Larry Gottheim, Barn Rushes
16mm film, color, silent, 35 min., 1971
Klaus Weber, Das Witzetape (The Joke Tape)
Video, audio, 30 min., 1995
Larry Gottheim’s 1971 structuralist film Barn Rushes shows—in a series of elegantly oscillating tracking shots arranged into different views—nothing more and nothing less than the image of the silhouette of a large barn, dissolving in different conditions of light, depending on the different times of the day and year. In this masterful study of stationary cinema and the frenzied movement of the cinematic image, the viewer does not know what exactly this building or barn is, but senses that through its form and its materials of wood and celluloid it is connected to another, earlier modernity, and as a result seems to be already doomed to obsolescence. This lends it a serious clarity as a moving image and implicates the cinematic experience associated with it.
According to Wikipedia, in 1670 Kurfürst Friedrich Wilhelm forbade having barns within the city area for fire safety reasons, and around 1672 he arranged the construction of twenty-seven barns in the immediate vicinity of what were then the city walls. This is how the present Scheunenviertel (Barn district) came into being. Alexanderplatz was a cattle market at the time, requiring large amounts of hay and straw. As the fire safety regulations prohibited the storage of such flammable materials within the city walls, the barns were built right outside the wall. North of what is now Dircksenstraße, which marks the wall’s approximate course before the baroque city fortification, lay extensive agricultural land. The Scheunenviertel also served as a home for the agricultural workers employed there. After the city wall was torn down, the area was developed, but kept its old name in common parlance.
None of the Berlin Scheunengassen (Barn Alleys) exist today in their historical form.
While viewing a film such as Barn Rushes, anticipation and remembrance are active both in a long-term perspective and in the intensified perceptual space of the moments between short-term memory and projection. We learn while we are watching, wondering from time to time how much longer the film might last, and we can assume with some certainty that there are other variations of the barn images that will follow. At the same time, this apparent certainty allows you to zone out and reflect on things that are perhaps stored in the vicinity of the word “barn” or its image, or perhaps have nothing at all to do with the barn but because they lie close to the emotion of the cinematic image of the barn, they take shape and emerge.
Something might come to mind that you had forgotten a long time ago, or that you did not know you had stored in your own memory. The mind, the inner memory, conjures something in relation to the inside and the outside. An inner picture, a social image or perhaps a joke. But perhaps it is not a joke at all. Or you don’t know yet that it is a joke for someone else.
In 1995, the Berlin artist Klaus Weber approached passers-by on Oranienburger Straße and Chausseestrasse in Berlin, asking them to spontaneously tell him a joke. The resulting audio piece, the so-called Witzetape (Joke Tape), sets the tone of the second part of the program that deals with Berlin and its streets, and a drastic articulation of the burst of the pre-conscious into the conscious realm.
Photo: Filmstill Barn Rushes. Credit: Arsenal – Institut für Film und Videokunst e.V.
The Near Future. An installation by Ariane Müller and Martin Ebner, 2019
Works by Judith Hopf, Christoph Keller, Henrik Olesen, Gunter Reski, Nina Rhode, Nora Schultz, Till Sperrle, Tobias Spichtig, Suse Weber, Annette Wehrmann and Florian Zeyfang.
Starship: The Near Future
LVX. Pavillon der Volksbühne Berlin
15.3.2019, 19:00–24:00
Live at Grüner Salon:
19:00 Sir Henry and Herman Hermann, 22:00 Egill Saebjörnsson
Duration of the exhibition: 16.03. – 16.06.19 Thursday-Sunday, 2pm-8pm
An installation by Ariane Müller and Martin Ebner, with works by Judith Hopf, Christoph Keller, Henrik Olesen, Gunter Reski, Nina Rhode, Nora Schultz, Till Sperrle, Tobias Spichtig, Suse Weber, Annette Wehrmann and Florian Zeyfang.
The glass pavilion next to the Volksbühne is a small star, but its light shines bright. It is the boat floating alongside the theater tanker. Between its periods as a bookstore, a ticket office, or standing empty, it was time and again run as independent exhibition spaces. Beginning in March 2019 it receives one more new coat: from now on a fixed venue of the Volksbühne named LVX and curated by Elodie Evers, work by visual artists and collectives will be exhibited regularly. As opposed to the monumentality of its surroundings, the pavilion’s transparent lightness points to the historical open architecture typical of DDR urban planning in the sixties. Thanks to its practically see-through appearance, it is a public object per se, intended primarily for passing pedestrians. It will be launched by the Berlin-based art magazine Starship with a look back to the future:
Founded in 1998 in Berlin-Mitte, Starship exists by now for more than twenty years. In its first issue, it used six key phrases to describe the environment in which it operated: “experienced self-organization”; “halfway drafted life models”; “passing economy”; “ exhibitable introspection”; “ample contacts” and “art?”
Twenty years later, Starship continues to produce the magazine, but also looks back on a long life-span as an exhibition organizer, publisher, and producer. Within the current editorial board — which includes Gerry Bibby, Nikola Dietrich, Martin Ebner, Ariane Müller, and Henrik Olesen — Ebner and Müller had originally founded the magazine, together with Hans-Christian Dany and Gunter Reski. For the exhibition at the Volksbühne Pavilion, they have visualized Starship and invited works by artists that have been in the memory or storage of the magazine for varying lengths of time. Seen in terms of theories of relativity, as material objects, they are potential kinetic energy, and therefore, together with their authors, they are the virtual operating power of Starship, which has always also consisted of publishing what it understood as the current and new within its time. The magazine Starship has existed in the near future for twenty years. In its exhibition at LVX, it takes the form of a barn. This is not only because the area around the Volksbühne is known as “Scheunenviertel” (Barn District), but also because this is the shape the Starship builders have developed for their spacecraft as the most economical and suitable for everyday life. In this form, Starship can function as a ‘magazine’ in its meaning as storage, but its parallel function as a spaceship facilitates movements in various time-relative relations. Either way, the barn and the spaceship are a kind of shell for everything they transport; its builders are the Volksbühne workshops.
Curator: Elodie Evers
Curatorial Assistance: Adela Yawitz
Construction Engineer: Sascha Gierth
Construction Manager: Simon Behringer
Technical Director: Stefan Pelz
Fabrication: Volksbühne workshops
Video Engineers: Jens Crull, Mathias Klütz
The exhibition is funded by Senatsverwaltung für Kultur und Europa. On March 22nd Starship presents a screening of Larry Gottheim’s 1971 Structural film Barn Rushes as well as Klaus Weber’s Das Witzetape (‘the Joke-tape’), which the Berliner artist made in 1995.
—
Starship. Die Nahe Zukunft
LVX. Pavillon der Volksbühne Berlin
15.3.2019, 19:00–24:00
Live im Grünen Salon:
19:00 Sir Henry und Herman Hermann, 22:00 Egill Saebjörnsson
Eine Installation von Ariane Müller und Martin Ebner, mit Arbeiten von Judith Hopf, Christoph Keller, Henrik Olesen, Gunter Reski, Nina Rhode, Nora Schultz, Till Sperrle, Tobias Spichtig, Suse Weber, Annette Wehrmann und Florian Zeyfang.
Der Glaspavillon neben der Volksbühne ist ein kleiner, aber heller Stern. Das Beiboot des Theatertankers. Mal Kasse, mal Buchladen, mal leerstehend, wurde er zwischenzeitlich immer wieder als unabhängiger Ausstellungsraum betrieben. Ab März 2019 erhält er einmal mehr ein neues Gewand: Als feste Spielstätte des Hauses mit dem Namen LVX und kuratiert von Elodie Evers, stellen hier ab sofort regelmäßig Bildende Künstler*innen und Kollektive aus. Im Gegensatz zur monumentalen Umgebung deutet die transparente Leichtigkeit des Pavillons historisch auf eine offene Architektur, die für die DDR-Stadtplanung in den sechziger Jahren typisch war. Dank seiner nahezu durchsichtigen Erscheinung ist er ein öffentliches Objekt schlechthin, dessen Ausstellungen vor allem den Passanten gewidmet sind. Den Auftakt macht die Berliner Kunstzeitschrift Starship mit einem Blick zurück nach vorn:
1998 in Berlin-Mitte gegründet, existiert sie nunmehr seit über zwanzig Jahren. In ihrer ersten Ausgabe beschrieb sie das Umfeld, in dem sie sich bewegte mit diesen Schlagwörtern: Routinierte Selbstorganisation — halb entworfene Lebensmodelle — vorbeieilende Ökonomie — ausstellbare Selbstbeobachtung — weltläufige Kontakte — Kunst?
Zwanzig Jahre später produziert Starship weiterhin Magazin-Ausgaben, blickt aber auch auf eine lange Tätigkeit als Ausstellungsorganisatorin, Verlegerin und Produzentin zurück. Aus der Gruppe der heutigen Herausgeber*innen Gerry Bibby, Nikola Dietrich, Martin Ebner, Ariane Müller und Henrik Olesen waren Martin Ebner und Ariane Müller neben Hans-Christian Dany und Gunter Reski schon an der Gründung der Zeitschrift beteiligt. Für den Pavillon der Volksbühne haben sie Starship visualisiert und Künstler*innen mit Arbeiten eingeladen, die in unterschiedlicher Dauer im Gedächtnis oder Speicher der Zeitschrift existieren. Im Sinne der Relativitätstheorie sind sie als materielle Objekte potenzielle Bewegungsenergie und damit, gemeinsam mit ihren Autor*innen, der eigentliche Antrieb von Starship, der immer auch darin bestand, zu publizieren, was sie als für ihre Zeit das Aktuelle und Neue verstanden hat.
Die Zeitschrift Starship existiert seit zwanzig Jahren in der nahen Zukunft. Im Rahmen der Ausstellung bei LVX hat sie die Gestalt einer Scheune. Dies nicht nur, weil die Gegend rund um die Volksbühne als Scheunenviertel bekannt ist, sondern auch, weil dies die Form ist, die von den Starship Konstrukteur*innen als die günstigste und alltagstauglichste Raumschiffarchitektur entwickelt wurde. In dieser Gestalt kann Starship als Speicher funktionieren, ermöglicht aber in der parallelen Funktion als Raumschiff verschiedene zeitrelative Bewegungen. In jedem Fall sind die Scheune und das Raumschiff eine Art Hülle für alles, was sie transportieren. Ihre Baumeister*innen sind die Werkstätten der Volksbühne.
Kuratorin: Elodie Evers
Kuratorische Assistenz: Adela Yawitz
Konstruktion: Sascha Gierth
Bauleitung: Simon Behringer
Techn. Direktor: Stefan Pelz
Herstellung: Werkstätten der Volksbühne
Videotechniker: Jens Crull, Mathias Klütz
Die Ausstellung wurde gefördert von der Senatsverwaltung für Kultur und Europa.
Am 22. März präsentiert Starship Larry Gottheims strukturalistischen Film Barn Rushes aus dem Jahr 1971 sowie Das Witzetape des Berliner Künstlers Klaus Weber von 1995.
VOLKSBÜHNE BERLIN
Linienstrasse 227, 10178 Berlin
Tel. +49 (0)30 240 65 777
besucherservice@volksbuehne-berlin.de
March 16, 2019, Cinema Arsenal 1, 7 pm
Potsdamer Straße 2, Berlin
Klaus Weber, Candle in the light
Rosa Barba, Setting a Performative Frame Between Fact and Fiction
Rainer Bellenbaum, Megan Francis Sullivan, Belladonna
Martin Ebner, In a Sideshow by the Sea
Guillaume Cailleau, Timo Kreuser, Bestimmt
Florian Zeyfang, F66 Geisterschiff (revisited)
Matthew Lutz-Kinoy, Fermentation and The Path of Least Resistance
Sam Williams, a fruiting body/to mate with (not clone) my own arm
Scott Caruth, Untitled
Anja Kirschner, “there is a collective to the extent that an emotion is structured”
The evening will be dedicated to Ian White’s cinema program Kopietheater 1, which took place in 2010 as part of Forum Expanded and showed works by 1 4 participants.
On March 16th contributions by former participants of Kopietheater 1 as well as newly invited artists will activate Ian White’s curatorial instructions, which explored ways in which context and the act of reading can become the material content of our experience in the auditorium.
As part of his exploration of Arsenal’s archive between 2008 and 2012, the curator and artist Ian White (1971–2013) compiled two film programs, presented performances and set up several collaborative projects with artists. He considered the cinema and theater stage spaces of possibility and politics, where the relationship between live events and moving images, production and performance, immateriality and objecthood could be renegotiated.
Taking Ian White’s work for Arsenal as an example, Ian White – Cinema as a Live Art / Becoming Object, which will take place on March 15th and 16th at Arsenal and on March 17th in the cupola hall of silent green Kulturquartier, explores the possibility of a retrospective interaction with Ian White’s site-specific, interventionist and queer curatorial and artistic practice with film and performance. At both venues, performances, events and lectures will take place offering individual approaches to Ian White’s work and exploring questions about film as a live event, performance and the possibility of re-performance. Practitioners with diverse backgrounds, whose artistic, curatorial or scholarly work focuses on the relationship between film and performance, were invited to initiate a dialogue with the practice of Ian White. Films from Arsenal’s archive, which had been chosen by Ian White for his performances and programs will be screened at Arsenal and silent green. Posters and a brochure designed by Harald Niessner which documents Ian White’s work for Arsenal between 2008 and 2012 will accompany the program. Ian White – Cinema as a Live Art / Becoming Object was curated by Anne Breimaier and is part of Reflect-Suspend-Dismantle, a year-long program around the work of Ian White, which takes place at various locations in Berlin, and is delivered in collaboration with curator Kirsty Bell, KW Institute for Contemporary Art, DAAD Artists-in-Berlin Program, and the Estate of Ian White.
The program will open with a film evening at Arsenal on 15th March.
Kirsty Bell will introduce GENTLEMEN (2003), a film by artists Oliver Payne and Nick Relph, narrated by Ian White: a portrait of London and its youth culture, both on the verge of extinction. We will then screen shorts by Karola Schlegelmilch (BAUCHLANDUNG, G 1991), Klaus Telscher (HER MONA, G 1992), Hellmuth Costard (BESONDERS WERTVOLL, FRG 1968), Peter Weiss (STUDIE IV (FRIGÖRELSE), Sweden 1954) and Robyn Brentano & Andrew Horn (CLOUD DANCE, USA/FRG 1980), which were shown as part of Ian White’s “Trauerspiel 1” performance at HAU 1 (Hebbel am Ufer) on March 13th 2012. “Trauerspiel 1”, Ian White’s only theater production, was performed together with Ingolf Sander-Lahr and comprised of five dances which alternated with five film projections. The performance resulted from Ian White’s exploration of Arsenal’s film archive and his reading of Walter Benjamin’s book “Ursprung des deutschen Trauerspiels” (The Origin of German Tragic Drama, 1925). It was performed in the framework of an evening titled “A Shared Stage of Contingent Production”, alongside a performance by Johannes Paul Raether.
The evening of March 16th at Arsenal will be dedicated to Ian White’s cinema program “Kopietheater 1”, which took place in 2010 as part of Forum Expanded and showed works by 14 participants. On March 16th contributions by former participants of “Kopietheater 1” as well as newly invited artists will activate Ian White’s curatorial instructions, which explored ways in which context and the act of reading can become the material content of our experience in the auditorium With contributions by Rosa Barba, Rainer Bellenbaum, Martin Ebner, Matthew Lutz-Kinoy, Sam Williams, Klaus Weber, Florian Zeyfang, and others.
The one-day program of March 17th at silent green is dedicated to Ian White’s film and performance program “It’s Not The Homosexual Who Is Perverse, But The Situation In Which He Lives: Art, Cinema and Context Now” which he curated in 2008/9 as Arsenal’s first DAAD film curator in residence. The program took place at Arsenal, Tanya Leighton gallery and the lab.oratory sex club. Films by Rosa von Praunheim, Danièle Huillet/Jean-Marie Straub and Richard Serra, shown originally in these different places, will be accompanied by performances by young artists, who responded to a call for participation to explore Ian White’s work. NICHT DER HOMOSEXUELLE IST PERVERS, SONDERN DIE GESELLSCHAFT IN DER ER LEBT (Rosa von Praunheim, FRG 1971): The story of Daniel, who arrives in the big city and walks through all stages in the life of a gay man in the 1970s is accompanied by a warning voice heard off-screen and extracts of interviews.
OTHON (Danièle Huillet, Jean-Marie Straub, F/FRG/I 1970) is a literal adaptation of the play by Pierre Corneille, which was first staged in 1664. The film was shot in the original locations. In five acts, it tells a story of love and power in ancient Rome. In 1968, Richard Serra filmed his own hands carrying out various actions in four shorts. The way that he staged his hands according to Rosalind Krauss is a direct reference to the medium of film, while at the same time a filmic emphasis of his own artistic potency.
Between the screenings accompanied by performances, scholars and curators will give short impromptu presentations that will reflect on Ian White’s historically informed and art critical practice. (ab)
A seminar ticket for all three events is availbale for €16 (only silent green: €12) at the Arsenal box office.
Part of the “Archive außer sich” project.
ACUD MACHT NEU
SO 3.3.19 Future Sounds Of The Happy Disenfranchised: BeAUtIes Of The NIgHT & More
Club 20h Concert
The mysterious Viennese artist noise impro band known only as BeAUtIes Of The NIgHT returns to Berlin to support their most recent release „Use Filters“ on Vienna’s qed label, as well as their brand new tape release „Youtube Classics Vol. 1“, released on Ratrights. The night will be opened by the Berlin band Van Urrgh playing loud secrets. DJ Team Zigaretten Rauchen (starship magazine etc.) will provide excellent DJ duties as well.
Line-Up:
BEaUtiES of thE NiGhT
Van Urrgh
DJ Team Zigaretten Rauchen
BEaUtiES of thE NiGhT
… strive for an intense and noisy embrace of the audience, composing its outfits rather than its song structures, songwriting or rehearsing. It seems that no matter what comes into their minds on stage, evil noise rock results. In very pointed and significant ways Beauties of the Night approach the genre-specific problem related to any kind of rock music – namely, the problem of desiring portrayal and representation, while at the same time wanting to erase both in order to achieve a breakthrough to the authentic.
Members: Christian Egger,voc/dr, Manuel Gorkiewicz, git/voc, Markus Krottendorfer, b/voc, Alexander Wolff, git/voc.
Van Urrgh
… play loud secrets
Ivar van Urk, guit, Stefan Müller, drums, Manfred Peckl, voice
DJ Team Zigaretten Rauchen
Martin Ebner, Ariane Müller
Starship ist 20 Jahre alt und wir freuen uns auf die Präsentation in Wien
Mit Arbeiten von Calla Henkel und Max Pitegoff, Martin Ebner, Michele di Menna,
Klara Liden und Eric D. Clark.
und einer Lesung von Karl Holmqvist
im Restaurant Beograd, 1040 Wien, Schikanedergasse 7
Mittwoch, 30. Jänner 2019, ab 19:00
Karl Holmqvist
I JUST WANNA GO BACK
I JUST WANNA GO BACK, BACK TO 1999 (1998… ) TAKE A RIDE TO MY OLD NEIGHBOURHOOD I JUST WANNA GO BACK, SING, „HIT ME, BABY, ONE MORE TIME“ ONE MORE TIME ONE MORE TIME ONE MORE TIME WANNA GO BACK, WANNA GO YEAH, I JUST WANNA GO BACK NIKE AIRS, ALL THAT CDS, OLD MERCEDES DRIVE ‚ROUND LISTENING TO SHADY LIKE, OH NEVER UNDER PRESSURE, OH THOSE DAYS IT WAS SO MUCH BETTER, OH FEELIN‘ COOL IN MY YOUTH, RELAXIN‘ NO MONEY, NO PROBLEM IT WAS EASY BACK THEN OOH, WISH THAT WE COULD GO BACK IN TIME, UH GOT MEMORIES OOH, MAYBE WE CAN DO IT TONIGHT TONIGHT’S THE NIGHT TONIGHT’S THE NIGHT TONIGHT’S THE NIGHT…
I JUST WANNA GO BACK, BACK TO 1999 (1998… ) TAKE A RIDE TO MY OLD NEIGHBORHOOD I JUST WANNA GO BACK, SING, „HIT ME, BABY, ONE MORE TIME“ ONE MORE TIME ONE MORE TIME ONE MORE TIME WANNA GO BACK, WANNA GO YEAH, I REMEMBER BACK HOME BEST FRIENDS, ALL NIGHT, NO PHONE NO CARES, I WAS DUMB AND SO YOUNG IN MY ROOM SINGING MICHAEL JACKSON (HEE, HEE) NEVER UNDER PRESSURE, OH THOSE DAYS IT WAS SO MUCH BETTER, OH FEELIN‘ COOL IN MY YOUTH, I’M ASKIN‘ „DOES ANYONE REMEMBER HOW WE DID IT BACK THEN?“ OOH, WISH THAT WE COULD GO BACK IN TIME, UH GOT MEMORIES OOH, MAYBE WE CAN DO IT TONIGHT TONIGHT’S THE NIGHT
I JUST WANNA GO BACK, BACK TO 1999 (1998… ) TAKE A RIDE TO MY OLD NEIGHBORHOOD I JUST WANNA GO BACK, SING, „HIT ME, BABY, ONE MORE TIME“ ONE MORE TIME ONE MORE TIME ONE MORE TIME WANNA GO BACK, WANNA GO BACK TO WHERE WE CAME FROM PLAYIN’ AIR GUITAR ON THE ROOF IN THE KITCHEN, UP ON THE TABLE LIKE WE HAD A BEAUTIFUL VIEW I WANNA GO I JUST WANNA GO BACK, BACK TO 1999 (1998… ) AH, YEAH
On Sunday January 13. 2019, please feel invited to the release of Starship No. 18, and twenty years of Starship.
With the magazine freshly back from print we host a release party with films, artwork, and music connected to this issue at VERY, an exhibition venue in Berlin, Wedding.
Sonntag, den 13.1.2019, zum Erscheinen des 18. Starship Magazins und gleichzeitig der Feier des zwanzigjährigen Bestehens von Starship veranstalten wir eine Party mit Filmen, Kunst und Musik rund um diese Ausgabe der Zeitschrift in VERY, einem Ausstellungsort in Berlin, Wedding. Wir laden dazu herzlich ein.
VERY
Starship Release: 13.1. 2019 16:00 -21:00
Badstraße 66, Hinterhof
13357 Berlin
Videoarbeiten von Klara Liden, Calla Henkel & Max Pitegoff, Michele di Menna und Martin Ebner
Eric D. Clark präsentiert die EP ”Musix’ Lost Its Colour” (2018) und das Musikvideo zum Track von Martin Ebner.
„Gibt es Communities? Gibt es Geister? Lass dich testen!”
Contributors to Starship No. 18:
Ei Arakawa, Tenzing Barshee, John Beeson, Gerry Bibby, David Bussel, Eric D. Clark, Sarah Chow, Jay Chung, Hans-Christian Dany, Timothy Davies, Nikola Dietrich, Martin Ebner, Stephanie Fezer, Christian Flamm, Simone Gilges, Julian Göthe, Martin Guttmann, Richard Hawkins, Calla Henkel, Toni Hildebrandt, Karl Holmqvist, Lisa Holzer, Stephan Janitzky, Jakob Kolding, Lars Bang Larsen, Klara Liden, Carla Lonzi, Sebastian Lütgert, Robert Meijer, Michele di Menna, Ariane Müller, Christopher Müller, Robert M. Ochshorn, Henrik Olesen, Max Pitegoff, Puppies Puppies, Gunter Reski, Mark von Schlegell, Max Schmidtlein, Vera Tollmann, Voin de Voin, Adrian Williams, Amelie von Wulffen, Florian Zeyfang
Editors: Gerry Bibby, Nikola Dietrich, Martin Ebner, Ariane Müller, Henrik Olesen
—
VERY is a temporary project space in Berlin Gesundbrunnen run by Silva Agostini, Dirk Bell, Mariechen Danz, Sarah Schönfeld, Nils Peterson, Anna Zett
—
As an entry point to the magazine we would also like to point out Michele di Menna’s exhibition: The bells put out their tongues at Beach Office, Leipziger Str. 61/62, two days earlier, on Friday, January 11th.
Für eine Art Vorschau auf diese Ausgabe wollen wir auch auf Michele di Mennas Ausstellung: The bells put out their tongues, hinweisen, die am 11. 1. 2019 um 19:00 in Beach Office, Leipziger Str. 61/62 zu sehen sein wird.
Filmscreening und Talk mit Bonnie Camplin / Starship Magazin / Record Release “Music Lost Its Colour” mit Eric D. Clark
(in englischer Sprache)
Ein psychoakustisch urbanistischer Abend mit audiovisuellen Präsentationen von Starship, Bonnie Camplin und Eric D. Clark.
“Heygate for Life” (2011), ein Film von Bonnie Camplin und Vortrag über Verbindungslinien zwischen Brion Gysin, John C. Lilly and Aug Tellez.
Eine Preview der neuesten Ausgabe der Berliner Kunstzeitschrift Starship: #18 “Gibt es Communities, gibt es Geister? Lass dich testen!” mit den Herausgebern Ariane Müller, Nikola Dietrich, Gerry Bibby, Martin Ebner und Henrik Olesen.
Videoarbeiten von Klara Liden, Calla Henkel & Max Pitegoff, Michele di Menna, Martin Ebner und eine Installation von Timothy Davies.
Eric D. Clark präsentiert die EP ”Musix’ Lost Its Colour” (2018) und das Musikvideo zum Track von Martin Ebner.
Begleitet von einem Vortrag “Etymological Deconstruction Cyclicals of Musix’ lost colour” über Aspekte der Synästhesie und einer Soundinstallation von Jasmin Matthies und Dave Carbone (Caribic Residency).
Die Veranstaltung findet in englischer Sprache statt und wir weisen darauf hin, dass die Veranstaltung gefilmt wird.
Eintritt 4,00 € / ermäßigt 2,00 €, für Mitglieder frei.
Bild: Starship #18
—
Filmscreening and Talk with Bonnie Camplin / Starship magazine / Record Release Musix’ Lost Its Colour with Eric D.Clark
A psychoacoustic urbanistic evening with audiovisual presentations by Bonnie Camplin, Starship, and Eric D. Clark.
“Heygate for Life” (2011), a film by Bonnie Camplin and a talk on points of connection between Brion Gysin, John C. Lilly and Aug Tellez.
A preview of the latest issue of the Berlin art magazine Starship: #18 “Gibt es Communities, gibt es Geister? Lass dich testen!” with the co-publishers Ariane Müller, Nikola Dietrich, Gerry Bibby, Martin Ebner, and Henrik Olesen.
Screenings of video works by Klara Liden, Calla Henkel & Max Pitegoff, Michele di Menna, Martin Ebner, and a installation by Timothy Davies.
Eric D. Clark presents the EP “Music Lost Its Colour” (2018) and the music video for the track by Martin Ebner.
Accompanied by the lecture ”Etymological Deconstruction Cyclicals of Musix’ lost colour” about aspects of synesthesia, together with a sound installation by Jasmin Matthies and Dave Carbone (Caribic Residency).
Please note that the event will take place in English and will be filmed.
Admission €4 / concessions €2. Free for members.
Exhibition Martin Ebner, Chiara Minchio
Gallery Dalston, Tokyo
Opening, November 3,2018, 6-9 p.m.
exhibition open Sat and Sun 12-7 p.m.
until Dec 2, 2018
—
In their collaborative exhibition Martin Ebner and Chiara Minchio refer to the special urban situation and structural change of the Sumida-ku district. Where not long ago plenty of small family based shops and craft producers were to be found at ground level, nowadays this space is more increasingly used as parking garage, or even as a young art gallery.
Through the „paradoxical“ reworking of a traditional japanese Kimono dress into rectangle format, Chiara Minchio’s work exemplifies the transformation of the refined everyday costume into the realms of abstraction and painting, whereas Martin Ebner’s video work examines the the psychological dimension of the private car and its changed, contemporary facial expression.
In this minimalist installation, Kimono, cars, and the Japanese house are forming an interfering triangle constellation, which will be especially visible in the night hours for the accidental passerby.
—
Martin Ebner (Austria)
Studies of Visual Media, lives in Berlin
www.martinebner.org
www.starship-magazine.org
Chiara Minchio (Italy)
Studies of Painting, lives in Berlin
www.chiaraminchio.com
Gallery Dalston
1 Chome-11-2 Tatekawa, Sumida-ku, Tōkyō-to 130-0023, Japan www.dalston.space
Martin Ebner, Drop Car
Installation video, 16 min, 2018
Sound by Theresa Patzschke / Martin Ebner
Exhibition made possible with friendly support by Austrian Cultural Forum Tokyo
1-1-20 Moto Azabu, Minato-ku
Tokyo, 106-0046 Japan
by ·
A secret base of dogs
by ·
Starship Screenings at the Pool 2 No Bum Bum
Sunday, 2.9.2018, 2.00–4.00 pm
Short films, music, bananes flambées at the end of the season,
compiled by Martin Ebner and Theresa Patzschke.
Works by Robert Ashley, Babette Mangolte & Lucinda Childs, Toshio Matsumoto, Steina, Peter Halley, Fischli/Weiss, Robert Breer.
Martin Ebner & Theresa Patzschke: Bananes flambées (fragment)
Summer 2018
TROPEZ at Sommerbad Humboldthain
Wiesenstraße 1, 13357 Berlin
ARIANE MÜLLER / VERENA KATHREIN Then I would like to make a happy end for once
Kunstverein Nürnberg – Albrecht Dürer Gesellschaft e.V.
Kressengartenstraße 2
D-90402 Nürnberg
06. Juli bis 09. September 2018
Eröffnung: Do 05. Juli 2018, 19 Uhr
Opening: Thurs July 05 2018, 7 pm
Then I would like to make a happy end for once ist die für den Kunstverein Nürnberg entstandene Ausstellung eines Dialogs zwischen der Fotografin Verena Kathrein und der bildenden Künstlerin und Autorin Ariane Müller, der vor zwei Jahren in Rom begann. Mit aus diesem Gespräch entwickelten, aber aus verschiedenen Medien kommenden Bildern spinnt sich dieser Dialog fort. Inhaltlich wird dem von der italienischen Feministin Carla Lonzi formulierten Wunsch nachgegangen, dass der Feminismus beim nächsten Mal keine Tragödie sein möge, sondern eine Komödie.
In diesem Sinn geht es in der Ausstellung vor allem um Auswege. Einen Ausweg zu finden wird entlang des Begriffs des Separatismo untersucht, mit dem der italienische Feminismus eine Bewegung angedacht hatte, alles, Kunst, Politik, Psychoanalyse etc. einfach zu verlassen, statt sich ewig mit und in diesen Feldern, die jahrhundertelang Strategien erdacht hatten, um Frauen auszuschließen, behaupten zu wollen. Diese Bewegung trifft sich mit dem Ziel, das auch die neapolitanische Komödienfigur Pulcinella bestimmt. Dieser Figur hat der italienische Philosoph Giorgio Agamben ein Buch gewidmet, das gleichfalls Ausgangspunkt der Ausstellung ist. Auch Pulcinella versucht, das Drama, in dem ihm gar kein Handlungsrahmen eingeräumt wird und in dem er nur an und mit sich teilnimmt, so schnell es geht zu verlassen. Diese Suche nach einem Ausweg ermöglicht es jedoch, dass nicht nur er sich selbst rettet, sondern auch die, die zuvor als handelnde Akteure auftraten.
Then I would like to make a happy end for once schließt sich der Suche dieser zwei Figuren an, etwas zu finden, das, wie das Lachen oder das Weinen, am äußersten Rand der Sprache liegt. Dort, wo es zu komisch wird, als dass man es sagen könnte oder zu traurig, als dass man es aussprechen kann.
Weitere Veranstaltungen
Mi 11.07.2018, 18 Uhr
Ausstellungsführung
Mi 18.07.2018, 19 Uhr
Künstlerinnengespräch mit Ariane Müller
— And She Was Like: BÄM! — Arne Schmitt / Andrzej Steinbach — aselmann — BLEK — Boris Becker — bureau Heuchel Klag — Burg Giebichenstein Kunsthochschule Halle — c8400 — Capri By Night — Carola Willbrand — Christoph GIRARDET & Matthias MÜLLER — Cosima Pitz — Damocle Edizioni — doubleBrain — Dominique Turzer — Dorothee Joachim — DS-DOCUMENTS — Edition Hundert — Elfi Seidel — ecx — Folkwang Universität der Künste — From me to you — Hörner / Antlfinger — Inge Schmidt — Jessica Twitchell — Johannes Wohnseifer — Judith Weißig — Ilka Helmig / Katrin Stangl — Katja Pratschke & Gusztáv Hámos — Kinemalismus — KüCüPü feat. Patrick Niemann, C.D. Stefanovici, Tim Dönges, Nils Jebe, Jonas Bargeld und Gäste aus den alten und neuen Bundesländern — Lutz Fritsch — Lyoudmila Milanova / Capri by Night — malenki.net — Marcus Neufanger — Max Schulze — MonoRhetorik — Moreno & Soria — Nora Schattauer — Onomatopee projects —parasitenpresse — Philipp Hamann — Richas Digest — Risotop — Schuelke fine books — Sebastian Freytag — Starship — Stefan Steiner — Stefanie Klingemann — Steffen Missmahl — St. Patrick’s Zine Library — StrzeleckiBooks — Tamara Lorenz — TBOOKS COLOGNE — Till Cremer — Totalverlag — Triangle Books — Vera Drebusch — Weinspach — Wrong Culture Editions — Zoopark Publishing —
Accompanied by works of artist-residents of Kölnischer Kunstverein:
Albrecht Fuchs — Jan Hoeft — Stefanie Klingemann — Alwin Lay — Peter Miller — Ralph Schuster
Sunday, 13:00-13:30:
Starship – Ariane Müller, Lesung aus: „Handbuch für die Reise durch Afrika“
Starship Screenings at the Pool
Sunday, 1. 7. 2018, 3pm TROPEZ, Sommerbad Humboldthain, Berlin
In the Shadow of the Sun
Derek Jarman Super 8
In the face of figurative homophobia and an inexorable linearity, Jarman’s pretty films bond color to the countertemporalities of queer living.
Rosalind Galt, Pretty: Film and the Decorative Image, Columbia University Press, 2011
Assembled by Martin Ebner and Henrik Olesen, artists living in Berlin
—
VOYAGE at TROPEZ
2. 6. – 2. 9. 2018
TROPEZ is a space for art inside the public pool Sommerbad Humboldthain initiated by Nele Heinevetter. The summer exhibition VOYAGE presents artworks realized for the public pool that take the beholders on a journey to far-away places as well as performances and event-series.
With:
Aurora Sander, Nigin Beck, Monster Chetwynd, Damjanski, The Gray Voice Ensemble, Adam Harvey, Porpentine Charity Heartscape, Jasmin İhraç, KAYA, Kinderhook & Caracas, Anastasia Kubrak, Sandra Mujinga, New Noveta, Juliana Piquero Rosenberg, Operndorf Afrika, Abdoul Kader Traoré, Raphaela Vogel, and Jan Vorisek as well as BDPs reading series Die Welt und das Schwimmbad, Creamcake’s discussion and concert-format Europool, Starship’s Screenings At The Pool, and Bob’s Pogo Bar.
TROPEZ is also a kiosk. Every day from 10am to 6pm.
Friday, May 4, 5–9pm
Saturday, May 5, 12–7pm
Sunday, May 6, 12–7pm
free entry
Miss Read: The Berlin Art Book Festival is celebrating the tenth year of its existence by bringing together 267 exhibitors and with the publishing of an anthology called Publishing Manifestos.
Founded in 2009, Miss Read is Europe’s Art Book Festival dedicated to building community and creating a public meeting place for discourse around artists’ books, conceptual publications and publishing as practice.
