This is an ongoing archive and research website.
Don’t hesitate to contact me n.emge@gmx.net
This page is based on the branching project – Initiated by Samuel Koch and Piero Good; Designed and realised by Martin Dusek and David Simon.
https://www.ctm-festival.de/festival-2019/calendar/2019/01/31/as-if-we-were-beautiful/
https://www.facebook.com/events/2479447022068189/
DISAPPEARING BERLIN PRESENTS
JULIUS EASTMAN
GAY GUERRILLA GIRLS
In collaboration with Maya Shenfeld
WE REACHED OUR CAPACITY LIMIT FOR BOTH PERFORMANCES, PLEASE DO NOT FURTHER RSVP. THANK YOU FOR UNDERSTANDING AND SEE YOU TOMORROW.
Doors open 7 pm
EN
The one-year performance program DISAPPEARING BERLIN is seeking out special places throughout Berlin. In the last century, the city has gone through a turbulent history as hardly any other metropolis. Countless changes, happening in rapid succession have inscribed themselves into the cityscape. An omnipresent pressure of growth and commodification threatens this dense complexity. Despite efforts of urban heritage conservation, more and more iconic spaces and buildings are on the verge of disappearing. With a set of site-specific performances, concerts and sound installations Schinkel Pavillon enters into the urban space. The city becomes the protagonist; its transformation becoming tangible through artistic interventions. DISAPPEARING doesn’t solely imply vanishing, it also represents something yet to come.
GAY GUERRILLA GIRLS, the debut event of the programme, takes place in the old cafeteria on the 22nd floor of the former Postbank-Tower in Kreuzberg. Together with composer Maya Shenfeld, 16 female-identifying guitarists will be performing Julius Eastman’s Gay Guerrilla. The spectacular view onto the city lays bare a landscape filled with large-scale construction sites. After a lengthy quarrel between the city and numerous investors, the building itself will not be used for private housing, continuing to exist as a space for commercial use instead. As of now, the former cafeteria serves as neither one nor the other. Within its open, undefined structure, Eastman’s music collides with questions of gender politics and urban policy.
With: Alexa DISaster, Benita Rigo, Donya Solaimani, Eva Cottin, Flavia Messinese, Greta Brinkman, Julia Reidy, Klara Gustafsson, Lea Taragona, Rossella Bottone, Sky Deep, Tabea Schrenk, Tina Jäckel, Valerija Kravale, Veslemøy Rustad Holsete, and Maya Shenfeld
DE
Das Performance-Programm DISAPPEARING BERLIN lenkt über ein Jahr lang den Fokus auf besondere Berliner Orte. Die Stadt hat im letzten Jahrhundert eine so bewegte Geschichte durchlebt wie kaum eine andere Metropole. Die vielen rasant aufeinanderfolgenden Veränderungen haben sich in das Stadtbild eingeschrieben. Diese vielerorts spürbare Vielschichtigkeit ist durch einen allgegenwärtigen Wachstums- und Verwertungsdruck gefährdet; trotz Denkmalschutz sind immer mehr ikonische Architekturen und Räume vom Verschwinden bedroht. Mit teils speziell konzipierten Performances, Konzerten und Soundinstallationen bewegt sich der Schinkel Pavillon in den Stadtraum hinein: Die Stadt wird zum Protagonisten; die künstlerischen Auseinandersetzungen zu Begegnungen mit ihrem Wandel. DISAPPEARING heißt nicht nur Verschwinden, sondern stellt innerhalb dessen auch einen neuen Anfang dar.
Mit GAY GUERRILLA GIRLS startet das Programm in der 22. Etage des früheren Postbank-Hochhauses in Kreuzberg. Zusammen mit der Komponistin Maya Shenfeld performen 16 E-Gitarristinnen Julius Eastmans Stück Gay Guerrilla (1979). Der Blick über die Stadt ist spektakulär; zu sehen sind viele der offenen Berliner Großbaustellen. Nach langem Kampf zwischen Investoren und Stadt bleibt das Hochhaus Gewerbeimmobilie und wird nicht zum Wohnturm umfunktioniert. Die ehemalige Kantine ist bisher weder das eine noch das andere. In dieser offenen, unbestimmten Struktur finden Eastmans Musik, Fragen zu Geschlechterpolitik und Städtebaupolitik zusammen.
*Aufgrund der begrenzten Kapazität bitte für eine der Performances (um 20 Uhr oder 21:30 Uhr) anmelden: info@schinkelpavillon.de
https://www.artnews.com/artnews/news/the-painting-must-go-hannah-black-pens-open-letter-to-the-whitney-about-controversial-biennial-work-7992/
Do you hear us?
Instituto Svizzero Rom
Do you hear us?
Instituto Svizzero Rom
(It’s never too late to) Stop, Look & Listen
Halle für Kunst Lüneburg
(It’s never too late to) Stop, Look & Listen
Halle für Kunst Lüneburg
Art Geneve 2020
Cherish x Alienze
(It’s never too late to) Stop, Look & Listen
Halle für Kunst Lüneburg
https://www.halle-fuer-kunst.de/public/de/archiv/it-s-never-too-late-to-stop-look-listen
Les Complices* Zürich
*”Commercial commemorative souvenirs often provide a space for the purchaser of the object to insert himself into the process of commemoration. In the We Mourn our Loss paintings I left a blank oval in which viewers can write something that inspires a sense of loss in them. The commemorative banners suggest how the process can be opened up, so that other people can participate in it. The images of King and the Kennedy’s are blocked out in various ways to allow people who want to insert something of their own to do so whithout feeling that they’re desecrating a memory.”* – Kerry James Marshall, 2000
https://www.davidzwirner.com/artists/kerry-james-marshall
Engaged in an ongoing dialogue with six centuries of representational painting, Kerry James Marshall (b. 1955) is known for his expansive body of work, which also includes drawings and sculptures. At the center of his oeuvre is the critical recognition of the conditions of invisibility long ascribed to Black figures in the Western pictorial tradition, and the creation of what he calls a “counter-archive” that brings them back into this narrative.
Marshall was born in 1955 in Birmingham, Alabama. He received his BFA from the Otis Art Institute in Los Angeles in 1978, where he was later awarded an honorary doctorate in 1999. In 2014, Marshall joined David Zwirner. Kerry James Marshall: Look See, an exhibition of new paintings by the artist, marked his first gallery solo show at David Zwirner in London that same year. Kerry James Marshall: History of Painting, the artist’s second solo presentation with the gallery, was on view in London in 2018.
Marshall has exhibited widely throughout Europe and the United States since the late 1970s and early 1980s. In 2018, Kerry James Marshall: Collected Works was presented at the Rennie Museum in Vancouver and Kerry James Marshall: Works on Paper at The Cleveland Museum of Art. His site-specific outdoor sculpture A Monumental Journey was also permanently installed in Hansen Triangle Park in downtown Des Moines, Iowa. From 2016 to 2017, Kerry James Marshall: Mastry, the first major museum survey of the artist’s work, was on view at the Museum of Contemporary Art Chicago, followed by The Met Breuer, New York, and the Museum of Contemporary Art, Los Angeles. In 2015, he created a large-scale mural specifically for the High Line, marking the artist’s first public commission in New York. In 2013, his work was the subject of a major survey entitled Kerry James Marshall: Painting and Other Stuff. The exhibition was first on view at the Museum van Hedendaagse Kunst Antwerpen in Antwerp. In 2014, it traveled to the Kunsthal Charlottenborg in Copenhagen and was co-hosted by two venues in Spain, the Fundació Antoni Tàpies in Barcelona and the Museo Nacional Centro de Arte Reina Sofía in Madrid.
Other prominent institutions which have presented solo shows include the National Gallery of Art, Washington, DC (2013); Secession, Vienna (2012); Vancouver Art Gallery (2010); San Francisco Museum of Modern Art (2009); and the Wexner Center for the Arts, Columbus, Ohio (2008). Previous traveling solo exhibitions include those organized by the Camden Arts Centre, London (2005), Museum of Contemporary Art Chicago (2003), and The Renaissance Society at the University of Chicago (1998).
In the Fall of 2023, the artist unveiled his stained-glass window commission for the Washington National Cathedral, Washington, DC. Also in 2023, the Royal Academy, London, elected the artist as an Honorary Royal Academician. Marshall received the 2019 W. E. B. Du Bois Medal, which is considered Harvard University’s highest honor in the field of African and African American studies. In 2016, the artist was the recipient of the Rosenberger Medal given by The University of Chicago for outstanding achievement in the creative and performing arts. In 2014, he received the Wolfgang Hahn Prize, an award given annually by the Gesellschaft für Moderne Kunst at the Museum Ludwig in Cologne. In 2013, he was one of seven new appointees named to President Barack Obama’s Committee on the Arts and the Humanities. Other prestigious awards include a 1997 grant from the MacArthur Foundation and a 1991 fellowship from the National Endowment for the Arts.
Museum collections which hold works by the artist include the Art Institute of Chicago; Los Angeles County Museum of Art; The Metropolitan Museum of Art, New York; Museum of Contemporary Art Chicago; The Museum of Modern Art, New York; National Gallery of Art, Washington, DC; San Francisco Museum of Modern Art; The Studio Museum in Harlem, New York; Walker Art Center, Minneapolis; and the Whitney Museum of American Art, New York. Marshall lives and works in Chicago.
1 Kerry James Marshall, ‘Foreword’, in Kerry James Marshall (New York: Harry N. Abrams, 2000), p. 9.
Souvenir I, 1997
Acrylic and glitter on canvas banner
108 × 157 inches (274.3 × 398.8 cm)
21.05. TO 11.09. 2022
https://migrosmuseum.ch/en/exhibitions/basel-abbas-ruanne-abou-rahme#&gid=1&pid=2
WEBSITE
Table 85 x 80 x 200 cm, benches 50 x 45 x 140 cm each
Basel Abbas & Ruanne Abou-Rahme
