FriArt Kunsthalle Fribourg
26.04. – 15.06.2014

The exhibition Collection Röthlisberger | Miroirs – Spiegel at Kunsthalle Fribourg marks the largest presentation dedicated to designers and architects, Trix and Robert Haussmann, in over a decade. Since 1967, the couple has built an idiosyncratic oeuvre that has continuously challenged architectural, design and aesthetic conventions, and has explored many creative perspectives, such as poetry composed by chance, drawings, collages and texts. The exhibition, composed entirely in collaboration with Trix and Robert Haussmann, examines every aspect of their research, and weaves together different bodies of work, including furniture objects belonging to the Röthlisberger Collection, as well as a series of unique mirror’s made in the 1980’s. In addition, they have conceptualized, designed and produced about 10 new mirror works from 2014 that will be installed in the space of the Kunsthalle to create different optical illusions.

| Trix und Robert Haussmann, Möbel als Architektuzitat, 1977 | Opus Focus Pocus (La casa della falsità), 1982 | Chair-fun: Trio", 1967 | Neon Chair, Reconstruction, 2011
Schinkel Pavillon
05.04. – 11.05.2014

Snake Grass is the first institutional solo exhibition in Germany of the French artist Camille Henrot, which also includes new works of Henrot’s ikebana sculpture series Is it possible to be a revolutionary and like flowers? Since 2011 Camille Henrot translates various books of her private library into delicate flower arrangements, referring to quotes of the selected books. Each one of those deals with the subject and the other, with exoticism and authenticity but also tries to give an answer to basic questions of anthropology. For this exhibition, Camille Henrot expands the series on new ikebana sculptures referring to works by Alexander von Humboldt, Novalis and Hannah Arendt. In addition, the Schinkel Pavillon will open the former Schinkel Bar in its souterrain for the first time to screen the artist’s The Strife of Love in a Dream. The film was shot in India; pictures of a pilgrimage appear again and again, an Indian pharmaceutic production facility producing medicine against anxiety states and the taking of snake venom.

| Argonauts of the Western Pacific, Bronislaw Malinowski, 2012 © ADAGP Camille Henrot. Courtesy the artist and kamel mennour, Paris
Vom ICC zum ICCC International Center for Contemporary Culture Berlin

Das ICC ist ein Gesamtkunstwerk, von der riesigen Aluminiumhülle bis zum Leitsystem im Inneren, den Türgriffen und Garderobenhaken. Es ist eines der erfolgreichsten, architektonisch mutigsten, und international bedeutendsten Gebäude Berlins. Das im Auftrag einer international operierenden Investorengruppe erstellte Konzept würde dafür sorgen, dass dies so bleibt und dass diese einmalige Ikone des 20. Jahrhunderts bewahrt, in ihrer Kompetenz bestätigt, und zugleich neu herausgefordert wird. Das ICC könnte zum ICCC werden, einem Zentrum für zeitgenössische Kultur in Berlin – für die Berliner und die internationale Öffentlichkeit: Dialog, Diskurs und Praxis werden hier verdichtet und sichtbar gemacht. Eine konzeptionelle sowie organisatorische Neuausrichtung schöpft die vorhandenen räumlichen und wirtschaftlichen Potenziale endlich voll aus. Das Nutzungskonzept basiert auf einer Synergie aus Konferenz- und Kongressbetrieb, Veranstaltungsort für Darstellende und Bildende Künste, Restaurant und Cafés, Hotel, Kunstschaulager, Black- und White Cubes, Fachhandel für Kunst und Medien sowie temporären Co-Working Spaces, Ateliers und Tagungsräumen.
Vor 35 Jahren, am 2. April 1979 wurde der von Ralf Schüler und Ursulina Schüler-Witte geplante Bau eröffnet.

What is needed is a catalyst for the meeting of worlds that represents and is part of our journey in to the future. The first phase of post-Wall Berlin, the art colonisation of the city, is almost complete. Now we need to look towards a new, technically orientated consciousness and what better hub for that endeavour than the ICCC? A mothership for the merging of two cultures in the third industrial age. The architecture of the ICC, the ship-like form that shouts “space” rather than “sea” are all perfect companions to this journey. Sophie Lovell (Author & Editor-in-Chief, uncube magazine)

Julia Stoschek Collection
05.04. – 10.08.2014

With Number Eight: Sturtevant the Julia Stoschek Collection is showing a solo exhibition of the work of Paris-based American artist, Sturtevant. Ever since her first show, she questioned the purpose, autonomy and authorship of art, by repeating other artists’ works and concepts. Contrary to popular belief, this method did not center on the pure imitation of an artwork, rather Sturtevant was more interested in the imaginary space that opens up behind it and thus creating a critical debate on the surface, the product and the autonomy of a work of art. Even though she repeated works shortly after they were produced, sometimes in the same year, they were later considered renowned masterpieces. From 2000 onwards, the inclusion of mass-media images and Sturtevant’s own filmed material led her to produce works in the medium of video. Now against the background of the World Wide Web, the transgressions, the boundlessness, the borders and its decay, she analyses the origins of knowledge, art and culture, and addresses the question as to how they can be produced and shared.

Sturtevant Finite/Infinite, 2010
  Getting more posts...