Iran's Treatment Of Female Prisoners

Katalin Moldvay - side effects

15.11. - 08.01.2010

From November 15 until January 2010 presents the APEX per eV art exhibition of the Transylvanian artist Katalyn Moldvay. It will be shown objects, installations and drawings.
Moldvay studied from 1976 to 1980 at the Art Academy in Cluj / Transylvania and then worked as a stage designer at Hungary's National Theatre. In 1984 she moved to Baden-Baden. It was followed by living and working abroad in wilderness areas of the USA, Lapland, Iceland and Austria.

Katalin Moldvay acts as a kind of intermediary importer. It collects at flea markets, garbage dumps and on long walks by the nature of things and objects that they initially accumulates in her studio. Through a complex process of metamorphosis has Moldvay them then to a new meaning, the original history of the objects is lost and is replaced by a new one.
is the beginning of this process, first the state of things collected questioned. is the interplay of issues on themselves and on the findings appears the space in which the form of art. Cut Through the artistic treatment of the objects, such as color, sew, stitch together and nested into each other, creates works that are woven into a dialectic of seriousness and humor, black and white aesthetics and philosophy.

In APEX, the artist will arrange an intervention in the entire premises of the APEX.

-> Homepage Katalin Moldvay

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Gastaldon - LSD






From 26 September to 08 November 2009, shows the APEX per eV art exhibition by French artist Vidya Gastaldon.

PROGRAM:

Sep 26 * 15 clock: Opening

01.Oct * 21 clock: Psychedelic Cinema
A film projection by Ken Brown, which were originally shown in the context of live concerts from 1967 to 1969. In APEX we show a projection accompanied by a DJ set, presents the psychedelic sounds of the 60s and 70s and based on remote, rare and unknown artists. On the decks are René Gleitsmann, in Berlin as "Hey Hey Galaxy" is active as a musician, and Christian Schindler, curator of the exhibition.

08.Okt 20.30 * clock: The Trip, USA, 1967,
An attempt by American director Roger Corman, implement an acid trip on film. The result shows us how Peter Fonda spellbound staring at a washing machine and exclaims fascinated: "I understand Retired". From today's perspective, the film is naive and unintentionally funny. Nevertheless, he is also a piece of history and should therefore be listed here.
D: Peter Fonda, Dennis Hopper, Susan Strasberg, Bruce Dern

28.Oct * 18 clock: Psychedelic Poster Art of the 60s.
lecture with Prof. Dr. Lutz Hieber (University of Hannover) and Gisela Theising, a part of your comprehensive collection of APEX have provided.

With the support
the Swiss cultural foundation Pro Helvetia

*********************************** ************************************************

Biography / Biography:
Born in 1974 in Besancon, live and work in Geneva.
From 1994 to 2001, working in collaboration with Jean-Michel Wicker; common exposures are marked by an asterisk (*).

Einzelausstellungen (Auswahl): 2008

Do You Wear the Love Glasses? Salon 94, New York, USA. (7 September)
Call It What You Like, New Art Gallery Walsall Museum, Walsall, UK. (September 18) 2007

Stop believing, start Knowing, Swiss Institute, New York , USA. Huge
Reality, Galerie Francesca Pia, Zurich, Switzerland.
Healing Boom, Hiromi Yoshii, Tokyo, Japan.

2006 Kunstmuseum Thun, Switzerland.
Galerie Art: Concept, Paris, France.
Art Statements, Art 37 Basel, Basel, Switzerland.
UniverevinU Alexander Pollazzon, London, UK.
2005
Biolovarama, Mamco, Museum of Modern and Contemporary Art, Geneva, Switzerland. Ectopia
spectral, Hard Hat, Geneva, Switzerland.
2004
Cosmic, Paris, France.

2003 Centre d'Art Contemporain, Geneva, Switzerland. Kunsthaus Glarus

2001, * Glarus, Switzerland (cat.)
Centre d'édition contemporaine, Geneva, * Switzerland. Gregorio Magnani
Gallery, London

Gruppenausstellungen (Auswahl): 2008

I love Jenisch, Jenisch Museum in Vevey, Switzerland
Shifting Identities, Kunsthaus, Zurich, Switzerland
hand digital-School Art Centre in Annecy, France
Landscope, Galerie Thaddaeus Roppac, Paris, France
Abstraction Extension. A scene and its connections Romande, Fondation Salomon, Annecy, France
3am Eternal Alexander Pollazzon Ltd., London, UK.


2007 Hello I'm crashing, Salon 94, Ny, New York
Half Square / Half Crazy, Villa Arson, Nice
Stanza Wunder, Centre for Contemporary Edition, LAC, Geneva
RAW. Among the ruins, Marres Art Centre, Maastricht, (curator Alexis Vaillant)
Event # 1 / 07 , Centre Culturel Suisse, Paris
Fuori Use 2007 - Altered States National Museum of Contemporary Art (MNAC), Bucharest
Shangri-La, Alexandre Pollazzon, London
6 ème imprimé Triennale de l'art contemporain, Musée de Beaux-arts du Locle , Le Locle.
Black Noise. A Tribute to Steven Parrino, Mamco, Musée d'art moderne et contemporain, Genève
der Tanz Der Doppelganger, Shark, Genève 2006

Real vs Unreal, Ganga International Gallery, Bogota & doubt, Cali, Colombia (cur Alexandre Bianchini & Balthazar Lovay)
Sublime, UZ11R3F, Cosmogonies
Genève, Centre d'art de Noisy-le-Sec (Paris)
The Force de l'Art / Grand Palais 2006, Art de France, Grand Palais, Paris
Conversation Pieces, Centre d'Art Contemporain, Geneva
Aller / Retour, Centre Culturel Suisse, Paris
Busan Biennale 2006, Busan, Corée
All we ever wanted was everything, Centre d'art contemporain la Synagogue de Delme, Delme
Swiss Video Tate Modern, London.

Real Housewives Of Orange County Intro

introduction to the exhibition by Stefano Ricci and Anke Feuchtenberger

Ladies and gentlemen, dear friends.

I welcome you cordially to the exhibition opening by Anke Feuchtenberger and Stefano Ricci, both of which have found despite the organizational problems between several exhibitions the way to us to be here at the opening. I would like to thank first, and of course that they have accepted our invitation and have provided us with their wonderful work available.

Let me briefly say a few words about the two artists. Anke and Stefano live together in the near Greifswald and are both professors at the University of Applied Sciences in Hamburg. They also jointly operate the MaMi publisher, where they lay the books of other signatories. Both are considered as important representatives can the avant-garde comics.

We dedicate this exhibition not only this but also the internationally acclaimed illustrators comics as an artistic medium. This comes as important than that in the Federal Republic's public still does not, of course, these two terms - comics and art - to take simultaneously in the mouth, which is really amazing when you consider for example that Lyonel Feininger with The Kin-der-Kids a classic of comic created and that the influence of the genre known as the Visual Arts (keyword: pop art) is undisputed. Perhaps it is because the images are so closely intertwined with stories of their childhood and they are usually reminiscent of the comic element. Maybe it's because only one terminology.
has the Anglo-Saxon world we solved this problem elegantly by one of the Graphic Novel speaks a name that opens doors to literature, while the artistic craft in the form of graphics as well keep an eye on. In general the discussion is on the "Kunstwürdigkeit" of comics there rather unimportant, which may be well founded with a different concept of art as a whole. If one takes a look at the collections of the Museum of Modern Art, New York, where painting, design, architecture, film, illustration, etc. are all on equal footing, under the umbrella of the term "modern art", one has to petty grave struggles disciplines rather surprised.

Whether it is in the work of Anke Feuchtenberger and Stefano Ricci Art is, it should therefore not be discussed here. As we show their works in the context of an art club, we have, I think, given our statement on the matter. (Yes, it's art!)
If I'm honest, I must say that I am not a great connoisseur of the comic scene. From this is my whole access to these works more from a viewpoint of the "art", and when you consider experienced by Renaissance, the medium of drawing in the last few years, you have to wonder why we do not have much broader reception of the avant-garde Comics experience. Well, maybe and hopefully we can play our part in this exhibition do so.

Anke Feuchtenberger picture stories point to know why it is not about comics in the traditional sense. The stories are fluid and clear look more like dream sequences, which are symbolically charged. We as viewers are asked to find our own key to the stories that do not follow in their storyboards to the usual narrative scheme of balloons booklet. It is to be named because of their symbolism and associative imagery obvious their work as surrealistic. Accordingly, they would constitute but something that moves on the level of the real, they would run a Enttextualisierung.
exactly what my opinion is not the case. In their Sequences Anke Feuchtenberger search for suitable means, very real circumstances, conditions, feelings and perception to translate the drawing. Play a role in fantasy and fairy tale and the characters do Kafkaesque moments.

found in quantitatively manageable images rather than a compression of time and emotions, a skill that may have developed from the origin of their work, the design of posters, where even among other things, comes as much information as possible in a motive to dispel. One could perhaps for this work the term "Graphic Poem" choose, instead of "Graphic Novel" ... In any case
is the proximity to the literature, among other things in their stories of the "whore H." clear that she has developed with the author Katrin de Vries, of which three volumes have appeared. The experiences of the whore H., moving away from what the title suggests, derives from writings by de Vries, to be implemented by Anke Feuchtenberger in drawings. Thematically, they revolve around gender issues, to power relations and sexuality. The structurally simple but multifaceted content text images created from coal and paper, no illustrations, but imagination, which enrich the linguistic level to provide a visual dimension. The contrast and scale charcoal drawings a dark humor to a difficult subject to transport. From one of the volumes here are some original leaves are seen as excerpts from the stories.

are characterized by similar dark excite at first glance, the work of Stefano Ricci, whose images first, before all, through the technical side of our attention.
His paintings are not only visually impressive, but on closer inspection and tactile interest. The large-scale works, it can be seen here, for example, surprisingly, screen prints, which are pressed directly on these plates. Then there is the unusual technique of "Floccaggio," in which first a kind of adhesive layer printed, on which is then ironed and the color is a velvety surface. The effect is a blackness that seems to swallow everything. By the way, they find the application of this technology in the small series of colorful Anke Feuchtenberger who can see them below.
The paper by Ricci have a mix of materials, which leads from ink, charcoal and acrylic paints to adhesive strips and sheets in the individual characteristics of a relief and gives the media sounds out new comic in a different way. This is also the possibility of painting techniques for drawing comics to make them available. In the transformation of the individual sheets of illustrated stories in the form a book, the artist can by scanning or photographing his work even further elements such as lighting effects for his own purposes usable.

content is remarkable that we encounter in Stefano Ricci's work often questions of appearance and reality. There will be transformations and mutations, a hat and is swallowed his support to a new character - a monkey disappears under a veil, is invisible. In the above examples is the way excerpts from cartoons. The stories are told here and negotiate the issues of perception and deception. The first dark facade can not hide a certain wit and sense of humor, which is not necessarily immediately opens up. Or you would have thought that in this exhibition also staying Bruno the bear?

These two present current positions from the independent comic scene shows us an impressive way that far into the medium of comics are more options than to tell a linear story and to fill balloons. The depth and complexity of their sequential operations excludes the discussion of the value of your chosen medium from the outset, which is probably because they do not rely on the traditierte form of comic strips, but also explore the ways to connect it stories to explore the image. In animated films, with different styles of drawing and unusual printing processes.

So I still have to express my thanks to all our sponsors and of course, assume that you are visiting us for the occasion. Again, many thanks to Anke and Stefano.

Thank you for your attention and I declare the exhibition open.

Doubling Up 2 Yasmina Day

OPENING: 07.12.2009 / / 12 CLOCK



Anke Feuchtenberger, born 1963 in East Berlin, initially completed a graphic study in Berlin-Weissensee and working freelance since 1997 in Hamburg.
teaches at the Academy of Applied Sciences.
Her style is a small group of German-speaking artists assigned, since the 1990s, the established form in the comics questions and adding their own, radical designs. Her work includes paintings, drawings, comics, posters, prints, costumes and puppets. She is the editor of numerous books and articles for newspapers and magazines. In fall 2008, was published in collaboration with the Italian artist Stefano Ricci founded mom-publishing another book of drawings: wehwehwehsupertraene.de. The artist was in 2008 with the "Max and Moritz Prize of the International Comic Salon Erlangen, the highest honor of German-language comic art.
your images represent a strong narrative approach, show multi-layered conflicts with the female body: growth, reproduction, birth, surreal abstractions of strangeness in one's own. That is what is access. The drawings are so oppressive intensity that they tell multiple stories with a picture of an absurd and familiar world, which could be verbalized speak volumes.

Stefano Ricci, born in 1966 in Bologna, Italy, lives and works in Hamburg.
In his drawings, it is largely unnecessary illustrations, in the comics is the image itself is always at the center of the work. In image sequences of different lengths it shows people and animals in just indicated spaces, mostly in black and white and shades. Due to the reduced objective Representation with surreal effects, creates an atmosphere, more conversions and tear than telling stories. This uncertainty will still allow the viewer to subjective interpretation. The focus of his work puts Ricci on the process as such. It documents the process of drawing closer to the course of work. In the working phase diagrams are not from a known result of a specific, desired shape separately, but drawn directly on the final paper. This draft will be questioned, painted over, sometimes deleted.
Ricci works with various materials and the resulting overlapping layers of visibility suggest a condensed Real-time. The deposition: a sensual as well as intellectual drawing referral.
(Text: Lina Debs, curatorial assistant)

The artists are present.
We look forward to seeing you there!

Difference Between Roseola And Fifth Disease

Lisa Stålspets / Emanuel Bernstone

exhibition views



up above / : video still aus / from Lisa Stålspets' Leaf Dance
down / below : exhibition view with Emanuel Bern Stones images /
exhibition view with Bern Stone's paintings

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opening speech Lisa Stalspets / Emanuel Bernstone

Ladies and gentlemen, dear friends!
I welcome you cordially to the exhibition by Lisa Stone Stalspets and Emaunel Bern. As you have read the basis of the invitation, the exhibition titled "Contemporary Swedish Art". In fact, it is at this description to a rather artificial history. Because what you see here is, of course, no demonstrative show, which presents two outstanding positions Swedish art productions. The exhibition's title plays rather with expectations that are produced by the naming. For what can already offer a nationally-coded word finding? Finally, we encountered only on the shortcomings in the relationship between stories and identities, however it legal language. What are you in this Exhibition will find, however, is exactly what its slogan: two contemporary positions in Sweden. Whatever you expect, what is beyond this simple fact, their own, brought images is due.
we first look at the pictures of Emanuel Bernstone appearing first as a de-personalized space, cool and sterile. The first look is deceptive. Even if one could suspect that this is looked on abandoned spaces and gives a kind of statement one would make it, but too simple. Rather, it is the presentation of gaps, ie, open spaces, the possibilities in to hold that need to be explored. It is not about developing a story, what these empty sites invite, of course, but the view and the reflection of our own expectations that we bring to theaters. And "keep open" about what will happen to us in these rooms. The vagueness and the variability of our own biographies is aware of the architectural landscapes of Bern Emanuel Stone, because that is the readability of its rooms intended primarily. It is therefore a game with the recipient and for his ingenuity in the almost pathological compulsion to narration. For the human beings as well as a narrative required to biographies as after Sites that act as landmarks of our own existence and offer the possibility of reflection. do the formal rigor in Bern Stones images is thus only a means to serve the primacy of the Association, of which we can get rid of neither. After all, while the fundamental constants of our existence. What makes us so self is nothing but the personalization of banal images, ie the filling of historical fragments with emotionally charged memories, such as colors, smells, tastes and feelings. The
this process of narrative in our head is changing with time, change as the most memories and therefore also the value we attach to things, is the theme in Lisa Stalspets work. In her work shows an indefinite fragmented stories, such as frames and disguised dreams. The landscapes that Lisa developed Stalspets are no architectural space, but memory landscapes in which she explores the ways in which we fill places with meanings and mythological charge. Examples of these include the cube before us is called, an attempt to do an adequate representation of the ocean to compress into the smallest space. There are probably few things that are loaded historical and mythological such as the sea, a nautical monster, while a sign of nostalgia, wanderlust, Expedition urge, but also a dangerous and inscrutable terrain, which finds diverse in the history of art in so-called seascapes. Lisa Stalspets has found a charming form tackle this complex issue and choosing on each side of her Ocean a different representation. These refer to the myth in his place, and reduces it to a living room format. The shown video "Dance with a stranger", it deals with ritualization, arising through the context of a meaning. If we meet this ritual but without context, is an absurd art video, where a leaf dance is performed, produces the first aesthetic and scenic qualities developed, but a strange ritual, is like the we can not follow. Not even the unfortunate spectator in the theater seems to know what they really look as closely and looking a bit confused from the laundry. Both positions offer are two possibilities to deal with narratives, once on a visual level, another time at the level of memory work. Two artists from Sweden, no more, but also not less.
I thank the artists that they are here today and we can present their work and open the exhibition by Lisa hereby Stalspets and Emanuel Bern Stone. Thank you for your attention.

Free To Do In Toronto January 13 2010

EMANUEL BERN STONE / LISA STALSPETS

opening 10 May, 12:30 clock

The Art Association Apex per art shows of 10 eV May to 28 June 2009, the exhibition of two young Swedish artist Lisa Stålspets and Emanuel Bern Stone. The work to be Lisa Stålspets first issued in Germany.

Although both artists work appears very different way, the focus of her artistic intentions but on the question of seeing and telling. Preferably, the artist Lisa Stålspets, in 1978 in Stockholm born, with video and installation art. To make it clear that the subjective perception of the environment is inadequate, the artist takes always a new role and giving visitors thus a multi-perspective view. She does not worry too afraid to swim in an octopus costume in the Baltic Sea, disguised as a tree or go to the next corner bar.

The large-format images from Emanuel Bernstone are surveys of architectural spaces and surfaces as a scenes of narration. The painted works of the artist born in Karlskrona typically bear no closer formulated spaces which the viewer needed to give the surface a story. We see an interior that remains silent witness and plays with the notorious association will of the recipient.

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ON 3 MAI, from 17:00 CLOCK:
Closing of the exhibition COMPLETE CONTROL:

presentation of the exhibition project city makes art, a7Ausstellungen eV Hildesheim
artist talks with Diego Castro, Tanja Ostojic and Francis Zeischegg.

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COMPLETE CONTROL until May 3
images from the exhibition:



from top to bottom: francis
Zeischegg / Stephan Dillemuth / simon senn