Things We Did When We Were Dead
28 April- 30 June
The paintings of Friedrich Kunath's are tragically comic. The artist’s practice revolves around the fundaments of human emotions and reconciles these feelings of anxiety, love and isolation within himself and the art world. This detachment is accentuated in Kunath's solo exhibition by a wire mesh fence that the artist has installed to surround and separate his new works on canvas and sculptures from the gallery space. The works on canvas have gestural washes of color layered with narrative illustrations that play with notions of multiple realities. This is paired with human-like sculptures with inflated heads that explore the idealisation of the gallery space.
April 27 - May 26
The fragmented and isolated background images from junk e-mail filters serve as inspirations for Australian artist Andy Boot's solo show at Croy Nielsen. Having removed the technology affectation from the e-mail pattern, Boots has chosen instead to transfer these geometric shapes onto two large floor rugs that sit within the gallery. The sterile and artificially coloured patterns that comprise the rug's content focus the viewer's attention on the aesthetic by-product of digital technology whilst remaining acutely removed from technology itself.
Galerie Eigen + Art
March 17 - May 5
“Asymmetry” is a sample from Martin Eder's newest body of work. In a series of sculptures, one wooden and wax figure and a large-scale oil painting, Eder uses the human body as a starting point for a visual analysis that is fused with a cold artificiality. The front room of Galerie Eigen + Art’s two room space is filled with six aluminium sculptures representative of human heads. The lava-like consistency of the surface, and the grotesquely unbalanced proportions set the tone of the somewhat perverse vision that runs throughout the show.
Michael Fuchs Galerie
35.000 Jahre Salat, eine Zeitreise
April 17 - June 16
Repugnant and weirdly mesmerizing, Andreas Golder's paintings boarder on surreal. The Russian artist, who often gets compared to the likes of Francis Bacon for his abstract and absurd figurative representations, consistently renders the body as grotesque. Golder's emotionally dark (but often brightly colored) gestural paintings and sculptures depict death and dismemberment with a tone that connotes humour and irony.
Michele di Menna
April 28- June 30
Aptly titled “Ooze Generator,” mud is the subject matter of the multi-media performance and installation exhibition by Michele di Menna. A performance will take place at the opening on April 27th at 20.00, in which the artist will use the solidification process of mud as a symbol for the process of transformation. This evolution is twofold as it can be a literal one (from one state of matter to another) or figurative (referencing mud's cosmetic rejuvenation purpose). The performance will leave behind a permanent installation of sculpture, video, text, collage and sound that leaves a trail of transformation from one object to the next. Remnants from the performance will stay on for the remainder of the exhibition in conjunction with a series of portraiture mud collage works by the artist.
Diane Arbus & Portrait Postitions
April 27 - June 23
Photographer Diane Arbus is known for her bold confrontation of subject matter and unabashed portrayal of the weird and unusual. Delineating from the normal romantic tropes of street photography, Arbus tends to focus her lens on those who inhabit the fringes of society with her distinctive portraits. This 30-work survey of black and white prints from throughout Arbus’ career emphasizes the role of the photographer as mediator between private life and public audience, and shows Arbus’ thoughtful articulation of this position.
The Establishment of Matters of Fact
April 27- July 22
Prompted by a 17th century debate on the role that law and experimentation play in universal truths, critical theorist and artist Alice Creischer brings this investigation into present day politics. Through a reconstruction of Boyle’s Law, a study by the famous Robert Boyle on the behaviour of gas under pressure, the artist attempts to apply this scientific approach to the production of knowledge today.
untitled, 2011 (freedom cannot be simulated)
April 28 - June 30
In typical Rikrit Tiravanija fashion, community, food and concept are seamlessly merged in this wall text meets sausage installation. Presented in both English and German on the walls of Neugerriemschneider, a quote detailing Literaturwürste (literature sausage) circles the space. This odd phrase was a concept coined by Swiss-German artist Dieter Roth, an originator in Fluxus art whose idea entailed turning a book or newspaper into a sausage-like structure. In a clear reference to this, Tiravanija will serve sausage at the opening for viewers to engage socially with the exhibition.
Peres Projects Berlin
Whatever is Clever
April 27-June 23rd
Leo Gabin is the name of a Belgium based collective made up of three individuals : Lieven Deconinck, Gaetan Begerem and Robin De Vooght. Their collaboratively collaged painting and sculptural works take their influence from user generated internet space. This technology induced public realm exists as both public and private, simultaneously representing and consuming the individual within a mass. By incorporating found objects, paint and paper into their practice, Leo Gabin’s totempole-esque objects and canvas works are gestural, chaotic and colourful. Their process accentuates their collaborative nature and the artists combine various forms of paint (lacquer, spray paint, acrylic and silkscreen) with photographic images to showcase the ability for individuals to produce a whole.
April 28-June 2
In this computer operated kinetic sculpture, elements of Noh theater, a traditional form of musical drama from Japan, are fused with an aggressively mechanical sound generated by the machine that controls it. The individual elements that comprise Tokyo based artist Ujino Muneteru's work comes from outdated and discarded everyday objects that the artist has recycled into a working apparatus. Assuming anthropomorphic identities, the characters in “DUET” not only bridge the gap between classical culture and technological advancement, but allude to an omnipresence in our functioning being.
Jenny Holzer - Endgame
Robert Elfgen - Development
Anthony McCall - Early Performance Films
April 27 - June 16
Known for her political ethos and overt representations, Jenny Holzer's new oil paintings at Spruth Magers have a slightly more opaque tone. Utilizing now declassified government documents from the Iraq and Arghanistan wars, Holzer has turned the censored blocks of information into geometric abstractions while allowing the original text to remain true. Seen simultaneously with the artists distant LED scrolling texts, the two disparate mediums produce a singular bold political stance. In a separate exhibition space, three early performance films by Anthony Macall showcase the British avant garde artists' work from the early 1970s. While Robert Elfgen’s new exhibition “Development” at Spruth Magers, organizes kinetic sculptures, found objects assemblages and collages, to emphasize a working relationship between the production and use of art in society and nature.
[Image: UJINO. duet. kinetic sound sculpture. mixed media. dimensions variable. 2012, courtesy of PSM]