25 February 2014


Ulrich Vogl Film 2014 detail Illusionary Spaces_Installation View 1 Shan Blume, OT_Echo 2, 2008 &  Prima_Materie 01 Lars Bjerre Untitled, 2014Paolo Bottarelli Chess Cube Mind ProjectAlona Rodeh  Barking Dogs Don't Bite, 2012
From the top: Ulrich Vogl "Film" /  Installation View "Illusionary Spaces" / Steve Schepens "Untitled" and "Kornkammer" / Shan Blume "OT_Echo 2" (Sculpture) and "Prima_Materie 01" (Animation) / Lars Bjerre "Untitled" / Paolo Bottarelli "Chess Cube Mind Project Rooms" / Alona Rodeh "Barking Dogs Don't Bite" / photos by Point Project / courtesy the artists

The post-war architecture of the former German Democratic Republic was dominated by peripheral simplistic apartment blocks – a cheap and uncomplicated construction technique with industrially prefabricated building elements. Employed as all-consuming visual key- points, they were also established in the historical core of eastern Berlin, in order to emphasise the socialistic appearance of the city center. Despite their monumental presence, the multi-storey buildings are commonly sensed as depressive and dismal: Their aesthetic reflects a political mind-set, which is no less rational and austere than the buildings’ design. They represent a functionality, which originally does not provide any space for illusions. Curated by Point Project, the exhibition Illusionary Spaces introduces different artistic strategies, which juxtapose imaginary and illusionary spatial concepts as a contrast to the rational aesthetic of socialistic architecture. Intervening in the space, the works of six installation artists are exhibited in several rooms of a central multi-storey building, which used to be home to an old cinema and has been abandoned since 20 years.

19 February 2014


Sebstian Black_Courtesy of the artist and C L E A R I N G, New York, Brussels_featured on artfridge Sebstian Black_Courtesy of the artist and C L E A R I N G, New York, Brussels_featured on artfridge Sebstian Black_Courtesy of the artist and C L E A R I N G, New York, Brussels_featured on artfridge all works by Sebastian Black, Courtesy of the artist and C L E A R I N G, New York, Brussels / installation view, photo credits : Mark Woods

The up-and-coming painter and installation artist Sebastian Black stands out in the contemporary art scene: he paints faces of dogs. Puppies, to be more precise. Using this motif over and over again, the 1985 born artist plays with the value of pictorial content and its composition, as well as he articulates a humorous and sharp critique. Black, who lives in New York, answered us some questions about his approach to art and the ways he employs criticism.

12 February 2014


Julia Bünnagel_Structure_2013-2014 1 web
All works by Julia Bünnagel, exhibited at during SUPER SOUND STRUCTURE at Galerie Sebastian Brandl in Cologne, Courtesy and copyright the artist and Galerie Sebastian Brandl  

The triangle had a popular revival within the last years: Design of all kind fell back on one of the most simple and clear geometric shapes. Not as minimalist as the square, but unardoned enough to count as a plain form, the triangle may have found a new home in the arts – far from any symbolic or religious values, that it used to be known for. This development is currently prominent at Julia Bünnagel's solo show SUPER SONIC STRUCTURE at Galerie Sebastian Brandl in Cologne, in which the artist utilises the triangle's variable shape as a module for a series of rearrangements and ephemeral sculptures. Bünnagel's artistic vocabulary is consistent – austere and edged, equilateral and oblique triangles reoccur. 

7 February 2014


Work by Khaled Akil, courtesy and copyright Khaled Akil, featured on artfridge
© Khaled Akil

Mine Kaplangi: Khaled, you are a Syrian artist who lives in Istanbul – how do you experience the contemporary art scene here?
Khaled Akil: After living almost two years in Istanbul, I cannot claim that I have seen all the contemporary art scene in turkey. From what I have seen it is still fresh in its beginning and it is kind of immature, many art mistakes are happening, and the audience cannot differ contemporary art from decorative art yet. But I believe this is not important right now – the most crucial thing is to keep this “into the arts” atmosphere and to keep presenting art, because as I said – it is just the beginning.