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TIMELINE 2023

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TAGGED: ►Max Ernst +++ Private handbags +++ Dietmar's room +++ Archive takeover +++ OPEN CALL KinoKiosk

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Ubu Gallery: UNE SEMAINE DE BONTÉ | New York 04/05:
MAX ERNST: Une Semaine de bonté
Photographs & Ephemera, 1933-1934

Ubu Gallery announces an exhibition which explores Max Ernst's creation of Une Semaine de bonté ou les septs éléments capitaux ["A Week of Kindness or the Seven Deadly Elements"], a collage novel and artist's book published by Jeanne Bucher in Paris in 1934. Spanning five volumes, the finished publication comprises 182 images (173 collages and 9 drawings) created by cutting up and reorganizing illustrations from Victorian encyclopedias, natural history journals, pulp novels and mail-order catalogs.

Max Ernst, Le rire du coq 3, Éditions Jeanne Bucher, Paris, 1933-1934,
Printed page for Une Semaine de bonté ["A Week of Kindness"],
7 1/8 x 6 inches - image, 11 x 8 7/8 inches - sheet

Ernst completed Une Semaine de bonté in a breathtaking three weeks during a visit to Vigoleno in Italy in 1933. Working with ardor and brilliant creativity, he repurposed a certain number of reproductions from popular illustrated novels, natural science journals and even commercial sales catalogs from the 19th century. These engravings form the basis for his collages, creating an illustrated story without text, made of images which straddle fairy tales, snippets of dreams, mythological allegories and nightmares, all of which oscillate between humor, violence, catastrophe and absurdity. They achieve such quality and complexity of composition that one must carefully scrutinize them to distinguish Ernst's additions to the initial engravings.

Max Ernst, Oepide 25, Photograph for Une Semaine de bonté ["A Week of Kindness"], 1933-1934, Annotated "Cliché aux traits" by Max Ernst on verso, 9 3/8 x 7 inches

The recurrence of characters throughout the book suggests continuity, while the heterogeneity of circumstances, settings and situations evoke ruin. Ernst further complicates this "narrative logic" by arranging, within the images, elements of later or earlier illustrations of the same story using, to do this, mirrors and paintings that appear in the sets as receptacles or screens. This "picture in picture" reflects the near past or the future. From then on, the temporal dimension of these images is dramatically altered: the couple have just met, but the mirror already reflects the rape which will occur later. Or Ernst provides a detailed close-up from another angle of an overall scene.

What enhances this "doubling" is the intervention, within the images themselves, of an added character, the animalization of another, and/or the substitution of a head, a gesture, a decor... Where two protagonists are confronting or embracing, Ernst introduces a third party who intervenes, haunts or disturbs the setting, often that of a bourgeois interior. Behind a half-open door, a furious wave now roars, a naked woman is hung on a wall, a corpse lies behind a piece of furniture, improbable reptiles or invertebrates undulate and insinuate themselves, convulsive or frightened figures are placed in levitation or in free fall.

Ubu Gallery recently acquired 87 vintage photographs made directly from the original collages under the supervision of Max Ernst and which were used to make the reproductions in the 1934 book. Ubu is exhibiting a number of these photographs, including two of collages which were not included in the 182 reproductions in the final book, as well as the five volumes themselves. Also on view are some original printed pages for the book which were never bound into one of the copies. Some later editions of the book are presented as well.

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Stéphane Bauer: DOMINIQUE HURTH - PRIVATE HANDBAGS MAY NOT BE FIELD | Berlin on 1/9 | Event on Jan 12 at 7pm: Expanding on her long-term research on the female guards at the Ravensbrück women’s concentration camp, Dominique Hurth examines and questions the representation and narratives of female perpetration, its imagery and stereotyping and the examination of female perpetration in the post-war period until today. Her research starts from, expands on and returns to one object: the female guard uniform, as the one held in the collection of the Ravensbrück memorial.

Unlike the male uniform of the SS guards or that of the Wehrmacht soldier, the object of the female guard uniform has hardly been historically researched. At the same time, the female concentration camp warden in uniform triggers a huge fascination in film, fashion design, literature, pornography or the internet. This gap between the lack of sources and material knowledge about the textile history of the uniform (Who designed it? By whom and where was it produced? Where is the cut?) and the presence of the uniform in the subculture up to the mainstream, underlines previously prevailing gender stereotypes.

In this public reading, Dominique Hurth will weave together research, images and texts gathered from several visits over the past months in memorial and state archives, military collections, costume and theater depots – in order to look closely at the textile history, the production and object biography of the uniform and highlight notions of forced labor, violence and gender representation contained within the uniform itself. The talk will be held in English.

– Supported by Institut français Deutschland and the Gesellschaft für künstlerische Forschung Berlin 

Part of: Guilty, guilty, guilty! Towards a Feminist Criminology
Curated by Sonja Lau. An Exhibition at Kunstraum Kreuzberg/ Bethanien.

Runs: 12.11.22–19.02.23
Opening hours: Sun-Wed 10-20:00 & Thu-Sat 10-22:00
Free entry.

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Clayton Patterson: VISIT AT DIETMAR's ROOM | Berlin 2/6:

I am in Berlin. I came to see Dietmar because he has not been well. He is very sick and will not live much longer. If people are interested in Boris Lurie and NO!art history, to get a more in-depth look at who Boris was, Dietmar's NO!art archive is strong. He has years' worth of communications and history; someone should get this collection.

I am including photos of the binders in Dietmar's archive room. Very organized. BLAF (see website ►manipulation) took over Boris's estate - worth 80 million dollars) went against all Boris's wishes. Cut NO!art off basically at the end of Gertrude Stein's early NYC shows.

Boris wanted the NO!art movement to carry on. He appointed Dietmar head of NO!art East Berlin - and I head of NO!art West. NYC. I realize that people on this list have no understanding of NO!art and what it means. This archive and the books is a good place to start, Boris has now had museum shows all around the globe. Major museums- Russia - Berlin- NYC - can see on NO!art site. And BLAF. This archive has to be saved. People can learn later.

I have heard how Gertrude restored much of Boris's work. Actually, before Estera Hillman’s Chicago show, Dietmar and his son Martin came to NYC and rebuild, cleaned up, restored many of the artworks and made them presentable. Dietmar's son went on to have a Ph.D. in art history, Medieval -. art history. BLAF took articles and other research work off Dietmar's NO!art site and used published the articles as work they collected.

Another possibility is my place could be turned into a museum and the collection could maybe move there. Soon Elsa and I will be gone. I do have an archive, if I had people to take it over it could be developed. I would need help with this before I am gone.

I have a unique slice of LES Jewish history, as well as a number of other parts. In a conversation with ne Jewish Museum about the Jewish part. Would like to try and get Boris's NO!art into the museum. But Dietmar's archive must be saved, very valuable history It is one thing to have the work -- it is quite another issue knowing what the art is about. Boris is gone. But there is paperwork left to be discovered.
Thanks clayton | ►mail

 

 

 

 

 

 

Photo credit by Clayton Patterson

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General Director Prof. Dr. Daniel Hess: ARCHIVE TAKEOVER GERMAN NATIONAL MUSEUM | Nuremberg/Berlin on 07.03.2023:

Museum view
 
CONTRACT
Between
Dietmar Kirves
Boppstr 9 | 10967 Berlin/Germany
and
the German National Museum
(Foundation under public law)
Kartäusergasse 1 | 90402 Nuremberg
represented by
General Director Prof. Dr. Daniel Hess
the following contract is concluded:

1. Dietmar Kirves transfers his written archive as a donation to the German National Museum. Any written documents remaining or existing with the donor will be handed over to the Germ National Museum after the death of the donor.

2. The archive shall remain closed forever in the German National Museum, where it shall receive the usual secure storage, care and maintenance. It is to be stored in such a way that it is accessible to authorized users at all times.

3. The German National Museum undertakes to make the archive accessible and usable in a scholarly index within the limits of the funds available The German National Museum is entitled in this context to evaluate the estate and to finally separate out parts of it if these do not correspond to its collection spectrum (these will be offered for redemption)

4. The German National Museum is granted the following exploitation rights to the estate and parts thereof free of charge:
a. The right to process, reproduce and distribute, including on all electronic information carriers.
b. Right to feed, manage and make publicly available in electronic databases and networks, in particular the Internet.
The copyrights administered by VG Bild remain unaffected by this.

5. Mr. Kirves or a person authorized by him has free access to the archive at any time and may borrow parts of it for limited periods. Digital copies can be made - within reasonable limits - free of charge.

6. The German National Museum keeps the archive accessible for scientific purposes, subject to the following conditions for users:
a. In principle, the archive is accessible for scholarly purposes without a blocking period to any person who can demonstrate a research interest. During the lifetime of the person creating the holdings, access to the records is permitted only with that person's permission.
b. Users are responsible for complying with the legal regulations on copyright, data protection and personal privacy. In this context, Mr. Kirves agrees that the ►German Art Archives may pass on his address data to users for the purpose of obtaining copyright permission.

Nürnberg, on                                   Berlin, on March 3, 2023
Germanisches Nationalmuseum
Prof. Dr. Daniel Hess
Generaldirektor                                Dietmar Kirves

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Stephane Bauer : OPEN CALL KinoKiosk | Berlin 13. Januar:

Within the scope of the series Viewing Copy at KinoKiosk this open call is seeking artistic contributions in the format of video and film works on the subject of intimacy. From March 2023 to March 2024, six to ten selected works will be shown at KinoKiosk. The current black box is located directly in front of the exhibition spaces of Kunstraum Kreuzberg within Bethanien. As part of the series, KinoKiosk will receive a new spatial concept and design that plays with both the possibilities and limitations of presenting moving image formats.

Viewing Copy follows the proposition that a spatial setting and its relation to the audience shape the way a video or film work is viewed and perceived. In this regard, Viewing Copy focuses on concepts of intimacy. How can a context be created that allows for an intimate engagement with the works and how can it then be kept safe?

You are invited to submit a viewing copy of your artistic work that approaches concepts of intimacy or that requires an intimate setting in order to be experienced

JURY
carrick bell: filmmaker, artist, curator and founder of project spaces Xanadu and Horse & Pony
Helen-Sophie Mayr: curators at Galerie im Turm and research trainees at Kunstraum
Johanna Janßen: curators at Galerie im Turm and research trainees at Kunstraum
Sarnt Utamachote: filmmaker, researcher, curator, founder of collective un.thai.tled and external curator at Sinema Transtopia/bi’bak
Please be aware that all selected works will potentially be presented along with other works.

SUBMISSION CRITERIA
● any digital moving image format (ex. short videos, gifs, longer films or documentaries)
● one finished video or film work, no series, only single-channel works
● material needs to be subtitled (English or German preferred)

SUBMISSION DOCUMENTS
● link (Vimeo or YouTube) to the full version of the work
● single PDF (word count: max. 1000; name:
     viewing_copy_name.pdf),
including:
● paragraph about the submitted work
● paragraph about your practice
● paragraph about the medium/sound (ex. projection, screen, tablet;
     open sound, headphones) and the ideal setting for the work
● paragraph about how the presentation of the work deals with
     concepts of intimacy in relation to the audience

Please send your documents via e-mail to
►kinokiosk@kunstraumkreuzberg.de
with the subject line ►„viewing_copy_name“.
►The deadline is January 31, 2023.

For each selected contribution an artist fee of 400€ will be paid.

Submissions of works on the topics of queerness or LGBTQ+, as well as those made by BIPOC or persons in exile/asylum are encouraged.

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