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Katarina Löfström’s works could
be referred to as visual puzzles in which the borders between
art and Pop, autonomous form and design, film image and painting
become blurred with each altering perspective. The artist not
only bans representation as far as possible, she also eliminates
the static quality of painting from her animated sequences; it |
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The Australian band The Histrionics refer to them-
selves as a “Concept-Art-
(Heritage)-Rock-Cover-Band”. Their music combines attributes
of pop culture with topics of art discourse. Famous rock and pop
classics from AC/DC to Pink Floyd are given new texts, meaning
that each song is placed in a new context within the framework
of the art world and its history, theory, controversy or circulating
rumours.
After their celebrated debut album Never Mind the Pollocks, with
which The Histrionics toured Germany, Austria, Holland and Luxembourg
during 2003, the band is now presenting its second album Museum
Fatigu
The concert is in the Casino on the ground floor at Bethanien
and begins at 10 p.m. (doors open 9 p.m.) on 10th September. Entrance
is free of charge.
Thanks are due to the Senate Administration for Science, Research
and Culture for its generous support. |
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it only reappears in the stills she has taken from them.
At the Künstlerhaus, Löfström varies and animates
a photo from outer space until distant galaxies turn into pixel
patterns, and she trans-
forms Berlin into a raster of bright dots by using the revolving
dome of the television tower to create a night-time panorama.
By comparison, Mathieu Mercier adopts the ground perspective.
His installa-
tion arouses associations with functional objects and their everyday
use by relating elements such as a curtain, screen, glass case,
fireplace or suppo-
rting beam to the enclosed, windowless exhibition studio with
its dominant architecture of pillars. A red velvet stage curtain
with a printed metallic grille pattern covers the wall opposite
the entrance and is re-
peatedly reflected by the mirror surfaces of five pedestals set
into the space. On the one hand, this points to the staged quality
of the entire spatial situation, on the other hand it compels
the visi-
tors to search for additio-
nal, hidden possibilities of interpretation.
Katarina Löfström: Studio 2 / Mathieu Mercier: Studio
3, 11th – 26th September 2004 (opening: Friday 10th September
2004, from 7 p.m.)
From 18th Sept. to 6th Nov., an exhibition
by Katarina Löfström may also be seen at gallery Jan
Winkelmann / Berlin, Brunnenstraße 185.
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During recent years,
Rohkunstbau has developed into a true audience mag-
net. These exhibi-
tions of contempo-
rary, international site-specific art at |
The heart of the Spreewald
have captivated innume-
rable visitors. This year, Rohkunstbau is to be the guest of Künstlerhaus
Bethanien for the first time. The exhibition “Dorf in die
Metropole” (A Village Comes to the Metropolis) shows work
by artists who have participated in exhibitions at the Wasserschloss
Groß Zeuthen in past years. In accor-
dance with the cen-
tral concept behind all the projects by Rohkunstbau, the artists
enter into a debate with the architecture, the history and the environment
of the exhibition space, developing site-specific ideas and reacting
to the new context in the production and presentation of their work.
“Dorf in die Metropole” – ROHKUNSTBAU in Berlin.
With Norbert Bisky, Thomas Florschuetz, Shilpa Gupta, Jan Kaila,
Valery Koshlyakov, Boris Mikhailov, João Penalva, Cornelia
Schleime, Jan-Peter E.R. Sonntag, Bill Spinhoven
11th September – 3rd October 2004
(Opening, Friday 10th September 2004, 7 p.m.)
www.rohkunstbau.de
Sponsored by funds from the Hauptstadt-
kulturfonds
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