Archive: Art in Berlin
Why do these massive piles of rubble fill up art spaces?

Why do these massive piles of rubble fill up art spaces?

's Main Hall, 2010, Installation View, Secession, Vienna, Austria
Lara AlmarceguiConstruction Rubble of Secession’s Main Hall, 2010, Installation View, Secession, Vienna, Austria

Spanish born Lara Almarcegui who currently lives in Rotterdam has always had a deep curiosity for examining processes of contemporary transformation that are brought about by the social, political and economic transformations in society. Since the early 1990s, Lara has examined urban areas that most artists choose not focus on such as rubble from construction materials and stuff from wastelands. Lara carefully catalogs and highlights each location’s inclination towards entropy or lack of order and predictability.

Her projects vary based on the intention of the message. For instance, she developed a guide to the wastelands in Amsterdam consisting of materials used to establish the wasteland in its raw form. Lara has managed to consolidate a reputation for herself as a respectable and revered artist in the global artist realm. In 2013, her work allowed her to act as Spain’s only representative in the 55th Venice Biennial.

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Throwback: New visual language in the field of photography

Throwback: New visual language in the field of photography

Thomas Struth - Pantheon, Rome, 1990

Thomas Struth - Pantheon, Rome, 1990
Thomas StruthPantheon, Rome, 1990

Thomas Struth is one of the most critically acclaimed contemporary photographers of our time. He is renowned for his black and white photographs of cities such as Düsseldorf and New York, as well as his family portraits. The artist who lives in Dusseldorf acquired his inspiration for his series of Museum Photographs while he was residing in Naples and Rome, where he discovered that there was a connection between paintings of art and religion and how these paintings connect audiences to their spirituality. The Museum Photographs, which was showcased at the Art Institute of Chicago, Chicago, marshaled in a new visual language in the field of photography.

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Beautiful sculptures made entirely from soap

Beautiful sculptures made entirely from soap

Meekyoung Shin - Crouching Aphrodite, 2002
Meekyoung ShinCrouching Aphrodite, 2002

Meekyoung Shin, a South Korean sculptor, became popular for her Translation series, using soap as her medium of art. Trained in the tradition of European sculpture, her statuettes are made factoring in the Western and Eastern style of relief. Her works are usually made from palm oil, a vegetarian soap.

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Poems instead of advertisement: On 23 billboards in Berlin

Poems instead of advertisement: On 23 billboards in Berlin

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Robert Montgomery who was featured on here earlier for the Istanbul Biennale shows his largest billboard project in Berlin right now.

Montgomery’s billboards are poetic pieces of text and always using the strong contrasts of a white letters on a black background. He captures spots that are usually occupied by advertising, trying to create a surprising artistic situation.

In total, the project Echoes of Voices in the High Towers, organized by Neue Berliner Räume, will display 23 billboards, two illuminated poem sculptures as well as artistic interventions in several print publications like EXBERLINER, Sleek, Päng!, Um[laut] and others, as well as an exhibition of his drawings.

Echoes of Voices in the High Towers runs until October 2012.

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robert-montgomery-echoes-of-voices-in-the-high-towers-moeckernstrasse

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No permission: This photographer enters subway tunnels

No permission: This photographer enters subway tunnels

Timo Stammberger - Underground #01 (Budapest), 2011

Timo Stammberger - Underground Landscapes - Stockholm
Timo Stammberger – Underground Landscapes, Stockholm

We just had a chance to meet up with Timo Stammberger (b. 1980), a photographer from Berlin. He is the first to document subway tunnels in his extensive series Underground Landscapes that shows the underground architecture from major cities like New York, Lisbon, Budapest, Berlin and others.

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Sexy and scary photos from the 1980s in the NYC subway

Sexy and scary photos from the 1980s in the NYC subway

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Bruce Davidson - Subway Series (New York)
Bruce DavidsonSubway, 1980

New York, at the beginning of the 1980s. A gloomy urban sprawl between hedonism and abyss. The subway, in its dilapidated state, is a hazardous place. Fires in tunnels, muggings, murder and drug trafficking are the order of the day; overcrowded wagons, frequent delays, graffiti and dirt everywhere. The journey with public transport is a nightmare. The photographer Bruce Davidson (b. 1933) boards the train, immerses himself in the raging, rattling hustle and bustle of the city and portraits the passengers between uniformity and diversity, anonymity and intimacy, depression and inspiration. Whether lovers, musicians, homeless people, tourists or business people – in the subway and its passengers he finds the perfect metaphor for life in the metropolis with its aggression and ugliness, its hope and humanity.

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Out of this world: Volcanic ash pyramids fill up museums

Out of this world: Volcanic ash pyramids fill up museums

Magdalena Jetelová - Domestication of Pyramids - Museum of Applied Arts Vienna
Magdalena JetelováDomestication of Pyramids, Museum of Applied Arts Vienna, Austria

Domestication of Pyramids by Magdalena Jetelová are pyramid-sculptures, covered by volcanic ashes, and have been shown at the Museum of Applied Arts / Vienna, Martin-Gropius-Bau / Berlin, National Museum of Contemporary Art / Warsaw, Irish Museum of Modern Art / Dublin, Forum Kunst Rottweil and other art spaces.

The Viennese Museum of Applied Arts is a typical example of Ringstrasse architecture: an elegant, richly ornamented Neo-Renaissance building with an inner peristyle hall and galleries. Upon entering the building, the visitor finds himself/herself, surprisingly, in a darkened, curved space: soon he/she discovers that he/she is standing under large, slanted scaffolding. He/she instinctively walks to the right, where there is a way out. When he/she returns to the daylight, he/she finds himself/herself in the Museum hall, standing next to a thirteen-meter high tilted wall covered in red silica sand. The wall slices the inner space of the Museum diagonally across two floors, slashing razor-like through pillars and balustrades up to the ceiling. The wall, tilted at a 45° angle and with a base thirty-five meters long, is a fragment of one side of a pyramid which could continue in the exterior of the Museum building. A space on a scale which greatly exceeds the size of the host building is inserted into the museum’s interior. Despite its dimensions, it is only a fragment of a whole known to us, which in an imaginary way continues beyond the borders of the Museum building and which we can mentally reconstruct as a pyramid.

Domestication primarily stems from the fact that we can already imagine it based on the fragment we have at our disposal because we have become well acquainted with its form in our minds. On the entirely specific level, domestication—taming—can be seen in the possibility of walking around the pyramid from all sides, from the inside as well as from the outside; taking a look at its base from the gallery above, experiencing it from a perspective that people were to be denied. This, however, does not change anything about the fact that the essence of the form is mental, not physical. The entire pyramid is only realized through thought.

The intersection of the eastern archetypal monument—the pyramid—and its absolute geometry with‘humanized’ western architecture, its small details and scale, raises questions concerning the nature of our culture, whereby our stable coordinates which anchor us in the world become relative. Other pyramids have been constructed at various locations in Europe, but only in Vienna is the pyramid physically accessible both from the inside and outside; in Warsaw and Berlin the surface of the structure can be observed from the outside, which, because it is covered with volcanic ashes, evokes the feeling of a full compact mass, poured into the form of a heap. The confrontation of the eastern monument and European cultural history takes place differently each time, and yet on the same principle. The domestication of absolute architecture takes place in our minds.

Magdalena Jetelová - Domestication of Pyramids - Museum of Applied Arts Vienna
Magdalena JetelováDomestication of Pyramids, Museum of Applied Arts Vienna, Austria

Magdalena Jetelová - Domestication of Pyramids - Museum of Applied Arts Vienna
Magdalena JetelováDomestication of Pyramids, Museum of Applied Arts Vienna, Austria

Magdalena Jetelová - Domestication of Pyramids
Magdalena JetelováDomestication of Pyramids

Magdalena Jetelová - Domestication of Pyramids
Magdalena JetelováDomestication of Pyramids

Magdalena Jetelová - Domestication of Pyramids
Magdalena JetelováDomestication of Pyramids

Magdalena Jetelová - Domestication of Pyramids
Magdalena JetelováDomestication of Pyramids, Forumkunst Rottweil, Rottweil, Germany

Magdalena Jetelová - Domestication of Pyramids
Magdalena JetelováDomestication of Pyramids


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