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Karen Koltermann Voice in the night

The Voice In The Night
Stimme in der Nacht | 30.10–21.11.2020

Exhibition and book launch |

Karen Koltermann

Berlin-based artist Karen Koltermann presents her wonderful and disconcertingly eerie interpretation of William Hope Hodgson’s famous story The Voice in the Night (1907) as a graphic novel.

Die Berliner Künstlerin Karen Koltermann hat eine gleichermaßen wunderbare wie verstörend unheimliche Interpretation der berühmten Geschichte The Voice in the Night (1907) von William Hope Hodgson als Graphic Novel vorgelegt.

Book published by  artbear books

Toolbox Kabinett: Soyoung Shon, paintings

http://shon.creatorlink.net


 

Welcome: Vernissage / Opening: Friday / Freitag  30.10.2020, 7pm

Open on Sunday 01 November, 2020, 2–6pm

Ausstellungsdauer / Exhibition: 30 October– 21 November 2020
Öffnungszeiten / Opening hours: Saturday 7.11. and 14.11. 3-7pm
Saturday 21.11. on  3pm Finissage

An Feiertagen ist die Toolbox geschlossen
On Bank holidays Toolbox is closed

Maija Helasvuo

Sculptures | 29.02.–21.03.2020

Maija Helasvuo


Toolbox Kabinett:

Susanne Ring, Berlin »mein Hund bellt Farben«
https://www.susannering.net

Susanne Ring


Welcome: Vernissage / Opening: Friday / Freitag  28.012.2020, 7pm

Open on Sunday 01 March, 2020, 2–6pm

Ausstellungsdauer / Exhibition: 29 February – 21 March 2020
Öffnungszeiten / Opening hours: Wed–Sa 3–7pm

An Feiertagen ist die Toolbox geschlossen
On Bank holidays Toolbox is closed


Maija Helasvuo

Artist’s Statement

My sculptures address the experience of life being limited, our dependence on our own physical existence and especially on other people.
A human is part of a human community. The fields of our social interactions largely define the framework of our actions. Even our separation and isolation always stand in relation to others. Our ability to be intimate is the starting point of our existence. Our ability to take care carries us from one generation to another. Independence is inevitable, yet even our independence stands in relation to others, our diverse communities.
As neither the fields of interaction surrounding us nor our relations to others can be physically touched by the hand, we need sculptures to concretize these abstract experiences. In my view and experience, a sculpture still is a functioning means of symbolic thinking for human communities. In practice, this has already been the case since early cult objects.
Creating a sculpture is slow, at least for me. My themes develop slowly, if at all.
My topics of limitations and dependence on others intertwine and reveal themselves repeatedly. The material’s resistance is important to me. The physicality of creating a work is often enjoyable. The slowness in working with the material and the physical effort create time for thinking and for the opportunity to calmly solve sculptural problems.
I tend to get the impression that the slowness in making a sculpture does not prevent, but in fact assists the sculpture opening up to its viewer as an abrupt experience, even resembling a physical shock.
The viewer is important to me. The sculpture is a means to communicate with and within the community.

Maija Helasvuo
Sculptor, MFA

________

Meine Skulpturen thematisieren das Erlebnis der Begrenztheit des Lebens, unsere Abhängigkeit von der eigenen physischen Existenz und insbesondere von anderen Menschen.
Ein Mensch ist Teil menschlicher Gemeinschaft. Unsere sozialen Interaktionsfelder bestimmen zu großen Teilen die Rahmenbedingungen unseres Handelns. Sogar unsere Abgrenzung und Isolation stehen immer in Beziehung zu anderen. Unsere Fähigkeit zu Intimität ist der Ausgangspunkt unserer Existenz. Unsere Fähigkeit sich um andere zu sorgen trägt uns von Generation zu Generation. Selbstständigkeit ist unabdingbar, und doch steht auch sie in Beziehung zu anderen, zu unseren vielfältigen Gemeinschaften.
Da wir weder die uns umgebenden Interaktionsfelder noch unsere Beziehungen zu anderen mit den Händen greifen können, brauchen wir Skulpturen als eine Konkretisierung unserer abstrakten Erlebnisse. Ich fühle und sehe Skulpturen weiterhin als funktionierendes Mittel des symbolischen Denkens menschlicher Gemeinschaften. Tatsächlich gilt dies bereits seit frühzeitlichen Kultobjekten.
Die Anfertigung einer Skulptur ist langsam, zumindest für mich. Meine Motive entwickeln sich langsam, wenn überhaupt.
Meine Themen von Begrenztheit und (die) Abhängigkeit von anderen, verflechten sich und erscheinen wiederholt. Der Widerstand des Materials ist wichtig für mich. Oft genieße ich das physische Erstellen des Werkes. Die Langsamkeit beim Bearbeiten des Materials und die physische Anstrengung schaffen Zeit, um nachzudenken und bildhauerische Probleme in Ruhe zu lösen.
Es scheint mir, dass das langsame Erstellen eines Werkes es keinesfalls hindert, sondern fördert, dass ein Werk sich den Betrachtenden öffnet als eine abrupte Erfahrung, welche sogar einem physischen Schock ähneln kann.
Die Zuschauer sind mir wichtig. Eine Skulptur ist ein Mittel, um mit und in einer Gemeinschaft zu kommunizieren.

Maija Helasvuo
Bildhauerin, MFA
________

Veistokseni käsittelevät elämän rajallisuuden kokemusta, riippuvuuttamme omasta fyysisestä olemassaolostamme ja erityisesti muista ihmisistä.
Ihminen on ihmisyhteisön osa. Sosiaaliset vuorovaikutuskenttämme pitkälti määrittelevät toimintamme puitteet. Myös erillisyytemme ja eristyneisyytemme on aina suhteessa muihin. Kykymme läheisyyteen on olemassaolomme lähtökohta. Kykymme hoivata, kantaa meitä sukupolvelta toiselle. Itsenäisyys on välttämätöntä, mutta itsenäisyytemmekin on suhteessa muihin, moninaisiin yhteisöihimme.
Koska emme voi käsin koskea meitä ympäröiviä vuorovaikutuskenttiä tai suhdettamme muihin, tarvitsemme veistosta konkretisoimaan abstraktit kokemuksemme. Koen ja näen veistoksen olevan edelleen ihmisyhteisölle toimiva symbolisen ajattelun väline. Käytännössähän näin on ollut jo varhaisista kulttiesineistä alkaen.
Veistoksen tekeminen on hidasta, ainakin minulle. Teemani kehittyvät hitaasti, jos ollenkaan.
Aiheeni, rajallisuus ja riippuvuus muista, kietoutuvat ja paljastuvat yhä uudelleen. Materiaalin vastus on minulle tärkeää. Teoksen tekemisen fyysisyys on usein hauskaa. Materiaalin työstämisen hitaus ja fyysinen ponnistelu luovat aikaa ajattelulle ja mahdollisuudelle ratkaista rauhassa veistoksellisia ongelmia.
Olen ollut huomaavinani, että teoksen tekemisen hitaus ei estä, pikemminkin edesauttaa veistoksen avautumista katsojalleen äkillisenä, jopa fyysisen shokin omaisena kokemuksena.
Katsoja on minulle tärkeä. Veistos on väline kommunikoida yhteisön kanssa ja sen sisällä.

Maija Helasvuo
Kuvanveistäjä, KuM

Saimi Suikkanen

Having the Time of My Life

Saimi Suikkanen


Toolbox Kabinett:

Archi Galentz, Berlin


Welcome: Vernissage / Opening: Friday / Freitag  31.01.2020, 7pm

Open on Sunday 02 February, 2019, 2–6pm

Ausstellungsdauer / Exhibition open: 02 –22 February 2020
Öffnungszeiten / Opening hours: Wed–Sa 3–7pm

An Feiertagen ist die Toolbox geschlossen
On Bank holidays Toolbox is closed


Saimi Suikkanen’s exhibition Having the time of my life displays paintings from a series called “Self-portraits at home”. In the series Suikkanen confronts the viewer with painted pictures of herself imitating the aesthetics and lifestyles of women on social media platforms. As opposed to the often perfectly composed photographs on Instagram, her paintings depict the mundanity of ordinary life with cluttered and messy surroundings. Through imitation and repetition Suikkanen brings the absurdity of selfie culture and the obsession in being on display to the forefront. Her detailed and colourful large scale paintings emphasise humour. Through the series Suikkanen explores her own thoughts and preconceptions related to the ideal of womanhood and being on display. Suikkanen’s work is a mirror of what is seen as normal and appropriate behaviour for a young woman today.

Saimi Suikkanen (b.1994) is a Finnish painter who creates images of the contemporary life of a young woman in the age of social media. In her art she examines current viewpoints on the female body, sexuality and gender roles through a series of non-literal self-portraits. She is currently studying her Master of Fine Arts degree at the Academy of Fine Arts in Helsinki.

https://saimisuikkanen.com

artwork: Self-portrait drinking (cheap) wine, oil on paper, 135 x 175 cm


ToolboxCabinet: Archi Galentz

Archi Galentz, 2014, AquatintaArchi (Harutiun) Galentz was born in Moscow in 1971 in a family with a long artistic history. In 1988 he got his A-level in Moscow and in 1989 entered the State University of Arts and Theater in Yerevan, Armenia. In 1992 he was invited as a guest student to Berlin University of Arts (UdK Berlin) and studied free art till 1997 obtaining a Master degree. He lives and works in Berlin, Moscow and Yerevan.

A recurrent theme that is central to his artistic work is the question of Armenian identity, especially in relation to political factors such as the demise of the Soviet Union and the resurgence of Armenian awareness. Artwork Archi Galentz: Portrait Jovan Balov, aquatint and  line etching reworked with watercolor 24.5 × 16 cm

 

Leonor-Ruiz-Dubrovin

Golden Shower | 30.11.–19.12.2019

Group Show

  • Leonor Ruiz Dubrovin
  • Antti Kytömäki
  • Aulis Harmaala
  • Paula Tella
  • Laura Nevanperä
  • Kikka Rytkönen
  • Elina Saalfeld

Toolbox Kabinett:

Jakob Roepke, Berlin

WESEN


Welcome: Vernissage / Opening: Friday / Freitag  29.11.2019, 7pm

Open on Sunday 01 December, 2019, 2–6pm

Ausstellungsdauer / Exhibition open: 30 November–19 December 2019
Öffnungszeiten / Opening hours: Wed–Sa 3–7pm

An Feiertagen ist die Toolbox geschlossen
On Bank holidays Toolbox is closed


Golden Shower

In sociological research, “golden shower” is seen to be connected to the every more ubiquitious emanations of the porn industry. This is only one of many elements in the topic of how relationships between people take shape and how remuneration will play a role in them when business is intruding every aspect of human relationships. Nowadays this can also be seen in how nursing homes are converted into soulless business ventures and old age becomes a field for financial exploitation. The group exhibition “Golden Shower” will focus on instances of commercialization of human relationships; how the visual world and social media are flooded by images of the porn industry. Works in a variety of media – painting, installation, video, sculpture, photography, drawing, and performance – will pose questions and provide different approaches to answers or interpretations.

deutsch

Die Gruppenausstellung “Golden Shower” thematisiert künstlerisch die zunehmende Kommerzialisierung zwischenmenschlicher Beziehungen. 
Ob im Internet (soziale Netzwerke, Pornoindustrie), in Altersheimen oder in Krankenhäusern, Profitabilität ist ein Faktor, der das Zwischenmenschliche heutzutage mitgestaltet. 
In der kuratierten Ausstellung werden sieben künstlerische Positionen in unterschiedlichen Medien (Malerei, Installation, Video, Skulptur, Fotografie, Grafik und Performance) präsentiert.

artwork: Leonor Ruiz Dubrovin

Nora Tapper

Ember | 26.10.–23.11.2019

Nora Tapper, Finnland

Sculpture Exhibition


Toolbox Kabinett:

Catherine Lorent, Berlin


Welcome: Vernissage / Opening: Friday / Freitag  25.10.2019, 7pm |

Finissage: Fr. 15.11.2019, 7pm

 

Gitarrung und Axt/ Guitaring and Axe
Tom Früchtl (Electric Guitar)
Catherine Lorent (Electric Guitar, Axe)

 

 

 

 

 


Open on Sunday 27 October, 2019, 2–6pm |

Ausstellungsdauer / Exhibition open: 26 October–23 November 2019 |
Öffnungszeiten / Opening hours: Wed–Sa 3–7pm |

An Feiertagen ist die Toolbox geschlossen
On Bank holidays Toolbox is closed


Nora Tapper

Ember

Ember is a group of huge empty black sacks sewed by hand from tarpaper and paper string. To me these sacks are enormous coal embers that glow in the dark and cold evening. The idea for sacks came from a task of making a work that would illustrate the amount of carbon dioxide produced each year by a Finnish family of four. I thought barbecue parties and the sacks full off black dusty coal. I recall the fire place where the last glow fades away.


Catherine Lorent

CALL OF THE WILD

Catherine-LLorent-bell

Catherine Lorent, Bell, 21×29,7 cm, mixed media

Catherine Lorent (* 1977 in Munich) studied painting at the Staatliche Akademie  der Bildenden Künste Karlsruhe from 1998 to 2003, as well as history and art history at the Sorbonne in Paris and at the Universities of Heidelberg and Luxembourg. In 2012 she received her doctorate in art history. In 2013, CATHERINE LORENT represented LUXEMBOURG at the Venice Biennale with the project “RELEGATION”.

The artist lives and works in Berlin in painting, drawing and installation. Furthermore she has been experimenting for several years as a multiinstrumentalist with electric guitar, bass, piano, drums, voice and pursues her music project Gran Horno.

Catherine Lorent has already exhibited in Germany, France, the Netherlands, Switzerland, the United States, Austria and Luxembourg, was nominated for the “Prix Robert Schuman” in Luxembourg in 2011, received the “Prix révélation 2011” and is considered one of the most important talents in Luxembourg.

Mein Gott im Himmel | 27.9.–19.10.2019

Ihana Havo, Finnland

Sculpture

Toolbox Kabinett:

An indifferent friend

ELO Film School Finland
School of Arts, Design and Architecture
Aalto University

Vilja Harjamäki, Mirka Sulander, Nikke Bakka, Menni Renvall, Antti Lempiäinen

Teacher: Dr. Mika Karhu

Welcome: Vernissage / Opening: Friday / Freitag  27.09.2019, 7pm |

Open on Sunday 29 September, 2019, 2–6pm |

Ausstellungsdauer / Exhibition open: 27 September – 19 October 2019 |
Öffnungszeiten / Opening hours: Wed–Sa 3–7pm |

An Feiertagen ist die Toolbox geschlossen
On Bank holidays Toolbox is closed


Mein Gott im Himmel, Ihana Havo

”History is a set of lies agreed upon”
Napoleon Bonaparte

No worries there mr. Bonaparte man, I’m with you, I’m mean after the 9/11, (building 7!!!), and all the false flags and crisis actors and duper’s delights the ”Official Narrative” don’t seem so official narrative anymore.
So Berlin, what a city, Germany what a history
Berlin was bombed to smithereens by allies and ruskies was closing in
and then, there is the holocaust. Well how very silly of me to think that I´d get
some answers to that one. I mean revisionism is illegal in Germany. So this
time the official narrative is enforced by the law. I guess usa is still the
romantic way of putting it. Well fuck it Wendy, let´s go bowling, I mean really
bowling.

When Hillary Clinton, we-came-we-saw-and-he-died on Muammar
Gaddafi´s ass back in 2011, not only she destroyed Libya, but also she
started the European migrant crisis. Last thing Muammar said from his drain
pipe was, ”pump the breaks, if you’ll kill me now, the Europe will go black”.
Killary didn’t listen, so here we are. In most of the European countries the
fertility rates are falling and we are facing a ”baby bust”, which means there
are insufficient amount of children to maintain the country`s population size.
How many years till the ethnic Germans and its culture dies out.
How fast can European countries disappear? Is it important anymore to have
your culture, identify yourself with a certain nationality? I don’t know. Let’s
just fast forward to the future where everybody’s living in a mega cities,
because sure its convenient and its illegal to go past city limits, because the
rest of the country is wildlife preserve area to save us from the climate
change.

Tho AOC thinks we´re dead in 12.

Simo Ripatti

Drying Room | 30.8.–21.9.2019

Simo Ripatti

Installation

Toolbox Kabinett: Pablo Hermann

Welcome: Vernissage / Opening: Friday / Freitag  30.08.2019, 7pm |

Open on Sunday 1 September, 2019, 2–6pm |

Ausstellungsdauer / Exhibition open: 31 August – 21 September 2019 |
Öffnungszeiten / Opening hours: Wed–Sa 3–7pm |

An Feiertagen ist die Toolbox geschlossen
On Bank holidays Toolbox is closed

Artwork: Simo Ripatti


Drying Room is a rendition of the classification that we use to perceive the world and to create various groupings and structures. It does not aim to define the concept of classification or even its necessity. Rather, it serves as a basis for examing questions of this nature. Drying Room reveals the notability of space, artwork, perception and the moment of it as the parts of the knowledge.

Simo Ripatti (b. 1975) is a Finnish visual artist. Studied at the sculpture department of the Finnish Academy of fine arts, Helsinki and Institute of fine Arts, Lahti, Finland.

www.simoripatti.com

Pilvi Ojala

Pilvi Ojala | 27.7.–24.8.2019

Pilvi Ojala, paintings

Toolbox Kabinett: Uwe Sennert (Sennf), Berlin

Welcome: Vernissage / Opening: Friday / Freitag  26.07.2019, 7pm |

Open on Sunday 29 July, 2019, 2–6pm |

Ausstellungsdauer / Exhibition open: 28 July – 24 August 2019 |
Öffnungszeiten / Opening hours: Wed–Sa 3–7pm |

An Feiertagen ist die Toolbox geschlossen
On Bank holidays Toolbox is closed

Artwork: Pilvi Ojala


Pilvi Ojala, paintings

Pilvi Ojala (b. 1973) observes inner drama in a calm, almost restrained way. In her recent works she depicts her dreams and feelings, making use of a long tradition of religious and mythological imagery.The strong connection to art history paired with an almost ruthless introspection gives these self portraits a strange, ambigious quality. Life is tragic, angst a daily companion, sorrow so ordinary it needs a body of it´s own. But when Ojala puts her figures in the limeligth of her small stages, it triggers laughter. There is great relief in seeing that what bugs us most, also make us laugh.

Ojala studied printmaking in Kuvataideakatemia, in Helsinki. She says that se slipped into painting almost accidentally. This might be why it is so easy to look at her paintings. The material itself is not a problem, rather, it is the most precise way to tell us about life seen through her eyes.

Text: Pauliina Turakka-Purhonen, visual artist (Finland)

 


Uwe Sennert (Sennf), sculpture

With and for and against Uwe Sennert

  • Born in the Sennestadt 1964
  • 1983-1984 College of Fine Arts, Frankfurt
  • 1984-1990 College of Fine Arts, Hamburg
  • 1988 Studienstiftung des Deutschen Volkes
  • 1990 art prize, art students are from Bonn
  • 1990 Hamburg, scholarship
  • 1992 DAAD scholarship, Vienna
  • 1993 scholarship in Bad Frankenhausen
  • 1996 invention of the “Senncakes”
  • 1998 conquest of the Sennestadt
  • 2011 Senna Tuntschi
  • 2014 Sennwald

Exhibition of Senn products within Germany since 1988.

Sennf-office in the capital

Web: http://www.sennf.de