What exhibitions to see during Berlin Art Week?
Between 13 and 18 September the fifth Berlin Art Week takes place. With a program of over hundred events, two art fairs, nine private collections, a thirteen-hour film program, several art prizes, the end of the 9th Berlin Biennale, a large program of project spaces and gallery exhibitions opening around the city, it’s hard to know where to start.
In this post we are listing some institutional shows and collection presentations that are up during the Berlin Art week, and that we believe you really shouldn’t miss. Stay tuned for a separate post with not-to-miss gallery shows.
Goshka Macuga: Now this, is this the end… the end of the beginning or the beginning of the end? at Schinkel Pavillon
Inside the octagon of Schinkel Pavillon sits a talking android, a hybrid between machine and doll, resembling a human being in physiognomy and behaviour. In the second part of her double-exhibition at Schinkel Pavillon, Now this, is this the end…the end of the beginning or the beginning of the end?, Goshka Macuga focuses on the relationship between human beings and technology. The android who was also the center of her most recent show at Fondazione Prada, works as an interface between a narrative of artificiality and the human perspective. The artist prioritises in her work the generation of knowledge through language, rhetoric and intellectual exchange as a tool of human cognition. In both exhibitions, the overcoming of the human body through work on artificial memory and artificial intelligence is a topic that the artist negotiates and puts up for discussion.
Natascha Sadr Haghighian – onco-mickey-catch at Neuer Berliner Kunstverein
Natascha Sadr Haghighian questions modes of perception and the politics of representation in a conceptual practice that includes performance, writing, video, installation, and online projects. Onco-mickey-catch is an installation that consists of two monitors with ‘CatchEyey’ – a newly developed software that detects faces in video-chat and aligns the eyes so people look directly into the camera and at each other, rather then constantly gazing past one another. The monitors are mounted on a what looks like the back on an oversized mouse. This technomorphic form evokes genetically modified animals such as the ‘OncoMouse’. This trademarked mouse gained notoriety as the first transgenic, patent-protected mammal. In this sense, onco-mickey-catch also embodies the dissolution of boundaries between the body and technology and, in a new way, puts up forms of human self-understanding and notions of social relations for discussion.
The 9th Berlin Biennale
The 9th Berlin Biennale is ending this weekend. Spread throughout four locations around Berlin, the Biennale seeks to materialize the digital condition and the paradoxes that increasingly make up the world in 2016. Curated by the New York collective DIS, it reflect on the virtual as the real, nations as brands, people as data, culture as capital, wellness as politics, happiness as GDP, and so on. Personal favorites include Cécile B. Evans’ What The Heart Wants, Wu Tsang’s Duilian and Camille Henrot’s Office of Unreplied Emails – all at KW, and Jon Rafman’s new site-specific Oculus Rift virtual reality experience, Ryan Trecartin & Lizzie Fitch’s (As yet untitled sculptural theater) and Anna Uddenberg’s sculptures at the Akadmie der Künste.
The Berlin Biennale takes place at four location around Berlin. During these last days, the Biennale has extended opening hours till 21h.
Pina Bausch and the Tanztheater at Martin-Gropius-Bau
Pina Bausch is recognised as a pioneer of modern dance theatre and as one of the most influential choreographers of the twentieth century. The exhibition is the first to present her work to a wider public. Taking its starting point in the workshop talk she gave in 2007 when she won the prestigious Kyoto Prize, the exhibition provides insights into the work of Pina Bausch. The focus is not only on the work in terms of staged performances but above all on the very foundations of the choreographer’s oeuvre, on her creative practice and on the key aspects and people that have accompanied and shaped her progress. The objects, installations, photographs and videos presented are drawn from the unique holdings of the Pina Bausch Archives. At the heart of the exhibition is the reconstruction of the Lichtburg, the legendary rehearsal space in an old Wuppertal cinema, in which Pina Bausch developed most of her pieces with her dancers.
Julia Stoschek Collection: Welt Am Draht
Another big exhibition that is ending during the Berlin Art Week is Julia Stoschek’s collection presentation Welt Am Draht. With this satellite space in Berlin, Julia Stoschek is the first private collection in Germany to simultaneously open two places – beside her trusted Düsseldorf location. In line with Julia Stoschek’s insistence that her collection is contemporary, the exhibition is devoted to media-based pieces that address the influences and changes in our social reality, identity and environment since digitalization. Welt Am Draht combines 38 pieces, including works by Rachel Rose, Neil Beloufa, Wu Tsang, Helen Marten, Jon Rafman, Ed Atkins, Hito Steyerl and Josh Kline.
Leipziger Strasse 60
Opening hours 12-20h
Anne Imhof: Angst II at Hamburger Bahnhof
Angst II at Hamburger Bahnhof presents the second part of an opera in three acts that started in Kunsthalle Basel in June and ends in October La Biennale de Montréal. Angst II divides the historic hall of Hamburger Bahnhof with a tightrope and a dense fog makes the architecture blur. The music of the piece embraces the entire exhibition space and subjects the painting to its own rhythm. While at Kunsthalle Basel songs appeared as arias in a rather temporal order and the march, waltz, and ballad took on a role, the musical composition at Hamburger Bahnhof is played over individual systems. These spatial sound elements evoke memories of the stage set up of a rock concert or the house PA system.
On September 14, the opening of Angst II, will take place from 20h to 01h at Hamburger Bahnhof; the performance variations will take place on September 15 – 18 and 22 – 25, from 20h to 00h. The admission to all performances is free.
The Boros Collection is a private collection located in a converted bunker, with 3000 sqm of exhibition space spread over 80 rooms. The first showing of the collection ran from 2008 to 2012 and attracted 120,000 visitors over 7,500 tours. The second exhibition of works from the Boros Collection presents works from the early 90s along with recent acquisitions. All media, such as sculpture, installation, painting, drawing, video and photography are represented in the show. Many of the installations work with sound so that visitors are confronted with various, overlapping sounds on each of the bunker’s five floors. The artworks on display have been installed in the rooms by the artists themselves and work with the space.
The current, second, showing of the collection includes works by Ai Weiwei, Cosima von Bonin, Marieta Chirulescu, Thea Djordjadze, Olafur Eliasson, Alicja Kwade, Klara Lidén, Thomas Ruff, Michael Sailstorfer, Wolfgang Tillmans, Rirkrit Tiravanija, Danh Vo, Cerith Wyn Evans and more.
A visit to the collection is normally only possible through an advance reservation, but during the Berlin Art Week you can exceptionally visit the collection without reservation. Open on Saturday 17 and Sunday 18 September from 10h to 18h!
Bunker, Reinhardtstr. 20