Distance

An international Artist exchange with artists from Shanghai and Chicago with

J.G. Ballard’s Picture Book

Gwyneth Anderson & Li HuiHui

Distance is a project, a metric and cultural, symbolic distance that is used to create an image which invites us to come together in the city of Hamburg. This art and cultural exchange leads both artists to dialogue with themselves and with the other in a strange and unfamiliar place. Hamburg, FRISE is to be seen as a medium, a portal of transmission.

Distance brings to matter a syntax between conversation and constellation. Bringing together different perceptions in one dialectic of mutual recognition-knowing and recognizing one self. They come from different nations and artistic contexts. They will negotiate and ponder, individually and collaboratively.

Cellule

Gwyneth Anderson is a Chicago-based artist whose projects explore perception and phenomena of movement, primarily working with animation and installation. Her work for Distance will focus on the distance between the mind and physical, emotional experience.

Li Huihui is an artist from Shanghai. Her work focuses on lost civilizations and ruins. She uses paint, printmaking and sound to experiment with installations inspired by archaeology and deconstruction. Her work for Distance deals with the alienation of everyday life and the deterioration of things.

The choice of artist is to occur in cooperation with partners in USA and China.

Partners Chicago:
Goethe Institute Chicago: Ms./Mrs. Irmi Maunu-Kocian
Artist from previous Hamburg-Chicago exchange; Rebecca Beachy and Tim Nickodemus
Curator Tricia van Eck

Partners Shanghai, China
Artist from previous Hamburg-Shanghai exchange; Liang Yue
Thomas Füsser (photographer and artscout in china)
Lorenz Helbing (Gallery Shanghart)

Timespan : December 2015 to Januarary 2016
Vernissage Wednesday January 13th, 2016, 19 O’clock

Concept: Michael Kress
Project coordination: Torsten Bruch, Chrsdian Wittenburg, Michael Kress

With friendly support by the Ministry of Culture- Free and Hanseatic City of Hamburg
Special Thanks to Bilinc Ercan and Julia Dautel

 

Kulturbehoerde

Screenshot 2015-12-23 16.57.18

 

THE WORKSHOP

Day ONE: newspaper review and storytelling on press photos.

Day ONE: newspaper review and storytelling on press photos.

A STORY BEHIND A STORY BEHIND A STORY

Ella Spector (Israel) and Belit Sağ (Turkey)

together with students of Gymnasium Blankenese

Julia Anders • Melusine Balke • Alva Bücking • Viviane Ebert
Pilar Erviti • Amina Gaede • Lena Harder • Julika Kohler
Selina Köhler • Lisa Lippmann • Ann-Cathrin Schürholz
Carla Rosenbohn • Chiara Tesch • Anja Tillmann • Alina Weigand
Stella Wein • Clara Wiechmann • Nele Winter

Together with the students a one week workshop was held on media perspectives vs. an artistic viewpoint.

A STORY BEHIND A STORY BEHIND A STORY

erdogan_hand_raster_cut

 

Art acts as an actitivst in times of war – an international artproject questions image-reality.

 

Ella Spector (Israel) and Belit Sağ (Turkey)

together with students of Gymnasium Blankenese

Julia Anders • Melusine Balke • Alva Bücking • Viviane Ebert
Pilar Erviti • Amina Gaede • Lena Harder • Julika Kohler
Selina Köhler • Lisa Lippmann • Ann-Cathrin Schürholz
Carla Rosenbohn • Chiara Tesch • Anja Tillmann • Alina Weigand
Stella Wein • Clara Wiechmann • Nele Winter

Opening: Wednesday, July 15th 2015, 20:00 o‘clock
Exhibition period July 15. – 26. 2015

War rules. Around the world people become victims of attacks, kidnapping, massacre, destruction, of hunger, thirst and epidemic. Some try their escape to europe, those of which manage to survive, might cross german borders. Subject of war and faith engage. Most of what we have come to know about war, we experience through media, therefore it is unsure how much of the chosen repertory, adaptation and contextualization of imagery, film and text actually create a warped reality, or a reasonable documentization. Real exposure with refugees is utterly overcharged with xenophobic imagery, that arouse resentment and fuel prejudice. What would be an adequate reaction, a reasonable documentization? What are the alternatives for imagery frenzy? How do media and reality relate? What role does art play?

FRISE – Künstlerhaus Hamburg e.V. and Kulturbehörde Hamburg asked them- selves these exact questions and are initiating a Artist-in-Residence-Programme together this summer. As a reaction towards the current and ongoing strife in this world. The project is titled „A Story Behind a Story Behind a Story“.
Invited are the two media-artists Ella Spector from Israel and Belit Sağ from Turkey, to work together for the whole month of july on questions of geopolitical conflict, intercultural communications and artistic subversion in times of strife. Together with students of Gymnasiums Blankenese a one week workshop will be held, where the issue of war is approached from an artistic viewpoint.

These artistic viewpoints from students and artists will be showcased at Künstlerhaus FRISE from July 15th 2015. „A Story Behind a Story Behind a Story“ Ella Spector (Israel), Belit Sağ (Turkey) Students of Gymnasium Blankenese

More information: www.frise.de 
Press inquiries go to: Michael Kress, mik@trustyourlocalartist.com
Concept and conduct: Michael Kress
Project-coordination: Chrisdian Wittenburg,
Project-technics: Torsten Bruch
Translation: Evelyn Nossol
Media-text: Dr. Heidi Salaverria
Artist-contact: Haran Mendel, Dirck Möllmann and Christoph Schäfer
Cooperation-partner Gymnasium Blankenese: Janna Volland and Antoneta Berisha.
A special thank you goes to: Ruth Bässler and Dr. Bilinc Ercan
WITH A FRIENDLY SUPPORT OF KULTURBEHÖRDE HAMBURG

Information about the Artists:

Belit Sag works and lives in Amsterdam
http://bit.contrast.org & vimeo.com

Sag analyses news, media, and entertainment images creating new narratives from her findings. The video work and the image gazes back questions the role of images in current and historical events. For example Sa? ponders the similarities between one of the shots in ISIS’s execution video of James Foley and a shot in the final scene of the movie Seven, both of which feature a decapitation. She discusses the re- and pre-mediation of images—the way they appear and reappear either deliberately or accidentally. Her findings are an artistic investigation in what it means to live in a world where fiction and non-fiction influence each other in ways we can’t even imagine. …“ ArtSlant, 2014

Ella Spector Born 1979 in Israel
Site: http://ellaspector.tumblr.com

The practice of Ella Spector, (1979, Tel Aviv) exists in the space between cinematic representations and private emotions. Deeply existential, Spector’s works employ props from cinema and TV sets – such as cameras, spotlights, and lightning gears – in order to conceive immersive installations and conceptual sculptures that question the notion of beauty, magic, alchemy, truth and deception. Technological and at the same time poetical, Spector’s modus operandi embraces all the aforementioned notions as a whole, attempting to erase any possible distinction dictated by language or any other cultural convention.

Artist Statement from Busan/South Korea by Hyunjeong Lim

사소한 발견 Kleine Entdeckungen

 

Hyunjeong Lim

 

Hyunjeong Lim,"Paintings of Curiosity", exhibition view, 2015

Hyunjeong Lim,”Paintings of Curiosity”, exhibition view, 2015

When people see new things without having any background, they tend to perceive them based on their own experiences. As an artist, these gaps between the real facts and one’s perceptions are sometimes the most interesting discoveries in everyday life. Actually, it is not so important anymore that what we perceived is right or not.

 

I am one of the four artists from Busan, South Korea who participated the A.I.R at the Künstlerhaus FRISE with kind supports from Kulturbehörde Hamburg and Davin Art Space in Busan as part of the Artist exchange program between the two cities. Although it was only a month long residency, what we experienced and learned while living in a foreign city are still very influential to us.

 

Working on different directions and practices, we were total strangers to each other back in Busan. Then we suddenly came to Europe, to Germany, to Hamburg, to Altona, finally to the FRISE’s guest artist space and had to live and work together. Well, this whole experience to me was more than a ‘wow’. Obviously, what we saw and felt while staying and traveling together in Hamburg were so different to one another. This in a way has connection to our final exhibition’s title and theme- “Kleine Entdeckungen”. So to speak, what were my small discoveries and the other’s in Hamburg?

Hyunjeong Lim Hyunjeong Lim,"Somewhere", ink, acrylic on wood panel, 30x60cm, 2015

Hyunjeong Lim,”Somewhere”, ink, acrylic on wood panel, 30x60cm, 2015

I am strongly interested in the notion of unconscious memories and creating an imaginary world. So I have practiced a way of intuitive drawing as a main method and tried to visualize a mindscape consisting of various creatures with stories that are suggestive to the world of fantasy. As a reference, I researched old masters like Hieronymus Bosch and Peter Bruegel. This leads me to subject matter of landscape which can describe an artist’s inner view. so I gradually combined elements from my own surroundings in the painting and played with all the visual references I brought.

In Hamburg, I was particularly interested in researching Casper David Friedrich and Albrecht Dürer’s landscape paintings and drawings. For me, seeing the masters’ real works at the Kunsthalle Hamburg was a great chance to have glimpse of the artist’s ideas and personality. Experiencing Hamburg’s weather and short day time in winter was very interesting to me as well. I think this experience provided me better clues to understand these master’s unique styles like how they created certain colors of sky, atmosphere and in turn, their ideas of human relationship to the nature. In this sense, I focused on producing small pictures in order to visualize everyday’s memorable moment, objects and perceptions on my short trip to Hamburg with references to these masters. This practice was like building my own wunderkammer about Hamburg.

 

Hyunjeong Lim,"Paintings of Curiosity", exhibition view, 2015

Hyunjeong Lim,”Paintings of Curiosity”, exhibition view, 2015

 

Jiwoo Lee

Jiwoo Lee, “Cherry Blossom and Sparrows”, 2014

Jiwoo practices mainly with wheel throwing to produce ceramics. He spent 8 years in Japan in order to study the underglaze iron painting technique for ceramic which was a unique Korean Ceramic tradition before. (Now it is an endangered tradition in Korea.) He is also interested in making white porcelain, a classic heritage of Chosen dynasty as well. He translates this traditional white porcelain into a contemporary visual language.

 

Unbenannt

Jiwoo Lee, “Besucher”, clay and bricks, 2015

Long time ago in Korea, there was a tradition that when someone died, people buried the body with a small clay house together. It was a hope that the dead would continue to be happy in the house afterlife. His work during the FRISE residency adopted the tradition’s form and style. He produced houses that he saw while walking in Hamburg. He felt the stone pavement on the road is very beautiful. So he placed bricks as reinterpretation of the stones and canals, then put houses on top of each brick. Also, he was surprised to see so many windows in those buildings and though that’s quite beautiful. He wondered that is it related to the short daytime and bad weather in winter here? The house roof’s shape and steep angle are very curious to him as well, maybe it’s because of heavy snow? From his own point of view of Hamburg as a foreign visitor, he expressed Hamburg in this way.

 

Jiwoo Lee, "Besucher", clay and bricks, 2015

Jiwoo Lee, “Besucher”, clay and bricks, 2015

 

 

Hyun Yeop Kim

 

IMG_4728

Hyun Yeop Kim, , mixed media, 2015

 

Hyun Yeop’s subject matter has been the ideas about human violence, especially war and satires about them. As a sculptor, he often creates miniature size of soldiers with weapons, tanks and warplanes to emphasize absurdness of war. As his main historical references are World War 2 and Nazism in the past, the trip to Germany for him was an excellent opportunity to research his theme more deeper. In fact, this Hamburg residency was his first travel abroad. When visiting the famous Miniatur Wunderland, I could certainly see the true enthusiasm on his face.

In Hamburg, what caught his eyes most was numerous graffitis on the street. In Korea, you’ll hardly see graffitis on residential area unless it meant to be a pretty wall painting. So it was rather a big shock to Hyun Yeop. This reminds him of war in terms of an act of tracing. as he thinks the aim of war is leaving trace(or scar) with guns and knife to send certain messages. Therefore, he wanted to say that an act of war is merely idealizing its purpose. For him, it is similar ridicule to making graffiti’s on someone’s house.

Hyun Yeop Kim, , mixed media, 2015

Hyun Yeop Kim, , mixed media, 2015

Hyun Yeop Kim, , mixed media, 2015

Hyun Yeop Kim, , mixed media, 2015

 

 

 

Hae Jin Kim

Hae Jin Kim, , leave on paper, 2015

Hae Jin Kim, , leave on paper, 2015

 

Hae Jin is interested in obsolete object and space in a modern city(mainly in Busan) such as an old house’s roof top, empty children’s play ground. Sometimes he even uses fallen leaves on street as a main material to create a fragment of fragile and sensitive imageries about a city. In his work, the process of representing ‘temporariness’ comparing to the speedy city development of his town is essential. Thus, in exhibition space, Hae Jin focuses on drawing an image of a building on a white wall using construction cement. His cement picture is not a perfect structure but an incomplete landscape of the floating buildings. Yet this is not a realistic depiction but it is derived from the imagination and memory of the artist. During the exhibition, this landscape was gradually disintegrate and at the end will be disappeared completely. During his residency, he visited Nürnberg. His short trip to the famous war history sites inspired him to have a new aspect of his subject matter. His wall painting at FRISE was the visual record of his trip to the Germany.

 

Hae Jin Kim, , cement on wall, 2015

Hae Jin Kim, , cement on wall, 2015

IMG_0921

Hae Jin Kim, , cement on wall, 2015

 

사소한 발견 Kleine Entdeckungen

Jiwoo Lee, „Besucher“, Clay and Bricks, 2015

 

AUSSTELLUNG

 

Hyunjeong Lim
Hae Jin Kim
Hyun Yeop Kim
Jiwoo Lee

(Busan/Südkorea)

Eröffnung, 07. Januar, 20:00 h
07. –14. Januar 2015

FRISEKÜNSTLERHAUS HAMBURG E.V.
ARNOLDSTR. 26–30, 22765 HAMBURG
ÖFFNUNGSZEITEN FR–SO, 16–18 H

 

Künstleraustausch zwischen Busan und Hamburg

Eine Kooperation mit dem Davin Art Space, Busan, Süd-Korea
FRISE Hamburg und der Kulturbehörde Hamburg.

Über den Jahreswechsel 2014/15 sind vier jungen Künstler/-innen:
Hyunjeong Lim, Hae Jin Kim, Hyun Yeop Kim, Jiwoo Lee
in Hamburg zu Gast im FRISE AiR-Programm.
Der Austausch Busan-Hamburg ist nun nach einer Kooperation
in 2012 mit dem Kunstverein Hamburg, zu Gast in Altona.
Die vom Kooperationspartner, dem Davin Art Space,
zusammengestellt Künstlerauswahl wird eingeladen
den Kunst Ort FRISE als Model für Künstlerische-Selbst-Organisation
zu erfahren und um hier neue Arbeiten zu entwickeln und zu zeigen.
Mit dieser Ausstellung starten wir in das Ausstellungs-Programm 2015.
Wir nennen es “Konstellationen; Zwei + Eins”.
Anschließen wollen wir hiermit an zwei Jahre internationalen Künstleraustausch.
In den “Konstellationen” werden Verbindungen komplementär zu verschiedenartigen Positionen in der Stadt herausgestellt.
Die erste Ausstellung mit KünstlerInnen aus Südkorea bringt ein mögliches geopolitisches “Zwei + Eins” von sich aus mit.
Die Künstler hingegen verweisen auf einen empfindsamen Blick – auf die kleinen Dinge der Achtsamkeit.

Weitere Information:
www.frise.de
http://hyunjeonglim.com
http://blog.naver.com/artkimhaejin

 

Projekt-Koordination: Torsten Bruch und Michael Kress
Besonderer Dank an: Davin Art Space/Busan und Dr. Bilinc Ercan

MIT FREUNDLICHER UNTERSTÜTZUNG DER KULTURBEHÖRDE HAMBURG

2014

Ausstellungen, Artist in Residence Programm & Studio F Stipendium.
FRISE dankt allen Ausstellungs-Besuchern, Partnern, Unterstützern und Freunden!
Exhibitions, Artist in Residence Program & Studio F Scholarship
FRISE thanks all exhibition visitors, partners, supporters and friends!

 

Ein besonderer Dank gilt den wunderbaren Künstlern von überall her:
A special thanks to the wonderful artists from everywhere:

 

ELIZAVETA KONOVALOVA

KAREN MICHELSEN CASTAÑÓN

EMILIA BADALÀ

WILLIAM ENGELEN

HEIKO WOMMELSDORF

PETER CUSACK

JAN KÖCHERMANN

SILVINA DER-MEGUERDITCHIANS

PETER BOUÉ

SARI PALOSAARI

PER SCHUMANN,

MALTE ZACHARIAS

SØREN ANDREASSEN

STIG BRØGGER

JØRGEN FOG

NIELS ERIK GJERDEVIK

LISE HARLEV

ULRIK HELTOFT

PER LUNDE JØRGENSEN

KRISTINE KEMP

ROLF NOWOTNY

STEFAN KRAUTH

AKI INOMATA

SYLVIE RENO

JURO GRAU

GUNNAR F. GERLACH

EMILIE LASMARTRES

FRANK LESBROS

FERDINANT FUX

EDGAR BALLO

FREDERIC CLAVERE

CLAIRE DANZER

ÅSE LIV HAUAN

JEAN-PIERRE OSTENDE

SHAN FAN

AIA TADEISHI

VALENTINA ROSELLI

CATERINA ROSSATO

SERENA VESTRUCCI

MICHAEL BUCKLEY

SUE MCCAULEY

PEDER K. BUGGE

DANIA BURGER

GESA LANGE

SVEN MÄRKISCH

KLASKE OENEMA

LIANG YUE

KATJA LELL

YIN YI

CARSTEN BENGER

HANNE DARBOVEN

ALMIR MAVIGNIER

ESTHER DE GRAAF

HENRIK KRÖNER

HYUNJEONG LIM

HAE JIN KIM

HYUN YEOP KIM

JIWOO LEE

 

ARTIST STATEMENT: Henrik Kröner

Portrait-als-meine-Oma-III1

 

„In diesen Arbeiten benutze ich Buntstifte auf nicht präpariertem Kästchenstoff.
Die Serie ist eine Untersuchung über Farbe und Wahrnehmung.
Der Ausgangspunkt ist, dass Farbe eine Oberfläche ist, die Licht reflektiert.
Die verdeckte Ausstellungswand scheint durch den dünnen Stoff hindurch.
Die unterschiedlichen Flächen von Lichtreflektionen verändern das Bild,
wenn man an ihm vorbei läuft. Aus einem schrägen Winkel her betrachtet,
sind die Farben am stärksten. Wenn man davor steht, verliert sich die Farbintensität.
Ich denke mir den idealen Betrachter als jemanden, der sich die Zeit nimmt und in dieser allerlei Eingebungen erhält.

… oder eine Ode an die Langeweile.

Als Künstler sehe ich die Langeweile als einen Ursprung von Inspiration.
Es können Dinge aus der Langeweile heraus entstehen.
Als Schüler habe ich im Matheunterricht damit angefangen,
die Kästchen meines Heftes auszumalen.

Jedoch, es finden immer irgendwelche Transformationen statt.
So benutze ich kein Papier, sondern einen Stoff indem ein Raster eingewebt ist.
Es ähnelt dem Papier. Es ist transparent und hat einen besonderen materiellen Ausdruck. Wenn der Stoff auf einen Keilrahmen gespannt ist, verformt sich das Raster.
Das finde ich herrlich fein“!

 

 

 

ARTIST STATEMENT: ESTHER DE GRAAF

2013-11-29-14.01.31

 

„My recent sculptures are made of cardboard, aluminum foil and iron wire. They often take on a monumental sculptural form. I make lightweight sculptures and build them up based on organic structures. I use the least possible material and connections that are necessary to keep it standing, and make as much form as possible at the same time. The fragility of the junctions are visible and one has the possibility to see exactly how it is made. For a period of two weeks I will use the studio of Frise to make new works. These works will be shown in the gallery together with Henrik Kröner’s work in our exhibition (W)HERE“.

 

Raum und Oberfläche – Esther de Graaf und Henrik Kröner

Einen Austausch von Künstlerinnen und Künstlern zu schaffen ist das Ziel des Groningen-Hamburg-Projects. In einem offenen Verfahren können sich Künstlerinnen und Künstler beider Städte beteiligen und in beiden Städten ortsbezogene Vorhaben entwickeln und umsetzen.

In den letzten zwei Jahren konnten so mehrere Hamburger Künstlerinnen und Künstler nach Groningen reisen, ebenso waren mehr als 15 Gäste aus Groningen in Hamburg. Koordiniert wird dieses offene Netzwerk von Jan Derk Diekema (HAVIK und CareX) aus Groningen und Michael Kress (FRISE) aus Hamburg.

Mit Esther de Graaf und Henrik Kröner kommen zwei junge Kunstschaffende nach Hamburg, deren Werke auf besondere Weise ein wichtiges Thema dieses Groningen – Hamburg – Projects thematisieren: Raum und Oberfläche.

Esther de Graaf verwendet Wellpappen, Klebebänder, Aluminiumfolien und andere eigenartige, beiläufige und banale Materialien. Hiermit fertigt sie raumgreifende Ummantelungen, die einen Bezug zu einem imaginierten Gegenüber herstellen. Sie schafft Räume im Raum.

Die Gebilde verweisen über die räumlichen Grenzen des eigenen Standpunktes hinaus in ein erweitertes vorgestelltes Umfeld. Hier, wo der Betrachter, das Subjekt, steht und schaut, nimmt er die zeitliche Flüchtigkeit dieser plastischen Konstruktionen wahr. Die Materialien Esthers de Graaf sind Produkte der Verpackungsindustrie: klar, genormt und logistisch rational.

Diese Transport-Hilfsmittel, die zum Schutz von Dingen verwandt werden, um etwa Güter des Konsums von einem Ort zum anderen zu bringen, sind unbeachtete Mäntel von gemeinten Inhalten. Die Gebilde der Esther de Graaf stellen sich somit zwischen den aufmerksamen Betrachter, den befindlichen Raum und eine unbekannte imaginierte Destination der nicht vorhandenen Inhalte. Alle Gegenstände, alle Beteiligten und der umgebene Raum bedingen den aktuellen Ort. Das erkennende ICH muss sich später erinnern, da die Setzungen dieser Gebilde zeitlich begrenzt angelegt sind und nach Verlassen der Ausstellung unwiederbringbar rückgebaut werden.

Flankiert werden diese Raumbezüge mit ‚bezeichneten Leinwänden’ auf Keilrahmen von Henrik Kröner. Große Raster der Orientierung, die an Rechenhefte erinnern. Die Bemusterungen der Flächen wiederholen das Format der Bilder und wirken zugleich klar und unbestimmt, unfertig und skizzenhaft. Jedes Feld ein Moment der Entscheidung: Null/nichts – Eins/etwas.

Henrik Kröner programmiert etwas, dass nicht direkt dekodiert und zum Auslesen gebracht werden kann. Er überlässt dem Bild die Aufgabe, „Bild“ zu sein und erklärt die Fläche zur Rechenaufgabe von Möglichem und Wahrscheinlichem – Pixel, die belegt werden oder frei bleiben. Die großen Bilder von Kröner verweisen auf Raster und Bildauflösungen, die uns alltäglich per Smart-Phone-Selfie in Szene setzen. Pixel, die variieren und in ihrer scheinbaren Dinglichkeit verschwinden. Oberflächen, deren Auftrag nichts Spezifisches vermitteln will. Malerei als Zeichnung, Zeichnung als Vergewisserung, dass es immer noch so etwas wie Bilder geben kann.

Auf besondere Weise verklären Esther de Graaf und Henrik Kröner den Ausstellungsraum und machen uns auf die Fragilität der Konstellation Zeit, Raum und Subjekt aufmerksam.

 

Michael Kress, Hamburg im Dezember 2014