Monat: Juni, 2012

04.07. – 08.08. Filmreihe: Die Erzählbarkeit der Welt


Dem Absolutismus der Wirklichkeit ausgesetzt, im Angesicht der eigenen Endlichkeit und des grausamen Desinteresses der Welt an der irdischen Spezies, schuf der Mensch den Mythos, der ihm den Kosmos in all seiner unleugbaren Gewalt als letztlich geordnet und harmonisch zu erklären vermochte. Auch der neuzeitliche Mensch strukturiert seine soziale Wirklichkeit und Lebenszeit mit Hilfe von Erzählungen, doch die Welt in ihrer Totalität wird schon lange nicht mehr in mythischen Erzählungen und deren Nebeneinander von Wahrheiten und Instanzen erfasst. Warum und wie zahlreiche Regisseure des vergangenen Jahrhunderts den Mythos in Bildern nacherzählten oder aktualisierten, soll die neue Filmreihe zu fragen beanspruchen. Wieso sollen die Erzählungen, die einer anders erfahrenen Wirklichkeit ihren Sinn verliehen, auf die unsere übertragen werden, wenn man doch einfach neue, der Zeit und unserem Denken entsprechende Geschichten erfinden kann?

Ausgewählt wurden vier Filme, die Mythen poetisch und eigenwillig nacherzählen, ein Film, der Quatsch, aber witzig ist (vielleicht), und ein Film, der sehr lang ist, der nur auf eine epische Figur rekurriert, dessen Auswahl bemängelt und bekrittelt worden ist – den der Absolutismus der Wirklichkeit aber letztendlich durchgedrückt hat. Ein Glück!




Hanna Maaria | Konzert | 29.06 | 20.30 Uhr


Hanna Maaria is a 25-year-old singer/songwriter from Helsinki, Finland. Despite her classical background she is still quite pop. But also alternative, indie, electro, folk and rock.

Hanna Maaria has been working in the musical scene in Finland and abroad for years. Whilesinging in professional choirs and playing piano concertos she has been performing with her fellows in the Eurovision Song Contest, music festivals and electro clubs. Now she is working on her debut album that is going to be released later this year.

Los gehts um 20.30, Eintritt frei!

_ Alloro / Bialer / Reich / Wilentzik / Wachsmann

Alma Alloro studied in the Midrasha Beit-Berl School of Art in Israel and concluded her further studies in the Bauhaus University of Weimar. In pen drawings on architectural paper, later developed into short frenetic animation pieces, Alloro revives the Bauhaus movement’s celebrated core symbols (the triangle, square and circle), only to desecrate their purity altogether. Furthermore, the bare technical grid-aesthetics of these corrupted designs and the recurring mechanical apparatus generating the clips, are also reminiscent of a more primary ideal: Germany’s longtime ethos as spearhead of Europe’s industry and production line. However, lacking a decisive objective or directing ideology, Alloro’s practice parades these founding modernistic national elements into an amusing low-tech salad of dysfunctional glitch. Germany’s healthy orderly functional maneuvers are rendered masturbatory, Alloro’s hand crafted laundry machine washes away Bauhaus’s refined ideology of functional beauty, trades its iconic solid colors with hyper-saturated radiance and leaves our eyes transfixed on the perfectly geometric stain.

Dorit Bialer studied visual-communications and design in Jerusalem’s Bezalel academy. The line between contemplative design and purely artistic social commentary fluctuates in her work constantly. Through her use of graphic tools, Bialer creates elaborate visual puzzles bearing the likes of strict yet playful Infographic aesthetics. In them, she attempt to map down various common perplexed social situations characteristic of the Berliner post-modern multicultural present state. Here in her current presented work too, Bialer has systematically orchestrated a symbolic layout which follows the logic of a game board, somewhat echoing Nazi propaganda posters. The corresponding theme of the map is the integration of Jewish Israelis in Berlin, outlining their conventional routes in the process and pinpointing the dilemmas and obstacles that anticipate them. All of Bialer’s observations are carried out in a simultaneously critical and humorous manner.

Benyamin Reich attended the Bezalel art academy in Jerusalem. His earlier works focused on the visual traits of the Ultra Orthodox Israeli subculture, from which point he extended his observations on to the country’s contemporary landscape, always maintaining a nostalgic position, reaching out to biblical idealistic landscape representation. The result is landscape photography which remains true to Utopian perception, seeking to reinvigorate the found israeli scenery with spirituality. Although seemingly oriented to the “holy land” alone, Reich has brought this very aspiration to Berlin as well and has managed to successfully implement it in his current outlook on the city’s religious assets. Here he searches for the connecting points between seemingly distant spiritual sanctuaries. Despite their ongoing rivalry, Christianity and Judaism grew together side by side throughout the ongoing European history, up from the establishment of the early Jewish diaspora and up until Judaism’s notable diminishing and near expulsion during WWII. Reich studies the similarities of sacred artifacts, objects and relics and finds that the interior design of both churches and synagogues reveal symbiotic traits, indicating of the intercultural discourse between the two separate religious institutions.

Lior Wilentzik attended the Midrasha Beit-Berl School of Art in Israel. Her work tackles unattended organic and decorative imagery inside “casual” living space. Judaism’s tendency towards visual minimalism along with Israel’s young history – characterized at the same time by pragmatic socialism and militarism – created a plain visual environment lacking decoration. Paradoxically, acquiring one’s visual orientation in such aesthetically dry environment, invokes the desire for extreme inspection of its scarce use of aesthetics. And so trained in this visual dissection, Wilentzik now comes to question the nature of classic German decoration as well and its residing effects on contemporary design trends. Germany in comparison to Israel is characterized by a rich decorative legacy, hand in hand with its rigid imperialistic Christian past. The raw footage at the foundation of Wilentzik’s current series, Mashy Trashy Crosses, was all gathered from various Christian cemeteries in Berlin. Selected images were then processed digitally into icon-like collages, swaying on the lines of graphically sharpened, gravely charged symbolism and genuine vibrant decoration. This aestheticizing of politics is used here solely as a contemplative practice rather than a strategic means.

Shira Wachsmann studied in the Berlin Weissensee School of Art. Her works deal with our multilayered relation to land, in both respects: land as „earth“ and land as „place“. There is no single recurring creative method, yet despite the polar variety of thoroughly executed techniques, an authentic reciprocity is constantly maintained in the works – bridging between the conceptual-representative and the bare organic. The materials in the forms conceived, refer to sanctuaries and rituals. Natural substances such as soil, metal, coal, straw and foliage convey history – be it signs indicating a collective and personal memory, or naturalistic structures, such as the bird’s nest, whose very obsessive-like Sisyphean formation adheres to the historical process of its creation. Altogether, In profound confrontation with biblical and philosophical ideas, Wachsmann thematizes the concept of „home“ and how this topos can provide insight into the origins of identity. Within the governing premise of this group show, one might be drawn to ponder on the manifestation of this key notion within the confines of the vast metropolitan zone.


Die Asporas / Vernissage 15.6 19:00


Die Asporas

Vernissage 15.6 19:00 / geöffnet 15.-17.6 + 22.-24.6 jeweils ganztägig

Gruppenausstellung mit Arbeiten von Alma Aloro / Dorit Bialer / Benyamin Reich /         Alina Shmukler / Shira Wachsmann / Lior Wilentzik / Sahar Zukerman /                     kuratiert von Lion Wilentzik

Weitere Informationen zu Künstlern und Arbeiten findet er hier, nun lassen wir sie aber selbst zu Wort kommen:

Recent years have been marked with a rising trend of young Israeli artists who have immigrated to Berlin.
The interaction with the German city provides a unique gateway, once again linking ancient European aesthetic traditions to local Israeli visual culture.
And so today in Berlin, coming back to where it all started, equipped with an impressive baggage of education and experience stemming from the tumultuous Israeli soil and with their hearts tapped to the pulse of the new global here and now, a new generation of Israeli artists will now attempt to fuse the forbidden poles of east/west, traditional/innovative, political/aesthetic and local/universal, from their new unique perspective.
The exhibition is uniquely curated as a site specific group installation. In it, works will be costume produced, refined and adjusted, fit to correspond with the other works and overall setting.


Erichsson & Dahl | Konzert | 21.06 | 20:30 Uhr


Erichsson & Dahl machen wunderbare Musik mit Akustikgitarren und Gesang. Und das auch im bauer&ewald und das freut uns sehr.

für die Vorfreude.