ARTIVISM is an international exhibition concept taking place in Berlin for the first time.
It mainly exhibits digital prints of original artworks, presented like the so-called Exquisite Corpse. Thus, one of the main concerns of SHIM ECO is fulfilled and only a very small CO2 footprint is left behind.
ARTIVISM comprises three exhibitions: Berlin, Bridgeport (New York/USA) and ARTSY and features works by international artists of different generations.
NFTs by the Romanian-French artist Alexandra Mas will be presented for the first time. A selection of the award-winning art films from Artivism “The Dream” (Sorano and Venice, 2022) by Nana Dix, Maria Marshall and Bernard Garo & Marc Décosterd can also be re-watched here.
For the finissage 30 June, the Luxembourg-Russian artist Liza Sterligova-Diederich will engrave live tattoos.
ARTIVISM is sustainable and affordable for all participants. The project is supported by SHIM Art Network, SHIM ECO and the art and style magazine THE EDGE.

*SHIM Art Network is an art exhibition company that fills the gaps in the art world, providing exhibition opportunities to artists, curators, galleries, universities, and other organizations and affiliations with exhibition space for their projects on- and off-line. SHIM Art Network cooperates with the e-commerce platform ARTSY.
*SHIM ECO is an artist group founded in 2021 in the USA and part of the SHIM Art Network. Their central concern is climate change, the environment and social justice.
*ARTIVISM is an expression and result of the SHIM ECO art group.

More information you find here: https://www.mastassini.com/artivism; https://www.artsy.net/partner/shim-art-network https://www.shhhim.com/about

Some artists from the exhibition: Nana Dix, Roz Delacour, Martin Dobbeck, Bernard Garo & Marc Décosterd, Anton Laiko, Sebastian Layral, Mina Lindschau, Maria Marshall, Alexandra Mas, Haralampi G. Oroschakoff, Dodi Reifenberg, Andreas Wolf, Henri Kirsch, Daruuschh.

Drawing installation:

“Mindless obedience is the worst crime”.
Sampsa Indrén, Finland, Henrik Jacob, Germany, Mika Karhu, Finland

German Tatami 01#2023
Die Schattenseite der Sonne
Thomas Whittaker Kidd und Cornelia Renz
Drawings

Artist statement Thomas Whittaker Kidd:

My gesture across the paper is a visual paragraph; an action producing a reaction continuously connected.
This trouble tinted reaction is caressed yielding a transformation just as a Zen tweeker would instigate transcendence.

Thomas Whittaker Kidd is a Los Angeles based artist, poet and performance artist, born in Fall River, Massachusetts, who exhibits paintings, drawings, sculptures and installations internationally. Kidd has exhibited in Los Angeles at ACME., Angles Gallery, Carl Berg Gallery, Richard Heller Gallery, bG Gallery, and 0-0 LA . Kidd’s exhibitions in New York were at The Hole, Shrine, Patrick Parrish Gallery and Lombard Freid Projects. He also exhibited at Western Exhibitions in Chicago, L’INCONNUE, Montreal, Galleri Golsa in Oslo, ARTAe Galerie, Leipzig  and Gnes B. Galerie Boutique, Tokyo.Kidd was curator of the following exhibitions in Los Angeles, The Unruly and the Humorous, at Angles Gallery, Created Worlds and Altered Histories at JK Gallery and Dirty Minds: Life On Earth at BG Gallery. He has lectured on his artwork in Los Angeles at UCLA, Loyola Marymount University, and at California Polytechnic State University, San Luis Obispo, CA and San Jose State University, San Jose, CA.  His work was included in To Live and Paint in LA, at the Torrance Art Museum in Torrance, CA.

>>> https://www.thomaswhittakerkidd.com

Cornelia Renz develops her work as an artistic reflection on political, social and cultural phenomena, or as she describes it: “(…) art is for me a performative process of cognition”. She examines existing visual material from a wide variety of media and uses it as a template for her reverse glass drawings. In the process, her biography serves as impetus and material. The collage is formative for Renz artistic practice. Since her stay in Israel, she has expanded her original two-dimensional process by combining her drawings, found footage, and wall works into spatial installations. Increasingly, she incorporates the work of other artists into her installations. Curating is part of her artistic practice.

She was a fellow of the Kunstfonds Bonn, the Art Cube Artists’ Studios Jerusalem, the Künstlerhaus Schloss Balmoral and the Else-Heiliger-Fonds; winner of the Schering Prize for Visual Arts, the Marion Ermer Prize and the Schüngel Prize for Graphic Arts. She has had solo exhibitions at Museum Montanelli, Prague, Kunstverein Konstanz, Kunsthalle Memmingen, Kunsthaus Erfurt, Nolde Stiftung Berlin, Kunsthalle Göppingen, gallery Goff+Rosenthal in NYC and gallery Anita Beckers, Frankfurt, among others. She participated in group shows in galleries and museums in Paris, Tel Aviv, Jerusalem, Prague, New Orleans, Bregenz, and throughout Germany.

>>> https://www.corneliarenz.info

Art Exhibition by António Lago and Live audiovisual performance by Pratyay Raha and Tiny Domingos

Eröffnung mit LIVE PERFORMANCE

An artistic research project on representation in public space of society in transition

Silke Koch’s artistic works explore, biographically motivated, how society and its utopias are represented in public to private space. She uses various media such as photography, video, sculpture and interventions in public space. All works are based on site-specific research. In the artistic realization Silke Koch creates spaces of possibility to question and expand traditional ideas and perceptions.

For the solo exhibition at Spor Klübü, the artist is showing two groups of works. One series shows images from her unpublished photo archive from 1994/95, depicting an adolescent generation playfully appropriating public spaces and status symbols in the midst of political turmoil and social change, and, as a counterpart, modern architectural facades from the 1980s.

Another series of photographs researches “in the today” in public space for its stock of signs, utopias, and notions of a society that has already blessed the temporal. It examines the promise and expectations with the social change from 1989 onwards of an “even” better world. In the process, ruptures are not left out. The analog camera focuses on spaces – seemingly unnoticed situations far away from large scenes of representation of society.

www.silkekoch.de

Sponsored by the Federal Government Commissioner for Culture and Media

NFTs from the collection @AWahllos

Pilvi Ojala

My interest is how things are installed. For example, stage design, illusions, artificial and “authentic” are themes that intrigue my mind. In addition to that I am as well interested in museums. Such as art museums, historical museums and biological, scientific, theatre and movie museums, not to forget the museums that show any kind of curiosities.

As a person I am curious. As an Artist I shift from technique and media to another which might seem to be a disability to concentrate. I paint, I draw, I make animation and I build three-dimensional works. Although for me the basic motive as an artis is to collect all kinds of visual material, to edit it and to compose a visual piece of art. I am like a collector who observes, discovers, and digests the world around me.

For me Art is a medium to combine various interests of mine and therefore a way to create a kind of personal Wunderkammer. It is a way to express myself and an attempt to try to place myself in the World and to try to understand it.

Toolbox Kabinett: Jakob Roepke

Antoine Lortie questions the role of the artist and his future in a society of leisure, virtual interactions, surveillance, privatization of the imaginary, the grip of algorithms and polarizations.Anchored in a context where creation in contemporary art is mostly dependent on public funding, he examines the pitfalls that the ideological and normative shackles underlying the regulation of competitions can represent for the blossoming and circulation of new practices, and underlines the need for each new generation of creators to invent its own codes and to demand new contracts.
Nothing could be more natural for this post-digital artist than to be accompanied by the muse Basiops, the princesses Institutiona and Politica and his avatar Agrophobe for this first solo exhibition in Europe. It will be an opportunity to observe how he diverts the driving force of the main diktats within public funding networks: decolonialism, social justice, climate responsibility (among others) to set in motion a whole machinery made up of appropriations of vessels and characters that seem to come out of Japanese cartoons, 3D objets trouvés, recycled environments from video games and virtual realities. A teeming digital arsenal, nourished by an alchemical humus made up of refusal letters and real cases of censorship, which we will not be surprised to find in painting and sculpture. Disciplines whose codes he handles with as much dexterity and predilection as his mouse and keyboard, and which the artist uses to depict hybrid and transmaterial collective daily lives, marked by the growing interpenetration of virtual and physical worlds.
An original approach and a force of proposition, driven by philosophical reflections on cybernetics and posthumanism and a desire for exchange relayed by a series of diagrams, which seek to clear paths towards freedom, lightness and futurity. Tiny Domingos
With Tales from the DxCOLONIZER, ROSALUX returns to its initial vocation as a platform for reflection on contemporary creation. The format of the exhibition will be evolving. Online and offline activities will be developed during the exhibition. Please consult our website and social networks to follow them.

With friendly support of the Québec Government Office in Berlin

Ute Lindner and Patrick Huber.

touché is linked by the proximity in terms of location and content of the operators of both exhibition venues, which have been showing international art side by side for 15 years. The theme of touch is taken up in two ways: On the one hand, through the exchange between each other and, on the other hand, through the technique that connects the exhibits, for they are photograms in the extended sense.

Kronenboden shows Ute Lindner’s long-term exposures of museum walls on which paintings have left their shadows over 30 years. These are combined with Patrick Huber’s shamelessly impudent photograms of lingerie on granny’s damask fabrics using the cyanotype process. The used fabrics, of which one’s own dreams are symbolically made, are humorously reinterpreted here.

COPYRIGHTberlin shows Karen Stuke’s “Handygramme” from the 1990s, in which the light of the displays exposed the photographic paper. They are complemented by works from the lockdown period, the “Italogrammes” from the series Finding Italy in My Kitchen, an attempt to escape the prescribed prison via the kitchen.

ROSALUX, The Berlin-based art space presents
:
PAUL WIERSBINSKI
Werkzeuge und Mythen / Tools and myths
Lecture/performance about several projects around AI:

• “A portrait of the AI as a young Cyber Oracle” – Interactive Installation and Opera 2019
  The work aims to make the creation of an artificial intelligence and its functioning accessible to a broad public. It deals with the reproduction of prejudices in programming, the loss of control in a world monitored by machines and the utopia of consulting an omniscient Big Data oracle. The audience creates texts and music through the programme, to which an opera singer improvises.
• “Home Machine” Interactive Installation 2020
  The emotionally charged concept of “Heimat” is confronted with supposedly purely rational technology. In current German party manifestos, literature and scientific texts, an artificial intelligence is trained to interpret our cultural data on the themes of home and belonging and to tell us what these concepts might actually mean in an uncertain future.
• “Remote Rules and Rituals” Performance 2021.
  How can the rituals of theatre be used to represent the rituality of spiritual machines and make predictions about an uncertain future? The audience was invited to actively participate, to explore the home and to charge everyday objects with new meanings without leaving their own four walls.
• “Dichotomy” Installation 2021
  The installation visualises the connections between pattern recognition and concepts dealing with hopes and fears associated with artificial intelligence.

Paul Wiersbinski. Born in Halle (Saale). Studied at the HfbK Städelschule (Frankfurt am Main). His projects move in the field of tension between art, science and technology, touching on discourses on artificial intelligence, entomology or cybernetics, referencing the history of performance and video art, using a playful and improvised approach. Paul Wiersbinski often builds technical prototypes that are tried out by the public and go through various phases of continuous development.

Exhibitions: “RECORD > AGAIN!”, ZKM Karlsruhe (2009), “The indifference of Wisdom”, NURTUREart New York City (2013), “Risk Society”, MOCA Taipei (2013), “Showcase”, SPACE London (2018), “Offline Browser“, Hong-Gah Museum Taiwan (2018-2019), “Datami”, BOZAR Bruessels (2019-2020) / festivals &screenings: SALT Beyoğlu Istanbul (2012), Luminato Festival Toronto (2014), European Media Arts Festival, Osnabrück (2010, 2014, 2015, 2017), “IN/OUT“ Festival of the National Gallery Amman (2019) and received various prices and grands, such as support from Hauptstadtkulturfonds Berlin.

Image credits: Dichotomy, 2021, Credit: ACC Galerie Weimar / Claus

T r a n s l o c a l i s t

…translocality is not simply a scientific concept of framing a new understanding of place, space, and locality. Translocality is created, lived, and experienced by millions of people in everyday life. Writer Pamela Weintraub reflected on life in a globalized world: living in transition, between cultures, we are discovering who we are: Home may not be within a family or even a single culture, but between cultures and communities and constantly on the move.” (Simon Alexander Peth, What is Translocality?, 2014)

Interrelations between various locations, art and nature this exhibition that gathers melancholic photography, illustrations, collages, assemblages and paintings pulling to an utopic vision and understanding. Utopia can be looked as a final destination. Not as a distant mirage, but as local gathering place, a way station and sanctuary in which to share ideas and experiences. (Hans Ulrich Obrist, My Not -Manifesto for Art, Society, and Mondialite, 2019)

Realization of movement – changing locations – feeling of the immensity. During the deepest inspiration vibrancy, just before capturing an image or a drawing, a painting or an illustration or just cutting collages, I would fully feel my personal migrations and changing moods from malaise to blissful, fulfilled and cathartic state.

I often relate to nature and always bond with it. Call it romanticism, but it is a necessity. Allow me to introduce these hashtags: #darkecology #collapsology #ecopsychology .

It is obvious that the journey of the forever refugee took place after I moved with my family from wartime Bosnia to Croatia when I was 6 years old. Already at that early age in Bosnia, I used to take ballpoint pens and draw flowers and bears on books that were anyway just laying on our home shelf. The therapeutic spirit of art strengthened me a lot even during the time when I felt depressed in high school after seeing the death of my roommate before my eyes.

After finishing MA in History of Art (Zagreb, 2014) I moved to Portugal, then Spain, to finally end up in Germany, where I´ve been living for last 4 years. Immersing myself in fairy tales reminded me of the importance of storytelling, because they represent the core of all relationships. In that imaginary world, I always liked to fantasize and even dream. 

Most of the works from the exhibition were created during period of moving while volunteering or working, and carrying it with me all the time led me to this act. 

Krik krak krout, now this story`s out. Krik krak krun, now this story`s done / such ending of the story is traditional to western Africa.  

Kristijan Jerkovic aka Kirke (b. 1988) will be happy to boast about his volunteering in Spanish village, whose contribution to the illustration for the Kamishibai Theater supported gender equality in a local school. An eco-psychological fairy tale made with illustrations by Sara Gortan, Kontići – The Guardian of the Forest, was published through Interreg project between Slovenia and Croatia to support the Kontija, a protected forest in Croatia, through which an educational cycling path passes to point out protected plants and animals. He is currently working on a comic about antiheroes and low profile people and his third fairy tale to highlight the problem of waste water. But among the most valuable selfless achievements, he would definitely point out that he planted about 50 trees. Good amount of them were planted on Sitio de Pomar on Madeira after the island was hit by a terrible fire in 2016. Let everything he does be for the better future. May he happily turn into dust and return to the Earth what is hers, which is all of us.

Tiia Matikainen

A human figure shrouded in a protective web of plants and soil is at the core of Tiia Matikainen’s latest sculptures. Forms of roots and sand dunes sculpt on clay surface assume the form of strange woodland inhabitants. For the artist these sculptures are guardian figures, a protective layer between human and the surrounding world.

The forest and Finnish mythology related to that are important inspirations for the artistic work of Matikainen. One of the most interesting is the idea of being hidden by the forest. Spirits may lure those moving about there, to become lost in an absurd world and vanish from the view of others.

Being hidden by the forest represents not only fear but also security and connection to nature, for the forest and its flora protect us and all life on our planet.
– To be one with the forest so that finally you feel that you have been lost in its depths.
Tiia Matikainen (b. 1975, Kitee, Finland) is a sculptor and ceramics artist. She completed The Master of Arts degree at University of Art and Design Helsinki in 2002, and presently lives and works in Mänttä.

Further information: http://www.tiiamatikainen.com

Tiia Matikainen

Eine menschliche Figur, die von einem schützenden Netz aus Pflanzen und Erde umhüllt ist, steht im Mittelpunkt der neuesten Skulpturen von Tiia Matikainen. Formen von Wurzeln und Sanddünen, die auf Tonoberflächen gemeißelt sind, nehmen die Gestalt von seltsamen Waldbewohnern an. Für die Künstlerin sind diese Skulpturen Wächterfiguren, eine schützende Schicht zwischen dem Menschen und der umgebenden Welt.

Der Wald und die damit verbundene finnische Mythologie sind wichtige Inspirationen für die künstlerische Arbeit von Matikainen. Eine der interessantesten ist die Vorstellung, vom Wald versteckt zu werden. Geister können diejenigen, die sich dort bewegen, dazu verlocken, sich in einer absurden Welt zu verlieren und aus dem Blickfeld der anderen zu verschwinden.

Das Verstecktsein im Wald steht nicht nur für Angst, sondern auch für Sicherheit und Verbundenheit mit der Natur, denn der Wald und seine Pflanzenwelt schützen uns und alles Leben auf unserem Planeten.
– Eins zu sein mit dem Wald, so dass man schließlich das Gefühl hat, sich in seinen Tiefen verloren zu haben.
Tiia Matikainen (geb. 1975, Kitee, Finnland) ist Bildhauerin und Keramikerin. Sie schloss 2002 den Master of Arts an der Universität für Kunst und Design Helsinki ab und lebt und arbeitet derzeit in Mänttä.

Weitere Informationen: http://www.tiiamatikainen.com

Toolbox Kabinett: Anna-Maria Balov (Berlin)

Kunst Studio 16 has been active since 2020. We are a project space that is mostly used as an exhibition space as well as a studio and darkroom.

The exhibition space opened in October 2021, within an exchange project where the Romanian artist Andrei Ispas was invited.

Araiké Da Silva and Severin Messenbrink are actively working on site, offering workshops in analogue photography and painting/drawing.

Our focus is the district of Wedding, in particular the Soldiner Kiez, which we would like to help shape as a cultural place with artistic exchange for everyone.

Exhibition as part of the workshop series “BESONDERmüll. Art. Ecology. Urbanism”.
The exhibition shows children’s works: Installations, collages, animation, prints and much more, which
explore urban life through artistic means.
The workshop on Saturday invites visitors to develop and contribute their own ideas on dealing with the urban environment.

The group exhibition MATTER OF FLUX brings together three art projects by WhiteFeather Hunter, Lyndsey Walsh and Shu Lea Cheang with Ewen Chardronnet. The exhibited artworks critically reflect about nature, matter and health of female and nonbinary bodies through artistic and scientific research – exploring the use of menstrual serum for tissue culture, proposing new modes of care within the context of female and nonbinary health and discussing both traditional forms and new possibilities of reproduction. In context of the group exhibition, Art Laboratory Berlin will also realise a festival of the same title in June 2023 that seeks to initiate a wider network of and for female and nonbinary artists, scholars and cultural players in art, science and technology.

Art Laboratory Berlin
Prinzenallee 34, 13359 Berlin

Dates and opening hours

Opening: 26 May 2023, 8 pm
Running Time: 27 May – 9 July 2023
Thu – Sun, 2 – 6 pm

MATTER OF FLUX Festival

(in collaboration with FEMeeting)
Panel Discussions, Workshops, Reading Groups and many more activities from and for women/ FLINTA* in art, science and technology
15 – 18 June 2023
More information HERE!

The project The Witch in the Lab Coat (since 2019) by artist and researcher WhiteFeather Hunter is a PhD research-creation and scientific research project (in progress) that explores the intersection of feminist witchcraft and tissue engineering through the development of a body- and performance-based laboratory practice. It is a work in progress until mid-2023, currently conducted at SymbioticA International Centre of Excellence in Biological Art at the University of Western Australia. The Witch in the Lab Coat includes the sub-project, Mooncalf, original research by WhiteFeather, which is a scientific and cultural exploration of the development of menstrual fluid for use in tissue culture, as well as multipotent stem cell isolation from menstrual blood. This research was featured by Merck/ Sigma-Aldrich for International Day of Women and Girls in Science 2021, as part of their #nextgreatimpossible series. WhiteFeather is fortunate to be supported in her research by UWA supervisors Ionat Zurr, Stuart Hodgetts, and Tarsh Bates and the external supervisor François-Joseph Lapointe. Some  related experiments were conducted at Pelling Lab with the support of Andrew Pelling.

Lyndsey Walsh’s project Self-Care explores the personal journey of the artist and reconciliation with their BRCA1 gene mutation diagnosis and the implications of preventative care measures on their sense of body image and notions of self-care. Self-Care is a device that imagines a reality where an individual can take on the caring responsibilities of their cancer, either before they have developed cancer or after it has been removed from their body. Through this device, the narrative of cancer as a bodily enemy is transformed into a narrative about caring systems. The individual/ wearer of the device is given an opportunity to learn about their cancer as an extension of their own self by adopting it with the use of a new technoscientific prosthesis. Self-Care is an artistic attempt to reckon with ruptures in identity caused by the rising use of genetic diagnostics in medicine. Using the artist’s own body, Self-Care weaves a narrative about health, gender, and identity that seeks to resist the confines of the medical gaze. The work features a specially designed chest binder housing living breast cancer cells, which allows the artist to take on the caring responsibilities of their cancer before it emerges in their body. Through this device, the artist explores caring systems and reclaims the potential violence done onto the breasts as liberation through nonbinary gender expression.

Shu Lea Cheang together with Ewen Chardronnet will show the project UNBORN0x9. The art project questions the development of foetuses in artificial wombs outside of the body (ectogenesis) and the cyborg future of parenting. The project explores the role of obstetric science in the increasingly technological experience of human reproduction, speculating on new types of bonding that may emerge with artificial wombs. Here, pregnancy is integrated into a high-tech vision of the body as a biological component of a cybernetic communication system. In collaboration with the echOpen fablab who engages in the development of open source and low cost echo-stethoscope with smartphone application, UNBORN0X9, forks the prototype of a creative tool and hacks the (for humans) inaudible ultrasonic waves in a sonic conversion that allows the interpretation of an audiovisual and ultrasonic emotional score by performers and musicians. UNBORN0x9 is a Future Baby Production, initiated by Shu Lea Cheang and Ewen Chardronnet along numerous collaborators, represents the common group effort to raise issues such as the possible impact of low cost echo-stethoscopy on Global Health issues, questions of access to healthcare and motherhood, ectogenesis and the technicization of reproduction, and the back-and-forth between science-fiction imaginary and science in the making at large.

More information: https://artlaboratory-berlin.org/exhibitions/matter-of-flux/

CLASH! Otamatone, Cello, Toy Piano & Vocals

New music & world premieres

by and with Manuel Fischer-Dieskau (cello, otamatone), Fidan Aghayeva-Edler (toy piano), Margarete Huber (vocals)

Two toy instruments meet cello and voice

With music by John Cage, premieres by Fischer-Dieskau and Huber, trio improvisations, and early music

Thursday 19 October 8 pm – Free admission

Venue: COPYRIGHTberlin, Schwedenstraße 16, 13357 Berlin

Info: www.copyrightberlin.de

The concert is Part 1 of Clash & Motion – Two concerts with New Music for unusual and ordinary instruments, voices and objects

(Part 2 on 28.10. MOTION: “Ensemble Cooperativa” plays New Music by Morton Feldman, Willem Schulz, Angelika Höger, and Margarete Huber for cello, violin, voice, piano, sewing machine, kinetic objects, electronics, and tape. // Ensemble Cooperativa: Edith Murasova, mezzo-soprano / Christina Gürtler, voice / Djamilija Keberlinskaja, piano / Willem Schulz, cello / Susanne Schulz, violin, kinetic objects / Peter Schwieger, synthesizer, sewing machine, objects / Katharina König, accordion, laptop. // Accompanied by a projection by Karen Stuke. Venue: Kronenboden, Schwedenstraße 16, 13357 Berlin)

MOTION:

Ensemble Cooperativa

plays Contemporary Music by Morton Feldman, Willem Schulz, Angelika Höger, and Margarete Huber

and improvisations open to the public

for cello, violin, voice, accordion, piano, sewing machine, kinetic objects, synthesizer, and tape

Ensemble Cooperativa:

Edith Murasova mezzo-soprano / Christina Gürtler voice / Djamilija Keberlinskaja piano / Willem Schulz cello / Susanne Schulz violin, kinetic objects / Peter Schwieger synthesizer, sewing machine, objects / Katharina König accordion, laptop.

This will be accompanied by a projection by Karen Stuke.

Saturday 28 October 8 pm – Free admission

Venue: Kronenboden, Schwedenstraße 16 13357 Berlin

The concert is part 2 of “Clash & Motion” – Two concerts with New Music for unusual and ordinary instruments, vocals and objects.

(Part 1 is on 19.10. “CLASH! Otamatone, Cello, Toy piano & Vocals”: New music & world premieres by and with Manuel Fischer-Dieskau (cello, Otamatone), Fidan Aghayeva-Edler (toy piano), Margarete Huber (vocals). Two toy instruments meet cello and voice. With music by John Cage, premieres by Fischer-Dieskau and Huber, trio improvisations, and early music. Thursday 19 October 8 pm – Free admission. Venue: COPYRIGHTberlin, Schwedenstraße 16, 13357 Berlin)

Archive Exhibitions 2003-2022:
https://goodold.koloniewedding.de/sporkluebue/index.html

An exhibition of drawings from Jake Sherwood. All of these drawings were painted in Berlin, on the street or in a market, during the last 3 years. Some of the sitters are reading a poem.

Charcoal, pastel, acrylic ink, recycled plastic, tape, graphite, turmeric, hairspray.

There are performances that stop. Disappointments that meets us – new.

There will be a live music performance during the opening. Free Entry.

Live music Performer: joris rose
Performance time: Friday 25th of August, 7pm
Curator(s): Araiké Treccani Da Silva, Michelle o’Higgins

For the first time in Berlin
Phantom Gallery – Medium Drawing
Phantom Gallery presents international artists living in Germany who work with the medium of drawing.
Phantom Gallery was purchased in 2022 in New York and is an ongoing project of the Dead Artists Society (2006 – ∞). Pop-up exhibitions have been organized in collaboration with other galleries, curators and exhibition venues.
The exhibition at Berlin’s Künstlerkolonie Wedding was initiated in cooperation with Blah-Blah Project Raum, Berlin + Drawing Radio, Woltersdorf.

Opening: Friday, August 25, 6–9pm

Soldiner Str. 103 , 13359 Berlin

Opening hours:

Sat. August 26, 1–4pm

Sun. August 27, 1–4pm

Artists: 

Catherine Lorent https://catherinelorent.net

Ricarda Hoop https://ricardahoop.de/

Frank Diersch http://frank-diersch.de/

Marcus Neufanger https://vandergrintengalerie.com/artists/marcus-neufanger/

Michael Kalmbach  http://michaelkalmbach.de

MishMash http://www.mishmash.ru

Dead Artists Society – Jackson Pollock 
http://juliakissina.com/artworks/dead-artists-society/

Laura Bruce   https://www.laura-bruce.com

Julia Kissina http://juliakissina.com 

Klaus Killisch www.klaus-killisch.de

Andrey Klassen https://www.andreyklassen.com

Anton Laiko http://www.cargocollective.com/antonlaiko

Kata Unger  http://www.kata-unger.com/

Raymond Pettibon

Drawing Radio: https://radio-woltersdorf.org/redaktion-drawing-radio/

Image Title: @Klaus Killisch

Niina Räty (painting and drawing), Maija Helasvuo (wood sculptures)

25.8.-23.9.2023
Opening hours: Wed-Sat 3pm-7pm

Closed on bank holidays

Maija Helasvuo

My sculptures shown in the exhibition were created in memory of my deceased relatives.
In the old Finnish belief, the bird acts as a messenger between the living and the dead. So the connection to the afterlife is always there.

Fig.: From Spring to Autum, 2021, Photo: Jussi Tiainen

Niina Räty

I have a dog who brings joy and structure to my life. She trusts me, eagerly keeps me company, and makes ordinary days more meaningful. She is considered my property. Animals are traded, they are milked, sheared and slaughtered, they are made to carry and compete. Is it even possible to build a relationship with an animal without seeking benefits?

Toolbox Cabinet

In the cabinet, two music archaeologists will introduce themselves.
One from Finland and one from Berlin:
Dr. Arnd Adje Both
Dr. Riitta Rainio
An archaeomusicological installation consisting of a virtual reality video and ceramic sculptures of instrumentalists will be presented.

The virtual reality videos bring to life the soundscape at the rock painting site of Siliävuori, Finland, about 5,000 years ago. The painted rock cliff rising directly from the lake responds to drumming and singing with echoes. Rock painting sites with images of animals, humans, boats and even drummers are believed to have been ritual sites for prehistoric hunter-fisher-gatherers.
The virtual reality reconstruction of Silävuori was made in collaboration between archaeologists, musicologists and cognitive scientists from the University of Helsinki, using terrestrial and aerial laser scans, spherical photography, spatial impulse response recordings, studio recordings and convolution. The work was part of Dr. Riitta Rainio’s project ”Acoustics and auditory culture at hunter-gatherer rock art sites in Northern Europe, Siberia and North America” funded by the Academy of Finland (2018–2023).