Katharina Grosse "Inside the Speaker" at Kunstpalast Düsseldorf

Katharina Grosse, 2014, Foto: Veit Mette, © Katharina Grosse/VG Bild-Kunst, Bonn, 2014
Katharina Grosse, Inside the Speaker, 2014, acrylic on fabric and soil, ca. 4,6 x 18,7 x 41,1 m,  installation view, Stiftung Museum Kunstpalast, Düsseldorf, Courtesy Johann König, Berlin © Katharina Grosse und VG Bild-Kunst, Bonn 2014 / Foto: Nic Tenwiggenhorn
Katharina Grosse, Inside the Speaker, 2014,  acrylic on fabric and soil, ca. 4,6 x 18,7 x 41,1 m,  installation view, Stiftung Museum Kunstpalast, Düsseldorf Courtesy Johann König, Berlin © Katharina Grosse und VG Bild-Kunst, Bonn 2014 / Foto: Nic Tenwiggenhorn
Katharina Grosse, Inside the Speaker, 2014, acrylic on fabric and soil, ca. 4,6 x 18,7 x 41,1 m,  installation view, Stiftung Museum Kunstpalast, Düsseldorf, Courtesy Johann König, Berlin © Katharina Grosse und VG Bild-Kunst, Bonn 2014 / Foto: Nic Tenwiggenhorn
Katharina Grosse, o. T. , 2008,, Acryl auf Leinwand, 390 x 796 cm, Courtesy Johann König, Berlin / © Katharina Grosse und VG Bild-Kunst Bonn, 2014, Foto: Olaf Bergmann
In her artistic work the Berlin-based artist Katharina Grosse (*1961) has been exploring the scope of non-representational painting. Since the mid-1980s her art has transcended the canvas to include colourful installations, as well as painting within interior spaces, on facades or in house-lined streets. 

For MuseumKunstpalast, Düsseldorf  the artist transforms one of the exhibition spaces into a rocky landscape that is trenched in vivid colours.On almost 800m2, the artist created an walk-in installation of rocks, soil, masses of fabric that is covered in colourful  compositions of spray paint  that allows the viewer to enter a psychedelic realm, that infatuates all senses. The second exhibition space focuses on large-scale paintings. Reaching up to 36m2 the paintings are as much of a colourexpansion as the installation next door, capturing the entire room and internalizing their surrounding. „Inside the speaker“ creates an experience that transcends all expectations of a contemporary painting exhibition. The artist invites the viewer into her world of vivid colours and composition that expand far beyond the picture frame. The all-encompassing installation does not leave much room for a distanced observation. Rather it asks for the viewers attention, exploration and orientation that seems to be lost at first instance.  The exhibition and Katharina Grosse`s work in general opens up room for the much debated discourse around the position of contemporary painting on a truly sensual level that one cannot elude.
The exhibition runs until 1 February 2015.

The Manifest Destiny Billboard Project - John Baldessari: Love and Work








The Manifest Destiny Billboard Project is a series of artist-produced billboards and activations that will unfold along Interstate 10 Freeway from Florida to California. Presented by LAND (Los Angeles Nomadic Division) it started in Fall 2013 and runs through spring 2015. Using approximately 100 billboards total, 10 artists will create “chapters” along I-10, each a unique interpretive link to the exhibition thematic. As stated on the official website, the billboards will move through and punctuate the landscape by tracing territorial expansion from east to west, along one of the country’s busiest freeways, concluding in Los Angeles. The billboards will be activated through various events, programs, and social media outlets for dialogue and interaction with local communities. The project was conceived by artist Zoe Crosher and is co-curated by the artist and LAND’s Director and Curator, Shamim M. Momin. Using the concept of Manifest Destiny – America’s territorial expansion across North America – the artists will explore this problematic and layered history. Crosher writes, “The intention is to give a physicalized reminder of this extraordinarily influential (and often times destructive) 19th century belief which unabashedly dictated the expansion west, that still dictates our movement west, and to gently place/implicate/remind the people unknowingly participating in that landscape along the way.” Momin adds, “By physically moving through and mapping the very landscape that has been so fantasized, dreamed about, and capitalized upon in a breadth of positive and negative ways, the artists have the opportunity to address their work to the idea in a variety of ways – opaque or direct, tangential or political, macro and micro.” 
Starting today until October, John Baldessari`s chapter of The Manifest Destiny Billboard Project, entitled Love and Work, will be on view. The artist employs the traditional advertising trope of repetition, as all 10 of the billboards display the same image, scattered throughout the San Antonio, TX area. Using this tactic, the image will engrain in the minds of commuters, drawing connections between the disparate locations of the billboards.
Baldessari’s diptych image conveys the ultimate dichotomy of Manifest Destiny and the American Dream, further clarified in the series title: Love and Work. A large gear mechanism dominates the right half of the composition, depicted in grainy black and white and somewhat blurred, as if in motion. This heavy machinery alludes to the industrialism that was the foundation of American capitalist development, and the physical labor underlying the (often-unattainable) goals of the historical American Dream.  The gear similarly implies being a part of a larger machine – that we are each a cog in the wheel, so to speak.  The artist juxtaposes the gear with an image of pure, domestic relaxation: a male figure reclines, arms akimbo, on a hammock.  The vibrant yellow and purple hues superimposed like a light filter over this underlying black-and-white image suggest a bygone era, and highlight the ultimate goals of our labors: happiness and love.  The reclining figure and gear maintain the same angled position, drawing a visual parallel between man and machine, leisure and industriousness – the precarious balancing act that is both America’s ambition and the source of many of its most salient problems.


Detroit Design Festival 2014


Detroit Design Festival 2014 from Detroit Design Festival on Vimeo.

What probably first comes to mind when thinking of Detroit is the city`s glorious past days of car culture that has over the years lead an urban decay. However at the same time, Detroit is home to leading design-driven industries, world-class educational facilities and the country’s highest concentration of industrial and commercial designers. Hence, Detroit is among North America’s foremost centers of design which once again lays the ground for the Detroit Design FestivalEntering its fourth year, the Detroit Design Festival, sponsored by the Detroit Creative Corridor Center (DC3), spotlights every corner of the city’s creative industry through a series of shows, lectures, panel discussions, retail events, and open houses. With more than 30 Design Happenings, 500 designers, 25,000 attendees, the DDF is celebrates Detroit’s role as a global center of design and creativity. Concentrated in Detroit’s Creative Corridor and various neighborhoods throughout the city, events and installations will showcase Detroit’s cutting-edge design with the rest of the world. The festival, which began two days ago on September 23, includes work by up-and-coming talents from the College of Creative Studies (the fest’s partner institution), as well as industry stalwarts like watchmaker Shinola. This year, the focus will be on the intersection of art and design, culminating in a collaboration with DLECTRICITY, Detroit’s annual Nuit Blanche celebration, a two-night event during which artist installations light up the city’s historic architecture. 
For more info on all designers and happenings click here

The New World Hotel - Florian Meisenberg at Kunstverein Kassel


(c) Nils Klinger, Kassel
(c) Nils Klinger, Kassel

(c) Nils Klinger, Kassel

(c) Nils Klinger, Kassel

(c) Nils Klinger, Kassel

(c) Nils Klinger, Kassel
(c) Nils Klinger, Kassel

(c) Nils Klinger, Kassel
(c) Nils Klinger, Kassel




Indechs had the pleasure to visit the current institutional exhibition by Florian Meisenberg at the Kunstverein Kassel. Previously, Indechs teamed up with Berlin born, Düsseldorf educated and in New York living artist for his gallery show in Berlin - check out 600th Birthday. In Kassel one has the chance to get an overview on the artists multifarious artistic Œuvre for the first time in Germany in such depth. Florian Meisenberg`s paintings present themselves as naive at first sight but quickly unmask the boundaries of painting through the artists unashamedness by entering each canvas with quotations and references from the artworld paired with snappy humour, irony and self-dramatisation. This transgression is once more apparent in the artist`s approach to the surface both, in its linkage and segregation in every medium, be it his paintings, prints and videos. At the Kunstverein exactly this mix is constantly present. When entering, one is immediately confronted with a large scale projection of a nearly 1h-long video of dogs be-slobbering their owners face in slow motion. Walking around these at the same time disturbing and soothing images a constant, from every angle apparent dialogue between the three media is to hand. The paintings and video works are installed as free hanging, creating an ongoing dialogue to each other and the surrounding space which is covered in a specially designed wall paper. The `Gesamtkunstwerk` of Florian Meisenberg and the exhibition in particular underlines the artists view and thought of being a catalyst for debate. The New World Hotel starts a new cognitive process, encouraging an entertaining reflection that invites each visitor to constantly dive into the manifold surfaces and its depth behind. The exhibition is a highlight in the current German museum landscape, so if you get the chance go and see it till the 26th of October. 

On the occasion of the exhibition, Florian Meisenberg created some unique edition prints (click here),supporting the outstanding work of the Kunstverein Kassel further.

Saturday Soundtrack – The Best in Film Music 1988: Who Framed Roger Rabbit? (Alan Silvestri)

Maximilian Peter on the best in film music in 1988:




The year 1988 was an important year for a lot of the younger composers in the film music business: Danny Elfman composed great music for Tim Burton´s second feature Beetlejuice, Frankfurt-born composer Hans Zimmer created the score for Barry Levinson´s drama film Rain Man and George Fenton did an amazing job in writing the soundtrack for Stephen Frears´ Dangerous Liaisons.

Even though it didn´t receive an Academy Award nomination, Alan Silvestri´s score for Robert Zemeckis´ dazzling film Who Framed Roger Rabbit? was one of the very best, perhaps the best of the year. The film premiered in June 1988 and was produced by Steven Spielberg. The magnificent stars were Bob Hoskins, Christopher Lloyd and Joanna Cassidy. The mixture of live action and animation was groundbreaking at that time and Alan Silvestri´s orchestral masterpiece was the perfect underscoring of this cinematic jewel. The legendary London Symphony Orchestra –  under the direction of Silvestri – performed the music, which integrates Jazz as a musical idiom, but Alan Silvestri´s composition was mainly inspired by the music and style of American composer Carl Stalling – the father of the first Looney Tunes scores in the 1940s. 
The cue ´´Valiant and Valiant´´ from the original motion picture soundtrack of Roger Rabbit has this wonderful noir-style and became the theme for the Hoskins character; ´´Jessica´s Theme´´ presents a smoky sax solo and is another brilliant example of the score; the theme for ´´Judge Doom´´ is dark and catchy, and the action music for Roger Rabbit and the other animated characters is brilliantly frenetic. 
Who Framed Roger Rabbit? is Alan Silvestri´s finest achievement, one of the film music gems of the 1980s, and it is still a mystery that the score wasn´t nominated for an Academy Award in the following award season by the Academy´s people in power. Dave Grusin´s score for The Milagro Beanfield War won the Oscar for Best Original Score and, of course, it was an impressive work, but the adventurous style and structure of the Rabbit score was even more impressive.

The year 1988 brought us more outstanding works: Maurice Jarre´s Gorillas in the Mist, James Horner´s Willow and Michael Kamen´s Die Hard are only a few of the other excellent scores of the year.
By Maximilian Peter 

Berlin Art week 2014 - Haus am Waldsee - MICHAEL SAILSTORFER - " B-Side"

(c) Bernd Borchardt - Installation View - Haus am Waldsee - Michael Sailstorfer - Falsche Perser
(c) Michael Sailstorfer - Freedom fires am Arbeitsplatz, 2013


(c) Michael Sailstorfer - Auguste, 2004

(c) Bernd Borchardt - Installation View - Haus am Waldsee - Michael Sailstorfer - Trockenfisch Studie

(c) Bernd Borchardt - Installation View - Haus am Waldsee - Michael Sailstorfer - Dean Mary Lou

Haus am Waldsee presents a solo show by young German sculptor Michael Sailstorfer - who is known for not only working with objects from nature, technology, urban space and art history alike but also for altering and taking over the architectural premises through animating the viewers senses. He picks up objects to charge them with new significance: trees turn into missiles, bus stops into bedsits, pieces of forest into constructivist art, street lights into amorous couples emitting sparks, tractor tyres into clouds over New York’s Central Park. The exhibition "B-Seite" - "B-Side" at Haus am Waldsee will feature works from the past 10 years, which have rarely, and in some cases never, been shown before. Among them is a constellation with an electric drill from 2013, in which the drill-heads in the form of miniaturised popular sculptures like the Statue of Liberty are being driven through the wall from one exhibition room to the next. During the process of drilling the resistance of the wall changes the shape of the small sculpture. The wall is charged with almost 70 years worth of presentations of eminent artists. Site and process provide, as it were, the finishing touch to the sculpture. At the same time, a minor alteration is made to the “genome” of art history. Not least, the work illustrates a difficult birthing process as a metaphor for artistic practice. While the Arte Povera artist Giuseppe Penone had the bark of a tree removed, Sailstorfer, inversely, takes a world-famous artefact, the Statue of Liberty, and drives it through the wall, challenging its acknowledged artistic beauty. Sailstorfer frequently refers to recent and older art history in his works. Against this background he has created an important œuvre since the early years of this century, which is recognised on the international stage and marks an independent position within the contemporary discourse on sculpture.
The exhibition is on until November 9 2014. 

Berlin Art Week 2014 - Schinkel Pavillon - THOMAS HIRSCHHORN - Höhere Gewalt





One of Berlin`s finest institutions the Schinkel Pavillon presents a new installative and site-specific work by Swiss artist Thomas Hirschhorn (*1957). It is the artist`s first institutional solo show in Berlin. For Höhere Gewalt, Hirschhorn will not add an artwork to the exhibition space but instead intends to entirely deconstruct it.
Known especially for transforming traditional whit cube spaces into absorbing environments or locating his works in public spaces, Hirschhorn has over the past twenty years created an oeuvre that questions the concept of art in the medium of installation and environment. Those absorbing environments tackle issues of critical theory, global politics, and consumerism, engaging the viewer through superabundance. The critical and political spaces that he creates are explicitly open towards diverse audiences who are invited to engage in and in turn activate the works. Höhere Gewalt continues the artist’s practice of transforming the white cube into large-scale environments.
The exhibition is on until October 29.

Berlin Art Week 2014 - KINDL Centre for contemporary art presents ROMAN SIGNER " Kitox Experimental"



This year`s Berlin art week has started. Once again we focus on extraordinary exhibitions in institutions as well as the numerous galleries of Germany´s capital art, explore new art venues and see what the abc art fair has to offer. 

Today we like to introduce a new space for contemporary art in Berlin that opened its doors to the public for the first time this weekend, the "KINDL-Zentrum für zeitgenössiche Kunst" - The KINDL-Centre for contemporary art". Situated in the unconventional space of the former Kindl brewery in Berlin`s Neukölln district, the privately funded art complex will show temporary exhibitions, provide space for studios, events and catering with the intention to both promote new ideas and themes and pick up on existing discourse and international debates on art. 
Purchased in 2011 by German-Swiss Burkhard Varnholt and Salome Grisard, the listed red-brick building that was built in 1926 and 1930, in a style reminiscent of German expressionism, has seen  comprehensive refurbishment to become a centre for the production of contemporary culture. 
The venue encompasses a 20-metre-high Boiler House, which will be used for artistic interventios and site specific work, a Brew House with six brewing coppers that will open to the general public and the three story Power House, providing a space for monograph and thematic exhibitoins of international contemporary art. 
For the inaugural exhibition, the artistic director, Swiss curator and art critic Andreas Fiedler has invited Swiss sculptor and conceptual artist  Roman Signer to present his work in the Boiler House. "Kitox Experimental" is a site specific installation for which the artist hung a sporting aircraft about 4-metre-high in the buidling, nose down. Ventilators at the walls of the Boiler House set the airplane, which is attached to a flexible hinge, in motion. It is supposed to be induced by the wind as if it was nose diving in a rotating manner. 
The exhibition in on until June 28 2014.





Start London is teaming up with designer Julian Mayor at the Shoreditch Design Triangle











Located in heart of East London’s creative hub, with three iconic fashion boutiques along Rivington Street, Start London are delighted to take part once again in the Shoreditch Design Triangle and this year will be teaming up with dynamic London based designer Julian Mayor, a designer Indechs interviewed previously - click here. We are extremely proud to be able to present exclusive insights to the current production process of the new works!

The Shoreditch Design Triangle 2014 is set to be the biggest street by street event during this year’s London Design Festival. In it’s 6th consecutive year, the event brings together a fascinating assortment of designers, stores, galleries, studios, cafes, bars, brands and one-off events for a week of design-led festivities. Taking place in the Start Menswear boutique, renowned for their unparalleled edit of eminent designer brands including Comme des Garcons, Acne, Maison Martin Margiela, Kenzo, AMI, Matthew Miller, COMMON and more, the collaboration with designer and artist Julian Mayor will showcase a bespoke installation, exclusive to the store along with pieces from Mayor’s current body of work. Julian Mayor is inspired by the sculptural possibilities of computers and the industrial craft making processes. Mayor graduated from the Royal College of Art in 2000 and
moved to California where he began work as a design consultant. After several years abroad, he moved back to the UK where he became an East London local and continued his career as one of the area’s most innovative designers. Mayor’s designs have been shown at the V&A London, Rossana Orlandi Milan, FAT Galerie Paris and 21st21st New York.


Start will be hosting an evening of drinks and music to celebrate the union between fashion, art and design on Tuesday the 16th of September from 5pm – 8.30pm. Guests will be able to meet the designer and view the never before seen installation from Mayor created exclusively for the store, whilst perusing the new AW14 collections.

Lichtwark revisited - Hamburger Kunsthalle




One highlight this weekend has been the Kunsthalle Hamburg. Being renovated extensively there are three exhibitions on view at the cube. Having been attracted by the major exhibition Max Beckmann - "The Still Lifes", which gives a fantastic insight into a fairly unknown part of the artist and is definitely worth a visit. But the two other exhibitions caught our attention as well. On the second floor "Lichtwark revisited", artists`views of Hamburg demonstrated the far sighted ideas of the first director of the Hamburger Kunsthalle, Alfred Lichtwark (1852 - 1914).  Writing the 100th anniversary of his death this exhibition underlines the care and personality of the institutions collection in response to the city of Hamburg. Having been appointed director of the museum in 1886, Alfred Lichtwark soon recognized that the city of Hamburg could provide interesting subject matter for young, 'modern' artists. As he was particularly keen to introduce Hamburg viewers to contemporary art, he decided to establish a 'Collection of Paintings from Hamburg'. Among the artists Lichtwark commissioned for this project were Ernst Eitner and Arthur Illies from Hamburg, leading German artists such as Max Liebermann, Lovis Corinth and Max Slevogt, as well as French artists such as the Post-Impressionists Pierre Bonnard and Édouard Vuillard. To this end, Édouard Vuillard and Pierre Bonnard spent several weeks in Hamburg in 1913. The paintings they created during this time, including Bonnard's Evening at the Uhlenhorster Fährhaus (1913) and Vuillard's View from Binnenalster (1913), are among the most important works in the Hamburger Kunsthalle collection.
"Lichtwark revisited" takes up and expands on Lichtwark's ingenious idea. The Kunsthalle has invited six international contemporary artists to create works that relate to the city of Hamburg in some way. The newly created pieces are presented alongside the works that were originally commissioned by Alfred Lichtwark; itis particularly interesting to see how the view of Hamburg has changed and how today's artists respond to the city. The story of the Sammlung von Bildern aus Hamburg now continues with the latest contributions by six contemporary artists. Some of them were already familiar with Hamburg, while others have come to the city for the first time to participate in this project. The works commissioned by Alfred Lichtwark for the Hamburger Kunsthalle collection were above all paintings; a hundred years later, the range of artistic media employed by the invited artists has expanded to include photography, film, installation and graphic art.
The six invited artists are Jill Baroff (*1954), Julius von Bismarck (*1983), Michaela Melián (*1956), Jorinde Voigt (*1977) , Adrian Williams (*1979) and Tobias Zielony's (*1973).

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