OMO artspace

OMO artspace oMo art space: Atelier & Ausstellungsraum oMo art space: Studio & exhibition room 오모 아트스페이스: 아뜰리에, 전시장& 마페 준비반

Im oMo artspace, 2016 in Neukölln eröffnet, betreiben die beiden Bildenden KünstlerInnen Sarah Oh-Mock und Bongjun Oh ihre Ateliers, nutzen den Raum aber auch regelmäßig für Ausstellungen, Artist Talks sowie Videoscreenings von anderen Kunstschaffenden und Gastkuratoren. Besonderen Wert legen sie auf transkulturelle Begegnungen und den Dialog zwischen den KünstlerInnen. oMo artspace, founded 2016 in Berlin Neukölln, is the studio of the two artists Sarah Oh-Mock and Bongjun Oh. Regularly they provide the space to other artists' exhibitions, artist talks and videoscreenings. They focus on the transcultural encounter and dialogue between the artists. 2016년 부터 Sarah Oh-Mock , Bongjun Oh 베를린 노이쾰른(Neukölln)에 oMo artspace를 오픈하였습니다. 저희 역시 이곳에서 작가활동을 하면서 매달 정기적으로 다양한 전시회 및 비디오 스크리닝을 기획 하고 있습니다. 아시아 작가와 유럽 및 아시아 외 작가의 만남을 기본으로 아시아 작가분들이 베를린에서 활발한 활동을 할 수 있고 두 다른 나라의 예술적 교류를 배경으로 전시를 기획하고 있습니다

20/03/2020

(German below)
Dear oMo artspace friends,

as so many in these days we have to postpone all planned events for springtime and early summer. We were so looking forward after the baby break in winter to a great VR-presentation, a japanese photography and painting exhibition, a videoart screening, a show of Berlin friends and not to forget a great korean conceptual- and performance artist who especially planned to travel to Berlin for the art festival 48h Neukölln. We will not reveal more to let it be exciting for the future when our social lives will rise from the ashes! oMo will not be gone- we will just use it as our studio and also rise with new exciting own artworks.
Stay healthy and at home please

Cai Guojie: The Length of Berlin. 柏林的长度Shi Wanwan: Manuscripts: Deutschland. Ein Wintermärchen. 手稿:德国,一个冬天的童话https://m.f...
04/09/2019

Cai Guojie: The Length of Berlin. 柏林的长度
Shi Wanwan: Manuscripts: Deutschland. Ein Wintermärchen. 手稿:德国,一个冬天的童话

https://m.facebook.com/CaiGuoJie/
https://www.facebook.com/events/1131833300359629/

Cai Guojie's "The Length of Berlin" and the shi wanwan's "Manuscripsts: Germany, a winter fairy tale" will be exhibited in the oMo art space in Berlin from August 26, 2019. The exhibition was invited by the Berlin oMo artspace and curated by the former Taipei Cultural Bureau Director, the director of the Kaohsiung Municipal Art Museum, and the independent curator Xie Pei Ni. During the exhibition period from August 26th to September 1st, 2019, you can see and participate in the local works of the two artists from Taipei and Suzhou.

Cai Guojie started from the 《Linear Store》 in 2004, and carried out the thinking of urban land development. Based on the cadastral map of land retouching and mapping, the "Art Development" series of projects developed by land error was launched. In 2015, after the integration into the 《Half-field Plan》, through a series of land allocation, sales mechanism, ownership authorization, Equity transfer ceremony, and Property rights enforcement, the author pointed out the relevant powers of the right to reside and conduct more specific practices. After the exhibition was completed in Taiwan, Hong Kong, Macao and other places with multiple colonial cultures, this time in Berlin, the artist will carry a cadastral number for each kilometer of the Berlin Wall with a total length of 167.8 kilometers. It is also sold on the exhibition site and online. In this exhibition project, the artist also applied for the registration of a bank account to complete the collection at the address of one of the Berlin walls. When each specific unit completes the sale, the payment receipt, schematic and Property statement will be announced on the global online social media platforms.

Shi wanwan began his public art creation from around 2010. From 《An Istanbul Painter》, 《Wangjing Youth》, 《The Landscape of Ho Chi Minh》 to 《Miss Ho Lee Wud》, the misreading caused by multi-text interchange is the object itself. As a kind of richness, it shows the tension of imagination in art intertextuality. In this exhibition in Berlin, the artist randomly downloaded a German poem from the Internet and with the help of Google Translate, tried to recite the poem in German and record it. The artist hopes that the German audience will re-write the content on paper as a "manuscript" after hearing the recording. The artist's recordings and the audience's "manuscripts" will present an incredible relationship.

Joakim Blattmann & Clemens Wilhelm
DIE MAUER IST WEG
58 min
2017

In 2017, the Berlin Wall was gone for as long as it stood. It stood for 28 years - and it fell 28 years before.

The Berlin Wall was toppled by a peaceful revolution, but it lives on as some kind of ghost. The wound of the city has turned into a scar, partly it healed well, party it is still open. Physically in the cityscape, as well as psychologically in the heads, it is still very present.

DIE MAUER IST WEG documents a circular walk around the entire former Berlin Wall in the year 2017. The film consists of photographs which all follow the same conceptual composition: they show the path ahead which represents the Berlin Wall, with West-Berlin to the left and East-Berlin to the right of the image. In 160 km the film leads through the banality of the former death strip, the demarcation line between the blocks of the Cold War.

DIE MAUER IST WEG is a re-visit and visualization of this wound which capitalism, communism and fascism cut into the city.

DIE MAUER IST WEG shows the absent, a wall that is no longer physically there: it is a paradox attempt to picture the invisible.

The film is accompanied by a live-soundtrack, which combines an arrangement of musical instruments with original sounds from the Berlin Wall, composed and played by Joakim Blattmann.

Info Website:
http://clemenswilhelm.com/portfolio/diemaueristweg/

Cai Guojie: The Length of Berlin. 柏林的长度
Shi Wanwan: Manuscripts: Deutschland. Ein Wintermärchen. 手稿:德国,一个冬天的童话

https://m.facebook.com/CaiGuoJie/
https://www.facebook.com/events/1131833300359629/

Cai Guojie's "The Length of Berlin" and the shi wanwan's "Manuscripsts: Germany, a winter fairy tale" will be exhibited in the oMo art space in Berlin from August 26, 2019. The exhibition was invited by the Berlin oMo artspace and curated by the former Taipei Cultural Bureau Director, the director of the Kaohsiung Municipal Art Museum, and the independent curator Xie Pei Ni. During the exhibition period from August 26th to September 1st, 2019, you can see and participate in the local works of the two artists from Taipei and Suzhou.

Cai Guojie started from the 《Linear Store》 in 2004, and carried out the thinking of urban land development. Based on the cadastral map of land retouching and mapping, the "Art Development" series of projects developed by land error was launched. In 2015, after the integration into the 《Half-field Plan》, through a series of land allocation, sales mechanism, ownership authorization, Equity transfer ceremony, and Property rights enforcement, the author pointed out the relevant powers of the right to reside and conduct more specific practices. After the exhibition was completed in Taiwan, Hong Kong, Macao and other places with multiple colonial cultures, this time in Berlin, the artist will carry a cadastral number for each kilometer of the Berlin Wall with a total length of 167.8 kilometers. It is also sold on the exhibition site and online. In this exhibition project, the artist also applied for the registration of a bank account to complete the collection at the address of one of the Berlin walls. When each specific unit completes the sale, the payment receipt, schematic and Property statement will be announced on the global online social media platforms.

Shi wanwan began his public art creation from around 2010. From 《An Istanbul Painter》, 《Wangjing Youth》, 《The Landscape of Ho Chi Minh》 to 《Miss Ho Lee Wud》, the misreading caused by multi-text interchange is the object itself. As a kind of richness, it shows the tension of imagination in art intertextuality. In this exhibition in Berlin, the artist randomly downloaded a German poem from the Internet and with the help of Google Translate, tried to recite the poem in German and record it. The artist hopes that the German audience will re-write the content on paper as a "manuscript" after hearing the recording. The artist's recordings and the audience's "manuscripts" will present an incredible relationship.

Joakim Blattmann & Clemens Wilhelm
DIE MAUER IST WEG
58 min
2017

In 2017, the Berlin Wall was gone for as long as it stood. It stood for 28 years - and it fell 28 years before.

The Berlin Wall was toppled by a peaceful revolution, but it lives on as some kind of ghost. The wound of the city has turned into a scar, partly it healed well, party it is still open. Physically in the cityscape, as well as psychologically in the heads, it is still very present.

DIE MAUER IST WEG documents a circular walk around the entire former Berlin Wall in the year 2017. The film consists of photographs which all follow the same conceptual composition: they show the path ahead which represents the Berlin Wall, with West-Berlin to the left and East-Berlin to the right of the image. In 160 km the film leads through the banality of the former death strip, the demarcation line between the blocks of the Cold War.

DIE MAUER IST WEG is a re-visit and visualization of this wound which capitalism, communism and fascism cut into the city.

DIE MAUER IST WEG shows the absent, a wall that is no longer physically there: it is a paradox attempt to picture the invisible.

The film is accompanied by a live-soundtrack, which combines an arrangement of musical instruments with original sounds from the Berlin Wall, composed and played by Joakim Blattmann.

Info Website:
http://clemenswilhelm.com/portfolio/diemaueristweg/

im oMo artspace kommen auch dieses Mal zwei internationale künstlerische Positionen zusammen, Teodora Infrared aus Serbi...
23/08/2019

im oMo artspace kommen auch dieses Mal zwei internationale künstlerische Positionen zusammen, Teodora Infrared aus Serbien und Franco D. Sosio aus Italien und der Schweiz.
Die von Infrared initiierte Zusammenarbeit besteht aus zwei Komponenten, einem installativen und performativen Teil.
_______________________________
VERNISSAGE
Freitag 19 Uhr
Teodora Infrared Installation
Franco D. Sosio Performance
_______________________________
Ausstellungsprogramm
-Freitag 09.08.19, 19-22 Uhr
19 Uhr Eröffnungsperformance
-Samstag 10.08.19, 14-22 Uhr
-Sonntag 11.08.19, 13-21 Uhr
19 Uhr Schlussperformance
_______________________________

Fotos: Teodora Infrared/ Sarah Oh-Mock

im oMo artspace kommen auch dieses Mal zwei internationale künstlerische Positionen zusammen, Teodora Infrared aus Serbien und Franco D. Sosio aus Italien und der Schweiz.
Die von Infrared initiierte Zusammenarbeit besteht aus zwei Komponenten, einem installativen und performativen Teil.
_______________________________
VERNISSAGE
Freitag 19 Uhr
Teodora Infrared Installation
Franco D. Sosio Performance
_______________________________
Ausstellungsprogramm
-Freitag 09.08.19, 19-22 Uhr
19 Uhr Eröffnungsperformance
-Samstag 10.08.19, 14-22 Uhr
-Sonntag 11.08.19, 13-21 Uhr
19 Uhr Schlussperformance
_______________________________

Fotos: Teodora Infrared/ Sarah Oh-Mock

14.-25.6.2019Die von Nayun Lee (Jeju, Südkorea) kuratierte Ausstellung wird Arbeiten von sieben Künstler*innen (fast) gl...
01/08/2019

14.-25.6.2019

Die von Nayun Lee (Jeju, Südkorea) kuratierte Ausstellung wird Arbeiten von sieben Künstler*innen (fast) gleicher Herkunft versammeln, die heute an ganz unterschiedlichen Orten leben und in ganz verschiedenen Medien arbeiten. Sechs von ihnen stammen von der südkoreanischen Insel Jeju. Eine Insel ist bildlich gesehen ein regionaler Ort mit einer geradezu manifestierter Grenze, welche geographisch definiert ist und nicht einfach überschritten werden kann. Die Arbeiten beschäftigen sich mit einem zukünftigen hypothetischen Zustand der fließenden Grenzen und des Transnationalismus, in dem heutige starre nationale Grenzen verschwimmen.
Gefördert durch die Jeju Cultural Foundation, Jeju, sowie Korean Cultural Foundation, KOR

super-meta-post borders, curated by Nayun Lee (Jeju, South Korea) will present the works of seven artists of (almost) same origin who live today in totally different places and work in different media. Six of them also were born on Jeju island, South Korea. An island is a regional phenomenom in a figurative sense, with a manifested border which is defined geographically and cannot be crossed easily. The artistic works deal with a future hypothetical condition of flowing transitions and transnationalism in which the present fixed national borders will become blurred.
Founded by the Jeju Cultural Foundation, Jeju, as well as Korean Cultural Foundation, KOR

KünstlerInnen/ artists:

Hwa Seon Yang
Jung Huh
Kodac Ko
Minkyeong Heo
Nayun Lee (curator)
Yujin Song
Sarah Oh-Mock
Bongjun Oh

14.-25.6.2019

Die von Nayun Lee (Jeju, Südkorea) kuratierte Ausstellung wird Arbeiten von sieben Künstler*innen (fast) gleicher Herkunft versammeln, die heute an ganz unterschiedlichen Orten leben und in ganz verschiedenen Medien arbeiten. Sechs von ihnen stammen von der südkoreanischen Insel Jeju. Eine Insel ist bildlich gesehen ein regionaler Ort mit einer geradezu manifestierter Grenze, welche geographisch definiert ist und nicht einfach überschritten werden kann. Die Arbeiten beschäftigen sich mit einem zukünftigen hypothetischen Zustand der fließenden Grenzen und des Transnationalismus, in dem heutige starre nationale Grenzen verschwimmen.
Gefördert durch die Jeju Cultural Foundation, Jeju, sowie Korean Cultural Foundation, KOR

super-meta-post borders, curated by Nayun Lee (Jeju, South Korea) will present the works of seven artists of (almost) same origin who live today in totally different places and work in different media. Six of them also were born on Jeju island, South Korea. An island is a regional phenomenom in a figurative sense, with a manifested border which is defined geographically and cannot be crossed easily. The artistic works deal with a future hypothetical condition of flowing transitions and transnationalism in which the present fixed national borders will become blurred.
Founded by the Jeju Cultural Foundation, Jeju, as well as Korean Cultural Foundation, KOR

KünstlerInnen/ artists:

Hwa Seon Yang
Jung Huh
Kodac Ko
Minkyeong Heo
Nayun Lee (curator)
Yujin Song
Sarah Oh-Mock
Bongjun Oh

Hyunho Park, Bongjun Oh - DE /  „no lemons no melon - no melons no lemon“ Beim Ausstellungstitel handelt es sich um ein ...
02/06/2019

Hyunho Park, Bongjun Oh -

DE / „no lemons no melon - no melons no lemon“ Beim Ausstellungstitel handelt es sich um ein Palindrom, einen Satzteil oder Satz, der sich vor- wie rückwärts gleich lesen lässt. Unser Ziel ist es, dem monotonen und flachen Zyklus des Alltäglichen eine neue Dimensionalität zu verleihen. Diese kurze aber wichtige Kooperation ist der Versuch, ein geometrisches Portrait unserer Gesellschaft zu kreieren. Hyunho Park arbeitet mit geometrischen Formen in Beziehung zu OuLiPo‘s Konzept des Formzwangs und experimentiert so mit einer Struktur, die theoretisch ins Unendliche erweitert werden könnte. Bongjun Oh hinterfragt seine Umgebung und das Leben von einem geometrischen Gesichtspunkt aus, um unbewusste Erfahrungen und die ihn umgebende Welt zu verstehen und neu zu interpretieren. &

EN / „no lemons no melon - no melons no lemon“ The title of exhibition is a Palindrome, a phrase or sequence that reads the same backward and forward. Our goal is to create a cylinder by breathing in volume to the monotonous circle that has the same beginning and ending. This brief but significant cooperation is an attempt to provide a geometric portrait of our society. Hyunho Park works with geometric forms in relation to OuLiPo’s concept of constraint, experimenting with a structure that could potentially have infinite possibilities of production. Bongjun Oh starts from questioning life from a geometric viewpoint to understand and interpret the subconscious, experiences, and even the world surrounding himself. &

KOR / „no lemons no melon - no melons no lemon“ 전시제목은 앞으로 읽거나 뒤로 읽어도 같은 뜻인 팰린드롬으로 만들어졌다. 우리의 목표는 입구와 출구가 같은 단조로운 원에 "두께"를 더해 입체적인 원기둥을 만드는 것이다. 우리는 매우 한시적이지만 협업을 통해 우리의 삶에 대한 기학학적 초상화를 그려 보여줄 것이다. 오봉준의 기하학적 형태들은 일상의 삶과 세계를 이해하려는, 말하자면 무의식 혹은 실재하는 경험이나 삼차원의 공간을 해석하기 위한 방법론적 접근이며, 박현호는 울리포의 제약개념을 활용하여 잠재적으로 무한히 생산 가능한 방법과 관련하여 기하학적 형태를 연구한다.

Hyunho Park, Bongjun Oh -

DE / „no lemons no melon - no melons no lemon“ Beim Ausstellungstitel handelt es sich um ein Palindrom, einen Satzteil oder Satz, der sich vor- wie rückwärts gleich lesen lässt. Unser Ziel ist es, dem monotonen und flachen Zyklus des Alltäglichen eine neue Dimensionalität zu verleihen. Diese kurze aber wichtige Kooperation ist der Versuch, ein geometrisches Portrait unserer Gesellschaft zu kreieren. Hyunho Park arbeitet mit geometrischen Formen in Beziehung zu OuLiPo‘s Konzept des Formzwangs und experimentiert so mit einer Struktur, die theoretisch ins Unendliche erweitert werden könnte. Bongjun Oh hinterfragt seine Umgebung und das Leben von einem geometrischen Gesichtspunkt aus, um unbewusste Erfahrungen und die ihn umgebende Welt zu verstehen und neu zu interpretieren. &

EN / „no lemons no melon - no melons no lemon“ The title of exhibition is a Palindrome, a phrase or sequence that reads the same backward and forward. Our goal is to create a cylinder by breathing in volume to the monotonous circle that has the same beginning and ending. This brief but significant cooperation is an attempt to provide a geometric portrait of our society. Hyunho Park works with geometric forms in relation to OuLiPo’s concept of constraint, experimenting with a structure that could potentially have infinite possibilities of production. Bongjun Oh starts from questioning life from a geometric viewpoint to understand and interpret the subconscious, experiences, and even the world surrounding himself. &

KOR / „no lemons no melon - no melons no lemon“ 전시제목은 앞으로 읽거나 뒤로 읽어도 같은 뜻인 팰린드롬으로 만들어졌다. 우리의 목표는 입구와 출구가 같은 단조로운 원에 "두께"를 더해 입체적인 원기둥을 만드는 것이다. 우리는 매우 한시적이지만 협업을 통해 우리의 삶에 대한 기학학적 초상화를 그려 보여줄 것이다. 오봉준의 기하학적 형태들은 일상의 삶과 세계를 이해하려는, 말하자면 무의식 혹은 실재하는 경험이나 삼차원의 공간을 해석하기 위한 방법론적 접근이며, 박현호는 울리포의 제약개념을 활용하여 잠재적으로 무한히 생산 가능한 방법과 관련하여 기하학적 형태를 연구한다.

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Berlin
12055

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