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| 2004 | 2003 | 2002
Dialogues on artistic production
and contemporary cultures
7. October : Eoghan McTigue
23. September: Annika Eriksson
16. September: 2/5BZ aka Serhat Köksal, Konzert und Visuals,
2. September: Joanna Rajkowska
26. August: Laura Bruce and Rui
19. August : Peter Spillmann and Heman
12. August :Nezaket Ekici
5. August : Curators
Night - Lise Nellemann and Montse
29. July : Oliver
Zwink and Julika Gittner
22. July : Simon
Starling and Michael Stevenson
1. July: Ed
Osborn and Annika Lundgren (Performance)
24. Juni: Dolores
Zinny & Juan Maidagan and Teresa
Seemann & David Galbraith
3. Juni: Stefan
Saffer and Dominic Hislop
28. Mai: Zeigam
Azizov and Colonel
Prokop and Jessika Miekeley
14. Mai: Deborah
Ligorio and Karen Yasinsky
5. Mai: Jan
Rothuizen and Sean Reynard
28. April: Jean
Lee and Jeroen Offerman
Unterstützung von DCA, the Danish Contemporary Art Foundation
Lee, Born in Wakefield, UK, currently living in Berlin, Germany,
Studied at Goldsmiths College, UK.
Makes painterly installations with references to pop art and
sculptures out of plants dressed up in Versace colours. Recent
works have been wallpapered installations with objects derived
from Pink Panther cartoons and collaged real and fake plants,
transforming banal everyday objects into glamorous art objects.
Offerman, born in Eindhoven, NL, 1970, studied BA Sculpure
in Breda, NL and MA Fine Art at Goldsmiths College, London, UK.
Works include installation, sculpture, performance and video.
Themes range from romantic nature through urban landscape to
pop-music and popular culture. Recently Offerman practised for
three months in a row to learn to sing Led Zeppelin's 'Stairway
to Heaven' entirely backwards. This was performed and video-recorded
at the steps of London's St.Paul's Cathedral. The audience at
Sparwasser will get to see this video and possibly get a demonstration
of how the video-performance was done originally!! This will
then be a premiere! Rock On!
The work of the Dutch artist
and writer Jan Rothuizen is not easily categorized under one
heading. Rothuizen employs photographic works, personal texts
and on-site infiltrations to detach images from their original
context, in order to present them anew in full vulnerability
and implicit pliability.
The artist's self-portrait in progress composed of existing portraits
that he considered to be resembling himself 'Somewhere over the
Rainbow' , a crossword puzzle based on personal questions and
a collection of 'missing'-signs, gathered from different places
and united on one tree: what binds these works is the reflection
of a longing.
The capturing of an image and its inherent ambivalence: Rothuizen
operates from the knowledge of its impossibility. It turns his
work into a paragon: a reflection on human signifying and its
inadequacies, and with that, or maybe rather, a monument of longing
At Sparwasser Jan Rothuizen
will review some earlier projects and show a project he is currently
working on in Berlin.
Sean Reynard, born in St.Helens,
UK 1971, studied St.Helens Technical College (Expressive Arts)
then Sheffield Hallam University UK BA Fine Art.
He will present and talk about
his short videos, often improvised tales of frustration
and death. For Sparwasser he will present a selection of recent
work, including Unkle God,
where God visits his niece in her bedroom and Mam, which
shows what he had to deal with
every single day of his adolescent life.
Space - living, urban and social.
I am interested in making abstract concepts visible and working
somewhere between the personal and the public.
A constant interest in my research
is the adaptability of people in relation to the spaces they
live in. This subject is addressed by the Custom Habitats
series (web project: www.deborahligorio.com) including Modular
Tent, 2000-01 (installation) ideal habitats shaped
according to the needs of the individual, i.e. homes that visualize
traits of individuals' personalities.
Urban and social space is the central theme of a series of video
animations in which they are reviewed with a narrative approach
Density, 2002, Hyperdevelopment, 2002, and
SizeScape, 2003. This series of videos adapt and appropriate
the language of music and design, indirectly commenting on larger
issues through individual existence.
In Emptiness, 2001 (video animation), lines and squares
slide one beside the other to create an abstract aerial view
of the city, while the emergence of empty spaces refers to both
an emotional and geographical vacuum.
Views from above are also featured in Landscape, 2002
(video animation) and Maps, 2001-03 (C-Print), where aerial
views incorporate the dual meaning of urban-area and information-landscape
maps. D L
Karen Yasinsky makes animated
films using traditional stop motion animation. She will talk
about her reasons for using this medium and her interest in video
art as cinema, the power of melodrama and sound. She presently
the Philip Morris Arts fellow at the American Academy in Berlin.
At the center of my artistic
practice lies a focus on the phenomenon of pop-culture and the
"cult" surrounding celebrities. How are stars understood
and what effect do they have on the masses who relate to them
with idolization? Cultural, social and political factors cloud
the image that we have of celebrity personas but where is the
line between the cliché of a star's image and the individual's
projection of themselves onto the star. The work concentrates
on mainstream and pop-culture to question who and what in today's
society really has the power to enable change. It is pop-culture's
ability to function as a tool to create change politically which
my work sets out to explore by looking at the point were everyday
life, politics and stardom meet.
birthday, 2:39min, col., silent, 2001,
pool, 2:19min, col., silent, 2002
a film, an evidence, a testimony and a secret which is not revealed.
a narrative hovering in between two mediums. a sunny Sunday around
a pool, seduction and surface. birthday, blow ups and a forensic
analysis of what could/ would happen. something about anticipation
and a posthumous storytelling around issues of fear and control,
public and private spaces.
London-based artist and theorist
Zeigam Azizov (born 1963 in Baku) draws on
practices from cinema and critical theory in his attempt to place
the artist in
a context where, in Foucault's words, in our modernity "documents
to monuments and monuments are rendered to documents".
The excessive effects produced by this kind of rendering are
cut and mixed and
open a space for the soft topology to negotiate missing moments
experience of modernity.
Based on his recent project
"Migrasophia" (from migration and philosophy), this
discussion will explore experiencing the distorted knowledge
of the global
connectivity, which became possible arguably by means of the
Zeigam Azizov's recent migrasophic
detours "Vokal Aphasia" and "Migrasophic
transformNation" are or will be shown in SKIF (St. Petersburg),
Bauhaus Foundation(Dessau) and the Venice Biennale.
"I will speak about my emergency manifeste
and different practise and reflection about the medias
(speed /transport/fluidity /penetration....)"
In Germany last year Colonel
has exhibited at the Sprengel Museum Hannover
and at Sparrwasser HQ in Torstrasse in the exhibition "Clockwise"
and at our stand in "art forum berlin" 2002 .
In June 2003 Colonel will be
exhibiting at Galerie Olaf Stüber in Berlin .
colonel coming projects
Working as part of an art/architecture
team (Together with Kathrin Böhm,
artist/London and Andreas Lang, architect/London) I am generally
interested in the existing dynamics between formal and informal
structures that are imminent to our everyday life; where individual
interests collide with institutionalized structures.
Recent and current projects create new overlaps between different
differing interests and expectations. The wish to apply our practice
concrete situations meets an interest in generating new spaces
possibilities for engagement and development.
Dominic Hislop, born in Dumfries,
Scotland, studied BA Sculpture in
Edinburgh and MA Fine Arts in Glasgow. He moved to Budapest in
1996 and met
the Hungarian artist, Miklos Erhardt, with whom he shared an
discussing strategies of engaging with social issues and a broader
art. Together they initiated the project group, 'Big Hope' and
on a number of participatory projects involving certain marginalised
groups as both project participants and audience. A key aim of
projects was to present the self-representation of the participants'
perspectives. In such projects, the role of the artists has been
facilitators, who set up the framework for a dialogue, monitor
accommodate new directions then finally present the results.
As well as some of his own
interventions/installations in public space,
Dominic will present and then discuss various site specific participative
projects undertaken by Big Hope in Budapest, Zagreb, Torino and
including the project, 'Talking About Economy' which was shown
as part of the exhibition 'Nomad Job' in March 2003.
Zinny & Juan Maidagan
We are originally from
Rosario, Argentina, since 1994 we live and work in Manhattan.
We arrive to Berlin in 2002 invited by the DAAD, as artists in
We began working in collaboration in 1991. Our ideas are realized
in drawings, models, objects and installations, and they intervened
museums, cultural institutions and public spaces. Most of the
times we focus in situations within the transitions and boundaries
of the exhibition spaces.
Seemann & David Galbraith
David Galbraith and Teresa
Seemann are a New York City-based art collaborative. Their collaboration
started by merging sculpture and sound in tactile, phenomenological
and sometimes interactive installations. Their dialogue and practice
grew and developed into an unique body of work that combined
cultural and perceptual ideas of space, body and technology presented
through a variety of mediums including: architectural structures,
drawings, paintings, graphic design, found objects, sound and
sculpture. Currently they have been working with video that often
in its final output takes the form of animation. However their
techniques which involve the use of water-colors, photos, photo-copies
and referential sound along with other analog mediums combined
with the editing abilities of software and digital space are
a continuation of earlier studies into new media, mediums, technology
and perception. Galbraith & Seemann´s two-person shows
have been at Innocence & Mystery, Berlin, New Museum of Contemporary
Art, New York and the Soap Factory, Minneapolis. They have participated
in group shows including ones at P.S.1/MoMA and Kunst Werke.
Galbraith and Seemann have MFA´s from the California Institute
of the Arts and attended the Whitney Independent Study Program
together in 1996-97.
Ed Osborn is an artist whose
pieces use sound as a primary material and take many forms including
installation, sculpture, radio, video, performance, and public
projects. His works combine a visceral sense of space, sound,
and motion with a precise economy of materials. Ranging from
rumbling fans and sounding train sets to squirming music boxes
and delicate feedback networks, Osborn's kinetic and audible
pieces function as resonating systems that are by turns playful
and oblique, engaging and enigmatic.
Ed Osborn showed an installation
in Sparwasser HQ in autumn 2001 "Air Driver". In his
talk he will be talking about his newest works.
Ed Osborns homepage
"Meanwhile, back at the
is an ongoing piece, consisting of
a series of performances build around short, fragmentary stories
and presented though spoken text, music and images.
The contents of the piece gradually
develope and change through a continuous introduction of new
material, so that every new performance is a different one.
"Meanwhile, back at the
performed at the exhibition space
ZDB, Lisebon in connection with the exhibition "Life Policies"
"Meanwhile, back at the
performed at the exhibition space
Charlottenborg, Copenhagen, in connection with the exhibition
"Fundamentalists of the new order" 2002
"Meanwhile, back at the
performed at the exhibition space
Planet 22, Geneva 2003
"Meanwhile, back at the
will take place at the exhibition
space Sparwasser HQ, Berlin as a contribution to "Consequenses
of summer" 2003, dialogues on artistic production and contemporary
I am happy with the idea that
my practice functions as a kind of parallel universe,
perhaps operating in the realm of the outmoded or obsolete. Holding
up a mirror to a contemporary reality. Investigating the roots
of contemporary issues rather than the issues themselves. For
example two projects from last year perhaps have an interesting
relationship to contemporary ideas on
globalisation but they look to earlier manifestations of this
'Flaga (1972-2000)' involved
looking at the history of the production of the Fiat 126 in Italy
and Poland. This car was produced under two very different regimes
over an exceptionally long period of time for a car. The small
red 126 that I bought in Italy and drove to Poland would still
fit body parts manufactured in 2000 in Bielsku-Bialej.
And 'Kakteenhaus', made at
Portikus in Frankfurt, investigated the phenomena of the increasingly
large Tabernas Desert in Andalucia, via the introduction of cacti
into the region as props for the production of Spaghetti Westerns
in the late 1960's.
I guess these objects and ideas
are reinvigorated to serve as investigative tools for understanding
I engage with these ideas on a very human level. It's not polemical
in any way. Both 'Kakteenhaus' and 'Flaga (1972-2000)' are essentially
works about the flow of energy around the world, and that is
really fundamental to what I doing.
Representing New Zealand at
the Venice Biennale, the Trekka, the only ever 'home-grown' car
becomes a complex metaphor for national identity. Cultural aspirations
are placed side by side with the belated production of a motor
Designed as a simple agricultural
utility vehicle, the Trekka and its peculiar production scheme
are closely linked to the protectionist trade policies that characterized
New Zealand in the 1960s.
The whole concept of this unusual
car was to fill a niche in the then tightly regulated New Zealand
economy. The Trekka was in fact based on a chassis and motor
sourced from the Czechoslovakian car manufacturer Skoda. 'Free
Western enterprise' bartering with a Communist Bloc country at
the peak of the Cold War is but one of the anomalies the Trekka's
New Zealand anticipated a leading
role for itself in the event of cold war end game, it would be
the island of survival, the only first world country to remain
completely untouched. Government planning, which at the time
favoured self-sufficiency and import substitution overlapped
with such thinking.
born in Cologne, D, 1974, studied
BA Fine Arts at Goldsmiths
and BSc Architecture at The Bartlett School of Architecture,
My works cover sculpture, photography,
video and are informed by a dialogue
with my architectural projects and vice versa.
Both explore the monstrosity of society's order and control mechanisms.
Recent works include sculptures based on the statistical analysis
of the per
capita consumption of material per day ('economic units' no.:1-7).
participants were portrayed with models of their personal daily
The projects 'Designing Dyslexia' and 'Planning Madness' are
investigations into the spatial impact of planning bureaucracy
in the City of
London and Ahmedabad in India.
Loopholes within the planning process are revealed and used to
for free interventions in existing physical and social structures.
'Planning Madness' proposes a retirement home built by 900 idle
using 5 million bricks in a period of 26 years.
Leaving the secure shores of
abstract painting in 1997, I started work engaging with urban
space. The development towards building city-models and bringing
them into a state of decay was a result of my interest in mapping
unconscious spaces. As a starting point I used the surface of
my face and photographs of urban spaces. Settled between "Anti-Utopia"
and "poetic transformation" these models, made out
of light paper, became somehow
three-dimensional paintings .
Relating to these works I will
talk about some drawings, two works on video and recent projects
which involve the architecture of the gallery space.
Short Statement about Curatorial
The transformations of contemporary
artistic practices outline the need of questioning and redefining
the roles of the curator, the artist and the system in which
they are immerse. In context of change of the temporary and spatial
conditions of the development and the presentation of projects,
it is necessary to adapt to new requirements. The exhibition
can be considered like the top of an iceberg whose unseen body
is a previous process or can be considered as one possible format
among many others. The curator is confronted to new demands and
to a redefinition of his/her practice. Sometimes the curator
is more the initiator, the one who invites or proposes, in other
occasions is more the provider, the producer and the organiser.
The task of the curator consists on working together with the
artists (better not using them as illustrators of his/her ideas),
on putting in contact ideas and people, becoming the editor of
Assuming the premise that the
discourse of art can take place in any context and at any moment,
the big challenge is to raise the right question at the right
moment and to have a real projection in society.
Lise Nellemann/Sparwasser HQ,
responsible for the program since 2000.
Combining a tight international exhibition program with an intensive
communication activity (ideas lab), Sparwasser has become an
vital element of the art scene in Berlin. Being aware of the
tradition of cultural activism and the highly political consciousness
of the Berlin art scene many dialog events are catching up on
the problematic of the political situation on a global street
level, and so producing the curatorial condition for future exhibitions.
Sparwasser has existed since summer 2000. Within this period
90 group exhibitions and many events have been organized in- and outside of Head Quarters. Approximately
800 participating artists/ theorists have been connected to a
network used to distribute information and exchange knowledge.
Exhibitions, video screenings, artists talk, and live sound performances
attract a broad audience, and thereby SparwasserHQ has become
known as an active forum and as a meeting point.
All exhibitions are made on the basic of collaborations and research
among artists, developing the conceptual, theoretical and organizing
strategies as a consequence of this collaborative process.
The idea, the thought, the
draft are the bases for the
execution of my artwork. Ideas come from everyday
life situations, social and cultural atmospheres. Then
the idea expresses itself in the performances and
installation art. As well as this, I use the body as a
means of expression.
The artistsic idea is expressed
using the body alone,
as part of the installation and within the context of
The subjects I deal with are
time, movement, space,
material, body, action/interaction. I try to create
works of art that leave for the viewer, free space
for associations and new possibilities. I take a
special situation from everyday life and without
illustrating this one for one; I place it into a new
I aim to create art where all
of the elements are
connected together to form a whole work of art (
In her videos Annika Eriksson
works with individuals or groups to whom she
offers the chance of presenting themselves within her video framework,
whether it be, for instance, in the form of a small performance,
of a chosen passion or simply an introduction to one's person,
and profession. This is a concept she has implemented, among
the brass and drum orchestras of volunteer fire departments or
a dance theatre group of the handicapped, a series of collectors,
staff of the Moderna Museet in Stockholm, students of the curator's
at the Goldsmiths College in London or personnel at the Sao Paulo
Biennale. All the presentations are based on a precise concept
one hand, provides exact definitions of the form and content
presentation and, on the other, always leaves room for those
in question to
fill ad libitum. For example, the presentations of the collectors
structured along the following lines: the collector stands before
camera, introduces himself and names the object of his collection.
collector speaks freely as long as he thinks it right or as long
as he has
something to tell about his collection and his passion. He then
the set phrase "thank you" and Eriksson switches the
camera off. This
pattern provides a formal frame for the recurring individual
that assigns the collector a genre and makes them comparable.
As viewers we
are sensitised to the distinctions between the collectors' presentations:
each one uses his room for manoeuvre differently, presents his
in various ways and portrays himself in his own fashion. This
is similar to
what occurs with the orchestras: their guideline is to march
from the left
into the video frame one at a time and to group themselves with
instruments frontally to the camera. Their exit takes the same
reverse. In the time in-between, the orchestras' sole task is
to play the
song "Sour Times" by the pop group Portishead in an
interpretation that is
left completely up to them. Since none of these ensembles ever
music, it is an exercise that gives them the freedom to deal
with the theme
as radically as they like. There is no set recipe. In this way
Erikson allows the participants is also a challenge, because
it can or must
be filled. Eriksson's projects always ask how individuals deal
possibility of an authentic self-presentation or performance
as well as what
the relationship is between the individual and the collective.
October, 7 p.m.
Sren Grammel, for "Es
ist schwer das Reale zu berüren", Kunstverein München
Heman Chong will in his talk
include his project MurMurMur, which is shown at the Venice Biennale
(Singapore Pavilion) . He will talk about his upcoming project
for Ars Electronica , which opens in September in Linz.
Heman Chong showed two projects
in Sparwasser HQ, in March and April 2003:
"Lost (Found Tracks)"
Heman Chong and Isabelle Cornaro:
"The End of Travelling"
(Trip to Asiatown and Back)
He is currently an Artist-in-Residence
at the Künstlerhaus Bethanien in Berlin.
Meine künstlerische und
kulturelle Arbeit ist thematisch ausgerichtet
und projektorientiert. Die unterschiedlichen Projekte entstehen
meistens im Austausch und in Zusammenarbeit mit KünstlerInnen
TheoretikerInnen, in wechselnden Konstellationen und in Bezug
einen bestimmten inhaltlichen und sozialen Kontext. Dabei haben
im Laufe der Zeit drei Themenfelder ergeben - die kulturelle
Konstruktion von Landschaft, symbolische und rituelle Dimensionen
Ökonomie und Institutionskritik bzw. selbstverwaltete kulturelle
Praxis - innerhalb derer alle Projekte an denen ich bisher beteiligt
war oder die ich initiert habe, ansetzten. Für mich steht
Werkcharakter der Kunst im Vordergrund, sondern vielmehr ihr
inhaltliches und gesellschaftliches Potential. Daraus ergeben
strategische Überlegungen zu aktuellen gesellschaftlichen
von Kunst, KünstlerInnen und Kultur und ein kritisches Verhältnis
den darin agierenden Institutionen und Subjekte einerseits und
andererseits Initiativen, eigene Arbeits- und Diskurs-Zusammenhänge
aufzubauen und zu stärken.
Ausgehend von drei ganz unterschiedlich
"Klöntal" (1996), "Route Agricole" (2002),
"Backstage" (2004), die
alle etwas mit Imaginationen und Begehren im Zusammenhang mit
Landschaft und Natur zu tun haben, möchte ich Überlegungen
und Strategien einer thematischen kulturellen Praxis anstellen
die eigenen Positionen und Interessen darin befragen.
Laura Bruce's works explore
the relationship between
the real and the surreal in small town, domestic
situations. The idea of the everyday interuppted by
defamiliarity, abstraction or even mystic is a central
issue for Laura Bruce. She uses her family, friends or
her own person as protagonists in her work in general,
and in her videos, follows a feature film- or
docu-drama-like strategy, essentially revealing
psychological structures of relationships, family
roles and social mechanisms that we recognise from our
own experience. Her work functions like material
depots stationed between actual situations, thoughts
and encounters, and symbolic memory.
"He uses video and its
potentials in the same way
others use a pencil.From a minimal technical
repertoire is born a living world of images that does
not simply unfold itself on the screen, but rather
uses it as its starting point."
Doris Von Drathen in IDENTIDADES Catalogue.2003
"... a central place in
Calcada Bastos' works: within
a fictional space bearing biographical features and
intertwined with personal memories, his work circles
around the complex substance of identity and the
melancholy of isolation"
Kathrin Becker.. in B Magazine 2003
I donít have any language
that I would call my own. In every project I am using the language
already invented, sometimes highly developed, sometimes very
simple. The use of ready languages creates a platform on which
I meet other people, I communicate with them or - in most cases
- I am with the others in the simplest way - physically.
I use myself in my work as
a material, vehicle, tool, as a person, bunch of chemicals and
as a medium. In all cases I am trying to get out of myself, to
find a way out and rather to become someone else than to find
any kind of identity.
I was taught by a painter,
a mystic and Eastern Orthodox Church philosopher, Jerzy Nowosielski.
The tradition of icons where the subject is not being represented
but is being present in the painting directed my way of thinking.
My professor used to tell me: you will paint this vase right
if you become it. Now, when I have a message to get across, I
have to become this message quite often. I make things happen
rather than I show that things happen.
Here are a few notions about
the latest project: Artist For Rent, in which my services could
be employed by anybody interested in it.
Artist for Rent was about spending
time. My time was being consumed by other people and in this
very way it was getting its quality. In many situations I had
the impression that I am living a double life, although in fact
I was living no life, neither mine nor someone elseís.
This was all about losing and about disbelief that anything can
The first question was, Ñwhat
can I honestly offerì. I had to admit, I had nothing to
offer. ÑWhat do you want from me, what shall I do?ì
- letting people answer these questions freed me from the responsibility
of choice. I was giving people exactly what they wanted, I was
not offering anything. Every single task was about their needs
and choices. I think art should be a mirror in this very way.
You get what you want, not
what I want you to get. I am not able to put myself in a position
of someone who knows more and knows what you need. I think an
artist has a social role not necessarily because of a creative
skill but rather because he/she is able to change a few things
in life of others. For example a way of spending time.
I was trying to be useful in
a fundamental way. Not showing that an artist can be useful,
but to be useful. Everyone, especially artists are entirely focused
on their own work. They are quite often blind and dead for others.
Alike car dealers, light designers, mothers, salesmen, directors,
film makers and workers, all of them have their own universe.
Why should I create a new one, while I can simply jump into one
of them and fill up a temporary hole.
Artist For Rent was also about
a certain way of being with other people. I think about the safety
of a relationship. You have a task for me. We spend time together
doing it, working on it. We do not communicate, except a necessary
exchange of technical information, we are not trying to understand
each other. The expectations are clear and fulfilled. I am working
for you but I ask for a more creative part - for the documentation
of an event. I am giving you the energy to do it.