Ecco
un interessante progetto artistico a Berlino con la piattaforma No Place che
dopo Lima giunge nella capitale tedesca.
As
an innovative platform for exhibiting contemporary art, No Place brings
together nine international artists to create a site-specific installation
within several rooms of GLINT, an abandoned and dilapidated building in Mitte,
Berlin, where the artists are given free reign to explore what defines a
utopian spirit and to defy the limits of the possible. The experimental and
nomadic platform No Place returns for its second edition after launching in
Lima, Peru in 2017. A project promoted jointly by four galleries - Nueveochenta
(Colombia), Arróniz (Mexico), Michael Sturm (Germany) and NF/NIEVES FERNÁNDEZ
(Spain) - No Place aims to generate new experiences for the public via an
alternative production model.
“Art
is a motor of change, and the problem of today’s art world is not a lack of
rigorous analysis, or a necessity for the revelation of the ‘truth,’ but
instead the need for a radical imagination,” No Place members noted in a
collective statement. “Without utopian thinking, we are constrained by the
tyranny of the possible. Let’s experience an alternative reality: this is what
good art does, it is what Thomas More’s Utopia does.
Created
as a collaborative system that shares the tools, teams and resources of each
gallery member, No Place is a unique collective effort and an unprecedented
experiment in cooperation, where the focus of attention rests completely on the
artists and their work and the benefits of the project remain within the group.
Fritzia
Irizar ’s (Mexico 1977) conceptual artworks test the elusive forces of value as
it is expressed in economic and symbolic forms including labor, precious
materials, money, and myths. Her work refers to the flow of money on an
individual scale and to the consumption of the work of art. Taken out of its
typical environments, the currency Irizar uses in her works takes on symbolic
qualities that speak to the construction of desire and value.Her work
recognises that history and science are almost fictions, built on small
surfaces of knowledge and are subject to the decision of a few individuals.
However, they are fictions that we want to hold: as acts of faith, of
belonging, of will or certainty Pipo Hernandez Rivero’s (Spain 1966) work poses
questions about “universally accepted cultural truths. Built with images and
ideas very much anchored in the memories of modern culture, his works move in
the territory of cultural suspicion. Pointing the relational complexity of the
possibilities of painting in the 21st century and offering us a reconsideration
of the pictorial from both formal and conceptual structures, the ideas of
failure, and references to the cultural avant-gardes are always underlying the
works.
The
work of Juan Fernando Herrán (Colombia 1963) is not based on an imagined space
or reality. On the contrary, its starting point is the existing world, more
specifically a series of facts, phenomena and imaginaries that have played a
leading role in the history of Colombia. He seeks to transform not only
actions, media and materials, but the way in which the public glances, relates
and interacts with a particular image or situation. Photography has become a
medium through which he documents facts and signs and exploits the symbolic
dimensions of the images, objects, spaces and materials that he encounters. On
the other hand, it is through sculpture and installation that he explores the
possibilities of molding and manipulates space and matter.
The
projects of Kevin Simon Mancera (Colombia 1982) are based on intimate exercises
and deep introspection. The motivation of his works is the reflection of a life
experience that explores the exaltation of small daily tragedies. Each one of
his drawings is loaded with a gesture that imbues the public with mixed
emotions because of the way he deals with issues such as hatred, sadness,
failure and happiness. In No Place , he will show drawings from his series
“Arenita del camino”.
The
work of Omar Rodríguez-Graham (Mexico 1978) begins with the use of recognisable
images as an armature upon which to place marks: traces of the event of
painting. Together, these marks construct a figure that acts not as a
replacement or stand-in of this initial figuration, but as a memory. An
amalgamation between the translation of a recollection and the construction of
something new. Within his recent work, Rodriguez-Graham tackles a group of
paintings based on physical constructions; sculptures that present a purely
painterly experience.
When
re-presented on a canvas, these suggest a new reality that presents a
coexistence between the recognisable and the abstract.
Mauro
Giaconi ’s (Argentina 1977) artistic work takes place in the field of
sculpture, installation and drawing, which operates as the heart of all his
production and acts as a starting point to generate spatial interventions and
imagery that moves across the aesthetics of chaos and procedural investigation.
Architecture, structure, memory and environment are all key elements in the
artist’s practice, which focuses on proposing experiences that build tension
between opposite concepts like construction and destruction; birth and death;
confinement and freedom; depth and surface; dream and awakening For the most
part, the work of Moris (Mexico 1978) arises from his immediate surroundings in
Mexico City. The materials he uses in his paintings, installations and
sculptures do not hide their origin and history. They speak to the apparently
unavoidable spiral of crime, violence and social exclusion. Doing this, Moris
does not show the abyss but gets rid of it. His critical approach is not superficial:
“It is not about morality, good or evil, guilt or sin. It is only a social
analysis, pessimistic and hard".
The
roots of Russell Maltz ’s (USA 1952) ever-evolving oeuvre lie in the American
tendency of colour field painting. Unlike Mark Rothko, Barnett Newman and
Clifford Still, Russell Maltz is not interested in some kind of apotheoses or
the sublime. Quite the opposite, as he takes painting back to its base so to
speak, without disregarding its value: “I have always thought about painting as
colour moving across an area – a surface / the instance – the moment of
coverage – the motion / in that succinctness – that moment of arrival – the
painting happens.”
Sven
Braun (Germany 1968) draws passe-partouts that are not passe-partouts. He
causes stretcher frames to shine through canvases as if they were transparent.
The Leipzig-based painter plays a subtle game with trompe l’oeil—that is, with
the artistic mastery that causes us to confuse essence and appearance or rather
to take the one for the other. And yet it would not do Sven Braun justice
simply to accuse him of premeditated deception.
No
Place is complemented by a second exhibition in the same building. Curated by
Rüdiger Lange (Loop raum für aktuelle Kunst), Like Home explores the wide
variety of international influences in Berlin´s artistic scene. Illustrated by
works of artists with a strong connection between Latin America and Berlin, it
features the work of artists Carla Bertone, Isabelle Borges, Pablo Griss, Carla
Guagliardi, Birgit Hölmer, Franz Küsters, Maria Muñoz, Gonzalo Reyes Araos,
Francisco Rozas, Carlos Silva and Alejandro Stein.
Innovative,
collaborative, nomadic: No Place launches its second edition in Berlin No Place
GLINT Glinkastraße 17, 10117 Berlin
27
April - 12 May 2018
http://www.no-place.me/
#NoPlaceBerlin
