Opening April 26th 2018
|c/o KUNSTPUNKT BERLIN – Galerie für aktuelle Kunst was founded 2001 by Heinz G. Herpel in what was then the upcoming gallery district Mitte-Nord. Since 2016, three spaces with around 300 square meters have been available to the Netzwerk freier Berliner Projekträume und -initiativen for their own projects, exhibitions and events.|
|NO (B)ORDERS is to be understood as a universal political outcry coming directly out of the project space art scene. It stands for an open worldview, the artistic recapturing of urban space, as well as the preservation of autonomy and diversity for project spaces and initiatives. Four internationally active project spaces and initiatives were selected through an open call for this exhibition, based on artworks that are clearly positioned against discrimination and repression, instead displaying ways forward toward communication and freedom. The group exhibition allows not only for an encounter with different forms of reflection and expression, but also offers a space for spontaneous art actions and further discussion.
Vernissage: Thu., 26.4.2018, 7 p.m.
All Over the Map
Fr., 27.4.2018, 7 p.m.
Sa., 28.4.2018, 7 p.m.
Su., 29.4.2018, 3 p.m.
Su., 29.4.2018, 5 p.m.
Fr., 4.5.2018, 7 p.m.
Fr., 4.5.2018, 8 p.m.
Fr., 11.5.2018, 7 p.m.
Sa., 12.5.2018, 7 p.m.
Su., 13.5.2018, 7 p.m. – Finissage
Free Admission to all events
Organized by Netzwerk freier Berliner Projekträume und -initiativen e.V.
Press release (pdf)
Event pictures (pdf)
| All Over the Map
| All Over the Map
| All Over the Map
Under the title All Over the Map, the temporary artist group Janzen/Sági/Torma presents drawings and two performances, focusing on linear mark-making as a symbol of reduction, simplicity, and freedom. In their performances the three artists (coming from Russia, Hungary, and Romania respectively) invite viewers on a journey away from a distorted over-charged perception of reality and towards free movements that break through consciousness and its associated boundaries.
The artworks are strongly connected by their common nature motifs, repetitive line tracing, patterns and subconscious gestures. In the group performances spontaneous lines are drawn on paper, or with special materials directly on the surfaces of the room. The lines stay invisible during the performance and then glow in the dark after the fact. The emphasis of both performances is on movement, imagination, and connection.
Assembling the artists and their art-works in the same space amplifies their interaction with a sense of peaceful clarity and freedom, to help the viewer escape human worn-out definitions, intellectual and political structures, and ignore maps with ill-contrived borders.
| Choreography #2
Founded in 2009, iCollective is an organic collaborative platform of artists, curators, and scientists working in the intersection of arts, urban interventions, and socially engaged projects. In the frame of NO (B)ORDERS iCollective is pleased to present the video Choreography #2 by Stine Eriksen.
The video is the second part of a trilogy that reflects on the legacy inherited from the idea of modernity in the western world, with its promise of civilization and emancipation through rationality and knowledge. The videos take place in old factories, “cathedrals of progress” that are currently abandoned. Those spaces, which marked the beginning of the industrial era, as well as the expansion of capitalism, are portrayed as stages for the failure and disillusion-ment of an unfulfilled commitment. Reason, which was the mechanism that should guarantee “evolution” is manifested in the artworks through a Beckettian language that frustrates each and every attempt to create any form of sense.
The spectator is immersed in a silent dialogue based on absence and assumptions which he/she tries to turn into a story. Like ritualized gestures, each question is followed by an answer that generates another question. The use of subtitles – which normally refer to the translation from one language to another – creates tension between the word and its visualization. By connecting the written word with abandoned factories, the trilogy makes the rupture between language and content visible. In Choreography inert bodies agree upon a dystopian communication based on the failing of language to bring us together, to make us feel less alone, to allow us to understand each other. It is the impossibility of communication that is being staged, but despite everything expressing a need to keep speaking.
| His TV
Founded in 1999 in Turkey and active in Berlin since 2012, the Apartment Project support from the beginning encouraged artistic collaboration challenging the boundaries between art and everyday life. The framework of the exhibition gives the Turkish artist group Sis (Fog) an international platform. The continuously growing collective was formed in 2016 with the aim of finding a path forward through the thick fog enveloping freedom of expression, the urgency of the present political situation, and discovering new creative means.
Their current project His TV (Sensation TV) is to be understood as an answer to the political censorship, violence, and the resulting silence in their homeland. For the exhibition the collective simulates a walk-in television broadcaster with a recording studio and a running broadcast program. Further videos and new programs can be produced throughout the duration of the exhibition, but the details of time and place of the national and world affairs are always shuffled. The artists thus use a strategy of humor and irony to overcome the difficulties of standing up and being heard. His TV is in a way a counterattack on the power that television still holds and attempts to encourage a moment in which real public consciousness can take over.
| stamp alive
The mp43 – projektraum für das periphere initiative exhibits the intercultural project stamp alive, which was also exhibited in the National Art Gallery of Namibia in 2018.
The postage stamp plays a central role here as an emblem of the limitless exchange of information, the networking of people, and beyond that as a communicator of national symbols and values. In 2017 the initiator of the project, Carola Rümper, invited 10 artists each from Namibia and Germany to contribute a motif of their own work related to the theme, “It’s raining cats and dogs.”
She then produced collectible stamp editions through the post offices in both countries. Each motif was only produced twice as a stamp, so they become exclusive editions; and even if they can be used to send letters, they remain art objects. The stamp editions become miniature art exhibitions themselves, which are unique across the world.