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WHAT’S ON — Art Editor’s Choice Beware, men painting overhead Three exhibitions bring figurative painting back to life under the colourful brushes of their male authors. By Anna Larkin Edouard Baribeaud, Charon ART NEWS Käthe Kollwitz Museum relocation The Kollwitz Museum is to move to a Berlin state-owned building near the Charlottenburg Palace in 2019. The new Museum of Exiles is to move into its former home on Fasanenstraße. Freiheit Berlin monument unveiled On May 11, Berlin Mayor Michael Müller unveiled a new 25 metre long monument titled Freiheit Berlin on Washington Square outside Hauptbahnhof. Müller said, “It reaffirms Berlin’s com mitment to being an open-minded and tolerant city.” Lichtenberg bans Haubrook Collector Axel Haubrook has been exhibiting art in old GDR industrial complex Fahrbereitschaft for three years, but in April received a notice from the local authority to cease all exhibitions under threat of a €500,000 fine. The current exhibition Paperwork runs to July 7. Figurative painting is not news; art history is littered with the male Masters, then came the male-dominated 20th-century invention of abstraction. In June, either by coincidence or design, Berlin has three exhibitions showing a 21st century return to the representational male brush. In the Hof that was once home to Tagesspiegel’s printing presses, Galerie Judin is showing An Old Story for Our Modern Times (through June 9). Across the gallery’s three rooms there are nine new paintings by French- German artist Edouard Baribeaud. His palette is overflowing with brightly coloured patterns. Conveyed in fabrics, wallpapers, carpets and tiles, it brings a sense of fun to everything on display. In the portraits Medusa, Narcissus and Penelope he frames each female subject in purely decorative borders, relieving them of any pretension and adding a very honest quality of the works as objects. For a body of work apparently inspired by Baribeaud’s recent travels in India, he surprisingly relies on Greek mythology for his titles. He accordingly gives Medusa a head of snakes and in the same painting seems to reference later Western art: her pose in the mirror is strongly reminiscent of Édouard Manet’s 1882 Un bar aux Folies Bergère and even more so of the work this inspired in American photographer Jeff Wall in 1979, Picture for Women. In Penthesilea, Greek mythological warrior queen Penthesilea is very literally represented by stylised female warriors on the Venetian screen at the centre of the picture, but unmistakeably Baribeaud has heavily borrowed from Matisse’s 1911 The Pink Studio. Matisse’s painting of his own studio was a painting about painting and while the topography of the two works is not identical, the lavish contemporary interior Baribeaud has added appears to make the same celebration of joy in his chosen medium of painting. At Sprüth Magers (through September 8) Georgian artist Andro Wekua has created a set of paintings somewhat less reverential towards art history and the canon of painting. A punk aesthetic and temperament permeate works such as E. Portrait and E. Portrait Pool: a mixture of painting and collage, both have the same screen-printed image of a woman at their centre, but while one has an oversized rose laid next to her, the other has been overworked by angry-looking brushstrokes in blue. A highlight is A. Portrait Spectator in which just to the centre right of a panel roughly blocked out in mauve paint is the figure of a teenage boy in jeans and t-shirt. His face and bare arms have a green-blue tint and curled around his left shoulder are three fingers of a disembodied male hand. Is it a comforting patriarchal hand of reassurance and support or something more ominous? Departing from direct representations of reality are eight new paintings by Swedish artist Jim Thorell in illicit electricity (through June 16) at Gillmeier Rech. As cited in the exhibition text, each canvas reflects the artist’s interest in “the fantasy space of video games and films”. A mixture of chalk, pastel and gesso in Red Priestess give the wispy outline of a woman in ornate costume and headdress in an indistinguishable interior. Nightship sees a spooky regal or clerical trio lined up behind an alien-looking child and surreal organ of machinery. Thorell’s light touch creates an ambiguity of unearthly chill that swerves the works just far enough away from fantasy novel illustration. n An Old Story for Our Modern Times by Edouard Baribeaud April 28 – June 9 Galerie Judin, Schöneberg | illicit electricity, Jim Thorell April 27 – June 16 Gillmeier Rech, Tiergarten | Andro Wekua April 28 – September 8 Sprüth Magers, Mitte 32 <strong>EXB</strong>ERLINER <strong>172</strong>
WHAT’S ON — Art Highlight Hello World, Revising a Collection Taking over the entirety of the Hamburger Bahnhof space, this vast exhibition consists of over 150 works taken from the Nationalgalerie’s inventory. Hello World declares the curatorial aspiration to explore what the collection might be like had “a more cosmopolitan understanding of art informed its beginnings”. A worthy and relevant premise at a time when German Performing Arts Festival Berlin THEATER UND MUSIK TANZ UND PERFORMANCE PUPPEN UND FIGUREN SITE-SPECIFIC Marjetica Potrč, Caracas: Growing Houses (2012) cultural institutions and politicians are putting the question of colonial art and artefacts firmly on the agenda. In an attempt to address problematic colonial period objects in the collection, a number of them are shown alongside works by contemporary artists. Works by Indonesian photographer Octora respond to mid-19th-century ethnographic pictures taken in Jakarta, while Balinese painter Gede Mahendra Yasa’s canvases are displayed next to 1930s paintings from his homeland. The contrast of these newer works and the old pieces effectively highlights the the earlier sitters’ and artists’ anonymity, telling of their objectification and exploitation at the time. Another one of the exhibition’s 13 chapters, titled “The Human Rights of the Eye. A Pictorial Atlas for the Marx Collection”, unfortunately fails to address the sexist bias of the collection’s assembly: it shows what appears to be a 1980s boys club love-in. Presented is not only an enormous Beuys installation alongside Cy Twombly, Julian Schnabel, Robert Rauschenberg and Andy Warhol, but also a sycophantic circle of worship with a portrait of Beuys by Warhol and a Schnabel work titled Rebirth (the Red Box) Painted After the Death of Joseph Beuys. The text explains these works were donated from a private collection, but it seems the curators haven’t done much to break up the penis party. Some of the more contemporary works in the main hall do serve the curatorial theme better: Duane Hanson’s 1967 sculpture Policeman and Rioter depicting a white police officer kicking a black man curled up on the ground is sadly ever-relevant. Mladen Stilinovic’s 1992 An artist who cannot speak English is NO artist boldly challenges Anglo- American cultural supremacism while Pierre Bismuth’s 2002 The Jungle Book Project plays with national clichés by overdubbing the animal characters’ dialogue with different languages. As much as many of the works here are interesting in their own right, for a collection founded in 1861 it’s perhaps unavoidable that rather than achieving a “cosmopolitan understanding of art”, this exhibition serves mainly as a spotlight on the sexist and racist prejudices of its earlier acquisition policies. — AL Hello World, Revising a Collection April 28 – August 26 Hamburger Bahnhof, Invalidenstraße 50-51, Mitte Queering The Gaze Nathi Dlamini, Grand Beach, Cape Town, 2017 © Zanele Muholi. Courtesy of Stevenson, Cape Town/Johannesburg and Yancey Richardson, New York © Mikael Owunna Programm & Tickets www.performingarts-festival.de 05 10 Juni 2018 Zanele Muholi + Mikael Owunna The exhibition presents select photographs of Zanele Muholi and Mikael Mouth (for L’Oréal), New York, 1986 © The Irving Penn Foundation Owunna which address the stories and identities of African and Afro-diasporic LGBTIQ*. The artists create a positive visualisation of African LGBTIQ*, in an effort to re-write a black IRVING queer history PENN that has been CENTENNIAL ignored. By connecting them with their own DER queer JAHRHUNDERTFOTOGRAF experiences, the works represent strong visuals of emancipation. 24.03.——01.07.2018 Tue 26. June 2018, 7 pm | Opening and Artist Talk Wed 27. June – Fri 27. July C/O 2018 Berlin Foundation | Wed-Sat . Amerika Haus 4-7 pm Hardenbergstr. 22–24 . 10623 Berlin Täglich / Daily 11:00–20:00 . www.co-berlin.org alpha nova + galerie futura | Am Flutgraben 3, 12435 Berlin alpha-nova-kulturwerkstatt.de boell.de
Page 1 and 2: Antisemitism Kippa scandal gone hay
Page 3 and 4: CONTENTS EXBERLINER 172 - JUNE 2018
Page 5 and 6: POLITICS REPORTAGE ZEITGEIST ART MU
Page 7 and 8: BEST OF BERLIN— June 2018 BEST GU
Page 9 and 10: ANTISEMITISM Meanwhile, Islamophobi
Page 11 and 12: ANTISEMITISM Are you saying it has
Page 13 and 14: BERLINS ONLY OPEN AIR-CINEMA SHOWIN
Page 15 and 16: SPOTLIGHT Schöneberg turf wars Sch
Page 17 and 18: CRIME Snapshot IVANA from the block
Page 19 and 20: CRIME CRIME Alex’s expansive trai
Page 21 and 22: WHAT’S ON — Exhibitions 9 decad
Page 23 and 24: WHAT’S ON — Film Reviews Starts
Page 25 and 26: WHAT’S ON — Film Previews 19),
Page 27 and 28: WHAT’S ON — Music Verbatim Hann
Page 29 and 30: WHAT’S ON — Music Preview Berli
Page 31 and 32: WHAT’S ON — Stage “How shall
Page 33: of deliberate creativity? The poiso
Page 37 and 38: WHAT’S ON — Art Reviews James T
Page 39 and 40: WHAT’S ON — Calendar THU 14 Ani
Page 41 and 42: ADVERTORIAL — The Berlin Guide Fr
Page 43 and 44: COLUMN— The Gay Berliner The gayv
Page 45 and 46: BERLIN BITES Review Tisk Warmed-ove
Page 47 and 48: ADVERTISING — The Language School
Page 49: U S B A U —G R O P I U S B A U

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