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).

The Best in Film Music 1987: The Witches of Eastwick (John Williams) Good Morning, Vietnam (Alex North) Lionheart (Jerry Goldsmith)

Maximilian Peter on the best in film music in 1987:

Written by Mitch Markowitz and directed by Barry Levinson, the American comedy-drama Good Morning, Vietnam became one of the classic films of the 1980s. Robin Williams´ outstanding performance was rewarded not only by the Academy of Motion Pictures, Arts and Sciences with a nomination for Best Actor in a Leading Role, but also by the Hollywood Foreign Press. Williams won the Golden Globe, got an American Comedy Award for ´´Funniest Actor in a Motion Picture´´ and was also nominated for a BAFTA Award and a San Jordi Award in Barcelona for ´´Best Foreign Actor´´! Most of his radio broadcasts within the film were improvised in an extraordinary artisic way. Robin Williams was a legend.
Another legend, who worked on the movie, was composer Alex North. He composed the orchestral score for Levinson´s cinematic masterwork. Even though North was a surprising choice as composer for this motion picture, the musician wrote an always warm and emotional piece of film music – a mixture of comedic musical thoughts and dramatic underscoring. North´s second good score in 1987 was for John Huston´s final film The Dead, a beautiful acted and well done cinematic adaptation of James Joyce´s short story. North´s music was inspired by an Irish song called ´´The Lass of Aughrim´´ (because the song figures prominently in Joyce´s story). Within the movie, the song was used as source music, too. North´s adaptation of the Irish melody is the main reason that the score couldn´t get an Academy Award nomination in the following award season. A year before, Herbie Hancock won the award for his score for Round Midnight, which is dominated by pre-existing musical material. Hancock´s win was the main reason for a change of rules in the Music Branch: Scores with pre-existing musical material could never get a nomination as easily as the years before. Nevertheless, Alex North´s delicate music was a satisfying score for John Huston´s last step into the world of film. The working relationship between composer and director, which began in 1961 with The Misfits, came to a strong artistic conclusion.

For George Miller´s American comedy-fantasy film The Witches of Eastwick – based on John Updike´s novel – legendary composer John Williams composed great music. The score is whimsical, enthusiastic and very enjoyable. A true film music masterpiece of the genre – and a great contrast to his big orchestral romantic scores of the era (Star Wars, Indiana Jones, for example). The cue The Dance of the Witches has this particular ´´macabre´´ tone and is one of the best tracks Williams has ever composed. Great!

In the same year, Goldsmith wrote a stunning score for Joe Dante´s science fiction comedy film Innerspace, which was inspired by Fantastic Voyage – a science fiction film of the 1960s. The film premiered in July 1987. Dennis Quaid, Martin Short and Meg Ryan are the stars of Dante´s adventure and maestro Jerry Goldsmith created a score, which combined big orchestral textures with electronic sounds. The musician did a great job in creating music for the exciting visuals. His soundtrack is an adventurous musical feast. Outstanding!
Another musical gem of the year was the score for Lionheart. Jerry Goldsmith wrote marvelous scores for films by Franklin J. Schaffner (Planet of the Apes, Patton, The Boys from Brazil). The medieval adventure Lionheart was the last collaboration between composer and director, and its score is still regarded as one of the composer´s finest of the 1980s. Powerful, adventurous, thunderous, rousing and romantic. Even though the movie never received a Los Angeles release (Orion Pictures delayed its theatrical release), the movie isn´t bad. It was richly produced, but it is a fact that Goldsmith´s score is the most outstanding component of the movie. In August 1987, the film was finally shown in theatres in Canada. 
The year 1987 was also a special year for all Star Trek fans. The very successful TV show Star Trek: The Next Generation premiered on September 28th in 1987. Alexander Courage´s fanfare for the original series (Captain Kirk) and Jerry Goldsmith main theme for Star Trek: The Motion Picture (1979) were combined and became the theme for the show ST:TNG. Engage!

What a great film music year!

By Maximilian Peter

Felix Oehmann "True size comes from within" at Salon Kennedy, Frankfurt

(c) Matthias Mayer

(c) Matthias Mayer

(c) Matthias Mayer

(c) Matthias Mayer

(c) Matthias Mayer

(c) Matthias Mayer
(c) Matthias Mayer
SalonKennedy presents „True size comes from within“ the first solo exhibition by Berlin-based artist Felix Oehmann in Frankfurt. The show provides an overview of the different fields and levels Felix Oehmann's sculptural practice is operating in. Constantly ranging in size from petit to monumental, the title of the show captures that very motion. Even in the simple drawing or sculptural sketch, it is always an inherent larger-scaled vision thereof that drives the artist and makes every work distinct. The 19th century architecture and dignified atmosphere of Salon Kennedy put the sculptures in a vibrant contrast between a private inside and their potential of bursting to the outside. Oehmann`s work focuses on how sculpture today can exist as an autonomous and physical reality in space, contrasting the flatness of new media we are exposed to every day. This illusion of digital nearness produced by contemporary ways of communication is challenged by the striking directness and raw materiality of his sculptures. Exposing their own construction in an exaggerated manner, the sculptures emphasize the process of literally turning flatness into the three-dimensional to the extent, that the sculpture`s upright posture is always risking its collapse. Thereby both, the content and the sculptures themselves are constantly questioning their own existence fundamentally. Unmasking their weakness is becoming their strength.

Clear signs like hearts, lips or numbers create an encounter between the sculpture, the viewer and the artist at the same eye level. His interest and use of high dichotomies and low motives produce a constant rotation of nearness and distance. Celebrating this radical ambivalence, the sculptures and their separation of space lead to the question how distance can be overcome in their own place. They are the place of collision: between here and there, world and individual, history and presence. It is the place of transferring energy between the individual and one another.

Felix Oehmann (*1985, Heidelberg) lives and works in Berlin. He studied at the Academy of Fine Arts in Karlsruhe and graduated 2012 as Meisterschüler of Prof. Harald Klingelhöller. His works have recently been exhibited in a double solo exhibition with Salome Ghazanfari "United Colors" at Cruise & Callas, Berlin, in the group exhibition „Better than your neighbour“ at KuWi, Wiesen and will be on view later this year at „Debütantenausstellung“ at the Academy of Fine Arts, Karlsruhe.

The exhibition is on until 23rd of September and can be visited via appointment.

Big Smile and a wall for Frankfurt

The somewhat different art–event took place last weekend during this year´s Museumsuferfest in Frankfurt – a cultural festival that attracts more than 3 Million visitors in only three days. 

During those three days, the Berlin based sculptor Felix Oehmann in collaboration with Cultural Avenue, the agency for cultural projects, staged an art intervention that questioned the means of art and architecture as well as given structures of exhibiting fine art. Centred around his sculpture – "Big Smile & and a Wall" the artist created unique, t-shirts and bags for the people of Frankfurt to receive a picture in front of his big smiley in return. Banners, distributed throughout the city of Frankfurt let the sculpture and the artistic intervention spread even further, beyond the embankment festival. The sculpture itself acted as a backdrop, stage, space and art work in itself, reacting upon the surrounding environment – trying to fit in and at the same time remaining completely autonomous. Building a space of encounter that flattens given hierarchies of the art world. The wall as status quo – a simple symbol delivers a simple message – integrating people in an art intervention - to share happiness and a joyful energy. The sculpture, which often remains a rigid structure when entering the realm of a gallery or museum turns into a versatile figure that allows for engaging with art at its very core. At the same time it blurred given lines between art and architecture. Acting as a space in itself that on the one hand gave room to intimate gatherings during a reading and an artist talk and on the other hand opened a stage for a comedy show and a musical performance on the last day of the Museumsuferfest, Oehmanns sculpture changed once again into a territory for intellectual exchange. Finally the public sculpture entered the gallery space of Salon Kennedy, becoming part of Ohemanns solo show “True size comes from within” testing the given parameters once again, taking them ab adsurdum.. The intervention concluded with its Sunday Symposium on the third and last day of the event. Spread across the afternoon, the sculpture took on its endless variations staging a musical performance, turning into an interactive backdrop for a stand up comedian, the cosy environment for a book reading, the meeting and exchange point for one of Frankfurts hottest art and design magazines and the right setting for an artist talk.

The public intervention was documented, live feed and is archived on the its own tumblr page - Big Smile and a Wall

The project was only possible with the help of Stadt Frankfurt and the generous support by Textil-One and Foxxshirts.

The Best in Film Music 1986 - An American Tail (James Horner) The Great Mouse Detective (Henry Mancini)

Max Peter on the best film music of 1986:

In 1986, composer James Horner wrote powerful and impressive scores for different cinematic genres. The American musician composed, for example, the lovely music for Steven Spielberg´s first animated production An American Tail, which was directed by Don Bluth. For Aliens, James Cameron´s entry in the saga of Alien, the artist wrote another stunning score, which went musically in a more darker direction than the more romantic and melodic score for An American Tail

Four years before, director Bluth established his great artistic style in the movie The Secret of NIMH – an adventurous jewel of the genre –, which inspired legendary composer Jerry Goldsmith to write one of his greatest musical efforts of the early 1980s. 
The score for Tail is without question one of James Horner´s very best works of the 80s. Melodic, romantic and exciting. Even though a lot of people considered this score as Horner´s ´´real masterpiece´´ of 1986, Aliens got even more attention and received an Academy Award nomination in the category Best Original Score. The only musical creation for Tail, which earned recognition at the Oscars, was Horner´s song ´Somewhere Out There´ (with lyrics by Barry Mann). The song became one of the most popular ones of its genre and even won a Grammy Award in the following award season.

For Aliens, James Horner had six weeks to compose a thunderous action score. Like the score for An American Tail, the music for Aliens was performed by the famous London Symphony Orchestra. For James Cameron´s action-oriented blockbuster the musician had only four days to record the score at the famous Abbey Road Studios. The music is a mixture of Horner´s darker musical thoughts for film and Jerry Goldsmith´s mastery in action scoring – a few Horner-motifs are very similar to several Goldsmith had written for the first film in 1979 and other science fiction movies of the decade.

Another great animated feature of 1986 was The Great Mouse Detective. Maestro Henry Mancini wrote a fantastic score for Disney´s last animated film before The Little Mermaid (which became a milestone of the genre years later). Especially the great main theme is one of Mancini´s very best – a catchy tune that musically evokes all the greatness and fun of the main character Basil. 

You will notice that the year 1986 had a lot of little film music gems. Apart from the mentioned scores Ennio Morricone wrote one of his most satisfying compositions and one that ´´everyone in Holllywood´´ paid attention in 1986. For Roland Joffé´s The Mission, a masterful British drama film about the experience of a Jesuit missionary, the Italien composer Morricone created a memorable soundtrack, which includes an extraordinary main theme, powerful in its dramatic construction and its melodic value. The cue Gabriel´s Oboe is perhaps the most famous composition of the whole score, and a welcome piece for every concert program since. 

There is only one score of 1986, which is as extraordinary as Morricone´s work for The Mission and that´s the one Jerry Goldsmith wrote for David Anspaugh´s basketball film Hoosiers – one of the greatest sports movies ever made. Gene Hackman and Dennis Hopper did amazing jobs in bringing to live their characters. The latest got an Academy Award nomination in the category Best Actor in a Supporting Role. The phenomenal score was nominated, too. Goldsmith combined orchestral and electronic elements within his score. He used recorded hits of basketballs on a gymnasium floor and utilized them as additional percussion sounds. Finally the soundtrack became a musical mirror of the energy of basketball and a rhythmic and melodic masterpiece of film music. Great!
By Maximilian Peter

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