Daniel Harms | Falsche Helden oder mutige Irre (The phoney tough and the crazy brave | 05.12.2014 – 15.02.2015 | Berlin

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BERLINARTPROJECTS presents Daniel Harms‘ new work series Falsche Helden oder mutige Irre, which is the first showing worldwide. Daniel has let himself be inspired by eight old masters, namely Bacon, Beckmann, Caravaggio, Goya and Picasso, along with Pollock, Rubens, Schiele. He refers to his artistic process or technique as “remastering” – Daniel deconstructs the originals and then ‘remasters’ both the content and the form into a new truly original piece of art.  He thereby quotes without imitating. Using the collage-technique Daniel breaks conventions to form his new personal expressive style. Every single one of his large-scale paintings still is authentically Daniel Harms’ work. Each work bears the mark of his own personal struggle with inner conflicts and they show the process the artist has gone through. This is especially remarkable when considering that the artist is self-tought and was socialized rather in the music scene and the nightlife of Hamburg. He came into contact with painting as an art form after feeling an inner need and urge to express himself visually, his partner, a former art student, early recognized his potential and encouraged him to take up art professionally. Daniel Harms instinctively selected his own personal teachers and ‘heroes’ and acquired his technique by going through a process of copying and finally overcoming their oeuvre.
Picasso for example uses the age-old concept of the Minotaur in his art by showing it as a dominant figure in the man-woman-relationship. In contrast, Harms adopts the motive, but depicts the Minotaur facing away from the woman, withdrawn, defiant and almost childlike. This places the motive in a modern-day context and reflects how a traditional motive is transformed in Daniel’s inner mind.
The idea for the title Falsche Helden oder mutige Irre derives from Stanley Kubrick’s film Full Metal Jacket and according to Harms characterizes the quoted masters, who during their lifetime where mistakenly seen as eccentrics, only gaining recognition as geniuses after their death.

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to see the artpaper, click here

BERLINARTPROJECTS supplies interested viewers with an artpaper containing photos of all the exhibited art. Marc Wellmann has kindly reviewed Daniel’s work, this can also be found in the artpaper.

 

Eda Soylu | Not being forgotten, how strange! | 27.09. – 30.11.2014 | Istanbul

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The solo exhibition of Eda Soylu at BAP // Istanbul, ‘Not being forgotten, how strange!’ brings works together that have never been exhibited in Istanbul before.

Soylu creates a world from her own experiences, from things she witnessed, places she visited, and poems she re-reads /remembers. Following the traces of destruction that happen in various ways along with the effects and scars of oppression and slaughter, this world is created by the works that are being marked admirably out of the destroyed. The contrast, which is applied delicately but is yet rough through the choice and use of the material triggers a graceful touch to human spirit. Yet, the works constitute subtle and catchy forms that touch one´s heart with sorrow.

Rather than sharp divisions, chronological or thematic classifications, the exhibition is built with an approach that suggests her artistic methodology.

Taken from the artist’s notes, the exhibition is titled as a reference to Metin Altok’s (1940-1993) ‘Sonnets’ in order to point out her relation to literature, especially to Turkish poetry.

The worldly matters, my dear

are not being forgotten, how strange!

Even when I am making love to you on a mattress

I am thinking of sad young mothers

Carrying a bag in bazaars, in markets

The exhibition at BAP// ISTANBUL reminds of the artists’s studio through the spatial compositions she creates with the use of untraditional ready materials such as coffee, concrete, flowers, plasters etc. Composed with site-specific works such as sculpture, installation and found material, the exhibition is both biographical and world-embracing.                                     

Eda Soylu (b. 1990, İstanbul)

Graduated from Rhode Island School of Design (RISD’13) with Bachelor of Fine Arts, Painting Department, she continued her education in Rome, 2012, with European Honors Program. The artist has attended summer schools both in Sorbonne University and London School of Arts (Central Saint Martins), has had group shows in US and Italy. She currently works in Istanbul.

 

 

Yaşam Şaşmazer | Metanoia | 19.09.– 30.11.2014 | Berlin

Pressetext deutsch

BERLINARTPROJECTS presents Yaşam Şaşmazer‘s solo exhibition Metanoia, shown in Germany for the first time. The sculptures, being beautiful and dark at the same time, make it hard for the observer to remain uninvolved, as the figures captivate him and draw him into their cosmos. Every figure creates its own closed cosmos, engaging in a private, even intimate interaction with its own shadow, making the spectator feel like a voyeur becoming a witness of inner revelations. With the title Metanoia the sculptress refers to a psychological phenomenon and with it to C.G. Jung. He uses the term to describe the process of re-forming the psyche as a form of self-healing during a psychological breakdown or existential crisis, meant here as a potentially productive act, in which transformation and change can take place. The conflict of the artist with the topic of the shadow is underlying a process of growth and transformation itself. For a long time she worked on depicting children, characters who had already been in touch with the dark side of human mankind and who in their childlike ways seem uncanny, weirdly mature and knowing.

The playful traits of the characters have now disappeared, the figures having become older and using a different approach to life’s issues. They encounter their shadow, confront it and fight, the dichotomy between children and parents therefore having been replaced. Just as the concept Metanoia has a positive connotation with Jung due to his element of inner transformation, the figures struggling with their dark sides are strong and full of life. The artist shapes the space with her works, not only do her three-dimensional works take up and form a certain space, but she also includes the space conceptually, often changes works and adapts them according to the circumstances. Each of her exhibitions is an individual installation. The spectator on the one hand becomes part of the interaction, as he enters the space and positions himself to the figure. On the other hand he always remains an outsider, as the depicted situations are closed, the figures turned away and engaged in inner thought. Therefore the spectator becomes a voyeur, witness to an ambivalent act that draws him closer without enabling him to become a part of it.

 

YAŞAM ŞAŞMAZER, born in Istanbul in 1980, now lives and works in Istanbul and Berlin. Yaşam Şaşmazer studied sculpture at Mimar Sinan University of Fine Arts Istanbul and graduated in 2006 with a master’s degree. She is considered one of the most promising Turkish artists of her generation. Şaşmazer began her career by creating sculptures of childlike figures. The body, its gestures and postures were always at the core of her work, her delicate characters are carved out of wood. From the very beginning her work has been influenced by psychological thought and theory. In 2011 the sculptress extended her range by now creating more adultlike figures. The sculptures in her first series Doppelgänger (2012) are all portrayals of the artist.

Yaşam Şaşmazer’s works have been shown at art fairs and in various cities such as London, Dubai, New York, Istanbul and Berlin. She has had both solo and duo exhibitions in Germany, for example at Künstlerhaus Marktoberdorf (Doppelgänger, 2012), Gesellschaft für Bildende Kunst Trier e.V. (Translations, with Ulrich Riedel, 2011), Kunstverein Elmshorn (Sculptures, 2011), AK 68 (Bunt gemalt & rund gehauen, with Bodo Rott, 2011), BERLINARTPROJECTS (Doppelgänger & Should I really do it?, with Ismail Necmi, 2013; It’s so complicated, 2010), in London, UK, at the Aubin Gallery (Illuminated Darkness, 2011) in Istanbul, Turkey, at the Ҫağla Cabaoğlu Gallery (Strangely familiar, 2009) as well as exhibitions in various other places. Group exhibitions have been staged at Akbank Sanat (Autonomous and Beautiful, 2014), Hall Arts (Plural, Poetic, Ironical, 2013), both Istanbul, Saatchi Gallery (Confessions of Dangerous Minds, 2011), London, Lawrie Shabibi Gallery (Heroes & Villains – Summer Group Exhibition, 2011), Dubai, UAE as well as at various biennals, for example Xingjiang Biennal (2014), China and Luleå Art Biennal (2007), Sweden.  Her work has been shown at art fairs such as JustMAD, Art.Fair21, Scope Art Show in New York, Miami and Basel, Contemporary Istanbul, The Solo Project, SWAB Barcelona, Munich Contempo, Art Karlsruhe and can be seen in various collections.

 

 

Ulrich Riedel | (Up)rooted | 12.06. – 26.07.2014 | Istanbul

BERLINARTPROJECTS is pleased to announce Ulrich Riedel's first solo exhibition in Istanbul, taking place at BAP// Istanbul. The exhibition is titled "(Up)rooted" and will show wooden art pieces and installations. His delicate wall reliefs create perspectives and depth, at the same time being symmetrical and contradicting the illusion of space. Therefore this series is called: "Zusammenfall der Gegensätze" (collision of contradictions).

His work "Me-We" deals with the conflict between individual and community. In his recently published interview in "Trendsetter Instanbul" he explains it as follows:

The individual personality is formed by diverging from the rest, “the others”. “The others”, however, are all kinds of different individuals. Two sides of the same medal, so to say. To be more precise a human individual constantly switches between personal identity and different social roles. The awareness of this is translated into a variety of works of art.

(Ulrich Riedel, Trendsetter Istanbul, 05/2014)

His works can play tricks with one's mind and expectations and make one think. Dr. Heinz Stahlhut commented on his "attitude of refusal regarding the audience's desire for personal expression authentic testimony":

[This] places Riedel in the tradition of concrete and minimal art, which also eludes these demands. Besides the use of quasi-industrial means of production, Riedel's art also shares minimal and concrete art's reduction of personal handwriting, modular desing and seriality. The work also shares the same clear, rational and direct system of rules as a basis, which sets it apart from the intuitive design of expressive tendencies. The purpose of this regulatory system was and is an eminent pedagogical impetus.

(Dr. Heinz Stahlhut)

Ulrich Riedel, born 1979 in Berlin (Germany), where he lives and works. He studied philosophy and art history at Humboldt University in Berlin (2001-2002) as well as fine arts (2002-2007) at Berlin University of Arts (UdK) in the master student class of Tony Cragg and Florian Slotowa. In 2006 he went to Sydney College of Fine Arts, Australia, as a Socrates Fellow. He received various stipends and spent several semesters abroad. Recent exhibitions were shown at the Riciclarti CANTIERE ARTE AMBIENTAL (RicCAA) in Padua, Italy, Kunstverein and Museum Kulturspeicher Würzburg (solo exhibition), Kunstverein Trier, Motorenhalle Dresden as well as Kunstverein Paderborn (solo exhibition), all of them in Germany. At art figura at Schloss Schwarzenberg he in 2013 received the art prize award “5. Kunstpreis”.

Ulrich Riedel | (UP)ROOTED
Exhibition Dates: 12.06 - 26.07
Visiting Days and Hours : Tuesday-Saturday | 11:00-18:00 

more information: www.ulrichriedel.de

Mehtap Baydu | A Tale of Shahmaran | 30.05. – 05.06.2014 | Berlin

Pressetext deutsch

BERLINARTPROJECTS is pleased to host the first solo exhibition in Berlin by the artist Mehtap Baydu, The Tale of Shahmaran, which will feature a performance at the opening. The focus of the exhibition lies on the act of performing and the cosmos that the artist creates around it. Shahmaran, an allegorical hybrid creature from Kurdish mythology, refers to the embodiment of a woman, a stranger, a lover, a marginal and the other and therefore symbolizes open-ended personifications. Fiction stories, invented characters and everyday life materials such as clothes, food, sayings and her body are inspirational ingredients for her work. These socio-cultural elements are composed to reflect on diverse geographical backgrounds and the meaning of cultural artefacts as well as their various readings. Driven by the search for a feminist narrative her work challenges patriarchal structures, social norms and immigration politics and develops fictional stories. In an attempt to portray people’s stories in an artistic, social and political context, Baydu works with a wide range of material and medium. While the main emphasis of her work is on performance, she also uses photography, video, installation and sculptural objects to communicate different stages of her artistic process. The appearance and the use of the body are as essential to her as the spontaneous acts and contributions by the audience during the performance.  Although it may appear as if each piece is influenced by a specific cultural tradition or situation, there is always something basic and human about them that everyone can relate to.

Osman (2010-2011), is an outstanding photographic work of the exhibition, in which the artist assumes the role and stereotype of a man, a leader, a father or a landowner and therefore symbolizes the glorification of a member of the working class. Only the ‘tesbih’, the beads in her hand subtly hint at a motive from Islamic culture. The installation series OSMAN 5451 (2013), including photographs and documents, gives further insight into the character of Osman. What would it be like to apply for a citizenship without a passport and an official residency permit? The performance held at the opening, Tragen-Persönlichkeit (2010-2014) (to assume a personality), will also be presented as an installation piece throughout the exhibition. As a research-based performative work the work features texts and dresses used during the performance as well as photographs. The sculptural installation and the video piece Stille (2014), produced as a continuation of her sculpture piece Reden ist Silber (2010), refer to social and moral implications of expressing oneself and of speaking out loud as well as to freedom of speech.  Eat me - Meet me (2010), a video piece based on a performance, tries to reveal a basic human element: the interest one has in other human beings that also includes an interest in their outer appearance, their body.

Mehtap Baydu, b. 1972 in Bingöl, Turkey, lives and works in Kassel and Berlin. She studied fine arts at Kunsthochschule Kassel with Prof. von Windheim and graduated with her as well as Prof. Urls Lüthi. From 2010 – 2011 she was a master student of Prof. Dorothee von Windheim.  She received stipends from the university as well as from the Braun Stiftung. From 1997 – 2000 she studied sculpture at the Fine Arts Faculty, Hacettepe University. In 2011 she got funds for a project by the Dr. Wolfgang-Zippel Stiftung and also received the prize UPK – Kunstpreis Kassel. Her recent exhibitions include alèm mar in Montes Carlos, Brazil, SILENCE at Künstlerhaus Stuttgart (2014), HEUTE HIER - bugün burada in  KLIESTPARK, Berlin, Nev Nesil:  Kafa Kağıdı, Galeri Nev, Ankara, Turkey, THE UNANSWERED QUESTION. ISKELE2 curated by Rene Block (2013), Berlin, TURKISH ART NEW AND SUPERB in Tanas, Kassel, HIER und JETZT at KulturBahnhof-Südflügel (2012), Kassel,  Spaziergang at the Kunsthalle Fridericianum, Kassel, Examen-Ausstellung at documenta-Halle in Kassel 2010 and Schnitt/Menge at Kunstverein Weiden (2009).

 

 

Lukas Hoffmann, Ulrich Riedel, Claudia Vitari | Three Act | 02.05.2014 | Berlin

For the Gallery Weekend Berlin, BERLINARTPROJECTS is pleased to present the Three-Act exhibition with the artists Lukas Hoffmann, Ulrich Riedel and Claudia Vitari. Inspired by the Three-Act writing structure, the title refers to the different stages of the artistic process and emphasizes the storytelling aspect of an exhibition where each work brings its own narrative. Unlike a traditional gallery space where merely the finished works are being exhibited, Three-Act exhibition reveals insights and materials reflecting on the artistic process. In addition to photographs, installations and sculptures, the exhibition also consists of sketches and a small library of books selected by the artists, art books as well as publications on the artists. As part of the library, the reading corner inside the exhibition space not only provides information on the artists, but also shows up sources of their motivation. The Gallery Weekend visitors are welcome to sit back, read and reflect.

Turning the literary elements into sculptural objects, Ulrich Riedel works with space, text, letters and word games. With a room installation, a wall piece and a sculpture, Riedel participates at the exhibition with three different works, all representing typical characteristics of his practice. As a central work among the three, the floor-based installation “Tilted Space / Berlin” (2014) creates its own room and transforms the gallery space.

The photography series “Radicchio Rosso I- IX” (2013) by Lukas Hoffmann will be exhibited for the first time. “The photographer’s aim is to reveal the pictorial quality of the world. In discussing his work, Lukas Hoffman claims that he is interested in drawing attention to the forms and the light, rather than conveying knowledge about the subject of his photographs. What is at stake is not so much the object depicted – be it a tree or a house – but rather an ordered structure of the landscape that only comes forth in the picture."

Working in psychiatric hospitals, prisons and other marginal situations, Claudia Vitari´s socially engaged practice is based on long-term research and narration. She portraits people in the attempt to capture their history and personality, regarding the act itself a dialogue between the other person and herself. Therefore the picture of another person, as she realizes, will always remain unfinished and the point of view of another subject. Through the artistic process, she manages to transform heavy topics into delicate forms. For the Three-Act exhibition at BERLINARTPROJECTS, Vitari is exhibiting a selection of her sketches.

Lukas Hoffmann  | b. 1981 in Zug (Switzerland) lives in Berlin. He studied Fine Arts at the École Nationale Supérieure des Beaux-Arts in Paris (2003-2007) and followed the research program La Seine from 2009-2011 (ENSBA Paris). Hoffmann received studio grants in Antwerp (2008-2009) and Berlin (2011). His recent exhibitions include Paris Photo Los Angeles (Galerie de Roussan, Paris, 2014) Poppositions at Dexia Art Center (Brussels, 2014), Eine Quersumme at BERLINARTPROJECTS (Berlin, 2013) This Infinite World in Fotomuseum Winterthur (2013), Polderbos in Kunstmuseum Luzern (2011).

Ulrich Riedel  | b. 1979 in Berlin (Germany), lives in Berlin. He studied philosophy and art history at Humboldt University in Turning the literary elements into sculptural objects, Ulrich Riedel works with space, text, letters and word games. With a room installation, a wall piece and a sculpture, Riedel participates at the exhibition with three different works, all representing typical characteristics of his practice. As a central work among the three, the floor-based installation “Tilted Space / Berlin” (2014) creates its own room and transforms the gallery space.

Claudia Vitari | b. 1978 in Turin (Italy), lives in Berlin and works between Torino, Barcelona and Berlin. She studied  in Halle an der Salle at Burg Giebichenstein, Hochschule für Kunst und Design (University for Art and Design), where she graduated in 2004. She exhibited in the Mausoleo della Bela Rosin (solo exhibition), in Turin, Arts Santa Monica (solo exhibition), Barcelona and Raffaella De Chirico Arte Contemporanea in 2013 and in the Natural Science Museum of Turin and BERLINARTPROJECTS in 2012. Her project “The Invisible Cities” (2010-2012) was realized in Barcelona with the collaboration of “Radio Nikosia”, the first Spanish radio organized by people who have been diagnosed with mental diseases and “PERCORSOGALERA” (2007-2009) was realized inside Turin's penitentiary. For both exhibitions the artist had a grant of “Regione Piemonte”.

 

 

DANIEL HARMS | HOLD TIGHT | Istanbul


The BAP//ISTANBUL Gallery presents DANIEL HARMS' second solo exhibition "HOLD TIGHT" in Istanbul.

The exhibition 'HOLD TIGHT' displays twelve new exhibits by Daniel Harms. The artist was born in Hamburg in 1980 and has been living in Berlin since 2007. His colourful images have titles such as „Aasfresser' (scavenger) or „Konflikt' (conflict), banned onto large-format canvases in acrylic and charcoal. Daniel Harms' collage-like art depicts alienation and connections, his pictures are brave and full of allusions. 'Here we have an artist stepping on the throttle. Full speed. A tour de force through various styles of alternative art and rock music,' is how art historian Christoph Tannert (translated by Mason Ellis Murray) puts it. Harms' work is inspired by comics and characters in children's books. It is radical and full of strong emotions.

A native of Hamburg Daniel Harms is motivated by his personal history and events deeply rooted in his home town of Hamburg. His previous last solo exhibition presented by BERLINARTPROJECTS and titled 'Redux' was shown in the gallery in Berlin.