Four leading Berlin institutions for contemporary art devote themselves to the topic of painting and join forces to put on a concerted program. The exhibition combines both young, contemporary positions with already established artists and artists' groups and also explores historical references.
Opening within Berlin Art Week: In the fall of 2013, four leading Berlin institutions for
contemporary art devote themselves to the topic of painting and, for the first time in this
context, join forces to put on a concerted program. The four institutions are:
Berlinische Galerie, Landesmuseum für Moderne Kunst
Deutsche Bank KunstHalle
KW Institute for Contemporary Art
Nationalgalerie - Staatliche Museen zu Berlin
For the launch of this cooperation project, initiated by the Berlin Senate, the institutions involved have chosen painting as the focal point of this collaboration, which is to be continued in the future. The title of the project is Painting Forever! From the individual installations through the conceptual group exhibition with well-known painters to a wide-ranging overview that brings together up-and-coming and established approaches: the individual formats vary greatly and together form an exciting picture of painting in Berlin – once again demonstrating the complexity and diversity of painting practices in the capital.
Since the end of the 19th century at the latest, painting has played an extremely important role on an institutional level. Through the medium of painting, the city has also brought forth experimental artistic approaches, including the Berlin Secession, the New Objectivity and the Neuen Wilden (Young Wild Ones). The individual and group presentations of the four exhibition formats of Painting Forever! will demonstrate various approaches to the medium: installation-based and location-specific approaches will play a role, as will classical concepts of painting. The exhibitions are based on various artistic and curatorial positions and, despite their diversity, all address the question of what painting can and wants to be today.
Painting Forever! combines both young, contemporary positions with already- established artists and artists’ groups and also explores historical references. The individual locations of the overall project Painting Forever! are to be understood as complementary elements, yet, at the same time, as discrete exhibitions that can be experienced individually. Painting Forever! is a contribution to current debates and discourses about the medium of painting and its role in contemporary artistic production: its broad, open treatment of current painting practices aims to highlight the fact that, time and again, painting assumes a central position in contemporary art discourse.
Furthermore, by presenting a range of artistic positions, the project aims to develop lines of argument from practice, which throw up deeper questions as to the production and reception processes associated with painting: what is the basis of the reciprocal esteem in which artists and observers have held each other down through the centuries? What (artistic) strategies can help this medium, which has so often been declared dead, to overcome its crises and formulate new positions? What is painting’s relationship with the other media of contemporary art production? Why is painting generally and permanently under pressure to legitimate itself although it is the artistic form of expression upon which so much artistic practice is based? What socio-political and gender-specific questions arise out of painting as an artistic practice today?
To accompany the exhibition project, a four-volume publication will be released for the joint opening in September 2013.
Painting Forever! – a cooperation of Berlinische Galerie, Deutsche Bank KunstHalle, KW Institute for Contemporary Art and Nationalgalerie - Staatliche Museen zu Berlin. Opening within the Berlin Art Week. Painting Forever! is an initiative of the Governing Mayor of Berlin, Senate Chancellery – Cultural Affairs.
18. 9.– 10. 11. 13
KW Institute for Contemporary Art
Painting Forever! is a cooperation of Berlinische Galerie, Deutsche Bank KunstHalle, KW Institute for Contemporary Art and Nationalgalerie -Staatliche Museen zu Berlin. For the launch of this cooperation project, initiated by the Berlin Senate, the four institutions involved have chosen painting as the focal point for the first year of this collaboration, which is to be continued in the future. The title of the project is PAINTING FOREVER!
KEILRAHMEN as well as Merlin James: SIGNAL BOX. Furthermore we present the video installation NEUE ORDNUNG by Ute Adamczewski and the second edition of FORMATIONS OF BODIES, this time with Christian Falsnaes.
Fri 6 September - Sun 24 November 2013
Martin Eder, Michael Kunze, Anselm Reyle, Thomas Scheibitz
Focusing on Martin Eder (b. 1968), Michael Kunze (b. 1961), Anselm Reyle (b. 1970) and Thomas Scheibitz (b. 1968), the exhibition BubeDameKönigAss (JackQueenKingAce) at the Neue Nationalgalerie puts these four central positions of contemporary painting in Germany into a common context for the first time. Approximately 40 selected works from the past 15 years, what at first glance may appear to be fundamentally different artistic approaches are examined formally and contextually in dialogue.
The four artists - who belong to the same generation, and whose oeuvres are often characterized by similar influences and connections - have created extremely stringent, but also seemingly contradictory works. Strong contrasts in form, coloration and motifs, as well as in temporality, reveal themselves to be inherent in the works when they are viewed together. An individual interpretation of the medium of painting (which has been repeatedly written off as dead since the onset of Modernism) is reflected in the works of Eder, Kunze, Reyle and Scheibitz in numerous programmatic and formal considerations.
Abstraction and figuration, utopia and everyday life, precision and incompleteness, narration and materiality, kitsch and geometry, strategy and coincidence - the suspense and friction that are created from these relationships are handled in a different way in each case.
The exhibition starts out from a common basic understanding of painting, according to which the process of creating works should be understood as a thoroughly conceptual process, which also allows formal and content-related synergies to emerge between works.
Through the transformation of reality by means of diverse artistic methods, the clear aim becomes paramount: to deal with, examine and confront one's contemporaries, within the context of an art historical tradition that has been in existence since the Renaissance.
A four-volume publication accompanying the exhibition project will be published in conjunction with the joint opening of Painting Forever! in September 2013.
Painting Forever! - a cooperation of the Berlinische Galerie, the Deutsche Bank KunstHalle, the KW Institute for Contemporary Art and the Nationalgalerie - Staatliche Museen zu Berlin. Opening as part of the Berlin Art Week. Initiated by the Governing Mayor of Berlin, Senate Chancellery - Cultural Affairs
Hügel und Zweifel (Hills and Doubts)
As part of the cooperation Painting forever! Berlinische Galerie will show works by Franz Ackermann.
Ackermann, born in St. Veit (Bavaria) in 1963, has been ranked for 15 years or more among the major artists of our day. His works can be seen in many public collections, and he has had wide-ranging opportunities to produce work for specific locations.
For the first big exhibition hall at Berlinische Galerie, Franz Ackermann has developed a special spatial concept that places wall painting, panel art and photography in conversation with one another. Lines of sight play a role in his concept, as do transport and travel routes, room dimensions and the technical equipment that is to be found on the floors and in the walls and ceilings of exhibition halls.
Painting Forever! is a cooperation of Berlinische Galerie, Deutsche Bank KunstHalle, KW Institute for Contemporary Art and Nationalgalerie State Museums of Berlin. For the launch of this cooperation project, initiated by the Berlin Senate, the institutions involved have chosen painting as the focal point of this collaboration, which is to be continued in the future.
The individual and group presentations of the four exhibition formats of Painting Forever! will demonstrate various approaches to the medium: installation-based and location-specific approaches will play a role, as will classical concepts of painting. The exhibitions are based on various artistic and curatorial positions and, despite their diversity, all address the question of what painting can and wants to be today.
You and your friends are cordially invited to celebrate the joint opening of Painting Forever! on Tuesday, September 17, 2013 at 7 pm on Auguststraße, at an open air festival on the occasion of the Berlin Art Week.
The solo-exhibition Hügel und Zweifel (Hills and Doubts) by Franz Ackermann is open from 6 until 9 pm on this evening.
18.9. – 10.11.2013
Deutsche Bank KunstHalle
To Paint Is To Love Again
Jeanne Mammen – Antje Majewski, Katrin Plavčak, Giovanna Sarti
For the collaborative project “Painting Forever!” Deutsche Bank KunstHalle presents four women painters of different generations: Jeanne Mammen, Antje Majewski, Katrin Plavčak, and Giovanna Sarti, curated by Eva Scharrer.
Jeanne Mammen (1890–1976) is best known for her illustrations and socially critical depictions of Berlin’s nightlife of the 1920s in the style of Neue Sachlichkeit. Her career was twice interrupted by war. During the Nazi regime she continued to work secretly, turning to a painting style influenced by expressionism and cubism, which at the time were labeled “degenerate.” After the Second World War, she began to incorporate wire and tinfoil into her paintings, arriving at a “lyrical abstraction.” The works shown here come from different groups of work from the 1950s to the 1970s. These are material collages and semi-abstract compositions, populated by cipher-like symbols, ghosts, marionettes, and masks.
For the first time this late work, which is still very little known, is confronted with works by three Berlin-based women painters in such a way that, despite their differences, one can draw connections in terms of both form and content. The three artists deliberately entered into a dialogue with Mammen’s work and produced new works for the exhibition, which are shown alongside selected existing paintings.
Antje Majewski (born 1968) follows a conceptual and anthropological approach. Her latest works are based on texts written by museum curator Sebastian Cichocki. The Museum in the Garage (2013) is an imaginary museum of both natural and manufactured things of diverse origin and significance. Majewski classifies these objects, painted in oil and egg tempera on various supports, in self-invented categories. It is precisely through the ambiguity of artifacts removed from the museum’s clarification system that existing systems of value and signification can be recognized and investigated.
Katrin Plavčaks (born 1970) interdisciplinary praxis encompasses various formats and media, but she always puts painting at the center of her considerations. Her points of departure are different realities, pictorial spaces, and viewing perspectives that lie between representation and abstract form. Art history, politics, science, science fiction, and utopias, as well as the artist’s personal surroundings, are examined and commented on from a female perspective. In so doing, Plavčak places topical subjects in a surrealist realm. Her universe is full of “frayed edges” behind which “black matter peeps out.”
Giovanna Sarti (born 1967) works with process and counter-compositionally in slowly superimposed layers, making use of the individual qualities of liquid binders, metallic pigments, and glitter. Heavy and light painting substances, applied in differing density, trigger chemical processes that can only to a limited extent be controlled and sometimes continue even after the painting has been completed. For Sarti, painting is a contemplative search for the universal through the microscopically small. The painting process can be apprehended in the organic structure of the finished work.
On the occasion of Berlin Art Week 2013, four Berlin institutions for contemporary art are working together: the Berlinische Galerie, the Deutsche Bank KunstHalle, the KW Institute for Contemporary Art, and the Nationalgalerie – Staatliche Museen zu Berlin. Dedicating themselves to the theme of “Painting,” they are collaborating for the first time.
Press Contact for Painting Forever!
Kathrin Luz, Kathrin Luz Communication Tel: +49 (0)171-3102472 email@example.com
Opening in context of Berlin Art Week: 17.09., starting 7pm at Auguststraße, Berlin-Mitte www.berlinartweek.de