Author: Ulrike Wiedensohler

Coding Da Vinci Hackathon 2017

———— Filed under: Augmented Reality ⁄⁄ Digital ⁄⁄ Exhibition

Author:
Publ. 10.29.2017

Coding Da Vinci, Hackathon October- December in Berlin, attended by Matthias

This is a project with tremendous merits. Since 2014 Coding Da Vinci Hackathons bring more or less hidden digital treasures from cultural institutions to life.
Mere Digitization of Cultural Heritage may save representations of physical objects for future generations but stored in computers, displayed on homepages with few visitors, it’s a saving like on a bank account or in a graveyard.
Coding Da Vinci brings people into HACKATHONS to design new approach to the cultural digital Space, to combine data in corresponding projects and themes or to gather additional information from the crowd, shaping the memory of Cultural Heritage.
In the Berlin Hackathon 19 cultural institutions Galleries, Libraries, Archives, Museums (GLAM) opened Databases (Creative Commons Licence) for legal hacking by more than 100 netizens. The project is running for 6 weeks, in a contest with final presentations on December 2nd in the Jewish Museum in Berlin.
To bring these tasks to visual impression, lets start with a snapshot from the database of FHBX museum Kreuzberg.

The hyperlink leads to an etching from Erhard Gross, 1990, “Trommler für den Goerlitzer Park”. Goerlitzer Park was the site of a prewar Railway Station now vanished.

Sammlung Künstlerkreis Kreuzberger Boheme

Berlin history may lead to a photograph collected in the Wall Museum. The photographer, Wolfgang Schubert, is known but the exact site of the shooting is unknown. Perhaps you can help us find additional information.


Inventarnummer: F-020583 | Direkter Link: http://www.mauer-fotos.de/fotos/f-020583/

Goerlitzer Park may lead us to think about gentrification in Berlin. A snake of strangling development projects spanning from the Center of Berlin to the southeast of the city.
Thanks to the database of the Museum of Natural History Berlin we get a 3D insight into the skull structures of such predators.

http://gbif.naturkundemuseum-berlin.de/hackathon/3D-Daten/
https://codingdavinci.de/events/berlin/

Miet Pondrian: Wasserschaden?

———— Filed under: Artwork ⁄⁄ Exhibition

Author:
Publ. 10.23.2017


Am Freitag, dem 6. Oktober 2017 hat Kartenrecht im Kunstverein Neukölln die Ausstellung „Miet Pondrian: Wasserschaden?“ eröffnet.
50 Jahre nach Fluxus und 100 Jahre nach Dada startet der Kunstverein Neukölln mit Kartenrecht in seine neue Ausstellungsreihe „Überraschung!“. Die Reihe widmet sich dem Potenzial kooperativer Improvisation in der bildenden Kunst. Es geht um die Erweiterung individueller Vorgehensweisen und Inhalte durch die improvisierte künstlerische Arbeit im Team. Damit ist die Zeit reif für Miet Pondrian. Den Wasserschaden bekommt man gratis dazu – handfest, flüssig oder verdampft. Die Theosophie und der Kunstgott Mondrians winkt aus der Moderne hinterher, und der Moment im kartenrechten Machen dehnt sich in die Vertikale.
Noch zu sehen bis 5. November 2017.

Rimini Protokoll Presence and Absence

———— Filed under: Art ⁄⁄ Exhibition

Author:
Publ. 07.24.2017

By Matthias
Today we’ve visited the current exhibition Immersion: Limits of Knowing in Martin Gropius Bau Berlin. Okay, immersion technologies are exciting somehow. But fare more stunning was the exhibition Rimini Protokoll (Stefan Kaegi / Dominic Huber)
Nachlass – Pièces sans personnes.
To get an impression you can watch their video on youtube:

Happyness

———— Filed under: Artist ⁄⁄ Exhibition

Author:
Publ. 06.5.2017

Eran Shakine, A Muslim, a Christian and a Jew didn’t realize that happyness was following them for some time now, oil pastels on canvas, 90 x 120 cm
When we received this card from Eran Shakine’s exhibition at the Jewish Museum Berlin (28 October 2016 – 5 March 2017), we were immediately struck by his deep sense of humour. We even considered renaming our dog “Happyness”. In his large-scale drawings, Eran Shakine considers the similarities and differences between Muslims, Christians, and Jews, and, looking at this drawing, obviously there are none. We all want to be happy but are unable to recognize happyness when it is around.
Eran Shakine paints, draws, and creates sculptures and art in public spaces. He was born in Israel in 1962 to a French father and Hungarian mother, both of whom are Shoah survivors. Now he lives in Tel Aviv, New York, and London.
http://www.eranshakine.com/

Walls

———— Filed under: Art ⁄⁄ Artwork ⁄⁄ photography

Author:
Publ. 06.5.2017

Posted by Isabelle Franz,
Passing those walls in Barcelone and Berlin, I was wondering about their different purposes. Definitions like „a continuous vertical brick or stone structure that encloses or divides an area of land” or “a thing regarded as a protective or restrictive barrier” are coming up. – A barrier, something dividing one from the other, protecting what’s inside or maybe what’s outside. But what are they reflecting? Do they show me what they protect or what they face? Are they a mirror of what they face right now – or an image of what they had faced over time? Or may be they show me what people behind them want me to think. Sometimes they seem to melt with the outside, with no reference to what they were built for.

Goldseries – „Religionsunterricht“

———— Filed under: Artist ⁄⁄ Artwork ⁄⁄ Exhibition

Author:
Publ. 02.10.2017

  Posted by Sanni W.,

Thomas Richartz‘ exhibition “Religionsunterricht“ immediately caught my attention, not only through the gold coloring and the sheer size of the paintings (1,80 x 2 up to 3m), but also because of the space they were exhibited in, namely a huge industrial warehouse. What I enjoyed immensely was his playful way of using the concept that the meaning of art is constructed by both the artist and the viewer. Visitors could access a list which contained the titels of the nine paintings (all taken from Tucholsky poems), but did not say which title “belonged” to which painting, thus leaving interpretative freedom.

Richartz never uses titles that directly describe his works of art. With this series he returned to a more figurative and thus less abstract and less chaotic style. The inspiration classical art has on him originated in his childhood. It used to be a sort of counterpole to the tristesse that surrounded him.

“Armes Berlin” (“Poor Berlin”): The title of the painting seems to be in contrast to its golden colouring: the stripes in the backgroud for instance could belong to a bourgeoise dining hall.

The figure in the painting at hand seems oppressed, but somehow oblivious to it and also appears strangely supported by the stripes and the other elements. It seems to exist in a sort of virtual world or a dream. Though the figure – probably a woman – seems classical at first glance, it reminds me of poverty, of people in the streets of Berlin who are so much on drugs that they are oblivious of all that is going on around them and who seem to exist in another dimension.

richartz1

Ort des Geschehens und Zeitpunkt der Vertuschung

———— Filed under: Art ⁄⁄ Artist ⁄⁄ Artwork

Author:
Publ. 12.12.2016

Als Renate Marschner diese Zeichnung 1987 anfertigte, war nicht klar, dass sie einmal den Weg in den YOURARTBEAT Blog finden würde. Klar, YOURARTBEAT ist ja erst 2016 entstanden, also 26 Jahre nach Renates Tod. Und damals gab’s noch keine Blogs. Aber diese Form der Veröffentlichung hätte ihr gefallen. Ich habe diese Zeichnung ausgewählt, weil sie eines der Themen von Renate behandelte: Macht und Ohnmacht. Dabei ist mir aufgefallen, dass der Titel „Ort des Geschehens und Zeitpunkt der Vertuschung I“ (Aquarell / Sepia auf Zeichenpapier) gar nicht so einfach ins Englische zu übersetzen ist. Vertuschung ist auf leo.org mit cover-up angegeben, auf linguee.de auch mit hush-up, während der Wahrig vertuschen als „das Bekanntwerden verhindern“ definiert. Ort des Geschehens ist mit scene of the action gar nicht so schlecht wieder gegeben.