October 12, 2014

RYAN TRECARTIN: SITE VISIT

Ryan Trecartin / ANIMATION COMPANION (2014) / Courtesy Ryan Trecartin; Andrea Rosen Gallery New York; Regen Projects Los Angeles; und / and Sprüth Magers Berlin London. Lizzie Fitch / Ryan Trecartin SITE VISIT, 2014 / Installation view Foto / Photo: Thomas Eugster Courtesy of the artists; Andrea Rosen Gallery New York; Regen Projects Los Angeles; und / and Sprüth Magers Berlin London. Lizzie Fitch / Ryan Trecartin SITE VISIT, 2014 / Installation view Foto / Photo: Thomas Eugster Courtesy of the artists; Andrea Rosen Gallery New York; Regen Projects Los Angeles; und / and Sprüth Magers Berlin London. Lizzie Fitch / Ryan Trecartin SITE VISIT, 2014 / Installation view Foto / Photo: Thomas Eugster Courtesy of the artists; Andrea Rosen Gallery New York; Regen Projects Los Angeles; und / and Sprüth Magers Berlin London.images from the top: (1) Ryan Trecartin, excerpt ANIMATION COMPANION (2014), Photo story originally published in Modern Weekly, Guangzhou; Courtesy Ryan Trecartin // (2-4) Lizzie Fitch / Ryan Trecartin SITE VISIT, 2014, Installation view, Photo: Thomas Eugster; Courtesy of the artists; both images courtesy Andrea Rosen Gallery New York; Regen Projects Los Angeles; and Sprüth Magers Berlin London.

"You know? I mean...this is just so..." A man blabbers into a shaky hand-camera. We can't follow what he says. HipHop beats merge with his electronically amplified voice. He wears a pink lace chemise, no trousers and folded down ugg boots. His hands either play with his pink wig or they wave a petrol can about, while doing tantalizing gestures with his rouged mouth and eyes. He is a character playing in Ryan Trecartin's six-channel video work SITE VISIT, which was produced for KW Institute for Contemporary Art in Berlin. The film belongs to a series of four previous projects, which are all starred by the artist and the same group of actors. In all of these movies Trecartin's post-apocalyptic universe typically consists of guys and girls like the pink-lace one: its transgender, chaotic, loud, shallow, screeching. Its a hypnotizing outburst of digital dystopia.

September 27, 2014

INTERVIEW: ARNAUD LAPIERRE

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Arnaud Lapierre_RING Installation Arnaud Lapierre_RING Installation
"RING" by Arnaud Lapierre, courtesy and copyright the artist

Anna-Lena Werner: Arnaud, how and when did you decide to work as an artist and designer?
Arnaud Lapierre: I don't really know – I have always been attracted to art and to objects. First I studied the History of Art & Archeology, but then I changed to design studies, because I wanted to tell stories through objects and space. However, I don't consider myself an artist.

Anna-Lena: Your work crosses the boundaries between art, design and scenography. Do you consider each direction equally important for your practice? How do they influence each other?
Arnaud: I don't see boundaries in these activities, because all are a support or a medium for being creative and telling or showing something unexpected. I have always considered my profession a way of expressing a delicate answer to a pertinent question. Looking at other graphic and contemporary art, or even contemporary dance and cinema is interesting in order to understand our societies. Although I always tried to banish existing designs from my inspiration, since I don't want to repeat myself or the work of someone else.

September 19, 2014

ART BERLIN CONTEMPORARY 2014

ABC Berlin / Art Berlin Contemporary 2014 / featured on artfridge / courtesy the artists & galleries / photo © artfridge.de Wojciech Bakowski, booth STEREO, Warsaw ABC Berlin / Art Berlin Contemporary 2014 / featured on artfridge / courtesy the artists & galleries / photo © artfridge.de Analia Saban (Detail), booth Sprüth Magers, Berlin, London ABC Berlin / Art Berlin Contemporary 2014 / featured on artfridge / courtesy the artists & galleries / photo © artfridge.de Luc Fuller, booth Rod Barton, London 
all images: courtesy the artist and the gallery / photos © artfridge / Lars Petersen

Art Berlin Contemporary (in short "ABC) opened its 7th edition last Thursday. The fair – that suggests itself as an art exhibition – has been directed by Maike Cruse for the second time and presents 111 galleries, of which most are based in Germany. Known for offering a big selection of large scale works, ABC continues to show extensive installations and sculptures. Even painters spread out through the exhibition space, such as the up-and-coming American artist Luc Fuller (Rod Barton), who we interviewed this year in June (read the interview here).

September 16, 2014

OLAFUR ELIASSON / RIVERBED

OLAFUR ELIASSON "RIVERBED" at Louisiana Museum in Denmark / courtesy Louisiana and the artist / © Olafur Eliasson / photo © artfridge & Anna-Lena Werner OLAFUR ELIASSON "RIVERBED" at Louisiana Museum in Denmark / courtesy Louisiana and the artist / © Olafur Eliasson / photo © artfridge & Anna-Lena Werner all images: Olafur Eliasson "Riverbed" at Louisiana Museum, Denmark (20.8.2014 - 4.1.2015) / Courtesy the artist and Louisiana Museum, © Olafur Eliasson / photos © artfridge.de

It feels like there is hardly a nature phenomenon left that the well-known Danish-Icelandic artist Olafur Eliasson has not approached or visualised yet. For his current outside-in installation "Riverbed" he turned the south-wing of Louisiana Museum in Humlebæk (Demark) into a wet and rocky landscape that embeds a small stream of water floating through three large rooms. The official purpose: a merging of art, architecture and an imitation of nature. But that agenda seems familiar and – let's be honest – has really been done before. The question is: Does the past devalue the work?

September 4, 2014

INTERVIEW: IAN HOMERSTON

Ian Homerston_Courtesy and Copyright the artist / and Courtesy Cole Gallery London Ian Homerston_Courtesy and Copyright the artist / and Courtesy Cole Gallery London all works by Ian Homerston / Copyright and courtesy the artist & courtesy Cole London // all photos by Plastiques

The British 1984-born painter Ian Homerston looks at his works as explorations in combinations: Colour, material and form are repeatedly confronted and subsequently withdrawn or reintegrated. Often consisting of photographic emulsion and paint, the works' surfaces at his current show 'Whereas' at COLE in London discuss the issue of temporality during the artistic production. Ian, who studied at the Royal College of Art and the Wimbledon College of Art in London, engages in the exhibition space by using his paintings as to consider their self-reflexivity and site-specificity. In a short interview we asked him about his ideas, his interventions and about how he questions formats, timings and display methods.

August 28, 2014

INTERVIEW: NADINE FECHT

Nadine Fecht_Courtesy and Copyright the artist_6 Nadine Fecht_Courtesy and Copyright the artist_9 all works by Nadine Fecht / Courtesy and Copyright Nadine Fecht

A couple of years ago, just having graduated from the Berlin University of the Arts as a Meisterschülerin of Stan Douglas and Lothar Baumgarten, Nadine Fecht already proofed that she knows how to play with expectations, disappointment and experience. Her work “53 beginnings” which references John Cage, features 53 beginnings of different vinyl records compiled on one single vinyl pressing. It gathers the pops and crackling right before the first song starts from 53 different sources, the seconds before the first sound appears; the nondescript segment the tone arm needs to cover until it reaches the actual content of the vinyl. 
Nadine Fecht's art is based on “The Practice of Drawing” – which is also the title of a group show she is currently participating in with her work “noise” (2014) at Gallery 5020 in Salzburg, Austria. In the first part of her solo show „adopt a revolution“ at FELDBUSCHWIESNER in Berlin, shown in July and August, she stroke a rather political note. Also her contribution to the exhibition „Money Works Pt. 2“ at the Haus am Lützowplatz – opening on August 29 – has a political implication. It was about time to talk to the Berlin-based artist.

August 21, 2014

INTERVIEW: KATHARINA FENGLER


EDDIE BERNAYS 9 Katharina Fengler, 'EDDIE BERNAYS 9', 2014, photo by Foort Fotografie / Courtesy and © the artist

What is the difference between being an artist and becoming an artist? Which way is the right one to balance success and individual artistic expression? Is there something like predestination? Berlin-based artist Katharina Fengler can openly discuss and reflect these questions. Holding a degree in Photography from Zurich University of Arts, the 1980-born artist returned to Germany's capital in order to explore different conceptual and cross-disciplinary approaches for her work. Her strikingly colourful art ranges from two dimensional paintings to side-specific installation work. Frequently displayed internationally, Katharina currently exhibits the solo show SWEETNESS at CACTUS Contemporary Art Space in Liverpool and has an upcoming show at BLOK Art Space in Istanbul together with John von Bergen. In our interview Katharina talked about her practice with air-brush and salt dough, her inspiration and why being an artist is a day-to-day decision.