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PAINTING FOREVER! 18 September – 10 November 2013

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PAINTING FOREVER! 18 September – 10 November 2013 Press Conference 17 September 2013 Press Kit CONTENT Introduction p. 2 Exhibitions Berlinische Galerie, Franz Ackermann „Hügel und Zweifel“ p. 4 Deutsche Bank KunstHalle, “To Paint Is To Love Again. Jeanne Mammen – Antje p. 6 Majewski,Katrin Plavčak, Giovanna Sarti“ KW Institute for Contemporary Art, “KEILRAHMEN” p. 8 Nationalgalerie – Staatliche Museen zu Berlin, „BubeDameKönigAss“. Martin Eder, p.10 Michael Kunze, Anselm Reyle, Thomas Scheibitz Further Information Event program p. 12 Publication p. 16 Ticket p. 17 Images p. 18 Biographies p. 28 ATTENTION! You will receive the list of works at the info desks of the four partner institutions. Please see also the websites of the institutions. 1 PAINTING FOREVER! 18 September – 10 November 2013 Opening within Berlin Art Week: In the fall of 2013, four leading Berlin institutions for contemporary art devote their attention to the topic of painting and, for the first time in this context, join forces to put on a concerted program. The four institutions are: Berlinische Galerie, Landesmuseum für Moderne Kunst, Franz Ackermann „Hügel und Zweifel“ (18.09.2013–31.03.2014) Deutsche Bank KunstHalle,„To Paint Is To Love Again. Jeanne Mammen – Antje Majewski, Katrin Plavčak, Giovanna Sarti“ (18.09.–10.11.2013) KW Institute for Contemporary Art, „KEILRAHMEN“ (18.09.–10.11.2013) Nationalgalerie – Staatliche Museen zu Berlin, „BubeDameKönigAss“. Martin Eder, Michael Kunze, Anselm Reyle, Thomas Scheibitz (06.09.–24.11.2013) From 18 September four exhibitions go on show under the title of Painting Forever! All four run simultaneously for eight weeks and aim to demonstrate the many aspects of painting and invite visitors to reflect on the medium. The partners in this collaboration consciously chose to focus on the art of painting, which has disappeared from the limelight somewhat in recent years. Initiated by the Berlin Senate, the project represents the highlight of the city’s fall season, Berlin Art Week, which has just begun. For the launch of this cooperation project, initiated by the Berlin Senate, the institutions involved have chosen painting as the focal point of this collaboration, which is to be continued in the future. The title of the project is Painting Forever! From a solo presentation through the conceptual group exhibition with well-known painters to a wide-ranging overview that brings together up-and-coming and established approaches: the individual formats vary greatly and together form an exciting picture of painting in Berlin – once again demonstrating the complexity and diversity of painting practices in the capital. Since the end of the 19th century at the latest, painting has played an extremely important role on an institutional level. Through the medium of painting, the city has also brought forth experimental artistic approaches, including the Berlin Secession, the New Objectivity and the Neuen Wilden (Young Wild Ones). The individual and group presentations of the four exhibition formats of Painting Forever! will demonstrate various approaches to the medium: installation-based and location-specific approaches will play a role, as will classical concepts of painting. The exhibitions are based on various artistic and curatorial positions and, despite their diversity, all address the question of what painting can and wants to be today. Painting Forever! combines both young, contemporary positions with already established artists and also explores historical references. The individual locations of the overall project Painting Forever! are to be understood as complementary elements, yet, at the same time, as discrete exhibitions that can be experienced individually. The exhibition is a contribution to current debates and discourses about the medium of painting and its role in contemporary artistic production: its broad, open treatment of current painting practices aims to highlight the fact that, time and again, painting assumes a central position in contemporary art discourse. Furthermore, by presenting a range of artistic positions, the project aims to develop lines of argument from practice, which throw up deeper questions as to the production and reception processes associated with painting: what is the basis of the reciprocal esteem in which artists and observers have held each other down through the centuries? What (artistic) strategies can help this 2 medium, which has so often been declared dead, to overcome ist crises and formulate new positions? What is painting’s relationship with the other media of contemporary art production? Why is painting generally and permanently under pressure to legitimate itself although it is the artistic form of expression upon which so much artistic practice is based? What socio-political and gender-specific questions arise out of painting as an artistic practice today? To accompany the exhibition project, a four-volume publication will be released. Joint opening by the partners on September 17 at 7 pm, as part of the Berlin Art Week open air festival on Auguststraße/ Berlin-Mitte. Four-volume publication published by Verlag Kettler (€ 29,90). A combi-ticket to all four venues (€15) is available. Painting Forever! is scheduled at all four venues from September 18 to November 10, 2013. Painting Forever! – a cooperation of Berlinische Galerie, Deutsche Bank KunstHalle, KW Institute for Contemporary Art and Nationalgalerie - Staatliche Museen zu Berlin. Opening within the Berlin Art Week. Painting Forever! is an initiative of the Governing Mayor of Berlin, Senate Chancellery – Cultural Affairs. www.berlinischegalerie.de www.deutsche-bank-kunsthalle.comwww.kw-berlin.de www.smb.museum/nng www.facebook.com/PaintingForever www.berlinartweek.de Contact Press Painting Forever! Kathrin Luz, Kathrin Luz Communication Tel: + 49 (0) 171-3102472 [email protected] 3 BERLINISCHE GALERIE FRANZ ACKERMANN, „HÜGEL UND ZWEIFEL“ (18.09.2013–31.03.2014) Franz Ackermann my local horizon, 2013 Oil on canvas, 220 x 170 cm © Franz Ackermann Courtesy Franz Ackermann and Dirimart Istanbul From 18 September 2013 to 31 March 2014, as part of the joint project Painting Forever! Berlinische Galerie is exhibiting works by Franz Ackermann. Ackermann (*1963 in Neumarkt St. Veit, Bavaria), a painter, illustrator and installation artist, has been one of the most important contemporary artists for more than fifteen years. His works are to be found in numerous public collections and he has already proven on many occasions that he can meet the challenge of large spaces in a productive manner. Ackermann, who studied art in Munich and Hamburg from 1984 to 1991, received a DAAD stipend for Hong Kong in 1991. There, he began producing highly personal cartographic drawings, which he called Mental Maps. These small-scale works are sketches of Ackermann’s subjective, imagined or wished-for interpretations of spaces and places, which he refers back to and expands upon in his larger works. Travel, tourism as a supposedly gentle form of colonization, media-based consuming and/or virtual previewing of travel destinations via the Internet and the resultant socio- political responsibilities create a referential network for the observer. For the first big exhibition hall at Berlinische Galerie, Franz Ackermann has developed a special spatial concept that places wall painting, panel art and photography in conversation with one another. Lines of sight play a role in his concept, as do transport and travel routes, room dimensions and the technical equipment that is to be found on the floors and in the walls and ceilings of exhibition halls. The end wall of the hall is the first dominant surface to strike the visitor when entering the room. The only chance to see this combination of different media will be at Berlinische Galerie: the panel paintings will return to their owners as individual works, while the mural will be painted over. “The entire installation is simultaneously of both monumental and ephemeral character”, says Dr. Thomas Köhler, director of Berlinische Galerie and curator of the exhibition. “The pictures appear to fragment in the manner of a kaleidoscope, only to regroup immediately in a new constellation when the observer moves from one place to another. The dimensions of the installation exceed the conventional institutional scale on which paintings are usually presented. The way Ackermann approaches the medium is a reflection of forms of expression in painting but also a way of critically addressing communication, institutional limits and models of perception”, Köhler adds. 4 “WORK THAT PRACTICALLY STARTS FROM NOTHING” – FRANZ ACKERMANN ABOUT HIS EXHIBITION How did the exhibition title “Hügel und Zweifel” (Hills and Doubts) come about? What are your plans for the first big exhibition hall at Berlinische Galerie? Wherein lies the challenge? The title refers in an associative way to two aspects of my work for Berlinische Galerie: on the one hand, I aim to create a mural that refers in a panoramic style to classic landscape paintings and on the other hand, this painting is complemented and at the same time consciously “disturbed” by the addition of other works. This “disturbing” in this dimension quite consciously has its “doubts”. I see the big exhibition hall at Berlinische Galerie more as a large transitory space, a passage. The observer will receive my work while walking up and down or through it, rather than from a static position. Therein, in addition to the sheer scale of the project, lies the challenge for me. You like to play with formats, dimensions and media – what role do historical references play in your work? Essentially, formats are based on the idea of the image and the real space. Sometimes more clearly, sometimes less clearly, but the historical reference is basically always there. What is your position regarding the current discourse on “What painting can and wants to be today”? Painting is a part (!) of my artistic practice. It operates where it is necessary. The “discourse” airily overlooks and underestimates the most elementary terms such as form, light, color. I am most skeptical of this verbalization of seeing.
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