Ort: Factory-Art bis: 2012-03-16
Künstler: Tristram Aver-UK, Vincent Bios-IT, Bram Braam-NL, Sabine Braun-DE, Karina Correa alias Joy Niemand -US, Petr Dub-CZ, Monika Grycko-PL, Danny Gretscher-DE, Minna Komi-FI, Stefan Larsson alias AUJIK -SE/JP, Mark Powell-UK, Wendy Sacks-US
Thema: Factory-Art Gallery is pleased to present the first round of "2012 Project Berlin." In an art world that is being increasingly castled on "word of mouth" names of artists in common, where the focus is on artists' names financially solids, where, by virtue of an unprecedented economic crisis, the artists most celebrated are those acquired in the portfolio, where the boundaries are never defined, so that a revolutionary like Che become a pop icon, where the selection of who ranks is fierce (emblematic the shark icon), where visibility is important, but only Facebook and a few others including God, are really successful in the virtual omnipresence; in a world where emotions are controlled by a "de Medici" of the situation, in a world of coitus interrupted, we need healthy madness. Let us go. Do not respect rules: evade or break them. Try something new, independent. Break the mould, diversify, explore, discover new territories. New talents. We need to try something new. We need "To think different". And thus, we want to borrow and pay homage for that the legendary Steve Jobs for his sentences, that fits so well with the idea on what we wish to do: "Here's to the crazy ones. The misfits. The rebels. The troublemakers. The round pegs in the square holes. The ones who see things differently. They're not fond of rules. And they have no respect for the status quo. You can quote them, disagree with them, glorify or vilify them. About the only thing you can't do is ignore them. Because they change things. They push the human race forward. While some may see them as the crazy ones, we see genius. Because the people who are crazy enough to think they can change the world, are the ones who do." The first appointment of the project starts with the democratic title "YOU CAN TELL ME!" With the 2012 Berlin project, Factory-Art gallery wants give more stages for new voices and aims to explore among the many artists who are not yet integrated into art system, giving some of them the opportunity to exhibit in an international context such Berlin is. The project includes a series of exhibitions throughout the year and final catalog presented during an international art fair, where will be published and commented all selected artists. For the international art fair from all exhibited artists will be selected, by an international, curator 6 artists to be exhibited. We hope to give visibility and help good artists to emerge.
Ort: Factory-Art bis: 2011-10-13
Künstler: italian Desinger, Beatrice Crastini
Thema: Die Factory-Art Gallery freut sich, eine außergewöhnliche Ausstellung, eine Fusion von Kunst und italienischem Design, vorstellen zu können. In den letzten Jahren haben sich Kunst- und Designszene immer weiter angenähert. So wird die Art Basel, die wichtigste Messe für moderne und zeitgenössische Kunst, von der Design Miami/Basel, eine der wichtigsten und innovativsten Designmessen weltweit, begleitet: Neue Trends in der Kunst gehen Hand in Hand mit aktuellem Design. Ausgangspunkt der Ausstellung "MOMMSENSTRAßE 27, BERLIN:THE MAGIC OF ITALIAN DESIGN" sind einige "lighting fixtures" aus den 40ger und 50ger Jahren, von GINO SARFATTI, von vielen Experten des zwanzigsten Jahrhunderts als der größte italienische Designer im Bereich Beleuchtung angesehen. Meisterwerke, die uns die außergewöhnliche Eleganz des Designs, einem Hauptmerkmal von Sarfattis Werken, erleben lassen. Aber italienisches Design ist nicht nur Gino Sarfatti. Es steht für eine intensive Suche nach Qualität, gutem Geschmack und höchstem Produktionsstandard. Neben den magischen Werken Sarfattis, von Arteluce hergestellt, werden weitere Stücke von Herstellern und Designern gezeigt, die noch immer weltweit italienisches Design repräsentieren. Um einige zu nennen: die Stehleuchte Polinnia, Design Studio BBPR, 1964, Artemide, das modulare Sitzsystem Sity, Design Antonio Citerio, Compasso d´Oro 1987, B&B, ein Esstisch mit dazugehörigen Stühlen aus den frühen 50ger Jahren von Carlo de Carli. An den Wänden: ein Treffen von Kunst und Design. Wie in einem persönlichen Katalog der Erinnerungen setzt sich Beatrice Crastini in ihren Fotografien selbst in Bezug zu einigen dieser Möbel und deren Ausstrahlung. Diese Stücke würden in jedem Designmuseum ihren Platz finden, Objekte, wie z.B. Albinis Sessel Fiorenza, Gio Pontis Sofa Dezza, Die Lampen von Gino Sarfatti, die Lampen Pollinia und Arco des Studio BBPR, ein Schirmständer von Sottsass, Vennini-Glas und mehr. Um die Intimität dieses Dialogs zu steigern, setzt sie die Objekte in einem alten Lagerhaus, einem früheren Luftschutzraum, in Szene. Alle Fotos wurden mit Selbstauslöser geschossen, um den Moment tiefer Magie, der Alchemie die zwischen Ort, Subjekt und Augenblick entsteht, einzufangen. Zusätzliche Veranstaltungen: 22. und 29. September, während der Öffnungszeiten, Beratung, Bewertung, Information und Schätzung durch einen Experten 13. Oktober Finisage und Preisverleihung Während der gesamten Ausstellung kann Informationsmaterial zu Italienischem Design eingesehen werden.
Ort: Factory-Art bis: 2011-07-23
Künstler: Ondrej Brody, Kristofer Paetau
Thema: Brody & Paetau started producing paintings in China in 2007 with the exhibition 'Painting China Now'. The exhibition was made out of an installation of 30 oil paintings (30cm X 40cm) depicting victims of torture inflicted by the Chinese government upon their own citizens. All paintings were painted in China according to found photographs documenting Falun Dafa members victims of torture in China. These images are censored in China. Accordingly, out of the 20 painting factories that the artists contacted, only 2 companies accepted to produce the work and sent the artists a price offer. Since then Brody & Paetau have employed their 'Chinese assistants' on several occasions, exploiting the cheap labour and challenging the viewers' sense of artistic quality with the Made in China label. Made in China is one of the most recognizable labels in the world today due to China's rapidly developing large manufacturing industry. The country is the largest exporter in the world and the Made in China label can be seen on a huge range of goods from clothing to electronics. A series of scandals concerning exports, sweatshops, human rights offenses and torture have harmed the 'Made in China' brand, but the western art world has nevertheless been eager to establish galleries in China and to sell chinese art on the western art market. Brody & Paetau are also interested in the outsourcing/offshoring phenomenon and in testing the limits of their own strategy. They exploit the critical potential of outsourcing to China and make good use of the specific technical abilities of their chinese assistants to 're-produce' any picture in a realistic manner for unbeatable production prices. Brody & Paetau demonstrate that any artist can afford to work with assistants, thus imitating in an ironical way the production process of well known contemporary artists who employ dozens of assistants in order to fill the demand of production of an avid global art market. The critical strategy of the works could be described as 'homeopathic' in the sense of: 'let like be cured by like', by re-enacting and thus calling the attention of the public on problematic phenomenons related to politics, power, economy, and the hypocrisy of the western world facing a totalitarian country as a business partner. The 'China problem' is far from being resolved and the western art world is not exempted from it - as recent scandals continue to prove with the abusive detention of Chinas best known artist Ai Weiwei.
Ort: Factory-Art bis: 2011-05-29
Künstler: D. Valenti, M. Clerel, I. Helland, M. Bongiovanni, D. Stanic, E. Fantini, Y. Ichihashi, S. Balestri, A. Dojmi-L. Bona, Collectif Indigene, A. Sxucs, C: Roka, M. Pukaluk, J. Trabona, A. Chassary-L. Belarbi
Thema: "YICCA" is an ambitious project regarding transperancy, comparison and research of new artistic talents. Nowadays it is becoming more and more difficult to comply with the requirements of art market, in particular – facing the challenge of competing with the constantly increasing number of newly arising artists in the contemporary art field. YICCA was founded in 2009. The decision of its foundation was taken under the great influence of new ways of making and thinking art that recently have discovered many surprising and unusual forms of art. This general confusion and rapid change of offers is without any doubt challenging and extremely exciting. The main goal of YICCA is to understand and to improve new talents that in this “beautiful chaos” are able to interpret better the upcoming art. This second edition is addressed to European artists. We have assembled an international jury to whom is assigned the task of selecting 15 finalists
Ort: Factory-Art bis: 2011-04-29
Künstler: Natalia Berschin
Thema: Natalia Berschin was 10 years old when one of the nuclear reactors of the Chernobyl Power plant exploded on the 26th of April, 1986. "A sudden power output surge took place, and when an attempt was made for emergency shutdown, a more extreme spike in power output occurred which led to a reactor vessel rupture and a series of explosions. This event exposed the graphite moderator components of the reactor to air and they ignited. The resulting fire sent a plume of radioactive fallout into the atmosphere and over an extensive geographical area." See Wikipedia. One day later, on the 27th of April the inhabitants of Prypjat were evacuated, the town where most of the employees of the power plant lived. 48.000 of them were immediately evacuated, later on more than 300.000 from a wider region. The disaster was at first played down by the Power Plant Management. The inhabitants were left believing they could soon return to their houses. They could not take their belongings with them. This and their animals were left behind. Even the political leaders in Moscow were not sufficiently informed. Photos of the place of disaster were only shown in the media after they were beautified. Natalia Berschin was living in Minsk, only a few hundred kilometers away. Minsk was part of the area that was severely polluted by the nuclear fallout. Evacuated persons and refugees from the surrounding of the exploded reactor came to Minsk and influenced the fantasy of the child. Around the years 2006/2007 Natalia Berschin began to look into the Chernobyl disaster. The research of texts and pictures documenting the disaster took one year at the end of which large impressing paintings where she incorporated the assembled material as well as her own visions: left-alone houses, empty rooms, a giant wheel and a car scooter, about to be opened, contaminated and abandoned military vehicles and ? helicopters, men in uniform and protective gear. Titles like ?Scrap of history (Schrott der Geschichte)? that were given to several paintings and ?Heroes of work (Helden der Arbeit)? and also the painting of three young pioneers indicate that Natalia Berschin in her work cycle ?Wasteland? not only points at the disaster but also at the coincidence of the surge of the communist bloc. When the reactor exploded the soviet union was already about to doom. Cover-up, disinformation and forgery of material of documentation seemed to be an accepted way to deal with reality. The question of a peaceful use of nuclear energy is continuing to be part of public discussion. At the moment there still is no sustainable concept for renewable energies. Chernobyl remains to be a symbol for the danger of nuclear energy. The power plant was closed in 2000 as a result of international pressure. Today people are living in the surrounding again. The region seems to be a paradise of nature. The contaminated helicopter and military vehicles that were used to pacify bloc 4 and the evacuation have been scraped out and moved out of the closed district, despite security patrols.
Ort: Factory-Art bis: 2010-12-18
Künstler: Paul Rascheja
Thema: A common motif in Paul Rascheja’s work is the human being: a highly developed, primitive and brutal animal that possesses intellect and reason yet nevertheless is aggressive and unpredictable. The artist shows the raw, primordial and non-domesticated nature of the human being in haunting, painfully exaggerated images. He reaches to the limit of what is bearable, often overstepping it and breaking taboos as well as provoking at the same time. His work can be characterised by a dark, morbid atmosphere: a combination of a nightmare, chaos and deathly order. His videos are captivating and disturbing: they bribe you with radical views, cryptic details and unexpected turns. They are idiosyncratic and grotesque, critical of society, subversive and political. Childhood experiences and surreal dream worlds play a mayor role here. In the exhibition will be shown several works and videos: Spaces, Childhood, Crash, Stolz der Nation (2009/2010) And the last project made just for this occasion: Too True to be Good This work it’s a reaction to last publications of the site Wikileaks.org where presented stolen NATO protocols from the Iraq war. The artist Paul Rascheja processed the protocols for a video and an installation and tried to show an effect on the society. Paul Rascheja’s work awakens memories of the Friedrich Nietzsche story The Madman published in 1882 (s. 125) “The Gay Science” The Madman (The death of God) "….I seek God! I seek God!" As there were many people standing about who did not believe in God, he caused a great deal of amusement. Why? is he lost? said one. Has he strayed away like a child? said another. Or does he keep himself hidden? Is he afraid of us? Has he taken a sea voyage? Has he emigrated? - the people cried out laughingly, all in a hubbub. The insane man jumped into their midst and transfixed them with his glances. "Where is God gone?" he called out. "I mean to tell you! We have killed him, you and I! We are all his murderers! But how have we done it?.....” from (s. 125) “The Gay Science” Friedrich Nietzsche, 1882
Ort: Factory-Art bis: 2010-10-30
Künstler: Massimo Toffolo
Thema: People talk about sex when they don't make it enough and about money when they don't have it ... Indeed as said good old Oscar Wilde: "When bankers get together, they talk about art. When artists get together, they talk about money." Guess why ... Then there are bankers of art: powerful galleries, with their superstar artists, which often produce objects or ideas / objects only to justify the trading. Hence the idea of Massimo Toffolo that every day in his warehouse studio produces art because he needs it ... more for natural necessity than for the economic reason. Maybe he's poisoned by paint and this makes him completely hooked, drugged? ... Or is it just a brain necessity that produces endorphins and makes him happy to do this (it always a kind of drug! ) ... In this way M.T. describes his demanding work of 2006/2008 "The Rumanian rider in saddle on a snail without wheels": The cataloguing is like a reflex at the method, already instill, of associate to make sure. Well, this actually takes away the natural reflex of contemplation, making the artwork a simply container. The eye that should be open and should operate in isolation at the beginning, now is unable to grasp the work of art, but it captures the artwork factors that would be appropriated "at the limit" only in the second moment. Now when these factors arise from critics or from a series of nonsenses that the day give us, there is still all to see; what interests me is to let you notice like the art, as the mother of emotions and feelings, can be "not included reasonably", but admired and praised for what my painting is: an aesthetic vision of a journey, narrated simply without thinking about it. Well, if that's the point, then it have to be it to the end: semiology aestetica without conditions, without labels, without fear ... Since then, over the years, I tried to remove the superfluous, the unnecessary, and to add, more and more, the spirit of 'aestetich', this journey narrated simply without thinking about it ... So, the real vision of things revaels itself in the moment wherein it turns into pure reasoning; well, these 19 works were created in the moment wherein they describe what they were intended to describe, either before or later, but together, as they should be and how it was. The artworks come to life from the first color that is laid, thrown, dropped or spat and at once I need to write what is comming to my mind, what the color is saiyng me. So, together, the artwork takes shape and I never know when it ended, but the ambience, the atmosphere that arrives slowly during creation, they help me to open the mind and without untimely judgements, I find essential to follow it and to let it make by itself ... ("My friend for life") One of my paintings is my story and my story is one of my paintings. Who will miss such unique vision, will also lose the work atmosphere, with shapes, tones and colors that indicate the important points of contact; in this way appears clear where the tone of the voice rises up or becomes tiny. Artwork inside an artwork? Nothing at all, but only, as I said after I have met the little yellow man in the homonym tale "Fuck the rest "..." From here a series of studies, changes of technique, intellectual suffering, destruction of producted material because isn't satisfactory. The fixed idea to remove the superfluous, but what is necessary and what is superfluous? Then the current project of Massimo Toffolo, designed and painted on large canvases post-it, as the stories of the series "The Rumanian rider", was created directly on the canvas without afterthoughts, finally the way is open: why "justify" a product? It's the man who counts ... And the market! Going forward beyond the justification. No more excuses. Showdown. If it's the man and only the man who counts, and his ideas, then the product is no longer needed! He is his own artwork, a Limited Company issuing bearer bonds that become works, as the artwork based on demand and on availability (of the market) that increase in value. The time is ripe and awareness comes in the moment wherein it is told about reissues of this or that. But the economy is going forward and it not allows to impairment losses. Art is a mirror of the times and the business is ruling, riding and basically deciding everything. The art knows it and as a rider, of noble mind, wants the fight. It 's time for notice that the opponent is none other than itself, like a madman Don Quixote, the windmills are mirrored in the soul of art, where the water like unstoppable art filters through his fingers and it doesn't leaves trap to the detriment of little men who want to close it in a bottle and expose it in their collections. The art is going forward, the market is going forward and the idea of blocking everything and shift into reverse has never worked. So go forward! The market doesn't wait ..
Ort: Factory-Art bis: 2010-07-17
Künstler: Beatrice Crastini, J. Tobias Anderson
Thema: Factory-Art Galerie hat das Vergnügen zwei Künstlerpersönlichkeiten in einer Ausstellung unter dem Titel +TIME LINE* zu präsentieren./ Es ist die italienische Künstlerin +Beatrice Crastini* und der schwedische Künstler +J. Tobias Anderson*./Die Eröffnung der Ausstellung wird am Samstag, den +15. Mai 2010 um 18.00Uhr* stattfinden und bis zum 17.07.2010 zu sehen sein.# Die +Zeit* ist eine Art Ausdruck für aussergewöhnliche Veränderungen. Die +Linie* ist als Trennung zwischen zwei Personen, die miteinander reden, aber sich nicht hören, zu verstehen. Die +“TimeLine”* (Zeitstrahl) trennt zwei Leben von einander, die sich einen immergleichen Ablauf unterwerfen und dabei zwischen routinierten Arbeiten pendeln, die wichtig erscheinen. Warum ist eine Entscheidung zwischen dessen, an was man glaubt und der unbekannten “realen” Wahrheit so faszinierend? Wie könnte man wirklich eine Entscheidung treffen?#J. Tobias Anderson wird in dieser Ausstellung insgesamt 3 Video-Installationen zeigen: “A small Part of the World”, 2006; “The Wind”, 2009 und das neue Video “A Veracity A Mendacity”, 2010./Beatrice Crastine zeigt ihre neue Installation "28 days".
Ort: Factory-Art bis: 2010-05-08
Künstler: Renato Meneghetti
Thema: Die Galerie FACTORY-ART präsentiert eine ausgedehnte Ausstellung von Röntgenaufnahmen des italienischen Künstlers +Renato Meneghetti*.#Die Ausstellung mit dem Titel +“Looking beyond: X-Rays”* wird einen grossen zusammenhängenden Teil der Ausstellung zu Ehren Meneghettis in Rom im Museo Nazionale di Palazzo Venezia präsentieren. Kuratiert wurde diese Schau, gleichzeitig noch in drei anderen Ausstellungsräumen zu sehen, von Achille Bonito Oliva, einem bekannten Kunstkritiker.Sie stand unter der Schirmherrschaft des “Italian Ministry for Cultural Heritage” und dem “Polo Museale Romano”.#Diese Ausstellung ist das Indiz einer unerschöpflichen Suche, ein Bemühen immer weiter zu gehen, nicht nur mit Röntgenstrahlen sondern mit Ideen und Gedanken./Des Weiteren hat Meneghetti die Musik komponiert. Die fast schon hypnotischen Klänge führen den Besucher in emotionale Gefilde, wo die visuelle Wahrnehmung als etwas fantasievolles definiert wird.#“…In dieser Manier kann das Auge sehen, was es normalerweise nicht sehen kann.”
Ort: Factory-Art bis: 2010-02-27
Künstler: Margareta Lekic, Andi Ant
Thema: +“WHO BREAKS THE CODES?”* # Die Galerie Factory-Art präsentiert zwei Künstlerpersönlichkeiten; die kroatische Künstlerin Margareta Lekic und den slowenischen Künstler Andi Ant. Die Ausstellung setzt den Fokus auf zwei Künstler , die sich mit dem Leben innerhalb der Gesellschaft und den damit verbundenen Verhaltensweisen beschäftigen. # +Margareta Lekic* # Die Arbeiten von der Künstlerin Margareta Lekic erforschen die Artikulation von Beziehungen zwischen Mann und Frau./ Sie arbeitet dabei mit gewohnten Verhaltensweisen und konstruiert Objekte, die den individuellen Umgang zu einem experimentiellen vermittelten Gerät darstellen. “Wet the finger” ist ein weicher Schwamm, der den Fingern beim Anfassen ein angenehmes Gefühl gibt. Doch im selbem Moment ertönt ein Lachen und es ergibt sich daraus eine peinliche Situation. Die Arbeit “Nipple vibrator” ist ein Gerät zum Vergnügen, das aus einem Kinderspielzeug gemacht ist./ Die Künstlerin benutzt gefundene Sachen einfacher Natur und hat eine Vorliebe für runde oder zylinderhafte Formen, die den Umgang und die Analyse einfacher machen. In dem Video “Circle” wird das Thema rund um Schöpfung und Zerstörung in einer einfachen, ruhigen und sehr langsamen Art und Weise gezeigt./ Die Arbeit “Stick” besteht aus essbaren Bretzel-Stangen (auch wieder zylinderförmig), die auf einem gefundenen Pappzylinder geklebt worden sind, um eine große Stange zu schaffen. Dabei beschäftigt sie sich mit der Idee von einer existierenden Phallus-Struktur, die in seiner physischen Struktur essbares Fellatio ist./ Alle Arbeiten involvieren den Betrachter. Großes Augenmerk liegt auf den sexuellen Aspekt zwischen den Geschlechtern. Ein anderer Aspekt, den sie angeprochen hat, ist zum Beispiel der symbolische Raum innerhalb der sozialen Interaktion, der als ästhetischer Raum, als Raum für die Kunst, aufgefasst wird./ Die Künstlerin wir bei der Eröffnung anwesend sein. # +Andi Ant* # Der Künstler Andi Ant arbeitet prinzipiell gegen Konventionen. Aus diesem Grund ist es seine Absicht seine Identität bestmöglich geheim zu halten: kein Foto, kein Interview, kein persönlicher Kontakt./ Auf ähnliche Art und Weise will er versuchen folgende Regel zu brechen, in der es darum geht sein Kunstwerk zu verstehen bevor es fertig ist. In der Regel gibt es eine Anweisung oder Beschreibung, wie man sein Kunstwerk realisieren soll. Damit kehrt er den üblichen Vorgang um und fodert uns auf das Kunstwerk zu verstehen, bevor wir es sehen./ In dieser Ausstellung können wir “Uniforms” Catholic clergyman, 2008 und “ Liberté, Egalité, Fraternité”, 2008 sehen. Bei dem erst genannten tragen große schwarze Dildos das schwarz-weisse “Outfit” der katholischen Geistllichen. Bei dem Projekt “Liberté, Egalité, Fraternité” geht er ironisch mit dem Slogan der französischen Revolution um. Er unterstreicht damit, dass sich seit damals nicht viel geändert hat. Ein anderes Projekt besteht aus einen rechteckigen Metallkäfig, wo vier “Elemente” in den Ecken aufgestellt sind. Die “Elemente” sind vier Wachteln ohne Federn, Haare und Köpfe. Diese Tiere sind also wie Menschen. Als nicht besonders mutig und gewissermaßen als Beute zu verstehen, sind sie wie Konsumenten. Der fehlende Kopf macht die ganze Situation surreal und ist symbolisch als eine Art Unsicherheit, in der wir Menschen leben, zu sehen./ Andi Ant pendelt zwischen Chennai_Indien und Capadoccia_ Tuerkei und wird nicht bei der Eröffnung präsent sein.