past exhibitions

FEMINIST LAND ART RETREAT

Sat 29.04 to Sun 28.05 // EXHIBITION, EXHIBITION OPENING // GALLERY
FEMINIST LAND ART RETREAT

FEMINIST LAND ART RETREAT, No Man’s Land
 
OPENING: FRI, 28. APRIL 2017, 7 – 10 PM
Followed by an after party at ACUD Club
EXHIBITION: 29. APRIL – 28. MAY 2017
OPENING HOURS: FRI & SAT, 1 – 6 PM
 
Curated by Elodie Evers
 
ACUD gallery presents No Man’s Land, the first solo-exhibition in Berlin by Feminist Land Art Retreat (FLAR). FLAR has created a series of new works which use a symbolic language of equestrianism to explore questions of frontiers, power structures, and materiality. The show centers around a video, also entitled No Man’s Land, which subverts the hierarchy of agency between horse, man, and land in the western genre. The concept of “no man’s land” is versatile: it can be read as a wasteland, or as a politically-contested liminal area between two forces. Combining land art with science fiction, FLAR embraces a playful reading. This no man’s land is not only void of men, it is also a terrain so alien that it verges on a dystopic, futuristic vision, perhaps beyond our own planet. Shot on a ranch outside of Berlin, the video depicts the preparation for an unknown journey carried out by Gina, a sentient presence inhabiting the horse, rider, landscape, and relationships between each entity.
 
Feminist Land Art Retreat was born in 2010 with a poster on the wall of Exercise Projects in Vancouver, depicting mirrored images of Robert Smithson’s Spiral Jetty. Transforming this seminal work of land art into something resembling fallopian tubes, it invited the viewer to a fantasy event. This began FLAR’s conceptual and humorous subversion of familiar visual forms, including fashion, spa advertising, commemorative architecture, and aerial imagery. FLAR has continued appropriating commercial and art-historical images with irony, challenging commonly held notions of how feminism is embodied and expressed.
 
Feminist Land Art Retreat has recently exhibited at: Ginerva Gambino, Cologne; Kestnergesellschaft, Hannover; Kunsthaus Bregenz Billboards, Bregenz; Oslo 10, Basel; Studio For Propositional Cinema, Düsseldorf; JTT Gallery, New York.
 
With kind support by
 
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MONIRA AL QADIRI

Fri 24.03 to Sun 23.04 // EXHIBITION OPENING // GALLERY
MONIRA AL QADIRI

MONIRA AL QADIRI, BUBBLE
 
OPENING: FRI, 24. MARCH 2017, 7 – 10 PM
EXHIBITION: 25. MARCH – 23. APRIL 2017
OPENING HOURS: FRI & SAT, 1 – 6 PM
 
Curated by Elodie Evers and Camila Palomino
 
 
Monira Al Qadiri’s works lend a highly political visual language to the experiences of the Gulf, articulating both the angst and the richness of the culture. The exhibition at ACUD is Al Qadiri’s first solo-show in Germany, encompassing a selection of recent sculpture and video works.
 
In her earlier works, the artist experimented with questions of gender and performance. She created images and videos using representations of her own body, presenting herself as male characters, and having male dancers play female roles in videos portraying traditional Arabic music. These works relate narcissism, gender roles, and melancholy—highly figurative and sumptuous depictions of Arab Culture. Her most recent pieces continue to work through the same cultural spectrum but with particular consideration to economic histories and tradition.
 
The title of the show, “Bubble,” refers to both liquid crude oil—its effervescent and iridescent nature—and the term “economic bubble,” relating to a bubble market, or a trading of assets whose price is incongruous with its intrinsic value. The video projection Rumors of Affluence (2012) speaks directly to the latter, giving viewers an exclusive and voyeuristic look into the Kuwait Stock Exchange. Al Qadiri zooms in on different traders, men wearing traditional, long, white dishdashas, lounging aimlessly about the Stock Exchange, and presumably conducting business. Coupled with deeply percussive music building tension, the voice of the narrator—the artist herself vocally disguised as a man—recounts stories of wealth, consumption, and corruption before and after the financial crisis. The reveals another bubble: a world directed by men, of unimaginable wealth and fraud—a precarious bubble, ready to pop.
 
The video Travel Prayer (2014) features found footage from a camel race, a popular sport and betting event in the Middle East. In the past, children were trafficked, and used as jockeys at races. Most Middle Eastern countries have now recognized the use of children as a human rights violation; and as a result, camels today are fitted with robotic jockeys, as seen in the video, that are controlled from SUV vehicles that ride along the camels. Al Qadiri invokes a subtle humor in her works that allows her to navigate sensitive political and cultural spheres, with sharp poignancy that renders absurd the corrupt and perverse. The video confronts the dark, traditional history of this sport by making the footage vibrantly colored, and accompanying the images with two sounds: a children’s tune as staccato as the camel’s galloping is fused with the words of an Islamic travel prayer. Merging together symbols of wealth, tradition, and religion, these parts create a critical portrait of the Gulf States, where child abuse is traded for crude machines.
 
Al Qadiri’s pointed sense of irony is even more present in another video, SOAP (2014), in which she superimposes images of migrant domestic workers onto scenes from various Gulf Soap Operas. Domestic workers constitute an invisible presence in the immaculately manicured homes and lifestyles of characters on these television shows, yet in reality, these workers are a ubiquitous part of everyday life in most Gulf households. As a result, SOAP presents a surreal image and acerbic criticism of not only these soap operas, which themselves are cleaning and editing their depictions of reality, but also on a culture that is based in superficiality. As with Rumors of Affluence and Travel Prayer, SOAP continues to explore and expose the histories and experiences that are obscured in Gulf culture.
 
Deep Float, (2017) the newest work presented in the gallery, provides different sorts of intimacy. A bathtub standing at the center of gallery, what would seem to be a private moment of self-indulgence and self-care, is perverted. Instead, the bathtub is filled with a dark, nacreous substance portraying crude oil, while two hands seem to reemerge from the ooze. Both drowning and emerging from the muck, the absent body symbolizes the precarious and overwhelming economic reliance that the Middle East, and the rest of the world, have to crude oil.
 
 
Monira Al Qadiri (born 1983 in Dakar, Senegal) lives and works in Amsterdam. Born in Senegal and raised in Kuwait, she left her home country at 16 and spent a decade in Japan, where she received a PhD in intermedia art in 2010. In 2011 she relocated to Lebanon. She is a founding member of the artist collective GCC, and is currently in residence until 2018 at the Rijksakademie in Amsterdam, Netherlands.
 
Selected previous exhibitions include: Academy of Fine Arts, Vienna; New York University, Abu Dhabi; Haus der Kulturen der Welt, Berlin; Center for Contemporary Art, Warsaw; Kunstverein Dusseldorf; Maraya Art Center, Sharjah; Tokyo Museum of Contemporary Art, Tokyo.
 
Al Qadiri’s video works have been screened at: Centre Pompidou, Paris; Safar: Festival of Contemporary Arab Cinema, London; Ludlow 38, New York; Whitechapel Gallery, London; Marian Goodman Gallery, Paris; Berlin International Film Festival, Berlin; New Museum, New York.

 
 
Image: Monira Al Qadiri, Rumors of Affluence, 2012, video still
 
With kind support by
 
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JAKOB KOLDING

Fri 27.01 to Sun 26.02 // EXHIBITION, OPENING // GALLERY
JAKOB KOLDING

JAKOB KOLDING, dislocated discolated
OPENING: FRI, 27. JANUARY 2017, 7 – 11 PM
EXHIBITION: 28. JANUARY – 26. FEBRUARY 2017
OPENING HOURS: FRI & SAT, 1 – 6 PM
Curated by Elodie Evers
 
 
Jakob Kolding is best known for his hand made collages and posters in which he samples and mixes the visual idioms of art, architecture, literature, theatre, and music. Since the late nineties, Kolding has been creating his own vocabulary of cut-outs that continues to grow and expand with time. The same elements are re-used and re-contextualized in different works, constructing a variety of context-dependent meanings and narratives. Whereas his early works were mostly made with reference to a specific time and place, usually revolving around the relationship between the ideologies of urban planning and the actual use of space, his newer works are more abstract and hence more open for interpretation.
 
Recent years have also witnessed a gradual development towards the 3-dimensional in his work: arrangements of sculptural figures, life-sized wood cut-outs printed with black and white imagery, transfer the collages into the actual space. Kolding creates scenographies — stagelike settings that invite viewers into a tableau vivant while demanding that they constantly navigate their own spatial experience.
 
The exhibition at ACUD brings together both a group of sculptural figures and a selection of new small-scale collages. Through their size and the depth of their frames, these collages allude to historical dioramas. Dioramas were originally produced as miniature scenes in three dimensions with objects and figures placed in front of a painted background in order to create a realistic impression. In inviting people to look at, and often literally enter such a setting, the emphasis lies on the viewer and their imagination. Instead of being presented with a complete vision, or with something posing as fact, openness and ambiguity are at the core of these viewing apparatuses.
 
The show’s title, dislocated discolated, represents Kolding’s ongoing fascination with the potential for something new that lies in every breakdown, collapse, or change in general. Dislocation stands for disruption, for a state of being displaced. More concretely, it can be read as a reference to one of the most challenging issues of our times. ‘Discolation’, on the other hand, is a word made up by Kolding himself by simply rearranging the existing letters of the original word (a word game that he pursued to an extreme in his new four-part poster produced for this show, which will also be hung up around Berlin). It entails the word ‘disco’ that is associated with a variety of celebratory, shimmering meanings.
 
The concept of dislocation probably comes into focus most prominently with the collage Foreign Fish (2017), in which a couple of men stand inside Mies van der Rohe’s famous Seagram building and stare at a gigantic, colorful fish passing though the otherwise grim surroundings. The safety of the rigidly planed inside collides with the chaotic phantom-like outside — a landscape and a group of people on a raft taken from the original illustration of Jules Verne’s Journey to the Centre of the Earth. All of the cut-outs are black and white except the fish. Simultaneously strange and beautiful, it introduces a new order. By continuously creating these speculative topographies, Kolding points at an openness that is at once challenging and reassuring.
 
+++The exhibition opening will be followed by an after-party with DJ sets by Wolfgang Tillmans and Lars Erik Frank+++
 

Jakob Kolding (*1971 in Albertslund, Denmark) has exhibited extensively throughout Europe and the United States. dislocated discolated is the artist’s first solo show in Berlin. He is currently working on a stage set for the Bregenzer Festspiele and regularly writes for the Berlin based magazine Starship where he translates his interest in reinventing and (de)constructing meaning into texts that reflect on his favorite books.
 
Kolding´s previous exhibitions include: The Museum of Contemporary Art, Chicago, IL; The Stedelijk Museum Bureau Amsterdam, Amsterdam, The Netherlands; The Frankfurter Kunstverein, Frankfurt, Germany; Kunsthalle Wien, Vienna, Austria; Palais de Tokyo, Paris, France; Kunstverein in Hamburg, Germany; Museum Villa Stuck, Munich, Germany; Moderna Museet, Stockholm, Sweden; CCA Wattis Institute for Contemporary Arts, San Francisco, USA; The Museum of Contemporary Art, San Diego, California; and The University of Michigan Museum of Art, Ann Arbor.

 
Image: Jakob Kolding, We All Feel Better in the Dark, 2016, detail
 

With kind support by
 
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MATTHIAS SOHR

Fri 02.12 to Sun 15.01 // EXHIBITION, OPENING // GALLERY
MATTHIAS SOHR

Please scroll down for the English version

 
Infos zur Ausstellung von Matthias Sohr
 
Die Eröffnung von der Ausstellung ist
am Freitag den 2. Dezember 2016
von 18 Uhr bis 22 Uhr.
 
Danach gibt es diese Öffnungs-Zeiten:
3. Dezember bis 17. Dezember 2016 und 13. Januar & 14. Januar 2017
Jeden Freitag und Samstag von 13 Uhr bis 18 Uhr.
Die Ausstellung kann man sich hier ansehen:
ACUD Galerie Berlin
Veteranenstraße 21
10119 Berlin
 
ACUD ist der Name von der Galerie.
Eine Galerie ist ein Raum,
in dem Ausstellungen gezeigt werden.
 
Für die Ausstellung hat sich Matthias Sohr
mit vielen Themen beschäftigt.
In der Ausstellung geht es zum Beispiel um:
• Familie und Familien-Zusammenhalt
• Selbst-Vertretung von Menschen
 
In seiner Ausstellung zeigt er verschiedene Skulpturen.
Skulpturen sind Figuren.
Zum Beispiel aus Plastik.
Oder aus Metall.
Matthias Sohr zeigt auch andere Dinge.
 
Zum Beispiel:
• Einen Treppen-Lift.
• Oder einen Rollstuhl.
• Oder bunte Tafeln an der Wand.
 
Matthias Sohr macht Kunst.
Er zeigt Dinge nicht einfach nur so.
Er möchte die Dinge anders zeigen,
als sie sonst sind.
Das ist ihm wichtig.
 
Infos über den Künstler
Der Künstler heißt Matthias Sohr.
Er wurde 1980 geboren.
Er kommt aus Düsseldorf.
 
Matthias Sohr ist Bildhauer.
Das heißt: Er macht Skulpturen.
Skulpturen sind Figuren.
Zum Beispiel aus Plastik.
Oder aus Metall.
Er hat in verschiedenen Ländern studiert.
Er hat seine Skulpturen schon oft gezeigt.
Diese ist seine erste Ausstellung in Berlin.
 
 
Information about the Exhibition of Matthias Sohr
 
The opening of the exhibition is
on Friday the 2nd of December 2016
from 18:00 to 22:00.
 
Afterwards these are the opening hours:
3 December to 17 December 2016 and 13 January & 14 January 2017
Every Friday and Saturday
from 13:00 to 18:00.
You can see the exhibition here:
ACUD gallery Berlin
Veteranenstraße 21
10119 Berlin
 
ACUD is the name of the gallery.
A gallery is a space
where exhibitions are shown.
Matthias Sohr has thought about many topics
for the exhibition.
For example, the exhibition is about:
• Family and family ties
• The agency of people
 
In his exhibition he shows different sculptures.
Sculptures are figures.
For example made from plastic.
Or from metal.
Matthias Sohr also shows other things.
For example:
• A stair lift
• Or a wheelchair
• Or colourful boards on the wall
 
Matthias Sohr makes art.
He doesn’t just show things.
He wants to show things differently
than they normally are.
That’s important to him.
 
Information about the artist
The name of the artist is Matthias Sohr.
He was born in 1980.
He is from Düsseldorf.
 
Matthias Sohr is a sculptor.
That means: He makes sculptures.
Sculptures are figures.
For example made from plastic.
Or from metal.
He has studied in various countries.
He has often shown his sculptures before.
This is his first exhibition in Berlin.
 
Übersetzt wurde der Text vom
AWO Büro Leichte Sprache. /
The text was translated by the
AWO Büro Leichte Sprache.
 
Die Ausstellung bekommt Geld
vom Senat Berlin. /
The exhibition receives money
from the Senate of Berlin.
 
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Die Ausstellung wird unterstützt von /
The exhibition is supported by:
 
Acorn Mobility Services Ltd
BMW Niederlassung Berlin
Hempel GesundheitsPartner GmbH
HEWI Heinrich Wilke GmbH
Reha Hilfe Jessen GmbH
REHA mobil Berlin Medczinski GmbH
 
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Bild / Image: Matthias Sohr, Stack, 2016



SCHAUMSTOFF LADEN

Fri 09.09 to Sun 11.09 // PLAY // GALLERY
SCHAUMSTOFF LADEN

Schaumstoff Laden
A play by Georgia Gray
 
Fri, 9. September 2016, 8 pm & Sun, 11. September 2016, 8 pm
Doors at 7 pm – First come first serve!
 
A 70s dark comedy, the play centres around the daily events in a lone plastic foam store: the Schaumstoff Laden. Customers drift in from the street, looking for foam to give them comfort and relief.
 
Foam: useful for everything that is not really purposeful, something to just fill in and absorb. Foam fills ideas of community, economy, and desire with an empty fluffiness. Foam dampens the din in between work and leisure. 70s raunch and glitz add a layer of kitsch to the stale white structure of foam. The all-male cast renders any distinction between the ordinary and the queer irrelevant: the characters are lightweight and shallow, as if lifted from a sitcom. The story might seem somewhat familiar – full of ideas the viewer has already encountered. The twisted need to restate the obvious leaves one wondering about the person who actually imagined these situations: a moody person who has a certain obsession with refusal, maybe a delinquent teenager who just won’t accept any social hierarchies or authoritative viewpoints. A person who is unwilling to accept “seriousness” to a tragic, even self-destructive degree. The audience is left to turn to themselves to identify that outsider.
 
Gray previously wrote and directed the play DD Mood (2014) at New Theater, Berlin, a theater that was built fundamentally on collaborations between musicians, artists and writers.
 
Costumes by Leila Hekmat & Mia von Matt
Produced by facetime, Max Pitegoff & Calla Henkel
 
Starring: Patrick Armstrong, Dan Bodan, Preston Chaunsumlit, Julian Garcia, Kyle Joseph, Pablo Larios, Patrick McGraw, Felix Mura, Isaac Penn, Elias Pitegoff, Billy Rennekamp, Tobias Spichtig
 
Special thanks to Olga Balema
 
With kind support by Julia Stoschek and
 
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