Friday, 4 July 2014

Chance Encounters #24: Nina Lassila

Chance Encounters #24 meets Nina Lassila.
                                                                Me, Aphrodite? Nina Lassila 2012

NINA LASSILA born in Helsinki (Finland) 1974, lives and works currently in Gothenburg and Belgium.

Nina Lassila is a visual artist working mainly with video and performance. In many of her works she deals with questions of identity – specifically identity affected by social barriers, conventions based on gender and upbringing and cultural differences. Her other bodies of work explore issues of i.e supernatural phenomena, art and economic structures.

She has taken part in several group shows and video festivals internationally i.e The Istanbul Biennial 2007, Reykjavik Festival of Arts 2008, Rencontres Internationals Paris/Madrid/Berlin 2007 and 2012,  Kassel Documentary & Video art festival 2009/2012/2013, Reality Check TSSK Trondheim NO 2010, Cartes Flux Festival of New Media Helsinki FI 2010, XV Art Fair Mänttä FIN 2010, LOOP Barcelona 2011, SHE DEVIL V Macro Museum Rome 2011, Nordic Art Express -  Nordic Video Art on tour 2010/2011,  Blanche-Neige Centre Georges Pompidou Paris 2011,  Directors Lounge Berlin 2007/2012, Arctic Heat Film Festival Jyväskylä 2013, Tampere FilmFestival 2013, The portrait in the moving image at  Vandalorum  (Värnamo) & Jönköpings Museum SE 2013, Nantes Performance Festival 2013, DE 2013, WALK#2 EARLY VISIONS Brussels 2013 2014  Freunde und Feinde groupshow at Atelierhof Kreuzberg Berlin 2014

How did you first decide that art was your path in life ?

 I decided to devote myself completely to creating art and living an artist life when I was doing my MA studies in Gothenburg Sweden in 2000. I had quitted a quiet safe job as photographer and image editor at a newspaper for doing my masters.  It was not a hard decision -  I just understood that I could not be an artist while I was working with something else. Being an artist is a full-time thing.

What's your main interest as an artist ?

I have many interests but what keeps me going is trying to relate to the question "what is important", I basically always need "to say  or work with something that I believe is important". If I fail it is not art I'm doing.
Otherwise my interests span from gender issues all the way to supernatural phenomena. Somehow I like to prove that everything is connected and by finding out where and why the link is broken everything can be fixed.
I guess my basic mission as an artist is the very naive idea of changing the world...
                                                              Pull yourself together, Nina Lassila, 2011

Where do you get the ideas for your work ? 
My ideas normally pop out from everyday life situations and my ways of perceiving the world and what is going on around me. Very often just talking to friends can create new ideas too. Some of my works have started of also from objects. Things and thoughts become stories.

What would you most like to make that you haven't so far ?

A real LIVE performance where I would challenge the audience and perhaps doing something quite freaky. I have already done things that I refer to as events. Events because I don't consider what I have done as REAL performances. Well, I did once participate in a real performance but the idea was not mine so I can't count that in. hahaha.
I would also like to involve my self in activist art…to do something with a real visible, tangible impact. Like artists who are cleaning rivers or something.
I'd would also like to publish a book.
                                                                        Woman, Nina Lassila, 2012

What do you think is the social role of art ?

I think art should inspire people to see things differently. At it's best it can function as an eye opener and shaking our boundaries in both good and bad ways. (I myself was extremely shaken after Renzo Martens "own your poverty" piece - and that does not happen every day, unfortunately). But I still see that there is a problem with meeting the big public -  the white cube problem is going on. And art in big people friendly museums is mostly quite entertaining but not so provoking. I still feel that art is not so interesting to the big public. Well, Marina Abramovic made people queue to the MOMA….so perhaps things are changing.
Another very important thing is that art can give us the space and possibility of experiencing a variety of emotions and feelings and most importantly a breathing space free from the horrors and demands of the outer world.

What place does creativity have in education ?

Unfortunately way to non significant. Or I'm not an expert on this but when I grew up I knew nothing about art and creativity was something not so popular, like sports was.  And I don't think things have changed so much. Now I feel creativity is mainly used as a quite  empty word…it's seen as a great quality as long as it will make a profit but when it comes to a kind of crazy creativity it's mostly rejected.
Because weird things are scary…
                                                                         Experiment 2:10, Nina Lassila, 2009

Do you think that by challenging conventional views, art can truly make a change in the public's perception ?

Yes as long as it's not pissing people of.
                                                                                The critic, Nina Lassila, 2012

What are your future plans and projects ?

I'm creating a new body of work for an exhibition in Finland in October. The work feels quite challenging and a bit scary to be honest  but that's part of the fun.
In the near future I would also love to organize a live art festival in my village. And publish a book.

Many Thanks and good luck !

Lens On Life @ Federica Schiavo Gallery

10 July - 28 August 2014

Federica Schiavo Gallery
Piazza di Montevecchio 16
00186 Rome



10 JULY – 28 AUGUST 2014

Federica Schiavo Gallery is pleased to present "Lens On Life", an exhibition curated by Marina Wallace, on view from 10 July to 28 August 2014.

"Lens On Life" is aimed at disseminating the scientific knowledge acquired during the five years of MitoSys (2010-2015), a project realised with the support of the European Union under its seventh framework program (FP7). MitoSys was coordinated by the Institute of Molecular Pathology in Vienna. Internationally leading biologists, mathematicians, biochemists and biophysicists working at thirteen research institutes including the Department of Biochemistry in Oxford, the MRC Laboratory of Molecular Biology in Cambridge and the Max Planck Institute for the Physics of Complex Systems in Dresden, have collaborated to reveal how genes and proteins orchestrate mitosis in human cells.

The exhibition emerges from a dialogue, established between artists and scientists, concerning one of the fundamental mechanisms of human life – mitosis. Lens On life is a project strongly rooted within the field of art and science. It offers a novel take on mitosis and human cell division through historical and contemporary references and an imaginative interpretation by the artists involved.

Artists Lucy + Jorge Orta, Rob Kesseler, Ackroyd & Harvey and choreographer Shobana Jeyasingh met with scientists from the MitoSys consortium –Tony Hyman, Melina Schuh, Jan-Michael Peters and Kim Nasmyth. Through visits to the scientific laboratories and the artists’ studios, artists and scientists established a common territory, made of images and metaphors, developing an open and enduring dialogue.

The works exhibited are the tangible result of these meetings and constitute a re-elaboration and experimentation aimed at providing a new perspective upon the processes of mitosis and meiosis. An important part of the exhibition is the documentary, Meetings of Minds, witnessing the various stages of the collaboration between artists and scientists.

The event on the 10th of July 2014 (17.00 - 19.00) organised in collaboration with MAXXI Museo delle Arti del XXI Secolo, will stage a panel discussion with the artists and the scientists of Lens On Life, followed by the screening of the documentary Meetings of Minds.

The exhibition in Rome (Federica Schiavo Gallery) is the first of a series of three. After Rome, Lens On Life will travel to London from 29 January to 29 February 2015 (Lethaby Gallery, Central Saint Martins) and will end in Heidelberg (University Museum) from 16 March to 28 April 2015.


--------- > 31 July 2014

Five Years
E8 4QN London


The tradition of the warm worlds where slowness , conversations and walking are part of a quotidian way of relating , learning and communicating. The nature , the clima , the atmosphere …. all count as the elements that form an ethos and a pathos . Can the principle of Calidity be found on Northern lights and social structures? Can Calidity , subvert , infect or affect its so rigid ways of living and thinking ?
The Calidity School is an open workshop hosted by Esther Planas at Five Years . Esther Planas ongoing project Escuela de Calor , finds its translation and dialogue with the idea of an English Summer Camp , the luxuriating vegetation of this times the prolonged northern day lights and the monsoon quality of its clima . A Tent will be ready for holding conversation and enjoying slow time and increased perception of sounds , ambience and feelings . Guest artist Nicola Woodham who's practice on aural and sound works gives a particular attention to the female voice , proposes to enter the magical space of the Attic Hellenist calendar,as July is the first month (Hekatombaión) of the New Year cycle and to explore the traditions of Amazonian Vegetalismo and the myth of Echo. There will be walks about the area and sittings at the Park. Derives and urban interactions on found unexpected situations. Field recordings and notebooks , maybe objects and plants beverages for sure . The whole days are open to any one who wants to join and there are not specific requirements for it . More information to be founded on our Facebook page and on our website


The Storegga Slide is reported to be one of the largest known landslides in recorded history. Occurring off the west coast of Norway, the subsequent megatsunami is thought to have eventually separated Britain from mainland Europe, and mark the end of the Mesolithic age. Doggerland, the now submerged area in the North Sea, has proven to be a rich resource for archaeological purposes as more artefacts are being discovered.

Doggerland is a collaborative research project documenting the breadth of artistic-led activity across the UK, contributing toward a culture in critical engagement and dialogue with audiences that is currently felt lacking between the younger or independent projects.

Between 17th - 24th July, Doggerland will be in residence at Five Years, inviting a selection of previous artists, project coordinators, writers and curators encountered along the way, to come together and present an overview of their practices in whichever form they see fit. The Storegga Slide will provide an opportunity to discuss the current state of artist-led culture, whilst framing the event in a series of performances, readings, actions or artworks.


There is a strain of resistance marked by various refusals of a story concerning “innocent powers” and utility. This would be the story of morality, equality and opportunity.
The strain of resistance often begins with a radical critique, including those forms of critique which engender a mute refusal or a cognitive refusal.
Fear is a duration of supported stasis, structurally conservative and re-enforced by the paranoid state which relies on the aforementioned story to maintain its homogeneity.
However a huge amount of energy must be exerted to maintain such apparent idyllic stillness, and thresholds to affect remain, despite the repeated attempts to commodify or weaponize this zone of existence.
As a continuation of these threads, Fear + Trembling _ is a project about whatever can queer the metastability of the culture/politic relation. It is a project about different objects, voices and being.
takes place between the 26th and the 31st of July 2014
involves AAS, Joey Ryken, Linda Stupart and Nicola Woodham
is administrated by Sender Brocken
is documented at

Thursday, 3 July 2014

Lee Campbell 'Beyond Pollock', International Journal of Performance Arts and Digital Media

Lee Campbell ‘Beyond Pollock’ 
International Journal of Performance Arts and Digital Media
‘Heckler. Politeness, Performance and Participation’ in Performativity in the Gallery: Staging Interactive Encounters edited by Outi Remes, Laura MacCulloch and Marika Leino, published by Peter Lang 


This article focuses on the relationship between performance documents and visual art objects in response to a philosophical position concerning documentation forms held by Philip Auslander. By addressing visual art forms over what may be argued as modern technological approaches to documenting performance – digital video-recording and still photography – this article reports on a selection of practice-based research projects within the canon of Performance Art that use non-traditional forms of performance documentation to propose that bringing together visual art and performance-related discourses is helpful in articulating the document. Rather than focusing on a discussion concerning a politics of form connected to the document in terms of representation and ideas surrounding ‘truth’ (i.e. how different forms of document may be hierarchically placed in their attempt to represent an action that is now absent), the article concentrates on the act of producing documentation as a process that is both liminal and embodied. Addressing and then departing from earlier research by the author that prioritizes different levels of witness via the document, the main research projects address first-hand witness to gain a better understanding of how the act of documentation can be viewed as a performative process and an opportunity for social communication. Whereas the discourse connecting visual art objects with philosophies regarding the performance document remains under-explored, the article can be read as a benchmark for critical engagement in its attempt to combine performance and visual art-related concerns into two idiosyncratic but not highly disparate forms of creative practice.


audience, body, communication, document, liminality, Performance Art, performativity, visual art, witness


The author would like to thank Dr. Toni Sant, Dr Gillian Whiteley, Mel Jordan and Johanna Hällsten (Loughborough University School of The Arts), Michael Hall and Coralie Sheppard (Invisible Print Studio), Mike Chavez-Dawson, Robert Luzar, Carali McCall, Dr Birgitta Hosea and Peter Bond (Central Saint Martins) and Dr Susan Broadhurst (Brunel University).

Lee Campbell is Associate Lecturer in Performance Studies at Central Saint Martins in London and has previously taught at Wimbledon School of Art, UK. In 2014 he is due to complete a full-funded research studentship for a PhD from Loughborough University School Arts. Since 2000 he has worked as a practicing artist and has exhibited artwork internationally in a variety of group and solo exhibitions.

Wednesday, 2 July 2014

Scope Sessions #34

10 July 2014

Scope Sessions - artist talks & media salon
Panke, Gerichstr 23,
Hof 5, Wedding
13347 Berlin

19:00 - 23:00

Speakers at our next Scope Sessions:

+Miller Puckette
+more to come...

Thursday, 10th of July 2014
doors open at 7:00pm (19:00 Uhr)
talks start: 8pm (20:00 Uhr)

We would like to express our thanks to Troikatronix, creators of Isadora, for sponsoring Scope Session

Miller Puckette – How to have fun with a six channel guitar pickup

Miller Puckette is best known as the author of the Max/MSP and Pure Data software environments, which
are widely used in electronic music and the electronic arts. He usually teaches music at the University of California, San Diego, but is now a guest professor at TU Berlin. He performs with the Convolution Brothers and in a duo with the singer Juliana Snapper.

Puckette demonstrates what happens when you put individual pickup coils on each string of your guitar, opening up a wide range of sonic possibilities beyond what you can get out of an ordinary pickup. Techniques like filtering and distortion can be applied to the signals before they're mixed. This makes it possible to get results that are both rich sounding and precisely controllable. The software to do this is open source, free to download.


Quadrature is a group of three former designers who combine their very specific personal skills to create complex systems for highly technolgical installations.
Jan Bernstein concentrates on the creative implementation of physical and functional aspects into Quadrature’s work. His substantial practical expertise fertilizes his artistic research in materials and fine mechanics. Influenced by his specialty, Jan’s creative approach is concentrated and structured, keeping every detail in mind in order to formulate the ideal aesthetic and conceptional expression.
Sebastian Neitsch rather employs experimental and assiociative methods in order to achieve innovative and intuitiv systems and thoughts for Quadrature’s conceptual and artistic vision.While his focus is on the digital world – including everything concerning code, electronics and new technologies – he considers teamwork and communication as the perfect source to generate creative output and solutions.
Juliane Götz: is the latest member of Quadrature and fills the missing link between hardware based pragmatism and digital utopics in Quadrature's projects. Her design and handcraft skills as fashion designer are combined with the abiltiy to quickly understand and implement new dynamic workflows and structures into the group.
They all share a love for machines and outer space.

After introducing themselves and their work, they will focus on the problems for media artists to be part of the traditional gallery-marked in the art business. Even so a lot of Art projects, which use modern technology and try to bring it into a different not consumer-based context, are quite successful, a lot of them are being displayed only in festivals or as digital copies in the internet, rather then being shown in privat galleries. This implements that the creators make a living either from grants, teaching, very small fees or they finance their free art work with client-based commissions. The reasons for this are manifold. A lot of projects are technical experiments on a larger scale, which can hardly be sold as an peace of art that the client could simply place or even hang in his home. Another reason is the fact that a lot of Media Artists rather work on a very conceptual level, creating work that is either only excisting in digital form,very much created for certain spaces or react to certain appearings of modern society. So whenever you would take this projects out of their context they would not make any sense at all.

O Labor, Sister Continent

17 July 2014

CRAC Alsace
18 rue du château
F-68130 Altkirch
T. +33 (0)3 89 08 82 59

The CRAC Alsace is pleased to invite you to a reading by Quinn Latimer & Megan Rooney
on July 17 at 7 pm.

O Labor, Sister Continent
A reading by Quinn Latimer & Megan Rooney

The collaborative work by Quinn Latimer and Megan Rooney is inspired by Jean-Pierre Gorin’s documentary film Poto & Cabengo (1978), and its layered, elliptical depiction of twin sisters from Southern California who spoke in an invented language until the age of 8. Latimer and Rooney’s work uses the central relationship in Gorin’s film—of North American sisters raised in a “mutually poor linguistic environment”—as a model for their own relationship, in an installation and performance that centers around a script that will be both exhibited and performed live.

The script is comprised of an intimate and increasingly poetic conversation that begins in two distinct languages and gradually evolves into one shared lingua franca. In its writing and reading, Latimer and Rooney explore how various economies—of language, of gender, of space, of geography, and of class—come together to decisively shape our lives and relationships, and to form the very medium, language, in which we perform them.

This reading takes place within the exhibition Der Leone Have Sept Cabeças, June 19 - September 21, 2014.
Curated by Filipa Oliveira & Elfi Turpin.

Sodiq directed by Adeyemi Michael

Wednesday 13 August 2014

Franco Namibian Cultural
118 Robert Mugabe Avenue
PO Box 11622


Sodiq, directed by Adeyemi Michael, UK/Nigeria, 2013, premieres in Namibia this August.

How does a boy with the aspirations of becoming a doctor find himself on trial for murder...?

Sodiq Adeojo is a 20-year-old young man from Peckham who has been found guilty of the murder of Sylvester Akpalara, an 18-year- old from Streatham on the 29th December 2010. In 2004, Sodiq (aged 11) and Adeyemi (aged 19) set up a football team for kids on their housing estate ‘to give them a different type of gang to belong to’. It won the local league for two years in a row, was a huge success, and led to Adeyemi gaining work as a talent scout for Millwall FC.
Adeyemi Michael (Nigeria/UK) began making this documentary in 2008 when the team was about to end as he left to go to university. At the time Sodiq was about to take his GCSE’s and embark on an academic journey towards studying medicine and becoming a doctor. In less than four years the life of this seemingly promising young man, albeit from a tough neighbourhood took a dramatic turn for the worse. Along with six other boys he was accused of murder but was the only one to be convicted. Sodiq’s hopes, aspirations and desires were documented in Adeyemi’s initial film called “Running The Line”.

The purpose of this 60-minute documentary is to discover what the turning point was in Sodiq’s life and how this is microcosm of wider societal issues in Britain today.
The UK National Film and Television School produced film provides the audience with privileged and unprecedented access to a hidden world that we only ever read about in the headlines.

-Winner Grierson British Documentary Award, Sky Atlantic Student Documentary of the Year, 2013
-Nominated for International Documentary Association (IDA) documentary award 2013
-Winner Best Student Film Award & the Goodluck Jonathan President’s Special Award, Africa International Film Festival, Calabar, Nigeria, 2013
-Nominated for Best Student Film Award, Sheffield Docs Fest, 2013
-Nominated for Sembene Ousmane Films for Development Prize & Official Selection, ZIFF Zanzibar International FIlm Festival, 14.- 22.06., 2014

BRISE 2 Performance Art Festival

25 - 27 July 2014

Alte Bahnpost (Old Railway Postoffice) | Am Bundesbahnhof 3 | Flensburg
KIS Hall | Gasværksvej 20 | Aabenraa - Denmark
Kulturwerkstatt Kühlhaus | Mühlendamm 25 | Flensburg

In collaboration with Aabenraa Artweek, BRISE°2 will take place in Flensburg and Aabenraa, from July 25 to 27, with artists from Germany, Denmark, Switzerland, Belgium and Poland - and some PAErsche members

Participating artists:
Christine Bänninger + Peti Wiskemann (CH), Béatrice Didier (Belgien), Ellen Friis (DK), Gisela Hochuli (CH), Arti Grabowski (PL), Anne Glassner (AUS), Jasmin Schaitl (AUS), Sofia Greff, Rolf Hinterecker, Susanne Helmes, Lala Nomada, Katharina Herr, Carola Willbrand, katharinajej und Elke Mark

Fri 7/25/2014 | FLENSBURG
12:00: THE ART POST, Open session in the urban area of Flensburg
19:30: Alte Bahnpost Flensburg, 4 solo performances + Open session

Sat 7/26/2014 | AABENRAA - Denmark
12:00: Open session at Sønderstrand Aabenraa
19:30: KIS-hall Aabenraa: 4 solo performances + Open session

Sun 7/27/2014 | FLENSBURG
10:00 to 15:00: Symposium "Knowledge creation in the Performance Art" in Flensburg, Kulturwerkstatt Kühlhaus + Universtität Flensburg

Information, contact and artistic direction:
Elke Mark -

With the kind support of KulturFocus, Kühlhaus and Aabenraa Art Week

Per Christian Brown | Anemophily - The Ejaculation of Spring

4 - 7 July 2014

LYNX 760
Frognerveien 67, (the pavilion at Utsikten in Frognerparken)
0266 Oslo

Per Christian Brown
"Anemophily – The Ejaculation of Spring"

Open: 1–5 pm
Preview: Friday, July 4, 7–9 pm

Lynx is proud to present the exhibition
"Anemophily –The Ejaculation of Spring" by Per Christian Brown

The general theme of Per Christian Brown’s exhibition is the botanical phenomenon of anemophily (Greek: wind-love), a botanical term describing the reproduction process whereby trees and plants harness the wind to spread their seeds. Brown has long been exploring the symbolic and poetic values of themes related to the natural world, and in particular, a meditation on the characteristics of the four elements.

The exhibition in Lynx consists of a video piece from 2012 presented as a tableau in the neo-classical pavilion. It consists of scenes showing the spread of poplar seeds, shot in different Berlin parks. The white seeds, like snowflakes in texture, are released from the tree’s catkins as spring turns into summer. The flakes fill the air, covering the streets in a white blanket.

In an alternation between lyrical scenes of the natural world and scenes of a young man in a forest, a rising dramaturgy gradually builds, reinforced and enhanced by a symphonic piece of music. The culminating scene shows a release and physical ecstasy, with heavy gusts of flying seeds crosscut with close-ups of the young man’s face as he masturbates.

In conjunction with the video, Brown has created a tableau consisting of branches from trees and leaves with ripe catkins from the poplar tree, collected in Berlin. The branches as well as the poplar seeds are set in motion in the gallery space, reproducing the movement of the video in the physical space of the gallery.

Brown´s projects are based on French philosopher and epistemologist Gaston Bachelard´s (1884–1962) essays on material imagination. Over the past years, Brown has researched the underlying poetic identity and intrinsic imaginary potential of the elements Air and Fire.

Per Christian Brown (born in 1976 in Stavanger, Norway) lives and works in Berlin and Oslo. He studied at the Academy of Fine Arts in Oslo 1995–2000 incl. one year at the College of Arts and Crafts in Bergen, Photography Section. Brown mainly works with photography, film /video and installations that deal with an exploration of nature and poetic imagination as well as themes related to desire and psychological aspects. The coexisting of the fictional and the real is a recurrent theme in Brown’s projects, characterized by a meticulously staged approach to photography and moving imagery. His pieces often allude to allegorical and mythological themes, reinterpreted in a contemporary context.

Brown has exhibited his works in solo and group exhibitions in Norway, England and Germany, and his pieces have been acquired by main Norwegian art collections. From 2004 to 2006, Brown worked on a public commission project for the Norwegian military camp Rena and his 16mm film entitled “The Flame that Dreams” was shown at the 7th Momentum biennial in 2013. His recent projects include a large installation piece in historical Villa Breidablikk in Stavanger produced as a part of the Museum Stavanger’s marking of the 200th anniversary of the Norwegian Constitution.

For more information about the artist, please see

For other information, contact LYNX: +47 400 74 488 |

LYNX, Frognerveien 67 (The pavilion at Utsikten in Frognerparken), N-0266 Oslo

LYNX is supported by Billedkunstnernes Vederlagsfond


4 - 27 July 2014

Atrium Space
32A Hertford Road
London  N1 5SH

Other days by appointment


Elisa Noguera
Open Weekends 12pm - 6pm
Hester Jones

Strip Book magazine #1

2 July 2014

BJØRK Florence
Via dello Sprone 25/r
50125 Florence
+39 333 979 5939
18:30 - 22:00

Strip-Project is proud to invite you at the launch party
of the Strip Book magazine ♯ 1, featuring:
Alessandro Casagrande// Bernhard Handick // Bouke De Vries// Claudio Cassano// Eric Johnson //Fabio Costì// Filep Motwary// Francesco Baronti// Giulia Caira// Guillermo Turell Yarur// Lionel Bensemoun for Villa Lena// Magnus Gjoen// Manuel Zine// Manuella Martelli// Maurizio di Iorio// Newshine// Plugger// Silvia + Cemin// Sonja Gutschera & Leif Henrik Oshtoff// Stefania Paparelli// Troia Zine// Wonderful Luka// Write & Roll Society//.

The Strip Book magazine number 1 will be produced and distributed in limited edition, at the BJORK Florence's bookshop, starting from July 2nd, 2014.
These limited copies are free.

Also you will meet the founders who took care of this project:
Martina Spagnoli and Anna Ka.

☞ From 7 pm to 9.30 pm

Slow motion Dj set by Guta

Monday, 30 June 2014

Samuelis Baumgarte Galerie: Fred Thieler exhibition

----------- > 22 August 2014

Samuelis Baumgarte Galerie
Niederwall 10
33602 Bielefeld

Fred Thieler. Intuition der Malerei
Image: Fred Thieler, Von Rot durchkreuztes Blau, 1993, Kunstharzdispersion auf Leinwand, 280 x 200 cm

Due to huge demand the exhibition is extended until 22. August 2014.
Opening hours: Mo-Fr 10 - 6, Sat 10 - 2
A brochure is published.

Samuelis Baumgarte Galerie is pleased to present the second major retrospective of the internationally renowned artist Fred Thieler, on view from April 26 through August 22, 2014. The exhibition 'Fred Thieler. Intuition of painting – works from five decades' includes important works from all periods of the artist, who was born in 1916 in Kőnigsberg and died in 1999 in Berlin.

Fred Thieler is one of the most prominent protagonists of the German post-war abstraction movement 'Informel'. He created unpredictable works, intuitive and committed to an inner law. There was no task, no plan or prior idea but full freedom of expression to the unforeseen quality of materials and randomness of gestures. His work demonstrates the importance of the interaction between artist and material, showing the artist´s demand to trigger emotional reactions in the viewer. In general, his works cannot be ascribed to a single style, but they all show an impressive approach to a non-objective art, just following the artist´s emotions.
Thieler became a member of the artist group ZEN 49, founded in 1949, to which belonged, inter alia, Willi Baumeister, Rupprecht Geiger, K.R.H. Sonderborg and Fritz Winter.

Our exhibition starts with works from the 1950s. During this period Thieler created the so-called 'scraper pictures'. Spectacular and dynamic colour arrangements are dominating the early work of the artist. Among these, the work 'O.G. I/56' (1956, oil on cardboard on plywood, 95.7 x 68 cm) can be seen as an example, which - in a certain way - still was committed to a structure. In order to follow up on his strong need for a violent ductus, Thieler started to work with a spatula on the image´s surface.
Another highlight of the exhibition includes the small format 'O.b. 57' (1957, oil on canvas, 40 x 30 cm) where pastose strokes in predominantly yellow and black are building a dynamic composition.

Similar energies can be found within the work 'BR. S/63' (1963, mixed media on canvas, 190 x 130 cm). Again the spiritual urgency of the artist is expressed particularly clear. He took the canvas off the easel, laid it down on the floor, and – which was still a provocation in the 1950's – poured, dripped and sloshed the colours onto it out of cans or buckets – thus introducing the liberation of composition and showing the absence of premeditated structure.

In the following decades, the artist predominantly used the colours red and blue. The work 'Without title (red)' (1986/1987, mixed media on canvas, 170 x 230 cm) demonstrates Thieler's colour palette clearly. The late works from the 1980s and 1990s, in which the confrontation between the artist and the colour as an independent element is culminating, mostly show colours which are condensed into a force and ungovernance. In his work 'Untitled' (1998, synthetic resin dispersion on canvas, 85 x 110 cm), this development is at its peak. There is a breath-taking force and ampleness in this work, yet demonstrating and summarising monumentality and tranquillity at the same time – it is that interplay of emotions that is captivating and fascinating to the viewer.

The MKM of Modern Art, Duisburg, recently devoted a comprehensive retrospective to the artist (11/01/2013 – 2/02/2014). Furthermore, parallel to our exhibition, his work will be presented from May 25 through September 21, 2014 at the Museum Gunzenhauser, Art Collections Chemnitz.

A summer school at The Barber Shop, Lisboa

28 July - 1 August 2014

Rua Rosa Araujo 5
Margarida Mendes

A summer school at The Barber Shop
28July – 1Aug 2014

Application deadline: 26th June

In the peak of summer, The Barber Shop invites you to an intensive programme dedicated to the investigation of geophilosophy and processes of mattering.

By inquiring into how matter functions as a time capsule or a black box, this programme reflects on our comprehension of geological and planetary frontiers as tools for communal decision-making. While necessarily probing the processes of deterritorialisation and subsequent virtualisation that structure our surroundings, this investigation encompasses also the impact of inhuman forces and nonorganic life in the game at play.

How do we include invisible cartographies and virtual matter in the day-to-day human action? Can we recognize the dimension of deep time as intrinsic to the development of matter, and furthermore of our own cultural actuality? How do we position ourselves within this Anthropocenic moment?

To explore these issues, The Barber Shop invites researchers, writers and artists to lead a series of lectures and group debates over a week period The programme also includes a sound performance, a film night and a collective walk. The sessions will take place daily from 28th July to 1st August, as the afternoon heat fades.


Adrian Lahoud
Godofredo Pereira
Ben Woodard
Jonathan Saldanha
Joana Rafael
Paulo Crawford


deep time, processes of mattering, climatology, territorial fiction, opaque topologies, geophilosophy, sonic resonance, dark matter.


'Ungrounded Life: Natural Complicity and the Conditions of Movement' by Ben Woodard

Examining the depth of the material contingencies between the inorganic and organic registers of the Earth has become commonplace whether in vitalism, New Materialisms, or Media Archeology. The ramifications of such a complicity however, are often made safe for humans whether via an abstract sense of life, affect, or a generic humanist sense of materialism. I wish to argue that such safety can only ever be methodological, that there can be no ultimate separation of ourselves from the grounding forces of the Earth. Through the work of FWJ von Schelling I will argue that an unbound notion of nature allows for a more rigorous articulation of an inhumanism than the strategies mentioned above. This seminar will examine how the geological and the biological (as articulated by Schelling) leads to a naturalistic inhumanism that is a consequence of, and not an exception to, the naturalness of human beings and human thoughts. B.W.

'Underground Fetishism' by Godofredo Pereira

This lecture is an investigation into the underground as a planetary frontier. Focusing a series of resource intensive territories - from the Niger Delta in Nigeria, to the Orinoco Oil Belt in Venezuela and the Atacama Desert in Chile - as paradigmatic cases of an attraction for the underground, the lecture will trace a series of exhumations (from symbolic political leaders and victims of genocide, to geological strata and mineral riches) to unground entangled histories of human rights violations, environmental destruction and resource extraction that result from the quest for El Dorado. Foregrounding the fetishistic relation between objects and the territories of which they are evidence, manifest in the contemporary emergence of geoforensic practices, this lecture will show how exhumations have become increasingly central to the constitution of new territorial imaginations. G.P.

'Floating Bodies' by Adrian Lahoud

In recent decades two major shifts have transformed our understanding of the Earth in relation to the irreversible impact of seven billion human beings. Firstly, we can now look up through the sky and make out the structure of our shared atmosphere, or look down through the ground, making visible the Earth's geologic architectures. Secondly, the barriers of past and present begin being breached, as computational simulations are able to reveal our geo-climatic futures. These two shifts constitute a revolution that is both political and aesthetic, as in revealing the Earth's invisible geometries they link economic activity in one part of the world, to conflicts and devastation in another. However, they do so in ways that reveal how existing legal, political and philosophical resources are ill equipped, as they are built on histories of human experiences that are proximate in time and in space.
This presentation will depart from a case study that links aerosol emission in the Northern Hemisphere to drought and desertification in Africa's Sahel. The argument will suggest that if this case can be seen as a kind of paradigm for new forms of environmental violence – then forums for negotiating climate change might be considered crime scenes.

'Mutually Assured Survival and the reserves of future catastrophe' by Joana Rafael

This talk will examine reserve realities of the nuclear and their proliferation in an ever more extensive network, that envelops other activities and extends towards a permanent, unified and world-scale techno-sphere. These nuclear reserves will be explored in relation to an eschatological economy of salvation that governs attempts to predict, contain and even eradicate the risk of a catastrophic crisis, and the great socio-political, technocratic and cultural frameworks built around this. A specific focus will fall on how their architecture is developed in relation to the governance of risk, being defined by constraints that aim to manage the future and fix natural and historical time, drawing a horizon line that encloses and protects spatial and temporal integrity in order to prevent any contamination that threatens it. The talk will examine how these architectural measures attempt to construct a temetos, an autonomous world, set apart and held in forced stasis. J.R.

'Vibrational Mediations' by Jonathan Saldanha

Presentation and listening session taking on some aspects from Jonathan Saldanha's work, navigating into the realms of resonant choir constructions, visceral mediation of space, black matter and intra-cranial Dub. The conversation will be followed by a listening session operated in a live dub situation were the different pieces are put together to invoke the sonic membranes that connect them. J.S.

'Past and Future of the Universe: the presence of dark matter and the role of dark energy in the expansion of the universe' by Paulo Crawford

If general relativity, Einstein's theory of gravity, is correct, most of the universe is dark. Almost a third of the universe seems to be made of dark matter, some sort of heavy invisible stuff that swarms around galaxies, whose observational evidence is overwhelming. The other two-thirds is in the form of an ethereal ingredient, dark energy, which is repulsive in a way that accelerates the present expansion of the universe. Only about 4 percent of the stuff of the universe is made of the familiar atoms. Should we conclude that we are reaching the limits of general relativity and Einstein's theory is beginning to fail? How all this could affect our notions time and space? P.C.

LOCATION: The Barber Shop Rua Araujo 5, Lisboa.

FEE: 100 Euros. Housing solutions may be suggested for foreign applicants.

CV + portfolio (or 1page description of recent work and research focus).
All applications should be sent by email to:

DEADLINE: 26th June
Invited applicants will be announced in the end of June by email


Adrian Lahoud is an architect and teacher working on concepts of scale and their architectural, urban, and geopolitical consequences. Currently he is leading the M.Arch Urban Design at The Bartlett, University College London and an external advisor at Projective Cities at the Architectural Association, London. He joined the Centre for Research Architecture, Goldsmiths in 2011 as director of the MA programme and research fellow on the Forensic Architecture ERC project. Prior to this he was Director of the Urban Design Masters at the University of Technology Sydney.

Godofredo Pereira is an architect and researcher. He is currently completing his PhD at the Centre for Research Architecture, Goldsmiths University of London. His research Underground Fetishism investigates territorial conflicts within the planetary race for underground resources, with a particular focus on the parallel exhumations of minerals and political leaders as re-imaginations of the body politik. Together with lawyer Alonso Barros and as part of Forensic Architecture he is coordinating the Atacama Desert Project, a geo-forensic analysis of human rights and environmental violations in the Atacama Desert in Chile. He is also the coordinator of History and Theory at the MArch Urban Design program at the Bartlett School of Architecture, UCL, co-founder and editor of Detritos, a journal of art and critical theory, and editor of the book Savage Objects, INCM, 2012.

Ben Woodard is a PhD student at the Centre for Theory and Criticism at Western University. His work focuses on the philosophy of FWJ von Schelling, naturalism, pragmatism, and contemporary continental philosophy. He has published two monographs: Slime Dynamics with Zer0 Books and On an Ungrounded Earth: Towards a New Geophilosophy with Punctum. He also writes on horror film, weird fiction, and philosophies of pessimism.

Joana Rafael is an architectural practitioner based in London and Porto. Having graduated from the University Institute of Architecture in Venice (UIAV), she has continued her studies through the Metropolis Master Program at the Centre of Contemporary Culture of Barcelona (CCCB) and the MA programme in the Centre for Research Architecture at Goldsmiths College, London, where she is currently completing a PhD in Visual Cultures. She has been a recipient of several funding bodies including the Portuguese FCT. Joana is a contributor to San Rocco and other European architectural publications and a Associate and Visiting Lecturer (Critical and Contextual Studies) at Central Saint Martins School of Communication, Product and Spatial Design and Canterbury, University for the Creative Arts. Current research is focused upon an expanded view of systems architecture, its logistical, aesthetical, epistemological and spatial history and applications. She is interested in what ways can we imagine architecture exceeding itself?

Jonathan Uliel Saldanha is a producer and composer, concerned with the relations of sound with its resonance, negative territories, echo and recursivity, pre-language, visceral voice, subsonic frequencies and intra-cranial-dub. Saldanha operates sonically in the projects HHY & The Macumbas, Fujako, Mécanosphère and Beast Box among others. Founding member of SOOPA, a proteiform, multicephalous, sound & visual laboratory with headquarters in Porto, Portugal. In 2012 he co-curated the program 'SONORES - sound/space/signal' for Guimarães European Capital of Culture and composed the piece KHŌROS ANIMA for mixed choir and empty resonant space. In 2014 Saldanha presented SANCTA VISCERA TUA, a sonic and scenic piece constructed from the archetypes present in the structure of a Via Sacra, a vibrational action of sound, gesture, light and voice. His music has been released under the labels SOOPA, Ångstrőm Records, Wordsound, Rotorelief, SILO and Tzadik

Paulo Crawford is a retired professor of physics at the Universidade de Lisboa (UL) and a researcher at the Centro de Astronomia e Astrofísica of UL. Tapada da Ajuda, Edifício Leste.
He studied Graviation at King's College University in London with Prof. John Taylor, and completed the first PhD within this field by Lisbon University in 1987. Successively he created a research center for Gravitation and Cosmology, which has been active since the late 80s, first in the Nuclear Physics Center of Lisbon, and from 2000 in the Astronomy and Astrophysics Center.




4 July - 3 August 2014

aMBUSH Gallery
4A James Street,
WATERLOO, Sydney 2017

Sydney all wrapped up in street art with a soft side

Just as Sydneysiders begin to rug up against the wintery cold, so too will the city itself as the world’s largest yarn bombing collective, Yarn Corner, knits and purls its way into Chippendale for URBAN THREADS, a four-week public art initiative launching on Friday 4 June 2014.

Presenting partners Central Park Sydney and aMBUSH Gallery share a belief that Sydney’s urban spaces have the potential to become inspiring environments through the transformative power of art and innovation, and with the launch of URBAN THREADS, they plan to bring a little whimsy to the cold concrete of downtown Sydney.

That whimsy will come in the form of a brightly coloured yarn bombing activation along the trees on Broadway in front of Central Park, and along Chippendale Way in the Central Park precinct. Yarn Corner, a Melbourne-based yarn bombing collective whose local and international membership has grown to over 900 since its launch in 2011, has been commissioned to hand-craft the activation.

In addition to wrapping the trees, we will host a one-hour yarn bombing workshop with Yarn Corner at 1pm on Saturday 5 July at Artists Run Gallery on Level 3 of Central Park. The pieces created by the workshop’s participants will be used to bomb the trees in Central Park, so that URBAN THREADS will become a public project in more ways than one. For the entire duration of URBAN THREADS, a video produced exclusively for the project will play on Central Park's 15-metre digital art screen.

URBAN THREADS is a unique activation designed not only to uplift our city precincts, but also to demonstrate that it doesn’t always take a grand architectural gesture to have a resounding effect on public space. Sometimes all it takes is a bit of time, a ball of yarn, and something to wrap it around.

WHAT: URBAN THREADS, Public Art Project
WHERE: Broadway and Chippendale Way, Central and Central Park Precinct
WHEN: Friday 4 July to Sunday 3 August

WHAT: Yarn Bombing Workshop with Yarn Corner
WHERE: Artists Run Gallery, Level 3, Central
WHEN: Saturday 5 July, 1pm

Please email to register for the free workshop. Only 30 places, first in best served!

Photography by Nicole Reed

Friday, 20 June 2014

Urban Media Lab Masterclass results & tour

20 - 21 June 2014

Come and join us for the Urban Media Lab tour starting Friday 20 June 18:30 at square Breughel L'Ancien (Marolles lift)
and Saturday 21 June 15:00 at the entrance of metro station Comte de Flandre (near iMAL).
The iMAL team will guide you to the projects presentations developed during the masterclass by the participating artists.

See underneath the schedule showing where and when the projects will take place.

Friday 20 June

L’arbre à mémoire by Niels Goossens / Lucia Jeesun Lee
Location : le quartier de Bruegel l'Ancien (Marolles lift)
Time : 18:30 – 19:00

Walk towards Parc Royal
Time : 19:00 – 19:20

SuperForager by Samantha Jones / Laura Pullig / Neil Winterburn
Location : entrance metro station Parc (Parc Royal)
Time : 19:30 – 20:15

Saturday 21 June

Oscillating Cities by Chris Woods
Location : entrance metro station Comte de Flandre (near iMAL)
Time : 15:00 – 15:30

Walk towards place Sainte Catherine
Time : 15:30 – 15:40

Home Sweet Home by Polina Zioga / Alexandros Nikolaos Ziogas / Kalina Ntampiza
Location : Place Sainte Catherine
Time : 15:45 – 16:15

Walk towards Grand Place
Time : 16:15 – 16:30

Cultural hARitage in Brussels by Joatan Preis Dutra
Location : Grand Place
Time : 16:30 – 17:00
Download the app!

Information about the projects: