|
Invitation Open Studio Day
The current artists of the June residency program |
 News Archiv |
|
Sabra Booth, USA Myths and fantastic tales often influence my ideas. While on a Fulbright grant, I made a body of prints and drawings based on stories of the vironsusi, Finnish werewolf, and my own experiences of the Finnish woods. The director of the Nelimarkka Museo, Leena Passi, wrote "…Black Winter is a long woodcut on linen around the walls raising in front of our eyes memories of old black and white printed fairytale books…" I am now using my narrative ideas to make comic books and animated shorts. This is the next step in my own studio practice, while continuing to work with traditional fine art mediums. In the Persama project, I am using art as a means towards political satire. In terms of being a printmaker, there is a long history of social protest art with artists such as George Grosz, and the Dada collage work of Hannah Hoch. This specific project is a contemporary follow-up on these precedents. Sabra Booth is also taking part in Tacheles Show "Personally Political-Contemporary Sensation: Drawing", June 26 - July 17 opening: June 26 (Friday) more |
|
Belle Gironda, USA I’m attracted by hybrid forms, where poetry, history, analytical reflections and the detritus of the world whisper together, collaborate, argue or interfere among themselves. Sometimes, my desire to say more than one thing simultaneously is satisfied by video or other media that allow me to play outward from the page or that expand the possibilities of “a reading.” For a long time, my work has been interested in relationships between information and space (the mysteries and workings of architecture, eavesdropping, signage, memory models, for example.) This past year I have been living in a completely new culture so have been preoccupied by that immersion and its symptoms: knowing less than usual and paying attention to what rushes or seeps in to fill the gaps. |
|
Kate Hollett, Canada In Berlin, my work continues the exploration of love and connection by being a voyeur, filming and inviting connection by offering a message of love to be discovered randomly to the curious and observant. The work looks at our connection to our environment and time in terms of existing in the present. The work becomes psychogeorgraphical, exploring walking as a means of expression. Using interdisciplinary media as a visual canvas, the work looks at the intangible and invisible of both community and the individual. |
Bluescreen 2 |
Diana Jensen, USA The focus of my art making lies in the discarded photo albums I find at flea markets. Working intensively with these collections of lost albums, I investigate and research the details of each individual photograph. My paintings zoom in on photographic details, recording the subtleties -- the touch of hands, a loving gaze. With paint I wish to impart a weight and physicality in depicting the persons in the lost photographs - restoring the presence of those forgotten. At Takt Kunstprojektraum residency I am developing a new series of paintings--"Blue Screen," referencing photographs I found on the wall of a Miami pizzeria. Diana Jensen is also taking part in the show "we skip the virus" TEMPORÄRE KUNSTHALLE FRIEDRICHSHAIN Dirschauer Str. 17 10245 Berlin 20.06.- 04.07. 09 Opening: Sa., June 20 21h |
|
Thea Jentjens, Netherlands I force materials that prefer to repel each other to combine. On the canvas, paints on oil basis, such as red-lead, priming, lacquer or beeswax are overlaid with acrylics. They form 'unwilling layers'. Another way of combining is by making unstable mixtures. This playing with the materials allows me to create images that have been unearthed from memory. I use as a guide a world as it appears under the microscope. Not what can be seen, but how it can be seen. Structures and textures, with their own histories of origin, but formed within a system with clear rules. |
|
Kerry Phillips, USA Berlin finds I have been infinitely inspired by Berlin – the city and the people (and dogs). Part of what I have occupied myself with the first few weeks is simply walking around and being a part of the rhythm of the city. There are a few continuing projects that I had hoped to work on while I was here, but mostly I wanted to respond naturally to everything I was experiencing. I have a tendency to pick up and collect oddities I find on the street – mostly these things are trash, things discarded in haste, but as often as not they are things that were lost. My natural instinct is to pick them up and keep them. What I am trying here, though, is to deny my impulse and instead take a picture and then likewise mark on a map where the object was found. This is a document of my movement through the city as well as a document of the city itself. Perhaps if I was of the mind I could do a statistical analysis of why there seem to be more hair bands lost in Berlin as compared to Miami or Nice – or why it seems that red lighters are always the ones that are lost, and never yellow ones or green ones. But I am not of such a mind. Tents I am working on a tent-building project that I will do everywhere I travel. I find volunteers that will let me build a tent (or fort, depending on your perspective) in their living rooms using sheets and linens they have available. I build these quickly – much like I did as a kid. I build, document and then put everything back the way it was within a few hours. I see these photo documents as portraits of the families, even though they are not in them. In the next few weeks I will be building several of these tents, and hopefully many more in the weeks to follow. I am not quite sure what these experiences will look like as Art, but for now, I am mostly interested in the action, the interaction and the subtle lines between public and private; shared stories and personal experiences; being a guest and an intruder; planning every detail and being strictly intuitive; and constructing as a child and recreating as an adult. (if you are interested in volunteering, please email me) |
|
Matthieu Séry, France "At the end, it makes sense, or not... That's grape!" |
|
Devin Sioma, USA I use painting as a tool to interpret the internal hardware of the people around me. I execute this investigation by developing a confrontation between my perception of a person and how I feel they view themselves. Essentially, my paintings pay homage to the beauty within all human beings. Devin Sioma is also taking part in the show "we skip the virus" TEMPORÄRE KUNSTHALLE FRIEDRICHSHAIN Dirschauer Str. 17 10245 Berlin 20.06.- 04.07. 09 Opening: Sa., June 20 21h |
Synthetic Eruption With Acid Spill |
Natalie Collette Wood, USA In an age of rapidly growing technology, war, and natural disasters our environment has begun to change before our eyes. Earthquakes, explosions, and accidents have become part of our daily life and work as metaphors for social failures. I am interested in the moment when everything goes wrong and things start to fall apart. The subjects I reference are views of bomb explosions, car accidents and the effects of natural disasters. I use these moments in time when structure and chaos dance as a starting point for my work. |