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With SPACEISTHEPLACE at Künstlerhaus Bethanien, Pash
Buzari is presenting the first part in a trilogy of exhibitions
to be continued at other venues. The cineaste’s environment
consists of photographic and architectural components combined
to create a constellation then shown as a counterpoint to an installation
employing light. The exhibition is based on Buzari’s continued
investigation into imaginary portrayals of light, space and consciousness
in various science fiction films, and adapts material from films
including Alien, Close Encounters of the Third Kind, Solaris and
THX. In the process, the exhibition’s main concern is to
examine how film surfaces suggest space and light effects point
to hidden, cryptic spheres.
Buzari’s project not only directs
its sights towards the canon of science fiction entertainment.
Its title already points beyond Hollywood, quoting a film by the
jazz philosopher Sun Ra, whose fantastic ideas and notions of
space are a part of the exhibition, like experimental string theories
of physics and their attempts to explain the world: “Both
models share the assumption – and that is precisely what
interests me – that in a subtle way, sound/noise/ tone,
as an immaterially and at the same time virtually repeated effect,
offer a kind of matrix for these psychedelic - in the best sense
of the word - fantasies explaining the world.” (Pash Buzari)
2nd – 18th July 2004, Studio 3 |
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Free Room is a new artistic interpretation of
“If”, a film portrait of society in which one of the
great outsiders of British cinema, Lindsay Anderson, depicts the
system of elite private schools in England.
For his video installation, Alex Morrison restages individual
scenes from Anderson’s film and presents them to the audience
in three parallel video projections. In this way he employs the
film original, which was made at the time of student protests
in 1968, to compare and contrast motifs of individual freedom
and social order, role play and authenticity, idealism and subversion.
Anderson’s impressive images of one pupil’s revolt
against the senselessness of school rules and rituals are thus
used as a social metaphor and demonstrate Morrison’s main
interest: an investigation into the delimitation between public
and private spheres and a view of the conflicts that emerge from
this kind of delimitation.
In Anderson’s film, the revolt turns into a rebellion that
leads to armed resistance and throws the campus into anarchy and
chaos. Alex Morrison separates these images from the context of
1968 and translates them into an altered artistic present.
2nd July – 18th July 2003, Studio
2
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Preview: berlin · istanbul
· vice versa
28.8. – 12.9.2004
berlin · istanbul · vice versa is an exhibition
that enquires after the cultural transitions and uncertainties
of a society made up of world citizens. It is true that art cannot
deliver prefabricated answers or compact recipes for political
and economic change. But artists react sensitively to social reform
and reflect on its risks and utopias without prejudice.
berlin · istanbul · vice versa gathers together
artists from the growing metropolises of the present day –
mostly from Berlin and Istanbul – and aims, quite consciously,
to employ attractive analogies and find mysterious metaphors with
which to underline the differences between the cultural territories
and so to emphasise the necessity of fundamental difference as
opposition to the globalised loss of meaning in art.
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Mit
Erdag Aksel · Nevin Aladag · Banu Birecikligil ·
CHARLIE · Antonio Cosentino · Marta Deskur ·
Extramücadele · Tan Cemal Genc · Hakan Gürsoytrak
· Ali Kepenek · Serhat Köksal · Neriman
Polat · Lars Ramberg · Klaus Staeck · Roland
Stratmann · Asli Sungu · Sencer Vardarman ·
Nalan Yirtmac
Initiated and financed by the Instanbul Kültür Sanat Vakfi
28. August bis 12. September 2004
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