On Friday, May 1st, all 47 participating galleries will host vernissages for Gallery Weekend shows. All fourty-seven of them. How to survive that visual information overload, you ask? Our favorite Berlin blog Stil in Berlin asked us to collect some suggestions. We say: stick to the artists you truly wish to see, to the people you truly wish to support or to the places you truly wish to discover. Don’t get distracted! We’ve gathered tips for three extraordinary art locations that complement the official Gallery Weekend program and will make your weekend more memorable with stunning views and atmospheres, guaranteed.Ngorongoro grounds in Weißensee © Heiko LaschitzkiArtist Weekend: NgorongoroWhile Gallery Weekend is mainly about, well, the galleries, a group of Berlin based artists has gathered to stage an event that is all about the artists: Artist Weekend. On the 5.000 sqm complex of a former GDR semiconductor plant in Weißensee, you will be able to stumble upon artworks by more than 100 artists in their ‚natural habitat’: the studio. The show Ngorongoro is not based on a specific concept, but rather on the phenomenon of artists’ networks: It is all about peer-groups and recommendations between them. Well, why not make this very common practice official for once. The exhibition is initiated by the artists Christian Achenbach, Jonas Burgert, Zhivago Duncan, Andreas Golder, John Isaacs and David Nicholson (yes, only guys), and it will feature up and coming younger artists side by side with local heros and internationally renowned ones such as Anri Sala, Bruce Nauman or Berlinde de Bruyckere.The show’s name, Ngorongoro, derives from a collapsed volcanic crater in Tanzania, listed as a natural and cultural World Heritage Site due to its unique and diverse biosphere, undisturbed by humans. Paralleling this diversity, Ngorongoro could be called an undisturbed artistic project (undisturbed by the market? By influences of curators and gallerists and institutions? You decide), and this can be felt thoroughly in overwhelming enthusiasm and surprising ideas: instead of just handing in a smaller piece, as originally planned, John Bock will actually contribute a large installation and deliver one of his rare performances on site, for example, while Gregor Schneider found the exhibition grounds to be the perfect site to bury one of his older artworks, feeling it was about time that it vanished from the face of the Earth. Rumor has it the eclectic site has inspired many other stunners. This flourishing artistic biosphere sounds like a real adventure trail.Opening: Thursday 30 April 2015, 14:00 – midnight Exhibition: Friday – Sunday, 10:00 – midnight Lehderstrasse 34, 13086 Berlin-WeißenseeDetail of Ekaterina Burlyga’s work at Hinter den Vögeln, Niche BerlinHinter den Vögeln, Niche Berlin: Ekaterina Burlyga – EWIGSpeaking of Gregor Schneider and burial grounds: One of his former students, Berlin based artist Ekaterina Burlyga, is presented in her first solo show in our very own project space on a graveyard in Wedding. Yes, this might be self-adulation, but her show is actually one we would recommend even if we weren’t part of it: In the former flower pavilion with its large glass windows, Burlyga is showing a stunning wall installation of slowly descending used oil, which vibrates from sinus waves deriving from speakers behind it. The waves influence our perception: By using them, Burlyga imitates a strategy sadly used in advertising to put people in a consumer mood. The artist often references unspeakable or invisible phenomena that complement the realm of existing discourse. Used oil, by the way, is more interesting than it sounds, as it bears residues of its former usage in it and therefore becomes almost unpredictable as an artistic material. Research and experiment are thus a huge part of Burlyga’s artistic practice. By confronting the crude past of used oil with its actual beauty, Burlyga catapults 17th-century vanitas artworks into our times. The beautiful cemetery around the pavilion functions as a subtle subtext for subjects such as life cycles, eternity and, ultimately, disuse and death. For the show, the artist conceived the edition EWIG (20+2AP). This eternity comes in a bottle.Friday 17:00–20:00, Saturday 12:00–20:00, Sunday by appointment (firstname.lastname@example.org) St. Elisabeth Kirchhof, Wollankstrasse 66, 13359 Berlin WeddingCourtyard of Fahrbereitschaft, studio spaces © Niche Berlin InstagramFahrbereitschaft: Larry WeekendIf you haven’t been to the Fahrbereitschaft yet and were looking for a good excuse to make it all the way out to Lichtenberg, this is a prime opportunity. On the wonderfully absurd grounds of the former secret GDR traffic division that is now home to the notorious Haubrok Collection and numerous studio spaces, all doors will be open during Gallery Weekend, starting in the evening of Wednesday, the 29th of April. You will be able to see works by Florian Pumhösl or David Claerbout, for example, as well as other works from the Haubrok foundation. Around it, more than a dozen open studios will grant sneak peaks into what is being produced on the grounds (which is not only contemporary art). One initiative shall be highlighted here: The studio of Stefan Behlau and Dennis Loesch will be hosting Larry Weekend, an ironic wink at Gallery Weekend. Similar to Ngorongoro, their groupshow will gather works by like-minded artists, but on a much more intimate scale, concentrated more on the artistic practice itself. It will feature Anne Ahrens, Dennis Loesch, Fresh White, Marlene Stark, Robert Lazzarini, Sarah Bohn, Stefan Behlau and Stephen Suckale, some of which were Loesch’s fellow students at Städelschule. And if you’re still hesitating: The almost brutally colourful Vietnamese Dong Xuan Center is also worth a visit and right next door, another one of those stunning places. Mitte can wait.Opening: Wednesday, 29 April 2015, 19:00–22:00 Exhibition: Friday – Sunday, 14:00–19:00 Herzbergstrasse 40-43, 10365 Berlin-Lichtenbergmore
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Berlin-based artist Dirk Bell is staying with us at Hinter den Vögeln until April 4th. His show INVIII TONIGHTINGALES turns the former flower shop on the graveyard into an enchanted refuge. An experience that verges the lines of absence and presence, Bell’s exhibition takes us on a nostalgic journey towards a recollection of future memories. When walking into Elisabeth Kirchhof II, the first thing one notices is a giant red neon sign on the roof flashing the word ETERNITY (2014) while inside Bell’s staple logo LOVE (2012) bathes the room in red light.Dirk Bell You Don’t Know Me (2015)Next to You Don’t Know Me (2015), a portrait of Klaus Nomi painted on a lakeside a group of metal characters in pairs of N’s and 8’s (N8, 2015), spread on the wall like a flock of birds spelling night and infinity simultaneously. A multi-lingual pun (night, notte, nuit, nacht, noche) like the cry of a nightingale, imitating sounds that know no language, explains Bell.Dirk Bell Thumb Sucker (2014)When entering the space, one is intrigued by the sound coming from the back room; it is a recording that Bell did of street musician Alice Phoebe Lou, interrupted by airplane sounds – and the latest release of his label PanIKEArth. The sounds are part of interactive computer game titled GAYME (ongoing). It consists of an enclosed imaginary space, in which one navigates towards different objects that correspond to existing artworks by Dirk Bell. Each object triggers different sounds. In the same room, there’s a massive grey shelf spelling the word idiot, where the vinyl that appears in the game sits. The IDIOT (2014), as someone who is alienated from society, occupying an internal space, confronts Smile (2014), a painted white skull on rainbow-colored paper. On the side walls hang three t-shirts with Bell’s drawing of the Thumb Sucker (2014) printed on them. The game, in its new-age aesthetic, along with the entire room, suggests a pre-scientific human sensibility that saw the world flat before proving it was round. At the same time, the room reminds one of a time where we lived outside of time: childhood. As one goes downstairs, black light makes further t-shirts glow in the dark.Dirk Bell WARTEZIMMER (2013)Flickering neon light penetrate the basement, furnished with cubes that feature the word WARTEZIMMER (2013), which could also be read as WARTEN IMMER. This means a “waiting room”, where we could “wait forever”. Again the visitor find himself confronted with the recurring themes of the show: the finite and the infinite, the mundane and transcendent, and the flexibility of language: The photographs WARTENDER (2014) refer to Kafka’s story of The Gate, where the subject waits only for a destiny of waiting. It is also reminiscent of the basement itself, which is approximately at the same level as those who are buried in the cemetery. Dirk Bell Dust to Dust (2015)Two small automatic vacuum cleaners, titled …Dust to Dust (2015), with an animal-like presence, mirror two pixel worms or lines featuring in the projected video 1+1=8:8 (1996). These lines appear like two lovers who are incessantly looking but never find each other.Find us every Saturday from 2 to 7 pm – and on appointment.DIRK BELL - INVIII TONIGHTINGALES (20.2.-4.4.)HINTER DEN VÖGELN - NICHE BERLIN Wollankstrasse 66, 13359 Weddingmore
RECEPTION OF RECEPTION is an exhibition with a high entertainment value – rethinking the notorious enigmatic exhibition texts one’s so often confronted within the contemporary art world. Jonathan VanDyke: Still from “The Long Glance” (© Jonathan VanDyke) It goes without saying: creating and presenting art always implies a relation to the audience and the audience’s expectations. But the group show Reception of Reception at Kleine Humboldt Galerie focuses on the curatorial challenge of giving information on an exhibition that makes people understand – without suppressing their own perception. The team of the student-run exhibition space at Humboldt University invited artists whose practice deals with today’s reception of art. One of them is the artist group BANK from London (split up in 2003). Starting in 1998, BANK “corrected” the press releases of galleries such as Gagosian or Friedrich Petzel, suggested better formulations, rated the texts on a scale from 1-10 and returned them to the authors. The results are entertaining to read: BANK points out grammatically wrong sentences and pseudo-intellectual expressions. This confronts the viewers or readers with their own use of press releases – especially the notorious consultation of the text prior to the examination of the exhibited objects themselves. The show also includes more subtle and personal contributions, such as Falke Pisano’s video Chillida (Forms & Feelings) and Jonathan VanDyke’s performance The Long Glance. Other works reflect the selfie culture and event hype in the art scene: visitors who – unfortunately – didn’t make it to New York to see Kara Walker’s show Marvelous Sugar Baby, can shoot a photograph with a “selfie generator” and pretend to have been there. Dan Perjovschi’s drawings caricature the art market while Bárbara Wagner and Benjamin de Burca’s photo series Edificio recife shows the actual moment of perception by people not familiar with the art world – reading them makes you want to laugh and cry at the same time, as the outsider’s views are so comprehensible and highlight the height of the ivory tower called art world. Dan Perjovschi: “Moma Entrance” (© Dan Perjovschi) The curator of the exhibition Reception of Reception, art history student Sebastian Peter, not only chose humorous and thoughtful positions, he also renounced an exhaustive contextualization of the exhibits. There are rarely any wall texts or explanations. Instead, visitors entering the atrium are asked to read the info text only after having had a look at the art. A conversation table with two chairs invites to engage in discussions or at least address questions to the participating students. Other than regular press releases with their pseudo-objective tone, giving universal statements about the art and the artists they describe, the brochure of Reception of Reception contains texts by the artists themselves. The show is not about specific answers, but mature visitors. The positions do not give ultimate solutions, but observe. In the end they themselves arise from the art world they try to analyze. by Judith Lau RECEPTION OF RECEPTION at Kleine-Humboldt-Galerie with BANK, Benjamin de Burca & Bárbara Wagner, Patrice Peck, Dan Perjovschi, Falke Pisano, Jonathan VanDyke Atrium of the main building of Humboldt-Universität zu Berlin, Unter den Linden 6, 10099 Berlin-Mitte Running till 31st January, 2015; Finissage: 29th January, 2015, 7pmmore
Hurry up! You have one more day to see One step ahead, moving backwards at LEAP. It’s an inspiring group show curated by km temporär’s curators Lennart Wolff and Elisa R. Linn especially if one takes into account that LEAP does not only focus on digital media arts but also performance based formats. Fabio Marco Pirovino, Drawing (Scribble) VIII, 2014, Luca Pozzi, Wall String #8, 2013 & Tina Kohlmann, Mattak, 2014, Copyright IG Photography, 2014 As the title indicates the leitmotiv is the perception of temporality, more particular time embodied in the artwork and it’s underlying gesture. The result is surprising compilation of 12 distinctive artistic approaches dealing directly or indirectly with time in reaction to the acceleration of social life and market dynamics. (We would have never expected to discover rice-houses by Wolfgang Laib at LEAP!) Tiril Hasselknippe, 29 Palms (earth grid) 1-5, 2014, Copyright IG Photography, 2014 Wether films, sculptures, installations or paintings, the exhibits couldn’t be more different from each other. But of course we have some favorite discoveries. some »traditional« such as Tina Kohlmann’s abstract hand-made rug Mattak (2014), which entailed one month of work, or Tiril Hasselknippe’s rigid yet fragile sculptures, for which she retreated to the desert to pour the plastic/sand objects; some technically more complex like Adriana Ramis e-book The Return Trip is Never the Same (After Trajets de Fourmis et Retours au Nid by Victor Cornetz), whichcontains texts she created from redrawing the pathways of ants onto the Android Swype keyboard in every available language. Adriana Ramić, The Return Trip is Never the Same (After Trajets de Fourmis et Retours au Nid by Victor Cornetz),2014, Copyright IG Photography, 2014 The role of language and communication is the other, important motive of this show that reflects on the process of curating itself: One step ahead, moving backwards results from a months-long conversation Elisa and Lennart had with curator Hicham Khalidi where they start from the idea, that the gesture is the first obvious narrative and indicator of time, to then get wrapped up in discussions full of misunderstandings, detours and interesting conclusions. A 14-page documentation is available on-site and is by itself a good reason to go and see the show! One step ahead moving backwards runs till tonight, November 22nd atLEAPLeipziger Str 6310117 Berlinmore
„Madame-Redakteur Rüdiger von Naso und die Fotografin Silke Weinsheimer folgten Niche an Orte, an denen jungen Künstlern eine erste Chance gegeben wird, und zu einer Architektur, die man erst einmal entdecken muss. Und waren hingerissen von Charme, Intelligenz und (Insider-)Wissen der drei, die perfekt moderierten, auf jede Frage eine Antwort wussten und anregende Begegnungen ermöglichten. Spielerisch und mit Humor“
Madame (Juli 2010) "Lieber ein bißchen intimer"
„If you want to explore galleries like Cruise&Callas, Streetart in Kreuzberg, the Haubrok Collection on Strausberger Platz or the Arno Brandelhuber house, Niche's tours are tailored to fit your knowledge, schedule and special requests “
BMW Magazin (April 2012)
„If you want to find your way around Berlin's ever growing landscape of off-spaces, alternative locations and architectural pecularities, Niche Art & Architecture Tours is for you.“
Sleek (Winter 2010/2011) "Berlin People"
„Die Drei-Frauen-Firma Niche bietet Rundgänge durch Berliner Galerien an. Sogar auf Italienisch“
ZEITMagazin (Januar 2010) "Heiter bis Glücklich“
„Stefanie Gerke, Nele Heinevetter and Katharina Beckmann had a winning idea when they started their art and architecture tours of Berlin.“
Lufthansa Magazin (Oktober 2010)
„Die Berliner Kunstszene jenseits des Mainstreams steckt voller ungeborgener Schätze. Sie zu entdecken und die Begeisterung dafür zu teilen, darum geht es bei Niche.“
Zitty (Dezember 2009) "Pulsmesser"
„Les trois jeunes Berlinoises de Niche proposent un tour à la découverte des endroits où sont exposés de jeunes artistes - encore - méconnus.“
Le Figaro Magazin (Mai 2011) "Berlin, arts majeurs"
„We just wanted to thank you for taking us on the tour yesterday, we both really enjoyed it. I learned a lot about the DDR styles and architectural details thanks to your research and information.“
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