Connecting War and the Arts
The exhibition “FORMAT€150” will be shown 2-17 June 2012 at ARTraum Berlin (in the studio of artist JoDD). It’s concept is quite simple: all some 200 works of the 23 contributing artists are 18 x 24 cms and will be offered for 150.- € each. Surely, there will be enough to discover. Amongst others, textile artist Jan Bejšovec and Bernard Föll will take part with new works; both artists contributed to the Wartist exhibition “Zeitenwende”, too.
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We are pleased to announce another exhibition at ARD-Hauptstadtstudio, Berlin: “Die Prosa der Ereignisse” (The Prose ov Events), to be opened on 7 February 2012. Several cycles and other individual works by Jens Kloppmann will form a cross-section of his work. Both the materials and techniques used are manifold and reach from video installations and retouched photos to plaster casts and fretworks, to name a few. Ulrich Deppendorf, Head of ARD-Hauptstadtstudio, will open the exhibition that is curated by Martin Bayer . This exhibition, too, will be kindly supported by Deutsche Atlantische Gesellschaft e.V. and SONY Deutschland.
Continue reading “Wartist presents: “Jens Kloppmann – The Prose of Events” at ARD-Hauptstadtstudio”
Since years, Berlin-based artist Jens Kloppmann is addressing issues of visual reality and collective memory that he is realising with many different media. Today, I am proud to present to you an edition that he has manufactured exclusively for Wartist and which will solely be offered via Wartist. His work “Trümmerfrau”1 does not only bring back memories of Germany’s old currency, but is a strong statement of humility and not the least of German identity.
We are proud to present textile works by Jan Bejšovec on the premises of the both centrally located and well-visited ARD-Hauptstadtstudio on 5 July 2011.1 The solo show “Konfliktstoff Deutschland”2 is a wide selection of the Berlin-based artist’s works, including new ones such as the “Reichsstadtpalast”3. The exhibition is curated by Martin Bayer (wartist.org). On the occasion of the opening, ARD correspondent Christian Thiels will moderate an artist’s talk.
On 5 May 2011, Kunstraum Richard Sorge will open the solo show “schlachten” with works by Jens Kloppmann. The exhibits presented address war, perception and commemoration by various ways and different materials. On show from 8 May onwards (and thus parallel to the anniversary of unconditional surrender of German forces in World War II), the exhibition will be supported by special events such as an artist’s talk on 26 May, moderated by Martin Bayer (wartist.org).
With the exhibition “Images of an Era” (5 February – 15 May 2011), Bucerius Kunst Forum in Hamburg presents a detailed view into Gerhard Richter’s works of the 1960s and 1970s. In February 1961, Richter fled from Eastern Germany to the West. He depicted his “new world” in large-sized pictures, often based on photos. Gerhard Richter, born in 1932 and today one of the world’s most recognised contemporary artists, has consistently addressed the Nazi period in Germany, but also war and technology. His work “XL 513” from 1964 expresses tremendous dynamics and power.
As recently announced at Wartist, from 17 January until 3 March 2011, Simon Menner presents “Images from the Secret STASI Archives”1 as part of the exhibition series “Rendezvous mit Kunst” (meeting with art) at Berlin’s restaurant Diekmann. The exhibition of 26 authentic photographs is part of a bigger cycle that the artist selected from images he was being provided by the “Bundesbeauftragten für die Unterlagen des Staatssicherheitsdienstes der ehemaligen Deutschen Demokratischen Republik” (BStU)2.
Continue reading “Simon Menner: Images from the STASI Secret Archives (Berlin)”
From 17 January to 3 March 2011, Simon Menner presents “Images from the Secret STASI Archives”1 within the framework of “Rendezvous mit Kunst” (meeting with art) at Berlin’s restaurant Diekmann. Also in this country, surveillance by images and video is increasingly becoming ubiquitous. But what does “Big Brother” really see? How banal is the “gaze of evil” of an oppressive regime, and how obvious is its terror?
