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KOW Kontaktinformationen, Karte und Wegbeschreibungen, Kontaktformulare, Öffnungszeiten, Dienstleistungen, Bewertungen, Fotos, Videos und Ankündigungen von KOW, Kunstgalerie, Lindenstrasse 35, Berlin.
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22/10/2020

Throwback to Santiago Sierra’s exhibition “40 cbm Of Earth From The Iberian Peninsula” at KOW in 2013.

“Santiago Sierra’s first work was a cube measuring one by one by one meter: a sculpture in the style of Minimal Art, but without its clean aesthetic.
[...]
He saw Minimalism as an “egregious presumption and self-satisfaction on the part of Western culture”; it pursued the quest for ostensibly objective principles of form as though the latter existed in vacuo—as though systemic patterns in art did not correspond to patterns of thinking, economic life, and finally the reality of people who might be forced to adapt their lives and work to such patterns. Starting in the early 1990s, Sierra’s art accordingly matched Minimalism’s aesthetic to the structural violence that repeatedly prioritizes processes of value creation as well as forms of legal, racial, or ethical normalization over the needs of those who are compelled to submit to or sustain them.

Sierra had 40 cubic meters of soil excavated on construction sites in Bilbao shipped to Berlin in plastic bags measuring one by one by one meter and unloaded at KOW. The provenance of the material from the Spanish real-estate industry points to a shift of power in Europe’s economic structure. Some regions, such as the Iberian peninsula, find themselves devalued to the advantage of other regions or countries, especially Germany. New migration movements are set in motion, a phenomenon that the soil’s journey retraces. The distressed countries of Southern Europe now prepare their assets for shipping; they put their human capital and public property on the market at a discount and hand over control of systemically relevant infrastructures to investors. Packaged in Big Bags, the cheap containers of the shipping business, every cubic meter of Iberian soil represents the sell-out of someone’s living environment and self-determination and indeed of national sovereignty.”

#throwbackthursday #santiagosierra #kow #kowberlin

21/10/2020

KOW Podcast 5 - Artist Talk

A conversation with Dmitry Vilensky of Chto Delat and KOW's Alexander Koch on the latest video work "One Night in A Social Network. An Opera Farce" that is currently available as an online exhibition on the KOW website: www.kow-berlin.com

“AK: Can you explain in how far this ‘opera-farce’ is related to the other song-plays that you have done over the years? My feeling is that it’s a kind of grotesque approach to complex and complicated political-historical issues and that the opera-play allows you to take a different angle on it.
DV: For us it was quite interesting to return to it because for a moment we stopped to do that kind of 'song-spiel' operas. They’re quite different in a musical approach - I’d say we never used these kinds of songs like in this piece. But at the same time there is something similar and I would call it that kind of ‘Brechtian estrangement’ … We always walk in this direction trying to reveal that kind of straightforwardness of the media and at the same time to critique so that you understand that it’s something else - or at least you have to take a position and try to develop certain possibilities to read these messages.
AK: It’s like a way to complain while keeping a smile on.”
https://kow.podbean.com/e/kow-podcast-5-artist-talk-chto-delat-about-the-work-one-night-in-a-social-network-an-opera-farce/

#chtodelat #dmitryvilensky #kow #kowberlin #kowpodcast

20/10/2020

Stills from Clemens von Wedemeyer’s film “Procession” (2013) - exhibited as part of the B3 Biennial of the Moving Image 2020 and exground filmfest 33 in the Nassauischer Kunstverein Wiesbaden.
On view until February 7.

“The protests that broke out in 1958 during the shooting of the Hollywood production Ben Hur in the Cinecittà, the "Hollywood of Italy" founded by Benito Mussolini, near Rome, become the backdrop for Clemens von Wedemeyer's film Procession. The voices of yesterday's insurgent extras are taken over in the film by today's cultural activists: the members of the Teatro Valle Occupato who organized themselves in 2011 to counter the closure of the Teatro Valle, Rome's oldest theater, through self-administration.” - www.kunstverein-wiesbaden.de

#clemensvonwedemeyer #procession #nassauischerkunstvereinwiesbaden #kow #kowberlin

17/10/2020

Michael E. Smith in the group exhibition “wir blumen” at Kunstverein Hannover - on view until November 15.

Photo: Raimund Zakowski

#michaelesmith #wirblumen #kunstvereinhannover #kow #kowberlin

16/10/2020

Currently showing Barbara Hammer’s exhibition “Would You Like To Meet Your Neighbor?” - on view until November 7.

All films of the exhibition can be viewed on our website.

“We present films from the 1980s that, to this day, have mostly been screened at arthouse theaters and festivals. From the earliest days of her career, in 1968, Hammer located her work in the art world, but, at that time, film and video were media that were rarely included in exhibitions, and lesbian and queer voices like Hammer’s were struggling to be heard in public spaces. Only now, after exhibitions mounted by prominent collections and institutions, is her art finally gaining traction in the cultural consciousness of wider audiences.

Synch Touch (1981, 10:07 min) is one of her programmatic films, championing a lesbian-feminist aesthetic that identifies the conjunction of touching and seeing as the basis for a “new cinema.” Rather than an abstraction disassociated from the body, the filmic gaze remains tethered to the hand, the flesh, the physical senses and, in artistic terms, to painting. “We are in a culture,” a voice observes toward the end, “where the expression of the heart and the senses are repressed. The heart of film is the rapport between touch and sight.”

Video: Barbara Hammer, Sync Touch, 1981, 16 mm film on video, color, sound, 10:07 min.

#barbarahammer #wouldyouliketomeetyourneighbor #kow #kowberlin

14/10/2020

Installation view of Ramon Haze’s “Der Schrank” featured in the group exhibition “Am Ende diese Arbeit” at GfZK Leipzig - on view until January 31, 2021.

“Was Ferdinand Porsche's original VW Beetle, designed in 1934, art? What about Ruth Tauer's tiles? And the sugar furnaces of Pippip, who was born in Chicago in 1890 and worked as a stoker on a cargo steamer? What sets the Colombian gallardo Juan Ibanez's playpen apart from an identical playpen by the Russian Ilya Kabakov (salvaged by Feldmann and Grahl from Kabakov’s installation “Voices behind the Door,” which was shown in Leipzig in 1996 and then scrapped)? And why did art historians for decades draw a veil of silence over Edward Baranow-Knepp's “Machine for Changing the World for the Better,” which was probably completed as early as the 1930s?

Who might be able to answer all these questions? Feldmann, Grahl, and Haze write their own version of art history at a time when the Western sense of inevitability muffles all life in the East—and play a trick on the new hegemonic style. (...) From 1996 until 1999, the art collection “Der Schrank von Ramon Haze” was probably one of the most original and substantial creative responses to the post-socialist transformation, to the revision of (art-)historical narratives and the new acquisitions policies of public museums.”

Image : Installation View Am Ende diese Arbeit, Ramon Haze, Der Schrank, Courtesy of GfZK, Photo: Alexandra Ivanciu

#ramonhaze #derschrank #amendediesearbeit #gfzk #kow #kowberlin

10/10/2020

Chto Delat’s “Learning Flags” featured in the group exhibition “1 Million Roses for Angela Davis” at Kunsthalle im Lipsiusbau - on view until January 24, 2021.

“Few East Germans over the age of fifty fail to remember the state-organized solidarity campaign calling for the release of the US philosopher, communist and Black Power activist Angela Davis. “A million roses for Angela” was the motto of a postcard campaign in 1970-72 in support of Davis, who at the time was being held under terrorism charges.
The large-scale campaign firmly anchored the activist within the cultural memory of the GDR, which — in this critical phase of the Cold War — sought to position itself by asserting its commitment to the comrade. In the GDR, the media spun Davis as the “heroine of the other America” and after her acquittal she was welcomed as a state guest. For her part, Angela Davis had hoped for an internationalist movement promoting a socialist, feminist, and non-racist democracy — the antithesis of her experiences of violence and oppression as a Black woman in the USA. This moment of hope provides the historical starting point for the exhibition, which features contemporary works by international artists.
These works focus on the issues that the now emeritus professor campaigned on at the time, which are still pressing today, and thereby initiate discussion about the background, flaws, and unfulfilled potential of this unusual relationship between Davis and the GDR. In photographs, videos, sculptures, sound installations, and conceptual works, some of which are new commissions for this exhibition, a young generation of artists focus attention both on Davis’ ongoing commitment to social justice and her struggle against racism and sexism, as well as on how her iconic image came to be inscribed within a global history of resistance.”

Copyright SKD, Photos: Laura Fiorio.

#chtodelat #1millionrosesforangeladavis #skd.museum #albertinum.skd #kow #kowberlin

08/10/2020

Throwback to Heinrich Dunst’s solo exhibition “Dämmstoffe” at KOW in 2014.

“From my mouth!” he says and sticks out his tongue. “Da!”—“there!” We look at him quizzically. “There!!” What’s he pointing at? “From my mouth!!” At the pinkish, speaking muscle there? “The words! There!!” At language itself? Or does he mean the two voluminous giant polystyrene letters, a D and an A, casually set against the wall a few yards away (they, too, are pinkish, like a laconic echo)? By the way: “he” is the Vienna-based artist Heinrich Dunst. His verbal demonstration brings us straight to the issues his art explores. This “Da!” is difficult to grasp. It simultaneously points to itself and at something else. It is both word and sound, both statement and sign, both the tongue that speaks and two letters made out of insulation material. Like a particle in quantum mechanics, it occupies all of these states at the same time.
It shares this elusiveness with a dozen linguistic and pictorial objects, sculptures, and paintings on view throughout the gallery’s ground-floor space. The attempt to once and for all sort out the function and significance of any part of this installation is bound to fail. Inconclusive work forms are engaged in conversation with each other like fragments at a loss for a whole. Each component is a torso, its unguarded flanks open to passes – analogies with, and differences from, other components – but no goal is ever scored. The intellectual and physical void between objects teems with threads of discussions that fray only moments later. Dunst disappoints our expectation that things should make sense. It’s not that they get up to nonsense; but confronted with our longing for insight, they dispatch us, round after round, into a tangle of decoys the mind never quite catches hold of.”

#throwbackthursday #heinrichdunst #daemmstoffe #kow #kowberlin

03/10/2020

Chto Delat’s flag "Creolizing" (2015) is featured in the group exhibition “Worlds Without End: Stories Around Borders” at Hugh Lane Gallery - on view until January 31, 2021.

“WWE opens a visual dialogue on the impact of borders on individuals and communities. The twelve participating artists are drawn from different regional traditions and challenge our perceptions of national identities, envisioning utopian possibilities for understanding the place of borders, their proliferation and seeming obsolescence, in contemporary society. The exhibiting artists reveal their deep interest in current geo-political positions and social conditions with works that interrogate power structures, positions of privilege and human rights issues. The artists’ concerns also extend to those established borders which cut through communities and neighbourhoods, bringing frustration, anger, suffering and death.” - hughlane.ie

#chtodelat #creolizing #hughlanegallery #kow #kowberlin

02/10/2020

Henrike Naumann’s new adaptation of her installation “Tag X” (2019) is part of the group exhibition “We Never Sleep” at Schirn Kunsthalle Frankfurt - on view until January 10, 2021.

“With Tag X, Henrike Naumann launches a remarkable memorial. In the midst of design classics converted into weapons, a video plays in which an anonymous contemporary witness recalls a political upheaval in Germany. The pictures show demonstrations and acts of violence on Alexanderplatz in Berlin, they are original recordings of the Stasi from 1989. In the course of the video, the events become blurred. Is it about 1989 or 2019? Was socialism defeated, or was a new state established with a white nationalist revolution? The background of the work are prepper networks that became known in 2018. These networks are preparing themselves for a violent systemic change in Germany and maintain connections to the police, the Federal Armed Forces, the Office for the Protection of the Constitution and the Military Counterintelligence Service. With the purchase of weapons and combat training over a period of years they are preparing for a takeover of power after “Day X”. Naumann's installation raises questions about the relationship between the formation of political opinion and the aesthetics of private and commercial spaces. Symbols of bourgeois prosperity and economic security become combat equipment.”

Photo credit: WE NEVER SLEEP, Ausstellungsansicht, © Schirn Kunsthalle Frankfurt, 2020, Foto: Norbert Miguletz

#henrikenaumann #tagX #schirn #kow #kowberlin

01/10/2020

Tobias Zielony’s series “Maskirovka” (2017) is featured in the group exhibition “The Time We Call Our Own” at Open Eye Gallery in Liverpool - on view until October 23.

“Tobias Zielony's work produced in Ukraine between 2016 and 2017 focuses on the underground queer and techno scene in Kyiv in the aftermath of the 2013 revolution. The term 'maskirovka' describes a tradition of Russian warfare tactics of deception. The so called "green men" that occupied Crimea and helped pro-russian forces in Eastern Ukraine were in fact Russian special forces wearing face masks to hide their identities and starting a hybrid war that was never officially declared. The recent political developments as well as the Russian interference into the country's internal affairs could be seen as sad travesty in which everything is possible but nothing seems to be real. All levels of life are compromised into a situation in which there is no right or wrong anymore.”

Find a detailed guide through the project below:
https://openeye.org.uk/whatson/tobias-zielony-maskirovka-the-time-we-call-our-own-online-6/

Image 1: Tobias Zielony, Cover, 2017
Image 2: Tobias Zielony, Anastasia, 2017
Image 3: Tobias Zielony, Kyiv, 2017
Image 4: Tobias Zielony, Man, 2017
Image 5: Tobias Zielony, Aluminium, 2017

#tobiaszielony #maskirovka #openeyegallery #kow #kowberlin

30/09/2020

Stills from Candice Breitz’s video installation “Alien” (2002), featured in the group exhibition “Looking at the Sun at Midnight” at Lenbachhaus Munich - on view until August 21, 2021.

“The installation revolves around topics of closed communities, belonging, language, inclusion and exclusion, home, freedom and borders. Candice Breitz invited ten men and women of various origins immigrated to Germany to learn one of ten German songs. The videos show the immigrants performing the songs at important locations in German history in Berlin. The Soviet Honor Monument in Trepotwer Park, Alexanderplatz or Tiergarten—all act as national backgrounds for the more or less hesitant and vocal attempts to adapt to the artist's dominant guidelines. The soundtrack of the videos does not come from the performers, but were sung by native German speakers and recorded in advance in a professional recording studio. Breitz imported the sound versions into the exposed bodies of the immigrants and creates alienation effects from the discrepancies, the hesitation and the moments when lip movements and sound do not go together. The impression of this disparate coincidence is reinforced by the English subtitles, which precede the German words instead of accompanying them. Body and voices finally say goodbye to their togetherness. The German language in its historical charge imposes itself on the bodies and at the same time reflects itself there. Language becomes a ready-made form—as if it were a condition in which the protagonists have to find their way as well as in the places where they clumsily try to prove their supposed “Germanism” through songs. The songs range from the “Deutschlandlied” to protest and squatter chants to hits and children’s songs. Some expressly reflect questions of being German, others belong to a general German cultural repertoire; but all express forms of belonging or at least the longing for it. And although these forms of are not defined by age, social class, religion or ideology, they can be recognized as such as a whole; if not in their content, so in the way they are presented here and what memories they convey”

#candicebreitz #lenbachhaus #kow #kowberlin

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Videos

Currently showing Barbara Hammer’s exhibition “Would You Like To Meet Your Neighbor?” - on view until November 7. All films of the exhibition can be viewed on our website. “We present films from the 1980s that, to this day, have mostly been screened at arthouse theaters and festivals. From the earliest days of her career, in 1968, Hammer located her work in the art world, but, at that time, film and video were media that were rarely included in exhibitions, and lesbian and queer voices like Hammer’s were struggling to be heard in public spaces. Only now, after exhibitions mounted by prominent collections and institutions, is her art finally gaining traction in the cultural consciousness of wider audiences. Synch Touch (1981, 10:07 min) is one of her programmatic films, championing a lesbian-feminist aesthetic that identifies the conjunction of touching and seeing as the basis for a “new cinema.” Rather than an abstraction disassociated from the body, the filmic gaze remains tethered to the hand, the flesh, the physical senses and, in artistic terms, to painting. “We are in a culture,” a voice observes toward the end, “where the expression of the heart and the senses are repressed. The heart of film is the rapport between touch and sight.” Video: Barbara Hammer, Sync Touch, 1981, 16 mm film on video, color, sound, 10:07 min. #barbarahammer #wouldyouliketomeetyourneighbor #kow #kowberlin

Join us today for the opening of Barbara Hammer’s show “Would You Like To Meet Your Neighbor?” “Focusing on the 1980s - when Hammer left California for New York - our exhibition turns the spotlight on an artist confidently pursuing an experimental practice and expanding on the themes of her early work, while insistently enlarging the radius of her activities and her engagement with politics and media.“ All films of the exhibition can be viewed on our website. „Audience is an extraordinary document, a film that stands apart from Hammer’s typical camerawork. When her films were shown in retrospectives in arthouse theaters in San Francisco, London, Toronto, and Montreal in the early 1980s, she posted herself at the entrance and questioned moviegoers about the expectations they were bringing to the screening and their thoughts on sexuality and representation. The result is a singular portrait of an era when women were constructing and publicly discussing—in effect, modeling—a self-image that would be influential for decades to come. A thoughtful and complex image of women who love women and diverse others and who want a cinema that captures—that depicts and creates—their desires and hopes.” Video: Barbara Hammer, Audience, 1982, 16 mm film on HD video, 32:35 min, b&w, sound. #barbarahammer #kow #kowberlin #galleryweekendberlin

HENRIKE NAUMANN IN CONVERSATION WITH SOHRAB MOHEBBI (CURATOR, SCULPTURECENTER, NYC) - Art Basel OVR Event

Mario Pfeifer's solo show at The Power Plant Contemporary Art Gallery opens on Friday. http://www.thepowerplant.org/Exhibitions/2019/Summer-2019/If-you-end-up-with-the-story-you-started-with,-the.aspx

Now @ KOW Schlusszeremonie Henrike Naumann Goodbye Brunnenstrasse Goodbye Brandlhuber Goodbye Mitte

Check out new works in the "Focus" section of KOW's website including details and prices - www.kow-berlin.com/focus

Candice Breitz Digest, 2019 A multi-channel video installation commissioned for Sharjah Biennial 14 by the Sharjah Art Foundation. (Opening March 7) 300 units: 20.3 x 12 x 2.7 cm each Wooden shelves, 300 videotapes, 300 polypropylene boxes, paper and acrylic paint Disclaimer by Candice Breitz: "This incomplete survey of the analogue intestines of home video is not titled MERDA D’ARTISTA or BOÎTE-EN-VALISE. Despite its investment in strategies of REVERSAL and RETROSPECTION, this mute depository comes both too early and too late to serve as a convincing PENSE-BÊTE. These are neither the tales of Scheherazade nor the boxes of Pandora. These minuscule coffins are not DATE PAINTINGS or TIME CAPSULES , nor are they adequate SURROGATES for the moving images that they obscure. This VERB LIST is not a definitive ATLAS. Nor is it an encyclopedia or compendium or index or library or collection or dictionary or inventory or archive or catalogue. DIGEST could not accurately be described as a monograph or a biopic or a catalogue raisonné. This is not art about art or about artists or about the art market. This is not a love song or a selfie." #CandiceBreitz #sharjahart #sharjahbiennial14 #sharjahbiennial #kow #kowberlin

Mario Pfeifer - AGAIN (Trailer)

Mario Pfeifer's "AGAIN" - following the events in Chemnitz the work is more relevant than ever and still on view at the Berlin Biennale for ten more days. https://kow-berlin.com/artists/mario-pfeifer/again-noch-einmal-2018 www.aboutnow.info

Clemens von Wedemeyer at the Riga Biennial

Clemens von Wedemeyer's new work "Transformation Scenario" at the inaugural Riga International Biennial of Contemporary Art (Jun 2 - Oct 28, 2018) https://digital.rigabiennial.com/87/00

Michael E. Smith

Franz Erhard Walter activating "Neuere Geschichte Erweitert" ("Newer History Expanded"") from 1981 at Museo Reina Sofía

Ahmet Ögüt's work "Black Diamond" is part of the show "The Conundrum of Imagination" at Leopoldmuseum in Vienna (curated by Bonaventure Soh Bejeng Ndikung and Pauline Doutreluingne) Find a piece of the museum wall in the stack of coal to receive a diamond. http://www.leopoldmuseum.org/de/ausstellungen/90/the-conundrum-of-imagination

Barbara Hammer's "Sanctus" from 1990 in a superb exhibition at...

Barbara Hammer's "Sanctus" from 1990 in a superb exhibition at the Palazzo Fortuny in Venice. http://fortuny.visitmuve.it/en/mostre-en/mostre-in-corso-en/intuition-exhibition/2017/04/17284/intuition-fortuny/

Franz Erhard Walther activating his work at the opening of La ...

Franz Erhard Walther activating his work at the opening of La Biennale di Venezia #franzerhardwalther

Brazix Muamba #2: Michael E. Smith Opening today in our project space in São Paulo

Last day of ARCO with Alice Creischer's Arbeitsplatzprojektionsmaschine (1998-99)

Michael E. Smith at Palais de Tokyo, Paris

Michael E. Smith is part of the exhibition "All Watched Over by Machines of Loving Grace" at Palais de Tokyo which opens tonight http://palaisdetokyo.com/en/event/all-watched-over-by-machines-of-loving-grace

Laudation by Heinrich Dunst on the occasion of the FEAGA Award that KOW received today at Art Basel "for creativity and new inspiration as well as for exemplary cooperation with the art community".

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Bemerkungen

Holla, Kow & Friends. Please Listen, Enjoy & Proclaim : Enigmatic Canon - Respect (752935972).

Viel Erfolg und Gratulation zur Ausstellung - Alice ist eine wunderbare und unglaublich schlaue Künstlerin!

It would like to see your exhibit in Madrid. Could you please let me know when the gallery is open? I cannot find a phone number for the Madrid gallery on your site. Thank you.

Kimberly Bradley has interviewed Hito Steyerl for the New York Times.

Franz Erhard Walther Live in Madrid.