GARDENS OF THE LANDS
Jun
6
to Jul 20

GARDENS OF THE LANDS

GUDRUN PETERSDORFF

Gudrun Petersdorff paints figuratively in opaque colors—in particular, a range of greens, blues and purples depicting gardens and waterways. In the solo exhibition “Gardens of the Lands,” the artist draws the subject matter mostly from her own surroundings, including much from her extensive travels to faraway southern lands.

Petersdorff employs varying shades of cool hues and adds complementary colored objects sparingly in her unique garden and city paintings of remote places. Nonetheless, the imagery as a whole is rendered in a southern light, evoking the lands of sun-soaked and optimistic atmosphere, which entice the viewer longing for the warmth and beauty of semi-tropical places.

The subject matter is definitely based on the visual world of Petersdorff’s many travels, which provide the artist with the framework and ideas for these works, but she expands them with her own imagination and personal interpretation. The artist´s masterful painting and drawing skills are deliberately employed to serve a new and creative interpretation of the elements in the compositions, especially the geometry of renaissance and baroque gardens. By rearranging and condensing horticulture and architecture, by forming sharply cut hedges and large box-tree and circular shadows, Petersdorff creates her own unique perspectives and compositions with the encompassing details and enticing atmosphere.

In most of her artworks, the artist´s predilection for gardens, horticulture and waterways is readily perceived. Moreover, the presence of the human figure is limited here, even in the cityscapes. When people are depicted at all, they are only sparsely represented, calling to mind the eerie modern cityscapes of Edward Hopper. However, Petersdorff’s choice to place only a few human figures in these compositions contrasts with Hopper´s possible critique of loneliness in modern civilization, suggesting instead a refreshing solitude.  

English text edit by Carolyn Prescott  


Gudrun Petersdorff malt figürlich in deckenden Farben – insbesondere in einer Reihe von Grün-, Blau- und Violetttönen, die Gärten und Wasserwege darstellen. In der Einzelausstellung „Gardens of the Lands” greift die Künstlerin weitgehend Themen aus ihrer eigenen Umgebung auf, insbesondere zehrt sie von ihren ausgedehnten Reisen in ferne südliche Länder.

Petersdorff verwendet unterschiedliche Schattierungen kühler Farbtöne und ergänzt ihre einzigartigen Garten- und Stadtmalereien sparsam um farbige Objekte. Dennoch wird die Bildsprache als Ganzes durch ein südländisches Licht charakterisiert, das an Länder mit sonnengetränkter und optimistischer Atmosphäre erinnert und das den Betrachter dazu verleitet, sich nach der Wärme und Schönheit semitropischer Orte zu sehnen.

Die Thematik basiert in erster Linie auf der Bildwelt der vielen Reisen Petersdorfs, die der Künstlerin den Rahmen und die Anregungen für diese Arbeiten geben, sie erweitert sie jedoch durch ihre eigene Phantasie und ihre persönliche Deutung. Ihre meisterhaften Mal-und Zeichenkünste setzt sie bewusst ein, um die Elemente in den Kompositionen, im Besonderen die Geometrie von Renaissance- und Barockgärten, neu und kreativ zu interpretieren. Durch die Neuordnung und Zusammenführung von Gartenbau und Architektur, durch die Gestaltung von scharf geschnittenen Hecken, großen Buchsbäumen und runden Schatten erschafft Petersdorff ihre einzigartigen Ansichten und Kompositionen mit umfangreichen Details und einer betörenden Atmosphäre.

In den meisten ihrer Kunstwerke ist ihre Vorliebe für Gärten, Gartenbau und Wasserwege leicht zu erkennen. Außerdem ist die Präsenz der menschlichen Figur hier begrenzt, selbst in den Stadtlandschaften. Wenn Menschen überhaupt abgebildet werden, sind sie nur spärlich vertreten und erinnern an die gespenstischen, modernen Stadtlandschaften von Edward Hopper. Petersdorffs Entscheidung, in diesen Kompositionen nur wenige menschliche Figuren zu platzieren, steht jedoch im Gegensatz zu Hoppers möglicher Anspielung auf die Vereinsamung in der modernen Zivilisation und suggeriert stattdessen eine erfrischende Abgeschiedenheit.

German text edit by Josephin Hamm

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LANDING STRIP FOR THE MILKY WAY
Apr
11
to May 31

LANDING STRIP FOR THE MILKY WAY

LISA GLAUER

In Landing Strip for the Milky Way, Lisa Glauer exhibits various series of artwork and light installations using diverse media. One series involves multi-layered drawings on paper in various shades of ochre yellow, dark orange and brown. Back-lit with LED light panels, they depict military technology developed by the arms industry.

Her investigative research led her to the urban SanDiego/Tijuana border area. A man-made steel barrier is currently being erected to literally wall-off humans attempting to migrate. The increased impermeability and physical density found here – along with a massive industrial presence – interfere with the natural flow of water. 

Additionally, growing military and industrial production is having a detrimental effect on both the environment and the regional population. Indeed, research conducted by the Scripps Institute shows that human breast milk in the SanDiego/Tijuana region is the most contaminated in the world. 

Collecting human milk from those who produce it literally comments on what transpires between two human beings; it is drawn from one to sustain another and it is invisible. Releasing it from this entanglement makes it visible and therefore, to a large extent, public. 

For Glauer´s experimental drawings with milk, she crosses two apparently conflicting fields: human milk is used to render technical drawings. The latter can be seen as cerebral and quantifiable whereas the former is natural and amorphous. Human milk signifies love, nurturing, growth, and intimacy; it is produced through an empathetic process whereby the body readily learns to produce milk in response to physical stimulation by physically dependent, vulnerable offspring.

The central piece is the Landing Strip for the Milky Way, which also lends its name to the exhibition. For this sculptural installation, the two layers of transparent paper is diagonally cut through the cube-like shape of the gallery, added by clamps, human milk, neon light, which are supported by sculptural wooden beams, ready for the Milky Way to land. This installation was shown previously at the Graduate School, University of Arts, Berlin in 2017, curated by Jan Verwoert. 

Another series, White Love, comprises ten rectangular graphite and milk drawings of guns. Rendered on white framed paper and displayed next to each other, they occupy the gallery’s spacious, high walls. It reminiscence of the minimalistic construct objects and the space created by them as in Dan Flavin´s industrial sculptures.

Because of their nature – they are drawn/painted with milk – the White Love paintings “disappear”. Only a subsequent ironing of the material, allows the painted objects – a revolver, individual or congregating humans – emerge. The invisible and the visualization may connect to the perpetual admission of violence through political, economic and cultural contexts as well as their occasional visibility in the form of spectacular and revivifying individual acts. 

Using contaminated human milk as an art material in conjunction with a burning process, is the artist’s attempt to draw attention to urgent intersectional global, socio-political, and environmental issues.   

English text edit by Birgit Hansen.

In Landing Strip for the Milky Way zeigt Lisa Glauer verschiedene Serien von Kunstwerken und Lichtinstallationen unter Verwendung von unterschiedlichen Medien. Eine Serie umfasst mehrschichtige Zeichnungen auf Papier in verschiedenen Ockergelb-, Dunkelorange- und Brauntönen. Hinterleuchtet mit LED-Lichtpaneelen zeigen sie von der Rüstungsindustrie entwickelte Militärtechnologien.

Ihre investigativen Recherchen führten die Künstlerin in das städtische Grenzgebiet zwischen San Diego und Tijuana. Dort wird derzeit eine Stahlbarriere errichtet, um Menschen, die versuchen zu migrieren, buchstäblich abzuschotten. Die zunehmende Undurchdringlichkeit der Grenze und die hohe Bevölkerungsdichte, sowie die massive industrielle Aktivität in dem Gebiet stören den natürlichen Wasserfluss.

Darüber hinaus wirkt sich die wachsende militärische und industrielle Produktion nachteilig auf die Umwelt und die regionale Bevölkerung aus. Untersuchungen des Scripps Institute zeigen, dass die menschliche Muttermilch in der Region San Diego/Tijuana die am stärksten verunreinigte der Welt ist.

Das Sammeln von menschlicher Muttermilch beleuchtet den Prozess, der zwischen zwei Menschen geschieht; die Milch fließt von einem Individuum zu einem anderen, um dieses zu erhalten und ist dabei unsichtbar. Die Milch an diesem Schnittpunkt aufzugreifen macht sie sichtbar und damit weitgehend öffentlich.

Für Glauer’s experimentelle Zeichnungen mit Milch durchquert sie zwei scheinbar widersprüchliche Bereiche: Die Muttermilch wird benutzt, um technische Zeichnungen zu erstellen. Letztere können als nüchtern und quantifizierbar angesehen werden, während erstere natürlich und amorph ist. Muttermilch bedeutet Liebe, Pflege, Wachstum und Intimität; sie wird durch einen einfühlsamen Prozess erzeugt, bei dem der Körper bereitwillig lernt, Milch als Reaktion auf physische Stimulation durch körperlich abhängige, schutzlose Nachkommen zu produzieren.

Die Arbeit Landing Strip for the Milky Way ist das zentrale Element der Ausstellung und gibt ihr gleichzeitig ihren Namen. Die zwei Schichten Transparenzpapier dieser skulpturalen Installation teilen den würfelförmigen Raum der Galerie diagonal und bilden, ergänzt durch Klammern, Muttermilch, Neonlicht und Holzbalken, den Landing strip for the Milky Way. Die Installation wurde bereits 2017 von Jan Verwoert kuratiert an der Graduiertenschule der Universität der Künste Berlin gezeigt

Eine weitere Arbeit, White Love, umfasst zehn rechteckige Graphit- und Milchzeichnungen von Waffen. Auf weiß gerahmtes Papier aufgetragen und nebeneinander ausgestellt, nehmen sie die geräumigen, hohen Wände der Galerie ein. Sie erinnern an die minimalistischen Konstruktionsobjekte und den von ihnen geschaffenen Raum von Dan Flavin’s Industrieskulpturen.

Aufgrund ihrer natürlichen Beschaffenheit – sie werden mit Milch gezeichnet/gemalt – „verschwinden“ die White Love Bilder. Erst das Bügeln des Materials lässt die Objekte – ein Revolver und einzelne oder versammelte Menschen – hervortreten. Der Gegensatz zwischen dem Unsichtbaren und dem Sichtbargemachten steht in Verbindung mit der ständigen Anwendung von Gewalt in politischen, wirtschaftlichen und kulturellen Kontexten, sowie deren gelegentlicher Sichtbarkeit in Form von spektakulären und belebenden Einzelaktionen.

Die Verwendung von kontaminierter Muttermilch als Material in Verbindung mit einem Verbrennungsprozess ist der Versuch der Künstlerin, die Aufmerksamkeit auf dringende intersektionale, globale, gesellschaftspolitische und ökologische Fragen zu lenken. 

German text edit by Josephin Hamm.

Kunstleben Berlin - Gallery Weekend 2019

Kang Contemporary - 4:20 min

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DUST TO DUST
Feb
28
to Mar 30

DUST TO DUST

IMRAN CHANNA

This is Imran Channa ́s first solo exhibition in Berlin, Germany. In “ Dust to Dust” Channa shows eight pieces of erased charcoal drawings – in landscape format – of historical ruins from both his native country of Pakistan and from India. In addition to these partially-erased images of archaeological ruins, Channa ́s preserves eraser particles in small vessels are displayed on shelves next to the faded images. The process of erasing charcoal in the rich textural images – both sharp and gradational – of historical ruins showcases the artist ́s masterful drawing techniques.

The video series “Dust to Dust” is presented on the upper chamber of the gallery. It shows microscopic zooming images of the erased particles in monochromic black and white, as well as the accompanying sound installation.

Below the chamber, a curtain image of “Babri Masjid” (Mosque of Babur), which was demolished in 1992, can be seen juxtaposed to the fading images of charcoal renderings that yield to the memory of the past.

For Imran Channa, the ruins are remnants of the past as well as a reminder of the passing of time. For him, the most critical aspect of the ruins is not their past but how they
point toward the future: They let us imagine and re-imagine the future.

Through the archeological fragments of the past – the focused imagery of this series – he is looking for contemporary discourse on constructed and reconstructed narratives triggered by the 1947 partition of British India into Islamic Pakistan and Hindu India. The partition sparked a mass exodus of individuals from both religious groups. It resulted in genocides that cost the lives of millions as well as caused massive displacements.

The power struggle in connection with the archaeological ruins is still ongoing today, fueled by both groups as they invade, occupy, demolish or reconstruct these sites in an effort to take ownership of the history.
Here the artist is concerned with the interplay that exists between historical archives and how historical records are projected or reinterpreted in the present. He also explores how this present “re-imagination” constructs the past in the minds and perception of people today.

The artist uses archival photos from the British Library collection for this project. The photos show the ruins of ancient religious temples in India, documented by British photographers from the 1880s till the early 1900s for the Archaeological Survey of India, commissioned and carried out by the British Raj. These ruins, located in modern-day India and Pakistan, are silent witnesses to the passage of time – the physical remains of a fragmented history.

Imran Channa lives and works in Lahore, Pakistan. In recent years, he has been working in Europe and North America. He is the recipient of various prestigious awards and fellowships.
He was awarded, for example, by the Mondriaan Fund at the Jan van Eyke Academie, the Netherlands, and was a Visiting Fellow at Harvard University, Cambridge, USA. Presently, he is spending a one-year sojourn in Baden Württemberg, Germany, as a Fellow at the Akademie Schloss Solitude.

English text edit by Birgit Hansen

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ENIGMATIC UTOPIA
Nov
30
to Feb 3

ENIGMATIC UTOPIA

Lisa Glauer I Vemo Hang I Tatjana Schülke

November 30, 2018 - February 3, 2019.

Exhibition is extended till February 21, 2019

Kang Contemporary Gallery is pleased to announce the group exhibition “Enigmatic Utopia,” featuring three Berlin-based international artists: Lisa Glauer, Vemo Hang and Tatjana Schülke. Each artist uses a different starting point when dealing with cross-sectional societal topics. However, they all contemplate rigorously societal ideals in their individual art practices. They express their concepts in daring experimentations, employ unusual art materials, and tap into interdisciplinary resources and knowledge. The exhibiting artists create and express their individual and subjective perceptions sensitively, aesthetically, and occasionally with a glimpse of humor through their multi-layered and intersectional art and invite viewers to open up to constructive dialogue as well as artistic appreciation.


Lisa Glauer exhibits LED light panels of multi-layered drawings on paper in various shade of ochre yellow, dark orange, and brown, depicting the technological apparatus of the weapons industry. Her investigative research led her to the urban border areas of SanDiego/Tijuana. Recently, the man-made steel border fence is being built up literally to wall-off the human migration. The increased impermeability, presence of massive industry, and physical density interferes with the natural flow of water. Additionally, these massive industrial and military productions have resulted in heavy damage to the environment and to the regional population. According to research by the Scripps Institute, human breast milk in SanDiego/Tijuana region has been determined to be the most contaminated in the world. The artist chose the contaminated human milk as an art material and applies the burning process to express the intersectional global, socio-political, and environmental issues.

Vemo Hang´s wall-mounted sculptural installations are exaggerated proportional models of Go/Weiqi game stones. For the installation, she uses the self-made ceramic wall sculptures in which she adds colored tapes for multi-dimensionality and to create relationship and composition among separate objects. The artist paints onto oval low-relief ceramic the landscape and people in muted tones of green, pink, beige and brown in flowing brush strokes. The images are the modern canon of the Shanshui, the traditional Chinese landscape genre she has practiced. She explores ideas about our relationship with the surrounding spaces, a constructed reality over given space and the shifting landscapes of traveller, inviting the viewer to contemplate on the notion of landscape and spatiality.

Tatjana Schülke has made bas-relief wall hangings and sculptures out of industrial and household materials, as well as found objects, transforming them into her personal motifs of artistic expression. Schülke uses unusual materials such as cardboard honeycomb sheets, tubes, toothpicks, fireworks, yard sticks, mops, Styrofoam and aged wood panels in making her sculptures. Her curiosity and understanding of materials and her pursuit of expressions on given concepts are laid out playfully and aesthetically and mostly in monochromatic tones. On closer view, one can detect the artist´s concerns regarding gender issues, expressions of tension and interplay oscillating between two poles of ideas: visible and invisible, inner and outer, vulnerability and aggression, as well as chaos and order. The artist´s central concern, the transformation of functional utilitarian materials into unique and artistically defamiliarized objects, can be readily seen in the work “Don’t touch me, 2014.”




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BETWEEN TWO HORIZONS
Sep
27
6:00 PM18:00

BETWEEN TWO HORIZONS

KANG CONTEMPORARY opens September 27 with the exhibition „Between Two Horizons“ that will run from September 28 - November 16 and will highlight the work of contemporary artists Annette Cords and Dirk Eicken. The exhibition features selected hand-woven Jacquard tapestries, as well as oil and acrylic paintings.

Annette Cords works in various media and is inspired by language and science as methods for structuring information. Cords‘ recent Jacquard tapestries series investigates how we read and decipher visual information in order to construct meaning and navigate our everyday environment.

Cords was born in northern Germany, and was educated at the University of Pennsylvania, USA. She has shown in Europe and in the US; and is a recipient of a New York Foundation for the Arts‘ artist fellowship, among other prestigious awards and grants. She taught art at universities as docent.

Dirk Eicken has worked in text, video and performance art. Since the early 2000‘s, he has primarily focused on using photographs from current events as a point of departure for his multi-layered acrylic and oil paintings. In this exhibition, he showcases a new series of hard-edge striped paintings. The stripes are layered over photo-realistic portraits of refugees—representing the invisible. The stripes consist of 50 carefully chosen colors, which evolve from the personal narrative of the individual refugees Eiken has read about and researched. The refugee‘s name then becomes the title of the work.

Eicken was born in Hagen, Germany, and was educated at the Berlin University of Arts. He is a recipient of the Karl-Hofer-Stipendium. He has participated in many group shows, as well as solo exhibitions at the Hengesbach Gallery in Berlin and in Wuppertal.

The artists will be present at the opening for questions and dialogue. For more information, please contact us.

 

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