Pola Sieverding Selected Press signs and symbols 102 Forsyth Street, New York, NY | www.signsandsymbols.art https://www.monopol-magazin.de/orson-pola-sieverding-nocturnal?slide=1 Exhibition "Nocturnal" The parallel world that is missing "Nocturnal" is the name of the exhibition that the siblings Pola Sieverding and Orson Sieverding have just opened in the Kanya & Kage project space in Berlin. And it deals in a convincing and painful way with what we are missing right now: the parallel world of the night. Orson Sieverding runs the techno label Version, is a DJ and music producer, in the Berlin club Ohm next to the Tresor he regularly invited to label evenings. Until Corona brutally slowed him down. Now his sister Pola Sieverding, photographer, installation and media artist, has invited him to this joint homage to the club scene. It is the first time that the siblings officially appear or exhibit together. However, from childhood, together with their parents Katharina Sieverding and Klaus Mettig, they learned that artistic work can be a family project . The prints for the Berlin exhibition have now also been produced in the large photo studio of the Mettig / Sieverding family in Düsseldorf. Ecstasy and depressing presence The photos of the DJs, from the Berlin legend Mark Ernestus to the British artist Ikonika to the Berlin artist Clara Badu and Orson herself, have been taken by Pola Sieverding at Orson's events over the past few years. The pictures do not show the dancing crowd or heroic master of ceremonies, but portray an extremely diverse community of artists in the merging of rhythm, complexity, movement, emotion and ecstasy. Actually there is a ban on photography in clubs, explains Orson, but with his family of artists in the background, it was clear to him that these scenes and these moments also had to be captured in pictures. Photo: Courtesy Pola Sieverding and Kanya Kage In a video in the other room he contrasts the depressing present: Pola Sieverding "Nocturnal", 2020 Here he shows the abandoned entrances to Berlin clubs , from the vault to the About: Blank to Berghain. Opposite is the photograph "Purple Haze" by Pola Sieverding, which aims once again at the heart of the night: In the reddish backlight, a being appears in a long dress, whose face we cannot see and whose gender cannot be defined - as a cipher of a freedom, theirs Worth not to forget to stay while Text by Date photography the club doors. Elke Buhr 25.10.2020 The exhibition "Nocturnal" by the siblings Pola and Orson Sieverding leads into the brutally thwarted Berlin club culture. It shows a freedom that we must Orson Sieverding and Pola Sieverding: "Nocturnal", not forget during the corona pandemic Kanya Kage , Berlin, until November 29th every Thursday from 4pm to 7pm or by appointment It goes down a few steps into a cellar. The light sculpture in the middle of the room makes every light fluff on the jacket shine and conjures up afterimages from other times: black light. Artificial fog billows in the next room, and the lighting is currently changing from red to green. You could almost think that you are where nobody is: in a club. But what appears shadowy from the haze are not boxes, but photos. They show faces of people at mixing consoles, which shine out of the darkness of the night, in an aureole of concentration and sound. Elke Buhr http://www.literaturundkunst.net/der-kulturbetrieb-im-pandemie-schock/ LITERATURE LYRIC ART PHOTO / FILM ARCHITECTURE CARTE BLANCHE FRONT PAGE "The culture industry in No. 86 pandemic shock" 09/2020 By Julieta Schildknecht Literature + art Editorial Three art exponents talk about the effects of the imprint coronavirus pandemic on the cultural scene in Authors Germany. Johann König on new trends that he archive implements in his galleries around the world. Pola Contact Sieverding talks about her photo projects and Left exhibitions as well as the role models women are support confronted with. Christian Kerepeszki on the visible Facebook consequences for television and theater production Suchen and for his children. art Ueli Sigg. Hong Kong Museum. Johann König, Pola Interview with Pola Sieverding, Photo-Ton-Video Kunst Sieverding, Christian Kerepeszki. Japanese woodblock JS: Do you work a lot with the computer? prints Fantastic women. PS: My studio practice is different than perhaps that of painters Annemarie von Matt. Olaf Eliasson or sculptors, in that I do my research and post-production here in Leonor Antunes, Zurich Art Prize 2019. Roman the studio and otherwise go to places or sets where I take photos Clemens. Camille Graeser. or film. David Lynch. Stanley Kubrick, Louise Bourgeois & Pablo Picasso. Niko Pirosmani. Helen Dahm. Hugo Weber JS: Do you still work with your brother Orson Sieverding?PS: / Giacometti. John Updike. yes. My brother is a musician and runs the Version label, Bauhaus Weimar. Bruegel in Vienna. Koki Tanaka. Pipilotti Rist. produces records, organizes club nights at the OHM, a club in a Oskar Metsavaht. disused power plant in Berlin. He often makes the sound for my Per Kirkeby Bruce Nauman, videos and I, in turn, have been documenting the development of Schaulager. Harald Szeemann. his label, the nights and artists he invites for over 10 years. At the Blind passengers same time he also works photographically and filmically. We are Jeanne Mammen. Georg Baselitz. currently preparing a joint exhibition which will open on October Louvre Abu Dhabi. Rubens and the New 22nd at KanyaKage in Berlin and which will bring together our World in Vienna. Expressionism Aargauer interests in the relationship between sound, architecture as a Kunsthaus. Action! Kunsthaus Zurich. social space and bodies in one exhibition for the first time. So far Ian Anüll House for Art, Uri. it has only existed in the form of, let's say performative moments, Niklaus von Flüe. Prado he put on music and I projected visuals for it. Basel. Pavel Pepperstein. Swiss Pop Art. Monet. Kirchner. Collection of the Kunstmuseum Basel. JS: Then there is a dialogue between you two. And your mother, Blue rider Art Museum Chur Sonja Sekula. Katharina Sieverding, or your father, Klaus Mettig, also work Art Museum Basel with you, don't they? New vision. Photography. DADA different. PS: In certain situations we are a production family in the best Jean Dubuffet. Camille Graeser. sense of the word ... but it is not the case now that there are Michael Buthe. Otto collaborations or joint work. We are four artists in one family. Morach. Ben Vautier. Tomi Ungerer. Andreas Gursky Cy Twombly JS: How is your mother doing, does she also do work? PS: Yes, of course. She is currently preparing a large exhibition in Hamburg in the Deichtorhallen, which will open in November. She is fine, she works a lot and, as always, is in a good mood. JS: When did you start exhibiting as a professional artist? PS: I graduated from the UdK in Berlin in 2007, after that I traveled a lot and started doing exhibitions. JS: Are you part of a generation of post-clubbers or how would you define yourself? PS: I don't think I would define myself that way, but I've been in Berlin since 2000 and this whole club scene plays an important role. I have already noticed them very actively and have been out a lot. It's a social milieu that has always been important for my work. That interested me and was important for my entire socialization. And of course for Berlin too, it has decisively defined this place. There was this room for that to play that role more than it does now. Everywhere there are clubs and such, but here it has already very much defined what happens, and also had a meaning regardless of the fact that you want to have fun on the weekend, but taken on a meaning as a social space in which it is possible to design different roles, life plans, attitudes, and in which music as language, as expression, has a meaning. You can still feel that, even if it is more institutionalized by now. At the moment everything is lying idle anyway and you have to see where this is developing ... of course that also applies to Orson, because the space has completely collapsed. With the live moments, what is an integral part of what he actually does is gone: creating a sonic space and moment in which you can experience something together. JS: Have you seen how America is doing with this contest between DJs and singers, the webinars, through Verzuz, or Benji B in England. Was that also the case in Germany? People like D-Nice, for example, started to bring the music scene live-indoors, inside-out during the lockdown because there was no longer any exit. PS: Yes, it is the same in many areas, in art too, that there are virtual tours or viewing rooms or something like that everywhere. Orson does this in part with its Internet radio show, albeit independently of the lockdown. JS: What's her name? PS: Version radio show at callshop radio and is once a month. That was always an internet radio and a live stream. It's interesting, but not the same as a live moment. I've looked at a lot of exhibitions online, but somehow it doesn't affect me that much and I also find it difficult to access. It's something different when you're physically in front of a picture or piece of culture, or whether you're in a club with other people or in the theater, all of that falls away.