EYEOUT http://blog.eyeout.com EYEOUT is the mobile art guide for Berlin and Zurich. posterous.com Sun, 21 Apr 2013 07:24:00 -0700 Mobile Website for Gallery Weekend Berlin http://blog.eyeout.com/mobile-website-for-gallery-weekend-berlin http://blog.eyeout.com/mobile-website-for-gallery-weekend-berlin

Check out our mobile website for Gallery Weekend Berlin.

Here you’ll have access to information about the participating galleries and their exhibitions on all of your mobile devices, as well as on your desktop.

If you’d like to access the Gallery Weekend website from your smartphone or tablet you’ll automatically be directed to the mobile website. To access the site from your computer, please use this link: http://bit.ly/gwb_m

Mobile_website

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]]> http://files.posterous.com/user_profile_pics/1553399/EYEOUT_1.jpg http://posterous.com/users/cPQvLyUc11zgm EYEOUT the mobile art guide eyeout EYEOUT the mobile art guide Tue, 16 Apr 2013 01:58:00 -0700 Ulf Aminde at Galerie Tanja Wagner http://blog.eyeout.com/ulf-aminde-at-galerie-tanja-wagner-41539 http://blog.eyeout.com/ulf-aminde-at-galerie-tanja-wagner-41539

8 March – 20 April 2013

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Ulf Aminde’s exhibition The Weight at Galerie Tanja Wagner is a stunning execution of emotionally charged minimalism. As a physical exhibition, a small lump of melted gold sits on a black plinth in a dimmed room, creating an atmosphere that is somber, reminiscent of museum display methods of artifacts and precious metals. A glance at the press release – a letter composed by the artist’s partner, author Svenja Leiber, and indeed a second work in the exhibition rather than a tradition press release – makes clear the myriad meanings of the exhibition’s title. The lump of gold is, in fact, the unmarried couple’s symbolic wedding rings. Reduced to their most basic value – that, monetarily, as 6,3638 grams of gold – the meaning and intertwining of love and work between two artists becomes the true weight of the exhibition, forming a complex examination of human connection and partnership with as much tension as tenderness. [Melissa Frost]

From EYEOUT’s column in MITTESCHÖN – April 2013

Photo credit: Ulf Aminde – The Weight (exhibition view). Courtesy Galerie Tanja Wagner, Berlin

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]]> http://files.posterous.com/user_profile_pics/1553399/EYEOUT_1.jpg http://posterous.com/users/cPQvLyUc11zgm EYEOUT the mobile art guide eyeout EYEOUT the mobile art guide Mon, 15 Apr 2013 08:25:00 -0700 Berta Fischer at Galerie Barbara Weiss http://blog.eyeout.com/berta-fischer-at-galerie-barbara-weiss http://blog.eyeout.com/berta-fischer-at-galerie-barbara-weiss

2 March – 19 April 2013

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Sculptor Berta Fischer examines the space that exists between the natural and the artificial through her colorful, fragile, and slightly anthropomorphic (if not somewhat extraterrestrial) Plexiglas and PV-foam forms at Galerie Barbara Weiss. Fischer’s choice to explore organic forms through plastic materials – and to stretch those to the limits of their stability – intensifies the material transformation central to the artist’s practice. With an effect that is at once both familiar and alien, the synthetic world that the works in the exhibition create is playfully strengthened by Fischer’s choice of titles that evoke a series of characters from an unknown mythological realm. The works redefine the space they occupy, but do so with a discourse that has little to do with architecture; the space is owned and redrawn by the oppositions that Fischer’s works balance. [Melissa Frost]

From EYEOUT’s column in MITTESCHÖN – April 2013

Photo credit: Berta Fischer (exhibition view). Courtesy Galerie Barbara Weiss, Berlin, photo: Bernd Borchardt

 

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]]> http://files.posterous.com/user_profile_pics/1553399/EYEOUT_1.jpg http://posterous.com/users/cPQvLyUc11zgm EYEOUT the mobile art guide eyeout EYEOUT the mobile art guide Tue, 09 Apr 2013 07:09:00 -0700 Call for Bloggers: Hotel residency during Gallery Weekend Berlin http://blog.eyeout.com/call-for-bloggers-70458 http://blog.eyeout.com/call-for-bloggers-70458

Gallery Weekend Berlin and EYEOUT are looking for two contributing writers who are into the contemporary art scene and interested in covering the exhibitions of Gallery Weekend Berlin 2013.

We offer you two nights at Berlin’s fashionable Hotel Mani, where you’ll be right at the heart of things, for 26–28 April, plus VIP credentials for Gallery Weekend.

We expect from you three blog entries about (one ore more) exhibitions to be featured on the EYEOUT blog. 

If you’d like to be part of this project, write and tell us why you’re the blogger to choose: bloggers@eyeout.com.

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]]> http://files.posterous.com/user_profile_pics/1553399/EYEOUT_1.jpg http://posterous.com/users/cPQvLyUc11zgm EYEOUT the mobile art guide eyeout EYEOUT the mobile art guide Tue, 02 Apr 2013 03:06:00 -0700 Fischli & Weiss at Sprüth Magers http://blog.eyeout.com/fischli-weiss-at-spruth-magers http://blog.eyeout.com/fischli-weiss-at-spruth-magers

2 March – 13 April 2013

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Peter Fischli and David Weiss' – the Swiss artistic duo who collaborated from the seventies until Weiss' death in 2012 on humorous and ironic pieces including their notable 1987 film The Way Things Go – work with airports is the focus of the current exhibition at Sprüth Magers. Fischli and Weiss frequently used the unspectacular to raise theoretical and philosophical questions about the world around us, and started using methods of transportation as an exploratory extension of their core artistic themes in the eighties. In addition to large-scale, rotating projections of various airports, two newly re-cast sculpture series of women in business suits and automobiles (both originally from the late-eighties) are also included in the exhibition. Stark, white, and lacking defining characteristics, the sculptural works play with the projected images to bring the banality of international travel, commerce, and economic globalization to the forefront of the exhibition’s debate. [Melissa Frost]

From EYEOUT’s column in MITTESCHÖN – April 2013

Photo credit: Peter Fischli / David Weiss (exhibition view). Courtesy Sprüth Magers, Berlin

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]]> http://files.posterous.com/user_profile_pics/1553399/EYEOUT_1.jpg http://posterous.com/users/cPQvLyUc11zgm EYEOUT the mobile art guide eyeout EYEOUT the mobile art guide Thu, 28 Mar 2013 08:34:00 -0700 Martin Kippenberger at Hamburger Bahnhof http://blog.eyeout.com/martin-kippenberger-at-hamburger-bahnhof http://blog.eyeout.com/martin-kippenberger-at-hamburger-bahnhof

23. February – 18. August 2013

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With an artist like Martin Kippenberger, the already daunting task of a retrospective exhibition becomes an even trickier proposition. The curatorial challenge in such a case is not only to represent an expansive artistic output – in terms of volume as well as a considerable number of fields, mediums and styles – but also to do so in a manner that honestly unfolds the meaning at the heart of what could otherwise be seen as an incongruous body of work. Sehr Gut/Very Good at Hamburger Bahnhof takes this challenge and makes it appear almost effortless. Interwoven between the artist’s paintings and sculptural works – and including the very rarely seen 1991 installation often referred to as "white paintings" – are several of Kippenberger’s self-portraits and an impressive number of printed materials in the form of catalogues, publications, and exhibition posters. Sehr Gut/Very Good succeeds in presenting a rather complex balance of Kippenberger’s persona and work – ultimately one and the same – which goes beyond the label of “retrospective” to exist as a tender tribute, and one that remembers the artist as he hoped to be remembered: Kippenberger was good fun. [Melissa Frost]

From EYEOUT

Photo credit: Martin Kippenberger: Paris Bar, 1993. François Pinault Foundation © Estate Martin Kippenberger, Galerie Gisela Capitain, Cologne

 

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]]> http://files.posterous.com/user_profile_pics/1553399/EYEOUT_1.jpg http://posterous.com/users/cPQvLyUc11zgm EYEOUT the mobile art guide eyeout EYEOUT the mobile art guide Fri, 22 Mar 2013 03:00:00 -0700 Douglas Gordon at Blain Southern http://blog.eyeout.com/douglas-gordon-at-blain-southern http://blog.eyeout.com/douglas-gordon-at-blain-southern

7 February – 28 April 2013

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Douglas Gordon’s new exhibition, Sharpening Fantasy at Blain Southern, creates a winding narrative that blurs the lines between fantasy and reality while exploring many of the artist’s recurring themes. Using his signature floor-level monitors and double-sided projection screens in the foyer and main gallery, Gordon reinterprets his metaphor of the left and right hand through the presence of scorpions, a 360-degree cityscape of Tangier, and an enigmatic series of vinyl text pieces that underscore the duality running between them. Dualities are picked up again in the upstairs gallery space, where the sound of sharpening metal accompanies three further video works that play with the notions of danger and familiarity, ultimately making them one and the same. Sharpening Fantasy – like most of Gordon’s work – does not polarize, achieving instead a stunning audio-visual meditation on the rather uneasy co-existence of good with evil, safety with danger, fantasy with reality, and externalization with self-reflection. [Melissa Frost]

From EYEOUT’s column in MITTESCHÖN – March 2013

Photo credit: Courtesy Blain Southern, photo: Christian Glaeser

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]]> http://files.posterous.com/user_profile_pics/1553399/EYEOUT_1.jpg http://posterous.com/users/cPQvLyUc11zgm EYEOUT the mobile art guide eyeout EYEOUT the mobile art guide Fri, 15 Mar 2013 02:58:00 -0700 Zeichnung ohne Zeichnung at Christian Ehrentraut http://blog.eyeout.com/zeichnung-ohne-zeichnung-at-christian-ehrentr http://blog.eyeout.com/zeichnung-ohne-zeichnung-at-christian-ehrentr

15 February – 28 March 2013

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Taking four artists from different countries – and whose work spans a breadth of different styles and media – Christian Ehrentraut’s new exhibition examines the artistic functions of drawing from an innovative perspective. Zeichnung ohne Zeichnung (Drawing Without Drawing) breaks down the meaning of drawing through the interplay between the selected artists, considering drawing in the form of a draft, sketch, pattern or graffiti. Klaus Jörres’ graphic use of acrylic and spray paint on canvas lends a formal assessment of line to the exhibition, unusually matched by David Murphy’s sculptural steel structures in the form of enlarged traditional woven eel traps. Providing a cross-dialogue to the linear formality of these two artists are works by Michael Bevilacquas and Viktor Timofeev. Although Timofeev’s work could be considered to have similar interests as Jörres’ and Murphy’s, his labyrinthine architectural utopias – frequently interspersed with floating cloud-like forms – form a bridge to Bevilacqua’s pop and urban subculture-inspired paintings. [Melissa Frost]

From EYEOUT’s column in MITTESCHÖN – March 2013

Photo credit: Courtesy Christian Ehrentraut

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]]> http://files.posterous.com/user_profile_pics/1553399/EYEOUT_1.jpg http://posterous.com/users/cPQvLyUc11zgm EYEOUT the mobile art guide eyeout EYEOUT the mobile art guide Thu, 14 Mar 2013 05:09:00 -0700 EYEOUT’s questionnaire sweepstake http://blog.eyeout.com/eyeouts-questionnaire-sweepstake http://blog.eyeout.com/eyeouts-questionnaire-sweepstake

We launched our first app three years ago with EYEOUT Gallery Weekend. Since then, we’ve produced five more EYEOUT apps that have collectively been downloaded more than 20,000 times. During this time we have won many satisfied users and steadily expanded our name recognition.

Now, we want to learn more about how our apps are used in order to continue improving them. Please help us do this by participating in our user survey. It won't take longer than three to four minutes. Click here to reach the questionnaire.

All participants have the opportunity to participate in raffle of five iTunes gift cards, worth € 50 each.

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]]> http://files.posterous.com/user_profile_pics/1553399/EYEOUT_1.jpg http://posterous.com/users/cPQvLyUc11zgm EYEOUT the mobile art guide eyeout EYEOUT the mobile art guide Mon, 11 Mar 2013 03:05:00 -0700 The Bruce High Quality Foundation at Contemporary Fine Arts http://blog.eyeout.com/the-bruce-high-quality-foundation-at-contempo http://blog.eyeout.com/the-bruce-high-quality-foundation-at-contempo

16 February – 16 March 2013

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The anonymous, rotating group of people who constitute the Brooklyn-based Bruce High Quality Foundation has striven since the project’s 2004 formation “to foster an alternative to everything," working under the guise of presenting the works of a late social sculptor, Bruce High Quality. With The Transubstantial Bruce, presented at Contemporary Fine Arts, the group unveils a new angle to their fictional artist’s oeuvre: the religious. Tackling the ubiquitous “Stations of the Cross” as well as a "Father, Son, and Holy Ghost" triptych – the later including the inflatable scab rat used in previous works – Bruce High Quality Foundation creates what it calls “truly devotional icons for a truly secular age.” Additional elements (play-doh reliquaries, a series of self-portraits) round out another challenging exhibition from the group that demands, in the most daringly humorous of ways, a reassessment of the art historical and contemporary modes of exhibition. [Melissa Frost]

From EYEOUT’s column in MITTESCHÖN – March 2013

Photo credit: Courtesy Contemporary Fine Arts

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]]> http://files.posterous.com/user_profile_pics/1553399/EYEOUT_1.jpg http://posterous.com/users/cPQvLyUc11zgm EYEOUT the mobile art guide eyeout EYEOUT the mobile art guide Thu, 07 Mar 2013 00:30:00 -0800 EYEOUT and Uber: Perfect partners en route to art http://blog.eyeout.com/eyeout-and-uber-perfect-partners-en-route-to http://blog.eyeout.com/eyeout-and-uber-perfect-partners-en-route-to

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With the free Smartphone app Uber you can order a limousine and driver with just a few minutes’ notice. The service is considerably more comfortable than traveling by taxi, but only marginally more expensive – so simply download the app and register.

As well as 25 other cities worldwide, Uber has been present in Berlin since February. Here’s a wonderful opportunity to make your next Berlin gallery tour  even easier and more comfortable: win one of three special codes for three free fares on your way between exhibitions. Like our Facebook page and you’ll automatically be entered in the draw.

For those who can’t wait that long: register with the code eyeoutanduber and you’ll pay only half price for your first three trips.

 

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]]> http://files.posterous.com/user_profile_pics/1553399/EYEOUT_1.jpg http://posterous.com/users/cPQvLyUc11zgm EYEOUT the mobile art guide eyeout EYEOUT the mobile art guide Tue, 19 Feb 2013 01:55:00 -0800 Very New Works – Markus Amm, Sebastian Black, Paul Cowan at DUVE Berlin http://blog.eyeout.com/very-new-works-markus-amm-sebastian-black-pau http://blog.eyeout.com/very-new-works-markus-amm-sebastian-black-pau

19 January – 2 March 2013

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DUVE Berlin starts 2013 with Very New Works, a group show that is metaphorically still damp. Bringing together the newest works by Markus Amm, Sebastian Black, and Paul Cowan – all made especially for this show – the exhibition eschews concentrating on interactions between specific pieces. The focus is instead on the notion of immediacy, paying homage to an ephemeral moment between a work’s creation and its reception. Amm, Black, and Cowen flawlessly navigate this conceptual territory together through a shared self-aware sense of humor. This is accomplished through Amm’s playful processes with paint, Black’s carefully balanced visual jokes, and Cowen’s material idiosyncrasy. Keeping humor as its binding foundation, Very New Works achieves a difficult and striking balance between work that is already on the gallery wall and true newness. [Melissa Frost]

From EYEOUT’s column in MITTESCHÖN – February 2013

Photo credit: Courtesy DUVE

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]]> http://files.posterous.com/user_profile_pics/1553399/EYEOUT_1.jpg http://posterous.com/users/cPQvLyUc11zgm EYEOUT the mobile art guide eyeout EYEOUT the mobile art guide Wed, 13 Feb 2013 04:26:00 -0800 Frank Nitsche at Galerie Max Hetzler http://blog.eyeout.com/frank-nitsche-at-galerie-max-hetzler http://blog.eyeout.com/frank-nitsche-at-galerie-max-hetzler

12 January – 16 February 2013

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Frank Nitsche’s geometrical canvases offer a captivating contradiction; while evoking three-dimensional drawings of very modern architecture, the material quality of the artist’s chosen medium – oil paint – belies the slick mass production of the shapes they seem to represent. PROFESSIONAL SMILE at Galerie Max Hetzler sees Nitsche turn this analysis of contradiction and production onto his own practice. Known for constantly drawing on his own works – Nitsche does not believe in art as a finished product – he presents a reworked series of paintings produced for Brandenburgischer Kunstverein Potsdam in 2010, but now changed completely from their original incarnation. Hung in conjunction with a photo wall of media images (collected by Nitsche since his student years) depicting accidents and zoological curiosities, the artist poses an intriguing question: how can we differentiate artistic products from any other reconstructed media product? For Nitsche, the answer is perpetual self-reflection and revision. [Melissa Frost]

From EYEOUT’s column in MITTESCHÖN – February 2013

Photo credit: Frank Nitsche – PROFESSIONAL SMILE (exhibition view). Courtesy Galerie Max Hetzler, photo: def image

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]]> http://files.posterous.com/user_profile_pics/1553399/EYEOUT_1.jpg http://posterous.com/users/cPQvLyUc11zgm EYEOUT the mobile art guide eyeout EYEOUT the mobile art guide Thu, 07 Feb 2013 07:00:00 -0800 Christoph Girardet at Campagne Première http://blog.eyeout.com/christoph-girardet-at-campagne-premiere http://blog.eyeout.com/christoph-girardet-at-campagne-premiere

12 January – 23 February 2013

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Christoph Girardet, largely known for films and video installations, presents a selection of his non-time-based works with The Prints at Campagne Première. But even when stepping away from his usual medium, Girardet does not leave cinematic concerns behind; he is working to further plumb filmic meaning through its structures and mechanisms. Using primarily found footage from the fifties and sixties, the artist presents two series of small-format film stills to examine recurring motifs – whether the artificial lightning of Seven Strokes (2008) or the maritime horizons of his work in progress, Seascapes. The enigmatic Talking to Delilah (1998), an LED installation based on the 1949 film Samson and Delilah, offsets these familiar images, ultimately shifting the exhibition’s dialogue from a more simple deconstruction of cinematic methods to a rather complex celebration of film’s mysterious allure. [Melissa Frost]

From EYEOUT’s column in MITTESCHÖN – February 2013

Photo credit: Christoph Girardet – The Prints (exhibition view). Courtesy Campagne Première Berlin, photo: Henning Moser

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]]> http://files.posterous.com/user_profile_pics/1553399/EYEOUT_1.jpg http://posterous.com/users/cPQvLyUc11zgm EYEOUT the mobile art guide eyeout EYEOUT the mobile art guide Sat, 02 Feb 2013 10:19:00 -0800 New tour: The Up and Comers http://blog.eyeout.com/new-tour-the-up-and-comers http://blog.eyeout.com/new-tour-the-up-and-comers

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Start your exploration of Berlin’s exciting young galleries at Supportico Lopez, previously an artist-initiated salon-style project in Naples, which integrates one-night exhibitions, screenings, and performances into their program of shows by both emerging and established artists. Just along the street, on the corner of Steinmetzstrasse, is Tanya Leighton Gallery, known for its cross-disciplinary and trans-generational program. Next travel over to Arratia Beer, which represents photographer Omer Fast and video and installation artist Javier Téllez. Frequently minimal exhibitions form a perfect contrast with the location of Circus above an auto repair shop, just a short walk away. From here, take a stroll along the canal and over the bridge at Gitschinerstrasse to arrive at DUVE Berlin, where you can expect inspiring exhibitions by artists such as Chris Succo and Sarah Oppenheimer. Not far down the street is Exile, known for its strong curatorial statements, and Chert, which in addition to its exhibition program also produces special projects and artist’s books and editions. Next, travel up to Mitte to check out Croy Nielsen, known for a challenging and engaging program of emerging artists and curators. Make your final stop at Galerie Christian Ehrentraut, which represents young Leipzig painters Tilo Baumgaertel, Martin Kobe, and Christoph Ruckhaeberle as well as international artists Yudi Noor and Sue de Beer. Finish up next door at Pantry, a perfect place to eat, refresh, and recharge.

From our app EYEOUT Berlin. 

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]]> http://files.posterous.com/user_profile_pics/1553399/EYEOUT_1.jpg http://posterous.com/users/cPQvLyUc11zgm EYEOUT the mobile art guide eyeout EYEOUT the mobile art guide Tue, 15 Jan 2013 00:56:00 -0800 Diana Sirianni at Figge von Rosen http://blog.eyeout.com/diana-siriani-at-figge-von-rosen http://blog.eyeout.com/diana-siriani-at-figge-von-rosen

1 December 2012 – 23 Feburary 2013

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Offering an immediate experience akin to encountering a cinematic freeze frame at the moment of an explosion, the focal entropic explorations of Diana Sirianni’s artistic work assess the conditions of painting in Stecklingsvermehrung at Figge von Rosen Galerie. The exhibition’s central installation, Wildwuchs, utilizes acrylic paint, cardboard, foil, paper, plexiglass, silicone rubber, and wood to transform the gallery space into a three-dimensional dissection of the medium. Providing a framework to consider the artist’s main themes of dispersion and unity, the installation raIses questions of order and disorder which extend into the series of collages that completes the exhibition. Sirianni takes installation shots of Wildwuchs as a base in these works to further deconstruct spatial aspects within painterly compositions, blurring the lines between photography, painting, and sculpture. Both reflections on the installation and autonomous works, they draw together an immersive analysis of order, disorder, and medium in contemporary artistic practice. [Melissa Frost]

Photo credit: Figge von Rosen Galerie

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]]> http://files.posterous.com/user_profile_pics/1553399/EYEOUT_1.jpg http://posterous.com/users/cPQvLyUc11zgm EYEOUT the mobile art guide eyeout EYEOUT the mobile art guide Mon, 07 Jan 2013 01:10:00 -0800 Philippe Decrauzat at Mehdi Chouakri http://blog.eyeout.com/philippe-decrauzat-at-mehdi-chouakri http://blog.eyeout.com/philippe-decrauzat-at-mehdi-chouakri

24 November 2012 – 12 January 2013

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Philippe Decrauzat’s new exhibition at Mehdi Chouakri, Anti-Illusion, presents new works that further expand the Swiss artist’s interest in examining how the illusion of movement can be perceived in static objects and images. Black features prominently in the artist’s work, frequently paired with white to produce the sensation of false gray tones appearing between the lines. The new paintings in Anti-Illusion, however, demonstrate a rarer use of color in combination with the favored black. In the painting series BSBTE (BLACK SHOULD BLEED TO EDGE), subtle adjustments in color tone create a hypnotic and disorienting effect despite the stationary position of the works. The converse of this experience is explored in the artist’s new film, Anisotropy, in which three three-minute sequences record different angles of a moving metallic object. The question posed by the exhibition is a challenging one: How well do we understand the limits of our optical perception? Although reminiscent of 1960s Op Art and firmly grounded in an art-historical context, the paintings and film stand as autonomous works through their refreshing and distinctly modern execution. [Melissa Frost]

From EYEOUT’s column in MITTESCHÖN – January 2013

Photo credit: Philippe Decrauzat – Anti-Illusion (exhibition view). Courtesy Galerie Mehdi Chouakri, Berlin, photos: Jan Windszus

 

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]]> http://files.posterous.com/user_profile_pics/1553399/EYEOUT_1.jpg http://posterous.com/users/cPQvLyUc11zgm EYEOUT the mobile art guide eyeout EYEOUT the mobile art guide Wed, 02 Jan 2013 01:05:00 -0800 More Than Meets the Eye at Buchmann Galerie http://blog.eyeout.com/more-than-meets-the-eye-at-buchmann-galerie http://blog.eyeout.com/more-than-meets-the-eye-at-buchmann-galerie

16 November 2012 – 12 January 2013

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In More Than Meets the Eye, Buchmann Galerie brings together selected works by seven artists whose work extends beyond an obvious perception. Ambiguity, potential, and visual irritation are strategies used in the exhibition to challenge the viewer’s process of visual understanding. William Tucker’s enigmatic bronze sculptures play with weight and gravity, suggesting anthropomorphic characters keeping watch over the gallery. The bright tones and synthetic materials of Greg Bogin’s paintings form a sharp contrast to Tucker’s works, an exhibitional dialogue further elaborated in smaller sculptural works by Wolfgang Laib and Gerda Steiner & Jörg Lenzlinger. Here, however, natural materials are used to generate eerily supernatural color effects, creating a profound sensation of uncertainty as to the perception of the natural and the unnatural. Despite the artists’ different styles and executions, what remains constant in the exhibition is an emphasis on mystery, beautifully underscored by the reflective surfaces of works by Wilhelm Mundt and Bettina Pousttchi. Mirroring the gallery space and the other works as well as the viewer, they draw the entire exhibition into an encompassing moment of ambiguity. [Melissa Frost]

From EYEOUT’s column in MITTESCHÖN – January 2013

Photo credit: More Than Meets the Eye (exhibition view). Courtesy Buchmann Galerie, Berlin, photos: Roman März

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]]> http://files.posterous.com/user_profile_pics/1553399/EYEOUT_1.jpg http://posterous.com/users/cPQvLyUc11zgm EYEOUT the mobile art guide eyeout EYEOUT the mobile art guide Tue, 18 Dec 2012 00:27:00 -0800 Malerei der 80er Jahre at Sprüth Magers http://blog.eyeout.com/malerei-der-80er-jahre-at-spruth-magers http://blog.eyeout.com/malerei-der-80er-jahre-at-spruth-magers

6 November 2012 – 12 January 2013

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Malerei der 80er Jahre (Painting of the ’80s) – curated by artist Albert Oehlen – makes full use of Sprüth Magers' expansive Berlin exhibition space to complement the bold expression of its subject. Despite its dauntingly broad title, this group show retains an intimacy through Oehlen’s specific and limited selection of artists. Works by Richard Artschwager, Ashley Bickerton, Malcolm Morley, Albert Oehlen, and Andreas Schulze mimic each other’s forms and color palettes, pulling the artists’ rather diverse practices and backgrounds into a cohesive dialogue – one that ultimately extends beyond time-period-specific concerns. Through the inclusion of three-dimensional objects by Artschwager, Bickerton, and Schulze, the conversation between the works expands to include the limits of painting as a medium, framing the exhibition as a window on the evolution of a still-contemporary debate. [Melissa Frost]

From EYEOUT’s column in MITTESCHÖN – December 2012

Photo credit: Courtesy Sprüth Magers, Berlin, photos: Jens Ziehe

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]]> http://files.posterous.com/user_profile_pics/1553399/EYEOUT_1.jpg http://posterous.com/users/cPQvLyUc11zgm EYEOUT the mobile art guide eyeout EYEOUT the mobile art guide Thu, 13 Dec 2012 01:28:00 -0800 Olafur Eliasson at neugerriemschneider http://blog.eyeout.com/olafur-eliasson-at-neugerriemschneider http://blog.eyeout.com/olafur-eliasson-at-neugerriemschneider

30 October 2012 – 26 January 2013

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Olafur Eliasson’s artistic practice is intertwined with the Icelandic landscape, which he uses as a vehicle to explore the individual’s physical presence through participation and relation with the natural world. His new exhibition,Volcanoes and Shelters at neugerriemschneider, sees the artist present these concerns through two photographic series. The Volcano Series and The Hut Series – both organized as large grid installations comprised of smaller prints – play with the repetition of similar imagery. This evokes a strong sense of universality and connection between the respectively eruptive, and protective, potential of their subject matter. The exhibition’s sculptural component – built from Icelandic driftwood and mirrors – shifts this sense of universality back to a very personal level. Reflecting back and forth between the mirrors, the viewer’s own physical presence becomes a key element in the work, existing somewhere between the natural and the constructed world. [Melissa Frost]

From EYEOUT’s column in MITTESCHÖN – December 2012

Photo credit: Courtesy neugerriemschneider, Berlin, exhibition views: Jens Ziehe

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