Katharina Grosse at Hamburger Bahnhof (and More!)

Oh, how I’ve missed museums! I wanted to see Katharina Grosse‘s “It Wasn’t Us” exhibition so badly! First, I love her immersive work. Second, coming back to Hamburger Bahnhof, one of Berlin’s best museums of modern and contemporary art, was a good idea, as I’ve been there once as a child and I forgot how great this place is. Now, back to Grosse. A painting by her can appear anywhere. Her large-scale works are multi-dimensional pictorial worlds in which splendid color sweeps across walls, ceilings, objects, and even entire buildings and landscapes. For “It Wasn’t Us” the artist has transformed the Historic Hall of Hamburger Bahnhof as well as the outdoor space behind the building, into an expansive painting which radically destabilises the existing order of the museum architecture. Katharina Grosse’s latest in-situ painting disregards the boundaries of the museum space in a grand and colourful gesture: “I painted my way out of the building,” said Grosse in relation to her work. Over the course of several weeks a vast new painting has emerged that stretches across the Historic Hall and into public space, over the extensive grounds behind the museum, landing finally on the façade of the so-called Rieckhallen which were inaugurated as a part of the museum complex in 2004. Grosse’s kaleidoscopic painting brings together colours and forms, natural and man-made surroundings and its visitors as participants in an all-encompassing, pulsating interaction of hues. The boundaries between objects, and between horizontal and vertical orientations begin to melt away, and the work’s scale continuously shifts depending on the visitor’s position. As the viewer moves through the painting new spaces emerge that are both artificial and ripe with associations, and at the same time completely real, forcing us to renegotiate our habitual ways of seeing, of thinking about, and of perceiving the world around us. The choice of the location and the many different factors and conditions it entails have influenced the development of the painting, just as the permanently shifting lines of sight of the viewer and unexpected interactions with the work affect our ways of perceiving it in the exhibition setting. In this sense, the work’s title, It Wasn’t Us, can be understood as a reference to the inherent complexity and unpredictability of a given situation, whether it be the conditions under which artists create their work, or the conditions under which it is later viewed. The painting exists only for the duration of the exhibition – which is open util the 10th of January 2021.

At the moment there’s also another exhibition going on at Hamburger Bahnhof, titled “Magical Soup“. Spaciously presented across more than 2,000 square metres in the museum’s Rieckhallen complex, the group exhibition features key works complemented by loans representing the latest generation of artists, with a common point of departure being the nexus of sound, image and social space. “Magical Soup” brings together works by the media art pioneers Nam June Paik, Jochen Gerz, Charlemagne Palestine, Ulrike Rosenbach and Keiichi Tanaami; by the multimedia artists Nevin Aladağ, Stan Douglas, Cyprien Gaillard, Douglas Gordon, Rodney Graham, Dmitry Gutov, Anne Imhof, Joan La Barbara, Pipilotti Rist (her installations are so powerful!), Diana Thater, Lawrence Weiner, Nicole Wermers and David Zink Yi; and by the younger artists Korakrit Arunanondchai, Trisha Baga, Dineo Seshee Bopape, Christine Sun Kim, Sandra Mujinga and Sung Tieu. Here are some of my favourites, combined with the Hamburger Bahnhof’s permanent gallery, feauturing some good old Andy Warhol and Joseph Beuys:

All photos by Edward Kanarecki.

Atelier Brancusi

This place was on my “must see” list for a while. Finally, I visited Centre Pompidou’s Atelier Brancusi – a standalone pavillon dedicated to Constantin Brancusi‘s work. Born in Romania in 1876, Brancusi lived and worked in Paris from 1904 until his death in 1957, and this is where he produced most of his forever-inspiring work. In his will, he bequeathed his entire studio to the French state. Brancusi considered the relationship between sculptures and the space they occupied to be of crucial importance. In the 1910s, by laying sculptures out in a close spatial relationship, he created new works within the studio which he called “mobile groups“, stressing the importance of the connections between the works themselves and the possibilities of each for moving around within the group. In the next decades, the studio became an exhibition space for his work, and a work of art in its own right: a body consisting of cells that all generated each other. This experience of looking from within the studio at each of the sculptures, thus perceiving a group of spatial relationships, led Brancusi to revise their positions every day to achieve the unity he felt most apposite.At the end of his life, Brancusi stopped creating sculptures and focused solely on their relationship within the studio. This proximity became so fundamental that the artist no longer wanted to exhibit, and when he sold a work, he replaced it with plaster copy so as not to destroy the unity of the group. The present reconstruction, built by the architect Renzo Piano, is presented as a museum space containing the studio. Piano’s problem lay in making the space open to the public while respecting the artist’s wishes. While the architect did not attempt to recreate the intimacy of the original, he preserved the idea of a protected, interiorised space where visitors are isolated from the street and the piazza, in particular by an enclosed garden, from which part of the studio can be seen through a glass wall. I’ve spent there about 30 minutes, trying to absorb as much as possible with my eyes. And I went out feeling as relaxed as after a lovely spa.

Photos of the exhibition by Edward Kanarecki.

(P.S. If you are inspired by my Parisian coverage, I’m really happy about, but please have in mind that now isn’t a safe time for any sorts of travelling. Stay at home!)

Boros Collection in Berlin

Two months after booking a tour place, I finally arrived to one of Berlin‘s most intriguing, art spaces – The Boros Collection. How to describe it in the most easy way? It’s fascist bunker turned into Soviet banana storage turned into illegal techno club turned into museum of contenporary art. Christian Boros’ private collection of contemporary art comprises groups of works by international artists dating from 1990 to the present. Different facets of the collection are on public display in the bunker, with 3000 sqm exhibition space. The current exhibition presents such artists as Guan Xiao, Uwe Henneken, Sergej Jensen, Katja Novitskova, Pamela Rosenkranz and Johannes Wohnseifer. And now I tell you this: visiting the place is an EXPERIENCE, whether you’re into modern art or not. Book a tour here!

Photos by Edward Kanarecki.

Cai Guo-Qiang

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Cai Guo-Qiang is the moment’s artist, whic uses fake animal figures in his monumental installations. His current exhibition called “Falling to Earth” happens at GOMA Art Gallery in Australia, and it’s situated in a huge, white space, where the only sound heard are water droplets falling down from the ceiling. Here, you might see wolves replicas flying in the air and a huge crystal blue pool, from which such animals like leopards, polar bears and tigers drink… “My idea of making this work is not to do any criticism or replication but to focus on what it means for sculptors to create realist sculptures in the time the work was created. …The end goal is not to make perfect sculptures and have them exhibited elsewhere and then have them collected somewhere. The key is to focus on the process of fabrication of these artworks, to pay attention to the process of the artists making these sculptures, rather than where these sculptures will end up and how they will look in the end.” said the New York based artist. Surely the idea has a very strong aim… what do you think of these a bit creepy installations?

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Lynn Chadwick

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Lynn Chadwick is an artist that’s mostly famous his for amazing metal sculptures. found international recognition when he became the youngest person ever to win the Venice Biennale’s prized sculptor award. His career spanned over 50 years, but he did not always plan on being an artist. Since I have seen his amazing works from 60-70’s I am seriously obsessed with metal sculptures and installations- one of my favourite is the Lion and the Detector. Recently his works are displayed by Blain Group in London, Berlin and soon in New York as Lynn Chadwick: Retrospectives!


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Berlin: Hamburger Bahnhof

zdjęcie 1Body Pressure– Sculptures since the 1960’s examines the many different approaches to the human figure in contemporary sculpture through a selection of works from the collections of the National Galeries in Berlin. Free of any exhibition architecture, the expansive Historic Hall is transformed into a light-flooded “sculpture garden”. Often fragmented and abstract the figurative sculpture of the present always negotiates our contemporary social and cultural context.zdjęcie 4The Historic Hallzdjęcie 4-kopiaFriederike Pezold- The New Embodied Sign Language According to the Laws of Anatomy, Geometry and Kinetic- 1973/1976zdjęcie 5Paul McCarthy- Michael Jackson and Bubbles- 1997-1999zdjęcie 1-kopiaDuane Hanson- Lady with Shopping Bags- 1972zdjęcie 2-kopiaRyan Gander- The Artwork Nobody Knows- 2011zdjęcie 3-kopiaMartin Kippenberger- Martin, Into The Corner, you should be Ashamed of Yourself- 1989zdjęcie 2-kopia 5Hamburger Bahnhof, one of the National Galleries in Berlin, is a huge concentration of modern art by the most famous artist like Marc Quinn, Marina Abramovic or Andy Warhol. With it’s amazing space and architecture, the museum is Berlin’s biggest modern art highlight! Always you can find here a fantastic exhibition just like the Body Pressure that is currently happening. During your next time travel to the Germany’s capital, don’t forget to visit Hamburger Bahnhof!
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Metallica, Baby!

Slide1-kopiaAs the Runway pieces hit the stores everyday in bigger amounts, here is a special mini guide of the hottest dresses, skirts, shoes and bags that are all about one trend- metal. It is essential keyword of the season- these Gucci high heels will give you much gloss with Punk outfit, and a Marc Jacobs sequin flowing gown is perfect for a fantasy Great Gatsby party… and it’s all accompanied with bright modern art of Jeff Koons and Anish Kapoor!Slide3Slide2Slide5Slide4

PAD Paris Design Art

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PAD, pioneering event for Art and Design aficionados and collectors, has been reinventing for the past 17 years the Cabinet d’Amateur and the notion of eclecticism, anticipating the esthetic aspirations of its time. Season after season, it offers an intimate cocoon to those who have made decorative arts and design the core of their collection, driven by passion and heritage.
Every edition evolves in aim to create an unprecedented dialogue between modern art, historical and contemporary design and jewelry. This year will give greater room to Primitive Art, and will highlight the vitality of raising such perspectives. The engaging aspect of PAD is its invitation to enter a personal collection, conceived by a selection of local and international art dealers – all of whom are leaders in their fields, eager to address each passionate collector in a unique manner. In this salon, mind is enlivened and imagination is exhilarated, as entering a place where the contemporary taste for 20th and 21st century decorative art is born.20130328-095324 AM.jpg20130328-095335 AM.jpg20130328-095353 AM.jpg20130328-095411 AM.jpg20130328-095425 AM.jpg20130328-095445 AM.jpg20130328-095503 AM.jpg20130328-095519 AM.jpg
PAD was my biggest highlight of Paris. In reality, I took more photos here, than in whole Paris! The chairs mostly cost more than 20’000€, deorations and sculptures 50’000€ and paintings by Warhol or Picasso? A cosmic price! While walking from one box to another, from giantic fish, to Mendini chairs, to leopard painting and “Feet” chair I was so amazed with everything! But my 100% favourite was the sofa made from mink fur, and had around and on sides real gold crocodiles and lizards! Maybe it wasn’t really comfortable, but it was art!
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The exhibition/target is located in Tuilleries garden that is really big and beautiful. After Paris (PAD lasts for about 5 day!) moves to Los Angeles with all other labels. The labels and brands that are here come from France, Belgium, England, Switzerland, Philippines and many, many more! As I said I loved this place insanely, the same as all chairs, crystals and even the Restaurant Roberta that served delicious spaghetti!

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