Michael Buhrs Livres

Installations and musical sculptures exploring the politics of sound and cultural migration Berlin-based Turkish artist Nevin Aladag (born 1972) makes sculptures and installations that explore social, urban and political borderlines. Inspired by her multicultural upbringing, Aladag combines objects with disparate cultural origins to create pieces that function as visual “scores,” both reflecting and transcending their material components. In her fabric works, Aladag collages segments of carpets from across the globe to create brightly patterned geometric tapestries which, from afar, appear as abstract, modular paintings with bold borders separating each distinct element. For her most acclaimed piece, Music Room Athens , presented at Documenta 14, she combined parts from various string, wind and percussion instruments with found furniture to create assemblage sculptures that interrogate the role of sound in the making of an environment.

Known for her layered, meticulously constructed works that trace the undercurrents of systems of value and image-making, Chicago-born artist Amie Siegel's (born 1974) work moves between film, video, photography, performance and installation. Double Negative surveys the last decade of her art.

Beate Passow (b. Stadtoldendorf, Germany, 1945; lives and works in Munich) creates installations, photodocumentaries, and collages that seek to salvage her subjects from oblivion, though as she sees it, her art is an effort to come to terms not so much with the past as with the present. When her compositional inventions touch on painful memories, their objective is not to arrive at new insights. Rather, she aims to uncover visible and verifiable states of affairs and throw them into sharp relief. In her cycle of pictures Monkey Business, the artist unfolds a mysterious fairy-tale world with a political edge. Strange animals and mythical figures populate the large-format black-and-white tableaux, which a closer look reveals to be woven tapestries. The unusual protagonists roam readily identifiable locations: Gibraltar, New York?s Wall Street, Brussels, or the island of Lampedusa. Behind these ostensibly simple facts of geography loom the darker aspects of contemporary European politics: Passow?s work calls for a debate on the systems, economic structures, and political movements that rule the continent.00Exhibition: Villa Stuck, München, Germany (19.05. - 22.11.2020).

The work of Cornelius Volker (born in 1965), a Dusseldorf based contemporary painter, is celebrated in a mid-career retrospective by a museum exhibition that opens in February 2011 at the Museum Villa Stuck in Munich and travels on to three other venues in Goslar, Wuppertal, and Ludwigshafen. Volker's colorful paintings deal with simple, often mundane objects, and their everyday approach relates them to Pop Art. Tea bags, sandwiches, chocolates, and other food, but also books and the human figure are his favorite subjects. He paints with almost liquid and bright, artificial colors in a virtuoso 'al fresco' speedy manner - as if he wanted to merge Pop Art, caricature and action painting in his images.

Contemporary Visual Communication in a Historic Weaving Technique. Margret Eicher’s (b. Viersen, Germany, 1955; lives and works in Berlin) large-format tapestries combine the baroque form of the woven picture with familiar motifs excerpted from contemporary media images. She digitizes her sources and then assembles them in painstaking editing work on the computer. The resulting ‘media tapestries’ occupy the interface between the traditional work of art as a physical object and the electronic noise of the digital two worlds that at first glance would seem to be incompatible yet find themselves in harmonious union in Eicher’s art. In "Göttliche Liebe (Divine Love)", for example, Caravaggio’s "Crowning with Thorns" meets a kissing gay couple from a pro-tolerance campaign in Berlin, while Botticelli’s "Birth of Venus" is sampled together with a subway station in Frankfurt. In conceptual art production, the creative idea is central and its realization becomes secondary; in a final twist, "Lob der Malkunst (Praise of Painting)" elects this practice as its artistic lodestar.

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Die Publikation dokumentiert Cyrill Lachauers multimediales Projekt „Full Service“, das Ergebnis zahlreicher Arbeits- und Forschungsreisen in den amerikanischen Westen. Ein Werkkomplex aus Film, Video, Fotografie und Sound dokumentiert das Ritual „Ghost Dance“. Diese indianische Widerstands- und Revitalisierungsbewegung führt Lachauer in das Hinterland des amerikanischen Nord- und Südwestens zwischen Las Vegas und Wounded Knee. Er begegnet einem Amerika, das innerlich längst zerfallen ist, dessen Landschaften dennoch die ursprüngliche mythische Kraft und den Zauber des Landes beschwören.

Die aufstrebenden Städte der Golf-Region und konfliktreiche Schauplätze im Mittleren und Nahen Osten sind zentrale Themen der aktuellen Medienberichterstattung. Der westliche Blick ist von den extremen Bildern aus diesen Gebieten geprägt. Die Publikation konterkariert deren manipulative Ästhetik mit Werken, die insofern einen vielschichtigeren Ansatz zeigen, als sie sich mit den dortigen gesellschaftlichen Bedingungen auseinandersetzen. Common Grounds bezieht sich auf das wissenschaftliche Modell des Grounding, die Annahme, dass zwischen Kommunikationspartnern ein gemeinsamer Wissensraum besteht, der den Dialog gelingen lässt. Dieser öffentliche Raum bildet das Sujet der präsentierten Arbeiten, die subjektive Erzählweisen jenseits kollektiver Geschichtsschreibung aufzeigen. In Christian Palestinian Archive (CPA) etwa gestaltet Dor Guez Archivmaterial, das persönliche Geschichten von Palästinensern christlichen Glaubens aus der ersten Hälfte des 20. Jahrhunderts dokumentiert. Die vorgestellten Künstler (Auswahl): Abbas Akhavan, DAAR, Parastou Forouhar, Babak Golkar , Dor Guez, Joana Hadjithomas & Khalil Joreige, Hazem Harb, Susan Hefuna, Bouchra Khalili, Sophia Al Maria, Ahmed Mater, Nasser Al Salem Ausstellung: Museum Villa Stuck, München 12.2.–17.5.2015

Das Buch bietet eine ausführliche Chronologie des Kabaretts »Fledermaus« von 1907 bis 1913 und präsentiert unbekanntes Bildmaterial zu Wiens berühmtester Kleinkunstbühne. Die Wiener Werkstätte, unter Mitwirkung namhafter Künstler, schuf ein unvergessliches Gesamtkunstwerk, das das Nachtleben Wiens prägte.