Amir Chasson, Issachar, 2018, wood, 56x42x38 cm approx.
Erin Mitchell & Olivia Lennon
March 31st - April 21st
March 31st, 7-10 pm
image credit: Kevin Weil
"Traction Flesh Hold"
Saturday, 14th October, 2017
19:00 - 22:00
14.10.2017 - 04,11.2017
Tuesday - Saturday
15:00 - 19:00
exgirlfriendberlin, exgirlfriend, berlin, art gallery, contemporary art, gallery, berlin, art berlin, artist berlin, berlin arts, berlin artists, Omsk Social Club,
Opening Reception: 8 September 2017 @ 19.00
Running from 9/9/17-29/9/17
Holsteinische Str. 18, 12161 Berlin
For his first solo show in Berlin, Christopher Meerdo explores various modes of subjugation and subversion relative to our asymmetrical relationship with networked technologies.
This new body of work is derived from circumventions of restricted and administrative areas accessed through the dark web. More specifically, the recent projects 'White Hot' and 'Blaze/Chill' are augmentations of files derived from hidden systems designed to collect and control bodies as subjects for metadata analysis.
For White Hot, photogrammetry modeled sculptures sit atop their corresponding United States Air Force drone videos. The videos, accessed through TOR channels, reveal testing and training procedures being implemented on US citizens. This includes the practice targeting of individuals outside a medical care center and on a long combination vehicle (LCV) semi truck. The term “white hot” is commonly used by Remotely Operated Aircraft Sensor Operators; the etymology stemming from the bright white representation of body heat when viewed with interfered targeting scopes mounted to drones as part of Multi-Spectral Targeting Systems.
The resulting sculptures, originating from the video frames, are deconstructed using a slicing technique and reconstructed by hand. Each sculpture is hydroprinted with collages derived from images collected during the researching of the project.
Using similar methods of retrieval, the series Blaze/Chill is an excerpt from a collection of roughly 5400 infrared photographs produced by embedded facial recognition (EFR) security cameras. International in scope, the resulting photographs from this specific camera system uses a database of stored facial profiles to create unique identifiers for workers to gain building access or to log in and out of work each day. Similar to Workers leaving the Lumière Factory, here the camera has shifted from a casual observer, to being instrumentalized as a method of control and subjugation through highly precise individualized administration.
Christopher Meerdo (b.1981) is a Chicago based artist who grew up in the Upper Peninsula of Michigan and Lithuania. Meerdo’s work was recently featured in a year-long solo exhibition at the Mattress Factory Museum of Contemporary Art. He is the Fellowship 15 International Award winner for his projects Iceland and Cataphote, was an artist in residence at the SIM Program in Reykjavik, Iceland and attended the Skowhegan School of Painting and Sculpture in 2013. Meerdo received his MFA in Photography from the University of Illinois at Chicago and currently teaches at the School of the Art Institute of Chicago. Recent and forthcoming exhibitions include The National Gallery of Kosovo, The Museum of Contemporary Photography (Chicago, IL); CocoHunday (Tampa, FL); Floating Museum (Chicago, IL), Cabinet Magazine (Brooklyn, NY); LVL3 Gallery (Chicago, IL), Second Street Gallery (Charlottesville, VA); SIM Gallery (Reykjavik, Iceland) and a traveling exhibition in Birmingham and Leicester, UK. Meerdo is represented by DOCUMENT Gallery in Chicago.
More information can be found at http://0-0.ooo/
Opening Reception: 16 June 2017 19.00
Running from 16 June- 7 July 2017
Holsteinische Str. 18, 12161 Berlin
May 12th - June 2nd 2017 Gallery Hours: Tuesday - Saturday 10-3
Opening reception: May 12th 7pm-11pm
It Happened Here takes the fears and anxieties of a troubled world and localizes them at specific spots in the gallery. Aleks Slota embodies the contemporary existential dread and manifests it through solo performances done only for the space in which they happen.
The specific time of the action is gone, but the place remains. The ghost of the performance is only imagined through the written description. Through the disappearance the act becomes itself. I was here. I did it. It’s over. And yet, the document lives on into the future, and the performance lives through it.
April 7th-28th 2017
Gallery Hours: Mon & Thurs 12-3 and by appointment
Opening reception: April 7th 7pm-11pm
In her solo show *TRACKER, Fiona Valentine Thomann evokes ideas of how communal and private spaces are occupied or inhabited by entities that are not easily perceivable but that nonetheless claim an existence; for example the data ghost.
Influenced by the Internet of Things and Object Oriented Ontology, she plays with various dimensions of sound and visuals in her art.
Her show TRACKER allows for such different dimensions to be experienced through the usage of Augmented Reality 3D models. The shapes of these models are freely drawn in digital space; they are shaped like an idea, a gesture, a choreography.
By placing the body inside of the screen she examines different relations of art to space and time, allowing for her work to be mobile and transportable, always with you in your pocket.
This makes the public a central component in her work, they can surf inside her 3D models and make their own trajectory through the 3D Model much like video games that are navigated by the gamer. The variety of details that are thereby revealed make the experience of the 3D model different for everyone. She enables the audience to explore different angles and discover different links in the work through a plethora of sound and text that shape these digital environments.
Her work allows you to experience both mentally and physically the 3D models that are made accessible via trackers. The trackers she uses are created through a photographic interplay of screen-captures that serve as textures inside her 3D model. Such a cinematographic approach highlights the different details and the textures she uses which function as thought references in her process. They are a patchwork of different challenges human kind faces in the world today. In her models you can find anything from the wheel of human skin color made by Neil Arbisson, the first cyborg that only sees black and white and listen to color, to the Canadian company Vitalic’s pure oxygen bottles ready to be send from China for 20 dollars the bottle.
Her work essentially questions what is visible and the invisible to us, it underlines the simultaneous accessibility and the inaccessibility of an artwork.
*(TRACKER is inspired by her first lucid Dream.)
Text by Fiona Valentine Thomann and Milos Trakilovic.
Partnered with Augment App
Join us for Desperate Girl Karaoke, a zine launch and night of performances celebrating the closing of “You Look Like an Advert for Yourself”, an exhibition of new works by Vanessa Gravenor and Indrani Ashe. Indrani will read Fifty Dates of Grey, a Manifesto from the new Fifty Dates of Grey zine. Vanessa will give an artist talk, “In the female revolution, the woman will not be resurrected”. Indrani and Vanessa will perform Desperate Girl Karaoke in celebration of the angry and melancholic songstresses who make new worlds of solidarity possible by expressing their dissatisfaction with the current reality. Audience participation is encouraged. Please add your playlist suggestion in the event page.
“Fear, anxiety, and nostalgia are clear examples of the negative emotions involved in the project of detaching ourselves from familiar and cherished forms of identity.” - Rosi Braidotti “Affirmation vs. Vulnerability”
Vanessa Gravenor - Indrani Ashe
OPENING RECEPTION: February 24th 2017 7PM
We sell our bodies via self-branding on Tinder, Facebook, Instagram, and blogs: our identities are porous and morph to fit the given situation. Society tells us we should exploit these gender categories as the major business corporation of US-R-US, joining the ranks of the dispossessed Tinder -bots. We have the sense that we need to counter this army like dogma, although it permeates everything we know of, making it hard to think of an alternative. Our sentimentality contributes to a growing risk of entrapment in a world of creative precarity, losing the possibility of progress in the fight for recognition.
You look Like an Advert for Yourself, a satirical and yet sentimental take upon economies of emotional relation, is an exhibition of works by Indrani Ashe and Vanessa Gravenor that takes its name from a chapter of Nina Power’s book The One Dimensional Woman. Like its signifier, it is a feminist critique on the emotional labors and gender relations of our time by using post-internet and post-consumerist aesthetics, meme images, and vapid characteristics, to comment on how these very aesthetics are new essentializing forces. Working across photography, video, text, and performance, both artists envision their works as heuristic takes on feminism.
FiftyDatesofGrey.com follows Indrani on fifty Tinder dates in London and Berlin, correlating romantic tribulation with economic and geographic precarity. It uses the form of the confessional to detail traumatic experiences of the industrialization of love and emotion, which the artist herself encountered on her quest to infiltrate circles of social privilege and create new possibilities for human connection. Vanessa Gravenor’s series Odalisque Beauty Ass on Young-Girl/Sick-Woman theory follows a similar approach but through a different aesthetic means. Through writing and medium format photography, Gravenor attempts to reprocess images such as the Odalisque or Charcot’s hysteric in order to co-opt these forms and reach a type of jouissance. The artist has asked her friends to re-enact different poses, yet change and bastardize them. A text on the work situated the series in media theory accompanies the series.
Join us from 7 until 11pm for a drink, art by Christophe Mauberqué andBrandon Oxendine, a first listen to new upcoming releases (Albrecht La'brooy - Emissary EP (Night Tide 003) + So Underground It Hurts EP (ensemble005) and more.
Night Tide (AU) is a cross continental label founded by Eluize that stands for beauty in electronic music and international collaboration between sonic and visual artists.
On the 9th Night Tide will be presenting their latest release, the "Emissary" EP that was created by Melbourne based, Analogue Attic Recordingsfounders Albrecht La'Brooy. The release began with a concept from the artists, who asked for field recordings taken by Eluize from around Berlin. Sounds from the local sonic landscape made their way across the Atlantic to arrive in Albrecht La’brooy’s studio, where they were used as inspiration for the three subtle and deep outings on this record. The photography in the artwork for the release comes from friend of the label Christophe Mauberqué Photography, who will be showing some of his other works on the night. You can listen to the guys gentle view of house in their "music to...drive through the otways to" mix for I-D here:
ensemble (BE) is a label run by Belgian DJs Kong & Gratts, which so far has showcased a broad range of sounds from allies such as Xosar, San Soda, Belgian cult jazz band Aksak Maboul and Raw Sketches. The imprint first started as a club night to celebrate togetherness and timeless house sounds.
The forthcoming "So Underground It Hurts EP" features an ensemble of befriended producers. The release will be out this April.
Event photo by: Christophe Mauberqué
Flyer design by: Brandon Oxendine
OPENING RECEPTION: OCT 28TH 7PM
Today I decided on the green tracksuit. I’ll run 20 minutes in the gym to workout my glutes, I want them to feel really hard, completely tight. I have worked hard so that my biceps reflect my acquisitive lifestyle. I admit that I feel a certain anxiety to see my pearly cheekbones reflected with the light of my Ipad, my Iphone and all my fucking mobile devices. I fasten the velcro on my trainers and start out on the journey to the space between sublime and beyond sublime. Behind the automatic sliding glass doors, palm trees are waiting for me, along with the air conditioning and green neons, green like my tracksuit. A sexy Japanese woman verifies my membership card for the Tropic-gym. The space has been perfumed with mint in order to cover the smell of our collective sweat.
Exgirlfriend presents its first exhibition, Completely Familiar Entirely Artificial with artist Mit Borrás. Mit Borrás makes protagonists of the different elements our current society uses to transmit ideas of well-being, hygiene, modernity, personal satisfaction and health. The dangerous closeness between the concepts of a) progress and b) technology have surrounded us with devices. We have adopted curious sports routines. Current communication routes have destroyed our more intimate forms of reference, giving way to a universal comparison model, one in which we are all susceptible of being rated and categorized. An obsession with synthetic fabrics, fluorescent colors and protein powder has generated groups of elastic devotees who acquire superpowers when an energy drink rubs their lips. It might seem that the man of the XXI century can cross the cosmos Jumping with his Nike Airs but he inevitably bites the dust.
Text by Rachel Lamot