Kang Contemporary

Ort: Kang Contemporary bis: 2022-09-03

Künstler: Lea Bräuer, Tzusoo , Carolyn Prescott, Gudrun Petersdorff, Katrin von Lehmann, Lisa Glauer, Frank Coldewey

Thema: Kang Contemporary is proud to present artworks by seven artists in the Kang Summer Show of 2022. Together the works present a surprising array of medias which unexpectedly enter a dialogue and create a vibrant space of exchange. After completing her Bachelors degree at the Fachhochschule Potsdam the Essen based photographer Lea Bräuer is now completing her Masters of Arts in Photography Studies and Practice at Folkwang Universität der Künste. The work entitled „Der fragile Raum“ can be seen as a response to the inner unrest caused by the social upheavals, the political events and the global catastrophes unleashed in the past years. The loudness of these events are set against the still lifes in private rooms, which appear to radiate peace and tranquility. The German Artist Frank Coldewey first completed an apprenticeship as a glass painter, before beginning his studies at the Hochschule der Künste Berlin, where he learned under Prof. Hermann Bachmann. The sculpture displayed at Kang Contemporary is closely related to his acrylic collages. These works exist between painted sculpture and sculptural painting. Simultaneously, they allude to the artist returning abstraction of architectural structures which are also visible in the acrylic photodrawings of cityscapes. Before being awarded her PhD in Art and Design from Bauhaus-Universität, Weimar, German Artist Lisa Glauer studied at the University of the Arts, Berlin, the Pratt Institute, Brooklyn, as well as School of Art & Design, SUNY Purchase, New York. Her artworks at Kang Contemporary combine text pieces and images of internal organs, bubble talk speaks of what was said and accompanying physical reactions, the sensations one might experience when formulating or hearing these bits of text. When viewed through paper 3D glasses, the red areas acquire a metallic x-ray sheen. The experience of viewing them becomes a performative act, not transferable to instagram viewing. Katrin von Lehmann who lives and works in Berlin and Groß Glienicke, Germany works at the intersection of art and science. Her artistic practice is defined by creating rules and techniques of performance, as well as expansive installations and photographs. The artworks from the series Unknown/Nothing Is Right Now (since 2015) which are displayed at Kang Contemporary explore concerns of human diversity as well as research methods from molecular genetics and climate science. These scientific issues are translated into artistic practice. For many years Carolyn Prescott has made drawings of people in the city – in subways and buses, on platforms and along the street. She began to work these images into long-format paintings, which she called the plurality paintings, thinking of how Hannah Arendt described the human condition of plurality as “the fact that men, not Man, live on the earth and inhabit the world.” She states further, “Plurality is the condition of human action because we are all the same, that is, human, in such a way that nobody is ever the same as anyone else who ever lived, lives, or will live.” [p.8]. The artist grapples with the basic and yet hard-to-grasp fact of our existence, that is, the plurality of human life. TZUSOO (b.1992), based in Berlin and Seoul, envisions a near future in which all human souls will be uploaded to computers. She explores how the virtual world fascinates and drives the physical world from an anthropological perspective. TZUSOO dreams of a space where various beings can coexist through her art practices that focus on queerness of human body, gender and human rights in the digital generation. TZUSOO is also well known as a music video director who collaborated with popular musicians like Lim Kim, Lil Cherry, Tri.be, SAAY, etc.

Ort: Kang Contemporary bis: 2022-04-15

Künstler: Jeongmoon Choi

Thema: Es war ein eigenes Erdbebenerlebnis, 2013 in Athen, das Jeongmoon Choi dazu brachte, sich künstlerisch mit der Lehre vom Bau der Erdkruste, der Tektonik auseinanderzusetzen. Auch für ihre Ausstellung bei KANG Contemporary widmet sich Choi dieser Thematik. Die Künstlerin hat dabei nicht nur eine neue Installation entwickelt, sondern gleich auch einen neuen Begriff entworfen: Das von Choi aus den englischsprachigen Bezeichnungen für „Klima“ und „Tektonik“ zusammengesetzte Kofferwort „Climatonic“ benennt das weitgehend noch unbeachtete Phänomen der Beeinflussung des Klimas durch plattentektonische Prozesse, durch den Kontinentaldrift. Chois Ausstellung „Climatonic: Floating Landscape“ macht diese Erd- und Klimabewegungen visuell und körperlich erfahrbar, sodass man sie mit dem eigenen Körper nachspüren kann: die aus vielen farbigen, elastischen Fäden bestehende, den Raum durchziehende Lichtinstallation „Floating Landscape“ imaginiert und symbolisiert wellenförmig, ähnlich einer Vektorgrafik, die Verschiebungen von Erdplatten. Grundlage für die Arbeit sind wissenschaftliche Aufzeichnungen von seismischen Bewegungen bei Japan – der Korea benachbarten Inselgruppe, bei der sich drei Erdplatten kreuzen. Dadurch, dass die ursprünglich aus der Malerei kommende Künstlerin als Quelle des Lichtes, das die akkurat gespannten Fäden auch im Dunklen visuell hervortreten lässt, UV-Strahlen benutzt, beschreitet Choi das Grenzgebiet zwischen Raumzeichnung und Lichtkunst. Was dabei entsteht, sind sinnliche Effekte zwischen zweidimensionaler Aufzeichnung und deren dreidimensionaler Interpretation. Zusätzlich zu „Floating Landscape“, das durch die Fensterfront der Galerie auch in den städtischen Raum ausstrahlt und insbesondere in der Dämmerung und bei Dunkelheit auch von außen eine eigene Wirkung entfaltet, zeigt Jeongmoon Choi im oberen Bereich von KANG Contemporary eine Anzahl teils auf den ersten Blick zweidimensional scheinender Arbeiten: hier handelt es sich etwa um als Notationen gezeichnete tektonische Stöße oder um Wandobjekte, bei denen streng vertikal angeordnete Fäden in der Form von offensichtlich überfrachteten Barcodes von der (Un-)Lesbarkeit menschlicher Erinnerungen an die Naturkatastrophen erzählen.

Ort: Kang Contemporary bis: 2021-12-03

Künstler: Vadim Zakharov

Thema: We would like to invite you to the Artist Talk "Vadim Zakharov - George Orwell / 7 Dictators / Duchamp prostate", Friday, December 3, 2021 at 18:00. Exhibition Duration: September 11 - January 07, 2022 Book Appointment: www.kang-contemporary.com

Ort: Kang Contemporary bis: 2022-01-07

Künstler: Vadim Zakharov

Thema: The solo show of Vadim Zakharov at Kang Contemporary presents a newly conceived body of works by the renowned Moscow Conceptual artist (Russian Pavilion, 55th Venice Biennale, 2013). The exhibition “Vadim Zakharov - George Orwell / 7 Dictators / Duchamp prostate’’ displays selected pieces belonging to three new series together with renowned works. The pieces are linked by the main concept of the act of overlaying images, words, quotes and symbols, the semantics and the signifiers: those constructing a show in which the artistic process together with some of the most important topics addressed by Zakharov are presented to the public through an attentive and cohesive installation. For the first time displaying a selection of works on paper, multi layered offset prints and gold leaf as well as three dimensional works. A series in which quotes from ‘Animal Farm’ by George Orwell are tweaked and actualised to our times - mirroring the present social and political Zeitgeist,- a series in which the artist playfully acts on the meta meaning of well known artists names and works (such as Marcel Duchamp) and pieces created through the graphic manipulation of french slogans of the 68’ will be shown in the gallery spaces, introducing a new production of Vadim Zakharov. The body of works of one of the most representative artist of our times stands as a unique selection which constitutes a new season in the frame of the production of Vadim Zakharov and a unique opportunity to observe how his work develops from large scale installations, performance and theatre pieces into artworks which enclose the wide, complex and multifaceted system of references, concepts and meta signifiers characterising the artist’s creative process. The video documentation of the performances of Zakharov will be displayed on the large glass window on the outside part of the gallery inviting the public to an all embracing experience.

Ort: Kang Contemporary bis: 2021-01-16

Künstler: Vemo Hang, Dirk Eicken, Annette Cords, Lea Bräuer, Moritz Jekat, Meng Huang, Gudrun Petersdorff, Lisa Glauer, Elisabeth Sonneck, Frank Coldewey, Sabine Laidig

Thema: WE WOULD LIKE TO CORDIALLY INVITE YOU TO THE OPENING WITH PRE-REGISTRATION: ELEVEN: ARTISTS OF GALLERY FRIDAY, NOVEMBER 13, 2020 FROM 14:00-21:00 EXHIBITION DURATION November 14, 2020 - January 16, 2021 https://doodle.com/poll/hth97raqvnkki85r?utm_ Lindenstraße 90 / Mendelssohnplatz 10969 Berlin U6 Checkpoint Charlie t: +49 (0)30 920 322 39 e: contact@kang-contemporary.com w: kang-contemporary.com

Ort: Kang Contemporary bis: 2020-11-07

Künstler: Meng Huang

Thema: TIDE - MENG HUANG VERNISSAGE Friday, September 4, 2020 at 19:00 EXHIBITION DURATION September 5, 2020 - November 7, 2020  Tue-Sat: 14-18 and by appointment

Ort: Kang Contemporary bis: 2020-08-30

Künstler: Jimok Choi

Thema: WE WOULD LIKE TO CORDIALLY INVITE YOU TO THE VERNISSAGE: OPEN JIMOK CHOI Thursday, July 23, 2020 at 19:00 exhibition duration July 24, 2020 - August 30, 2020 Lindenstraße 90 / Mendelssohnplatz 10969 Berlin U6 Checkpoint Charlie t: +49 30 920 322 39 e: contact@kang-contemporary.com w: kang-contemporary.com Instagram I Facebook: @kangcontemporary

Ort: Kang Contemporary bis: 2020-07-18

Künstler: Dirk Eicken

Thema: Kang Contemporary is pleased to announce the exhibition "THX FOR THE FLOWERS!" DIRK EICKEN Opening Hours: Tue-Sat 2-6 pm and by appointment Lindenstraße 90 I Mendelsohnplatz 10969 Berlin U6 Checkpoint Charlie t: +49 30 920 322 39 e:contact@kang-contemporary.com w: kang-contemporary.com At first glance the pictures with the flower motifs are not revealing. Even with a second look, nothing announces itself. Only when the viewer is informed does the thinking begin, although still without really seeing. The paintings of Dirk Eicken’s new body of work have double layer; thus the title of his exhibition, “Thx for the Flowers” is to be read ambiguously. Behind the rather stylized, bigger-than-life motifs displaying native or adapted German flower species, a second layer is hidden, in both the literal and the figurative sense. What one does not notice is this second, rear canvas that the painter has stretched beneath the visible one. Eicken has painted over these photographs (retrieved from the media by the artist) of people who are fleeing, or attempting to flee, to Europe. In shades of gray or coloured, each according to its model, these motifs are stylized similarly as the flowers, situated between the imaginable and the recognizable. Is something here concealed, veiled, disguised? First let it be said that “Thx for the flowers!” follows Eicken’s 2015 series titled, “Im FOND” (Rear Compartment) technically and thematically. In these works he stretched variously coloured stripes across black and white painted-over photographs of refugees and their living conditions. Here the existence of the second canvas and the context of the motifs can be deciphered only through the accompanying brochure. Eicken’s interest in this method of “making invisible” in connection with the theme of refugee flight has become a constant one. For the artist, however, the thematic departure point is the fact of how the West treats refugees and fugitives (namely without dignity). In this sense, Eicken shows us a repression, a not wanting to see. Simultaneously the painter points to another circumstance: one of the “crises of the visible” that he has observed. The glut of media images presents a problem not only for painting, rather, it raises a general question: Why more images? Does everything that has been depicted actually make the subjects more apparent? “What you see is what you see,” that motto of abstract painting, has not been true for a long time, according to Eicken. Rather, one can no longer paint everything. Consequently the painter consciously withholds the painted as original; he does not even make it visible. The originality of painting is thereby contrasted with the reproducibility of the photographic model, and this occurs more than once, almost inextricably—because the flower motifs are also based on photographs by Eicken. Those who see in this a gesture toward conceptual art would not be completely wrong, but they are seeing only the formal aspect. For Eicken it’s much more about connecting the observer to the not visible, and thus unobtrusively to the visible. German text Martin Conrads. English edit Carolyn Prescott.

Ort: Kang Contemporary bis: 2020-05-31

Künstler: Sabine Laidig

Thema: CHROMA SABINE LAIDIG VERNISSAGE THURSDAY, FEBRUARY 27, 2020 AT 19:00 Introduction: Dr. Sibylle Badstübner-Gröger, art historian exhibition duration February 28, 2020 - May 23, 2020 gallery opening hours Tue-Sat: 2-6pm and by appointment Lindenstraße 90 / Mendelssohnplatz 10969 Berlin U6 Checkpoint Charlie t: +49 30 920 322 39 e: contact@kang-contemporary.com w: kang-contemporary.com Instagram I Facebook: @kangcontemporary

Ort: Kang Contemporary bis: 2020-02-22

Künstler: WILLPOWER

Thema: WE WOULD LIKE TO CORDIALLY INVITE YOU TO THE OPENING RECEPTION "OFF PLANET" WILLPOWER THURSDAY, JANUARY 23, 2020 AT 19:00  EXHIBITION DURATION: Jan 24, 2020 - Feb 22, 2020 GALLERY HOURS Tue-Sat 2-6 pm and by appointment  Lindenstraße 90 I Mendelsohnplatz 10969 Berlin U6 Checkpoint Charlie t: +49 30 920 322 39 e: contact@kang-contemporary.com w: kang-contemporary.com Premiering at Kang Contemporary Gallery, Willpower’s Off Planet: Human Scale Light and Sound Expedition Instrument gathers participants to realize visual composing, interactive play, and engagement with others through several intentional mediums. Physical approach to the pre-programmed, self- sustaining space initiates various light and sound frequencies. Some visible and some undetectable to the human eye, each wavelength translates one’s physical movements to a responsive light source- either a soft white light generated by 60 milliamp RGB-LED lights or, depending on one’s proximity, to the warming rays of a 20 milliamp infrared color intended as progressive development to Red Light Therapy. Moreover, tactile connection with the piece or the movement of waving of one’s hands emits the sounds of melodic musical notes- creating a musical composition incited entirely by participants’ gestures or touch. The installation, or participation, is designed to bridge not only the relationship amongst the people in the space but especially the relationship we have with our corporeal identity and imaginative states. Willpower is a multidisciplinary artist focusing on light, sound and how humans are affected by their environment. He utilizes coding and electronics as his paint and paintbrush. His artful combinations of open source technological programming, electrical and audio engineering, parametric architecture, corporal kinaesthetics, along with his original compositions of sound, visual, and performance art does more than equivocally ask us to imagine the creation of worlds. Willpower actively invites us to quite literally step into the immersive and interactive audiovisual reality he manifests, readily experienced across all his work, but most especially in tangible human-scale installations such as Dimensional Door. The participatory environments he creates open new dimensions in the public’s psyche, whereby the stimulation of the senses allows the audience to experience a state of fascination including a progressive persuasion on his behalf to redefine humanity’s boundaries both physically and metaphorically, and set paths that intersect and celebrate diversity. Rhea Ramjohn

Ort: Kang Contemporary bis: 2020-01-17

Künstler: GISELE CAMARGO, JONAS SCHOENEBERG, ELISABETH SONNECK

Thema: Kang Contemporary is pleased to announce the exhibition VITALISTIC FANTASIES curated by Brunno Silva GISELE CAMARGO JONAS SCHOENEBERG ELISABETH SONNECK OPENING RECEPTION
 FRIDAY, NOVEMBER 29, 2019 AT 7 PM

Ort: Kang Contemporary bis: 2019-11-22

Künstler: Frank Coldewey

Thema: Come As You Are Frank Coldewey Vernissage: 10.10. 2019 at 19:00 Exhibition Duration: 11.10.-22.11. 2019 Tue-Sat: 14-18 and by appointment “Come As You Are” is Berlin-based artist Frank Coldewey´s first solo exhibition at the Kang Contemporary. He is a multimedia artist presenting his new sculpture series, along with abstract paintings. His intricate use of found objects, thereby creating monochromatic sculptures, refer the viewer to an architectural dystopia; perhaps an aftermath scene of natural disaster. Nonetheless, the artist´s savvy manipulation of the fragile materials and through the act of gluing them into complicated three-dimensional objects, Coldewey exercises his wish to heal humanity´s destructiveness.

Ort: Kang Contemporary bis: 2019-10-05

Künstler: Annette Cords

Thema: Kang Contemporary is pleased to present Breaking the Grid, Annette Cords’ first solo exhibition in Berlin. The show brings together Cords’ large-scale Jacquard tapestries, smaller hand-woven pieces, and works on paper. In her practice, Annette Cords focuses on the multidimensionality of weaving, as she makes incisive connections between text and textile, image and code, surface and structure. The work on display presents weaving as a rich, nuanced and often undervalued language that intersects and augments developments in writing, painting, and abstraction. In Let Them Paint, two paint drips filled with an op-art-like weave structures hover on the sides, as sweeping strokes of sprayed paint surround a cluster of signs proclaiming “Let Them Paint.” By placing the vocabulary of painting into a woven syntax, the artist establishes parity between the two media and questions the hierarchies of art and craft. In 99 Cent Love, the vernacular language of weaving is paired with that of the street, setting up a correspondence and dynamic tension. The soft sensuousness of the tapestry contrasts with the hard voice of the city’s posted bills, as the words love and 99 cents are juxtaposed, while smiley faces look on. Both weaving and urban mark-making have long existed on the margins of the established art canon, and by merging them in her work, Cords connects their visual-textual languages and ability to carry cultural meaning. Beginning a tapestry with her drawings and photographs, Cords adds, subtracts, and combines elements in Photoshop and Illustrator, and then continues to develop the piece in weave programs, where each pixel becomes a stitch, an interlacing of warp and weft. The language used to set up weave structures is straightforward and binary: the warp is either up or down. With the Jacquard loom, however, each warp thread moves independently, allowing for the fabrication of complex and intricate tapestries, and an almost infinite potential for mark-making. Also, on display, are weavings created on a 12-harness floor loom. Here, Cords reworks the historical context and the weave structures of traditional American patterns called Overshot. In Blooming Leaf of Mexico, the original name of the pattern connects to current political disputes, while the exploration of the weave structure engenders varied interactions of color and pattern and results in complex, geometric abstractions. Cords’ deep engagement with the material and conceptual aspects of weaving pushes the medium forward and expands the discourse surrounding it. Charged with political and cultural allusions, the tapestry Big Revival connects the hopeful phrase with inner-city trouble, as the symbol for an abandoned building, an X in a square, lingers in the lower left. Cords makes weaving function on multiple levels at once, allowing it to speak to aesthetic, material, and cultural concerns, while she invites the viewer to look closely and construct new meanings. The exhibition will open on Thursday, August 22 with a reception at 7 pm During Berlin Art Week, an artist conversation will be held at the gallery on Saturday, September 14, from 4-6 pm. A catalogue with a text by Claus Mewes will accompany the exhibit. Annette Cords was born in Hamburg, Germany and currently lives and works between New York and Hamburg. She received her MFA in painting from the University of Pennsylvania and has exhibited extensively internationally. Solo and two person exhibitions include Between Two Horizons, Kang Contemporary, Berlin; Cognition Stroll, Project: ARTspace, New York; Sideways, New York Public Library, New York; Diamond Days, Villa Rosenthal, Jena; Klangfarben, Jenaer Kunstverein, Jena; Turnarounds, AxD Gallery, Philadelphia; and Cross-Coupling, Posie Kviat Gallery, Hudson, NY. Her work has appeared in group shows at numerous venues, including The Drawing Center, Queens Museum, Odetta Gallery, Kentler International Drawing Space, MASS MoCA, The Poor Farm, LG Tripp Gallery, Montreal Centre for Contemporary Textiles, and Michael Steinberg Fine Art. She is the recipient of several grants and residencies, including a New York Foundation for the Arts Fellowship and a Change Inc, Robert Rauschenberg Fellowship.

Ort: Kang Contemporary bis: 2019-07-20

Künstler: Gudrun Petersdorff

Thema: Gudrun Petersdorff paints figuratively in opaque colors—in particular, a range of greens, blues, and purples depicting gardens and waterways. In the solo exhibition “Gardens of the Lands,” the artist draws the subject matter mostly from her own surroundings, including much from her extensive travels to faraway southern lands. Petersdorff employs varying shades of cool hues and adds complementary colored objects sparingly in her unique garden and city paintings of remote places. Nonetheless, the imagery as a whole is rendered in southern light, evoking the lands of sun-soaked and optimistic atmosphere, which entice the viewer longing for the warmth and beauty of semi-tropical places. The subject matter is definitely based on the visual world of Petersdorff’s many travels, which provide the artist with the framework and ideas for these works, but she expands them with her own imagination and personal interpretation. The artist ́s masterful painting and drawing skills are deliberately employed to serve a new and creative interpretation of the elements in the compositions, especially the geometry of renaissance and baroque gardens. By rearranging and condensing horticulture and architecture, by forming sharply cut hedges and large box-tree and circular shadows, Petersdorff creates her own unique perspectives and compositions with the encompassing details and enticing atmosphere. In most of her artworks, the artist ́s predilection for gardens, horticulture and waterways is readily perceived. Moreover, the presence of the human figure is limited here, even in the cityscapes. When people are depicted at all, they are only sparsely represented, calling to mind the eerie modern cityscapes of Edward Hopper. However, Petersdorff’s choice to place only a few human figures in these compositions contrasts with Hopper ́s possible critique of loneliness in modern civilization, suggesting instead a refreshing solitude.

Ort: Kang Contemporary bis: 2019-05-31

Künstler: Lisa Glauer

Thema: In Landing Strip for the Milky Way, Lisa Glauer exhibits various series of artwork and light installations using diverse media. One series involves multi-layered drawings on paper in various shades of ochre yellow, dark orange and brown. Back-lit with LED light panels, they depict military technology developed by the arms industry. Her investigative research led her to the urban SanDiego/Tijuana border area. A man-made steel barrier is currently being erected to literally wall-off humans attempting to migrate. The increased impermeability and physical density found here – along with a massive industrial presence – interfere with the natural flow of water. Additionally, growing military and industrial production is having a detrimental effect on both the environment and the regional population.  Indeed, research conducted by the Scripps Institute shows that human breast milk in the SanDiego/Tijuana region is the most contaminated in the world. Collecting human milk from those who produce it literally comments on what transpires between two human beings; it is drawn from one to sustain another and it is invisible. Releasing it from this entanglement makes it visible and therefore, to a large extent, public. For Glauer´s experimental drawings with milk, she crosses two apparently conflicting fields: human milk is used to render technical drawings. The latter can be seen as cerebral and quantifiable whereas the former is natural and amorphous. Human milk signifies love, nurturing, growth, and intimacy; it is produced through an empathetic process whereby the body readily learns to produce milk in response to physical stimulation by physically dependent, vulnerable offspring. The central piece is the Landing Strip for the Milky Way, which also lends its name to the exhibition. For this sculptural installation, the two layers of transparent paper is diagonally cut through the cube-like shape of the gallery, added by clamps, human milk, neon light, which are supported by sculptural wooden beams, ready for the Milky Way to land. This installation was shown previously at the Graduate School, University of Arts, Berlin in 2017, curated by Jan Verwoert. Another series, White Love, comprises ten rectangular graphite and milk drawings of guns. Rendered on white framed paper and displayed next to each other, they occupy the gallery’s spacious, high walls. It reminiscence of the minimalistic construct objects and the space created by them as in Dan Flavin´s industrial sculptures. Because of their nature – they are drawn/painted with milk – the White Love paintings “disappear”. Only a subsequent ironing of the material, allows the painted objects – a revolver, individual or congregating humans – emerge. The invisible and the visualization may connect to the perpetual admission of violence through political, economic and cultural contexts as well as their occasional visibility in the form of spectacular and revivifying individual acts. Using contaminated human milk as an art material in conjunction with a burning process, is the artist’s attempt to draw attention to urgent intersectional global, socio-political, and environmental issues.

Ort: Kang Contemporary bis: 2019-03-30

Künstler: Imran Channa

Thema: Dust To Dust Imran Channas erste deutsche Einzelausstellung zeigt acht Kunstwerke radierter Kohlezeichnungen - im Querformat. Die Kunstwerke zeigen historische Ruinen aus seiner Heimat Pakistan und Indien. Neben den teilweise ausradierten Bildern von archäologischen Ruinen werden auch die Partikel der Radierungen in kleinen Gefäßen gesammelt und gezeigt. Die Radierung der Holzkohle erzeugt scharfe als auch verblasste Texturbilder, welche die meisterhafte Zeichentechniken Channas zeigen. Die Videoserie "Dust to Dust" wird in der oberen Galerie präsentiert und visualisiert mikroskopische Zoombilder der gelöschten Partikel in monochromem Schwarz-Weiß, begleitet von einer Sound Installation. Ein Vorhangbild, der 1992 abgerissenen "Babri Masjid" (Moschee von Babur) steht den verblassenden Bildern von Holzkohle und deren Partikel gegenüber, die der Erinnerung an die Vergangenheit weichen. Für Imran Channa sind die Ruinen Überreste der Vergangenheit, Erinnerung und Verdeutlichung des Vergänglichen. Für Imran stellt der kritischste Aspekt der Ruinen ist nicht ihre Vergangenheit dar, sondern wie sie in die Zukunft weisen: „Sie lassen uns die Zukunft vorstellen und neu erfahren.“ Kang Contemporary lädt Sie herzlich zur Vernissage am 28.Februar 2019, um 19:00 Uhr ein. KANG CONTEMPORARY Lindenstraße 90 I Mendelssohn Platz 10969 Berlin, Germany +40 (0)30 920 322 39 contact@kang-contemporary.com

Ort: Kang Contemporary bis: 2019-02-03

Künstler: Lisa Glauer, Vemo Hang, Helena Kauppila, Tatjana Schülke

Thema: Kang Contemporary is pleased to announce the group exhibition „Enigmatic Utopia”, featuring four Berlin-based international artist: Lisa Glauer, Vemo Hang, Helena Kauppila and Tatjana Schuelke. Each artist express their individual concepts in daring experimentations, employ unusual art materials and tap into interdisciplinary resources and knowledge in their investigation concerning the cross-sectional societal topics. We would like to cordially invite you to our opening reception “Enigmatic Utopia”, Friday, November 30, 2018 at 7 pm. Lindenstrasse 90 I Mendelssohn Platz 10969 Berlin