Exberliner issue 185, September 2019

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WHAT’S ON — Art ART NEWS James-Simon- Galerie open Opened in July, the large white angular portico by British architect David Chipperfield acts as a vast reception area for Museum Island and will also hold its own exhibitions, starting with the current show of plaster casts from the 200 year-old Gipsormerei, on until March next year. Käthe Kollwitz Prize 2020 Berlin-born Timm Ullrichs has won the €12,000 prize for visual art that this year celebrates its 60th anniversary. The artist, who in 1961 declared himself the world’s “first living work of art” will also be awarded an exhibition at Akademie der Künste in January. Ai Weiwei leaving Berlin Coinciding with the end of his visiting professorship at Berlin University of the Arts, the dissident Chinese artist and human rights activist has announced he will be leaving Berlin, his home since 2015. He will, however, keep his studio in the former Pfefferberg brewery in Prenzlauer Berg: “My studio in Berlin will always be my base; I will never give that up”. Editor’s Choice New indie institutions Free from commercial and academic restraints, these new spaces are a perfect fit for Berlin. By Anna Larkin Unlike its museum and commercial gallery siblings, the independent art institution doesn’t hold permanent collections or sell artworks. It may charge for entry, but might equally let you in for free with the help of state funding, private benefactors and corporate sponsorship. These spaces provide much needed platforms for independent thought and expression. Three new indie instis have found a perfect home in Berlin, where audiences are hungry for ever more outstanding art from unusual perspectives. Set to open on September 14 and located in a reignited former coal power station 30 minutes out of Südkreuz, E-WERK Luckenwalde is the latest to join the indie scene: following an inaugural performance art extravaganza in collaboration with London performance festival Block Universe this September 14, founders Helen Turner and Pablo Wendel promise a schedule packed with special events alongside three exhibitions a year. For their first exhibition Thames Water (Sep 14 – Mar 28), Nicolas Deshayes’ cast iron wall sculptures will also be powered by the reanimated power station with heated water running through them like radiators. The first of their annual Flag commissions has been won by Lucy Joyce. Her Electric Blue (Sep 14 – Mar 28) will be visible across Luckenwalde rooftops alongside an exhibition of new works in one of the three gallery spaces. Since opening in November 2018 The Times Art Center Berlin (TACB), a branch of China’s Guangdong Times Museum led by Artistic Director Xi Bei has positioned itself as an experimental space for contemporary Chinese art, a platform for a scene generally underrepresented in the West. At a time when Paris’s Centre Pompidou and London’s Victoria and Albert museums are opening branches in China, it’s refreshing to see the cultural tide flowing in the opposite direction. This month TACB will move to bigger premises in Mitte’s Brunnenstraße. Spread over two floors, the new gallery has 300sqm of exhibition space and will open with the group show Neither Black/ Red/Yellow Nor Woman (Sep 28 – Jan 4). Nineteen artists will reflect on a conceptual reenactment of the works of three pioneer female East Asian artists: Theresa Hak Kyung Cha (1951-82), Pan Yuliang (1895-1977) and Trinh T. Minh-ha (b. 1952). Funded by the benefaction of an art-collecting German-Swiss couple, KINDL Center for Contemporary Art took over the former Berliner Kindl brewery in Neukölln in 2016. Taking in the 1920s machine house, brew house, tower and boiler house, it has been sensitively converted into three floors of pristine galleries and an atmospheric café set among the enormous copper brewing pots. Very importantly, in the summer there is also a beer garden. Steered by Artistic Director Andreas Fiedler who has curated shows by the likes of Shirana Shahbazi, Roman Signer and Haegue Yang, KINDL has ushered in over 30,000 visitors in its first year. This September it will open three shows: Bettina Pousttchi’s Panorama (Sep 1 – May 10) consists of eight oversized photos offering alternative views from the boiler house window front, artists Natalie Czech / Friederike Feldmann (Sep 1 – Feb 2) explore the graphic qualities of writing and Bjørn Melhus’ video installations in Free Update (Sep 15 – Feb 16) deconstruct strategies of mass media. Only time will tell if these new spaces will stay the course, but experimental art, sustainable energy, and beer gardens sound very Berlin indeed. T E-WERK Luckenwalde Rudolf-Breitscheid-Str. 73, Luckenwalde | Times Art Center Brunnenstr. 9, Mitte | KINDL – Center for Contemporary Art Am Sudhaus 3, Neukölln Jens Ziehe 36 EXBERLINER 185
WHAT’S ON — Art Pipilotti Rist Reviews Garden of Earthly Delights Through Dec 1 This group show has contemporary works which hail from all over the world, but is named after its delightfully strange 16th century Hieronymus Bosch painting. Under the theme of humanity’s urge to garden and quests to either control or enjoy nature’s power are 17 rooms full of large-scale, multimedia installations. From Renato Leotta’s creative collaboration with the seasons “Notte Di San Lorenzo”, which enlists falling lemons as a sculptor, to Yayoi Kusama’s huge, dissociative dotscape “With All My Love for the Tulips, I Pray Forever”, artists approach the topic with attitudes that range from the scientific to the surreal. Some take dubious routes in their quest to connect to the Earth, like Zheng Bo, whose multimedia installation “Pteridophilia 1-4” features nude men literally making love to ferns. A more successful attempt at sensuality is Pipilotti Rist’s immersive film “Homo Sapiens Sapiens”, where viewers lie on their backs to see an alternate garden of Eden, complete with two Eves. Continuing the Bau’s recent renaissance under director Stephanie Rosenthal, this show makes for an entertaining journey into the wild. — Ellen Lang Gropius Bau, Mitte Space is the Place Through Sep 15 Named after the 1970s Afrofuturist film written by and starring musician, composer and poet Sun Ra, you might expect this group show of 23 artists to be about Afrofuturism. Sadly it’s not a contemporary position on a movement characterised by artists from the African diaspora nor a historic flight through the cosmic surreal of Afrofuturism. The exhibits instead fall into two categories: big minimalist monochrome statements resembling props in dystopian films like Alien and sculptures, drawings and paintings reminiscent of a more colourful and hopeful sci-fi. Works like Bjørn Melhus’s “Critical System Alert” play audio of fraught moments from sci-fi films from a tangle of black wires, screens and speakers whereas Jared Theis’s “Cuties for Space Invaders 1- 6” is an assemblage of what could be the crocheted cousins of Day of the Triffids. A great nostalgia trip if you’re a Trekkie, but with 90 percent of the works by white men, it feels like a narrow view. Even captain Kirk had more than one person of colour on his crew. — AL Künstlerhaus Bethanien, Kreuzberg The Blue Room Through Sep 21 Berlin-based Hungarian artist duo Gergely László and Péter Rákosi aka Tehnica Schweiz present an installation of film and ceramics in DECAD’s small shop front gallery. The film is a gentle tracking shot of the interior of an 18th century synagogue in Tata, Hungary, set to a rousing soundtrack of original music nodding to both ancient Hebrew and Greek melodies. Moving between large white plaster casts of classical sculptures and reliefs, it documents the last days of the synagogue as home to this 19th century collection from the Hungarian Museum of Fine Arts. Gradually the space is turned into a workshop for students who make small ceramic versions of the sculptures. We see these displayed in the gallery, laid out on a two tiered Wedgewood Blue table reminiscent of the synagogue’s own interior architecture. In a meta flourish the film creates an infinity mirror effect with a shot of the ceramics in front of the casts. Finally, museum technicians move in to dismantle the plaster casts and pack them into crates. Elegantly juggling neoclassicism with themes of replication and reproduction, this exhibition is a neat reminder that nothing we see is truly new. — AL DECAD, Kreuzberg Kirchner Richter Burgert 11. 09. — 03. 11. 2019 Ernst Ludwig Kirchner, Dodo mit japanischem Schirm, 1909 © Olbricht Collection, Photo Jana Ebert / Gerhard Richter, Mao, 1968 © Gerhard Richter, 2019 / Jonas Burgert, Streiter, 2009 © Courtesy of the artist & Blain | Southern, Photo Lepkowski Studios Auguststraße 68, 10117 Berlin Mi-Mo, 12-18 Uhr me-berlin.com „I‘VE NEVER SEEN IMPROV LIKE THAT... I HAD GOOSEBUMPS.“ Herb Greene Media partner Berlin in English since 2002 SEPTEMBER 2019 37
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Page 5 and 6: Love ‘em or hate ‘em, these whe
Page 7 and 8: BEST OF BERLIN Stress relief BEST H
Page 9 and 10: E-MOBILITY Berliner Festspiele “W
Page 11 and 12: E-MOBILITY TIER The local ‘animal
Page 13 and 14: E-MOBILITY Berliner Festspiele #imm
Page 15 and 16: SKATING IN BERLIN reportage From Ca
Page 17 and 18: You moved from the Bremen skateboar
Page 19 and 20: SKATING IN BERLIN fun-oriented spor
Page 21 and 22: INTERNATIONAL LITERATURE FESTIVAL p
Page 23 and 24: INTERNATIONAL LITERATURE FESTIVAL B
Page 25 and 26: WHAT’S ON — Interview For a whi
Page 27 and 28: WHAT’S ON — Film Previews Downb
Page 29 and 30: WHAT’S ON — Film Csaba Aknay Co
Page 31 and 32: WHAT’S ON — Music Verbatim Tips
Page 33 and 34: WHAT’S ON — Music Courtesy of T
Page 35 and 36: WHAT’S ON — Stage Nanova Photog
Page 37: GIG LISTINGS Your guide to concerts
Page 41 and 42: Preview BERLIN ART WEEK WHAT’S ON
Page 43 and 44: 18 WED Human Rights Film Festival B
Page 45 and 46: ADVERTORIAL — The Berlin Guide Be
Page 47 and 48: ADVERTORIAL — The Berlin Guide MO
Page 49 and 50: COLUMN— Astrology planets The Ber
Page 51 and 52: Funded by centenary exhibition 6 se

Exberliner issue 185, September 2019

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