#Solidarity #FightBack #SunGoesUp
11 Shows, 16 Artists, 2 Guest Curators
curated by Jung Me Chai
DISKURS Berlin presents Exhibition-Relay: #Solidarity #FightBack #SunGoesUp every two weeks from July-December 2020, there is a new exhibition in the space as the baton gets passed. Sixteen artists and two guest curators create eleven shows specifically designed to be viewed through the windows of DISKURS Berlin as our doors remain closed. This fast-paced exhibition program aims to support the artists, curators, and creative individuals to fight back against the COVID-19 crisis.
09. 07. - 22.07. ARGUMENT - Birte Bosse & Thomas Rentmeister
settled by Peter Ungeheuer
23.07. - 05.08. BASEL 2020 - Lorina Speder
06.08. - 19.08. INVISIBLE BOUNDARY - Zinu Kim
20.08. - 02.09. DRUMROLL PLEASE… - William Winter
03.09. - 16.09. EVERYTHING DIVIDES - Red People: Nikoleta Markovic, Andrej Mircev, Eunseo Yi
17.09. - 29.09. ZWISCHENBERICHT - Yukiko Jungesblut
30.09. - 14.10. DONNERSTAGS ORCHIDEEN WÄSSERN - Gregor Hildebrandt
15.10. - 28.10. WAITINGROOM - Jeewi Lee & Jay Lee
29.10. - 11.11. HYSTERIC C - Hana Yoo
12.11. - 25.11. TAPPING, DRESSING - Bethan Hughes & Laura Schawelka
curated by Anna Ratcliffe
27.11. - 17. 12. LOVEANTIC - Jérôme Chazeix
Birte Bosse, Jérôme Chazeix, Gregor Hildebrandt, Bethan Hughes,
Yukiko Jungesblut, Zinu Kim, Jay Lee, Jeewi Lee, Nikoleta Markovic
Andrej Mircev, Thomas Rentmeister, Laura Schawelka,Lorina Speder,
William Winter, Eunseo Yi, Hana Yoo
Anna Ratcliffe, Peter Ungeheuer
27.11. - 17. 12.
Solidarity FightBack SunGoesUp/ Nr. 11
Focussing on the contemporary representation of the male body, LOVEANTIC deals with images, symbols, and codes from ancient Greece. Jérôme Chazeix concerns himself with the images of antiquity and its interaction with aspects of our daily lives, as well as the shift of this aesthetic into other areas (e.g. cultural clichés, beauty, fetish, homoerotic, ecstasy, athletic body, fashion, techno, etc). The artwork is dedicated to our experience with access to images. Digital transformation and the consequences of the flood of media imagery are a few of the artist's current key focal points.
Through multimedia experiences, which the artist calls "Gesamtkunstwerk "(a total piece of art), Chazeix creates hybrid, analytical, and arranged cross over parallel worlds. At the installation's core is a simultaneous juxtaposition and connection of diverse media: drawing, textiles, video, and objects all play together. These diverse elements are being prioritized and integrated alternately, which leads to a complex yet possibly disorientating scenery. As the viewer is being hypnotized, they can enter a new form of consciousness, a state of otherness. All the staged surfaces in the room are being covered and wrapped in a graphical contamination. In Chazeix’s works, the image is never solitary, it only gains its meaning while combined with other elements. The museological references along with the collected elements and objects transport the viewer to a poetic staging of another world.
Jérôme Chazeix was born in France in 1976 and has been living in Berlin since 2000. Between 1994 and 2002, he studied Fine Arts at the University of Saint-Etienne (FR) and graduated with a thesis on Synthesis of the Arts (Gesamtkunstwerke). Between 2000 and 2004, he was a Meisterschüler (post-diploma) with Katharina Grosse at the Berlin Weissensee School of Art.
Jérôme Chazeix works and exhibits internationally. He has been selected for numerous grants and Artist Residencies such as Matsudo (JP), Shanghai (CN), Bergen (NO), Bangalore (IN), Helgeland (NO), Amsterdam, Vienna, Frankfurt, Ravensburg, Meinersen (GE), and Vilnius (LT). His recent solo exhibitions include Label201, Rome (IT), Galerie Herold, Bremen, Galerie Nachtspeicher23 Hamburg, A.I.R. Paradise, Matsudo (JP), and BERLIN WEEKLY, Berlin. His work was also included in the Lagos Biennale 2 (2019).
Jérôme Chazeix builds complex installations that create hybrid parallel worlds. He combines and superimposes different mediums in order to reveal staged sets in which the public can dive into and be totally immersed. In these sets, actors play through choreographed and spontaneous performances. These works of art are meant to be "total", in the sense that performers and audiences both become protagonists of parallel worlds, finding a match in the objects around them. The public gets carried away, enveloped, searching for meaning, halfway between new-age desire and social reality. Performances, with audience participation, are integral to Chazeix’s overall concept and are frequently realized in the installations and permanently presented in videos. Chazeix's works are contemporary art combined with theatrical installations and are, in the truest sense, a stage for the public.
©Courtesy of Jérôme Chazeix & Diskurs Berlin
Bethan Hughes & Laura Schawelka
12.11. - 25.11.2020
Curated by Anna Ratcliffe
Solidarity FightBack SunGoesUp / Nr. 10
To tap on the dressed window that we look through, to ogle at the plush contents, being converted from passer-by to consumer. We tap, we tap harder, until the window breaks, tap until the devil’s milk is drawn, we extract, we industrialize, we devour, we cover it up, we window dress, we dress it up, we engulf, we consume, we leave.
No artificially produced rubber convincingly mimics the natural properties of its natural counterpart, hence it is still primarily ‘tapped’ from Hevea Brasiliensis or para rubber tree plantations. The latex rubber from these trees flows through and connects vast and violent histories of colonialism, extractivism, and labour exploitation. However, there are an estimated 20,000 species of plants that also produce latex, 20,000 alternatives.
Bethan Hughes’ ongoing project, Hevea, investigates the qualities, production and usage of natural latex rubber. The investigation into this substance speaks to the current moment, one in which transparent screens, face shields and latex gloves encapsulate the body, protecting it from the outside world and other bodies. In this way, humanity mimics the function of latex production in plants - understood as a biological defense mechanism.
Architects are now building ‘Instagram’ moments into their buildings, as photo opportunities have become a commodity in their own right. But this is not a new phenomenon, as architects have been building with the camera in mind since the invention of photography.
Laura Schawelka examines this relationship between architecture and image-making, concentrating on retail interiors and exteriors. Here she presents a black and white image of Hans Hollein’s 1966 designed Retti candle shop in Vienna with its slick design created solely out of aluminium. Schawelka thinks about the presentation of goods and their architectural staging that seduces the passer-by into consumers.
The shop front is presented in a dressed window of DISKURS, playing with the idea that ‘window dressing’ glosses over the psychological manipulation in the consumer experience.
Untitled (Retti 2020 black and white), 2020
PVC, 300 x 254 cm
Untitled (Red Shoe), 2018
Archival inkjet print, 70 x 100 cm
Untitled (Vessels), 2019
PVC, metal,183 x 396 cm
Vinyl cut, Dimensions variable
All the iron rules into rubber bands, 2020
Custom steel stand, stainless steel hardware, latex, valves, polish, dimensions variable
A fluid defence II, 2020
Machine learning animation, 6 min., looped
©Courtesy of Bethan Hughes & Laura Schawelka & Diskurs Berlin
29.10. - 11.11.2020
Solidarity FightBack SunGoesUp / Nr. 9
The exhibition Hysteric C started with an article published by the Ministry of Agriculture and Food of Russia under the title Virtual Reality test for cows on farms near Moscow. It describes an experiment conducted on cattle at a dairy farm, showing them a virtual image of peaceful grassland on a customized VR headset. The article implies that the VR experiment reduces the anxiety of cows and has shown a possible increase in milk production.
The utilization of technical apparatus in the welfare of both humans and animals have different purposes, e.g. cows for milk and meat production - humans for improving their quality of life. However, the subject-object relationship in the scientific experiment has strong similarities in the dynamic between the political system and the people. The assumption that presenting utopian images will reduce anxiety, the sovereign control of mental health and female reproductive labor being the ultimate catalysis for capitalism.
The endeavor to change perspective and overcome the boundary of visual perception has been technologically achieved, for instance in VR. However, it simultaneously reveals numerous limitations that oversimplify the individual’s experience and relationship to their environment, along with not taking into account the psychological implications in their entirety. How could one embrace the complexity while detouring from the idea of self? Inspired by children’s stories and human-animal metamorphosis in mythologies, Hysteric C takes an extremely exaggerated anthropomorphic view of non-humans, which reveals the position of humans to widen perceptions, whilst confronting limitations,
Hana Yoo works with experimental video and film that investigates the nature of artificiality and its political entanglement, along with the altered mental states derived from the technical apparatus. She engages with representational images of nature and the interrelation of bodies, which she then weaves through storytelling. Her works have shown at museums and festivals including the Fotomuseum (Winterthur, Switzerland), European Media Art Festival (EMAF), and Cairo Video Festival (Cairo, Egypt) among others.
Splendour in the Grass, single-channel video, 17mins, 4K, stereo, 2020
Hysteric C, PLA, Stainless Steel, Aluminum, 80x30x40, 2020
©Courtesy of Hana Yoo & Diskurs Berlin
Jeewi Lee & Jay Lee
15.10. - 28.10.2020
Solidarity FightBack SunGoesUp / Nr. 8
“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
DONNERSTAGS ORCHIDEEN WÄSSERN
30.09. - 14.10.2020
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 Museum’s 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
17.09. - 29.09.2020
Solidarity FightBack SunGoesUp / Nr. 6
(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 . 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.
 (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
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
20.08. - 02.09.2020
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
Solidarity FightBack SunGoesUp/ Nr. 3
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
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.
Basel 2020 - Lorina Speder, Video Installation, Loop
©Courtesy of the Artist & Diskurs Berlin
Birte Bosse & Thomas Rentmeister ARGUMENT
09.07. - 22.07. 2020
Settled by Peter Ungeheuer
Solidarity FightBack SunGoesUp/ Nr. 1
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.
ARGUMENT, 2020, Metal, Paper, Variable Size