Bpigs

21/04/2021

Holly Mother of Brutalist Wednesdays! A contemporary architectural icon of North Africa (with much more than a pinch of raw-concrete Brutalism), Hotel Du Lac in Tunis (constructed 1970-1973 and designed by Italian architect Raffaele Contigiani) is not just your usual 10-floor/416-room hotel. The mind-bending, uniquely cantilevered design results in a top floor that’s double the length of the ground floor. The hotel has been abandoned since 2002 and has been facing demolition for some years now- with brutalist fans, artists, and ... Star Wars fans alike coming to its rescue.

Pic: an image of the Hôtel du Lac building in Tunis has been edited to read “No to demolition” in Arabic by artists Mouna Jemal Siala and Manna Jmal.

19/04/2021

A collective translation of Gloria E. Anzaldúa’s work: Lecture by Verena Melgarejo Weinandt, followed by a Q&A (In English)
Wednesday, 21 April 21, 7–8:30 pm (CET)

The event will take place over Zoom.
Please register via the website of @kwinstitutefcontemporaryart

Verena Melgarejo Weinandt is a German-Bolivian artist, curator and researcher. In this talk, she will present her recent project Nepantla Bibliothek, which she developed together with District*School without Center and in cooperation with sonntagsbureau. Nepantla Bibliothek consisted of a series of workshops held in 2019–20 at the America Memorial Library Berlin. The events evolved around the long overdue translation of the book Borderlands/La Frontera. The New Mestiza (1987) by Gloria E. Anzaldúa into German. As a self-proclaimed “Chicana, tejana, from the working class, dyke feminist poet, author-theorist” Anzaldúa (1942–2004) created a broad range of writings including poetry, short stories, theoretical treatises, letters, children’s books and other creative expressions. With the term “Nepantla”, Anzaldúa describes an in-between state – a place of contradictions, connections, and transformations. For this series, Melgarejo Weinandt invited artists, activists, and theoreticians who relate their work to Anzaldúa. Together they asked: Which forms of knowledge production and which marginalized voices can be understood differently, or maybe even better, with and through Anzaldúa in the German speaking context? How can we broaden the process of translating Anzaldúa and what can (un-)learning with her look like?

The event Nepantla Bibliothek – A collective translation of Gloria E. Anzaldúa’s work takes place in cooperation with the KW Institute for Contemporary Art, Berlin in the framework of the series You’re not muted. The project Wissen über Brücken – Conocimiento sobre puentes is funded by by the Senate Department for Culture and Europe.

A collective translation of Gloria E. Anzaldúa’s work: Lecture by Verena Melgarejo Weinandt, followed by a Q&A (In English)
Wednesday, 21 April 21, 7–8:30 pm (CET)

The event will take place over Zoom.
Please register via the website of @kwinstitutefcontemporaryart

Verena Melgarejo Weinandt is a German-Bolivian artist, curator and researcher. In this talk, she will present her recent project Nepantla Bibliothek, which she developed together with District*School without Center and in cooperation with sonntagsbureau. Nepantla Bibliothek consisted of a series of workshops held in 2019–20 at the America Memorial Library Berlin. The events evolved around the long overdue translation of the book Borderlands/La Frontera. The New Mestiza (1987) by Gloria E. Anzaldúa into German. As a self-proclaimed “Chicana, tejana, from the working class, dyke feminist poet, author-theorist” Anzaldúa (1942–2004) created a broad range of writings including poetry, short stories, theoretical treatises, letters, children’s books and other creative expressions. With the term “Nepantla”, Anzaldúa describes an in-between state – a place of contradictions, connections, and transformations. For this series, Melgarejo Weinandt invited artists, activists, and theoreticians who relate their work to Anzaldúa. Together they asked: Which forms of knowledge production and which marginalized voices can be understood differently, or maybe even better, with and through Anzaldúa in the German speaking context? How can we broaden the process of translating Anzaldúa and what can (un-)learning with her look like?

The event Nepantla Bibliothek – A collective translation of Gloria E. Anzaldúa’s work takes place in cooperation with the KW Institute for Contemporary Art, Berlin in the framework of the series You’re not muted. The project Wissen über Brücken – Conocimiento sobre puentes is funded by by the Senate Department for Culture and Europe.

14/04/2021

SERIAL COMPOSITIONS by KYOUNGTAE KIM will be on view @einbuch.haus from Friday April 16th

By using his Focus Stacking* technique, Kim’s images show equally distributed focus points on the objects, creating an illusion to the viewers as if they are looking at a graphic image rather than a photograph.

*Focus Stacking: a digital image processing technique which combines multiple images taken at different focus distances to give a flat perspective image without a vanishing point.

There will be a soft opening on Friday, please find the link to register on @einbuch.haus pages

Fri, 16 Apr, 13.00h – 21.00h
Duration:
16 Apr 2021 – 8 May 2021
einBuch.haus
Florastraße 61,
13187 Berlin

13/04/2021

On view from April 15th @eigenart_lab MALTE BARTSCH: INVESTMENT
In the past there was not necessarily more tinsel, but more noise and more fire. Cars were buzzing, cigarettes were glowing, fireworks exploded. This was probably not particularly wise, healthy or sustainable, and not everything was better in the past. This much is certain. Nevertheless, this noise-making is also a way of expressing one's joy at the mere fact that one is inexplicably alive. What happens when nothing glows any more because the e-cigarette (recently: tobacco heater) with blueberry flavor no longer burns anything crackling but only heats it moderately, when the Tesla glides silently through a frigid world and when the fireworks are consumed digitally via a screen instead of blowing up a proper bang and sulphur smell?

That these things will be reduced in the future is pleasing. Because it is reasonable and because it will ensure a cleaner and healthier future. One that leaves a better world for generations to come. Yet the silence in which the present slowly begins to mantle itself also disguises its functionalities, the present is lost in empty speculations and commodities that are decoupled from their real value.

Malte Bartsch lets these two poles collide in his work. The exhibition “Investment” shows five groups of works: “Risk Averse”, “Agave”, “Rakete”, “EC” and “Schneehaus”. Does one already invest time (which is money, as we know) into ones own cultural horizon by visiting the exhibition? The neoliberal pressure for self-optimization, which eats into every area of life, is heralded here.

Excerpt from the press text by Laura Helena Wurth

Malte Bartsch
Rakete, 2019
Video still
1-channel-projection, HD-Video, colour, audio, loop
12 min.
courtesy EIGEN + ART Lab, Berlin

On view from April 15th @eigenart_lab MALTE BARTSCH: INVESTMENT
In the past there was not necessarily more tinsel, but more noise and more fire. Cars were buzzing, cigarettes were glowing, fireworks exploded. This was probably not particularly wise, healthy or sustainable, and not everything was better in the past. This much is certain. Nevertheless, this noise-making is also a way of expressing one's joy at the mere fact that one is inexplicably alive. What happens when nothing glows any more because the e-cigarette (recently: tobacco heater) with blueberry flavor no longer burns anything crackling but only heats it moderately, when the Tesla glides silently through a frigid world and when the fireworks are consumed digitally via a screen instead of blowing up a proper bang and sulphur smell?

That these things will be reduced in the future is pleasing. Because it is reasonable and because it will ensure a cleaner and healthier future. One that leaves a better world for generations to come. Yet the silence in which the present slowly begins to mantle itself also disguises its functionalities, the present is lost in empty speculations and commodities that are decoupled from their real value.

Malte Bartsch lets these two poles collide in his work. The exhibition “Investment” shows five groups of works: “Risk Averse”, “Agave”, “Rakete”, “EC” and “Schneehaus”. Does one already invest time (which is money, as we know) into ones own cultural horizon by visiting the exhibition? The neoliberal pressure for self-optimization, which eats into every area of life, is heralded here.

Excerpt from the press text by Laura Helena Wurth

Malte Bartsch
Rakete, 2019
Video still
1-channel-projection, HD-Video, colour, audio, loop
12 min.
courtesy EIGEN + ART Lab, Berlin

13/04/2021

New Space submission! TOP Transdisciplinary Project Space offers cultural events to local and trans-local communities. It is inhabited and run by a transdisciplinary group of international artists, designers, architects, filmmakers, writers, scientists, activists, and a cook. The space and its infrastructure, containing a bio lab, a server, a wood workshop, a shared workspace, a kitchen, and an event space, are used collaboratively by its community and accessible through events organised by its members and guests. TOP was founded in 2015 as a collaboration with Schillerpalais e. V.

We want to map out creative Berlin! Please spread the word; you can register your space on our platform for free—link in bio.

New Space submission! TOP Transdisciplinary Project Space offers cultural events to local and trans-local communities. It is inhabited and run by a transdisciplinary group of international artists, designers, architects, filmmakers, writers, scientists, activists, and a cook. The space and its infrastructure, containing a bio lab, a server, a wood workshop, a shared workspace, a kitchen, and an event space, are used collaboratively by its community and accessible through events organised by its members and guests. TOP was founded in 2015 as a collaboration with Schillerpalais e. V.

We want to map out creative Berlin! Please spread the word; you can register your space on our platform for free—link in bio.

12/04/2021

New space submission! Projectraum Galerie M was opened in 2018 by Neue Kunstinitiative Marzahn-Hellersdorf. Particularly remarkable is the initiative's integrative and cross-genre approach: The collective work on equal terms unites the full-time and part-time artists, musicians, and writers. Photo: Wolfgang Strack

Help us map out the ever-changing Berlin art scene. You can submit your gallery or project space on our platform for free. Link in our bio.

New space submission! Projectraum Galerie M was opened in 2018 by Neue Kunstinitiative Marzahn-Hellersdorf. Particularly remarkable is the initiative's integrative and cross-genre approach: The collective work on equal terms unites the full-time and part-time artists, musicians, and writers. Photo: Wolfgang Strack

Help us map out the ever-changing Berlin art scene. You can submit your gallery or project space on our platform for free. Link in our bio.

09/04/2021

The April 15th deadline for this open call is just around the corner! District Berlin

The April 15th deadline for this open call is just around the corner! District Berlin

08/04/2021

Spritz o'clock! What are you planning for our first post-Covid (ish) GW in Berlin? We want to map out all art projects on and off the main path. Email us now and do not forget to register your gallery, or pop-up, or online viewing room (yep!) on our website. Link in bio.

Also, I made my first meme.

Spritz o'clock! What are you planning for our first post-Covid (ish) GW in Berlin? We want to map out all art projects on and off the main path. Email us now and do not forget to register your gallery, or pop-up, or online viewing room (yep!) on our website. Link in bio.

Also, I made my first meme.

07/04/2021

Could not think of a more timely show. RESONANZ DER REALITÄTEN / RESONANT REALITIES is opening next week @hausamluetzowplatz and will feature the works of the grant recipients of the first art prize for virtual reality: Banz & Bowinkel, Evelyn Bencicova, Patricia Detmering, Armin Keplinger and Lauren Moffatt

Curated by: Tina Sauerlaender (Artistic Director)
In cooperation with @official.dkb und der @caaberlin Berlin.

Date:
Fri, 16 Apr, 19.00h
Duration:
17 Apr 2021 – 6 Jun 2021

Could not think of a more timely show. RESONANZ DER REALITÄTEN / RESONANT REALITIES is opening next week @hausamluetzowplatz and will feature the works of the grant recipients of the first art prize for virtual reality: Banz & Bowinkel, Evelyn Bencicova, Patricia Detmering, Armin Keplinger and Lauren Moffatt

Curated by: Tina Sauerlaender (Artistic Director)
In cooperation with @official.dkb und der @caaberlin Berlin.

Date:
Fri, 16 Apr, 19.00h
Duration:
17 Apr 2021 – 6 Jun 2021

07/04/2021

mEat me – Food for the Post-Anthropcene: on Body-Hacking and the De-centering of the Human as Material
Online lecture by Theresa Schubert.
The lecture will be held in English on Zoom. Please register for the event, as the number of participants is limited. Kleine Humboldt Galerie

Many posthumanist thinkers stress a non-human-centered perspective on the world, demanding that we should assume a more modest role in our dealings with nature and stop hierarchizing other species. For artist Theresa Schubert, a radical consequence of considering the human as an animal would be to also consider the human as material and food. In her project mEat me (2020), she demonstrates that this provocation is neither science fiction nor morbid dystopia by fearlessly exploiting her own body as a ground for experimentation. In this lecture, Schubert introduces her artistic research project discussing backgrounds, concepts, the lab process, and collaboration with scientists, as well as the resulting multimedia performance mEat me.
https://www.eventbrite.com/e/online-lecture-by-theresa-schubert-tickets-143587783927?aff=erelpanelorg

mEat me – Food for the Post-Anthropcene: on Body-Hacking and the De-centering of the Human as Material
Online lecture by Theresa Schubert.
The lecture will be held in English on Zoom. Please register for the event, as the number of participants is limited. Kleine Humboldt Galerie

Many posthumanist thinkers stress a non-human-centered perspective on the world, demanding that we should assume a more modest role in our dealings with nature and stop hierarchizing other species. For artist Theresa Schubert, a radical consequence of considering the human as an animal would be to also consider the human as material and food. In her project mEat me (2020), she demonstrates that this provocation is neither science fiction nor morbid dystopia by fearlessly exploiting her own body as a ground for experimentation. In this lecture, Schubert introduces her artistic research project discussing backgrounds, concepts, the lab process, and collaboration with scientists, as well as the resulting multimedia performance mEat me.
https://www.eventbrite.com/e/online-lecture-by-theresa-schubert-tickets-143587783927?aff=erelpanelorg

07/04/2021

Last week for this wonderful show! Make an appointment now

06/04/2021

A transcending work by Fatma Shanan on "Leaves of Grass"
on view until 25 Apr 2021 every day of the week ( you have a negative test) @dittrichschlechtriem
@fatmashanan

A transcending work by Fatma Shanan on "Leaves of Grass"
on view until 25 Apr 2021 every day of the week ( you have a negative test) @dittrichschlechtriem
@fatmashanan

06/04/2021

Save the Date for this lecture by Verena Melgarejo Weinandt
Nepantla Bibliothek – A collective translation of Gloria E. Anzaldúa’s work

Lecture followed by Q&A
21 April 21, 7–8:30 pm (CET)
In English

The online talk takes place via Zoom Webinar. Please register beforehand at: https://us02web.zoom.us/webinar/register/WN_SKdw5to6SvS7qnslijIYyQ

hosted by @district_berlin and @kwinstitutefcontemporaryart
pic: EL BOUM, Nepantla Bibliothek, 2019

Verena Melgarejo Weinandt is a German-Bolivian artist, curator and researcher. In this talk, she will present her recent project Nepantla Bibliothek, which she developed together with District*School without Center and in cooperation with sonntagsbureau. Nepantla Bibliothek consisted of a series of workshops held in 2019–20 at the America Memorial Library Berlin. The events evolved around the long overdue translation of the book Borderlands/La Frontera. The New Mestiza (1987) by Gloria E. Anzaldúa into German. As a self-proclaimed “Chicana, tejana, from the working class, dyke feminist poet, author-theorist” Anzaldúa (1942–2004) created a broad range of writings including poetry, short stories, theoretical treatises, letters, children’s books and other creative expressions. With the term “Nepantla”, Anzaldúa describes an in-between state – a place of contradictions, connections, and transformations. For this series, Melgarejo Weinandt invited artists, activists, and theoreticians who relate their work to Anzaldúa. Together they asked: Which forms of knowledge production and which marginalized voices can be understood differently, or maybe even better, with and through Anzaldúa in the German speaking context? How can we broaden the process of translating Anzaldúa and what can (un-)learning with her look like?

These collective reflections within Nepantla Bibliothek were based on the wish to contextualize Anzaldúa’s work in the German speaking context in a second publication accompanying Borderlands called Wissen über Brücken – Conocimiento sobre Puentes. Relating to Gloria E. Anzaldúa through Words, Visions and Body.

Save the Date for this lecture by Verena Melgarejo Weinandt
Nepantla Bibliothek – A collective translation of Gloria E. Anzaldúa’s work

Lecture followed by Q&A
21 April 21, 7–8:30 pm (CET)
In English

The online talk takes place via Zoom Webinar. Please register beforehand at: https://us02web.zoom.us/webinar/register/WN_SKdw5to6SvS7qnslijIYyQ

hosted by @district_berlin and @kwinstitutefcontemporaryart
pic: EL BOUM, Nepantla Bibliothek, 2019

Verena Melgarejo Weinandt is a German-Bolivian artist, curator and researcher. In this talk, she will present her recent project Nepantla Bibliothek, which she developed together with District*School without Center and in cooperation with sonntagsbureau. Nepantla Bibliothek consisted of a series of workshops held in 2019–20 at the America Memorial Library Berlin. The events evolved around the long overdue translation of the book Borderlands/La Frontera. The New Mestiza (1987) by Gloria E. Anzaldúa into German. As a self-proclaimed “Chicana, tejana, from the working class, dyke feminist poet, author-theorist” Anzaldúa (1942–2004) created a broad range of writings including poetry, short stories, theoretical treatises, letters, children’s books and other creative expressions. With the term “Nepantla”, Anzaldúa describes an in-between state – a place of contradictions, connections, and transformations. For this series, Melgarejo Weinandt invited artists, activists, and theoreticians who relate their work to Anzaldúa. Together they asked: Which forms of knowledge production and which marginalized voices can be understood differently, or maybe even better, with and through Anzaldúa in the German speaking context? How can we broaden the process of translating Anzaldúa and what can (un-)learning with her look like?

These collective reflections within Nepantla Bibliothek were based on the wish to contextualize Anzaldúa’s work in the German speaking context in a second publication accompanying Borderlands called Wissen über Brücken – Conocimiento sobre Puentes. Relating to Gloria E. Anzaldúa through Words, Visions and Body.