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"scum circle: a roiling hole of sensualities, transports us into skin-2-skin scenes of subsumptive cellular reproduction. One way or another, this archaic fundament will turn sexy. A complex, wild, and unexpected dance is conjured in the friction between wriggling digital and human bodies, inviting contemplation on the interplay between individuality and the materiality of our interconnectedness. scum circle attempts to disrupt notions of hierarchies of intelligences, anthropocentrism, patriarchal domination and a static individualised sexual and reproductive identity. It offers an invitation into the ways in which our supposed individualised livelihoods are already—and have been in the evolutionary epochs of the past—intertwined and symbiotic.
Lynn Margulis says: “Symbiotic interaction is the stuff of life on a crowded planet. Our symbiogenetic composite core is far older than the recent innovation we call the individual human. Our strong sense of difference from any other life-form, our sense of species superiority, is a delusion of grandeur.”
scum circle asks: if we consider all systems of reproduction as forms of intelligence, what sort of new worlds are created when parasitic, symbiotic, self-replicating or self-devouring systems are as visible as embryonic heterosexual reproduction? This question offers a speculative ecofeminist look at an inter-species celebration, a queer riot: a primordial, biological ooze which merges with everything it touches."
Created in consortium with Camila Malenchini, Caroline Neill Alexander, Dani Paiva de Miranda, Ethan Allison Folk, Layton Lachman,
Nagi Gianni, Samuel Hertz & wro wrzesińska.
"In POLYCHROME – The Myth of Karukera and Cibuqueira, Radin explores the elusive and captivating nature of a myth that talks about the indigenous names of today’s Guadeloupe. He delves into into the ability of myth to both reveal and conceal the truth, often showing twisted postures, masks and averted faces in his paintings. „The Myth of Karukera and Cibuqueira“ is an invitation to explore the human condition, the power of movement, and the enduring relevance of myth in shaping our understanding of the world. Myths fascinate Radin as a highly advanced and sophisticated communication system. For Radin, myth is a moving and dancing knowledge, morphing and travelling, ancient and modern at the same time. The exhibition refers to the pre-colonial names Karukera, „island of the beautiful waters“, and Cibuqueira, „island of the gum-trees“, the native names for the two main islands of Guadeloupe. In Radin’s story, Karukera and Cibuqueira are two fallen angels on a quest to be reunited. They represent the transformative power of movement, which connects us to ourselves, each other and to the world around us."
"Since November last year, the artistic team of the BERLIN BRITZENALE has been conceiving this year's fourth Neukölln Biennale.
The BERLIN BRITZENALE has continuously developed from the microcosm of a single allotment plot in the Morgentau e.V. complex on Blaschkoallee since 2016 (Britzenale 1-3). After three extraordinary and many-faceted exhibitions at this location, BERLIN BRITZENALE would like to take on the challenge of a new concept and intentionally combine this with a relocation to a new and exciting location within Britz.
The Urbane Waldgarten Britz is an ideal site for this, enabling connections that can be found in nature and ecosystems to be imitated and viewed from an artistic perspective. The entire area covers 2.8 hectares and is divided into different sub-areas. The heart of the complex is the 5,000 m² community garden with an additional 1,000 m² of environmental education space. Clusters of plots of different sizes with a total of 60 individual allotments are grouped around it. The fourth BERLIN BRITZENALE wants to artistically explore and comment on the concept and the process of the new type of forest garden in the context of its complexity.
We invite you to envision, discuss, enjoy and experience together, as we grow together into the future within this fascinating site.
The fourth BERLIN BRITZENALE opens on Friday, 25 August, at 6 pm. On Saturday, August 26 and Sunday, August 27 the garden will be open to the public from 12 - 6 pm."
"Burned bend wood, simplicity, exaggeration, and premium boat varnish. Bill wants to put the invisible craftsmanship of the preparation of a painting in focus. With his newest artworks he is exploring how to define the front and back of a painting.
In these works, he has been exploring framing, fabrics, textile details and International Toplac Plus, which is a high-gloss premium paint for all boat building materials above the waterline. It contains UV filters for increased durability.
The paintings aim toward sculptures. It is a composition of a clear grasp of International Toplac Plus on a polyester fabric, on top of the canvas there is a bended steamed frame installed with elastic string from a clothing detail.
Billekvist wants to highlight the function and construction of the frame and create new patterns within the square frame.
Where most paintings begin: before there is an image, often before there even is an idea. By choosing materials and technique, the conditions for the works change, the focus on painting can be experienced as a sculptural craftsmanship."
An Exhibition about childhood-memories featuring Benni Kakert, Christopher Krause, Katya Quel, Laura Mercedes Arndt, Julian R., Jana Huttenmeister, Nadine Lohof.
"From the BBA Photography Prize 2022 shortlist, BBA Gallery presents a solo exhibition by German fine-art photographer Markus Rock. “Chimera”, his latest series, takes the mythological Greek Chimera as its point of departure to explore human identity.
Photographed in 2019 at Uferstudios, Berlin, “Chimera'' plays on perception and imagination. An uncanny similarity of physique and extreme physical proximity blurs the distinction between the models Julia and Siri. Just as the Chimera is an incongruous assemblage of animals, the two women in the photographs contort around each other to become new and absurd creatures. Their pale, lithe bodies become unusual organisms, where body parts emerge from shadows and recesses of the flesh at unnatural angles, seemingly one. It is the viewer and their imagination that brings to life this grotesque Chimera of body parts. Upon closer inspection, the Chimera dissolves back into a recognisable collection of disconnected limbs.
Due to the fusion of choreography, dance and Renaissance lighting in “Chimera”, the bodies take centre-stage as objects involved in a dynamic relation. As the two women blend together, their bodies are conduits, creators and makers of the artwork. It -the body -becomes the primal source of artistic expression.
Markus Rock based the series on Julia’s choreographic work with her dance Siri. Prior to the shoot -documented in one take - the women had been working for 2 ½ years on a project together. Their close professional and personal relationship makes possible their physical closeness. Intuitive and emotionally driven, “Chimera”’ is a testament to the transformative potential of human connections that goes beyond verbal communication."
"Floating rocks tied together by string, trails of gold, a bicycle in a grassy field, a deserted swimming pool, an open door. For Houda Terjuman, life is made up of visual symbols that she collects and paints into exquisite dreamscapes that reflect on the passage of time and stories of migration. This latest series of delicate paintings, presented in Glide Through Evanescent Lands, her second solo exhibition at Kristin Hjellegjerde Gallery, is her most personal yet, inspired by her own experiences of dislocation and her continual search for balance.
In many of these works, the objects – which Terjuman describes as surrogates ‘for us’ or our memories – appear untethered, suspended in space or else held by a thin piece of thread such as the rocks in Unfasten the cord and emerge I and II. Both of these works depict two rocks, one tied by string and the other free floating in space. For Terjuman, the string represents the safety and comfort of society – the unsupported rock by contrast has dropped lower in space, but it has also begun to develop its own identity. In Unfasten the cord and emerge I, there are leafy plants sprouting from its surface while the blown-out candle in II is symbolic of a wish being carried by smoke into the atmosphere.Where the rocks are tied together, however, in Vente conmigo II and Blood Moon, they appear to be supporting and guiding one another on their voyage into the unknown.
Another recurring motif are pieces of gold that form a trail in the sky, drawing the eye into the distance. In all of Terjuman’s paintings, gold makes reference to El Dorado, the legend of a golden city that has bewitched people for centuries with its promise of unimaginable riches. However, she explores El Dorado not as a place or hopeless quest for material wealth, but as a state of mind that enables positive thinking. In Drifting Destinies VI, for example, one of the darker, more melancholic scenes, which depicts a cream sofa on the edge of boggy wasteland, the gold provides both a light source and a pathway to something beyond the present moment.
In a sense, this is the aim of Terjuman’s art: to produce an image, using carefully chosen colours and imagery, that inspires and soothes both the artist and viewer. The varying shades of red used in the background of many of these latest paintings – most intensely in Pine tree cloak and Pine tree cloak II – for example, is associated with fire (energy) and blood (our essential life source) as well as the Muladhara or root chakra that according to Hindu tantrism is connected to the earth and a feeling of rootedness. Meanwhile, the lush grassy meadows that appear throughout Terjuman’s work, stretching seemingly endlessly into the horizon, invite a sense of calm expansiveness.
Through these elements, Terjuman finds a sense of visual harmony that enables her to transform the eerie presence of a boat or bicycle abandoned in a grass field into a powerful message of beauty and hope."
"The exhibition is an exploration site of marvellous erupting potentials for enchantment, connecting various creative, ecological, more-than-human, technological and hand-made propositions that may pose questions, re-imagine relations, offer varied perspectives or shift understandings and knowledges of our contemporary predicament and relation with thenatural, the technological, and ourselves. These come together in a visual, aural, spatial, and temporal discourse with a potential for further connections through their relations and the exhibition itself."
The show is curated by Sarah E Davies, and includes works by Gretta Louw, Nicky Broekhuysen, and Stefanie Loveday.
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