Ceal Floyer
September 27, 2018 – August 2019
Opening: Wednesday, September 26, 2018, 6 pm

Curator: Kathrin Becker

With the work
Maximum Headroom (2014/2018), Neuer Berliner Kunstverein continues its project series on urban space. Ceal Floyer’s intervention on the façade of the n.b.k. consists of a series of individualized traffic signs that designate the area above the large window façade and indicate the exact overhead clearance at the respective upper edges. The work, characterized by formal simplicity and austerity, reduces an everyday circumstance to absurdity by suggesting an alleged risk that does not even exist. At the same time, the wordplay in the title of the work also refers to the phenomenon of limiting art, as well as dissolving any limits of it, and equally the people around it. As is typical for her work, Ceal Floyer sounds out our patterns of perception, but also the relationship between sign and reality.

The façade of Neuer Berliner Kunstverein (n.b.k.), which connects the exhibition area with the public space of the city, on an annually alternating basis serves as a surface of intervention for different contemporary artists, who develop a special project for the building. The outdoor projects directly exert their influence on the public space, they encourage an active engagement with the urban environment and stimulate a debate about contemporary art and its aesthetic, social and political implications.

Ceal Floyer (b. 1968, lives in Berlin) studied at Goldsmiths College in London. In 2009, she received the Nam June Paik Art Centre Prize in South Korea; in 2007, she was awarded the Preis der Nationalgalerie für junge Kunst in Berlin. Solo exhibitions (selection): Aspen Art Museum (2016); Aargauer Kunsthaus, Aarau (2016); Kunstmuseum Bonn (2015); Museion, Bolzano (2014); Kabinett für aktuelle Kunst, Bremerhaven (2013); Project Arts Centre, Dublin (2011); Center for Contemporary Art, Tel Aviv (2011); Museum of Modern Art, Miami (2010); Palais de Tokyo, Paris (2009). Group exhibitions (selection): Hamburger Kunsthalle (2017); Stiftung Museum Kunstpalast, Dusseldorf (2016); Manifesta, Zurich (2016); Fondazione Prada, Milano (2016); Marta Herford (2016); Museum Morsbroich, Leverkusen (2015); Henry Moore Institute, Leeds (2014); Witte de With, Rotterdam (2014); Schirn Kunsthalle, Frankfurt/Main (2014); Moderna Museet, Stockholm (2012); Hayward Gallery, London (2012); Guangzhou Triennial (2012); Documenta, Kassel (2012), Venice Biennale (2009).

Still on show until end of August:

Alfredo Jaar
Rosa, Karl, Bertolt, Herbert and the others
September 14, 2017 – August, 2018
Opening: Wednesday, September 13, 2017, 6 pm

Curator: Michaela Richter

Working in public space is deeply rooted in the practice of Alfredo Jaar, who since the beginning of his career creates political works that attract attention. His series of graphical diagrams conceived for the façade of Neuer Berliner Kunstverein (n.b.k.), entitled
Rosa, Karl, Bertolt, Herbert and the others (2017), is an homage to Harun Farocki and his critical view on social conditions, while at the same time it addresses the varied history of Chausseestrasse. As one of the oldest streets in Berlin, it represents a major center of production and business since the 19th century, being the home to a variety of industries throughout history. From 1961 to 1990, the street was divided by the Berlin Wall and marked by a checkpoint. Eight years before the building of the Wall, this border crossing was one of the hot spots of the uprising of 17 June 1953, when about 10,000 striking steel workers were on the march there.

Alfredo Jaar picks up outstanding historical moments such as this and refers to them in his new work, which at the same time names four intellectuals whose thinking deeply influenced Harun Farocki’s work (Rosa Luxemburg, Karl Liebknecht, Bertolt Brecht und Herbert Marcuse)—and in whose biography Chausseestrasse played a role. Fascinated by how many of Harun Farocki’s topics—working worlds and their transformation, domination techniques, the power of the visual and possibilities of opposition—coalesce in the history of Chausseestrasse, Alfredo Jaar has conceived a work that invites viewers to decipher and reflect it.

Alfredo Jaar (b. 1956 in Santiago de Chile) lives and works in New York. His works have been shown in numerous exhibitions and major projects worldwide, incl. Museum of Contemporary Art, Chicago (2016); Deichtorhallen, Hamburg (2015); Times Square, New York (2014); Stedelijk Museum, Amsterdam (2014); Museum of Modern Art, New York (2013). In 2012, three Berlin institutions (Neue Gesellschaft für Bildende Kunst, Berlinische Galerie, and Alte Nationalgalerie) presented a retrospective of Jaar’s oeuvre. His works have been repeatedly shown at the biennials in Venice (2013; 2009; 2007; 1986) and São Paulo (2010; 1989; 1987). Furthermore, Jaar is a two-time participant of documenta (1987; 2002).

Former works in the series of outside projects by international artists that address the urban space and intervene on the facade of Neuer Berliner Kunstverein:

15. September 2016 – August 2017
Gerwald Rockenschaub

Curator: Kathrin Becker

With Gerwald Rockenschaub’s work
751C064/045, Neuer Berliner Kunstverein continues its series of projects on the urban space, for which contemporary artists are asked to shape the facade of the building on Chausseestraße, using it as a space of intervention. Made of lightfast foils, the new work by the Austrian artist structures the surface of the facade in a color rhythm and can be seen for the period of one year.

Gerwald Rockenschaub (b. 1952 in Linz, living in Berlin), at the beginning of his international career, worked in the field of Neo-Geo painting, which, as a countermovement to Neo-Expressionism, reduced its repertoire to geometric shapes with the aim of separating the work from the individuality of the artist. Consequently, in the late 1980s, Rockenschaub gave up his work with brush and oil paint in order to continue to work with acrylic glass, adhesive foils and industrially produced materials. In this way he creates large-scale works dealing with the history of art and architecture as well as popular culture.

Gerwald Rockenschaub’s works were presented in numerous solo exhibitions, most recently at Kunstmuseum St. Gallen (2016), at Secession, Vienna (2012) and Kunstmuseum Wolfsburg (2011). In 2008, he presented three large-scale installations at Kunsthalle Bern and was in charge of the first exterior design of Temporäre Kunsthalle Berlin. Group exhibitions include Museum der Moderne Salzburg (2015), Musée d’Art Moderne de la Ville de Paris (2013), Akademie der Künste, Berlin (2012), Palais de Tokyo, Paris (2011), mumok, Vienna (2010), Zachęta National Gallery of Art, Warsaw (2010). In 2007, Rockenschaub was represented with several works at documenta 12, in the same year he received the Fred Thieler Prize for Painting. In 1993, together with Andrea Fraser and Christian Philipp Müller he contributed to the Austrian pavilion at the Venice Biennale. His works are, among others, represented in the collections of mumok, Vienna and of the Fonds national d'art contemporain, Paris.

September 15, 2015 – September 2016
Thomas Hirschhorn
6 Feuer

Curator: Marius Babias

With each exhibition – in museums, galleries, alternative spaces – as well as with specific works in public space, Thomas Hirschhorn asserts his commitment towards a non-exclusive public. He has received different awards and prizes, among which the Preis für Junge Schweizer Kunst (1999), the Prix Marcel Duchamp (2000), the Rolandpreis für Kunst im öffentlichen Raum (2003), the Joseph Beuys-Preis (2004), and the Kurt-Schwitters-Preis (2011).

Thomas Hirschhorn was born in 1957 in Bern / Switzerland. He studied at the Hochschule für Gestaltung in Zurich from 1978 to 1983 and moved to Paris in 1983, where he has been living since. His work has been shown in numerous museums, galleries and exhibitions, a. o.: Venice Biennale (1999; 2015); Documenta11, Kassel (2002); 27th São Paulo Biennale (2006); 55th Carnegie International, Pittsburgh (2008); Swiss Pavillion, 54th Venice Biennale (2011); La Triennale, Palais de Tokyo, Paris (2012); 9th Shanghai Biennale (2012); Manifesta 10, Saint-Petersburg (2014). In 2013 Thomas Hirschhorn presented the
Gramsci Monument in the Bronx in New York. Flamme éternelle, his most recent Presence and Production project, took place at Palais de Tokyo, Paris in 2014. Hirschhorn has published a selection of his writings, most recently Critical Laboratory: The Writings of Thomas Hirschhorn (October Books / MIT Press, Cambridge 2013); Une volonté de faire, Thomas Hirschhorn (Éditions Macula, Paris 2015); Gramsci Monument (Koenig Books, London 2015).