Yellow Matters ‘RUSH’- Phuong Tran Minh

Phuong Tran Minh was born in Hanoi / Vietnam, raised in Germany has studied at the University of Potsdam.
Her work is based in the field of documentary photography, moving between post war issues, artistic portraits and landscape photography. Her first exhibition with „Tomorrowland“, a series about young Agent Orange victims, was made public in Paris (2015). ‘RUSH’ is part of the long-term curatorial project ‘Yellow Matters’ by SOMA Art Gallery Berlin and is supported by Senatsverwaltung für Kultur und Europa Berlin (Senate Department for Culture and Europe Berlin).


(EN)
Spending about one and a half year at gas stations, rest stops and side-strips, with a thumb up, often with a destination suggesting cardboard sign in front of the thorax, I roamed the German autobahns from north to south to east to west and always amidst life.Numerous people gave me a lift and decided to share some time with me in a limited space. Thus, many miles slipped away under fast moving tires, many hours have been filled up with caught up sleep, nice chats, deep talks and common silence. Like bloodcells we flowed over the veinous roads, from time to time we got stuck in a traffic thrombosis. At least our conversations went on. Some dialogues were silent as breathing at the Baltics, some as deep as the tunnels running through the Alps and some accompanied by mutual laughter.
The images oft he landscape, the sky, the traffic lanes which passed by the car windows were too intriguing to let them just flash by and vanish. Thus, I captured them with my camera. The visual poems displayed on the passenger’s window needed to be written down and I was eager to make notes for others to read them.
Regarding a rush in stillness, regardless oft he time passing by on the right.

(DE)
Es ist kein Ort der Sehnsucht, zu dem es mich zieht, sondern der Rausch der Gedanken, der mich hinaustreibt. Mit hoher Geschwindigkeit in Bewegung sein und trotzdem die Möglichkeit haben, zu träumen, inne zu halten, im Geiste zu leben… Bilder, die sich wortlos zu einem Tagebuch fügen, in dem ich alles nachlesen kann, was ich empfinde und empfand. Jene Gefühle, die ich weiterfühlen kann, die ich mit mir nehmen will und welche, die ich zu Ende fühlen bereit bin…
Über anderthalb Jahre verbrachte ich an Seitenstreifen, Autobahnraststätten und Tankstellen, mit erhobenem Daumen oder einem Kartonstück mit einem Ortsnamen,der mehr einem Richtungsvorschlag entsprach als einem konkreten Ziel. Denn das Ziel war ja die Fortbewegung. Es ging querfeldein von Nord nach Süd, von Ost nach West und immer mitten durchs Leben. Durch Deutschland. Wie Blutzellen flossen die Fahrer und ich durch die Adern, manchmal steckten wir in einer Thrombose, doch dann ging es zumindest im Gespräch weiter. Manche Dialoge waren leise wie das Atmen an der Ostsee, manche so tief wie ein Tunnel durch die Alpen und einige vom Lachen flankiert. Die Bilder der Landschaft, des Himmels, der Fahrspuren, die an den Fenstern vorbeizogen, waren zu schön, als dass ich sie loslassen wollte. Also hielt ich sie mit der Kamera fest. Das Beifahrerfenster diktierte mir auf dem Grau ein Gedichtband mit grünem Rand und ich wollte
aufschreiben, was ich sah, damit jeder es nachlesen kann. Den Rausch in Ruhe betrachten, ungeachtet dessen, ob die Zeit rechts überholt.

Curator : Nabi Nara

 

Yellow Matters ‘ A Window and a Street’ – Grace Euna Kim

‘A window and a street’

Grace Euna Kim

19:00 – 23:00
Performance at 19:30

14.-25.04. 2017

Grace Euna Kim’s performances are immersive contexts developed in close connection to the social reality of the audience, who are both subjects and objects of artistic action. Rooted in interventionist methodologies, the work challenges the imaginary mechanisms that shape our common belief structures and the relation of self, other, and world. ‘A window and a street’ invites the audience into a collective reflection on the cages of the imagination and the absurdity of our human condition.

http://www.euna-kim.com/

‘A window and a street’ is part of the long-term curatorial project ‘Yellow Matters’ by SOMA Art Gallery Berlin and is supported by Senatsverwaltung für Kultur und Europa Berlin (Senate Department for Culture and Europe Berlin).
http://somagallery.de/

Curator : Nabi Nara

 

photo credit: Nadja Sayej, nadjasayej.com

photo credit: Nadja Sayej, nadjasayej.com

photo credit: Nadja Sayej, nadjasayej.com

                                         photographer: marjorie brunet plaza


Yellow Matters ‘SELF Code’ – Wu Zhi

SELF Code

Wu Zhi

Opening :
19:00 – 23:00 FRI. 17.03.2017

17.03 -28.03.2017

Wu Zhi ( Sichuan, CN / Berlin) pushes the conceptual boundaries of traditional portrait painting and drawing. Her artistic work, both classically rendered and theatrically composed, examines the complexities of the migrating experience as an Asian woman.
The twisted mortality revealed in the tension between social and psychological transformations endured by her subjects.
Wu Zhi will show her self- portraits of the last 15 years since she immigrated to Europe.

The long-term curatorial project ‘Yellow Matters’ by SOMA Art Gallery Berlin is supported by Senatsverwaltung für Kultur und Europa Berlin (Senate Department for Culture and Europe Berlin).

Curator
Nabi Nara

Yellow Matters ‘Global Society’ – Gulnur Mukazhanova

‘Global Society’

Gulnur Mukazhanova

Opening :
19:00 – 23:00 03.03.2017

The long-term curatorial project ‘Yellow Matters’ by SOMA Art Gallery Berlin will present 7 Asian – backgrounded women artists who’s work is mainly focused on the identity.

“In Central Asia we have the concept of mankurtism, which describes the loss of the national roots, the traditional values and culture. Previously it referred to slaves, called Mankurts, who completely lost the memory of their past live by undergoing a special, torturelike treatment.Today we use this term to describe people who have, consciously or unconsciously, adopted other cultural values.This loss of memory concerns the manners, the morals and even the language, which are being replaced by other values.One of the causes of this phenomenon in our time is globalization.
Modern life in Kazakhstan with its new sets of values has become so natural, that it seems almost impossible to connect with the ancient nomadic traditions. Perhaps it would also be not suitable anymore. Now, since we are no longer nomads, I would like to know, what should we keep and what should we give up, as a new generation? What do we need to keep in mind in this present process of change?
Considering and reflecting upon all this, one wonders whether it makes any sense at all to deal with this issue, or if it would better to simply live in the flow of these events without thinking about them?”

The Artist Gulnur Mukazhanova is born and grown up in Kazakhstan has been based in Berlin since 2009, graduated from the Kazakh National Academy of Arts, Almaty, Kazakhstan and Weißensee Kunsthochschule Berlin.

Gulnur Mukazhanova will present her on-going series ‘Global Society’ within Yellow Matters programm.

Technically Asians are 60% of the world population and Asia is full of diversity, although the Western world fails to recognize the world’s largest ethnic group as it is. ‘Yellow Matters’ s purpose is to be heard, presenting our thought and voice through our artistic practice in Berlin.
The project is supported by Senatsverwaltung für Kultur und Europa Berlin (Senate Department for Culture and Europe Berlin ).

Curator

Nabi Nara

 

 

‘ROAD’ Berlin – Morocco – Western Sahara

 

SOMA rolled on the road with 40 Berliner artist’s works
more than 10,000 kms in 50 days between the two continents.
The works are shown on the site whereever we found the best
place. SOMA’s Nomadic BLue Project was shown in Chefchaouen – Fez – Essaouria – Sidi Ifni – Dakhla. The project spots were varying from the stormy desert to on the roof a mosque.

Nomadic Exchange Project between the two continents is on-going,  currently in develpoment process to be held in Dec. 2017 for 2 weeks in Morocco for further understanding between Europe and North Africa.

 

 

‘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

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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