Virtual Reality, Music and Performance
with Keez Duyves (NL) and Thomas Bratzke (D)
Room installation on June 1st and 2nd, 2019, 12:00-20:00 o'clock, Heino-Schmieden-Saal
The artists Keez Duyves (NL) and Thomas Bratzke of the Hybrid Sculptors group are creating a virtual flower garden in Schloss Biesdorf using Augmented Reality (AR) technology. Real plants and objects from the gardener's world are given an additional spatial level that becomes visible through projections. This process is accompanied by music. Visitors of all ages are invited to accompany the development of this virtual installation.
The Potator is an invention of the artist Keez Duyves of the collective PIPS:lab (NL). This versatile tool, based on a motion capturing system and augmented reality (AR), is used in the context of the project HALFHALF, which was developed in collaboration with the artist Thomas Bratzke aka ZASD, to extend canvases into space by means of virtual, three-dimensional color: Real painted images virtually continue from the surface into the space. The Potator combines painting, sculpture and movement and invites its users to create reality ...
100 Years Opening of the Berlin Art Academy for Women
Exhibition from June 17, 2019 to October 18, 2019
Vernissage: June 16, 2019, 06:00-10:00 p.m.
with Birgit Bellmann (graphic print), Alke Brinkmann (painting), Ines Doleschal (collage), Else (Twin) Gabriel (photography, performance), Ellen Kobe (performance, installation), Coco Kühn (installation), Petra Lottje (video, drawing), Seraphina Lanz (wall piece, object), Cornelia Renz (drawing), Karin Rosenberg (object), Fiene Scharp (Cut-out), Elisabeth Sonneck (installation), Ute Weiss Leder (installation), Gaby Taplick (installation)
as well as Charlotte Berend-Corinth (painting, printmaking), Hannah Höch (collages), Marg Moll (sculpture), Lotte Laserstein (drawing), Doramaria Purschian (drawing, painting), Emy Roeder (sculpture), Erna Schmidt-Caroll (drawings, painting), Maria Slavona (painting), Gertrud Spitta (painting), Milly Steger (sculpture), Elisabeth Voigt (printmaking) and Julie Wolfthorn (painting).
As of March 1919 women were allowed to study at the Royal Academy of Art in Berlin. Until then they had been dependent on private teachers, overpriced "ladies' classes" or arts and crafts schools. Today only a few of the female artists who asserted themselves in the patriarchal art world in the 19th century until the First World War are known and were sometimes able to fight for a recognized position that would secure their livelihood. Their works still lie largely unexplored in archives and depots. A few, such as Jeanne Mammen, Lotte Laserstein and Renée Sintenis, have recently received late and timid appreciation.
In an exhibition at Schloss Biesdorf we want to juxtapose the partly still unknown works of first-generation sculptors and painters such as Julie Wolfthorn, Marg Moll, Milly Steger and Erna Schmidt-Caroll with positions of contemporary Berlin artists. In portraits and landscape paintings, still lifes and children's portraits, the artists of Classical Modernism show not only their talent, but also their bias in a world of motifs dictated to them by their male colleagues. When Hannah Höch and others consciously break with the iconographic tradition and touch on social taboos in terms of content, this demonstrates her great courage and self-confidence. Breaking taboos is also a concern of contemporary female artists. They develop site- and exhibition-related works that critically reflect today's art world – its exhibition practice and funding structures, its value system and gender issues. Through room installations, film and video, cut outs, collages, painting and performance, the Berlin artists open up a visual dialogue with the artists of the time and create a space for thought for questions that are virulent both then and now.
In conjunction with a mediation concept and an accompanying programme of lectures, films, readings and a discussion forum in the lecture hall of Biesdorf Palace, we see the exhibition KLASSE DAMEN! as a contribution to a socio-political discourse and as an impetus for an effective public reflection. As artists and curators, as women for whom the balancing act between family and artistic work is a daily challenge, we have a great interest in making the largely unknown history of the admission of women to the art academies public. With it we thematize and discuss all the implications that arose for women then and still arise today – from family fractures, childlessness and poverty to defamation, prejudice and ostracism to "modern" problems such as structural discrimination in the art world with its still rampant gender pay and gender show gap.
In cooperation with the Kunstarchiv Beeskow.
Curation: Ellen Kobe and Ines Doleschal in collaboration with Karin Scheel
Accompanying programme: lectures, panel discussion, musical-literary matinee, film programme etc.
Art education: Labor M in collaboration with Birgit Bellmann
Lenders: Bröhan-Museum, Georg Kolbe Museum, Stadtmuseum, Reinickendorf zu Berlin District Office, Galerie Die Möwe Berlin, Berlinische Galerie, Akademie der Künste, Das Verborgene Museum, as well as private collectors.
collect, select, release
Works of Kathrin Sohn, Burchard Vossmann, Ila Wingen, Sophie Tiller, Almud Moog, Doris Hinzen-Röhrig and Susanne Piotter
Exhibition from April 8th, 2019 – June 7th, 2019
Vernissage on Arpil 7th, 2019, 06:00 p.m.
Inherited, bought, created or even passionately collected, an average household allegedly owns 10,000 objects during its lifetime. An amazing number, but one that makes clear: we collect things, we select them – and let them go, sooner or later. A classic collection of bizarre objects, an inherited artist's estate, floods of images in social media, the constant growth of one's own artistic work, but also so-called dust collectors and global garbage collections are the approaches to the content of the respective artistic works in the exhibition on the upper floor of Schloss Biesdorf. To preserve, transform, give away or dispose of things requires individual decisions. What makes things valuable or worthless for people? The artists of the exhibition explore these questions in installations, objects, photographs and drawings. A catalogue will be published to accompany the exhibition.
Photographs by Gerhard Westrich
Exhibition from April 8th, 2019 – June 7th, 2019
Vernissage on April 7th, 2019, 06:00 p.m.
Photographer Gerhard Westrich has portrayed numerous people in the district of Marzahn-Hellersdorf in recent months. He was not looking for a representative cross-section of society, but for personal stories and moods.
The exhibition "MaHe inside" on the ground floor of Schloss Biesdorf shows a selection of the photographs taken, supplemented by brief statements by the people portrayed. The exhibition is accompanied by a publication, financed by the Stiftung Kulturwerk der VG Bild-Kunst.
A portfolio from the holdings of the Beeskow Art Archive
Exhibition from march 25th - july 3rd 2019
In 1988, the Association of Visual Artists of the GDR commissioned a graphic portfolio to be published on the occasion of the 200th anniversary of the French Revolution. Why, one might ask, is the historical event chosen that is so ambivalent and carries with it a complex history of interpretation? The editors of the graphic folder had one specific aspect in mind: In the enclosed text, art historian Peter Pachnicke emphasizes the " sensuous power of persuasion " of the people who wrestled for recognition on the streets of Paris. However, this pathos conjured up there cannot be seen in the prints of the 16 artists, each of whom contributed one sheet.
In 1989, "Graphic to songs of the French Revolution" was published with the supplement of a record with a total of 21 songs sung by Dieter Süverkrüp, whose texts date from the time of the French Revolution. And even if the graphics with their titles refer to those battle and love songs, these rarely reflect the atmosphere of the pictures. Here, no people is revolting. In gloomy visions the artists show in lithographs, etchings, aquatints and a silkscreen, doubting figures, masses that are once again oppressed by a king and the grimaces of dubious "heirs" who move forward threateningly. Black dominates many of the compositions, be they delicate, fragile arrangements or figures formed with thick strokes. Even the coloured leaves in this compendium are gripped by this drastic quality. The tension-filled contrast between the interpretation of the clients and the interpretations and implementations of the artists also opens a glimpse of the now historical moment of 1989.
With works by Ulrich Hachulla, Karl-Georg Hirsch, Joachim Jansong, Joachim John, Rolf Kuhrt, Werner Liebmann, Gerd Mackensen, Reinhard Minkewitz, Rolf Münzner, Ronald Paris, Volker Pfüller, Otto Sander, Stefan Thomas Wagner, Frank Wahle, Trak Wendisch and Winfried Wolk.
Entrance is free.
Opening: march 24th 2019 // 2 PM