Ari Benjamin Meyers, Songbook, Installation view, 2013
Ari Benjamin Meyers artist, born 1972 in New York, is an American composer and conductor working in the experimental, electronic, new music scene in Germany. He is also active in the field of contemporary art.
While primarily known for his work with the ground breaking dance club-orchestral mash-up, Redux Orchestra, he has also worked with many other artists most notably Einstürzende Neubauten and Anri Sala. Other collaborators include Dominique Gonzalez-Foerster, Anri Sala, Tino Sehgal, La Fura dels Baus, The Residents, raumlabor.berlin, Ricardo Villalobos, Staatsoper Dresden, Staatskapelle Berlin, Solomon R. Guggenheim Museum New York, Morton Subotnick and The Orb.
Meyers’ catalog includes operas, music for plays, dance, and film as well as music for diverse chamber ensembles. As evidenced by his arrangements for the live performancesRedux Orchestra versus Einstürzende Neubauten, Meyers’ work often takes the form of productive sabotages: he constructs and deconstructs musical situations and deliberately plays on the expectations of a given audience. Although personally distancing himself from the term “Crossover”, his work is often discussed within that context.
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Thomas Demand, Embassy VI, 2007
Thomas Demand is known for making photographs of three-dimensional models that look like real images of rooms and other spaces, often sites loaded with social and political meanings. He thus describes himself not as a photographer, but as a conceptual artist for whom photography is an intrinsic part of his creative process. Having studied sculpture under Fritz Schwegler at the Kunstakademie Düsseldorf alongside Katharina Fritsch and Thomas Schütte, Demand began his career as a sculptor.
In 1993, he began to use photography to record his elaborate, life-sized paper-and-cardboard constructions of actually or formerly existing environments and interior spaces, and soon started to create constructions for the sole purpose of photographing them. The photograph he takes of this model with a large-format-camera is the final stage of his work, and it is only this image, most often executed in an edition, of six that is exhibited unframed behind Plexiglas, not the models. On the contrary, Demand destroys his “life-size environments” after he has photographed them. One notable exception is his large scale model for Grotto (2006), inspired by a postcard of a Mallorcan grotto Demand has never visited, which was later exhibited. The life sized models are highly detailed, yet they retain subtle but deliberate flaws and anachronisms, such as an unnaturally uniform texture; according to art critic Michael Kimmelman, “the reconstructions were meant to be close to, but never perfectly, realistic so that the gap between truth and fiction would always subtly show”.
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Gert Robijns, Tri de graver, 2010, Happy New Year, 2008 and Pro Deo, 2006
Gert Robijn’s exhibition Happy New Year shows six new pieces. They are characterised by a clear style and referring to everyday situations. Themes such as perception, organisation and classification are treated in an instinctive manner. Elementary scientific experiences are being displayed in a minimal fashion. An apparently new balance arises between concepts such as light/heavy, below/above, covered/uncovered, visible/invisible. The items on display have their conventions taken away, renewed, as if they had been painted over.
The objects have been placed in various ways on formica-coated showcases, which remind one of shapes that can be found in every house. Refrigerators, kitchen units, occasional tables, white, austere blocks. The sides are sometimes interrupted by a shade of grey, which makes one hesitate between a constant shadow and an area of colour.
Robijns’ Liter shows two milk cartons on the level of a kitchen table. While one is still in its recognizable, original condition, the other has had its top removed and has been filled with a plastic bag containing exactly 1 litre of water. This bag partly droops over the carton in small folds. One appears to be light, the other heavy. New Balance also seems to refer to heaviness and weight. Two shoes crushed under the edge of the case. A similar, absurd scene can be found in Dieet. An empty packet of biscuits is being displayed on a lower case. The glass has been positioned right in front it. As if a passer-by hastily ate the contents and then walked off. The shape of the showcase has been applied in a more complex manner in the work Lijn N°5. There it functions as a machine, maybe a fax or a printer. Five pencils, that can draw five straight lines, are submerged in the wood. Right underneath is a groove where paper can be inserted or taken out. Scanner is another example of a machine that has been brought back to utter simplicity. It shows how two loose objects can represent a very complex device like a scanner. Happy New Year shows five diaries of different sizes ranging from a small pocket size to a double A4. This work visualizes the difficulty of predicting how busy the year will be, how many new exhibition projects and artistic productions there will take place.
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Christian Tony Norum, Installation view, Untitled, 2015 and Colours of All Time, 2015
A beautiful bird, a drum, the stars and the ancestors, a river, the sea, the wind and the sun. I am blinded by being a human being, searching wondering about everything and nothing. I am a universal human being that live and breath for art, poetry, performance. My main focus is painting but with all this intensity and shadow, I even have to use my self as a medium.
The problems I’m dealing with or try to solve, is how a specific painting or situation have any value or effect at all in this world. I cant change the world or solve any big problems but only believing that small organs like a catalyst can present some kind of nerve that show a little hope of healing in all this killing. Ambitious initiative, which addresses issues of storage and research in addition to exhibitions, museums-represents a substantial attempt to cement this reputation.
Possibilities available for the fundamental artists to negate, stripping away until nothing remains, or to accumulate, to embrace additively until one has reached the limit of fullness. The subversive, at the times contrarian loving and caustic, chaotic and prec—has pursued both paths at once both tendencies arc visible in the presents of artistic practice.
Working with painting, performance and sculpture I need to examine strategies and issues in post structural and modernist theories by using dialogue and communication with my contemporaries and earlier artist.
I use the art-history as a innocence open source to use this old knowledge as a catalyst for new deeper meanings and generate it into a self-reflecting understanding of how I preside the world.
Its not always a issue, its to amuse your self in this reality of ours.
The issues that already exist, or you are put into this world and by using experimental natural methods to meet this experiences with closed eyes while staring at the sun and you know what it is for what it is and that is the color orange.
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Juergen Teller, Lehmann Maupin, New York
10 February -17 March 2012 201 Chrystie Street
This exhibition highlighted three recent series, demonstrating Teller’s dynamic and diverse oeuvre. Featuring the controversial photographs of Kristen McMenamy, shot in the home of Carlo Mollino and seductive portraits of Vivienne Westwood, juxtaposed with intimate portraits of his family and close friends, this exhibition displays an amalgam of subjects and personalities. Drawing inspiration from the eccentric architect, Teller recalls Mollino’s fascination with the erotic, capturing McMenamy in provocative poses. Although the series garnered controversy for its alleged “pornographic” nature, it demonstrates Teller’s skilled storytelling and fearless approach to his medium. Composed of recent photographs taken in and around his home in Suffolk, photographs from the series, “Keys to the House,” includes deserted landscape shots and intimate portraits of Teller’s family and closest friends. The third series, “Men and Women,” includes portraits of Vivienne Westwood and photographer William Eggleston, as well as Teller’s son, Ed. As a whole, the series has been read as a representation of masculinity at two stages, coming of age and loss of virility, contrasted with a strong feminine power.
Born in Erlangen, Germany in 1964, Juergen Teller studied at the Bayerische Staatslehranstalt für Photographie in Munich, Germany before moving to London in 1986. His work in influential international publications such as W Magazine, I-D and Purple nurtured his own photographic sensibility, which is marked by his refusal to separate the commercial fashion pictures and his most autobiographical un-commissioned work.
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