PAST SHOWS CURATED BY N/V_PROJECTS:• `HIGH PRESSURE SYSTEMS´
Venue: Konzulát (Berlin, DE)
»HIGH PRESSURE SYSTEMS«
exhibition on the occasion of Gallery Weekend Berlin 2015
Brace Brace, Frank Eickhoff, The Galleries, Gesa Troch, Dena Yago, Maximilian Zentz Zlomovitz
»HIGH PRESSURE SYSTEMS«
Anders als wir erwartet hatten entzog sich die Zirkulation der Bilder nicht der Reglementierung durch irgendwelche Stellen, sondern bildete völlig selbstverständlich ein neues Herrschaftssystem aus: Die Gouvernementalität der Algorithmen. Diskurse und Moden schoben sich wie Hoch- und Tiefdruckgebiete über Territorien. Sie regneten aus Datenwolken auf uns herab, kamen über den Atlantik oder strichen als Föhn die Bergkämme hinab.
Die Bewegungen der letzten Jahre glichen nurmehr einem Driften, das Druckveränderungen mehr geschuldet zu sein schien als eigener Dynamik. Inzwischen glaubten wir, Schauplatz eines Experiments geworden zu sein. Wie Gewitterwolken lagen Gegenwart und Zukunft über unseren Köpfen und entluden sich hell zuckend in die Großhirnrinden. Fashion, Schuld und Charity. Okkupation. Akzeleration. Post-Anthropozentrismus. In erstaunlicher Geschwindigkeit schoben sich immer neue Begriffs-Fronten über Parties, Biennalen und Museen, um wenige Momente später wieder in sich selber zu zerfallen. Wo was verschwand, blieb nur das ferne Lachens eines Schmetterlings, dessen grausam gusseiserner Flügelschlag all dies ausgelöst hatte.
Wir waren Sensoren geworden. Ein Heer mannshoher Antennen, zusammengefasst zu Feldern von jeweils 192 Einzelantennen, die sich von den Niederlanden über Deutschland auf den ganzen Kontinent ausgebreitet hatten. So lauschten wir seit Jahren auf tieffrequente Schwingungen. Gemeinsam mit Partnerprojekten in Nord- und Südamerika sowie im asiatisch-pazifischen Raum bildeten wir ein riesiges Interferometer, dessen Signale zu einem einzigen Datenstrom korreliert wurden. Dies also war die Kunst. Weit weg von den Küsten der Intentionalität und der Ich-Konstruktionen lebten wir in Camps mit seltsam fremden Namen. Und Stäben gleich starrten wir auf Panther und modellierten ihnen eine Welt.
(c) The Galleries, 2015
»HIGH PRESSURE SYSTEMS«
Contrary to our expectations the circulation of images hadn’t extracted itself from regulation by some entity/institution/authority. Rather, it quite naturally created a new system of authority: The governmentality of algorithms. Discourses and fashions pushed across territories like high- and low-pressure systems. They rained down on us from clouds of data, moved across the Atlantic, or blew down as torrents from mountain ridges.
The movements/streams/torrents of recent years merely resembled a drifting motion that seemed to owe its shiftings to changes in pressure, rather than their (own) inherent dynamics. Meanwhile we believed to have become part of an experiment. The present and future lay above our heads like clouds of a storm, discharged in our cerebral cortices, emitting bright flashes of lightning. Fashion, guilt(,) and charity. Occupation, acceleration, post-anthropocentricism. Ever-changing conceptual jet-streams rolled in on parties, over biennials and through museums with stunning velocity, only to (then) disintegrate within moments. Wherever something disappeared, the only trace left was the faint echo of a Butterflys chuckle, who had caused all of this with a cruel beat of its cast-iron wings. We had become sensors.
An army of man-sized antennae grouped together in fields of 192 individual antennae (each) that spread, via the Netherlands and Germany, throughout the whole continent. We listened to the low-frequency oscillations like this for years. Along with partner projects in North and South America and the Asia-Pacific region we established a gigantic interferometer whose signals were correlated into a unified data stream. So this was (the) art, then. Distant from the shores of intentionality and constructions of self, we dwelt/(dwelled) in camps with strange names/strangely named camps. And like poles/rods/batons/beams we gazed upon panthers and rendered/molded/modeled them a universe/world/space. (…modelled a world/universe for them)
(c) The Galleries, 2015
OPENING: Thursday, April 30. 2015 / 7 - 23 h
on view: Sat. 15 - 23 h / Sun. 15 - 18 h
KONZULÁT • Leipziger Str. 60 / corner of Jerusalemer Str. • Berlin 10117 • U2 Hausvogteiplatz
• `FULFILMENT CENTRE´
Venue: The Sunday Painter (London, UK)
Neil Beloufa, Julie Born Schwartz, Christopher Kulendran Thomas, Timur Si-Qin, Lewis Teague Wright, Tyra Tingleff
2 March - 30 March 2014
The new age compensates our consciousness in different ways. It compensates our secular, materialist society by nakedly displaying the powerful longings of the human spirit, even if this compensation is unsuccessful, I.e unacceptable to mainstream secular attitudes. It also compensates our established religious traditions by forcing us to attend to what has been repressed or ignored by Western religion: The sacred feminine, the Earth Mother, the Goddess, the Body, nature, instincts, ecstasy and mysticism. – Jung and the New Age –To book an appointment, please email: firstname.lastname@example.org
David John TaceyThe second half of the last century has seen a renewed interest by western cultures in eastern spiritual practices, as well as alternative forms of medicine. The spiritual depth these cultures hold within their historically evolved practices have since been dissected and streamlined to match a Western lifestyle, transformed from ends to means, presenting an attractive option to those with limited time and patience, and for those with a different agenda to begin with. Particularly from the 1990´s onwards, and often gathered under the umbrella of `Wellness´ and `New Age´, we have seen a number of hybrid strands spreading though the West as variations of ancient techniques, such as Yoga, which have been converted into formats such as expedited routes to enlightenment and Zen business models. In the simplest of forms, businesses can be seen appropriating elements (words, fonts, colours, etc.) to reference the betterment of the consumer, by appearing to be associated to a healthier, more desirable, conscious way of living. The literature supplementing these practices occupies a surprisingly large portion of storage racks in Amazon´s ‘Fulfilment Centres’. The following titles specifically illustrate the wide selection of accessibility: The Seven Laws to Spiritual Success´, `The Power of Now: A Guide to Spiritual Enlightenment´ or `The Untethered Soul: The Journey Beyond Yourself’ and at the end of the spectrum, ‘Reiki for dummies’..
In the contemporary religious consumer market, the commodification of spirituality and it’s appropriation – especially from other traditions not one’s own – foment an increasingly contentious issue. The questions, which arise, relate to ownership: Is spirituality a private possession or does it belong today more in the public domain – making it something freely accessible to whomsoever chooses?– New age commodification – Michael York
Although they might be stripped down and/or modified in relation to the original sources, these strands are essentially positive and offer access to whichever concept of the `sacred´ a devotee may choose to pursue. This variety of possibility creates an arena of interest that might not otherwise appear accessible. While viewed from the outside, an element of irony is potentially present in many of these practices, however, in essence, what they hope to offer is the possibility of bettering oneself, and to enable potentially life changing rituals and experiences. The exhibition `Fulfilment Centre’ brings together a survey of works that from a variety of perspectives can be seen to work with the aforementioned text. Within these references new iconography and motifs emerge, suggesting the possibility of worship or to contemplate further and differently to the way in which art asks us to engage. There is a fine line between cynicism and sincerity, or scepticism and optimism, when observing these tendencies – the selection of works on display has been conceived to negotiate this awkward zone of uncertainty.
As a part of the exhibition, a trained professional will offer a limited amount of hourly Acupuncture treatments on the two Sundays following the show opening at the gallery.
* All treatments are free, however donations are welcome *
The Sunday Painter website
• `MAGNUM OPUS´
Venue: The Dye House
Daniel Shanken (photo: Tom Hall)
Darren Banks (detail) (photo: Tom Hall)
Daniel Shanken (photo: Tom Hall)
Simon Davenport (photo: Tom Hall)
Darren Banks, Anna Chrystal Stephens, Simon Davenport, Leo Fitzmaurice,
Matthew Johnstone, James McLardy, Daniel Shanken, Lewis Teague Wright,
Gesa Troch, Nina Wakeford
10 January - 26 January 2013/Private View: 10 November, 6-9pm
The Dye House, (Nutbrook studios) 33 Nutbrook Street,SE15 4JU
Venue: Cul De Sac Gallery
(left to right) Pedro Wirz, Max Ruf, Jan Kiefer (installation view)
Jan Kiefer (installation view)
(left to right) Marianne Spurr, Jan Kiefer, Pedro Wirz (installation view)
N/V_PROJECTS presents `LOT´
a group show featuring five international artists:
Ane Graff, Jan Kiefer, Max Ruf, Marianne Spurr, Pedro Wirz
Private View Thursday, 22. November 2012 / 7 - 9 pm
exhibition continues through 22. December 2012
The exhibition titled 'LOT' brings together five emerging international artists for the presentation of the selected works in this group show curated by N/V_PROJECTS.
A publication with texts by Michael Birchall, Claire Craig, Elise Lammer, Fabian Schöneich and Esperanza Rosales will accompany the exhibition. design: Chan-Young Ramert
review: Jotta (online)
• `SPEAK, MEMORY!´ as part of PAMI Peckham Artist Moving Image Festival 2012
N/V_PROJECTS presents SPEAK, MEMORY! at The Dye House as part of PAMI 2012
• Derek Sutherland `EMBASSY RESIDENCY EXCHANGE 2012´
PRIVATE VIEW: THURSDAY, March 15th 2012 / 6 - 8 PMOn view through March 31st / Saturdays 12 - 5 PM and by appointment
• David Barbarino `MAGNIFICENT BUTCHER´
DAVID BARBARINO - THE MAGNIFICENT BUTCHER - ASYLUM and N/V_PROJECTS
• Ksenia Pedan & Ben Burgis `BOTIQ´
PRIVATE VIEW: Thursday, December 8th / 6 - 8 PM / on view through December 17th
• Dowling&Page `FAMILY´
`Family´- New Collaborative work by Dowling&Page
• PECKHAM 90210
• PAMI - Peckham Artist Moving Image Festival 2011
PAMI: Peckham Artist Moving Image
• RIVE GAUCHE
RIVE GAUCHE: South of the River
• THE CARGO CULT / STOCKHOLM SYNDROME
Both venues are situated in Peckham, in the immediate vicinity of each other. In the field of tension between the two locations an overlap of concepts creates a powerful convergence of metaphors for artistic strategies in contemporary art.
Bussey Building, London, UK - December 11th - 12th 2011 (www.thenullandvoid.co.uk) participating artists: (The Cargo Cult) Ting Tong Chang, Nigel Dunkley, Noam Edry, Lauren Evans, Roman Liška, Nevine Mahmoud, Jeff Moerchen, Hannah Perry, Anthony Williams participating artists: (Stockholm Syndrome) Robin Bale, Thomas Bresolin, Zavier Ellis, Laura Oldfield Ford, Patrick Goddard, Chas Higginbottom, Thomas Johnson, Mark Mcgowan, Alexis Milne, Tom Poole, John Wild
SHOWS/EVENTS CURATED/PRODUCED BY N/V_PROJECTS (various venues)
• N/V_PROJECTS presents: FACE TIME: MASKS by EDPBPI at V22 SUMMER CLUB
Sunday, May 6th 2012 / 12 - 4 pm
• EMOTION PSYCHO AFTERLIFEO: PSYCHOANALYSL & EDPBPI at PECKHAM HOTEL
EMOTION PSYCHO AFTERLIFEO: PSYCHOANALYSL & EDPBPI at PECKHAM HOTEL
• THE AFTERMATH: NULL/VOID
NULL/VOID: THE AFTERMATH
• ΩMEGA: NULL/VOID
• DON'T BELIEVE THE HYPE!
`Rock the hard jams - treat it like a seminar,
• STRC PRST SKRZ KRK
The famous czech phrase `STRC PRST SKZ KRK´ which contains no vowels is the starting point for investigation of such braintwisting topics as Octuplets, Esoteric Formalism, Mutant Toddlers, New Age Canibalism and Conceptual Trailer Trash. The unspeakable materialises in the form of sculpture, video installation and performance. A journey beyond the White Cube which lures the viewer into the mystic realms of a dystopian funfair, dark and otherworldly.
• THE RUSSIANS ARE COMING
• TAKE THAT
THE NULL AND VOID PRESENTS: `TAKE THAT´
NULL/VOID Gallery participating artists: Tom Bresolin, Eugene Chapman, Nigel Dunkley, Roman Liška, Miloslav Vorcilek
Goldsmiths University, main hall participating artists: Alistair Birch, Tom Bresolin, Nigel Dunkley, Drew Hoad, Alex Lawrinson, Roman Liška, Lloyd corporation, Phillip Rogers
Lift&Hoist, London, UK - February 24th 2010 (www.thenullandvoid.co.uk) participating artists: Bradford Bahamas, DjTendraw, Azahara Ubera, Alistair Birch, Rory Blofield, Maeve Brennan, Tom Bresolin, Eugene Chapman, Nigel Dunkley, Michael Harvey, Tom Johnson, Roland Hutchison, Alex Lawrinson, Roman Liška, Nevine Mahmoud, Luís Matos, Richard Nicholson, Charlotte Northall, Kadeem Oak, Kyrone Oak, Rose Ridgway, Anastasia Shin, Hannah Stearn, Miloslav Vorlicek, Malin Weidenbusch, Chris Woltman, Ciaran Wood