Berlin

Jon Rafman, Bitsa Park (Bitsevski Park) Moscow, Russia, 2010
Archival pigment print on alu dibond, framed
Courtesy of the artist and Future Gallery, Berlin

Emma Charles, Fragments on Machines, Production still, 2013

 

“Nervous Systems – Quantified Life and the Social Question”
Installation view, The White Room
© Laura Fiorio / Haus der Kulturen der Welt

 Photo by Amalia Ulman

Photo by Amalia Ulman

What does it mean today to have a life with kids, to have a life in art, and to live a life? Why are children and the artist's life so hard to unite? Or is this a false assumption? Spike Art Daily dedicates a series of interviews to the problematic relationship that the art industry has with its offspring. In this interview Lauren Boyle and Marco Roso, two of the four members of DIS, talk about why the concept of family is just "too much for the art world" and the differences between raising kids in Berlin and New York.

 Christopher Williams, "Model-Nr.: 1740, Rotznasen - Kinder Model Agentur, Liesegangstr. 7A, 40211 Düsseldorf, Studio Rhein Verlag, Düsseldorf, January 28, 2016", 2016 © Christopher Williams, Courtesy Capitain Petzel, Berlin & Galerie Gisela Capitain, Cologne

Christopher Williams, Model-Nr.: 1740, Rotznasen - Kinder Model Agentur, Liesegangstr. 7A, 40211 Düsseldorf, Studio Rhein Verlag, Düsseldorf, January 28, 2016, 2016 © Christopher Williams, Courtesy Capitain Petzel, Berlin & Galerie Gisela Capitain, Cologne

A walk around Berlin galleries by Alexander Scrimgeour

Every Tuesday Timo Feldhaus writes about the most important thing in the world: other people.

Stephen G. Rhodes, Unknown Dance #3 (estrangement ritual), 2012
Mixed media
Courtesy the artist, Galerie Isabella Bortolozzi, Berlin

Installation view “Rum, Sodomy, and the lash” Eden Eden, Berlin 2015/16

Ed Atkins & Simon Thompson
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Courtesy the artists, Galerie Isabella Bortolozzi, Berlin and Cabinet, London

 Installation view, Reto Pulfer,  Dehydrierte Landschaft des Zustands , 2015, photo: Xaver von Cranach

Installation view, Reto Pulfer, Dehydrierte Landschaft des Zustands, 2015, photo: Xaver von Cranach

Taking place at Haus der Kulturen der Welt in Berlin "Technosphere, Now" was the inaugural event of a four-year research project into global technology and its identity. Our writer visited the one-day conference, thought about Berghain and water on Mars, and was left with some answers and a lot of questions.

 Still from Józef Robakowski, Moscow, 1986.   

Still from Józef Robakowski, Moscow, 1986. Lokal_30 gallery.

 


Spike’s editor at large went to Warsaw Gallery Weekend and picked out a few of the art experiences in the city’s galleries and institutions that helped make his trip worthwhile.

 The Dadaists audience: themselves,  Berlin 1920 Opening with Hannah Höch, Otto Schmalhausen, Raoul Hausmann, John Heartfield mit Kind, Otto Burchard, Margarete und Wieland Herzfelde, Rudolf Schlichter, Ludwig Mies van der Rohe (?), Unbekannt und Johannes Baader

The Dadaists audience: themselves, Berlin 1920

Opening with Hannah Höch, Otto Schmalhausen, Raoul Hausmann, John Heartfield mit Kind, Otto Burchard, Margarete und Wieland Herzfelde, Rudolf Schlichter, Ludwig Mies van der Rohe (?), Unbekannt und Johannes Baader

The field of art is considered to be free, open and accessible to everyone. In reality, no outsiders have been spotted here for a long time. Does “art audience” today really only mean people who have an (economic) interest in the art world? Is anyone immune to the half-drunk advances of its warped social economy? Are we all alone? With these questions in mind, our reporter Elvia Wilk went from Berlin to Venice to the hotspots of this summer's art viewing and asked people.

A roundtable with DIS, Hito Steyerl & Susanne von Falkenhausen, and Kolja Reichert at Spike Berlin, December 2014

 Drawing by Jaakko Pallasvuo   

Drawing by Jaakko Pallasvuo 

 

In the past decade we've seen art flow and exponentially overflow through information networks. Pallasvuo's years as a practicing artist have overlapped with the peak years of sharing culture. Now he just wants to shut the fuck up.

 BMW Tate Live 2015 – "If Tate Modern was Musée de la danse?" Olivia Hemingway ©Tate Photography

BMW Tate Live 2015 – "If Tate Modern was Musée de la danse?" Olivia Hemingway ©Tate Photography

Last weekend, dancer and choreographer Boris Charmatz hypothetically transformed Tate Modern into Musée de la danse. Our editor-at-large was harbouring some reservations about this new democratic participatory art, but found it surprisingly moving.

 In the crater in Görlitzer park

In the crater in Görlitzer park

And the city that saved his life

Gallery Weekend Berlin

 Noam in front of his dads sculpture 

Noam in front of his dads sculpture 

Harm van den Dorpel on "having kids in the art world"

 Poetry reading by Keith J. Varadi, photograph by Sarah Rosengarten  

Mai Ueda, Tea Ceremony with Ready Mades, 2014, photograph by Adrianna Glaviano Artwork:
Anne Speier, Identity Entity, Broken Glass Pudding 1 and 2, 2013
Collage, 150 x 165cm each
INSTALLED: 29.04 - 15.09.2014

5 questions for Ché Zara Blomfield, who runs "The Composing Rooms" in Berlin

Channa Horwitz
COUNTING IN EIGHT, MOVING BY COLOR © 2011 Photo by Ellen Davis 

Channa Horwitz
SONAKINATOGRAPHY COMPOSITION XXII
Chinese ink and Plaka color on Graphic Mylar 56 x 71 cm
Courtesy Sammlung Oehmen, Deutschland / Courtesy Oehmen Collection, Germany
© 2001, Channa Horwitz 

Channa Horwitz
LANGUAGE SERIES
Casein on rag board
162,5 x 209 cm
Courtesy Oehmen Collection, Germany 

© 1964-2004, Channa Horwitz 

 Sam Pulitzer »Nine Scarlet Eclipses for ›Them‹«, 2013 Installationsansicht, Lars Friedrich, Berlin Courtesy der Künstler und Lars Friedrich, Berlin. Foto: Simon Vogel

Sam Pulitzer »Nine Scarlet Eclipses for ›Them‹«, 2013
Installationsansicht, Lars Friedrich, Berlin
Courtesy der Künstler und Lars Friedrich, Berlin. Foto: Simon Vogel

Enough with end of the year best/worst rankings once again. There will always be more art than we can digest, shortening our attention spans, and causing our opinions to soften, broaden, become more compromising. The critic of exuberant homages and vitriolic damnings fades into the shadows, and who appears in their place? Not an apathetic voice, but a conflicted voice. Deconstructed and self-conscious yet loud and clear, and firmly present. Six curators and critics were invited to recall an exhibition that neither seduced nor repelled them but left them with an ambiguous verdict.

 What Sort of Man Reads Playboy?, 2010-2012 Glitter, oil, collage on canvas 137,2 x 124,5 cm Photo: Moritz Frei © Chris Martin Courtesy of Chris Martin and KOW, Berlin

What Sort of Man Reads Playboy?, 2010-2012
Glitter, oil, collage on canvas
137,2 x 124,5 cm
Photo: Moritz Frei
© Chris Martin
Courtesy of Chris Martin and KOW, Berlin

It’s undeniable that Chris Martin’s paintings resemble »outsider art«. Yet I like them not for being intuitive, or spiritual, or liberated from convention – although they are all these things – but because they are affectionate.