Schlagwort-Archive: Raum für drastische Maßnahmen


Eröffnung: Fr 20.10.2017 ab 19:00 Uhr

Ausstellung: 20.10. bis 27.10.2017

Öffnungszeiten: Di 24.10. und Do 26.10.2017 – 18:30 bis 20:30 Uhr und nach Vereinbarung

Finissage: Fr 27.10.2017 ab 19:00 Uhr

Jan Kapitän zeigt in seiner Ausstellung “DEINDIVIDUALISIERUNG” Formen von theoretischen, visuellen und digitalen Manövern und Taktiken, um sich von staatlichen unternehmerischen Kontroll- , Beeinflussungs- und Überwachungsorganen zu lösen.


Opening: Fr 20.10.2017 – 7pm

Exhibition: 20.10. – 27.10.2017

Opening Hours: Tue 24.10 and Thu 26.10. – 6:30 til 8:30pm and by appointment

Closing: 27.10. – 7pm

In his exhibition „DEINDIVIDUALIZATION“, Jan Kapitän will show forms of theoretical, visual and digital maneuvers and tactics to get rid of governmental control, influencing and monitoring bodies.


Gemälde und Zeichnungen

Eröffnung: Freitag 03.11.2017 – 19 Uhr

Ausstellung: 04.11. bis 12.11.2017
Öffnungszeiten: täglich von 18 bis 20 Uhr

Theremin – Konzert von Robert Meyer am Sa 11.11.2017 ab 20 Uhr


Die knalligen Ölgemälde von Jens Hunger wirken wie schockgefrorene Farbexplosionen. In der Ambivalenz der Bilder steckt ein komplexes Universum von Verweisen, Horror, Gesellschaftskritik und Identifikationsangeboten. Zur Ausstellungseröffnung gibt es ein Künstlergrspräch und einen Vortrag von Dr. Wolfgang Ranft.

3.2,y,1.5 Floating Points

Opening: Fri 06.10. 2017 – 07pm

Exhibition: 06.10. – 08.10.2017

Opening hours:
Fri 06.10. – 07pm with Timon Mürer and Juliana Lindenhofer
Sat 07.10. – 02 – 07pm | 7pm Salon with Paul Michael von Ganski Michael Rieken
Sun 08.10. – 02 – 06pm

Research and Waves is a curatorial art collective experimenting at the intersections of curatorial work and artistic production.

We examine the wave as a concept of constant movement, a shifting of modes and perspectives, that can almost universally be found and applied. Through different formats such as exhibitions, guest appearances or record releases we intend to highlight this idea of a continuing back-and-forth and explore its potential to create new and unforeseen connections. By looking at the wave not only as a way of approaching content and meaning, but also a mode of collaboration and production, we aim to develop a way of working that expands and questions common practices in the field of contemporary art and beyond.

For our second full-scale exhibition project we present a number of artworks, artefacts and events under the title [3.2,y,1.5] Floating Points at Raum für Drastische Maßnahmen in Berlin.

Halfway a retrospective effort, halfway a look into the future, the exhibition features work of previously and newly collaborating artists, as well as artefacts from our past appearances, including hints at projects to come.
By focussing on existing and new relationships with artists, as well as practitioners from other fields, we are looking to take the first steps in building a loose network of solidarity that enables alternative opportunities for curation, research and artistic production between all of its participants. Many of the contributions to the exhibition directly respond to, or complement, these efforts, not only through their themes and content, but also through their use of media, modes of presentation and contexts of production.

This includes a black book, a tutorial for a reverb, a video about water, multiple exhibitions on vinyl and text about them, a tea ceremony with gramophones, spoken text, a research tool, a new online service, a reproduced painting, an exhibition soundtrack, a tattoo and its blueprint.

Contributions by Hannes Deters, Paul Michael von Ganski / Michael Rieken, Sandra Hampe, Juliana Lindenhofer, Hannes Middelberg & Soe Sezuki, Timon Mürer, Sebastian Reuschel, Neda Saeedi and Ted


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Vernissage: 22.09.2017 ab 19:00 Uhr

Ausstellung: 22.09.2017 – 01.10.2017

23.09. & 24.09.2017, 15:30 – 18:30 Uhr
28.09. – 01.10.2017, 15:30 – 18:30 Uhr

Die Ausstellung “Circle Songs” zeigt Arbeiten von Kirsten Heuschen, die zusammen wie ein Ökosystem funktionieren, das in ständiger Bewegung ist und regelmäßigen Störungen unterliegt. Das zentrale Thema der Werke ist die Untersuchung und Erweiterung von Chemigrammen durch die Kombination mit verschiedenen Décollage-Techniken. Décollagen sind voller Indizien – die körperliche Geste des Reißens schreibt sich bildhaft in sie ein. Kirsten Heuschen reagiert auf diese Indizien und interpretiert sie in einem wechselseitigen Prozess beider Techniken. Sie malt mit Cyanotypie-Emulsion (ein altes fotografisches Edeldruckverfahren mit typisch cyanblauen Farbtönen) direkt auf die farbigen Papieren, die mit der Fotochemie reagieren und Chemigramme in besonderen Farbtönen und Nuancen ergeben. Für die Entstehung eines Chemigramms
ist alleine die Reaktion des fotografischen Materials entscheidend, und es wird ausschließlich der chemische Prozess sichtbar. Dieser Prozess ist nicht umkehrbar und lässt sich nicht 1:1 wiederholen.

Der Ausstellungstitel “Circle Songs” bezieht sich auf einen Gesangsstil der musikalischen Improvisation in einer Gruppe. Jedes Mitglied singt dabei kurze Melodie-Teile oder Motive im Loop, auf die folgende Stimmen aufbauen und sich so zu einem mehrstimmigen Ganzen fügen. Der Titel deutet auf die grundlegende künstlerische Haltung, da alle gezeigten Arbeiten in einem ergebnisoffenen Prozess entstanden sind. Das gleiche gilt für die Ausstellungs-Architektur, die eine enge Zusammenarbeit mit der Bühnenbildnerin und Künstlerin Ivana Vukovic ist.

open lab //
Materialexperimente rund um Cyanotypie, Chemigramme und Décollage
28.09. – 30.09.2017, 15:30 – 18:30 Uhr (Anmeldung unter



22.09.2017 at 7 pm

exhibition: 22.09.2017 – 01.10.2017

opening hours
23.09. & 24.09.2017, 3:30 – 6:30 pm
28.09. – 01.10.2017, 3:30 – 6:30 pm

The works of Kirsten Heuschen displayed in the exhibition “Circle Songs” act as an ecosystem, which is in constant movement and subject to periodic disturbances. The central theme consists of exploring and extending the scope of chemigrams by combining them with several décollage techniques. Décollages are a cornucopia of evidences – the physical gesture of the paper ripping has left multiple visual traces. Kirsten Heuschen responds to these traces and interprets them in a reciprocal process of both techniques. She uses the liquid cyanotype emulsion (an old photographic printing process which creates a cyan-blue print) to paint directly onto the colored papers, which react with the photo chemistry and result in chemigrams in a particular range of color tones and shades. A chemigram is determined purely by the reaction of the photographic material – solely the chemical process manifests itself. This process is not reversible and cannot be repeated in the exact same way.

The title of the exhibition “Circle Songs” refers to a style of musical improvisation in a group, in which every individual sings a short part of a melody or motif in a loop, building a base for the following voices or parts and thus forming a polyphonic sound. The title points out the experimental artistic approach – all of the displayed works emerged in an open multidimensional process. The same applies to the exhibition design, which is a close collaboration with the set designer and artist Ivana Vukovic.


open lab //
material experiments surrounding cyanotype, chemigrams and décollage
28.09. – 30.09.2017, 3:30 – 6:30 pm (please register:

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Luz Peuscovich
In collaboration with Milena Pafundi
Opening: 08.09.2017 at 07pm
Exhibition: 08.09. – 14.09.2017
Opening hours: Sat 09. / Sun 10.09. 04 – 08pm / Tue 12.09. / Wed 13.09. 05 – 08pm
Closing: 14.09.2017 – 07pm

Luz Peuscovich is an explorer. During her multiple trips around the world, she collects natural elements becoming the physical and symbolic medium of her installations.

Hole reflects upon the different forms that nature adopts and the way we humans have categorized and valued it and by extension everything around us, including our own human condition, our bodies and their practices.

It all began as a game between the artists where they would talk about and find new names for the natural objects referring to sexual organs which Luz found during her travels.
Why are certain parts of the body sexualized and not others? This question arose when reading the text „The Contrasexual Manifest“ by B. Preciado.
The game turned into conversations to deconstruct and redefine the ideas of nature, body, uses of the body.

After reading Preciado, the question ‘what is natural?’ becomes erroneous. There is nothing natural (pure, prior to the human), the categorization of nature and precisely of the sexual nature is merely a social construction legitimating some bodies’ subjection to others.
“Sex, as organ and practice, is neither a precise biological place, nor a natural impulse. Sex is a technology of heterosocial domination that reduces the body to erogenous zones according to an asymmetrical distribution of power between the genders (feminine/masculine), matching certain effects with certain organs, and certain sensations with specific anatomical reactions”. (Our translation from Preciado, Beatriz: El Manifiesto Contrasexual. Barcelona, Anagrama, 2011, p.17).

“Sex becomes part of power calculations, so that the discourse on masculinity and femininity and the techniques of sexual identities’ normalization are transformed into life modelling and controlling agents”. (Our translation from the Interview of B. Preciado in El Ciudadano, 22d of december 2009).

During the collection process arose the question of how what we call organic nature manifests itself. It does so, as a consequence of the elements that combine it and that can have infinite manifestations. It appears as anarchic and diverse. For example, the same species of fungi has infinite shapes and sizes, never a unique one.
So why would the sexual nature have to be one?
Nowadays an inequality based on sex still exists because of the hetero-norm’s hegemony, but is there a hegemony in the organic nature?

What parts of the body could be re-thought, re-constructed, re-named in order to counter that hegemony?

As Preciado points out, “The anus has no sex, no gender. Like the hand, it escapes the rhetoric of sexual difference. The anus defies the logic of masculine or feminine identification. (…) There is no partition of the world in two. Rejecting the sexual difference and the anthropomorphic logic of the face and the genital, the anus (and its opposite end, the mouth) sets the basis for an inalienable sexual equality: every body (human or animal) is first and foremost anus. Neither penis, nor vagina, but an oral-anal tube. In the horizon of the post-human sexual democracy is the anus, as an orgasmic cavity and non-reproductive receptor muscle, shared by all”. (Our translation from Paul B. Preciado, Terror anal in Hocquenghem, G: El deseo homosexual. Spain, Me­lusina, 2000, pp.186-187).

From that process arises Hole, symbol for a horizontal way of getting linked together, from where something hidden and unknown is available to be explored, renamed and revalued.

The exhibition opens with two works, „Hole“ (sculpture / installation) and the catalog of collections. The third work „V“ (video installation), a collaboration between Luz Peuscovich and Milena Pafundi, will be presented on Thursday September the 14th for the finissage day in the space’s basement.

Curator: Camille Cousin

Luz Peuscovich was born in 1984 in Argentina. She studied Fine Arts at the University of La Plata, Art Curatorship and Management in Buenos Aires and attended a scenography course at the Colón Theater (Buenos Aires). As from 2009, her explorations in painting have been followed by multidisciplinary works and installations, with frequent collaboration with other artists, seeking to expand the perceptual abilities of active viewers.
Her current projects are linked to travel experiences during which she collects objects found in nature with which she realizes installations. By generating a change in the usual context, the artist seeks to transform the perception of space so as to inhabit it in a different way than the usual. Her research focuses on the integration of man within nature and the experience connecting him with beauty.
She exhibited her installations in different art spaces in Argentina, the United States,
Germany, Panama, China, India, Brazil and Norway.

Milena Pafundi was born in 1983 in Buenos aires. She is a transdisciplinary artist. As a visual artist Milena develops contents and techniques for audiovisual shows, performance, theatre and dance plays. She produces installations. She founded the Articiclo Collective. She teaches visual arts with gender perspective. As an audiovisual director, she is creative in both artistic and journalistic digital contents focused on Human Rights and Gender Violence. She studied Film direction and took several courses and seminars of videoart, live visual softwares and programming. In 2017, she took part in a Feminist Art residency in Toronto, Canada, after taking part to others residency programs in the Museum of Contemporary Art (2015) and the Cultural Center Matienzo (2016) in Argentina.

NCL – 2 Meta 2 Mark

Vernissage: 28.Juli 2017

Ausstellung: 28.07. – 05.08.2017

Öffnungszeiten: Do 03.08. -Sa 05.08. 19-21Uhr



„Wer nicht weiß, wohin er geht, erreicht mit jedem Schritt sein Ziel“

-Fulbisches Sprichwort

„Ein Verrückter natürlich, so einer, der die Hosen voll hat
und lauter erlesene Gefühle in sich spürt, der ist immer
fein raus“

-Joseph Conrad

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Alle guten Dinge sind 5

Alle guten Dinge sind 5 – Present Books Magazin Launch

15. Juli 2017 ab 19:00 Uhr

Alle guten Dinge sind 5

Present Books geht in die dritte Runde.

Diesmal im Gepäck:

Lena Kunz
Luis Nelsen
Elena Breuer
Moritz Hasse
Christian Kage

Neben zahlreichen Zines, Heften und Getränken wird es Drucke von gross bis klein zu erwerben geben.


Vernissage am 29.06. ab 19:00 Uhr

Ausstellung: 29.06. – 11.07.2017

Finissage am 11.07. 18:00 – 22:00 Uhr


AWOL zeigt 9 junge internationale Positionen, die sich anhand verschiedener Medien mit den Themen Abwesenheit, Kommunikation und Zensur auseinandersetzten.

Anna Carolina Natterer
Lucas Odahra
Marijana Radovic
Daniel Rossi
Ingrid Orgenstedt
Anna Sörenson
Oliver Krebeck
Marion Kliesch
Takuya Oshima


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Wenn die Kiwis beim Schneiden vom Brettchen flutschen

Vernissage am 08.06.2017, 19Uhr

Ausstellung: 08. – 18.06.2017

Öffnungszeiten Fr – So 14-17Uhr

Moritz Biele
Fotografie und Rauminstallation

„Ein ausgeprätes Interesse für Nischen führt Moritz Biele auf tonale Abwege, literarische Entgleisungen und visuelle Randinteressen“

Renke Brandt

„Renke Brandt zeigt sein klebriges Käsebilder-Oeuvre, klärt über Ohrläppchenlängendifferenzen auf und offenbart neben Rosenroboter-Nudes erstmalig seine mysteriören, lange geheim gehaltenen Lahmacun-Paintings.

Christiane Deibel

Neues aus dem Powershop. Private Immobilien im Fleischwolf der digitalen Fotobearbeitung.

Franziskus Dornhege

Wovon der Mensch ausser Luft und Liebe sonst noch leben kann. Foodporn aus dem Alltag eines Majo-Fanatikers.

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Vernissage: Fr. 10. März 2017 ab 19 Uhr

Ausstellung: 10. bis 19. März 2017

Öffnungszeiten: täglich 18 bis 21 Uhr


Rauminstallation von Mouselephant

Mouselephant is a project by Vincenzo Fagnani and Tana Santos, visual artists currently living in Berlin. Their work links local and global issues focusing on the connections between symbols, ethics and public spaces.

After spending a year between Buenos Aires, Detroit, Athens and Rome to work on several street art projects and urban installations, Mouselephant is now back in town and ready to present its first Berliner project.

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