English summaries March 23 - April 6

Nolan Judin Cluj Connection – 3D 07.02. 2015 – 11.04.2015 Black humour in colour By Raimar Stange Sculptures and installations created by eight artists who studied in the Romanian city of Cluj are currently presenting their work in the Judin Gallery in Berlin. A church dignitary in his white robe is lying on the ground, hit by a black meteorite. The tragic-comical sculpture “The end of the Five-Year-Plan” (2004) by Ciprian Muresan is typical for the exhibition “Cluj Connection 3D” - either one is gobsmacked at the sight of the three-dimensional works assembled here or, to a certain extent, conversely, the underlying drastic tragedy makes you laugh out loud. Muresan's sculpture is clearly a variation of Mauricio Cattelans scandalous work “La Nona Ora” (1999), showing Pope John Paul II struck by a “solid object of cosmic origin”, and replaces him with Patriarch Teoctist. The sculpture by Gabriella Vangas “No Secondary Thought” (2011), a bow and arrow made of coloured Lego bricks, is at the same time aggressive and also playful. And Micea Cantor’s series of “Future Gifts” (2014) is, at least at first, amusing: a ribbon made of marble and concrete wrapped around nothing – obviously announcing: our future will be extremely difficult… The gallery visitor is welcomed by an installation that was also created by Cantor: the “Hypothetical Geriatric Selfie” (2015). A star protruding out of a wall – a “decrepid” Soviet star – serves as a background for selfies that visitors to art exhibits increasingly enjoy taking. In a nutshell: the exhibition is fun. Nolan Judin 10785 Berlin, Potsdamer Straße 83 Tel: +49 30 39 40 48 40 Fax: +49 30 39 40 48 420 email: info@nolan-judin.de www.nolan-judin.com Opening hours: Tue - Sat 11-18 h Temporäre Halle für Kunst SERENDIPIDITY. Art between program and coincidence 21.03.2015 – 14.06.2015 Discoverers and Successors By Goschka Gawlik Linz has gained yet another programmatic art initiative. In November 2014, the Casa Roja was activated as the Temporäre Halle für Kunst (Temporary Art Hall), in which predominantly the history of Austrian art and intermittently also that of its neighbours will be exhibited three times a year. The initiators of this undertaking – curator Angela Steif and the artist Lorenz Estermann - mainly focus on abstract and concrete art over the course of the last decades up to the present day. In addition to artists of the 1980s, including Peter Kogler and Gerwald Rockenschaub, Serendipity. Art between Program and Coincidence presents works by Marc Adrian, Otto Beckmann, Herbert W. Franke, Kurt Ingerl and the progressive Czech artist Zdenék Sykora, as well as members of the young generation, such as Tina Frank and Lia. The pieces shown form a diverse mixture of art, artifacts, films and documentations of past art happenings. While motion-dominated visualization and new materials and technologies prevail in the works created by the pioneers of computer art, which aimed at transferring the viewer into the mood of a future world, the younger generation tends to focus on the erosion of the present day and their playful instinct. Tina Frank concentrates on the rhythmic presentation of music and film sequences. Lia focuses on the achievements of generative aesthetics. Her newest work, Filament Sculptures, is the result of her emancipatory way of working with 3D technology, in which the artist tricks the computer into using her software. The small objects are produced by controlled coincidence and are made of black synthetic fibres. They resemble butterflies and look real as well as fictitious – and on account of this ambiguity and the random cue they tend to implore museum exhibits rather than the future. Temporäre Halle für Kunst 4020 Linz, Anzengruberstrasse 8 Galerie Andreas Huber Carola Dertnig- ... at least I did not rob a bank 20.03.2015 – 23. 05. 2015 Why no bank robbery? By Susanne Rohringer In her latest exhibition presented at the Gallery Andreas Huber, Carola Dertnig undertakes a very personal appropriation of actual historical performances. Upon entering the gallery rooms in Vienna's fourth district, one is at first astonished to find art works by the Viennese artist. Dertnig sets out from found footage materials which are composed of the remains of film strips. They are shots of actionist Viennese happenings from the 60's. The come from the Austrian film director, Ernst Schmidt, Jr., who also partly painted them over. Some of them are fragmented and irregularly torn. Dertnig photographed these digitalized findings and further processed them as photos. The final step is a paper copy which she colours and mounts like a print on the canvas. Dertnig arranges the film fragments like a dance on the canvas. Her directness is stressed in single works by unhitching the canvas from the stretcher frame. Through the artistic stratagem of the pure canvas, Dertnig comes nearer to the performative art of the 60 's. Of particular note is a small film print in the entrance to the gallery. The one or the other theme can be seen in it which loses itself immediately in the blurred colours. The print functions like an introduction to the exhibition. Carla Dertnig's show is a successful, artistic appropriation for the Austrian culture relevant performative art of the 60's. And it is a very 'feminine' appropriation and reshaping of this theme. On 21 April, at 19.00 hours in the Schikaneder Kino, there will be a screening, chosen and curated by Carola Dertnig, of films by Ernst Schmidt, Jr. Wienfilm 1896-1976 by Ernst Schmidt Jr. Schikaneder Kino Margaretenstraße 24, 1040 Vienna Galerie Andreas Huber 1040 Vienna, Schleifmuehlgasse 6-8 Tel: +43-1-586 02 37 Fax: +43-1-586 02 37 E-mail: art@galerieandreashuber.at www.galerieandreashuber.at Opening hours: Tue-Fri 11-18, Sat 11-15 KW Institute for Contemporary Art Channa Horwitz – Counting in Eight Moving by Color 15.03.2015 – 25.05.2015 Manically precise By Raimar Stange Channa Horwitz, born 1932, died two years ago, was first truly discovered in the latter years. As a conceptual artist, where manic obsession is coupled with almost mathematical precision in her work, she appears to present an interesting alternative to a neo-conceptual art which has developed more and more into pure art on art and rejoices in the self-love of her own playful intelligence – in the current large solo exhibition by Pierre Bismuth in the Kunsthalle Vienna, for example, this precarious but pecuniary lucrative development is clearly to be read. The quality of her – at first glance – exceedingly concentrated-minimalistic art can now be seen in the Berlin art works, in light of the first comprehensive institutional solo exhibition of Channa Horwitz. Channa Horwitz's abstract notations, based on simple visual preconditions, such as the combination of the geometric forms of circle, square and oblong which, for example, are put together in well-calculated programs in the "LANGUAGE SERIES" (1964 – 2011), and in the process, similar to a language, develop their own grammar according to pre-formulated rules made by the artist. All the same, Horwitz worked for 47 years on this minimalistic-conceptual work group. Consequence or boredom? A question that comes up again and again. Mind you, it's approximately the same with her series "SONAKINATOPOKRAPHY" (1968 – 2012), with which the Californian artist occupied herself for 44 years. These "tone-movement-notations" which try to visualise rhythm, space and time on the principle of rigidly defined, but expertly varied mathematical matrices, also serve as templates for dance, sound and poetry performances. These notations mainly look like pretty, colourful scientific diagrams. The art-lifestyle magazine, "Monopol" then promptly speaks favourably about a "great aesthetic attraction" – and thus, involuntarily, puts the problem of this art in a nutshell: ultimately, it's not much more than an ambitious, but less necessary, formal-pretty aestheticism. And that's exactly why it currently fits so well into the increasingly commodified art scene that also aims at becoming de-politicised. KW Institute for Contemporary Art 10117 Berlin, Auguststraße 69 Tel: 0049 (0) 30. 24 34 59 0 Fax: 0049 (0) 30. 24 34 59 99 E-mail: info@kw-berlin.de www.kw-berlin.de Opening times: Tue - Sun 12:00 - 19:00, Thu 12:00 - 21:00

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