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“From 21 to 23 July, the Berlin University of the Arts invites you to the Rundgang - Open Days. Workshops, studios and rehearsal rooms of the faculties of
Fine Arts, Architecture, Media and Design, Music and Performing Arts as well as the Inter-University Center for Dance Berlin, the Jazz Institute Berlin and
the Berlin Career College open their doors at the end of the academic year. From painting, sculpture and performance to design sketches, fashion shows
and film screenings to concerts, dance and sound installations, students will show the results and processes of their artistic work.
Everyone who would like to get to know the university as a place of encounter and discourse for the arts and sciences is invited to the Rundgang - Open Days. A wide range of advisory services also offers prospective students concrete insights into the diverse range of courses offered by Berlin University
of the Arts.”
The Rundgang 2023 will take place at the following locations:
Bundesallee 1-12, 10719 Berlin
Einsteinufer 43, 10587 Berlin
Fasanenstrasse 1 B, 10623 Berlin
Grunewaldstrasse 2-5, 10823 Berlin
Hardenbergstrasse 33, 10623 Berlin
Jazz Institute Berlin, Einsteinufer 43-53 10587 Berlin
Concert Hall Hardenbergstraße/corner Fasanenstraße, 10623 Berlin
Lietzenburger Strasse 45, 10777 Berlin
118 Strasse des 17. Juni, 10623 Berlin
Further information on how to get to the individual locations can be found on the UdK Berlin's service page.
"Esther Schipper is pleased to present Dui Jip Ki, a two-part exhibition of contemporary Korean art presented this summer at our Berlin and Seoul
galleries. With works by Haneyl Choi, Hyunsun Jeon, Hong Joo Kim, Suyeon Kim, Lee Bae*, Taek Sang Kim, Jin Meyerson, and Donghyun Son.
Curated in close cooperation with Esther Schipper, Seoul, Dui Jip Ki brings together artists across five generations who work in a variety of media. The
exhibition is a celebration of the gallery’s long-standing relationship with Korea, coming just shy of the first anniversary of the opening of our location in Seoul.
The work of all eight artists (seven in Seoul) connects in specific ways to the rich history of Korean contemporary art. Engaging critically with social and
political ideas, employing alternative conceptual strategies, addressing subverted identities and parallel histories, or renewing traditional techniques and materiality, the works in Dui Jip Kican be taken as an aesthetic journey of origin, development, and emergence.
The exhibition’s title, Dui Jip Ki, a term taken from an action and its corresponding associations, relates to the heterogeneity of artistic practices on view. In Korean the act of flipping something over to the other side is referred to as 뒤집기, Dui Jip Ki, and has multiple applications; it can be said of something
domestic, such as turning over a pancake, but may also refer to a change of mind, an opening to alternative ideas. It is also the term used in traditional
Korean wrestling for turning and pinning down an opponent through back-breaking strength to claim victory.
The established narrative of the development of Korean culture during the last fifty years has been characterized by dichotomies. The social-political
origin of contemporary Korea and contemporary art within Korea is formed by oppositional contrasts such as North vs. South and Abstraction
(Dansaekhwa) vs. Social Realism (Minjung).
The artists exhibited in Dui Jip Ki have found ways to work within long established media of painting and sculpture in highly original and alternative ways.
Four conceptual groupings structure the exhibition: 1. Alternative origins, artists that found ways to work outside of the two established schools of
Minjung and Dansaekwha: Hong Joo Kim. 2. Transformative materiality, artists that allow nature and natural processes to create work: Lee Bae and Taek Sang Kim. 3. Subverted Histories, artists whose personal histories and identities have been purposefully lost or hidden: Jin Meyerson and Haneyl Choi. 4. Young artists who are using the Korean Idea of New Tro or New Retro to create innovative work with traditional methods: Donghyun Son, Hyunsun Jeon, and Suyeon Kim."
"Group exhibition what you saw leaking through the floor featuring artists Lenka Adamcová, Luki Essender, Dominik Styk and Veronika Žilinská brings us
into an in-between space, a moment of worlds that are on the verge of collapse or have already collapsed - and because of their failure, the artists think
of worlds that could replace them. The artifacts of experiences reshape pre-existing scenes in a new speculative universe and are carried in a reimagined
form - displaying their temporality, fluidity, digital, material or sonic form."
Artists: Lenka Adamcová, Luki Essender, Dominik Styk, Veronika Žilinská
Curator: Paula Ďurinová
Curatorial assistance: Natália Sýkorová
"The Ukrainian artists Angelika Dobreva (*1994) and Alisa Kolodub (*1997) explore the sense of touch by artistic means. Combining sculptures and VR
technology, the exhibition Materialism of Indeterminacy invites visitors to immerse themselves in a virtual reality that both stimulates and challenges their haptic sense.
The exhibition to the 1921 manifesto “Il Tattilismo” by the Italian futurist Filippo Tommaso Marinetti. In this text, written with significant input from his wife, Benedetta Cappa, Marinetti advocates for a systematic education of touch. In 1920, he had already presented a haptically tangible work of art titled
Sudan-Paris, combining rough and soft materials. More than 100 years after Marinetti’s publication, Dobreva and Kolodub take up his call and present an
exhibition prioritizing touch. This way, the artists want to promote a different way of perceiving reality and experiment with an alternative way of
responding to sculptures.
The exhibition is curated by Marta Pysanko."
"In the global culture of forced and constant growth, processes of exhaustion, scarcity or denial are often marginalised as “disturbances” or stigmatised
as “counterproductive”.Although these processes finalise the polarity of the world and are thus in the nature of things, these states usually have negative
connotations. Acceptance of finitude is difficult.Garden of Delete – Inflections – is a group exhibition of seven contemporary artists at HAUNT who
approach these phenomena of reduction, simplification and erasure on a visual level. In the rooms of our pavilion, a landscape-like parcours of works is formed whose radical condensation or reduction of familiar pictorial information culminates in something that has never existed and never been
experienced before.The show thus aims to bring viewers to this particular tipping point, when techniques & strategies of information denial give rise to
something radically new in the form of largely self-sufficient things. For richness is hidden in emptiness."
Galerie Neu is pleased to present a screening program of work by:
Kai Althoff, Charles Atlas, Dara Birnbaum, Cosima von Bonin, Cerith Wyn Evans, Claire Fontaine, Louis Fratino, Max Göran, Kim Gordon, Yngve Holen, Karl Holmqvist, Gerard Holthuis, Alex Hubbard, Eléonore Huisse and François J. Bonnet, Sergej Jensen, Kitty Kraus, Klara Lidén, Win McCarthy, Manfred
Pernice, Daniel Pflumm, Rachel Reupke, Andreas Slominski, Sean Snyder, Nicole-Antonia Spagnola and SoiL Thornton, amongst others.
"A group show featuring artworks with „creatures" on canvas and in sculpture.
Artists, like magicians or sorcerers, create visual figures. The relation of the product of the artist's will and the creator himself is an interesting question
itself: how to cope with the summoned spirits. As soon as the creatures are brought to existence by the artists, they live their own lives, somehow like in
the Sourcerer's apprentice by Goethe (1797). Paul Dukas' eponymous symphonic poem interprets the ballad in music exactly 100 years later. Walt Disney,
in 1940, combined Dukas' music with moving images as one of the episodes of Fantasia. All of those versions are interestingly key works of their
respective authors, as the question of the relation between man and its creations is multifaceted and ambiguous.
Of course, the participating artists are not apprentices anymore, so their creatures are somewhat magic, but not untamable. This reflects a modern, more optimistic view of the importance of human autonomy and a belief in the importance of (artistic) creation. In contrast to Goethe's story, the situation
never gets out of control and the „broom" is not forced to return to his closet, ordered by his master. Lucky us."
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