DEFINING SPACE

17. BIS 22. APRIL 2013



THOMAS BALDISCHWYLER: POEM DRIPPING STONE SCISSORS

24. NOVEMBER 2012 BIS 31. JANUAR 2013



NEUE HEIMAT

12.SEPTEMBER BIS 27.OKTOBER 2012





MISHIMA AKIYOSHI

AWAKENING HYPNOSIS



LO-FI LONGINGS

09. JUNI BIS 14. JULI 2012



BERND TRASBERGER

NEUZEIT

26. APRIL BIS 2. JUNI 2012



EDITIONEN

10. MÄRZ BIS 14. APRIL 2012



JEAN TINGUELY - BRIEFE AN FAMILIE SCHMELA

29. JANUAR 2012 BIS 03. MÄRZ 2012



MARCO MEIRAN

I AM IN THIS WEIRD BEACH...LACUMA LETUA

03. DEZEMBER 2011 BIS 21. JANUAR 2011



JOHANNES WEISS

VERHALTEN

08. OKTOBER BIS 18. NOVEMBER 2011



HIROKI TSUKUDA "NEW TOKYO"

13.AUGUST BIS 24. SEPTEMBER 2011



ASLI SUNGU/MAYA SCHWEIZER: DER TURM AM SEE

2. JULI BIS 30. JULI 2011



PHILIPP KREMER

30. APRIL BIS 24. JUNI 2011



NACHTAUSLAGE NR.9: ROSSELLA BISCOTTI/KEVIN VAN BRAAK

IN DEN FENSTERN VOM 18. MÄRZ BIS 23. APRIL 2011



NACHTAUSLAGE NR.8: HEIDI VOET

IN DEN FENSTERN VOM 04. BIS 10. MÄRZ 2011



NACHTAUSLAGE NR.7: JOHANNES WEIß

IN DEN FENSTERN VOM 25.FEBRUAR BIS 03. MÄRZ 2011



NACHTAUSLAGE NR.6: STEF HEIDHUES

IN DEN FENSTERN VOM 18. BIS 24. FEBRUAR 2011



NACHTAUSLAGE NR.5: EGGERT/RICKLEFS

11. BIS 17. FEBRUAR 2011



NACHTAUSLAGE NR.4: TOMMY STØCKEL

04. BIS 10. FEBRUAR 2011



NACHTAUSLAGE NR.3: ALEXANDER LIECK

28. JANUAR BIS 03.FEBRUAR 2011



NACHTAUSLAGE Nr.2: SONJA GERDES IN COOPERATION WITH XXXL DIE SCHMIEDE

21. BIS 27. JANUAR 2011



POLA SIEVERDING: NEVER MIND ABOUT THE SIX FEET. LETS TALK ABOUT THE SEVEN INCHES.

26.NOVEMBER 2010 BIS 08. JANUAR 2011









Installationsansicht, Foto: Ulrich Urban






Installationsansicht, Foto: Ulrich Urban






Venus, 2009, ADA Process, 127 x 85 cm, Aufl. 5+1AP, Foto: Ulrich Urban






Talking Head, 2010, Digital C-Print, 10 x 10 cm, Aufl.20, Foto: Ulrich Urban



About the Seven Inches
Text by Marc Siegel

Pola Sieverding likes to look at men. Many of her works on video focus either on groups of men together in public spaces or individual men isolated from their environment. Her steady gaze on the band and audience at a heavy metal concert in To the Crowned and Conquering Child (2007) turns white boyish masculinity into a series of expressive abstract movements. Slowing down the image, for instance, Sieverding transforms head banging into gorgeous brushstrokes in time, colorful traces of movement across the frame. By alternating slow-motion and real time footage, she seems to move between an affectionate fascination for the boys’ energy and a critical parody of their animalistic ritual. The slowed down sound translates the singers’ voices into the grunts and primal roars of odd creatures. In Nocturne Arabesque (2009), another video contemplating a group of men–in this case, a group dancing together in the open air in Palestine–Sieverding’s use of slow motion seems less a function of abstraction or criticality than a means of relishing in the proximity of men’s bodies. Lingering over the slowly moving images of the jubilant men laughing, jumping, and dancing arm in arm, one contemplates not only their intimacy but also their relationship to the woman observing them. Likewise, Belgian-Arabic singer Natascha Atlas’s version of James Brown’s male-chauvinist classic, “It's a Man's Man's Man's World,” on the soundtrack thematizes not only the masculinity on display in front of the camera, but also “the woman or a girl” behind it.

This gendered relationship between observer and observed comes to the fore in Sieverding’s studies of individual men. Her videos Work in Progress #1 (2009) and Work in Progress #2 (2010) focus on LINK, a handsome person of color whose face is framed in extreme close-ups. In both works, grainy, nostalgic Super 8 film footage (black and white in #1 and color in #2) is juxtaposed with brief moments of crisp, contemporary video material. Always returning the camera’s stare, LINK appears seductive, pensive or playful, yet ever at ease under Sieverding’s watchful eye. The intimacy between the two of them ensures that the sudden interruption of images of LINK with glistening lipstick and false eyelashes does not come across as shocking or exploitative. The images function rather as sympathetic variations on LINK's gender presentation, variations on ways of being a man.

With two new videos, Make Up and the two channel installation Face to Face (both 2010), Sieverding’s investigation of gender presentation takes on a newfound gravity. Make Up is a durational piece of observation and self-criticism. For the first time, the artist presents an unedited, approximately thirty-minute study of LINK’s face while he applies and removes make-up, a Bindi, and a wig. The camera serves as his cosmetic mirror. For the first two-thirds of the tape, LINK displays the warm, friendly, and confident face we have come to know from Sieverding’s other work. He seems to enjoy and almost revel in the transformation of his masculine attributes into a convincing femininity. However, his comfort with his appearance and the situation seems to shift abruptly as he decisively outlines his mouth with red lipstick, ever widening the circles so as to cover much of his face with red. Staring at the camera/mirror, looking no longer beautiful, but confused or insulted, LINK then proceeds to remove his make-up. He takes time, presenting his defiant face at each stage of decomposition. As part of Sieverding’s ongoing study of LINK, Make Up introduces doubts about the self-assured gender performance that marked Work in Progress 1 & 2.

In Face to Face the artist extracts moments of drama and suspense out of a choreography of glances and a relay between camera and body movements. The two channel video installation, shot on Super 8 color film, provides glimpses of a white, middle-aged man (the actor Mex Schluepfer, another frequent Sieverding collaborator) in moments of reflection. The images presented side by side alternate between extreme close-ups of the man’s expressive face (typically on the right side) and full body shots that reveal a park setting. Tension arises when introspection shifts suddenly to extrospection. An early sequence juxtaposes the slow revelation of Schluepfer’s face and his slightly disdainful stare at the camera on the left side with his persistently contemplative face looking downward on the right. Soon, Schluepfer’s eyes move ever so slightly to return the camera’s gaze. This penetrating image of his intense stare weighs heavily on the right side while the medium shot on the left flickers and disappears. Through this synchronization of looks with body and camera movements, Face to Face develops into an elegant investigation of the rhythms, moods, and poses of its male subject.

Sieverding presents these two new works under the unexpected motto of a typically risqué Mae West saying: “Never mind about the six feet. Let’s talk about the seven inches.” West’s witty, disarming reduction of a strapping man to his purported penis challenges normative gender and sexual roles. With West, there is no question about who objectifies whom. Sieverding on the other hand doesn’t reduce her male subjects to their genitals. Nevertheless, her invocation of West might be taken as a hint that the two women share an aesthetic and political project, namely a contemplation of the constituents of masculinity and a reorientation of the power dynamics between observer and observed, between woman and man.



PHILIPP FÜRHOFER

MISSING LINKS

08. OKTOBER BIS 13. NOVEMBER 2010



5 JAHRE GALERIE LENA BRÜNING

FREITAG, 17. UND SAMSTAG, 18. SEPTEMBER 2010 JEWEILS AB 21 UHR, BAR AB 20 UHR GEÖFFNET



INFERNOESQUE at LENA BRÜNING

24. JULI BIS 11. SEPTEMBER 2010



KEVIN COSGROVE: A WORKABLE SPACE

11. JUNI BIS 17. JULI 2010



FORT präsentiert THE GOLDEN RULE

90 MINUTEN PERFORMANCE



LUCILE DESAMORY: OVOMANCIE

01. BIS 29. MAI 2010



JOHANNES WEISS

OSZILLATIONEN

06. MÄRZ BIS 24. APRIL 2010



KÜNSTLER DER GALERIE III

06. BIS 27. FEBRUAR 2010



BERND TRASBERGER

STUNDE NULL

12. DEZEMBER 2009 BIS 30. JANUAR 2010



SOOTO hungry

24. OKTOBER BIS 05. DEZEMBER 2009



ASLI SUNGU

FARBE BEKENNEN

5. SEPTEMBER BIS 17. OKTOBER 2009



IN GEDANKEN (DRAUSSEN) SEIN

20. JUNI BIS 22. AUGUST 2009



POLA SIEVERDING: CADAVRE EXQUIS

2. MAI BIS 13. JUNI 2009



JOHN HODANY: HOLY ROLLERS

21. MÄRZ BIS 25. APRIL 2009



KÜNSTLER DER GALERIE II

13. FEBRUAR BIS 14.MÄRZ 2009



5 x VIDEO

4. BIS 8. FEBRUAR 2009



PHILIPP FÜRHOFER

TRANSFERENCE

13. DEZEMBER 2008 BIS 31. JANUAR 2009



BREMSLICHTER DER ERKENNTNIS

25. OKTOBER BIS 29. NOVEMBER, 2008



LUCILE DESAMORY: THE BUTTERFLY DANCE

6.SEPTEMBER BIS 17.OKTOBER 2008



BERND TRASBERGER

WIR BAUEN EINE NEUE STADT

13.JUNI BIS 25. AUGUST 2008



FORMED ABSENCE OF LIGHT (SCHATTEN 3-27)

26. APRIL BIS 31. MAI 2008



VOM GEHENMÜSSEN UND BLEIBENKÖNNEN

11. MÄRZ BIS 12. APRIL 2008



STOCKFINSTER IST ES DRAUSSEN

29.JANUAR BIS 1.MÄRZ 2008



ALICA KWADE: JUNGE STERNE RAUCHEN

27. NOVEMBER 2007 BIS 12. JANUAR 2008, VIDEOSCREENING SONNTAG, 20. JANUAR AB 17 UHR



PHILIPP FÜRHOFER

H/E/R/Z/E/I/G/E/N

23. OKTOBER BIS 17. NOVEMBER, 2007



THE ITCH

07. SEPTEMBER BIS 13. OKTOBER 2007



TILMAN KNOP: TANTE KUSCHELTECHNOLOGIE

07. JULI BIS 04. AUGUST 2007



PAPIERARBEITEN

02. JUNI BIS 23. JUNI, 2007



ALBRECHT FUCHS

24. MÄRZ BIS 12. MAI 2007



KÜNSTLER DER GALERIE 1

30. JANUAR 2007 BIS 17. MÄRZ 2007



RICHARD TUTTLE: NEW WORK-DRAGON`S BREATH

27. NOVEMBER 2006 BIS 20. JANUAR 2007



PETER JAP LIM: MOST WANTED ART

14.OKTOBER BIS 17.NOVEMBER 2006



ODYS SEE

03.SEPTEMBER BIS 07.OKTOBER 2006



MAX SCHREIER: HEUER in Kollaboration mit CFM und Daniel Müller-Friedrichsen

3. JUNI BIS 16. AUGUST 2006



ALICJA KWADE: DAILY PLANET

01. BIS 27. MAI, 2006



MIRKO TSCHAUNER: FIEBER

14. MÄRZ BIS 15. APRIL 2006



21. JANUAR BIS 06. MÄRZ 2006



UFO-UMIS

21. NOVEMBER 2005 BIS 07. JANUAR 2006



PETER JAP LIM: DAS BESSERE ENDE

30. SEPTEMBER BIS 05. NOVEMBER 2005