Jennifer Bannert x Christian Holze

for one night only

 

9 April – 14 May 2021

 

 

In the exhibition -for one night only-, Jennifer Bannert and Christian Holze make the intangible inbetween become reality. Between gravity and ease, heaven and earth, the past and the present, brightness and real encountersultimately awaits us at the end.

Christian Holze’s works are the result of an exploration of epoch-specific transformations of images in art history. The series Cloth Collision explicitly deals with the image of the fold and its meaning in different epochs and translates them into virtual space. The contemporary adaptation of the folded imagery connects visual art with fashion & marketing and at the same time foregrounds the philosophy of the fold. Questions about commercialization, authorship and art as a brand are also inspirations for the works of Christian Holze.

In the paintings of Jennifer Bannert we can expect lightness in one moment and profoundly shaking heaviness in the next. The gaze wanders from one hue to another. At the same time these are rather dark than bright. As soon as you think you have fixed something, this achievement blurs into a fleeting moment. But if you catch one of the brighter color fields, it seems like a hopeful moment full of light.

 

(mehr …)

26 May – 20 June 2021

Rendez-vous de chasse

with bn+BRINANOVARA, Patricia Lambertus & Carolin Ott

 

curated by Astrid Silvia Schönhagen & Isabella Sedeka

 

online artist talk with bn+Brinanovara  – 27th May 6 pm

 

The exhibition is a cooperation of the project space XPINKY Berlin with the research group“wohnen+/-ausstellen”, Institute for Art Studies – Film Studies – Art Education and Mariann Steegmann Institute. Art & Gender at the University of Bremen.

 

In the hunting room, we stage ourselves as conquerors of wild animal nature. Be it deer or boar hunting scenes on medieval tapestries, be it painted wall coverings with fights of exotic predators, or skillfully arranged still lives of dead birds: Over the centuries, animals of almost every species have made their way into the home like this. In the trophy room, man’s triumph over the hunted animal is staged most impressively. As a trophy, the dead animal has become part of the living human’s rooms and furnishings. The preserved animals’ bodies are souvenirs of successful hunts, and the glass eyed trophies are supposed to show the hunter’s love of nature. At the same time, the animal bodies create an eerie ambience of the ‘heimlich–unheimlich’. The ‘rendez-vous de chasse’ exhibition takes this ambivalent relationship between an appropriation of and a connection with nature in the interior as its starting point to explore the cruel and at the same time highly aestheticised staging of animals and nature in different spatial settings and/or scenographies. In this exploration, the show reflects upon the hunting room as a space of representation and illusion. By bringing a ‘rendez-vous de chasse’ (hunting party) into the gallery, Patricia Lambertus (*1970, DE), Carolin Ott (*1994, DE), and the artist duo bn+BRINANOVARA (*1993/94, IT) invite us to approach the topic from different directions.

In her three-dimensional collage, Patricia Lambertus combines a hunting themed French scenic wallpaper from the 19th century with actual hunting trophies as well as several media images. With this multi-layered installation, she turns a neo-Gothic hunting room into an apocalyptic space with violent overtones. Here, the border between home and landscape becomes blurred and then, also the border between creatures of the animal world and human life. Finally, contemporary war scenes, depicting human brutality committed against their own species, echo the violence committed against the hunted animals.

Carolin Ott’s ceramics come in hybrid vegetal shapes, inspired by insect eating carnivorous plants. With their flesh tone colourings and their many trap-like openings and tentacles, her small sculptures show plants as trapping hunters. Ott is a biologist as well as an artist. Her work refers to houseplants as a common practice of bringing nature into the home and maintains a balance between vegetal sculpture, impressive piece of furniture, and floral hunting ground.

The artist duo bn+BRINANOVARA deconstructs (iconic) images and objects by removing them from their original context. With their work at XPINKY Berlin, they challenge us to rethink the hunting trophy as furnishing. Unlike classic hunting rooms, where impressive antlers or heads of wild animals tell of the hunters’ success and their love of nature, bn+BRINANOVARA present common farm animals like donkeys, chicken, or goats as trophies on the gallery’s walls. Moreover, they decapitate their trophies, questioning the choice of body parts used as preserved souvenirs. Without their heads, and out of context, the abstract, colourful and decorative sculptures turn into ghostly anti-trophies in the white cube aesthetic of the gallery room.

 

German Version:

In Jagdzimmern inszeniert sich der Mensch als Bezwinger der wilden, tierlichen Natur.  Ob Hirsch- und Eberjagden auf mittelalterlichen Tapisserien, gemalte Wandbespannungen mit exotischen Raubtierkämpfen oder kunstvoll arrangierte Stillleben mit erlegtem Federvieh – im Laufe der Jahrhunderte hat fast jede erdenkliche Tierart Einzug ins Interieur gehalten. Nirgends wird der Triumph über das erlegte Tier allerdings derart in Szene gesetzt wie im Trophäenzimmer. Hier wird das tote Tier Teil der wohnlichen Einrichtung der Lebenden, der präparierte Tierkörper zum Souvenir der erfolgreichen Jagd. Die ausgestopften, mit Glasaugen versehenen Trophäen künden von der Naturverbundenheit der Waidmänner und -frauen, erzeugen gleichzeitig aber ein heimelig-unheimliches Ambiente. Die Ausstellung nimmt dieses ambivalente Verhältnis von Naturaneignung und -verbundenheit im Innenraum zum Ausgangspunkt, um die Zurichtung und Ästhetisierung von Tier und Natur in unterschiedlichen räumlichen Settings und/oder Szenografien der Jagd zu befragen. Sie reflektiert dabei auch die Bedeutung des Jagdzimmers als gesellschaftlich kodierter Repräsentations- und Illusionsraum. Im Sinne eines in den Galerieraum verlegten „Rendez-vous de chasse“ (Jagdtreffens) laden Patricia Lambertus (*1970, D), Carolin Ott (*1994, D) und das Künstlerduo bn+ BRINANOVARA (*1993/94, IT) dazu ein, sich diesen Themen aus unterschiedlichen Blickwinkeln anzunähern.

Patricia Lambertus überblendet in ihrer installativen Raumcollage eine französische Jagdtapete des frühen 19. Jahrhundert mit realen Jagdtrophäen sowie einer Vielzahl medial vermittelter Bildschichten. Auf diese Weise verwandelt sich ein neogotisches Jagdzimmer in einen apokalyptischen, von Gewalt überschatteten Ort, an dem nicht nur die Grenzen zwischen imaginiertem Wohn- und Landschaftraum verschwimmen, sondern auch die zwischen dem Tierlich-Kreatürlichen und dem Menschlichen. Mehr noch: Die Gewalt, die den Tieren in Form der Jagd angetan wird, findet sich gespiegelt in zeitgenössischen Kriegsszenerien, die von der Brutalität des Menschen der eigenen Spezies gegenüber künden.

Die Keramiken von Carolin Ott zeigen hybride vegetabile Formen, die von Insekten verspeisenden Karnivoren (sog. fleischfressenden Pflanzen) inspiriert sind. Mit ihrer an Fleischtönen orientierten Farbgebung sowie ihren zahlreichen Öffnungen, Fangarmen und -kelchen setzen diese Kleinplastiken Pflanzen als fallenstellende Jäger in Szene. Ästhetisch nimmt Ott, die sowohl Biologin als auch Künstlerin ist, dabei Bezug auf die gängige Praxis, Natur in Gestalt von Pflanzen in den Wohnraum hineinzuholen. So bleiben ihre Arbeiten in der Schwebe zwischen vegetabiler Skulptur, effektvollem Einrichtungsobjekt und stilisiertem, pflanzlichem Jagdhabitat.

Das Künstlerduo bn+ BRINANOVARA dekonstruiert (ikonische) Bildmotive und Objekte, indem es diese aus ihrem ursprünglichen Kontext löst. Für XPINKY Berlin lädt das Duo zu einer Auseinandersetzung mit dem Einrichtungsobjekt ,Jagdtrophäe’ ein. Im Gegensatz zu klassischen Jagdzimmern, wo imposante Geweihe oder ausgestopfte Köpfe nicht-domestizierbarer (Raub-)Tiere vom Erfolg und der Naturverbundenheit der Jäger*innen künden, arrangieren die beiden gewöhnliche Haustiere wie Esel, Huhn oder Ziege als Trophäen an den Galeriewänden. Auch die Praxis, lediglich einzelne Körperteil eines erlegten Tieres als Souvenir an die Wand zu hängen, hinterfragen sie, indem sie ihre Trophäen enthaupten. Ihrer Köpfe und ihres eigentlichen Ausstellungssettings beraubt, mutieren die farbenfrohen, abstrakt-dekorativen Skulpturen zu gespenstigen Anti-Trophäen im White Cube.

 

Text: Silke Förschler, Astrid Silvia Schönhagen (Übersetzung/translation: Christiane Keim)

 

 

 

 

 

 

 

 

Danziger Ecke Wins

Die Balkone 2

Scratching the Surface

Berlin, Prenzlauer Berg windows and balconies

April 30th – May 2nd, 2021

 

Curated by Övül Ö. Durmusoglu & Joanna Warsza

 

The Tinsel Mourning Ribbon, 2021
The Corona pandemic is causing a caesura across the planet and has already claimed so many lives. Numbers are in fact so high that they defy imagination. Despite the persistence of the pandemic, the moments of pause, grief and sorrow are needed. The mourning black ribbons in different variants, are usually attached to houses or to state flags. Worn on clothing, they express condolences, own concerns and are a sign of respect. They are usually worn by people who are not related to the deceased, and they therefore are individual symbols of mourning.

The black tinsel mourning ribbon is placed on the balcony Danzigerstr./Winsstr. and extends over 2. floors. From the artist’s apartment on the 2nd floor to the doctor’s office on the 1st floor. The project was agreed upon with the other house inhabitants. The work also addresses the fact that the artist’s house was repainted in 2020. For 20 years it was painted light blue and changed in 2020 to a black and gray color.

The color change as a symbol is taken up in the black tinsel and in its flutteriness still stands for Berlin and the autobiographical attitude towards life of the artist, who wants to give space to the feeling of grief and sorrow at this particular interface, the balcony, which is private, but still visible to the public, and invites to a public condolences.
-Isabelle Sedeka

 

 

19 Feb – 19 March 2021

worlds we dream

Malwine Stauss X Sophie Utikal

 

„Beyond the frenetic drive for growth motivated by
profit and the insatiable thirst of capitalism, are other worlds.
Worlds we dream, worlds we draw, worlds we sing.
Worlds where visions are real, where flowers speak,
and water heals. Worlds we download and upload into
manifested reality“

 

Extract from Decolonial Healing: In Defense of Spiritual Technologies by Tabita Rezaire in the publication The Sage Handbook of Media & Migration, (2019)

 

Malwine Stauss and Sophie Utikal decided to escape together into a world of gentleness, where it is possible to be comfortable with fear, loneliness and the unknown.

Stauss allows history and abstactions to merge in her portraits and sculptures. At first the watercolor works and ceramic sculptures seem light and delicate, but on closer inspection one senses a deep strength in the figurative works. At the same time, the works of Malwine Stauss tell of intuition, connection and magical phenomena.

Utikal, is a textile artist whose methodology is to write poetic images, find feelings and then sew them together. Her textile works are handmade and touch on the theme of (personal) transformation – alone or with others. The focus is always on her brown body – this is how Sophie Utikal wants to address those whose bodies are usually not represented
in the full complexity of being: First, second, third generations of migrants in Germany, hybrids who constantly fall up and have to re-found their world.

German version:

Malwine Stauss und Sophie Utikal beschlossen gemeinsam in eine Welt der Sanftheit zu flüchten, in der es möglich ist sich mit Angst, Einsamkeit und dem Unbekannten wohlfühlen zu können.

Stauss lässt Geschichte und Abstaktionen in ihren Porträts und Skulpturen verschmelzen. Dabei wirken die aquarell Arbeiten und Keramikskulpturen zunächst leicht und zart, doch bei genauerem Betrachten spürt man eine tiefe Stärke der figürlichen Arbeiten. Dabei erzählen die Arbeiten von Malwine Stauss von Intuition, Verbundenheit und magischen Phänomenen.

Utikal, ist eine Textilkünstlerin, deren Methodik darin besteht, poetische Bilder zu dichten, Gefühle zu finden und diese dann zusammenzunähen. Ihre Textilarbeiten sind in Handarbeit entstanden und berühren das Thema der (persönlichen) Transformation – allein oder mit Anderen. Im Mittelpunkt steht dabei immer ihr brauner Körper – so möchte Sophie Utikal diejenigen ansprechen, deren Körper  meist nicht in voller Komplexität des Seins dargestellt werden: Erste, zweite, dritte Generationen von Migrant*innen in Deutschland, Hybride, die ständig rausfallen und sich ihre Welt neu begründen müssen.

 

Text: Sophie Utikal/Malwine Stauss

Edit: Tanya Most

flourish – nature is a given fact

15 Jan – 12 Feb 2021

 

bn+BRINANOVARA / silvia hornig / Carolin Ott                                                 Katrin Paul / Charlotte Rahn / Isabella Sedeka

 

Perception – ART

Perception – NATURE

Perception – ANYTHING

 

The combination of nature (science) and art is nothing new. Everything is based on the individual perception, which can be based on science as well as natural science. The perception of the environment, the processing of information, the concentration of information on essential aspects of contemporary confrontations and the environment is a constantly recurring theme in modern society. The exhibition flourish – nature is a given fact asks about the cycle of deepening perception and nature in connection with individual physical action and the constantly changing social events. An artistic examination of nature and society through the works of Carolin Ott, bn+BRINANOVARA, silvia hornig, Katrin Paul, Charlotte Rahn and Isabella Sedeka.

Text: Carolin Ott / Tanya Most

bn+Brinanovara, Milan

BIOGRAPHY & EDUCATION

 

GIORGIO BRINA

 

born in Milan, IT, 1993, lives and works in Milan

Brera Academy of Fine Art, Milan, 2012 - 2016, BFA Sculpture

 

SIMONE NOVARA

 

born in Milan, IT, 1994, lives and work in Milan

Politecnico of Milan, Milan 2015 - 2018, BSc Architecture
Wimbledon College of Art, UAL, London, 2013 - 2015, BFA Painting

 

ARTISTS STATEMENT

 

The artist duo bn+BRINANOVARA is like an ecosystem and embraces a cross-disciplinary practice. Their research deepens among and ironically challenges cultural archetypes, in favour of the multiform image of the Real. The image happens as a kind of falling in love and, thereby, it becomes a fertile inquiry land for the public too. Every day Giorgio and Simone try to overcome their personal imposition for a condition of freedom. Neither mine nor yours: a kind of intimate activism for forgotten causes.

SELECTED EXHIBITIONS

 

SOLO

2020

TUTTO PALETTI, XPINKY BERLIN, Berlin, DE

HADAL ZONE, Spazio In Situ, Rome, IT

DREAMT UNCANNY VALLEY, Adiacenze, Bologna, IT

 

2019

THUNDER BOOGIE, CRAG Gallery, Turin, IT

ANIMAL FARM, Galleria Monopoli, Milan, IT

 

2018

GUSTI ASSORTITI IN PROPORZIONE VARIABILE, Supergiovane, Milan, IT

 

GROUP

2020

SECRET CABINET, Dimora Artica, Milan, IT

POSITION Art Fair, X-Pinky Berlin, Berlin, DE

SUMMER COLLECTION, Crag Gallery, Turin, IT

HOLOMOVEMENT, Dimora Artica, Milan, IT

 

2019

SECRET CABINET, Dimora Artica, Milan, IT

AMNESIA, Premio Lissone Design 2019, MAC - Museo d’Arte Contemporanea, Lissone, IT

...ISSIMI, with CRAG Gallery, Turin, IT

THE OTHERS Art Fair, Turin, IT

NOW NOW, with Casa Testori, Rimini, IT

SUMMER EXHIBITION, CRAG Gallery, Turin, IT

TUTTIFRUTTI, Supergiovane, Milan, IT

 

2018

CONTEXTO, IV ed, with Casa Testori, Edolo, IT

NO NAME, collezione Marco Genzini, Morsasco castle, IT

NOTTI TRASFIGURATE, Villa Simonetta, Milan, IT

 

PUPLICATIONS

Hadal Zone, 2020

Premio Lissone Design, 2019

Gusti assortiti in proporzione variabile, 2018

Il luogo del tappeto, 2018

Dancing the Time: Just an Oyster Without the Pearl, 2018

Bebøerbadspel, 100% inflatable housing, 2017

Kammerverfahren: Genesi, giorno 6: visioni di parallasse, 2016

 

PRIZES

Premio Lissone Design (shortlisted), 2019

MEAD Scholarship (shortlisted), 2014

Prunella Clough Scholarship (shortlisted), 2014

 

 

right to free the plinth

bn+BRINANOVARA

 

TUTTO PALETTI

Window show & @xpinkyberlin Instagram

 

14 Dec 2020 – 10 Jan 2021

 

From politics to natural sciences, each revolution removes the images of the former power. In other words, the revolutionary action of removing the power in force is exhibited by way of demolishing its images. Or rather, this is how it should be. In fact, it sounds more like: the revolution replaces the current power and its action goes through substituting the previous images with current analogues. Indeed, after each revolution a new power is established. Which means that after the revolution has happened, it becomes the power – just because there is no real possibility to keep a “spear sit” for the power-position.       However, if the immediate consequence of revolution is the establishment of power, what if we subvert the image? Is it possible not to replace it with a newer one?

The long time of instability, which we are living because of the pandemic, unravels a “different thinking”: ourselves are the first thing to be subverted in order to act a real change. It seems that, many times, revolution cares more on revolution itself than on the revolutionaries. It’s all about the idea of the revolution, its image. Nonetheless, the peculiar contingency lets us experience how much the concrete presence of silence – as a result of the uncertainty – overwhelms the ephemeral presence of images. What if we take the advantage of this on – going revolution, this temporary hole, for not filling it?

The work Right to free the plinth concerns the fact of everyone being so into the idea of tearing the statue down that they don’t see the freed pedestal. We thought of focusing on the pedestal. If we unhinge the idea, taken for granted, of a pedestal for the statue, of the pedestal enslaved to the statue; if we subvert the order of the image imposed by the power, could the plinth stand alone?

Tutto Paletti is a kind of intimate activism for forgotten causes.

 

Text: bn+BRINANOVARA

 

 

 

 

Rendez-vous de chasse

NOW by appointment

XPINKY VIDEOCALLS

and visits (mask+AHArules)

DM on Instagram @xpinkyberlin
or by mail: info@xpinkyberlin.de

 

 

OUTDOOR FINISSAGE

„Rendez-vous de chasse“ at XPINKY

19 JUNE 2021, 4:00 p.m.

 

the artists are present

bn+BRINANOVARA, Patricia Lambertus & Carolin Ott

 

(mask+AHArules)

 

 

 

 

POSITIONS ART FAIR BERLIN 2020

with bn+BRINANOVARA, Jeff Conefry & Isabella Sedeka

10-11-12-13 Sep 2020

Airport Tempelhof Hangar 3-4

 

(mehr …)

VOLTA BASEL 2020

with bn+BRINANOVARA & Isabella Sedeka CANCELLED