Arndt

GALLERY NEWS
ARNDT announces the next show: Julije Knifer
ARNDT is proud to announce the next show, a solo exhibition by Julije Knifer, 10 December to 5 February 2011. The opening will be on 9 December 2010, 6pm to 8pm.

ARNDT at Art Basel Miami Beach

We are looking forward to participate at Art Basel Miami Beach. Our booth, hall C, B24, will show new works by Ena Swansea, Vik Muniz, William Cordova, Enrique Martinez Celaya, Jitish Kallat as well as Muntean/ Rosenblum, Karsten Konrad and Thomas Hirschhorn.

ARNDT publishes catalogue raisonné Erik Bulatov

In collaboration with the art book author Kristin Rieber ARNDT is collaborating on a catalogue raisonné of the paintings by Erik Bulatov. The date of publication for the catalogue raisonné, created on behalf of the artist
and published by Matthias Arndt, will be June 2011. The publishing house has yet to be announced. We kindly ask for the submission of works.

For download of the complete ARNDT News VIII, please click here.

Gilbert & George, BIG BEN FLAGSKY, from the series: Urethra Postcard Pieces, 2009, mixed media, unique, signed and dated, 123 x 88 cm | 48.43 x 34.65 in, GILB0041

GALLERY WEEKEND BERLIN - 29 APRIL to 1 MAY 2011

THE URETHRA POSTCARD ART OF GILBERT & GEORGE
OEPNING on 29 April 2011 from 4 to 9 pm

Nearly four decades after their first exhibition of Postcard Art, and twenty years after their last group of pictures made of selected postcards, Gilbert & George returned to this medium to make an extensive group of 564 new pieces. Typical postcard topics such as the Union Flag, landscapes, the Royal Family and tourist destinations, are complimented by telephone box cards and flyers, which are mainly focusing on prostitution. 52 pictures from this single largest group of art works by Gilbert & George will be exhibited at ARNDT Berlin from 29 April 2011.

A two-volume set catalogue published by Prestel illustrates all 1.004 new "The Urethra Postcard Pictures" and early Postcard Pictures (1972–1989), most of which have not yet been catalogued or exhibited before.

Michael Bracewell describes the significance of this body of work in his contribution for the catalogue as follows: “In their sheer visual intensity, the extremism of their language and above all the forceful unity of their composition, THE URETHRA POSTCARD PICTURES both extend the POSTCARD ART of Gilbert & George as a specific form, and comprise one of the most powerful, mesmeric and intensely conceived and created groups of artworks that the artists have ever made.”
Further information on the available works:
Postcard Pictures
Telephone Box Pictures and Flyer Pictures

GALLERY NEWS

We are pleased to announce our forth show with Anton Henning: on 25 February at 6 pm Anton Henning will present new works under the title „Questions of Style“ (26 February to 20 April 2011).
Parallel we will show in our viewing room a film by Josephine Meckseper.

From 2 to 8 March ARNDT will participate at the Armory Show, New York. Showing there, at Pier 94 Booth 1103, works by Sophie Calle, Wim Delvoye, William Cordova, Josephine Meckseper, Vik Muniz, Gilbert & George, Jon Kessler and Enrique Martínez Celaya. As well as a presentation of the work of Erik Bulatov, including a central piece and important drawings will be on view.

ARTIST NEWS

SOPHIE CALLE’s exhibition „True Stories“ on the occasion of her award of the Hasselblad Price will be on view in Göteborg until 13 February.

In Brussels at the Palais des Beaux Arts (Bozar) the exhibition JACK FREAK PICTURES by GILBERT & GEORGE will run until 23 January. Following the exhibition will open at the Deichtorhallen Hamburg on 25 February.

On 20 January MATHILDE TER HEIJNE’s most comprehensive show of her work “Any Day Now”, lastly on view at the Nuernberger Kunsthalle, will open at the Lentos Kunstmuseum, Linz. The exhibition will be on view until 27 March.

The work „Das Auge (The Eye)” by THOMAS HIRSCHHORN will be sown at The Power Plant in Toronto from 9 March. The work, which was co-produced by us in 2008 for the Wiener Sezession, will be on view until 29 May – Thomas Hirschhorn will hold an artist talk in Toronto on 23 February.

JULIAN ROSEFELDT’s solo show “Making Of: Film Installations and Photo Works 2004–2010” at DA2 – Domus Artium, Salamanca has been extended until 6 March.

RALF ZIERVOGEL will be part of the group show „Tous cannibales“ at La Maison Rouge in Paris from 12 February until 15 May. The show will be travelling to Berlin and on view at the ‘me Collectors Room’ from 28 May until 18 September.

The two triptychs ‘Baggage Claim, 2010 (243,8 x 518,2 cm) and ‘Baggage Claim, 2010 (243,8 x 518,2 cm)’ by JITISH KALLAT from our show „Likewise“ will be included in the exhibition “Indian Highway IV” at the Musée d’Art Contemporain de Lyon from 24 February until 31 July.

Gilbert & George, FLAG BOY, from the series: Urethra Postcard Pieces, 2009, mixed media, unique, signed and dated, 88 x 123 cm | 34.65 x 48.43 in, # GILB0111

ART HK 11 will take place from 26-29 May 2011 at the Hong Kong Convention and Exhibition Centre.
Booth 1C08
This time on 100 square meters we will be showing a solo presentation by GILBERT & GEORGE as well as an extra booth with works by SOPHIE CALLE, WIM DELVOYE, FX HARSONO, JITISH KALLAT, LIU XIAODONG, VIK MUNIZ, CHIHARU SHIOTA, NEDKO SOLAKOV, NATEE UTARIT and WANG GUANGYI.

Jannis Kounellis, Untitled, 2010, 2010, glass bottles, steel, hooks, coat, 100 x 70 x 19 cm | 39.37 x 27.56 x 7.48 in

The Ephemeral | 4 November 2011 –  February 2012
Absalon | Joseph Beuys | Sophie Calle | Joe Coleman | Wim Delvoye | Rebecca Horn | Mathilde ter Heijne | Jannis Kounellis | Heinz Mack | Keisuke Matsuura | Christian Megert | David Noonan | Henk Peeters | Jackson Pollock | Julian Rosefeldt | Matt Saunders | Chiharu Shiota | Miroslav Tichý | Grazia Toderi | Susan Turcot | Franz West | Nick van Woert | Yang Jiechang
 

 

ARNDT takes project space at Gillman Barracks in Singapore

 

Matthias Arndt is happy to announce that ARNDT will open a project space at Gillman Barracks in Singapore. This Singapore venue will function as ARNDT´s Asian office and viewing rooms, showcasing international and Asian art. ARNDT Singapore will focus on art advisory and artist agency throughout Asia.
ARNDT Berlin continues to show international talents and curatorial projects in the Berlin Gallery Space on Potsdamer Straße. ARNDT also stages Pop-Up-Shows in temporary, unconventional spaces in the Asia-Pacific Region.

 ARNDT Singapore in the PRESS

The Straits Times | 14 Jan 2013 | Huang Lijie | Pairing artists from East and West

The first exhibition features:

Otto Piene, Heinz Mack and ZERO: Light & Reflection

January 18 to March 31, 2013

ARNDT is pleased to present: 'Otto Piene, Heinz Mack and ZERO: Light & Reflection' - the opening show of the new Singapore project space exhibiting works by Otto Piene, Heinz Mack, Lucio Fontana and Yves Klein.

The ZERO Group, celebrated worldwide in museums and collections with planned shows at Grand Palais Paris, Solomon R. Guggenheim Museum NYC, and Stedelijk Museum in Amsterdam from spring 2013 to 2015, has been founded by Otto Piene and Heinz Mack (and Günther Uecker) in 1958, with the goal of revolutionising post-war art, leaving received principles of art behind.
From now, light and movement was the central point of their art. What had begun in Düsseldorf, Germany, would develop in less than a decade into one of the most significant avant-garde movements of the 20th century.
When ZERO disbanded in 1966, the group had collaborated with a wide range of artist – such as Lucio Fontana, Yves Klein, Piero Manzoni, Jean Tinguely and Yayoi Kusama. After more than half a century of ZERO, the group is once again becoming a centre of public attention; therefore it was only a matter of time that the three exceptional artists Otto Piene, Heinz Mack and Günther Uecker would equalise with the wider circle of ZERO members on the international art landscape and market.

Please click here to view a complete list of exhibited works.

Opening Hours: Wed – Sun 11 a.m. - 7 p.m.
And by appointment: Singapore@arndtberlin.com

Address:
ARNDT Fine Art Singapore Pte. Ltd.
Gillman Barracks, BLK 22 Lock Road #01-35
Singapore 108939

Email: Singapore@arndtberlin.com

 

ARNDT is delighted to announce the participation of Eko Nugroho and Entang Wiharso at the 55th International Art Exhibition of the Venice Biennale.

Indonesian curators Carla Bianpoen and Rifky Effendy unite with artistic producer Restu Imansari Kusumaningrum to place Indonesia under the cultural spotlight in the 55th edition of the Venice Biennale (1 June - 24 November 2013).

The Indonesia Pavilion will feature works of contemporary Indonesian artists: Albert Yonathan Setiawan, Sri Astari, Eko Nugroho, Entang Wiharso, and Titarubi, with special musical arrangements by composer Rahayu Supanggah. The artists will present installations revolving around the theme of Sakti, which translates as ‘Magic and Creative Power’.

“Sakti” as the curatorial theme for the Indonesia Pavilion at the 55th International Art Exhibition of La Biennale di Venezia is based on its symbolic nature and its aptness in representing the spirit that ties together the Indonesian nation. In the context of contemporary art, the concept of Sakti has been the basis for our curatorial reading of art praxis and has been used as a directive for the aesthetic exploration of the individual artist, who will refer to historical and social aspects as well as the value of local cultural pluralism within the global discourse.

With its overarching concept of Sakti, the Indonesia Pavilion proposes an alternative artistic practice and a new cultural presence in the global art world.

Eko Nugroho will bring installation works that featuring bamboo raft with used oil barrels. This raft will be rode several resin figures with several gestures, several heads and clothes that represent restlessness. This idea uses a metaphor of a boat that drifted in the ocean. Eko sees that what Indonesia people have to deal with, and how they thrived and survived. For him, this is a magical owes.

Entang Wiharso will present an installation work of gate and fence with carvings, semi-realistic statues of humans/personalities and animals such as fish as a prosperity symbol. This work touches reality and perception mainly that connect with perspectives seeing Indonesia. Indonesia’s potency as a society with endurance and adaptive traits from many influences and problems is much related with Sakti.

PRESS CLIPPING (Please click on the following links to read more on Indonesia at the Venice Biennale)

The Culture Trip | 04/2013 | Indonesia: Magic and Creative Power at the Venice Biennale

BlouinArtinfo Asia | 01/2013 | Indonesia's Time

Indonesia at Venice Biennale 2013

Sip! Indonesian Art Today, Exhibition View at ARNDT Berlin Sip! Indonesian Art Today, Exhibition View at ARNDT Berlin Sip! Indonesian Art Today, Exhibition View at ARNDT Berlin Sip! Indonesian Art Today, Exhibition View at ARNDT Berlin Sip! Indonesian Art Today, Exhibition View at ARNDT Berlin Sip! Indonesian Art Today, Exhibition View at ARNDT Berlin Sip! Indonesian Art Today, Exhibition View at ARNDT Berlin Sip! Indonesian Art Today, Exhibition View at ARNDT Berlin Arndt, Sip! Indonesian Art Today, Exhibition View at ARNDT Berlin Arndt, Sip! Indonesian Art Today, Exhibition View at ARNDT Berlin Arndt, Sip! Indonesian Art Today, Exhibition View at ARNDT Berlin Arndt, Sip! Indonesian Art Today, Exhibition View at ARNDT Berlin Arndt, Sip! Indonesian Art Today, Exhibition View at ARNDT Berlin Arndt, Sip! Indonesian Art Today, Exhibition View at ARNDT Berlin

 SIP! INDONESIAN ART TODAY

The past three generations of Indonesian Contemporary Art

Group show by ARNDT Berlin

27 April to 01 June 2013

Please click here to watch a video of the "Sip! Indonesian Art Today" show in Berlin.

The exhibition "Sip! Indonesian Art Today" and the accompanying publication results from ARNDT’s recent focus on Southeast Asian art and the new Asian and Pacific art markets. Over the past four years Matthias Arndt has worked in Indonesia and other parts of Southeast Asia. His research, the past shows of Southeast Asian artists and the opening of ARNDT Singapore, the Asian showroom and office of ARNDT, makes Matthias Arndt one of the leading experts for contemporary Indonesian and Southeast Asian Art in Germany and Europe.

The exhibition "Sip! Indonesian Art Today", curated by Enin Supriyanto, is the 10th show dedicated to Southeast Asian art ARNDT is hosting in Singapore, Australia, Great Britain and Berlin. The 150 page publication "Sip! Indonesian Art Today" edited by Matthias Arndt and published at DISTANZ Verlag (ISBN 978-3-95476-007-7) is available in all bookstores.

The public talk "The last three decades of artistic production in Indonesia: 25 years of Cemeti Art House and the status of curating.” with Enin Supriyanto (curator) and Mella Jaarsma (artist), moderated by Katerina Valdivia Bruch (curator / critic) will take place at ARNDT Berlin on 27 April 2013 at 4 pm.

The exhibition presents over 40 works from all artistic mediums, painting, sculpture, installation, photography and film, by 16 contemporary artists from Indonesia. They belong to a larger community of artists who are actively shaping Indonesia’s dynamic developing contemporary art scene. If we consider their age and career development, the artists here represent 3 generations of contemporary art practice dating back from the late 1970s: beginning first with FX Harsono, one of the proponents of the Indonesian New Art Movement (Gerakan Seni Rupa Baru) founded in 1975 followed by a group of artists who emerged at a time when Indonesia was undergoing major socio-political transformations in its strive towards democracy during the late 1990s (Agung Kurniawan, Agus Suwage, Mella Jaarsma), the post-Reformasi (Reformation) generation of artists (Christine Ay Tjoe, Entang Wiharso, Rudi Mantofani, Handiwirman Saputra, Eko Nugroho, Syagini Ratna Wulan and Arin Dwihartanto Sunaryo), and finally a generation of artists who have been active in the past decade, sophisticated operators of their own careers in a more or less stable and democratic Indonesia (Wedhar Riyadi, J. Ariadithya Pramuhendra, Wiyoga Muhardanto, Indieguerillas and Tromarama).

The generational differences do not only represent differing socio-political experiences in connection with the development of Indonesia’s society in the past three decades but also illustrates the differing socio-political contexts of the artists observations and artistic approaches that have changed and altered over the years.

The word “Sip” in Bahasa Indonesia may be a simple and modest one but it is full of meaning. While the origin of this word is unknown, it is a word that is used by nearly everyone every day. “Sip” is the briefest way to state that something – whether an art work, an event, an experience or anything – is good, of good quality, super or outstanding even. Like this word, and like the process of our ongoing global culture, we do not question the origin of an idea, but we consider how this idea can continue to grow and contribute to the interaction and civilization of the world. In a way, we can say that ‘Sip’ has no such thing as exotic cultural background, neither stereotypical cultural baggage. Whatever the case, the meaning is clear: good, great, outstanding.

FX Harsono | Mella Jaarsma | Agung Kurniawan | Agus Suwage
Wedhar Riyadi | Christine Ay Tjoe | Eko Nugroho | Entang Wiharso
Handiwirman Saputra | Arin Dwihartanto Sunaryo | Syagini Ratna Wulan | Rudi Mantofani
J. Ariadhitya Pramuhendra | Wiyoga Muhardanto | Indieguerrilas | Tromarama

Regular Opening Hours
27 April to 01 June 2013
Tue – Sat, 11am – 6pm

For more information and images, please contact info@arndtberlin.com or +49 30 206 13870.

Please click here to download the press release as PDF file (English)

Please click here to download the press release as PDF file (German)

Eko Nugroho, Untitled, 2013, Bronce, From left to right: 21 x 9 x 5 cm | 8.27 x 3.54 x 1.97 in; 17,5 x 8 x 11 cm | 6.89 x 3.15 x 4.33 in; 20 x 8 x 9 cm | 7.87 x 3.15 x 3.54 in Jitish Kallat, Prosody of a Rising Tide, 2011-12, Oil, acrylic, household gloss and pencil on canvas, Diptych, 213,36 x 304,8 cm | 84 x 120 in # JKAL0065 Rodel Tapaya, Modern Captives, 2013, Acrylic on Canvas, 182,88 x 365,76 cm | 72 x 144 in # TAPA0011 Entang Wiharso, Feast Table: Undeclared Perceptions, 2012, Cast aluminum, cast brass, Persian carpet, 200 x 400 x 300 cm | 78.74 x 157.48 x 118.11 in, Edition 1 of 2 in brass and aluminum (plus 1 artist proof in graphite and resin) # WIHA0071 Sophie Calle, The Giraffe, from the series: Les Autobiographies, 2012, Color photograph, aluminum, text, frames, 205 x 110 cm + 50 x 50 cm / 6.8 feet x 43 1/4 inches + 20 x 20 inches, Number 3 from an edition of 5 + 1AP in English (5 + 1 AP in French) # CALL0355

ARNDT is pleased to announce its participation at Art Basel Hong Kong 2013, taking place from May 23 - 26.

Please click here to view a list of exhibited works.

We are looking forward to welcoming you at our BOOTH 3C08.

Artists exhibited:

Christine Ay Tjoe
Joseph Beuys
Sophie Calle
Zhou Chunya
Gilbert & George
FX Harsono
Jitish Kallat
Heinz Mack
Eko Nugroho
Mike Parr
Otto Piene
Chiharu Shiota
Nedko Solakov
Rodel Tapaya
Liu Wei
Entang Wiharso
Zhang Xiaogang
Jiechang Yang
Qiu Zhijie

 

PRESS:

Kunstmarkt | 05/2013 | Susanne Schrelber

Frankfurter Allgemeine Zeitung | 05/2013 | Rose-Maria Gropp

New York Times | 05/2013 | Xhingyu Chen

blouinARTINFO | 05/2013 |  Jitish Kallat’s “Circa” at Art Basel in Hong Kong

Financial Times | 05/2013 | Caroline Roux

 

Venue:
Hong Kong Convention & Exhibition Centre
1 Harbour Road
Wan Chai, Hong Kong

Jumaldi Alfi , Ars Longa Vita Brevis #03 (Never End), 2013 , Acrylic on canvas , 225 x 225 cm | 88.58 x 88.58 in Jumaldi Alfi, Ars Longa Vita Brevis #01, 2013 Acrylic and Oil on canvas 200 x 300 cm | 78.74 x 118.11 in Jumaldi Alfi, Painting series 070806, 2011, Acrylic on canvas , 195 x 225 cm | 76.77 x 88.58 in Martin Kippenberger, Front, 1996, Aquatint, etching Somerset 300 gr., Image 39,5 x 29,5 cm | 15.55 x 11.61 in Paper 57 x 44 cm | 22.44 x 17.32 in, Number 17 from an edition of 24 Martin Kippenberger, Back, 1996, Aquatint, etching Somerset 300 gr., Image 39,5 x 29,5 cm | 15.55 x 11.61 in Paper 57 x 44 cm | 22.44 x 17.32 in, Number 17 from an edition of 24 Martin Kippenberger, Egg Lady, 1996, Aquatint, etching Somerset 300 gr., Image 39,5 x 29,5 cm | 15.55 x 11.61 in Paper 57 x 44 cm | 22.44 x 17.32 in, Number 17 from an edition of 24 Martin Kippenberger, Untitled, 1996, Aquatint, etching Somerset 300 gr. Image 75,5 x 62,7 cm | 29.72 x 24.69 in Paper 104 x 78 cm | 40.94 x 30.71 in, Number 24 from an edition of 24 + 6 AP Fendry Ekel, Investigation #5, 2013, Oil and acrylic on canvas, 225 x 386 cm | 88.58 x 151.97 in Fendry Ekel, Investigation #6, 2013, Oil and acrylic on canvas, 270 x 130 cm | 106.3 x 51.18 in Andy Warhol, Hamburger (White), ca. 1985-86 , Acrylic and silkscreen on nettle stamped with the Warhol autentification number ,PA 10.284’ 40,6 x 50,8 cm | 15.98 x 20 in Entang Wiharso, Trilogy - World, Hell and Heaven, 2003, Oil on canvas, 200 x 450 cm | 78.74 x 177.17 in # WIHA0080 Daniel Richter, Schatten der Hoffnung (Shadows of Hope), 2012, Oil on canvas , 200 x 300 cm | 78.74 x 118.11 in

KINDRED BY CHOICE #1

ARNDT Singapore at Gillman Barracks
4 July 2013 – 30 August 2013
Opening on 3 July, 6:30pm to 9:00pm

Please join Fair Director of Art Stage Singapore, Mr Lorenzo Rudolf, in conversation with Entang Wiharso and Matthias Arndt at the opening of Kindred by Choice #1.

Jumaldi Alfi – Martin Kippenberger
Fendry Ekel – Andy Warhol
Entang Wiharso – Daniel Richter

ARNDT Singapore is pleased to announce the 3rd project in its Gillman Barracks space, Kindred by Choice #1.
It is the first of a new series of shows which aims to showcase Asian artists face-à-face with one artist of their choice on the same platform. Goethe’s novel of the same title is also translated as Elective Affinities from the original German title, Die Wahlverwandtschaften. The terminology, elective affinities, is a “scientific law according to which elements of innate affinities will choose, or elect, to bond together, even if they must break out of previously formed unions in order to do so.”  The characters in the book, Kindred by Choice, were attracted by way of these elective affinities.
In the Singapore gallery, ARNDT aims to create a prolific juxtaposition by placing Indonesian artists in the same arena with artists from Germany and America, to demonstrate elective affinities or the kindred choices of today. In Kindred by Choice #1, three established Indonesian artists - Entang Wiharso, Fendry Ekel, and Jumaldi Alfi – will conduct a visual conversation with three artists they chose personally - Daniel Richter, Andy Warhol, and Martin Kippenberger.

Jumaldi Alfi (born 1972 in Lintau, West Sumatra, Indonesia; lives and works in Yogyakarta) is the co-founder and a member of the Jendela Art Group who in the early phase of their artistic career, dealing with themes which were distanced from socio-political issues as well as from artwork which capitalized on sophistication of a painterly execution of realist paintings, surprised their audience. Alfi will conduct a visual dialogue with Martin Kippenberger through their self-reflective oeuvres. How they conclude with their conversation is to be seen, through the handwritten messages from the artists, which will be revealed through the artists’ discourse.

Martin Kippenberger (born 1953 in Dortmund, Germany; died 1997 in Vienna, Austria). Kippenberger produced a rich and diverse body of work from the mid 1970s until his untimely death at the age of 44 and is now regarded as one of the most influential artists of his time. He was a master appropriator who consistently absorbed, challenged and transformed the world around him. His work draws on popular culture, art, architecture, music, politics, history and his own life – where no subject remained sacred.

Fendry Ekel (born 1971 in Jakarta, Indonesia; lives and works in Amsterdam, Berlin and Yogyakarta), explores the dark side of human ambition in his paintings. Often painted after black and white photographs which depict portraits and architecture, he investigates the use of art, architecture, and figuration as a means of propaganda for ideologies and confronts himself where the border of ethical and aesthetical values crossover, through his monumental, layered canvases. In Kindred by Choice #1, the artist, whose subject matter is at times, remnants of events occurring in the past, will have a conversation with Andy Warhol. Ekel appropriates images from our collective memory, as Warhol has in his famed prints, as if to conjure up memories of these frozen moments or personalities within the walls of our gallery space.

Andy Warhol (born 1928 in Pittsburgh, PA, died 1987 in New York City, NY) is a leading figure of the Pop Art movement of the 1960s. He is known for his prints of mass-produced images from American pop culture such as Campbell’s soup cans, as well as portraits of celebrity figures such as Marilyn Monroe. His work was created in his studio, called the Factory, which became a hang-out for artists, actors, and musicians.

Entang Wiharso (born 1967 in Tegal, Zentral-Java, Indonesia; lives and works in Yogyakarta) is one of Indonesia’s most provocative and engaging artists of today, and is one of the artists representing Indonesia in the Venice Biennale this year. He creates paintings and installations which combine Javanese mythology with personal and public memories. Through his work, Entang casts a critical eye on multiple issues including international politics, environmental issues, and stereotypes prevalent in cultures. Entang will face Daniel Richter. Will Entang, with his distinct depiction of human figures, at times clothed, at times naked, clutching onto themselves for dear life or viscera loosely reaching out to other life forms, have a lesson to teach Richter, in all of his psychedelic depiction of the world?

Daniel Richter (born 1962 in Lütjenburg, Germany; lives and works in Berlin, Hamburg, and Vienna) is a renowned German artist that works with an eclectic fusion of the genre of history painting and contemporary imagery taken from newspapers and magazines. His path to fame was launched with his “psychedelic” colorful abstract work in the 1990s, and shot to fame later on in the decade with this large-scale, figurative works.

Please click here to view a list of exhibited works.

For any further information or press images, please contact Mariko Owen (mariko@arndtberlin.com; +65 67340775).

 

 

BERLIN MASTERS 2013

7. - 14. September 2013

Eröffnung: Freitag, 6. September, 19 – 22 Uhr

Vom 7. - 14. September 2013 zeigt ARNDT auf der Potsdamer Strasse die Ausstellung BERLIN MASTERS 2013. Die von Lydia Korndörfer und Lisa Polten kuratierte Gruppenausstellung präsentiert eine Auswahl der vielversprechendsten diesjährigen Meisterschüler der beiden Berliner Kunsthochschulen, der Universität der Künste und der Kunsthochschule Berlin-Weißensee.

Gemeinsam mit Matthias Arndt haben die Nachwuchskuratoren BERLIN MASTERS 2013 als Pilotprojekt einer jährlich stattfindenden Ausstellungsreihe konzipiert. Als Warm-up für die “Berlin Art Week” und im Rückblick auf die Rundgänge der Kunsthochschulen soll die Aufmerksamkeit gezielt auf die jüngst aus der Ausbildung kommenden Künstler gerichtet werden. Dabei erprobt die Mehrzahl der zehn bis fünfzehn vorgestellten, jungen Kunstschaffenden erstmals den Auftritt in einer international etablierten Galerie.

Mit der Ausstellung bietet ARNDT nicht nur eine Bühne für den künstlerischen Nachwuchs einer der vitalsten Kulturmetropolen Europas, sondern erneuert auch das Bekenntnis zu Berlin:
„Im Wettbewerb mit den internationalen Kunsthandelszentren und einem Marktumfeld, das sich immer stärker auf etablierte Positionen und 'Werte' fokussiert, wird es für junge Künstler zunehmend schwieriger, einen Einstieg in den Kunstmarkt zu finden. In der nächsten Phase meiner Arbeit in Berlin möchte ich daher, parallel zu meinem internationalen Programm und der Entwicklung unserer neuen Märkte in Asien, junge Berliner Künstler und Kuratoren fördern. Ich freue mich, mit BERLIN MASTERS ein Format ins Leben zu rufen, das an die Euphorie und den Gründergeist unserer Anfangszeit erinnert. Die Erfolge der vergangenen 20 Jahre möchte ich mit der neuen Künstlergeneration teilen und die Talente von Morgen entdecken und unterstützen.“ (Matthias Arndt)

Der Dialog zwischen jungen Kunst- und Kulturschaffenden wird mit der Ausstellung BERLIN MASTERS 2013 bei ARNDT in einem professionellen Umfeld verortet, fortgeführt und pointiert.

Begleitend zur Ausstellung erscheint eine Publikation.

KÜNSTLER:  Julius von Bismarck (UdK), Julian Charrière (UdK), Giulia Giannola (UdK), Andreas Greiner (UdK), Friedrich Herz (KH Weissensee), Fabian Knecht (UdK), Christoph Medicus (KH Weissensee), David Moses (UdK), Helena Petersen (UdK), Marco Pezzotta (KH Weissensee), Wanda Stolle (UdK), Luca Vanello (UdK), Matthias Wermke (KH Weissensee)

KURATOREN: Lydia Korndörfer und Lisa Polten

PROGRAMM

Freitag, 6. September 2013, 17 – 22 Uhr: Preview + Eröffnung
Eröffnung: 19 – 22 Uhr (mit anschließender Party im Kumpelnest)

Samstag, 14. September 2013, 16 – 18 Uhr: Talk zum Thema „Akademie und Markt“
Viele der jungen Künstler werden nach dem Studium erstmals mit dem Kunstmarkt konfrontiert. Vereinzelt finden sich Kooperationen und Projekte mit den Kunsthochschulen, die bereits während des Studiums einen ersten Kontakt zum Marktgeschehen herstellen. Dürfen kommerzielle Interessen in das behütete Schaffen im Schutzraum der Universität eingreifen?

Moderation: Jan Kage
Podiumsgäste: Prof. Else Gabriel (Kunsthochschule Weissensee), Karsten Konrad (Universität der Künste), Christoph Tannert (Künstlerhaus Bethanien), Alexander Levy (Galerist)

***
Berlin Masters 2013

September 7 - 14, 2013
Opening reception: Friday, September 6, from 7 pm – 10 pm

ARNDT is pleased to present the exhibition BERLIN MASTERS 2013 at Potsdamer Strasse from September 7 - 14, 2013. The group show, curated by Lydia Korndörfer and Lisa Polten, showcases a selection of works by this year's most promising master students from two of Berlin's universities of fine arts: the Universität der Künste and the Kunsthochschule Berlin-Weißensee.

The up-and-coming curators, together with Matthias Arndt, designed BERLIN MASTERS 2013 as a pilot project for an annually held series of exhibitions. It is intended to draw more attention to the recently graduated art students while acting as a prelude to the “Berlin Art Week” and a retrospect of the annual student exhibition events at the two art schools. The majority of the 10 to 15 young artists will be presenting their works for the first time at an internationally established gallery.

With the exhibition, ARNDT is not only providing a venue for budding artists in one of Europe's most vibrant cities, the gallery is also once again underscoring its commitment to Berlin:
"It's becoming increasingly difficult for young artists to make the jump to a career in art in the competitive markets of the international art trade centers and a market environment that focuses more on established positions and 'values.' For this reason, I want to demonstrate my support for young artists and curators in Berlin in the next phase of my work, alongside my international program and the development of our newest markets in Asia. Under the umbrella of BERLIN MASTERS I'm creating a forum that is reminiscent of the euphoria and the spirit of the early days of our gallery. I would like to share the successes we have experienced over the last 20 years with the next generation of artists and discover and promote the futures of these talented people." (Matthias Arndt)

BERLIN MASTERS 2013 will provide a new venue for young artists and those involved in the cultural sector to continue their dialog at ARNDT, giving them different opportunity to meet in a professional setting and better enhance their activities.

A brochure will be published to accompany the exhibition.

ARTISTS: Julius von Bismarck (UdK), Julian Charrière (UdK), Giulia Giannola (UdK), Andreas Greiner (UdK), Friedrich Herz (KH Weissensee), Fabian Knecht (UdK), Christoph Medicus (KH Weissensee), David Moses (UdK), Helena Petersen (UdK), Marco Pezzotta (KH Weissensee), Wanda Stolle (UdK), Luca Vanello (UdK), Matthias Wermke (KH Weissensee)

CURATORS: Lydia Korndörfer and Lisa Polten

PROGRAM EVENTS

Friday, September 6, 2013, 5 pm – 10 pm: Preview + Opening reception
Opening reception: 7 p.m. – 10 p.m. (party to follow the reception)

Saturday, September 14, 2013, 4 pm – 6 pm: Discussion: Academy and the Market
Many of the young artists have to wait until after they graduate before they make their first contact with the art market. During their studies, there are very few activities or projects promoting cooperation with the art schools available that give students a chance to experience the art market for the first time. To what extent should businesses be allowed to interfere with the creative process in the "protected" environment offered by the university?

Moderation: Jan Kage
Panel Guests: Prof. Else Gabriel (Kunsthochschule Weissensee), Karsten Konrad (Universität der Künste), Christoph Tannert (Künstlerhaus Bethanien), Alexander Levy (Gallerist)

PRESS CONTACT:
ARTPRESS – Ute Weingarten
Elisabethkirchstr. 15, 10115 Berlin
Phone: +49 (0)30 48 49 63 50
www.artpress-uteweingarten.de

Lydia Korndörfer
korndoerfer.artpress@uteweingarten.de
Mobile: + 49 (0)177 7816045

ARNDT Contemporary Art
Potsdamer Strasse 96, 10785 Berlin
Phone: +49 (0)30 206 138 70
www.arndtberlin.com

Lisa Polten
lisa@arndtberlin.com
Mobile: + 49 (0)173 627 6551

Mike Parr, Blind Self Portraits - Exhibition View at ARNDT Berlin, Sep - Nov 2013 Mike Parr, Blind Self Portraits - Exhibition View at ARNDT Berlin, Sep - Nov 2013 Mike Parr, Blind Self Portraits - Exhibition View at ARNDT Berlin, Sep - Nov 2013 Mike Parr, Blind Self Portraits - Exhibition View at ARNDT Berlin, Sep - Nov 2013 Mike Parr, Blind Self Portraits - Exhibition View at ARNDT Berlin, Sep - Nov 2013 Mike Parr, Blind Self Portraits - Exhibition View at ARNDT Berlin, Sep - Nov 2013 Mike Parr, Blind Self Portraits - Exhibition View at ARNDT Berlin, Sep - Nov 2013 Mike Parr, Blind Self Portraits - Exhibition View at ARNDT Berlin, Sep - Nov 2013 Mike Parr, Foreign Looking, 2013, Etching, relief, shellac onto rice paper bonded to rag paper, 320 x 520 cm | 125.98 x 204.72 in Mike Parr, Blind Obedience [dead], 2013, Etching, carborundum, stencil, shellac onto rice paper bonded to rag paper , 320 x 420 cm | 125.98 x 165.35 in Mike Parr, Backblocks [Body without Organs], 2013, Etching, drypoint, aquatint and relief onto rice paper bonded to rag paper, 330 x 400 cm | 129.92 x 157.48 in Mike Parr, SNAZER [Afterbirth], 2013, Relief, carborundum, shellac on rice paper bonded to rag paper, 240 x 480 cm | 94.49 x 188.98 in Mike Parr, P.S. [Falling], 2013, Carborundum onto rice paper bonded to rag paper, 220 x 480 cm | 86.61 x 188.98 in

MIKE PARR - Blind Self Portraits

Solo exhibition at ARNDT Berlin

21 September 2013 - 2 November 2013

Opening: 20 September 2013, 6-9 pm

Click here to view the accompanying catalogue.

“The multimedia-based working artist Mike Parr from Australia is one of the most radical representatives of the Body Art with extremely auto-aggressive performances, but nevertheless he remained relatively unknown in Europe.” (1)  In Australia well established, Parr (born 1945 in Sydney) has only recently been honoured with his first retrospective in Europe titled “Edelweiss” at Kunsthalle Wien, Vienna, Austria.

ARNDT is proud to present Parr’s first exhibition in Berlin during Berlin Art Week with a premiere of his most recent video work “Fresh Skin like a Baby”, which he was working on for the past three years, and a selection of seven impressive large-scale works executed in print, drawing, etching and painting.

Testing the limits of his physical and mental endurance, Mike Parr has cut, branded, stitched, burned and nailed his body in the pursuit of his art. (2)  In his oeuvre his visceral performances are being accompanied by sculpture, drawing, printmaking, photography and video, through all of which he examines his identity and major political and cultural conventions of the 20th century, ranging from his disability to Marxism, from the refugee crises to the structure of language.
“I grew up in the backblocks. In the fringe zone beyond the reach of the big cities these are peculiarly ambiguous areas with a high proportion of misfits, religious fanatics and down at heel no-hopers. A lot of the disturbance in my work, its expressionistic irony and its solipsism, dates back to my experience of the backblocks in the late 1940’s, 50’s & 60’s when our family moved from one rundown farm to the next.”
By 1966 he started as an artist in Sydney - strongly objecting to the war in Vietnam, he refused to register for the draft. The climate of anti-war protest instilled Parr with a sense of being an outsider challenging authority. During the late 1960’s and throughout the 1970’s he voraciously read the work of 20th-century intellectuals such as German philosopher and sociologist Herbert Marcuse and Austrian-American psychiatrist and psychoanalyst Wilhelm Reich, absorbing their accounts of authoritarianism, exploitative behavior and the restricted nature of liberty in Western societies.
The performances he staged at this time were unique and groundbreaking refutations of the status quo of the Australian visual arts scene. He fused his fascination for the structure of language with his performance work. “I wanted to turn words into things,” he says. “I actually think my first performances were some sort of bizarre attack on language.” However, the attacks on language soon gave way to shocking performance pieces that made his body and the limits to which he could push it the focus of attention.

Self-portraiture has been a consistent element in his practice. He has produced thousands of drawings and prints over the last three decades. “It’s a sort of start-again situation, an attempt to know the unknowable,” he says. Ever since the early 1980s, he has begun his self-portraits in a conventional manner, looking at himself in a mirror and trying to capture a likeness. As the drawing progresses it triggers a memory of a time, a place or an idea, and Parr lets his pencil or etching tool run free in an attempt to record a concept related to the work. “The self-portraits show this crucial problem. I labor away intensively with the interesting possibility of a portrait emerging and then I start to remember something and it will come to me in the entanglement of line.” For Parr, the process of perception is indistinguishable from that of remembering, and the struggle is in how to reconcile the workings of memory, sight and thought.

(1) Matthias Reichelt, KUNSTFORUM International, Bd. 220, März – April 2013
(2) Michael Young, Art Asia Pacific, 2009

Agus Suwage, Social Mirrors #2, 2013, Trumpet, copper, wood and car audio systems , 118 x 24 x 70 cm | 46.46 x 9.45 x 27.56 in

ARNDT is delighted to announce the participation of the following artists at this years' Jogja Biennale "Not a Dead End", running from 16 November 2013 - 6 January 2014
Agus Suwage
Eko Nugroho
FX Harsono

 

Geraldine Javier, Stuck in Reverse, 2013, Solo show, Installation view, ARNDT Berlin Wedhar Riyadi, Bones After Bones: The Shadow, 2013, solo show, ARNDT Berlin

GERALDINE JAVIER - STUCK IN REVERSE
Solo exhibition at ARNDT Berlin
15 November 2013 - 25 January 2014

Opening: 14 November 2013, 6 - 9 pm

Artist Statment:
"The show was conceptualized when I bought a 2-hectare/acre farm land in batangas province,
2hours land travel from Manila. It made me very nostalgic for my childhood, though not exactly
pretty, but I was particularly longing for that time spent playing outdoors. So the fabric
'playhouse' I constructed to house the painting is about living within the safety of a structure
and yet integrated with the outdoors. The painting and tent also serve as a vehicle
for not only recalling but fabricating memories as well, creating fantasies that are closely
woven into my desires, a summation of the past, present and future." Geraldine Javier, 2013

In the art world of the Philippines there were - and continue to be – several clear and often opposing tendencies: nostalgic representations of peasant life, social realism, conceptual art and works that though object-encrusted are anti-Catholic. Geraldine Javier has responded against all these tendencies to create a complex and dynamic body of work. Images of rural life and nature recur in her work, but are far from reassuringly comfortable. What she takes from the social realists is a concern with painting things and people well, but her position is a more personal one - one that may be defined more as moral than political, and as implicit rather than explicit. An intuitive artist rather than a theoretically driven one she has nevertheless been profoundly affected by studying under conceptual artists.
After a childhood in the provincial town of Candelaria she left for Manila where she spent five years studying to be a nurse before enrolling at the art school of University of Philippines (UP). After the time of her participation in the artist’s collective Surrounded by Water (SBW) between 1999 and 2003, her work became more overtly “figurative” or “narrative” and two recurrent themes emerged: childhood and death. Her childhood had been characterised by a delight in play and nature but also

by acute illnesses that kept her inside and away from the company of other children. Death, she remarks, she was always curious about.  Photographs are important sources and tools in her work process for the paintings.
She is often referred to as a narrative artist, but let us consider the actual status of the “narrative” in these works: more than telling a story they are about setting up a situation. (Javier prefers the word “vision”.) Things are often about to happen or have happened in these paintings. We don’t know why or how. They are Problem Pictures: we have to work out what is there and what will happen. They are open ended. She had always used thread in her collages but from 2006 she began to add embroidery to the paintings. Other elements, collaged, embroidered or sculptural, began to colonise her paintings.

This exhibition is perhaps an important landmark for her as paintings, objects and installations are not presented separately, but as organically blended together in five works. Moreover, the whole exhibition is conceived and should be experienced as a larger entity.
The tents, all of them covered with hammered leaves, in which the five paintings are sheltered act as refuges for other objects. Tucked behind the paintings for the curious to find they may seem to be secrets of the imagination or the memory. All figures in her paintings are grey. Are they made of stone or are they ghosts? Strangely it is something many viewers do not notice immediately or even at all. Grisaille is a distancing device for painters, and a way of harmonising a picture. Used in contrast to colour, black and white can signify from another world, time or state of being.

Excerpts from the essay “Geraldine Javier” by Tony Godfrey, 2013.

Press review by KUNST Magazin from 25 October 2013.

 

WEDHAR RIYADI
BONES AFTER BONES: THE SHADOW

A solo exhibition at ARNDT Berlin
15 November 2013 - 25 January 2014

Opening: 14 November 2013, 6 - 9 pm

In the exhibition "Bones after Bones: The Shadow" Riyadi attempts to lose the narrative nature in his paintings, and to insert the imagery which he considers to be the essence of violence. He states that the most haunting image, for his own perception, is the imagery of bone, particularly as an artifact of life, the structural support of human bodies, which in the end remains longest. In his search for the artistic possibilities of bones, he rejects clichéd illustrations of human skeletons, taking a more abstract visual approach.   This indicates an important leap in his search for aesthetic vision; from narrative to abstract, from realism to essentialism, from representation of popular culture to conceptual reflection. Interestingly, aside from his change in form and approach, the issue that still remains is that of domestication.

In his work, Riyadi attempts to arrange several bones in the manner of the ornamental motifs of traditional wallpaper.  This arrangement, imitating the repetitive motifs of home decoration, is designed to erase and conceal violence, thus the concept of beauty is contradicted by the representation of violence. Riyadi explains that this contradiction is important when perceiving violent events or forms, which on the one hand must be rejected, but on the other hand are ever-present in daily life, if not always in the shape of physical violence.

ARNDT Berlin
Potsdamer Strasse 96
10785 Berlin

For further information, please contact Lisa Polten (Lisa@arndtberlin.com)