‘Forbidden Fruit’ – Stephanie Sarley’s The Fruits of Art

‘Forbidden Fruit’
– Stephanie Sarley’s The Fruits of Art

SOMA is so happy to announce Stepahnie Sarley’s first international solo exbition for its first time in Berlin.
‘The Fruits of Art’ are serial video artworks of fruit being fingered and her instagram accounts which contains the contents have been disabled several times since last 3 years.

Her video is basically about personifying and empowering vaginas through humor and absurdity, and the acceptance of female sexuality at large.

http://stephaniesarley.com/

copyright www.somagallery.de

Reiseschatullen – Elke Werneburg

Reiseschatullen

Elke Werneburg

Reisen? Unterwegssein, Abenteuerlust, Fremde, Begegnungen… Für Elke Werneburg als Künstlerin heißt Reisen auch: Finden! Nicht etwa Suchen, sondern Finden. Damit gemeint ist der offene, unabsichtliche, ergebnisoffene Blick in die Welt.
So kommt Werneburg zu vielen Fundstücken. Gemeinsam ist ihnen: In den Augen der Welt sind sie mehr oder weniger wertlos. Gemeinsam ist ihnen außerdem der Zauber, den sie entwickeln können unter einem offenen, empathischen, wachen Blick. Dann sind sie schön, berührend,
interessant, aufschlussreich: Bonbonpapier, Kronkorken, zur Unkennbarkeit zertretene Kunststoffteilchen, von der Zeit geschliffene Glas- oder Porzellanscherben, Stofffetzen, Steine, Plastikzeugs. Farbiges, Rundes, Schroffes, Glitzerndes, Rätselhaftes…
Im Kern geht es hier um ästhetische Erfahrung, die zu tun hat mit Wertschätzung: unvoreingenommene, unmittelbare, wertschätzende Aufmerksamkeit für das Hier und Jetzt. Aus dieser Erfahrung heraus entstehen Werneburgs Schatullen-Arbeiten. Und diese Erfahrung wird
auch möglich in der Rezeption.
Exemplarisch in ihrer Anschaulichkeit und Deutlichkeit: die Reiseschatullen voller Miniatur-Fundstücke. Fertiggestellt (2015) sind sieben: Berlin, Goa, Lissabon, Korfu, Marokko, Paris, Venedig; vielleicht entsteht in New York eine achte. – Die Ausstellungsauswahl: Berlin, Goa, Paris. – Jede Schatulle ist erstens eingebettet in eine gefundene länderspezifische Plastiktüte.
Beigelegt ist zweitens ein Heftchen mit Kurzinfos zu Fundorten etc. Sämtliches Material ist secondhand.
Aufschlussreich ist, worum es sich hier nicht handelt: Die Fundstücke sind nicht kunstkonventionell aufbereitet; nicht aufgewertet durch gestalterische Einbindung in einen neuen, sinnstiftenden Kontext – etwa eine Montage, eine Installation, eine Skulptur. Sondern sie bleiben ›sie selbst‹: Fundstücke – mit einem Zuhause in ihrer Schatulle. Von Reisen, von Orten der Welt wird hier berichtet durch Präsenz der Dinge und ihre ästhetische Erfahrbarkeit.

www.elkewerneburg.de

Foto credit  www.martin-liebermann.de  Text  www.adele-gerdes.de

Curator : Nabi Nara

copyright www.somagallery.de

‘Zweiter Wahlgang’ – Wu Zhi & Alexej Tchernyi

‘Zweiter Wahlgang’ – Politische Gefangene
‘Second Poll’ – Political Prisoners

Wu Zhi and Alexej Tchernyi

When we walk into a voting booth , we’d like to think that we are making a considered decision, based on the issues.
A properly functioning democratic system, which gives its citizens the power to choose their leaders requires that voters are rational and that society can trust them to make sound judgments.
Although we would like to assume that voters are rational when it comes to electing their leaders, it seems, people are heavily influenced by the images that politicians project.
An important, and as yet unanswered, question concerns the accuracy of judgments based on facial appearances:
Or, more broadly, can you tell something about a political candidate solely from his or her appearance?
Are they real?

The artists duo Wu Zhi and Alexej Tchernyi, fascinated by politician’s voting posters regardless of their party, collected them on the street of Berlin and converted them as thier playful canvases.
‘Zweiter Wahlgang’ – Politische Gefangene is the artistic play and game responding to the images which politicians want to project to its society.

‘Zweiter Wahlgang’ by Wu Zhi and Alexej Tchernyi is presented as SOMA Art Gallery’s long-term curatorial project ‘Duos’.

curator : Nabi Nara

 
                  copyright www.somagallery.de

Lee + Liou – Photography Exhibition in Exchange Europe – Asia


Lee + Liou

Photography Exhibition in Exchange

Europe – Asia

Liou Tsang-Ru (Taipei, Taiwan) is an emerging photographer who works mainly in the field of fashion and art portrait photography. He is keen to capture the authentic emotions of his subjects, believes that a good picture can transcend time, culture, and nation and always send out a message to viewers. He is currently visiting Europe for the first time, where he will present works produced in his hometown as well moments he has captured in Europe.
http://www.lioutsangru.tw/

Sam Lee (Seoul, South Korea) is a young fashion photographer, currently based in Berlin. Through collaborating with young designers and models in Berlin, she has found out that she is drawn to capturing the beauty of young male models. She will present works portraying young male models, backstage snapshots of fashion shows, and scenes from fashion shoots.
http://samleegraphy.com/

HYSTERIA ‘Abjection’

HYSTERIA  

‘Abjection’

 HYSTERIA collective is made up of members from around the world. We produce a periodical bi-annually and host feminist events internationally. HYSTERIA collaborates with other radical organisations and activists and engages with activisms that resonate with our manifesto. All our members currently work on a volunteer basis and we are continously looking for dedicated feminists to join our group and help us furthering the hysterical cause. As HYSTERIA is ever-growing and remains open to new directions, ideas and approaches, neither the collective nor the publication fulfils a static position, nor does it embody an easily defined role. However, we insist on keeping HYSTERIA at a critical distance to the uncritical mainstream and for this reason ask that all members base their work with HYSTERIA on our Manifesto and according to our constitution.

HYSTERIA is a RADICAL feminist collective. For us radicalism means countering a feminist mainstream, positioning feminism outside of the norm. It means redefining, going further, never settling. Radicalism requires an ongoing counter to liberalism and a strong class-critique. Most importantly, radical feminisms insisit on plurality within activism and acknowledge diversity of lived experiences. Our radicalism challenges hegemonic notions of ‘common sense’. Our radical feminisms challenge all binaries and we thus welcome contributions and members that do not define themsleves within gendered as well as other embodied binaries.

HYSTERIA #3 ‘Abjection’ will be launched in Berlin at SOMA gallery on the 19th of September with an exhibition curated by Nabi Nara.

VISUAL ARTS

Noël O´Callaghan | Alex Giegold | Hanna Schaich | Sandra Hartleb | Sabine Jamme | Stephanie Neumann | Karina Villavicencio | Aya Imamura | Amy Klement | Ola Lewin | Isabelle Lutz

LIVE PERFORMANCES

# Elya May #

‘Strange Love, the Cage’

http://elyamay.com/

# Anaïs Héraud & Katie Dunbar #

‘Dealing with normative gaze in performance art’

http://anaisheraud.com/  http://www.katieleedunbar.de/

# Gaby Bila-Günther #

HYSTERIA
http://www.hystericalfeminisms.com

 

International Performance Festival – Survival

SURVIVAL

‘Stare. Print. Blue. – Voyeuring the Apparatus’

Digital Dramaturgie Lab

Performance-Installation

Slowness is one of the biggest provocations possible today. We live in times of rapid acceleration. In physics, acceleration is the rate at which the velocity of an object/body changes over time. But acceleration is also present in the rapid capitalist production that is heating up the scales of desire and consumerism while destroying the resources of our planet. Everything needs to happen in an instant and it needs to be translated into results, products, and real-time ranking. Data streams are racing through our bodies and through the machines/apparatuses/computers that we use and mostly don’t understand. We’re starting to wear them as wearable technology, providing ourselves with constant statistics on our being, thinking, and feeling. No time for process, for critical making, creation, experience, contemplation. Brecht, writing on taking the time to think about the relationship between artists’ naïve assumptions of independence and their dependence on a socio-cultural apparatus within which they work, comes to the conclusion: Thinking that they are in possession of an apparatus, which in reality owns them, they defend an apparatus over which they no longer have any control. (Brecht GW 17, pp.1005f.) The “Blue Brain Project” is currently trying to create a synthetic, computer-based human brain. Banking machines radiate blue light non-stop. Smart phone apps like the color blue. Let’s stare into the apparatus and see the desire for the color blue evolve in a woman-machine creature, a modern-day Centauris’ virtual acceleration and material mess colliding in slow-mo. Patience. Anxiety. Fear. Fascination. Endurance. You will be on the street, staring into the machine monitor/window until the obvious blurs and starts to make sense. Take the time. Be brave. Survival in/with slowness. Slowness is beauty. Go slow: A form of industrial action in which employees work at a deliberately slow pace. (A Dictionary of Business and Management, 2014)

Supported by

German/Europe Study and Research Fund of the Faculty of Arts and Science, University of Toronto http://www.artsci.utoronto.ca/

Centre for Drama, Theatre and Performance Studies, University of Toronto http://dramacentre.utoronto.ca/

Digital Media Program, York University, Toronto http://digital-media.finearts.yorku.ca/

Dr. Maike Budde, Hamburg

Kollaborateure/Collaborators:

Nazli Akhtari – actor, production assistant. Graduate student (MA) at the Centre for Drama, Theatre and Performance Studies, University of Toronto.

Antje Budde – director and dramaturge. Professor at the Centre for Drama, Theatre and Performance Studies, University of Toronto. Founder of the Digital Dramaturgy Lab.

Myrto Koumarianos – performer, curator, stage manager, poet. Doctoral student at the Centre for Drama, Theatre and Performance Studies, University of Toronto.

William J. Mackwood – digital lighting designer. Professor at the Digital Media Program at York University in Toronto.

Karyn McCallum – stage designer and recent winner of the Pauline McGibbon Award.

Michael Reinhart – actor and director. Doctoral student at the Centre for Drama, Theatre and Performance Studies, University of Toronto.

Sophie Roginsky – visual artist, production assistant. Digital Media Program at York University in Toronto and currently studying abroad in Kopenhagen, Denmark.

Don Sinclair – digital media artist. Professor at the Digital Media at York University in Toronto. Co-founder of the Digital Dramaturgy Lab.

Stare. Print. Blue. – Voyeuring the apparatus

Langsamkeit ist heute eine der grössten Provokationsmöglichkeiten. Wir leben in Zeiten rapider Beschleunigung. In der Physik versteht man unter Beschleunigung die Änderung des Bewegungszustands eines Körpers/Objekts, die momentane zeitliche Änderungsrate seiner Geschwindigkeit. Aber Beschleunigung ist ebenfalls ein Merkmal rapider kapitalistischer Produktion und erhöht die Messlatte der Begierden und des Konsumverhaltens während sie gleichzeitig die Resourcen unseres Planeten zerstört. Alles muss sofort passieren, muss in Resultate, Produkte und Echtzeit-Bewertungen umsetzbar sein. Datenströme rasen durch unsere Körper und Maschinen/Apparate/Computer die wir nutzen und die wir in der Regel nicht verstehen. Wir haben begonnen, sie am Körper zu tragen da tragbare Technologie uns ständige Statistiken unseres Seins, unseres Denkens und Fuhlens erlaubt. Keine Zeit fuer Verarbeitung, fur kritisches Machen, Kreation, Erfahrung, Kontemplation.Brecht, sich die Zeit nehmend uber die naiv angenommene Unabhängigkeit von Künstlern und deren tatsächlicher Abhängigkeit vom sozio-kulturellen Apparatus, in dem sie arbeiten, nachzudenken, kam zu dem Schluss: “Denkend, dass sie im Besitz des Apparatus seien, welcher in Wahrheit sie besitzt, verteidigen sie einen Apparatus, der schon lange nicht mehr ihnen gehört. (zitiert nach Brecht, GW, Bd.17, S.1005 fDas Blue Brain Projekt versucht gegenwärtig, ein kunstliches computer-basiertes Gehirn zu schaffen. Bankautomaten strahlen non-stop blaues Licht aus. Smart Phone Apps lieben die Farbe Blau.

Lasst uns in den Apparatus starren und beobachten, wie die Begierde nach der Farbe Blau sich in der Frau-Maschinen-Kreatur, einer modernen Kentaur/Κένταυρος, entwickelt – wo virtuelle Beschleunigung und materielle Schlammschlacht in Zeitlupe kollidieren.

Geduld. Unruhe. Angst. Ausdauer. Du wirst auf der Strasse stehen (oder bring dir einen Campingstuhl mit) und von aussen in den Maschinen-Bildschirm/Fenster starren bis das Offensichtliche verschwimmt und beginnt, Sinn zu machen. Nimm dir Zeit. Sei tapfer. Überleben in und mit Langsamkeit. Langsamkeit ist Schönheit. “Verlangsamen: Eine Form industrieller Aktion bei der die Beschäftigten absichtlich ihre Arbeit verlangsamen.” (Wörterbuch Business und Management 2014)

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