NOME NOME operates between art, politics and technology and aims at raising critical awareness for the crucial issues of our age.
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NOME's cover photo
21/10/2020

NOME's cover photo

SUNDAY OPENSunday, June 21, 11am–5pm NOME, a Lexicon. (link in bio).Featuring works by Nora Al-Badri and Nikolai Nelles,...
19/06/2020

SUNDAY OPEN
Sunday, June 21, 11am–5pm NOME, a Lexicon. (link in bio).

Featuring works by Nora Al-Badri and Nikolai Nelles, James Bridle, Ingrid Burrington, Paolo Cirio, Cian Dayrit, Marjolijn Dijkman and Toril Johannessen, Goldin+Senneby, Igor Grubić, Khaled Hafez, Navine G. Khan-Dossos, Sajan Mani, Matthew Plummer-Fernandez, Quayola, Kameelah Janan Rasheed, Kirsten Stolle, and Xiyadie. Curated by Luca Barbeni and Jesi Khadivi.

SUNDAY OPEN is organized by INDEX.
The participating galleries are listed at www.indexberlin.de

@index_berlin #sundayopen
#nome #lexicon
#jesikhadivi #jamesbridle #paolocirio #ciandayrit #marjolijndijkman #goldin+senneby #sajanmani #navinegkhan-dossos #khaledhafez #xiyadie #kameelahjananrasheed #kirstenstolle #quayola

Photos by Billie Clarke.

NOME, a lexicon: a photo album with artwork images and install shotshttps://flic.kr/s/aHsmNND67X#kameelahrasheed #goldin...
16/06/2020
NOME, a lexicon

NOME, a lexicon: a photo album with artwork images and install shots
https://flic.kr/s/aHsmNND67X

#kameelahrasheed #goldinsenneby #paolocirio #ciandayrit #jamesbridle #marjolijndijkman #toriljohannessen #navinegkhandossos #kirstenstolle #matthewplummerfernandez #quayola #ingridburrington #khyledhafez #igorgrubic #xiyadie #sajanmani #albadrinelles

Featuring works by Nora Al-Badri and Nikolai Nelles, James Bridle, Ingrid Burrington, Paolo Cirio, Cian Dayrit, Marjolijn Dijkman and Toril Johannessen, Goldin+Senneby, Igor Grubić, Khaled Hafez, Navine G. Khan-Dossos, Sajan Mani, Matthew Plummer-Fernandez, Quayola, Kameelah Janan Rasheed, Kirsten ...

Heidi Ballet talks about Cian Dayrit’s practice:“I saw Cian Dayrit's works during his exhibition Beyond The God's Eye at...
11/06/2020

Heidi Ballet talks about Cian Dayrit’s practice:

I saw Cian Dayrit's works during his exhibition Beyond The God's Eye at Nome and found them particularly powerful. His work addresses mapping as a colonial tool for imposing and reproducing power and he developed a practice of countercartography, by making a series of alternative maps made from the perspective of the oppressed, rather than the perspective of the oppressor that trace trade routes, and by copying the visuals of empire in colonial-era aesthetics with humorous details. In doing so, he defuses neo-colonial hegemony and exposes the arbitrariness of maps to show how cartography unconsciously reinforces power grabs. I invited him to show his work in the Tallinn Photomonth Biennial in September 2019 where he showed Tree Of Life In The State Of Decay And Rebirth, a work that lays bare the historical dynamics of the extractivism of labour and minerals in the Philippine context. The series Insidious Imperial Insignia is a series of collages that visualizes the problematic entanglement between the army and the elites based on mutual enrichment, under the guise of a safeguarding of the people.


Cian Dayrit partecipates in the show NOME, a Lexicon (link in bio) exhibited online on our website.
Opening 12th June, 6pm.

Insidious Imperial Insignia 01, 2020 Cian Dayrit
Acrylic on collage�70 x 85 x 6 cm

Insidious Imperial Insignia 02, 2020 Cian Dayrit
Acrylic on collagex�70 x 85 x 6 cm

@balletheidi
#lexicon #ciandayrit #nomegallery #artandsociety #socialart

From @artbrussels and @galleryviewer NOME presents recent works from Navine G. Khan Dossos recent research about women's...
03/06/2020

From @artbrussels and @galleryviewer NOME presents recent works from Navine G. Khan Dossos recent research about women's rights and media coverage of the Jamal Khashoggi killing.

The works on cardboard (Bulk Targets 1-100, 2017) are part of the series Shoot the Women First, that was reputedly the direction given in the 1980s to members of West Germany’s elite GSG-9 anti-terrorist squad. The paintings of this series reflect on the role of women regarded by society as both perpetrators and victims of violence, questioning what it means to be both a menace and a target.

Jamal Khashoggi was assassinated at the Saudi Consulate in Istanbul on the 2nd October 2018. In the days and weeks that followed his murder, this story changed shape, with the details being retold like a kaleidoscopic prism; always the same elements but in different compositions.

#artbrussels #navinegkhandossos @navinegkd

Credit:
NSO Group: Hackers use Pegasus spyware to target and track supporters of Mexican soda tax (11th February 2017), 2019
Navine G. Khan-Dossos
Gouache on paper 100cm x 100cm

Spyware’s Odd Targets: Backers of Mexico’s Soda Tax (11th February 2017), 2019
Navine G. Khan-Dossos
Gouache on paper
100cm x 100cm

Mexico Hacking and Spying on Its Citizens Is a 'Human Rights Crisis' (23rd June 2017), 2019
Navine G. Khan-Dossos
Gouache on paper
100cm x 100cm

Bulk Targets 1-100, 2018 Navine G. Khan-Dossos gouache on cardboard 100 x 70cm x 100cm

#blackouttuesday
02/06/2020

#blackouttuesday

29/05/2020
AL AIRE, LIBRE - Santiago, 2020

By @tdeap

al aire, libre es un pequeño gesto que alude a lo público, algo que se perdió en estos días de aislamiento. Anteriormente, conectados a un movimiento de cambio, ahora espectadores de un espacio en suspensión, postergado. ❁ al aire, libre (free, in the open air) is a small gesture that alludes to the public, something that was lost in these days of isolation. Previously, connected to a movement of change, now spectators of a suspended space, postponed.

#alaire_libre @ovulundesi

https://www.youtube.com/watch?v=RP_oziBUErc#action=share

AL AIRE, LIBRE es un pequeño gesto que alude a lo público, algo que se perdió en estos días de aislamiento. Anteriormente, conectados a un movimiento de camb...

We’re ready to open! SUNDAY OPENSunday, May 24, 11am–5pm.Preview of the show NOME, a Lexicon. (link in bio). SUNDAY OPEN...
23/05/2020

We’re ready to open!

SUNDAY OPEN
Sunday, May 24, 11am–5pm.

Preview of the show NOME, a Lexicon. (link in bio).

SUNDAY OPEN is organized by INDEX. The participating galleries will be listed at www.indexberlin.de/galerien.

@index_berlin #sundayopen
#nome #lexicon @jamesbridle @paolo.cirio.art @kameelahr @navinegkd @sajan_mani @kirstenstolle @plummerfernandez @khaledhafezstudio @marjolijn_dijkman @quayola @lifewinning
#nomegallery

Texte zur Kunst's just published Michaela Wünsch's review of Kameelah Rasheed's solo at NOME:https://www.textezurkunst.d...
23/05/2020
Mathematik, Schwarzer Nihilismus und Afropessimismus Michaela Wünsch über Kameelah Janan Rasheed in der Galerie Nome, Berlin

Texte zur Kunst's just published Michaela Wünsch's review of Kameelah Rasheed's solo at NOME:
https://www.textezurkunst.de/articles/mathematik-schwarzer-nihilismus-und-afropessimismus/

#kameelahrasheed

Mathematik, Schwarzer Nihilismus und Afropessimismus Michaela Wünsch über Kameelah Janan Rasheed in der Galerie Nome, Berlin Kameelah Janan Rasheed, „Future“, 2019, Archival Inkjet Print, 101.6 x 127 cm Die Diagnose vom Ende der großen Erzählungen übersieht, dass schon die Widerstandsgeschi...

Kathleen Reinhardt comments the artwork Future (2019) by Kameelah Janan Rasheed.“The projection of Black futures, as the...
22/05/2020

Kathleen Reinhardt comments the artwork Future (2019) by Kameelah Janan Rasheed.


The projection of Black futures, as the title of the work suggests, and their potential unsatisfiability as a whole, has a long tradition in Black intellectual history. One example might be Cedric Robinson’s insistence that although victory seems inevitable in Marxism, the same cannot be said of Black radicalism. He argues that “only when that radicalism is costumed or achieves an envelope in Black Christianity is there a certainty to it”. Otherwise it is about a kind of resistance that does not promise triumph or victory at the end, only liberation.


Kameelah Janan Rasheed participates in the show NOME, a Lexicon exhibited online on our website. Link in bio.

Opening at the gallery 12th June at 6 pm.

#KameelahJananRasheed # “
Kathleen Reinhardt comments the artwork Future (2019) by Kameelah Janan Rasheed.
The projection of Black futures, as the title of the work suggests, and their potential unsatisfiability as a whole, has a long tradition in Black intellectual history. One example might be Cedric Robinson’s insistence that although victory seems inevitable in Marxism, the same cannot be said of Black radicalism. He argues that “only when that radicalism is costumed or achieves an envelope in Black Christianity is there a certainty to it”. Otherwise it is about a kind of resistance that does not promise triumph or victory at the end, only liberation.

Kameelah Janan Rasheed participates in the show NOME, a Lexicon exhibited online on our website. Link in bio.
Opening at the gallery 12th June at 6 pm. #KameelahJananRasheed #lexicon @kathleen.reinhardt @kameelahr

From This Is Not An Atlas, counter-mapping instructions by Cian Dayrit#ciandayrit#cartography
22/05/2020

From This Is Not An Atlas, counter-mapping instructions by Cian Dayrit

#ciandayrit
#cartography

Cian Dayrit (co-author of “https://notanatlas.org/maps/counter-mapping-for-resistance-and-solidarity-in-the-philippines/“) published this wonderful counter-map instruction. It is part of a zine project entitled “How To Not To” (https://www.facebook.com/419-how-to-not-to-102991304726311/), a compilation of artist-made instructions that may (or may not) be useful to people during this pandemic lockdown. Entries range from “how to meditate” and “how to care for your organic backyard farm” to “how to make a Molotov cocktail”. The zine is meant to be distributed online and can be printed and reproduced by anyone.

Here a small description from Cian Dayrit:
Here in the Philippines, hunger and state aggression is more likely to kill you than the pandemic. More than a month into the lockdown, there is still no clear solution as to how we will recover from this virus. The state has taken advantage of the situation by setting up militarized checkpoints and imposing curfews and a violent crackdown on all critics and dissenters. Even private relief operations have been hindered by bureaucratic red tape and terror tagging of state forces. Killings and arrests of rights defenders have continued while urban and rural poor are driven to starvation due to state neglect and incompetence. All this while there is no medical solution. The pandemic is weaponized to destroy the poor and anyone who resists. For the fascist regime, its business as usual.
My entry, “An Exercise on Counter-mapping” is a snippet of my social practice which aims to visualize, analyze and expose structural violence enacted upon the deliberately silenced sectors of the Philippine population (peasants, indigenous people, workers, urban poor).

And here the translation from the Fillipino text:
A map is a 2d/flat representation of place and space. It is a political document which is commonly used by the state and corporations to visualize their territories. Excluded in these maps are the experiences of the citizens. It is also more commonly used to take advantage and suppress the voices of the masses. Maps have killed more people than guns ever had.

How do we fight this?

We can also make maps to counter the dominant narratives of the state and corporations. With our maps, we can show our experiences and the calls of the masses. We can narrate our personal accounts of abuse, land grabbing and other forms of aggression perpetrated by the so-called authorities.

Exercise on making a counter-map:

- Draw your general idea of the space you occupy. You can start with roads, rivers, creeks, lines.
- Draw where you live, work, where you get food, water and other needs and other important spaces and landmarks.
- Label and write your experiences here. Particularly the spaces of fear, pain, others.
- Add the necessary details in your map so that in can tell your story even when you are not around.
- Write your call.

Check: https://notanatlas.org/an-exercise-on-counter-mapping/

19/05/2020

In relation to the show NOME, a Lexicon now on our website (link in bio),
Navine G. Khan-Dossos talks about his practice, collaborating with NOME and the group show.

#lexicon #NavineGKhan-Dossos @navinegkd

15/05/2020

In relation to the show NOME, a Lexicon now on our website (link in bio),
Sajan Mani talks about his practice, collaborating with NOME and the group show.

#lexicon #SajanMani @sajan_mani

11/05/2020

About the show NOME, a Lexicon now on our website (link in bio)
Khaled Hafez talks about his practice, collaborating with NOME and the group show.

#lexicon #KhaledHafez @khaledhafezstudio

Hera Chan talks about working with Xiyadie to prepare the show “Cut Sleeve, Split Peach" she curated at NOME in 2018.“He...
08/05/2020

Hera Chan talks about working with Xiyadie to prepare the show “Cut Sleeve, Split Peach" she curated at NOME in 2018.


He calls me "Little Sister," a homonym for "Little Beautiful" in Chinese.
When I visited Xiyadie in the winter, he was living in a makeshift apartment outside the southernmost ring of Beijing, temporary accommodations for the temporary workers who came to the capital from other provinces. Xiyadie is a pen name, meaning Siberian Butterfly, and identifies as a farmer. Traditionally a woman's craft, he has been making paper cuts since he was young, a sort of Dear Diary. When we came to Berlin together for his show at NOME, it was his first time. As I brought us round
and round in circles tracing through the roads on Google Maps, he identified where the river was, comparing Berlin foliage with that of his hometown in Shaanxi. I lost him at night, when his friends took him out to
queer nightclubs. He would come back to tell me about the tender yet R-rated encounters he had.


Xiyadie partecipates in the show NOME, a Lexicon (link in bio) exhibited online on our website.
Opening at the gallery 12th June.

Thanks to @slavsandtatars for the support to Xiyadie’s practice.

#Xiyadie #lexicon @hera_sc

Maria Lind curated G+S's solo show at e-flux last winter. Here you can read her:https://www.e-flux.com/journal/108/32582...
08/05/2020
What Is Wrong with My Nose: From Gogol and Freud to Goldin+Senneby (via Haraway) - Journal #108 April 2020 - e-flux

Maria Lind curated G+S's solo show at e-flux last winter. Here you can read her:
https://www.e-flux.com/journal/108/325823/what-is-wrong-with-my-nose-from-gogol-and-freud-to-goldin-senneby-via-haraway/

#goldinsenneby #freud #donnaharaway #gogol #multiplesclerosis

The allergic fungal sinusitis I was diagnosed with probably had to do with my allergic sensitivity to pollen and cats, as well as all fresh fruit and …

Berlin galleries have joined forces to create BerlinViews, a website present­ing over 25 galleries and gallery models.Th...
05/05/2020
BerlinViews 2020

Berlin galleries have joined forces to create BerlinViews, a website present­ing over 25 galleries and gallery models.
The website is an initia­tive to promote the visi­bil­ity of art in Berlin and strengthen the soli­dar­ity of the gallery scene in response to our current times.
The initia­tive was started by Galerie Tanja Wagner and OFFICE IMPART

https://berlinviews.com/#nome

Berlin galleries have joined forces to create BerlinViews, a website present­ing over 25 galleries and gallery models.

NOME's cover photo
04/05/2020

NOME's cover photo

NOME is pleased to announce the group exhibition "NOME, a lexicon". Celebrating the gallery's five year anniversary, the...
04/05/2020
NOME, a Lexicon

NOME is pleased to announce the group exhibition "NOME, a lexicon". Celebrating the gallery's five year anniversary, the show is online and will open at the gallery on June, 12th.

Featuring works by Nora Al-Badri and Nikolai Nelles, James Bridle, Ingrid Burrington, Paolo Cirio, Cian Dayrit, Marjolijn Dijkman and Toril Johannessen, Goldin+Senneby, Igor Grubic, Khaled Hafez, Navine G. Khan-Dossos, Sajan Mani, Matthew Plummer-Fernandez, Quayola, Kameelah Janan Rasheed, Kirsten Stolle, and Xiyadie. Curated by Luca Barbeni and Jesi Khadivi.

"NOME, a lexicon" is an exhibition in two chapters: a web-based visual essay and an exhibition at the gallery’s Glogauer Str location that looks back at five years of our activities, surveying the building blocks of the distinct language and discourse propagated by our program. NOME was founded in 2015 to support and disseminate the work of artists grappling with the pressing social, political, and cultural issues of our times. Their practices—often driven by conceptual, documentary, and investigative approaches—shed new light on our reality.

Organized around a set of terms that have defined the NOME’s conceptual and theoretical commitments over the past five years, the exhibited artworks provide overlapping, at times oppositional, ways of entering and grappling with these concepts. In this light, "NOME, a lexicon" is both a poly-vocal examination of topics related to black sites, copyright, greenhwashing, finance, and queer culture, among other topics—as well as a form of autocritique. Working across a broad array of media—including photography, video, drawing, painting, and sculpture—the artists presented in the exhibition share a commitment to re-envisioning the contours of our world, both the visible and the invisible, through techniques of documentary, appropriation, mapping, visualization, and humor.

https://nomegallery.com/exhibitions/nome-a-lexicon/online

#jamesbridle #paolocirio #ciandayrit #marjolijndijkman #goldinsenneby #igorgrubc #khaledhafez #navinegkhandossos #sajanmani #quayola #kameelahrasheed #matthewplummerfernandez #kirstenstolle #xiyadie #jesikhadivi

Group exhibition: Al-Badri, Nelles, Bridle, Burrington, Cirio, Dayrit, Dijkman Johannessen, Goldin+Senneby, Grubic, Hafez, Khan-Dossos, Mani, Plummer-Fernandez, Quayola, Rasheed, Stolle, Xiyadie

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Potsdamer Str 72
Kreuzberg
10785

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Dienstag 13:00 - 18:00
Mittwoch 13:00 - 18:00
Donnerstag 14:00 - 18:00
Freitag 14:00 - 18:00
Samstag 14:00 - 18:00

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