberatung
Checkpoint Energie Berlin
Rudi-Dutschke-Straße, Ecke Markgrafenstraße

Hours: Tue & Weds 12- 04:00pm, Thurs 02- 06:00pm

Contact: inken.damstuhltrager@gmail.com

NEWS: ANNA FRANTS

noreply@blogger.com (Admin) — Sun, 20 Nov 2011 09:43:00 +0000

Physicality of Busy...
CREATING NEW WORKS,
EXHIBITING IN CELEBRATED SHOWS
& Co-CURATING CYBERFEST.

To catch up with Anna Frants is impossible. To catch a glimpse at what she has created is pleasurable.

I traveled to Russia earlier this week. I caught a red-eye and was barely awake when I stumbled into LED airport. It was a dream to see a man holding a sign with my name. This is the third year he's greeted me and shuttled me off to work with Cyland Media Lab on Cyberfest - Russia's largest new media festival. Every year he chivalrously fends me off to carry all the luggage - a tradition I become unaccustomed to between visits to St Petersburg. He has a new white van and of course holds the door open for me. Its spacious.

Getting in, I sigh, stretch my legs more than the 12" alloted them in the plane, and find a box fresh from the printer's full of catalogs for this year's extravaganza. Two pages into reading, we enter the center of a city I have gotten to know better over the years I have represented Anna as an artist at my gallery. I smile as I turn the page and find a curatorial statement from this woman who always makes me proud, always reminds me why my work has such value to me; always is one step ahead of us all. Driving into the heart of her home I read:

"... The use of new technologies calls for the artist to break away from the deterministic nature of traditional art forms and invent a new tongue. Despite an apparent coldness of cyber space that has no corporal-emotional references such as the smell or oils of clay, it is one o the most expressive artistic media that razes to the ground our notion of the creative criteria... New possibilities impose new responsibilities. The media artist that invents a new tongue is accountable for what he says in it." - An excerpt from Anna Frants' Cyberfest 2011 curatorial essay.

Latest...
18 Nov - 23 Nov: in Russia's 5th CYBERFEST
at The State Hermitage Museum,Kuryokhin Modern Art Center, Gallery of Experimental Sound & St Petersburg Association of Galleries / St Petersburg, Russia... Read More...

12 Dec - 15 Dec: "Trembling Creatures"
in SIGGRAPH Asia 2011 / Hong Kong, China

Just Closed: 23 Sept - 30 Oct: "Gravity"
at Moscow Biennale of Contemporary Art/ Moscow, Russia

Greatest...
Earlier this year Frants participated in:
ArtVilnius 2011 (Vilnius, Lithuania)
ArtParis 2011 (Paris, France)
Transmediale (Berlin, Germany) &
"We are here" at Università Ca’ Foscari Venezia during the Venice Biennale.

New work posted and to be posted: View portfolio.

EXHIBIT: THE HERMITAGE MUSEUM

noreply@blogger.com (Admin) — Sun, 20 Nov 2011 07:23:00 +0000

... It Begins @ The State Hermitage 2011

Program of Events: Cyberfest 2011

Press Release: Cyberfest 2011

EXCLUSIVE INTVW: DEVRIM KADIRBEYOGLU

noreply@blogger.com (Admin) — Tue, 15 Nov 2011 20:02:00 +0000

"ARTISTS IN DIALOGUE WITH DORFLES"

Gillo Dorfles viewing Kadirbeyoglu's "Visa Applicants".

An excerpt of an interview with

Artist Devrim Kadirbeyoglu
by Curator Antonello Tolve & Stefania Zuliani

For the exhibit "The Appropriate Interval" at Archivio dell’Architettura Contemporanea in Salerno, Italy contemporary artists interpreted the work of the famous philosopher, art critic and painter Gillo Dorfles. Dorfles' attendance at the opening was a unique honor for all involved.

For the exhibition catalog, curators Antonello Tolve and Stefania Zuliani interviewed Devrim Kadirbeyoglu on her ideas of "Time" and "Physicality" - topics Dorfles championed in 1948 as a founder of The Movimento per l'arte concreta.

English translation of an excerpt from the catalog and pictures from this special opening are below.

From L to R: Stefania Zuliani, Antonello Tolve, Gillo Dorfles

Tolve: The concept of interval is important to create a space that can regenerate not only critical thinking but also the quality of art and life. This idea of interval and distance involved in your search for an artist?

Kadirbeyoglu: The universe surrounds us with continuous systems. I am ever aware and inspired by the omnipresence of an eternal order and the limitless, diverse cycles nature creates. I strive to capture life, freedom, longing, despair and the continuous struggle every person endures daily to survive or fit into a bigger entity than themselves. Days, ages, seasons - these are all ways we as society have formulated to break the enormity of life into comprehensible, feasible fractions. Our lives being shaped around the authenticity of mortality, observant of past events with the knowledge that these events will occur again in the future influences a process based practice in my work. My desire to use temporal materials is to give a very concrete, physical presence to metaphysical concepts. Lately, I have dealt with juxtaposing fleeting materials to substantiate forms of origin and legacy.

The idea of life needing to be organized into digestible components in order to be understood also triggers an obsession for me to organize thoughts and experiences that I rationalize as all interrelated, not isolated. I tend to create arrangements where multiples and repetitions are evident because no one part is ordered more important than another. The inner search for relevance is reflected through scenes and arrangements while I explore contradictory patterns society has constructed to define identity.

Tolve: What importance do you attribute your work in the choice of materials and techniques?

Kadirbeyoglu: Our environment offers a whole lot physically and mentally. Sudden loss, brutality of people’s approach to their surroundings and society’s aggressiveness have been pivotal events that essentially helped shaped me as a woman, artist and citizen. The challenge is creating work that reflects who I am. The materials I use are extremely relevant. I often work with materials that have their own history - a history I feel akin to. Recycled, eco-friendly, nature itself - the medium is conscious of itself.

PUBLIC ART: CHECKPOINT ENERGIE

noreply@blogger.com (Admin) — Thu, 03 Nov 2011 16:48:00 +0000

MARK ANDREAS pictures / curation by DSG's Inken Bornholdt

PUBLIC ART: CHECKPOINT ENERGIE

noreply@blogger.com (Admin) — Thu, 03 Nov 2011 16:32:00 +0000

A LOOK BEHIND THE SCENES

MARK ANDREAS' RENDERINGS

for his PUBLIC ARTWORK at CHECKPOINT ENERGIE

curated by DSG's Inken Bornholdt

In the windows looking out on Checkpoint Charlie, Verbraucherzentrale Energieberatung presents a site-specific installation by German American environmental artist, Mark Andreas. This is the first time ever that Berlin’s indelible Checkpoint Energie Community Resource Center has done a Public Art installation to communicate ideas about energy.

Perfectly suited to create an aesthetic and informative installation with Checkpoint Energie, artist Mark Andreas is known internationally for his kinetic sculptures which are set into motion by natural energy sources including water and wind. His artwork titled “Fliegender Fisch” will be the centerpiece of the spacious windows at Checkpoint Energie. “Fliegender Fisch’s” wood frame closes slowly after 1.5 liters of water evaporates from its reservoir. The transformation will take place several times over the course of the exhibit. The sculpture is in constant motion but moves too slowly to observe in any given single moment. The effects of the water loss are only viewable over time.

In contrast to demonstrating the concept of how natural resources are affected over time, Andreas will work with a group of local students to create a very visible, actively moving set of windmills made of recycling bike wheels. In a bicycle friendly city, the artist is building on Berlin’s excellent example of eco-consciousness alternatives to relying on gas. Students will learn about the mechanics of wind energy by creating their own bicycle wheel turbine and gain insight into how Germany is leading the global path to clean energy.

“Fliegender Fisch” and the wind turbine created by local children will be on exhibit free of charge. Educational materials and a pamphlet on how a child can make their own turbine will also be available free of charge.

ABOUT:

Dates: 03 November – 30 December 2011

Special Event: 03 November 2011 (12:00 – 02:00pm)

Address:
Verbraucherzentrale Energieberatung
Checkpoint Energie Berlin
Rudi-Dutschke-Straße, Ecke Markgrafenstraße

Hours: Tue & Weds 12- 04:00pm, Thurs 02- 06:00pm

Contact: inken.damstuhltrager@gmail.com

PUBLIC ART: HACKESCHER MARKT

noreply@blogger.com (Admin) — Wed, 02 Nov 2011 17:03:00 +0000

RUTH MARSHALL

PUBLIC ARTWORK sponsored by HANDMADE BERLIN

RESIDENCY: BEN LA ROCCO & LINNEA PASKOW

noreply@blogger.com (Admin) — Fri, 22 Jul 2011 05:25:00 +0000

Dam, Stuhltrager's artists in residence for July have divided time in Berlin between seeing paintings and creating paintings.

After a handful of fabulous dinner parties to let select eyes into their studio, Benjamin La Rocco and Linnea Paskow are now gearing up for the last private viewing of work created during their stay.

As the month draws to a close, we sneak in our camera to give a public peek.

EXCLUSIVE INTVW: ELIZABETH DUNN

noreply@blogger.com (Admin) — Fri, 22 Jul 2011 01:27:00 +0000

“All In Stride”

a conversation with Elizabeth Dunn

by INKEN BORNHOLDT

for Dam, Stuhltrager

DS: When did you discover you harbored an affection for shoes?

ED: After discovering Design - I knew it was what I was going to do. I started with Womenswear; then fell perfectly in love with Footwear.

DS: Your Footwear love has translated into a thriving career. You are in your 20’s and have produced several successful lines of shoes. What is the biggest challenge in your design and production process?

ED: Sometimes one can get lost in the production - as the actual vision really materializes at the end of the process… Seeing it come to fruition is the payoff. It is satisfying knowing I created with my own hands something my mind dreamed up. This is the most rewarding component of my work.

DS: Do you have an especially sentimental or favorite design – a golden moment – in your young but prolific career?

ED: My “flower” shoe (A/W 10 Collection) was the first piece I felt fully captured what type of designer I am. That specific design encompasses classic influences while earnestly embracing contemporary, conceptual, organic silhouettes. I see it as a visual transformation between two influences. Physically, “flower” can be worn in 3 ways.

DS: How do you address sustainability or lay tracks for a future in this industry?

ED: My shoes are built for longevity and sustainability. I search out and incorporate high quality materials. My designs are intended to mirror the concepts paramount in the construction - I avoid throwaway fashion in every element. I bypass one season trends and focus on making a timeless statement to last a life time.

DS: Your S/S 12 collection embodies a passion for Art and the work of Gustav Klimt. As an artist, how are your aesthetics influenced by other artists?

ED: I gain the most inspiration from looking outside the fashion world. I appreciate artists who can convey the simple, eloquent details of their subject that are usually hidden. The more pleasantly unusual the better…

Klimt’s work is a real treat for the eye. Klimt’s sense of colour, his play on curves, and of course his patterns… In my latest collection, I shared things that define Klimt’s paintings as wonderful in my eyes. It was important to me to show his influence in a tactile, yet personal way. I created drawings inspired from his paintings which were then laser cut into leathers.

S/S KLIMT CAPSULE COLLECTION by E. Dunn, 2011.

DS: Have you coordinated your shoes with garments or accessories from other designers?

ED: At present, I’m collaborating with a womenswear designer called House of Sunny. House of Sunny collections are feminine but playful and vibrate great energy full of ideas. We will be unveiling new works for London Fashion Week, February 2012… But diligent viewers can catch a preview in September.

DS: London is a thriving and distinctive art capitol and is where you’re based. Does London’s own distinguishable style influence you on a creative level?

ED: I thrive off London. I’ve lived here 4 years and still constantly find surprising inspirations spanning different mediums. There's always bright light in a city that never sleeps. You never know what's round the corner.

Dress - House of Sunny
Shoes - Elizabeth Dunn
Model - Ella Cardiff

DS: I did not meet you in London. We met in Berlin, where you were in the exhibit I co-curated, “WEAR IS ART”. How do you compare London to Berlin?

ED: As a creative city, Berlin is a great. Berlin is slower paced than London which I think is a good thing. If I had the chance I’d move there straightaway – I love love LOVE Berlin.

DS: How was exhibiting in a gallery for WEAR IS ART different or similar to being in a fashion show?

E. Dunn at WEAR IS ART. Photo by Falko Siewert & Jennifer Posener, 2011. Courtesy of Dam Stuhltrager.

ED: As we were talking about earlier, I feel akin to Art. I’ve lived with a lot of artists in London. Exhibiting my shoes as Art makes sense to me. I make them by hand and consider all the things a painter or sculpture would in creating. Footwear takes on many forms in design and presentation… And it can be appreciated in different ways. I like to mix it up.

DS: What has been one of the most memorable experiences in your design career?

ED: Apart from exhibiting in Berlin, Fashion Week was an honor. To be scouted to showcase so early in my career was humbling and meaningful. I see these opportunities as the chance to really show people what I can do, who I am as a Footwear designer.

Flower A/W 10 by E Dunn, 2010.

DS: What is on the horizon for Elizabeth Dunn Footwear?

ED: London Fashion Week is coming up in February 2012. I will be here with a bigger and better collection in a show that will blow your socks off!

Find Elizabeth Dunn Online:
WEBSITE
BLOG
TWITTER
Elizabeth Dunn Footwear

All Photos copyright of Elizabeth Dunn unless otherwise noted.

SPRING 2011: PROJECT OVERVIEW & RESULTS

noreply@blogger.com (Admin) — Tue, 21 Jun 2011 13:01:00 +0000

VIEW PDF OF OVERVIEW & RESULTS

WEAR IS ART SITE: http://wearisartrsp.blogspot.com

DAM STUHLTRAGER SITE: www.damstuhltrager.com/new_site/projects/wearisart.html

CONTACT:

LEAH STUHLTRAGER, VERITY OBERG, INKEN BORNHOLDT
info(at)damstuhltrager.com

WINTER 2011 PROJECT: OVERVIEW & RESULTS

noreply@blogger.com (Admin) — Mon, 20 Jun 2011 13:02:00 +0000

VIEW PDF OF OVERVIEW & RESULTS

VIDEO: Berlin Collect - Mar '11 via Fier

VIDEO: 3:30 min segment on BERLIN COLLECT,
German TV Station RBB, Mar 25 ‘11

LINKS TO ALL PRESS: www.damstuhltrager.com/press.htm

BERLIN COLLECT SITE: collectberlin.blogspot.com/

DAM STUHLTRAGER SITE: www.damstuhltrager.com/new_site/projects/berlincollect.html

CONTACT:

LEAH STUHLTRAGER, VERITY OBERG, INKEN BORNHOLDT
info(at)damstuhltrager.com

EXCLUSIVE INTVW: BROSE PARTINGTON

noreply@blogger.com (Admin) — Wed, 08 Jun 2011 14:41:00 +0000

Installation Shot of IMOCA Exhibit by Brose Partington, 2010

American artist Brose Partington

In conversation with Leah Stuhltrager

Berlin, June 2011

Brose Partington @ DS Berlin Residency, 20

LS: You arrived in Berlin on the heels of making the decision to focus on your art career and leave your full time job. What is needed to succeed as a professional artist?

BP: I would define myself as a contemporary artist who reinterprets ideas of the past to represent the now. To accomplish anything fully, one needs to focus all their effort to it. I am giving myself opportunity to be a full time, contemporary artist.

LS: Is there a difference between a contemporary artist, commercial artist and a fine artist?

BP: I think the reality is that a contemporary artist is both a fine artist and a commercial artist.

LS: How do you incorporate contemporary ideas or materials into your work?

Brose Partington @ DS Berlin Residency, 2011

BP: There is a history to the “Age of Technology” period we now live in that is pivotal to defining what is contemporary. In my work, I physically use older, antiquated, primal mechanisms that are the foundation of newer, advanced, modern electronics. This conceptually transports past technology ideas into the present and reconnects an object with its purpose.

Throughout all my works, I examine the disassociation of form and function in today‘s culture. Without understanding how a machine works fundamentally - its basic structure and what enables it to function - we only know what these machines do for us. Being disconnected from knowing how modern machines work means our society is reliant on something not understand fundamentally, let alone in larger philosophical terms.

LS: It’s true computers remove the human hand in ways their predecessors did not. Do you incorporate computer programming in your artwork or just use the actual mechanisms?

BP: My artwork utilizes the math, science, craftsmanship, techniques and materials used before computer programming recalibrated how society produces objects. I am not interested in programming. My work is about physically and conceptually reconnecting history, structures, functions, concepts to gadgets.

Modern society becomes more adept at using devices each day while understanding their mechanisms less every moment. This escalated reliance on machines and distancing of human interaction is a major element comprising our “Contemporary Culture”. As a contemporary artist reflecting the age I am living in within my work, disassociation is something I have to continually address and explore.

LS: You are 6 weeks into your 8 week residency. What have you created in your Berlin studio?

Brose Partington @ DS Berlin Residency, 2011

BP: I’m creating a kinetic work inspired by a sewing machine I found. I have already hand soldered a pedestal and crane, as well as added an AC gear motor. The piece depicts technology as an idea that directly evolved from the industrial revolution. The work visibly references how machines have developed – how our society has changed.

I also used sewing machine parts in the work I completed at my studio in Indianapolis before leaving for Berlin. The previous sewing machine work was shown last year in my solo show at Indy MoCA. The Indy MoCA piece and the one I made in Berlin are related conceptually and physically. A sewing machine has certain particular motions that it does. It goes up and down. It pulls. The movements of the internal mechanisms define these two works.

LS: Where did you find the sewing machine

in Berlin?

Brose Partington @ DS Berlin Residency, 2011

BP: At a salvage store. It was cheap. I am like a kid in a candy store when I see something that was constructed to move. This particular sewing machine would still have worked if it had been all there. It was not attached to the foot pedal but it had the moving parts. It was just the body / guts of the machine it once was.

In the Indy MoCA sewing machine work, I used just the stand and the foot pedal of the machine. I did not have the actual machine. So essentially with a body apparatus now in the Berlin piece, I have a whole sewing machine. Making a whole by uniting two distant, original, found pieces interested me.

The piece in Indy was large, brash. The piece here in Berlin is more delicate piece. The feeling of the artworks relates to the different pieces of the sewing machine in each of them.

Top & Bottom: Installation Shots of IMOCA piece by Brose Partington, 2010

LS: How does having the opportunity to work in a new / different country affect your work?

BP: In Indianapolis, I have a large shop and deep understanding of what tools I have. I go into my shop with an idea and everything aligned to execute it. In a residency – it is more in a state of flux. Of course you can find and buy anything but that takes away from the limited time to create. In Berlin, I planned to work more detail oriented, which in a way means focusing on smaller components. I needed to come prepared with an idea but also plans on how to create it given an empty studio.

The same piece gets different feedback around the world. In a residency situation, I am able to create without an audience. That is new and a special opportunity for me.

Early Artwork: "Meticulous Painter" by Brose Partington, 2003

Early Artwork: "Sooner or Later" by Brose Partington, 2002

LS: You are headed home to Indianapolis shortly. What indelible connection does your work have to your home town, the place where you were born and raised?

BP: My father was clockmaker. From a young age, I would look at sprockets, gears and mechanisms. My grandparents owned a blade company. They had huge machines that would cut, move and smooth metal. I can look back and see how these businesses fit into Indy’s economy among the corn or soy growing and being cut down by farm equipment. To me, it is all a large installation… And the many different machines I grew up with didn’t have computers.

Early Artwork: "Cracking Pavement" by Brose Partington, 2002

LS: You have exhibited all over the world: Shanghai Convention Center, Lincoln Center Plaza in NYC, Coachella in the California desert, The Hermitage Museum in St Petersburg, EHalle for Art Basel. How does experiencing different cultures affect your work?

BP: It is easy to be sidetracked by ties to and familiarity with what one already knows. When I go to a place, I take ideas I already have. When I leave a place, for example Berlin, I will take ideas I did not have before and see things in a new way.

LS: Your work is not necessarily New Media, Installation or Kinetic. Where does your work fit into the larger context of Contemporary Art?

BP: I don’t like categories. I am fine with not fitting into a category. I use parts of machines that were already created, take away their original function, and place on them my own purpose. I make the preexisting function only as my whole new idea. My art has motion so it is kinetic.

LS: The word “kinetic” has so many connotations. How do you define it?

BP: I have seen successful kinetic artworks – pieces that define the word in history and allow me to use it - with hundreds of forced moving parts or just one small element blowing in the wind. Kinetic is a term that is wide open.

I look at artists like George Rickey. His pieces are what I would make if it was 50 years ago and he had not already made them. He did his work so well, there is no reason to explore that territory. Tinguely had such an element of surprise. He lived to see what his hands can do. He shared the joy of making and was a quintessential entertainer.

LS: Do you consider yourself an entertainer?

BP: I like to be entertaining.

View more on Partington's Projects and Art...

EXCLUSIVE INTVW: DARIA MARCHIK

noreply@blogger.com (Admin) — Tue, 24 May 2011 02:27:00 +0000

"VARIATION CHAMANES" by DARIA MARCHIK & TATA CHRISTIANE, 2010. Photo: by Anton Cherkashyn.

If sugar, spice and everything nice does a girl make, Daria Marchik opted to create herself a candy colored, plastic, glitter cake to jump out of.

Dame Marchik's (aka DAM) world to her is hyperactive, saturated with color, excitingly risqué and quite utterly fantastical. She stands there directing two professional arsonists, the man of silver Lamé and a human sized lipstick. Blink thrice and you'll find she’s already collected a new character to add to her unfolding story. Cock your head to hear more and she’s disappeared - engulfed by an supportive, eclectic ensemble. One can not help but desire to join her on an adventure even if it is for just an evening performance.

"VARIATION CHAMANES" by DARIA MARCHIK & TATA CHRISTIANE, 2010. Photo: by Anton Cherkashyn.

We had crossed paths in Kiev but it was in Berlin that Marchik wrote the role she planned me to play. I hosted the performance she ran void of inhibitions or rules.

From afar, I watched with growing curiosity. This experienced debutant of pseudo reality gave her innocent, sincere, genuine self to every stranger looking. It was not an act.

DAME OF CEREMONIES
An Interview with
DARIA MARCHIK
by Leah Stuhltrager

Definitions:

DAM \DAM\ (D[A^]M), N.

[OE. dame mistress, lady; dam. See {Dame}.]

A female parent; used of beasts, especially of quadrupeds; sometimes applied in contempt to a human mother. (Source: Daria Machik.)

Definitions:

Dame [dAm, deɪm] n.

Courtesy title for a woman in authority or a mistress of a household; married woman; matron; matronly or elderly woman; nun who has taken the vows of her order, esp a Benedictine; wife or widow of a knight title of woman who has been awarded the Order of the British Empire or any of certain other orders of chivalry.

(Source: http://www.thefreedictionary.com/dame)

DS: You are a woman of the world with your hands in projects across Europe. What keeps you returning to Berlin?

DM: Berlin is an epicenter for creative minds detached from other regions - utopia and Bermuda Triangle of Art combined. It is my BERLOPIA ® - a lively, imaginary world seen and experienced by very few adventurous souls.

BERLOPIA is an art performance that portrays feminine subjects as forbidden fruit, taboo, gestures and inanimate ideals. This work explores concepts of identity through photography, dance, theater and costumes. It is Marchik's homage to Burlesque performance artists of Berlin.

DS: You have several aliases that you create under: Daria Marchik: DAMTATIC, DAM, DAMES. What do these personas mean to you as the artist embodying them?

DM: DAMTATAC is a Label created with costume designer Tata Christiane that redefines “Grotesque-wear”. DAMTATAC encapsulates indulgence and exploration . The works in this series is a a pure amalgamation of Berlin's androgynous core and deviant sexuality, Huxley's future and tribal rituals, the dark cover of night and neon light, live performance and impromptu encounter; physical and metaphysical human nature.

DM: DAMES is a project in Berlin introduced to embrace the androgyny of the Burlesque world, the DAMsels in Distress.

Pictured: "Masques" from "VARIATION CHAMANES",

DARIA MARCHIK & TATA CHRISTIANE, 2011.

DS: How would you describe the aesthetic uniting your photography, design, performances and style?

DM: Grotesque.

DS: The projects place you – be it your face in photos, your body center stage or your voice directing – physically in works that require an ensemble of others to produce. How do you see the role of other artists (models, designers, video artists, dancers, musicians) in your art?

DM: The performances are staged based on the inner creativity of each Berliner.

"DAMTATAC" by DARIA MARCHIK & TATA CHRISTIANE, 2011. Photo by: D. Marchik.

DS: Do you see your tangible art as a separate entity than the performance art you create?

DM: Photography, Visual Art, Costume Design - they are all elements of Performance Art.

"AEROSPY" by DARIA MARCHIK, 2010. Performance by: Roman Ermakov.

DS: How is the business of professional photography different than staging a performance piece?

DM: Photography is a moment in time. Performance is an even shorter lapse to which only the live show holds true.

"AEROSPY" by DARIA MARCHIK, 2010. Performance by:Roman Ermakov.

DS: Fashion has always been a pivotal aspect of your identity as an artist and art. Last month you premiered a series of wearable art. What are your plans for this body of work and direction?

DM: Costume Design has always been a part of staging the DAM Photography, Video Art and Performance projects. The DAMTATAC Label was created to document and recapture the methods.

DS: What impression do you leave with those who see your work? Is it the same impression you wish to leave once you exit a room?

DM: __________________________________________________ .

"DARIA MARCHIK" photographed by Valquire Veljkovic, 2011.

Daria Marchik has directed performances / exhibited at the Moscow Museum of Modern Art, Chelsea Museum in NYC, State Hermitage Museum in St. Petersburg, Gogol Festival in Kiev, and had solo multimedia projects in esteemed, international galleries and fairs. Interlacing being a visual artist, photographer and director Marchik has created a role, entity and persona all her own under the moniker “DAM” or “DAMES”. (www.DariaMarchik.com)

PUBLIC ART: CURATING MOBY EVENT IN BERLIN

noreply@blogger.com (Admin) — Fri, 20 May 2011 14:42:00 +0000

Moby and Drum Machine Collection. Photo Source: http://www.moby.com/photos/2011-01-07/moby-and-drum-machine-collection.html

DSG's own curator, Verity Oberg was selected to curate the highly anticipated, secretive Moby event in Berlin. One part release party for Moby's new album; one part celebration of Berlin's electronic music scene; one part live painting from some of the city's top street inspired artists - the whole of tonight is happening all at Stattbad Wedding.

"We Feel So Real"
Friday May, 20 @ 11pm
Stattbad Wedding

featuring:
Moby (Little Idiot)
Body Bill DJ-Team (Sinnbus)
Jason Forrest (Nightshifters / Birthday Party Berlin)
Lando Kal (Hotflush / Numbers)
Sam Barker (Ostgut Ton)
Kuedo (Planet Mu)
Strobocop (Karaoke Kalk)
Paul Spymania (Substance / Cookies)
Shir Khan (Exploited)
Funkenstrøm (Villa / Symbiont)
Marius Reisser (Dense Records)
Cinthie (Villa / FUC)
Fresh Meat (Berlin Mitte Institut)
Maxximus (Bass the World)
Area Boy (Leisure System)
Full Nelson (Greco-Roman)
Marc-Alan Gray (Defected UK)

visuals by:
MFO // Die Lamb // dev01ded.com // Transforma

and
"Natural Takeover" - exhibition and live painting curated by Verity Oberg / Retramp Gallery: Sam Crew // Wurstbande // Karl Addison // James Bullough

UPDATE: THE MORNING AFTER...
PHOTO ESSAY: PUBLIC ART @ MOBY EVENT
CURATED BY VERITY OBERG

P.S. Everyone attending took home a small piece of art. The image printed onto every hand that entered was done by Verity Oberg.

PUBLIC ART: MARK ANDREAS @ AALTO

noreply@blogger.com (Admin) — Mon, 16 May 2011 20:53:00 +0000

Snapshots capture Andreas behind the scenes as he installs LIITOKALA at AALTO. Photos taken by university students on site at the Helsinki project are wide-eyed, insider look at the latest contemporary Public Artwork at the modern university.

“Life is always in the process of change in both observable and unobservable ways. The forces of these changes - whether we notice them as they happen or only see a difference after something occurs over time - are what comprise a true reality. Reality is not just what one understands in any given moment.” - Mark Andreas, thoughts on LIITOKALA 2011.

MAY NEWS: WEBSITE, VENICE, DC, BERLIN, HELSINKI

noreply@blogger.com (Admin) — Sun, 15 May 2011 11:01:00 +0000

View MAY NEWS with clickable links here.

RESIDENCY: RUTH MARSHALL

noreply@blogger.com (Admin) — Mon, 09 May 2011 02:22:00 +0000

RUTH MARSHALL arrived in Berlin for her residency at DS BERLIN the beginning of May.

A trip to Liepzig Zoo to meet with the mammal curator, a week with free access to Berlin Zoo, an introduction to work being done at the extraordinary Leibnitz Institute and lots of knitting later, Marshall is getting ready to return to New York City briefly before heading towards her next residency at the prestigious Montsalvat in Australia.

RUTH MARSHALL & STEVEN SEET, Scientific Coord & PR of
Leibniz Institute for Zoo and Wildlife Research (IZW), 2011.

Europe's only Tomography Machine for Large Animals @ IZW, 2011.

Leibniz Institute for Zoo and Wildlife Research (IZW), 2011.

RUTH MARSHALL @ DS BERLIN RESIDENCY, 2011

RUTH MARSHALL @ DS BERLIN RESIDENCY, 2011.

RUTH MARSHALL at Berlin Zoo, 2011.

RUTH MARSHALL @ Berlin Zoo, 2011.

In a recent interview with Leah Stuhltrager for the NDT, Ruth Marshall talked about how her residencies at Museum of Arts & Design and Wave Hill led to plans for her time in Berlin. Read the interview online at the NDT.

RESIDENCY: BROSE PARTINGTON

noreply@blogger.com (Admin) — Mon, 02 May 2011 02:25:00 +0000

BROSE PARTINGTON started his two month residency at DS Berlin in April. A private room, a nearby studio with a garden and two months to create...

Halfway through his residency, the artist opened his studio to our camera:

PHOTO ESSAY: WEAR IS ART IN ADMIRALBRUECKE

noreply@blogger.com (Admin) — Wed, 20 Apr 2011 01:03:00 +0000

WEAR IS ART Photo Essay is online.

Photography: Falko Siewert and Jennifer Posener, Designers: Margarita Mileva, Moga e Mago, Elizabeth Dunn, Leyla Rodriguez, kimberit, Lena Santana, Oona Colliander, Pau Senabre & Jade Brandt. Models: Izaio models. Exhibit; Dam Stuhltrager Gallery.

VERNISSAGE: 850+ ATTEND

noreply@blogger.com (Admin) — Sat, 16 Apr 2011 23:16:00 +0000

Vernissage Event Photographs by: Claudia Brijbag Fotografie

The numbers are in and they are BIG.
View the pictures.

12 Exhibiting Artists from 10 different countries.

45+ articles in the press for WEAR IS ART so far, many international.

10,000+ hits on the WEAR IS ART blog in 2 weeks.

A Vernissage Event with 100+ performers/models/musicians/photographers/artists participating.

Live Broadcast projected onto neighboring building watched by hundreds in courtyard after gallery filled to capacity. 86 different people online from around the globe joined in watching the live broadcast online during the 2hr event.

VERNISSAGE: BROADCAST LIVE

noreply@blogger.com (Admin) — Fri, 15 Apr 2011 21:39:00 +0000

The WEAR IS ART VERNISSAGE includes a cast of over 50 performers, artists, musicians, dancers and entertainers. An experiment and step into modern technology for the gallery - the nights event will be broadcast live online for all those around the world to far to see it in person.

Download the official WEAR IS ART VERNISSAGE PLAYBILL:

WEAR IS ART thanks the sponsors who made it possible:

nelou
izaio models
c-heads
cool outfit
STYLESREPORTBERLIN
modabot
ARTS THREAD
pigs

fier entertainment
wmacdruck

PHOTO ESSAY: CAROL SALMANSON @ PARK AVE

noreply@blogger.com (Admin) — Fri, 15 Apr 2011 11:56:00 +0000

"Park Lights" by light artist CAROL SALMANSON was presented in the windows of 254 Park Avenue South by Smart Spaces. The artist gives a look from behind the glass during installation.

PRESS: 40+ ARTICLES BEFORE EXHIBIT OPENS

noreply@blogger.com (Admin) — Thu, 14 Apr 2011 20:31:00 +0000

WEAR IS ART opens tonight.
It already has received over 40 international articles including:

Sugarhigh, Apr 15
iHeartBerlin, Apr 15
Saga Furs, Apr 13
Fier Management, Apr 12
Edno, Apr 11
Fier Management, Apr 11
ONE MAGAZINE, Apr 11
KMag, Apr 10
lgeroszinios, Feb 17 (in Lithuanian)
eko idejos, Feb 17 (in Lithuanian
MaryJane, Feb 8
Woman.bg, Jan 24 (in Bulgarian)
Dezine, Jan 19
malice, Jan, 16 (in Turkish)
DWELL Magazine, Jan 16
das Marias, Jan 14 (in Portuguese)
Lifestyle and Fashion, Jan 14
DaMan, Jan 12 (in Chinese)
Cool3c, Jan 12 (in Chinese)
GRATIS, Jan 11 (in Italian)
Doseng, Jan 11 (in Russian)
Go, Jan 10 (in Vietnemese)
Fashion Craz, Jan 8
Greenpacks, Jan, 7
ecouterre, Jan 6
mylifeisafashionshow, Jan 3
yiuco, Dec 28
WaarMaarRaar, Dec 28 (in Dutch)
I Love Fashion News, Dec 28(in Dutch)
Sina Shanghai News, Dec 28 (in Chinese)
Gogirl!, Dec 28
Fashion York BBS, Dec 27 (in Chinese)
Nieuwsblad, Dec 27 (in Dutch)
STYLE TODAY, Dec 24
Styleite, Dec 23
Mocoloco, Dec 23
The Grid, Dec 23
ceritamu, Dec (in Turkish)
Styles Report Berlin, Nov 16 '10
Cool Outfit, Nov 14 '10
ARTS THREAD, Nov 5 '10
Abitare Intl Design Mag, Nov 3 '10
C-Heads, Nov 2 '10
Modabot, Nov 2 '10
OK Cool, Lesmads, Nov 2 '10

SPONSOR: IZAIO MODELS

noreply@blogger.com (Admin) — Thu, 07 Apr 2011 20:06:00 +0000

IZAIO was the first choice of who ideally we wished would model for our upcoming exhibit which melds Fine Art, Fashion, Performance, Public Art, Photography, Music and Video. We are thrilled to have them as part of our team for WEAR IS ART.

PUBLIC ART: MARK ANDREAS @ AALTO

noreply@blogger.com (Admin) — Tue, 05 Apr 2011 19:43:00 +0000

MARK ANDREAS visits Helsinki to install his Public Art at AALTO. This new piece of Reactive Sculpture will be a tiered version of AVIAN, Andreas' series of sculptures triggered into motion by loss of water. Andreas will build the piece at AALTO over the next two weeks.

Above & Below: "AVIAN" by MARK ANDREAS, for SHIFT @ EHALLE, Basel, 2008.