CORE REMISSION
Maximilian Arnold, Marco Bruzzone, Stefan Behlau, Zander Blom, Jessica Groome, David Gaupp-Maier, Nicholas Pittman, Johannes Mundinger, Juliana Cerqueira Leite, Duncan Passmore, Mickael Marman, Marlene Stark and Jonas Schoeneberg.
Musical Score by Kashev Curated by Penny Rafferty
Opening 30th September 6-10pm Running 30.09 - 26.10
Opening hours Thursday-Saturday 4-7pm gr_und Seestrasse 49, Berlin 13347
______________________________________
anon: abstraction is an objective for life patterning anon: production is what oils the gesture of the social anon: YOLO <
***
Abstraction as a hyper material enables a meta existence of motion, CORE REMISSION will unpack this notion through the mediums of painting and techno.
Abstraction modulates reality, yet to enact it collectively it requires a physical field. The architecture of clubs and galleries often offer this territory. A public cube is always a place of latent potentials: near visibility, against almost constraint. One could liken these sites of collectivity, i.e. the club, the gallery, the cinema to voluntary prison cells for those seeking a moment of abstract hyper density outside of their constructed reality.
YOLO often comes to mind when I think of abstraction. Thousands of novel or risky acts becoming reduced to a universal (un)unique after sound: YOLO. This neo-word, YOLO is both coltish and euphoric, as is any scene slang. The word seems to have hijacked both yellow and hello, mashing them into a hyper density gesture. A bold linguistic action. It renders both a moment of adrenaline and resignation into a cute contemporary cipher. The act requires a desire to become YOLO. Desire must bleed between life and the abstract. Knotting into turbulence, ruptures, and autonomous functioning cells to be able to exist.
We can at this point likened desire to a scripted life scenario and abstraction as the overlay of all possible realities of the plot. Eventually, the script will turn into clandestine gossip, and we all know gossip is more stimulating than life.
An exhibition or set list by its very nature is temporary and queer, much like gossip thus it remains a functional proposition. Be it a colour field or a re-verb the process of abstraction is ultimately an extension of the customary room with a view, a suicide of the now, a stage-death that just stood up for the encore.
#YOLO
Text by Penny Rafferty
FB Event
Press Release
Maximilian Arnold, Marco Bruzzone, Stefan Behlau, Zander Blom, Jessica Groome, David Gaupp-Maier, Nicholas Pittman, Johannes Mundinger, Juliana Cerqueira Leite, Duncan Passmore, Mickael Marman, Marlene Stark and Jonas Schoeneberg.
Musical Score by Kashev Curated by Penny Rafferty
Opening 30th September 6-10pm Running 30.09 - 26.10
Opening hours Thursday-Saturday 4-7pm gr_und Seestrasse 49, Berlin 13347
______________________________________
anon: abstraction is an objective for life patterning anon: production is what oils the gesture of the social anon: YOLO <
Abstraction modulates reality, yet to enact it collectively it requires a physical field. The architecture of clubs and galleries often offer this territory. A public cube is always a place of latent potentials: near visibility, against almost constraint. One could liken these sites of collectivity, i.e. the club, the gallery, the cinema to voluntary prison cells for those seeking a moment of abstract hyper density outside of their constructed reality.
YOLO often comes to mind when I think of abstraction. Thousands of novel or risky acts becoming reduced to a universal (un)unique after sound: YOLO. This neo-word, YOLO is both coltish and euphoric, as is any scene slang. The word seems to have hijacked both yellow and hello, mashing them into a hyper density gesture. A bold linguistic action. It renders both a moment of adrenaline and resignation into a cute contemporary cipher. The act requires a desire to become YOLO. Desire must bleed between life and the abstract. Knotting into turbulence, ruptures, and autonomous functioning cells to be able to exist.
We can at this point likened desire to a scripted life scenario and abstraction as the overlay of all possible realities of the plot. Eventually, the script will turn into clandestine gossip, and we all know gossip is more stimulating than life.
An exhibition or set list by its very nature is temporary and queer, much like gossip thus it remains a functional proposition. Be it a colour field or a re-verb the process of abstraction is ultimately an extension of the customary room with a view, a suicide of the now, a stage-death that just stood up for the encore.
#YOLO
Text by Penny Rafferty
FB Event
Press Release
 |
| Installation_shot _ Core_Remission |
 |
| Nicholas Pittman _ Untitled (from Long Game series) _ Oil on wood _ 190 x 30 x 5 cm _ 2017 |
 |
| Marlene Stark, I hope you die by my side. the two of us at the exact same time _ Fabric, metal, wood _ Dimensions variable _ 2017 |
 |
| Marlene Stark, I hope you die by my side. the two of us at the exact same time _ Fabric, metal, wood _ Dimensions variable _ 2017 |
 |
| Mickael Marman _ W. Painting/Greencubes _ Mixed Media on jute _ 95 x 110 cm _ 2016 |
 |
| Kashev Core Remission (maturre) _ C-30 cassette (2 x 15 min) _ 2017 _ limited edition of 50 |
 |
| Jonas Schoeneberg _ Plaster, styrofoam, chalk, gouache |
 |
| Jonas Schoeneberg _ Plaster, styrofoam, chalk, gouache |
 |
| Jonas Schoeneberg _ Plaster, styrofoam, chalk, gouache (detail) |
 |
| Marco Bruzzone and Jonas Schoeneberg |
 |
| Marco Bruzzone Untitled (from the series Hot Neutral Ground) _ Electric cable, acrylic paint _ Dimensions Variable _ 2017 |
 |
| David Gaupp-Maier _ Untitled _ Canvas on wooden frame _ 140 x 82 cm _ 2017 |
 |
| Maximilian Arnold _ Untitled (Yellow) _ Chalk _ Dimensions variable _ 2017 |
 |
| Juliana Cerqueira Leite _ R5 _ Plaster, steel, pigment _ Dimensions variable _ 2017 |
 |
| Juliana Cerqueira Leite and Duncan Passmore 2017 |
 |
| Duncan Passmore _ Human Rose Wangle _ Oil, spray lack, crayon and acrylic on jute _ 190 x 270 cm _ 2017 |
 |
| Stefan Behlau _ Romeo _ Acrylic on canvas _ 160 x 160 cm _ 2015 |