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26/2/2015

History is a Warm Gun / Oliver Ressler

NBK Neuer Berliner Kunstverein, Berlin

Artists: Claudia Angelmaier, Dirk Bell, Bram Braam, Aleksandra Domanović, Shahram Entekhabi, Christian Falsnaes, Dani Gal, Andreas Greiner, Assaf Gruber, Kerstin Honeit, Sven Johne, Eva Könnemann, Rivka Rinn, Sonya Schönberger, Pola Sieverding, Natalia Stachon

Curator Britta Schmitz

With the exhibition History is a Warm Gun, Neuer Berliner Kunstverein in 2015 resumes the series of exhibitions by fellows of the Fine Arts Scholarship of the Berlin Senate. History is a Warm Gun is an exhibition, expressing the experience of reality by artists, whose center of life and work is in Berlin. The exhibition maps out various perspectives on history by today’s generation of artists.
In a playful manner, the title refers to the Beatles song Happiness is a Warm Gun and emphasizes the empowerment of the participating artists to develop, also contrary to established historiography, own historical narratives.

History is a Warm Gun captures a current trend in art production and accompanies the selection of the artists in a seismographic way. The exhibition outlines a wide range of questions that are picked up by a younger generation of artists and that are dedicated to the mutual contemplation of past and present with recourse to historical and personal events. How do artists, who live in Berlin, deal with their country of birth or the country in which they live, and how does an interest in one’s own biography express itself? Hitherto neglected historical events are interrelated with current and personal events and are repeatedly put in the focus of production.
The artists took advantage of the scholarship in order to reflect their artistic practice and working methods, to conduct extensive research and to explore the influences of previous generations on their own artist generation. With references to history, ethnology or biology they discuss in videos, photographs, paintings, sculptures, installations, and performances diverse social, cultural and political issues.

Publication
The exhibition is accompanied by a publication as part of the n.b.k. book series “Berlin”, published by Verlag der Buchhandlung Walther König, Cologne, with a foreword by Tim Renner and Marius Babias, as well as texts by Jan Brandt, Britta Schmitz and Silke Wittig.

Public Program
Thursday, March 5, 2015, 7 pm
Back to the Future – Civilizational Histories in Visual Arts
Panel discussion with Susanne von Falkenhausen (Professor of Modern Art History, Humboldt Universität zu Berlin), Judith Welter (collection curator Migros Museum für Gegenwartskunst, Zurich) and Hilke Thode-Arora (curator, Five Continents Museum, Munich), moderated by Britta Schmitz (Chief Curator of Hamburger Bahnhof – Museum für Gegenwart, Berlin)
In German language

Thursday, March 19, 2015, 7 pm
Performance Reloaded
Panel discussion with Christian Falsnaes (artist, Berlin), Kerstin Honeit (artist, Berlin), and Sonya Schönberger (artist, Berlin), moderated by Kathleen Rahn (Director Kunstverein Hannover)
In German language

Sunday, April 26, 2015, 8 pm
Gut Plays Gut – Her History
DJ gig by Gudrun Gut

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Oliver Ressler
Leave It in the Ground

Curator Kathrin Becker

Oliver Ressler in his films and videos deals with democracy, economy, ecology as well as forms of resistance and protest against political elites and the development of alternative models. At Neuer Berliner Kunstverein, Ressler shows two video-based works, which are complemented by photographs and graphics. Against the backdrop of the idyllic landscape of the Lofoten, Leave It in the Ground (2013, 18 min) describes the climate change not as a technical or scientific, but as a political problem that in the future will provoke fundamental social and political transformations. The Visible and the Invisible (2014, 20 min) addresses the impact of the exploitation of natural resources by international commodity traders, whose headquarters are in Switzerland.

Oliver Ressler (b. 1970 in Knittelfeld, Austria, living in Vienna) studied at the University of Applied Arts in Vienna. Solo exhibitions include: Lentos Museum, Linz (2014); Wyspa Institute of Art, Gdansk (2014); The Cube Project Space, Taipei (2012); Bunkier Sztuki Contemporary Art Gallery, Krakow (2011); Alexandria Contemporary Arts Forum (2010); Berkeley Art Museum (2006); Platform Garanti Contemporary Art Center, Istanbul (2005). Group exhibitions include: Helsinki Photography Biennial (2014); Museo Reina Sofía, Madrid (2014); SALT Beyoğlu, Istanbul (2014); Manif d’art 7 – The Québec City Biennial (2014); Gumho Museum of Art, Seoul (2014); Yerba Buena Center for the Arts, San Francisco (2013); 55th Venice Biennale (2013); 4th Athens Biennale (2013); Gyumri Biennale (2012); Van Abbemuseum, Eindhoven (2011); Massachusetts Museum of Contemporary Art (2011); Museo de Arte Carrillo Gil, Mexico-City (2011); Lyon Biennale (2009); Taipei Biennale (2008); 2nd International Biennial of Contemporary Art, Seville (2006).

Publication
The exhibition will be accompanied by the publication Oliver Ressler: Cartographies of Protest by Verlag für moderne Kunst, Nuremberg, edited by Juan Antonio Álvarez Reyes, Marius Babias, Emanuele Guidi, Stella Rollig, in German and English, 160 pages with numerous color illustrations.

Press Contact:
Eva-Maria Gillich

Opening: Friday, February 27, 7pm

Neuer Berliner Kunstverein
Chausseestrasse 128 / 129 10115 Berlin
Hours:
Tue–Sun 12–6 pm / Thu 12–8 pm

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