Critic’s Guide to Berlin Art Week – 评论家柏林艺术周指南

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Critic’s Guide to Berlin Art Week - 评论家柏林艺术周指南

Candice Breitz, TLDR, 2017, 13-channel video installation. Courtesy: Goodman Gallery, Johannesburg, Kaufmann Repetto, Milan, KOW, Berlin

Candice Breitz, ‘Sex Work’
Museum Frieder Burda – Salon Berlin
21 September 2018 – 5 January 2019

In ‘Sex Work’, two recent works by the Berlin-based South African artist Candice Breitz are placed in dialogue with paintings by William N. Copley. Copley, who painted primarily during the 1950s, ’60s and ’70s, was enamoured with women and produced works that fetishized sex work, as seen in a piece such as Tomb of the Unknown Whore (1966). Contrastingly, Breitz directly engages with and gives voice to a community of sex workers in Cape Town. The first room of her 13-channel video installation TLDR (2017), which acts as a type of follow-up to her critically acclaimed Love Story (2016), which was screened at the 2017 Venice Biennale, shows a 12-year-old boy as he recounts a recent narrative that affected the relationship between Amnesty International and a coalition of actresses, including Meryl Streep, Charlize Theron and Carey Mulligan; a narrative that turned feminists against feminists. His words are animated by ten sex workers flanking him on both sides, often holding signs that reiterate his phrases, naming convicted and alleged sexual offenders, or reacting with familiar acronyms (OMG, NSFW, WTF and the titular TLDR). The second room, with ten suspended monitors, offers visitors the chance to get to know each of the sex workers through a series of personal interviews. Through a collective twelve hours of footage, alongside the personal stories shared in Sweat (2018), the sex workers involved with the Sex Workers Education & Advocacy Taskforce receive a voice that works such as Copley’s silenced.

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Critic’s Guide to Berlin Art Week - 评论家柏林艺术周指南

Agnieska Polska, The Demon’s Brain, 2018, film still. Courtesy: the artist and Hamburger Bahnhof, Berlin

Agnieszka Polska, ‘The Demon’s Brain’
Hamburger Bahnhof
27 September 2018 – 3 March 2019

After receiving last year’s prestigious Preis der Nationalgalerie (former winners include Anne Imhof, Omer Fast, Monica Bonvicini and Elmgreen & Dragset), Berlin-based Polish artist Agnieszka Polska is now debuting her multi-channel video installation The Demon’s Brain (2018). The video finds its inspiration in a 15th century story about a Polish official, Mikołaj Serafin, who governed the country’s salt mines which were initially leased to him by the king in an early (and then unnamed) form of capitalism. Polska draws upon correspondence between Serafin and his employees as well as a network of creditors and debtors to depict the story of an illiterate messenger delivering letters to the official. One day, the messenger becomes stranded and has a hallucinatory vision that raises thoughts relating to both the modern, unsustainable use of raw materials and information-based capital as well as to Serafin and apocalyptic Christian theology.

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Critic’s Guide to Berlin Art Week - 评论家柏林艺术周指南

Meg Stuart / Damaged Goods, Projecting [Space[, 2017, performance documentation. Courtesy: HAU, Berlin; photograph: Laura van Severen

Meg Stuart / Damaged Goods, ‘Projecting [Space[’
Hebbel am Ufer (HAU)
26 September – 7 October

Last summer, choreographer Meg Stuart, dramaturge Jeroen Peeters and scenographer Jozef Wouters transformed a former mining factory in the Ruhr region of Germany into a temporary space to imagine and experiment with collective practices of meeting and making. Now, one year later, they are reengaging with these thought processes at Berlin’s factory-turned-event space Reinbeckhallen in Oberschöneweide. Performers from Stuart’s dance company Damaged Goods present themselves as a tribe of nomads visiting from the future in Projecting [Space[ (2017), which was co-produced by HAU. Over the course of two hours, they offer stories, songs and dances about their ways of living together as well as of practising labour, care and rituals. Can their performance from the future help us reimagine our present moment?

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Critic’s Guide to Berlin Art Week - 评论家柏林艺术周指南

Lawrence Abu Hamdan, Walled Unwalled, 2018, production still. Courtesy: the artist and daadgalerie, Berlin; photograph: Jana Gerberding

Lawrence Abu Hamdan, ‘Walled Unwalled’
daadgalerie
27 September – 18 November

Eighteen years ago, only 15 border walls and fences existed between sovereign nations; today the number of physical barriers between nations is 63. In response to this, Lawrence Abu Hamdan’s single-channel performance-video Walled Unwalled (2018) explores the significance – or lack thereof – of walls in our current world. The 20-minute piece comprises snippets of legal cases revolving around evidence that was heard or experienced through walls, reenacted and performed by Abu Hamdan at Funkhaus Berlin, East Germany’s former radio broadcasting centre. The scenarios allude to the fact that as border walls were constructed, invisible cosmic particles called muons were released into the atmosphere and penetrated the earth beyond layers of soil, concrete and rock. Scientists soon discovered that these particles can be harvested and used to see beyond surfaces previously impenetrable, even by x-rays. Muons have since helped expose illegal contents of lead-lined shipping containers as well as chambers hidden in the Egyptian pyramids. As the artist writes, ‘Now no wall on earth is impermeable. Today, we’re all wall, and no wall at all.’

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Critic’s Guide to Berlin Art Week - 评论家柏林艺术周指南

Mika Rottenberg, Bowls Balls Souls Holes (Hotel), 2014, film still from video and sculpture installation. Courtesy: Sprüth Magers, Berlin, London / Los Angeles © the artist 

Mika Rottenberg, ‘Bowls Balls Souls Holes’
Sprüth Magers
29 September – 10 November

In this exhibition, three works by Mika Rottenberg explore concepts of gender, race and class through everyday materials and narratives. The titular video installation Bowls Balls Souls Holes (AC & Plant variant) (2014), for example, is presented in a viewing room entered through a door covered in chewing gum and foil. The looping, 28-minute video shows a woman lying in a hotel room with a hole in the ceiling conducting the moon’s energy through her toes onto surrounding objects. In another scene, she announces letters and numbers during a bingo game in Harlem to an audience of all female players. Seen in full, the installation and video suggest narratives of collective labour and hyper-capitalism as intrinsic elements of what we might deem ‘luck’; bodies, class and gender become part of an industry wherein abstract ideas can manifest themselves as objects of value.  

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Critic’s Guide to Berlin Art Week - 评论家柏林艺术周指南

Evelyn Taocheng Wang, Hospital Conversation, 2018, production still. Courtesy: the artist and Galerie Fons Welters, Amsterdam

Evelyn Taocheng Wang, ‘What is he afraid of?’
KW Institute for Contemporary Art
27 – 30 September

With a particular focus on the fairytale The Princess and the Frog, the Amsterdam-based Chinese artist Evelyn Taocheng Wang has created two new films and an installation of large-scale fabrics, to be presented as part of KW Institute for Contemporary Art’s series ‘Pause.’ Here, Wang, whose work often questions notions of personal and cultural identity, uses the fairytale to examine how mythologies shift over time and through different spaces: when a story has various origins, how is it written, altered, edited, and retold? No matter its context, Wang discovers that this specific tale always alludes to questions of transformation and the fluidity of identity. Her films and installation thus use KW’s main exhibition hall to fictionalize characters and to create a physical architectural site, symbolizing both a body and its process of transformation.

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Critic’s Guide to Berlin Art Week - 评论家柏林艺术周指南

Puppies Puppies, Una Mujer Fántastica Movie Poster (Public Advertisement), 2018, poster. Courtesy: the artist and Barbara Weiss, Berlin

Puppies Puppies, ‘Una Mujer Fantástica (A Fantastic Woman)’
Galerie Barbara Weiss
14 September – 3 November

Titled after the eponymous Academy Award-winning Chilean film, Puppies Puppies (a.k.a. Jade Kuriki Olivo) structures this exhibition in a way similar to Charles Dickens’s A Christmas Carol (1843): the Ghost of Christmas Past takes the form of two portraits of Cielo Oscuro; the Ghost of Christmas Present is the poem-as-press release written by Puppies alongside a self-portrait of the artist drawn as a stone mountain with waterfalls of tears, and images of the film’s star, Daniela Vega, become the Ghost of Christmas Future. All three characters in this narrative are Latinx trans women; Oscuro was photographed on the day she began hormone replacement treatment, a process which Puppies began one year ago and which Vega started many years prior. While Oscuro reminds Puppies of the past, Vega represents the hope for a confident, thriving future. Meanwhile, in the present, Puppies produces texts as part of the required therapy to transition, and this free writing acts as a tool to help reveal parts of herself that may be unconsciously hidden. ‘I cried endlessly in this movie. / Just waterfalls sprouting from the / innermost crevice / where lid meets the eye / meets the highest / extent of the nose,’ she writes in the press text. These waterfalls may be manifested in drawings, but the poem reveals aspects of her identity to the audience that may otherwise remain unknown.

For more shows to see in Berlin head over to On View.

Berlin Art Week runs in various venues across the city from 26 30 September.

Main image: Candice Breitz, Sweat (detail), 2018, HD video still. Courtesy: Goodman Gallery, Johannesburg, Kaufmann Repetto, Milan, KOW, Berlin

Emily McDermott

Emily McDermott is a Berlin-based freelance writer and editor. She is currently completing a Fulbright for Young Professional Journalists. 

Critics’ Guides /

Berlin
Berlin Art Week
Emily McDermott
Galerie Barbara Weiss
KW Institute for Contemporary Art
Sprüth Magers
daadgalerie
Hebbel am Ufer
Hamburger Bahnhof
Museum Frieder Burda – Salon Berlin


1H6A0728JPG WPA6021602IMG坎迪斯布雷茨,TLDR,2017, 13通道视频安装。礼仪:古德曼画廊,约翰内斯堡,考夫曼·雷佩托,米兰,KOW,柏林·坎迪斯·布莱茨,“性工作”603003br博物馆Frieder Burda-柏林沙龙603003br2018年9月21日-2019年1月5日在“性工作”中,总部设在柏林的南非最近两部作品RiTST Candice Breitz被放置在与William N. Copley的绘画对话。科普利主要创作于上世纪50年代、60年代和70年代,他对女性着迷,创作了一些迷恋性工作的作品,比如《无名氏墓》(1966)。与此相反,Breitz直接与开普敦的性工作者群体进行交流和交流。2017年,她在威尼斯双年展上放映了一部备受好评的《爱情故事》(2016),该片由13个频道组成,是她拍摄的《TLDR》(2017)的第一个房间,讲述了一个12岁的男孩,他讲述了一个影响大赦国际关系的故事。包括梅丽尔·斯特里普、查理兹·塞隆和凯莉·穆利根在内的国际女演员联合会;使女权主义者反对女权主义的叙事。他的话被他两侧的十名性工作者所鼓舞,他们经常举着牌子重复他的话,给被定罪的和被指控的性侵犯者命名,或者用熟悉的首字母缩写(OMG,NSFW,WTF和标题为TLDR)来回应。第二个房间,有10台停用的监视器,为游客提供了通过一系列个人访谈了解每个性工作者的机会。通过12小时的集体录像,除了在《汗水》(2018)中分享的个人故事之外,与性工作者教育和宣传工作队有关的性工作者接收到诸如科普利沉默的声音。ap_presse_the_demons_._2.jpg Critic’s Guide to Berlin Art Week - 评论家柏林艺术周指南 Agnieska Polska,《恶魔的大脑》,2018,电影。礼仪:艺术家和汉堡包Bahnhof,柏林,Agnieszka Polska,'恶魔的大脑'
Hamburger Bahnhof
2018年9月27日-2019年3月3日在收到去年著名的国籍预审学校后(前获奖者包括安妮Imhof,Om位于柏林的波兰艺术家阿格尼斯卡·波尔斯卡(Agnieszka Polska)正在推出她的多频道视频装置《恶魔的大脑》(2018)。这段视频的灵感来自于一个15世纪的故事,讲的是一个波兰官员米科亚杰·塞拉芬(MikoajSerafin)管理着该国的盐矿,最初这些盐矿是国王以资本主义的早期(然后是匿名的)形式租借给他的。波斯卡利用了塞拉芬和他的雇员之间的通信以及债权人和债务人的网络,描绘了一个不识字的信使给官员送信的故事。有一天,使者陷入困境并产生幻觉,这种幻觉引起人们对现代不可持续的原材料和信息资本使用以及塞拉芬和启示录基督教神学的思考。22733_projecting_space_c_laura_van_.en_2.jpg Critic’s Guide to Berlin Art Week - 评论家柏林艺术周指南 Meg Stuart/受损货物,Projecting[Space[,2017,性能文档。礼貌:柏林,郝;照片:劳拉·范·塞文·梅格·斯图尔特/受损货物,'投影[空间]把德国鲁尔地区的一个原采矿厂改造成一个临时空间,用来想象和试验集体会议和制造的方法。现在,一年后,他们在柏林奥伯歇纽韦德的工厂化活动空间Reinbeckhallen重新开始思考这些过程。来自斯图尔特舞蹈公司“损坏物品”的演员们以游牧部落的身份出现在《投影》中,游牧部落来自未来。在这两个小时的课程中,他们提供故事、歌曲和舞蹈,讲述他们一起生活的方式,以及劳动、照料和仪式。他们将来的表现能帮助我们重新想象我们现在的时刻吗?6JPG Critic’s Guide to Berlin Art Week - 评论家柏林艺术周指南 Lawrence Abu Hamdan,墙无墙,2018,生产仍然。礼貌:柏林的艺术家和雕像馆;照片:Jana Gerberding Lawrence Abu Hamdan,‘Walled Unwalled’wpap 603003br daadgalerie wpap 603003br 9月17日至11月18日,18年前,在主权国家之间只有15堵边界墙和围栏;今天国与国之间的物质障碍的数量是63。对此,劳伦斯·阿布·哈姆丹(Lawrence Abu Hamdan)的《无墙单声道表演视频》(2018)探讨了在当今世界中墙的意义——或者说它的缺失。这篇20分钟的文章包括围绕证据的法律案件片段,这些证据是阿布·哈姆丹在柏林的芬霍斯听证会或亲身体验过的,阿布·汉姆丹在柏林东德前无线电广播中心重演并表演。这些情景暗示了这样一个事实,即当边界墙被建造时,被称为μ介子的不可见的宇宙粒子被释放到大气中,并穿透地球超过土壤、混凝土和岩石层。科学家们很快发现,这些粒子可以被收获,并用于看到以前无法穿透的表面,甚至通过X射线。从那时起,翡翠帮助揭露了内衬铅的集装箱以及隐藏在埃及金字塔中的储藏室的非法内容。正如艺术家所写的,“现在世界上没有墙是不可渗透的。”今天,我们都是墙,根本没有墙。’mka_bbsh_._04.jpg Critic’s Guide to Berlin Art Week - 评论家柏林艺术周指南 Mika Rottenberg,Bowls Balls Souls Holes(旅馆),2014,电影仍然来自录像和雕塑安装。礼貌:斯普鲁斯·马格斯,柏林,伦敦/洛杉矶_艺术家米卡·罗滕堡,‘碗球灵魂洞’
Sprüth Magers
9月29日至11月10日在这个展览中,米卡·罗滕堡的三部作品探讨了性别、种族和氏族的概念。通过日常材料和叙述。例如,名为“碗球灵魂洞”的视频装置(AC&Plant.t)(2014)是在一间通过门进入的观景室中呈现的,门上盖着口香糖和箔。这段长达28分钟的环形视频显示一个女人躺在酒店房间里,天花板上有个洞,她通过脚趾将月亮的能量传导到周围的物体上。在另一个场景中,她在哈莱姆的宾果游戏中向所有女运动员的观众宣布字母和数字。从全景上看,这些装置与视频暗示了集体劳动和超级资本主义的叙述,它们被我们视为“幸运”的内在要素;身体、阶级和性别成了一个行业的一部分,在这个行业中,抽象的观念可以表现为价值对象。n-.chen-wang_._lq.jpg Critic’s Guide to Berlin Art Week - 评论家柏林艺术周指南-Evelyn.cheng.,医院对话,2018,生产静止。礼貌:艺术家和Galerie Fons Welters,阿姆斯特丹伊夫林陶程成,“他怕什么?”9月27日至30日,位于阿姆斯特丹的中国艺术家王韬诚(Evelyn.cheng.)创作了两部新电影,并安装了大型织物,特别关注童话故事《公主与青蛙》。这是KW当代艺术研究所的系列作品《暂停》中的rt。在这里,王的作品经常质疑个人和文化身份的概念,他利用童话故事来研究神话是如何随着时间和空间的变化而变化的:当一个故事有不同的起源时,它是如何书写、改变的,编辑和复述?无论上下文如何,王力宏都发现,这个特定的故事总是暗示着转换和身份的流动性问题。她的电影和装置因此使用KW的主展厅来虚构人物和创造一个物理的建筑工地,象征身体及其转变的过程。2018_09_17_img_3715.jpg Critic’s Guide to Berlin Art Week - 评论家柏林艺术周指南小狗,Una Mujer Fa_ntastica电影海报(公共广告),2018,海报。礼貌:艺术家和Barbara Weiss,柏林小狗小狗,“UNA Mujer-FANADA SITA(一个了不起的女人)”WPAP60300 3BR Galeee巴巴拉WebWPA60300 3BR 9月14日- 11月3日标题后,同名奥斯卡获奖智利电影,小狗小狗(又名Jade K)uriki Olivo)以查尔斯·狄更斯的圣诞颂歌(1843)的形式来构造这个展览:圣诞的鬼魂以Cielo OsCuro的两幅肖像的形式出现,圣诞礼物的鬼魂是一首诗,它是小狗在阿特尔的自画像旁边写的新闻稿。ST画成一座石山,有瀑布般的泪珠,而电影的明星Daniela Vega的形象,成为圣诞未来的幽灵。在这篇文章中,所有三个角色都是拉丁裔的跨种族女性;在她开始激素替代治疗的那天,OsCuro被拍下了,这是一年前小狗开始的过程,而维嘉是从多年前开始的。当奥斯库罗想起过去的小狗时,维嘉代表了一个充满信心、充满希望的未来的希望。同时,在目前,小狗产生文本作为过渡所需的治疗的一部分,而这种自由写作作为一种工具,以帮助揭示她自己可能潜意识隐藏的部分。我在这部电影中不断地哭。她在新闻稿中写道:“就是从最里面的缝隙里冒出来的瀑布,盖子碰到眼睛,碰到鼻子的最高处。”这些瀑布可以在绘画中表现出来,但是诗歌向观众揭示了她身份的某些方面,而这些方面在其他方面可能仍然未知。更多的节目在柏林看到。柏林艺术周


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