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Museum MAN

Museum MAN adam nankervis` museumman- a temporary online trajectory of a selected archival history of Museum MAN


an adam nankervis project

founded 1997 -

Adam Nankervis is an artist and curator who has infused social, conceptual and experimental practice in his lived in nomadic museum, museum MAN, and his ongoing project 'another vacant space.'. His immersion into the experimentation of social sculptural forms and aesthetic collisions are a trademark of his art. His ongoing project 'another vacant space.', has re-manifested in Berlin Wedding 2011,

Adam Nankervis is an artist and curator who has infused social, conceptual and experimental practice in his lived in nomadic museum, museum MAN, and his ongoing project 'another vacant space.'. His immersion into the experimentation of social sculptural forms and aesthetic collisions are a trademark of his art. His ongoing project 'another vacant space.', has re-manifested in Berlin Wedding 2011,

Wie gewohnt öffnen

man.reliquaries of empires dust 2009James Edmonds David Medalla Adam Nankervis
26/10/2020
NANKERVIS PERFORMS MEDALLA (2009)

man.

reliquaries of empires dust 2009

James Edmonds David Medalla Adam Nankervis

In May 2009, Adam Nankervis performed David Medalla at Bereznitsky Gallery, Berlin. This was part of Museum MAN exhibition "Reliquaries Of Empires Dust"

22/05/2018

Mondrian Fan Club
David Medalla
Adam Nankervis

Deborah Wargons ode of Prisms for the MFC Rome

Deborah Wargon

manstudioraDeborah WargonTimes' PrismMay 2018
21/05/2018

man
studiora

Deborah Wargon
Times' Prism

May 2018

museummanstudio RA RomaDeborah Wargon Times' Prismmuseumman in collaboration with sudio RA
17/04/2018

museumman

studio RA Roma

Deborah Wargon Times' Prism

museumman in collaboration with sudio RA

Misha Dare- Balticstudio RA1 December 2017guest curator- Deborah WargonRaffaella Losapio/ studi RAAdam Nankervis/ man mu...
02/12/2017

Misha Dare- Baltic

studio RA

1 December 2017

guest curator- Deborah Wargon

Raffaella Losapio/ studi RA
Adam Nankervis/ man museum

man.Misha DareBalticstudio RA. Roma30 November 1 December 2017all welcome
29/11/2017
Misha Dare’s BALTIC at Studio.ra Rome – curated by Adam Nankervis

man.

Misha Dare

Baltic

studio RA. Roma

30 November 1 December 2017

all welcome

BALTIC – Misha Dare Press preview: 30 November 2017 (h. 6:00 pm) Opening Cocktail: Friday, 1 December 2017 (h. 5:00 /9:30 pm) – RSPV Dates: 1 / 7 December (h. 5:00 /8:30 pm) Curated by Adam Nankervis Partnership with Museum Man – Berlin Studio.ra contemporary – www.studiora.eu Via Bartolomeo...

18/11/2017

Misha Dare´s Baltic
studio RA rome
30 nov/ 7 dec 2017

museummanAutogestiónFoundacio Joan Miro Barcelona16/02/2017 — 21/05/2017Antonio OrtegacuratormuseummanAdam Nankervis
27/06/2017

museumman

Autogestión

Foundacio Joan Miro Barcelona

16/02/2017 — 21/05/2017

Antonio Ortega
curator

museumman
Adam Nankervis

museum manFoundacio Joan Miro AutogestionVery happy of share this online publication. You are welcome to download the co...
08/04/2017
Autogestió | Exposicions | Fundació Joan Miró

museum man

Foundacio Joan Miro Autogestion

Very happy of share this online publication. You are welcome to download the compilation of exhibition texts, with Mariona Moncunill's footnotes and the stunning photos taken by Pere Pratdesaba, from the Joan Miró Foundation web page, or have a quick glimpse at issuu.

https://www.fmirobcn.org/ca/exposicions/5719/autogestio
https://www.fmirobcn.org/es/exposiciones/5719/autogestion
https://www.fmirobcn.org/…/exhibitio…/5719/self-organization
CAT
https://issuu.com/fundacio…/…/autogesti___textos_i_notes_cat
ESP
https://issuu.com/fundaciojo…/…/autogestio__n_textos_y_notas
ENG
https://issuu.com/…/docs/self-organization_texts_and_footnot

Antonio Ortega

AutogestiónFoundacio Joan Miro Barcelona16/02/2017 — 21/05/2017Antonio OrtegacuratormuseummanStephan Apicella Hitchcock,...
16/03/2017
Pantalles: Autogestió

Autogestión

Foundacio Joan Miro Barcelona

16/02/2017 — 21/05/2017

Antonio Ortega
curator

museumman

Stephan Apicella Hitchcock, Anne Bean, Francesca Bertazzoni, Frank Blum,Ben Carey,Sico Carlier,Francesca Cho, Mateusz Chorobski, Mitya Churikov, Misha Dare, Paul Darius, Alan Dunn, Noel Ed De Leon, James Edmonds, Peter Fillingham,Thomas Heidtmann,Klaas Hübner, Brigitte Jurack, Sarah Johnston,Elmar Kaiser, Daniel Kupferberg, Marta Leite,Cyril Lepetit, Peter Lewis,David Medalla, Marita Muukkunen, Adam Nankervis, Anna Orlowski, Alwin Reamillo, Denis Salivanov, Dirk Sorge, St. & St.,Ernst Markus Stein, Ivor Stodolsky, Estella Sokol, Anja Teske, Alma Tischler Wood, Valerie Vivancos, Deborah Wargon

09/03/2017
Fundació Joan Miró on Twitter

museumman

Autogestión

Foundacio Joan Miro Barcelona

16/02/2017 — 21/05/2017

Antonio Ortega
curator

“Artist @adam_nankervis shows at hs blog every artistic contribution to MuseumMan, partly shown at #Selforganization https://t.co/AVZAYxFdL8”

Fundació Joan Miro museumman should the world break in II /the anatomy of manStephan Apicella Hitchcock, Anne Bean, Fran...
18/02/2017

Fundació Joan Miro

museumman should the world break in II /

the anatomy of man

Stephan Apicella Hitchcock, Anne Bean, Francesca Bertazzoni, Frank Blum,Ben Carey,Sico Carlier,Francesca Cho, Mateusz Chorobski, Mitya Churikov, Layla Dangelo, Misha Dare, Paul Darius, Alan Dunn, Noel Ed De Leon, James Edmonds, Peter Fillingham,Thomas Heidtmann,Klaas Hübner, Brigitte Jurack, Sarah Johnston,Elmar Kaiser, Daniel Kupferberg, Marta Leite,Cyril Lepetit, Peter Lewis,David Medalla, Marita Muukkunen, Adam Nankervis, Anna Orlowski, Alwin Reamillo, Denis Salivanov, Dirk Sorge, St. & St.,Ernst Markus Stein, Ivor Stodolsky, Estella Stokol, Anja Teske, Alma Tischler Wood, Valerie Vivancos

Autogestión - Miró Foundation Barcelonaautogestio16/02/2017 — 21/05/2017Keith Arnatt, David Bestué, François Curlet, Car...
04/02/2017

Autogestión - Miró Foundation Barcelona

autogestio

16/02/2017 — 21/05/2017

Keith Arnatt, David Bestué, François Curlet, Carla Fernández, Esther Ferrer, Blanca Utrillas Gracia, Gilbert and George, Sílvia Gubern, Jiří Kovanda, Pere Llobera, Laura Porter, Celeste Marí, Christian Jankowski, Pere Llobera, Gustav Metzger, Joan Miró, Mariona Moncunill, Adam Nankervis (Museum Man), Yoko Ono, Henk Peeters ,Cesare Pietroiusti, Joan Hernández Pijuan, Michelangelo Pistoletto , Laura Porter, Marc Vives, Franz West, Elizabeth Wright

curator: Antonio Ortega

Self-management traces do it yourself practices from the pioneering artists of the sixties to the present. Through strategies that could be considered self-managed, these artists have taken control of their production and the emission and reception of their works with gestures of empowerment that have resulted in new ways of relating to the artistic system.

The works of the exhibition form a constellation of practices and gestures that constitute a defense of the continued power of the imagination and the creativity.

museumMAN

Stephan Apicella Hitchcock, Anne Bean, Frank Blum,, Francesca Bertazzoni, Ben Carey,Sico Carlier,Francesca Cho, Mateusz Chorobski, Mitya Churikov, Layla Dangelo, Misha Dare, Paul Darius, Alan Dunn,James Edmonds, Noel Ed De Leon, Peter Fillingham,Thomas Heidtmann,Klaas Hübner, Sarah Johnston, Brigitte Jurack, Elmar Kaiser, Daniel Kupferberg,Roberta Kravitz, Marta Leite, Cyril Lepetit, Peter Lewisi, David Medalla, Paul Meinel, Marita Muukkunen, Adam Nankervis, Anna Orlowski, Alwin Reamillo, Denis Salivanov, Dirk Sorge, St. & St.,Ernst Markus Stein, Ivor Stodolsky, Estela Stokol, Anja Teske, Alma Tischler Wood, Valerie Vivancos

photo- Martino Margheri Liverpool 2006

Mitya Churikov Mateusz Choróbski Stephan Apicella-Hitchcock Faber SteccaEmiretta Dirk Sorge Anja Teske Ivor Stodolsky Ben Carey Alwin Reamillo Estela Sokol Valerie Vivancos Misha Dare Anne Bean Art Headaches Alan Dunn Peter Nicholas Lewis Antonio Ortega Roberta Kravitz

Out of the Blue   Peter Lewis, Alan Dunn and Makiko Nagaya
15/06/2016

Out of the Blue Peter Lewis, Alan Dunn and Makiko Nagaya

Adresse

Biesentalerstraße 16
Berlin
13359

Produkte

museum MAN
MUSEUM MAN·THURSDAY, AUGUST 6, 2020·

Adam Nankervis`conceptual nomadic museum based on the found flotsam in an abonded apartment Berlin est. 1997
museumMAN
Guy Brett

[...] museum is an appropriate word. Most people today trace the origins of the modern museum to the Cabinets of Curiosities assembled in their homes by cultivated grandees of the 17th century (they are the ones we hear about, no doubt those less exalted had their collections too). These cabinets enjoyed a fertile, incongruous mix-up of categories, later distinguished as specialized disciplines: paleontology, natural history, archeology, ethnography, optics, cosmology, art. They were also 'lived-in' museums, and the phenomenon has reappeared in recent times, both as the dens of obsessional collectors, and as the studios of artists. Kurt Schwitters' Merzbau is an outstanding example.

He transformed his house in Hanover into an abstract grotto to contain all the ephemera he collected on his daily rambles. Though he might have wanted to stay for ever in his grotto, he was forced into itinerancy by political events and began a new Merzbau in each principal place of his exile (the poignant remains of the Merzbau he began in a farmer's barn in the English Lake District are preserved in the Hatton Gallery of the University of Newcastle).

Museum MAN, however, is conceived as itinerant. Like Schwitters'Merzbau, Nankervis' museum includes the gifts of other artists'work, or some personal item. Schwitters once purloined a pair of Lazlo Moholy-Nagy's socks after a visit by the Hungarian and incorporated them into his construction. No doubt this personal momento was steered towards abstraction. Abstraction, understood as the play of forms in a state of freedom, released from the old hierarchies and symbolisms, was the great quest of many 20th century artists. Indeed Schwitters wrote of his multivarious salvages:

By being balanced against each other, these materials lose their characteristics, their personality poison. They are dematerialised and are only stuff for thepainting which is a self-related entity.

Nankervis'museum belongs to an age of vastly expanded production and consumption of imagery: a new media-scape, an acceleration of the process of mediation of the real. Far from losing their 'personalities' his materials take on new personalities as a result of their proximity and interrelationship with one another (this must also be true of Schwitters: his materials do not really lose their personalities; nevertheless the urge towards abstraction does set his collages in their historical moment). Artists have invented museums around specific themes (such as Claes Oldenburg's Raygun collection as the discovery of a mass-cultural icon in the meanest scraps and trash; or Marcel Broodthaers Eagle Museum ( as a critique of power). As well, ordinary people have created live-in, single theme museums. Obsessional collections of Elvis memorabilia or images of dogs are monothematic but plural in terms of object-forms: an Elvis clock, an Elvis hot water bottle, etc.

The mythic presence is charmed into every commodity of domestic life. An entrepreneur can profit from the collectors addiction ? rare items changing hands for a lot of money ? but nobody can exploit the person who collects material according to a philosophy, a poetics, an aesthetic, that only they know [...]

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Adam Nankervis`conceptual nomadic museum based on the found flotsam in an abonded apartment Berlin est. 1997

museumMAN Guy Brett [...] museum is an appropriate word. Most people today trace the origins of the modern museum to the Cabinets of Curiosities assembled in their homes by cultivated grandees of the 17th century (they are the ones we hear about, no doubt those less exalted had their collections too). These cabinets enjoyed a fertile, incongruous mix-up of categories, later distinguished as specialized disciplines: paleontology, natural history, archeology, ethnography, optics, cosmology, art. They were also 'lived-in' museums, and the phenomenon has reappeared in recent times, both as the dens of obsessional collectors, and as the studios of artists. Kurt Schwitters' Merzbau is an outstanding example. He transformed his house in Hanover into an abstract grotto to contain all the ephemera he collected on his daily rambles. Though he might have wanted to stay for ever in his grotto, he was forced into itinerancy by political events and began a new Merzbau in each principal place of his exile (the poignant remains of the Merzbau he began in a farmer's barn in the English Lake District are preserved in the Hatton Gallery of the University of Newcastle). Museum MAN, however, is conceived as itinerant. Like Schwitters'Merzbau, Nankervis' museum includes the gifts of other artists'work, or some personal item. Schwitters once purloined a pair of Lazlo Moholy-Nagy's socks after a visit by the Hungarian and incorporated them into his construction. No doubt this personal momento was steered towards abstraction. Abstraction, understood as the play of forms in a state of freedom, released from the old hierarchies and symbolisms, was the great quest of many 20th century artists. Indeed Schwitters wrote of his multivarious salvages: By being balanced against each other, these materials lose their characteristics, their personality poison. They are dematerialised and are only stuff for thepainting which is a self-related entity. Nankervis'museum belongs to an age of vastly expanded production and consumption of imagery: a new media-scape, an acceleration of the process of mediation of the real. Far from losing their 'personalities' his materials take on new personalities as a result of their proximity and interrelationship with one another (this must also be true of Schwitters: his materials do not really lose their personalities; nevertheless the urge towards abstraction does set his collages in their historical moment). Artists have invented museums around specific themes (such as Claes Oldenburg's Raygun collection as the discovery of a mass-cultural icon in the meanest scraps and trash; or Marcel Broodthaers Eagle Museum ( as a critique of power). As well, ordinary people have created live-in, single theme museums. Obsessional collections of Elvis memorabilia or images of dogs are monothematic but plural in terms of object-forms: an Elvis clock, an Elvis hot water bottle, etc. The mythic presence is charmed into every commodity of domestic life. An entrepreneur can profit from the collectors addiction ? rare items changing hands for a lot of money ? but nobody can exploit the person who collects material according to a philosophy, a poetics, an aesthetic, that only they know [...]

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Salut David ! Œuvre réalisée par Fred Forest à l'occasion de son action "Traders Ball " à New York avec la fidèle assistance du regretté Ferdinand Corte à la LAB Gallery et dans le square située au bas du World Trade Center http://www.fredforest.website/extra/ Cette action critique contre Wall Street a été réalisé en 2011 dans le cadre de la manifestation occupying the art world http://www.on-verge.org/…/occupying-the-art-world-fred-for…/… Afficher la suite
I am not a minimalist