Jeewi Lee & Jay Lee

WAITINGROOM 

15.10. - 28.10. 

 

Exhibition-Relay #Solidarity #FightBack #SunGoesUp / Nr. 8

 

 

 

Waitingroom

 

I’m going. (He does not move).” - Waiting for Godot by Samuel Beckett

 

In our high performing society, we are always encouraged and aspire to take the initiative and act. However, with the existential and cultural shock, as the COVID 19 lockdown initially came, we were suddenly told by the society that encourages us to take the initiative to act, to take the initiative not to act until further notice.

 

We went from choosing when to initiate or wait, to being asked to wait until the next development in the situation. With the passage of time, we eventually found our own ways of passing the time and working with the situation, however the big wait for what is next to come continues. What we are waiting for is still unclear.

 

What kind of emotions does waiting generate?

 

What happens when the curator has been waiting for our exhibition text for days?

 

Can waiting be defined as an intermission? A void of an act or event?

 

“Time is money” - waiting is often seen as a waste of time in our society, something negative, but it could also be associated with hope, as can be observed in the novel “Waiting for Godot” by Samuel Beckett. The wait and hope for something to arrive that will validify their existence. 

 

Isn’t being an artist sometimes about being subjected to waiting? Waiting, in terms of searching for an answer, even though we know we will never reach the solution. 

 

Jay and Jeewi are dealing with these questions in the exhibition and invite you to share the void.

 

To see waiting as an act and not a void of act or event.

 

 

 

 

Jay Lee (*1993, Seoul) is a German Korean artist, living and working in Berlin.

In his artworks, he puts human perception into question, which is very susceptible to being accustomed to patterns. In his video, photo series and installation works, Lee searches for elements that irritate these patterns that we take for granted and no longer pay attention to, to bring the viewers to reflect upon these patterns. He works through psychological irritation by subtle changes in the ‘reality’ to bring these normalized elements out and expose them, in order to denormalize what has been normalized.

 

Lee studies Fine Art at Universität der Künste Berlin, in class of Tillmann Wendland and currently Monica Bonvicini. Since 2019 he is also a guest student in Kunsthochschule Kassel in the class of Bjørn Melhus.

 

Jeewi Lee (*1987, Seoul) German Korean artist based in Berlin. Her childhood and youth, in which she had to change her place of residence regularly and grew up “caught between cultures”, not only influenced her personally but also her work. In her works, she deals with traces by thematizing the past, presence, and absence. In her installations, videos and painting series, the trace exists as residues of past lives, recalling the passage of time, a visual allegory for lived experience – of history, place and moments. In her work, she often gets involved with the exhibition space and develops a site-specific work.

 

Lee studied painting at Universität der Künste Berlin and Hunter College University in NYC. She graduated in 2014 as a Meisterschülerin in Fine Arts at Universität der Künste Berlin and went on to do an MFA in 2018 in the postgraduate study of Art in Context. Since graduating, she has participated in exhibitions, as in Kunstverein in Hamburg, Korean Embassy Berlin and Kunstmuseum Stuttgart and received various grants and artist residencies, including Villa Romana Florenz and the scholarship from the Stiftung Kunstfond.

 

 

©Courtesy of Jeewi Lee, Jay Lee  & Diskurs Berlin

 

Gregor Hildebrandt

DONNERSTAGS ORCHIDEEN WÄSSERN

30.09. - 14.10. 

 

 

Exhibition-Relay #Solidarity #FightBack #SunGoesUp / Nr. 7

 

 

 

WATER ORCHIDS ON THURSDAYS

This pops up on my phone once a week. The memory has somehow shifted from Stefan's computer to my phone... Now Jung Me Chai from DISKURS is texting again when I could do the exhibition that Peter Ungeheuer and Maria Nitulescu proposed to me. 

 

Since the DISKURS Berlin room cannot be entered, the window offers itself. After all, my grandmother's window was the starting point for my last exhibition. The desire to work with glass came to me. I also wanted to do something with the Mayersche Hofkunstanstalt in Munich for a long time. 

 

And again, Jung Me Chai writes when the exhibition is and what the title will be? Based on my ruminations, these are photographs of reflections of a still life in a VHS tape, based on a work I previously made, I ask myself which flowers? 

 

 

DONNERSTAGS ORCHIDEEN WÄSSERN

Dies ploppt einmal die Woche auf meinem Handy auf. Die Erinnerung hat sich irgendwie von Stefans Rechner auf mein Telefon verschoben… Jetzt textet schon wieder Jung Me Chai von Diskurs, wann ich denn die Ausstellung machen könnte, zu der mich Peter Ungeheuer wie auch Maria Nitulescu vorschlugen. 

 

Da der Diskurs-Raum nicht zu betreten ist, bietet sich das Fenster an. War das Fenster meiner Oma doch schließlich Ausgangspunkt meiner letzten Ausstellung. Der Wunsch mal mit Glas zu arbeiten spitzte sich zu. Außerdem wollte ich schon länger mal was mit der Mayerschen Hofkunstanstalt München machen. 

 

Und wieder textet Jung Me Chai wann die Ausstellung denn sei und welcher Titel? Ausgehend von meinen Spiegelungen, dies sind Fotografien der Reflexionen eines Stilllebens in einem VHS-Spiegel (eine von mir angefertigte Arbeit), frage ich mich, welche Blumen?

 

 

 

Gregor Hildebrandt (born 1974 in Bad Homburg vor der Höhe, Germany) lives and works in Berlin und Munich. He has been professor for Painting and Graphics at the Academy of Fine Arts in Munich since 2015.

 

His works are present in renowned collections, such as the collection of Centre Pompidou in Paris, the Contemporary Art Collection of the Federal Republic of Germany, the Yuz Museums collection in Shanghai, the Martin Z. Margulies Collection in Miami and the Burger Collection in Hong Kong.

 

His most recent exhibitions include „Fliegen weit vom Ufer fort, Wentrup, (Berlin, 2020), „Der Raum ist die Miete, Almine Rech, (Brussels, 2019), „Tönend hallt die Jugend, Kunsthalle Recklinghausen, (Recklinghausen, 2018), „In meiner Wohnung gibt es viele Zimmer, Galerie Perrotin (New York, 2018), „Die Schwarze Sorge um das Segel, Sommer Contemporary Art Gallery (Tel Aviv, 2017), „Alle Schläge sind erlaubt, Almine Rech Gallery (Paris, 2017), „Urlaub im Urban, Künstlerhaus Bethanien (Berlin, 2016), „Coming by Hazard, Galerie Perrotin (Hong Kong, 2015), „Sterne Streifen die Fluten, Saarlandmuseum (Saarbrücken, 2015).

 

 

Gregor Hildebrandt (* 1974 in Bad Homburg vor der Höhe) lebt und arbeitet in Berlin und München. Seit 2015 ist er Professor für Malerei und Grafik an der Akademie der Bildenden Künste München 

 

Seine Werke befinden sich in vielen renommierten Sammlungen und Museen wie der Sammlung zeitgenössischer Kunst der Bundesrepublik Deutschland; Yuz Museum Shanghai / Budi Tek Collection, Shanghai, China; The Margulies Collection, Miami, FL, U.S.A.

 

Zu seinen jüngsten Ausstellungen zählen „Fliegen weit vom Ufer, Wentrup (Berlin, 2020); „Der Raum ist die Miete, Almine Rech (Brüssel, 2019),; „Tönend hallt die Jugend, Kunsthalle Recklinghausen (Recklinghausen, 2018); „In meiner Wohnung gibt es viele Zimmer, Galerie Perrotin (New York, 2018); „Die Schwarze Sorge um das Segel, Sommer Contemporary Art Gallery (Tel Aviv, 2017); „Alle Schläge sind erlaubt; Almine Rech Gallery (Paris, 2017); „Urlaub im Urban, Künstlerhaus Bethanien (Berlin, 2016); „Coming by Hazard, Galerie Perrotin (Hong Kong, 2015); „Sterne Streifen die Fluten, Saarlandmuseum (Saarbrücken, 2015).

 

 

 

©Courtesy of Gregor Hildebrandt  & Diskurs Berlin

 

 

Yukiko Jungesblut 

ZWISCHENBERICHT 

17.09. -  29.09. 

 

 

Exhibition-Relay #Solidarity #FightBack #SunGoesUp / Nr. 6

 

 

 

Zwischenbericht

 

(The intervention “Zwischenbericht” comes as a reflection to the situation proposed by Exhibition Relay 2020 at DISKURS Berlin, which was a reaction to the COVID 19 pandemic.)

 

Zwischenbericht takes up on the “Zwischen”, the in-between, and the parting and connecting it entails. However, this “Bericht” is more a pondering: an off-road/way-side speculation rather than a straight-faced report. The intervention is developed from the feeling of a forced pause, that nevertheless allows for the forgotten to resurface, sometimes with strange effects. It also tells of the longing for an overview but also for spaces or times to which access is denied. Zwischenbericht in its present form, circles around Mont Ventoux in the Provence region of France. Nowadays, the Ventoux enjoys fame as part of the Tour de France [1]. So in sporting comparison, this part of the DISKURS relay resembles the mountain stage. It is based on an actual “expedition” to the mountain that I undertook in 2017.

 

My project was an experiment. In the cultural section of a newspaper, I had found a splendid title: Faulpelz mit Weitblick. It was a note on Petrarch’s letter about his climbing Mont Ventoux in 1336 and how some scholars claimed that this climb and the subsequent letter meant a changing of worlds. The invention of the modern subject, the advent of humanism, the transition from medieval times to the renaissance. The first pleasure walk. Well, kind of. I have a natural sympathy for idlers and sloths and also for overviews. So, I was curious. What would happen if another idler were to climb this mountain? Would the view on the world also shift? The outer and the inner world collide? What do you find now? And how should the story be told? Will it be able to speak behind the barrier?

 

We are after a literary journey becoming an actual journey becoming a journey in mind and climbing a mountain on the sidewalk in the middle of Berlin.

 

[1] (although because of COVID19 not in 2020)

 

 

 

 

Yukiko Jungesblut (Berlin) is an artist and researcher. She seeks out potentialities and instances of overlap between imagination, fiction, and reality. Her artistic practice is a mode of perpetual sensing, thinking, affirming, doubting, and translating. For her, freestyle research aims to combine analysis and associative play with aesthetic pleasure. Although she uses photography as her prime investigative method and for the construction of “emotional evidence,” Jungesblut works across a range of media – videos, printed matters, and installations reminding of movie sets which she calls “Gedankenräume” (thought spaces). These sets combine images, found objects, archival material ranging from newspapers, sketches, photos, light-objects, and documentation material from her research quests.

 

 

Zwischenbericht, 2020, Installation View

©Courtesy of the Artist & Diskurs Berlin

 

 

 

 

 

 

 

EVERYTHING DIVIDES

03.09.-16.09. 

 

 

Red People:

Nikoleta Markovic

Andrej Mircev

Eunseo Yi

 

 

Exhibition-Relay 2020 #Solidarity #FightBack #SunGoesUp / Nr. 5

 

 

 

In the third iteration of the project Everything Divided, pop-up collective Red People develops a new work that navigates between forensic reconstruction, experimental cartography, and collage. The DISKURS window is transformed into a black screen consisting of multiple visual and textual layers. The installation exposes the multitude of ideological, class, gender, and racial divisions and, at the same time, can be understood as a conceptual reordering of the gallery display. Everything Divides seeks to (self)reflect the position of the audience, as being cut-off from the inside and confronted with distances.  

 

 

Everything Divides, 2020, Installation View

©Courtesy of the Artist & Diskurs Berlin

 

DRUMROLL PLEASE…

William Winter

20.08. - 02.09.

 

 

Exhibition-Relay #Solidarity #FightBack #SunGoesUp / Nr. 4

 

 

 

 

Drumroll please...' is comprised of a single solitary sculpture entitled, 'Physio'. The piece embodies brokenness in all of its glory and awkwardness. As if standing in for a grand piano, spotlighted, raised on a podium to be viewed, we watch eagerly with an anticipation of an impressive performance knowing full well one may not ever come. 

Intended as a mechanism for simultaneous acceptance of limitation and anticipation of a way past any barriers, 'Drumroll please...,' invites viewers to wait in quiet contemplation for what may come next by accepting what has already been. 

 

 

‘Physio’, 2020, wood, steel, aluminum, ivory, brass, and wax, 63 x 76 x 90 cm

©Courtesy of the Artist & Diskurs Berlin

 

 

 

INVISIBLE BOUNDARY

Zinu Kim

 

Exhibition-Relay 2020 #Solidarity #FightBack #SunGoesUp Nr. 3

 

06.08.-19.08. 

 

 

Invisible Boundary is inspired by Seolgyeong, paper cut-outs that can be found at shamanist ritual spaces in Korea. Seolgyeong consists of patterns, letters, and abstract shapes created through the use of special knife cuts. It is a symbol of the boundaries between the invisible world of the soul and the real world. The paper structure has two functions: a decoration for shamanist rituals and a protective line which seals evil souls and ghosts from the real world. 

 

Paper is an essential material throughout the history of painting in Asia. Practically it is used as part of the door in Asian architecture, so it is also considered to be a material that divides space. The paper, when cutting into certain patterns, is décor, an artwork itself, an architectural material, and a symbol of the invisible boundary between the real and invisible world.

 

In this exhibition, Invisible Boundary, Seolgyeong is presented as a paper installation with geometric patterns as well as a reinterpretation of an invisible Korean boundary. These paper cut-outs finally present a metaphor of the moment, facing the fear of invisible beings, religious awe, and an unpredictable future.

 

Zinu Kim: Berlin-based artist. He was born in 1979 in Seoul, South Korea. He studied Asian painting in Seoul and later painting in Hamburg.

 

 

 

 

Invisible Boundary - Zinu Kim, Installation, 2020

©Courtesy of the Artist & Diskurs Berlin

 

 

 

Lorina Speder

Basel 2020 

23.07.- 05.08.

 

 

 

Exhibition-Relay 2020 #Solidarity #FightBack #SunGoesUp Nr. 2

 

 

 

 

Basel 2020 is a video work by Lorina Speder. Since Diskurs Berlin remains closed, the video work can be viewed only from the sidewalk. As of July 2020, the art exhibition Art Basel has not physically taken place. Referring to its digital program, Basel 2020 simulates the act of entering an online viewing room. Just like that, the transparency of the window at Diskurs resembles the slightly reflective surface of a screen.

 

Lorina Speder (*1988) is an Artist, Musician, and freelance writer from Berlin. Together with Milo Frielinghaus, she conducts the Present Square Art and Music Project.

 

https://lorinaspeder.com/

 

 

Basel 2020 - Lorina Speder, Video Installation, Loop

©Courtesy of the Artist & Diskurs Berlin

 

 

 

Birte Bosse & Thomas Rentmeister ARGUMENT

 

09.07. - 22.07. 2020

 

Exhibition-Relay 2020 

#Solidarity #FightBack #SunGoesUp Nr. 1

 

 

Settled by Peter Ungeheuer

 

 

ARGUMENT showcases the artistic cooperation of Birte Bosse and Thomas Rentmeister, a married artist couple. This show is their first duo exhibition presenting a joint work. The temporary installation showcases the productive result of their affectionate argument, carried out with media which are typical for their respective body of work: steel and paper. As if they were playing “rock, paper, scissors,” the outcome is unforeseeable. The result will be visible from outside the gallery space. 

 

ARGUMENT ist eine künstlerische Kooperation des Künstler-Ehepaars Birte Bosse und Thomas Rentmeister, die erste ihrer Art in einer Doppelausstellung. Für die temporäre Installation werden die beiden Künstler ihren liebevollen Ehestreit mit den Materialien Stahl und Papier austragen; wie beim Spiel „Schnickschnackschnuck“ ist der Ausgang offen. Das Ergebnis können die Besucher durch die Fenster der Galerie betrachten. 

 

Peter Ungeheuer

 

 

 

 

ARGUMENT, 2020, Metal, Paper, Variable Size 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Druckversion Druckversion | Sitemap
© DISKURS Berlin