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Urban Planning and Architecture in 1960s Berlin
Berlinische Galerie - Museum of Modern Art, Photography and Architecture
29.05. – 26.10.2015

Destroyed in the Second World War and divided by the Wall, Berlin experienced a veritable construction boom during the 1960s. Inspired by the spirit of a new beginning and technological euphoria, urban planners and architects designed radical new cityscapes for a modern society. Often unjustly criticized as inhumane or unsightly, important examples from this period of architecture have often already been torn down, disfigured by later alterations, or are threatened with demolition today. The exhibition "Radically Modern” takes the first look at the context of this architecture’s emergence, examining formal aspects and underlying international influences on the architecture developed in both East and West Berlin. Presenting works and planning by Werner Düttmann, Fehling + Gogel, Walter Gropius, Georg Heinrichs, Josef Kaiser, Roland Korn, Ludwig Leo, Ludwig Mies van der Rohe, Klaus Müller-Rehm, Ulrich Müther, Hans Scharoun, Manfred Zumpe among others, besides interventions of contemporary artists like Evol, Beate Gütschow, Karsten Konrad, Hendrik Krawen, Friderike von Rauch, Bernd Trasberger, Stephen Willats and others.


Credits (clockwise from top left): Georg Kohlmaier, Barna von Sartory, Rollende Gehsteige am Kurfürstendamm, Repro Bildcollage, 1969, © Georg Kohlmaier/Elisabeth von Sartory/Berlinische Galerie, Repro: Markus Hawlik | Josef Kaiser, Großhügelhaus, Bildmontage: Dieter Urbach, 1971, © Dieter Urbach/Berlinische Galerie | Dieter Urbach, Marx-Engels-Platz, Blick von Südwesten auf Dom und Fernsehturm, Berlin-Mitte, Bildmontage, 1972 © Dieter Urbach/Berlinische Galerie, Repro: Kai-Annett Becker

Berlinische Galerie
MDC cosmetic

Inspired by the world of wine, where the aromas are crucial to pleasure and wellbeing, Kille Enna has developed four aromas, the first designed for drinking. The Danish chef and author’s unique, certified organic perfumes, which come in exclusive flacons with misters and beautifully designed packaging, are based on handcrafted extracts from flowers, roots, herbs seeds and bark, such that it becomes possible to transfer the perfume out of its familiar universe into the culinary world of flavours. The four aromas – Green Cardamon / Lavender, Liquorice Root from Uzbekistan, Ginger / Rosemary from Uganda, and Damask Rose / Heather Flowers – are handmade from ingredients harvested in Kille Enna Aroma’s own garden and greenhouse, located on the southern coast of Sweden in an area surrounded by a protected UNESCO World Heritage Landscape. Spawning from Enna’s desire to arouse true feelings from genuine raw plant materials of exceptional high quality, each scent attempts to capture the beauty of the unexpected and create excitement in the surprise. Each scent is, as such, laced with unique flavours and associations.
01.05. – 06.06.2015
Galerie NEU

For Do Not Bench, twelve benches and twelve lamps, materials from an urban surrounding, transform the exhibition site into a space encompassing installation. The works play with the difference between aesthetic and functional pieces, exploring the ways in which these quotidian objects, hand-made by the artist, can be recontextualised as works of art. By extension, the exhibition becomes an investigation in dualities: double meanings, simultaneous absence and presence, reality and fantasy, revealing and concealing. The objects within the exhibition appear to be plain, ordinary, but conceal behind their façades many things to think about.


Klara Lidén, photo: Stefan Korte

Galerie NEU
01.05. – 20.06.2015
Meyer-Riegger

Meyer Riegger presents Inside a Magnified Picture, a retrospective into the life of Italian-German artist Rosa Barba. Based on radical experimentation with the medium of film, proposing a new language, Barbra's pieces not only dissect cinema itself (celluloid, light, colour, sound, image, movement, time) but also fragment narration into different layers, implying a level of abstraction in which imagination and a conceptual approach play a decisive role. The exhibition results from the desire to radically empty the gallery and transform it into an engine room. Time as Perspective (2012) is shot in the desert landscape of Texas, revealing continuous scenery of rhythmically pumping oil derricks in which Barba explores the idea of a geological time. For the artist, time is as ‘a layered slab, with periods stacked on top of each other, more than as a single stretched line.’ The oil pumps are in an infinite looping movement which draws a parallel to the loop of the film itself: a double loop of sorts. They are also reminiscent of clocks or sewing machines. These mechanic devices that transform the landscape into a drawing field remind us of Rosa Barba’s own filmic sculptures, which transform themselves into drawing machines.


Photo: Time as Perspective, 2012; 35-mm film, color, sound, 12:00 min; Film still, © Rosa Barba; Courtesy the artist, Meyer Riegger and Gio Marconi, Milan.

Meyer-Riegger, Rosa Barbra
 
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