Within the artistic process works emerge that seem not to fit into the cosmos of an artist‘s practice. In the eyes of the maker, they have not yet been defined as an art work, or were determined as a study. In order to take a view behind the curtain, artists have been invited to propose a work they have never shown before for various reasons. Some of the works were never accepted as finished because they failed, looked overdrawn or simply appeared not good enough. Others, however, seemed too personal or intimate to show. What do unaccomplished and withheld works tell about the personality of the artist, the mechanisms of self versus external judgements, and the definition of artworks in general? Continue reading →
Going back centuries and millennia, the travel routes of migrants tell the story of a humanity ravaged by wars, famine, prosecution and crises. Traversing lands, seas and continents, the pairs of eyes that witnessed and the legs that treaded the land – of those persistent in their search for a better future, if not sheer survival – are the bearers of life experiences that remain largely untold and forgotten, even if the collective fates of migrant populations had merged into the great currents of history, shaping cultures, civilizations, peoples and ethnicities everywhere.
CIRCLE1 has invited two very different Berlin based artists – Anastasia Khoroshilova and Noga Shtainer, to exhibit their recent photographic works. The two artists first met during the preparation of the exhibition. Although they differ in their personal motivation, their camera technology and the staging of their pictures, they find a lot if common ground in terms of subject matter.
Aline Alagem’s works displayed in the exhibition Director’s cut continue her main preoccupation in recent years with the body, gender, eroticism, and with the gaze that constitutes them in the current age of a mad torrent of processed images. Alagem paints hyperrealistic paintings with a disrupted or fragmented narrative, on large scale canvases that exceed the boundaries of the painting as a window, blending beyond recognition the traditional narrative of oil painting on canvas as a coherent opening to the representation of reality. The viewer’s gaze lingers on the quality of the painting, surprised by the unconventional fusion of plasticity and refinement and the brute force with which the painting manifests itself. Continue reading →
The subject of memory stands at the heart of Dana Yoeli‘s profoundly personal yet universal work. Memory, by nature, is illusory and intangible. Nevertheless, Yoeli chooses it as her subject and transforms it into substance, into physical matter. She fluctuates between nature and artifice, documentation and fabrication, life and taxidermy.
It starts with a paradox: Aren’t highways the opposite of furniture? Movement, fluidity, itinerancy. Highway Furniture is the name of the joint exhibition by Alona Harpaz and Bettina Allamoda. But even being on the move requires a setting, needs objects and images.