May 25, 2016 - Neuer Berliner Kunstverein (n.b.k.) - Clemens von Wedemeyer: P.O.V. / Elizabeth Price
May 25, 2016

Neuer Berliner Kunstverein (n.b.k.)

Clemens von Wedemeyer, 2016. © Neuer Berliner Kunstverein / Jens Ziehe.

Clemens von Wedemeyer
P.O.V.
May 28–July 31, 2016

Elizabeth Price
May 31–July 29, 2016

Opening: May 27, 7pm

Neuer Berliner Kunstverein (n.b.k.)
Chausseestraße 128/129
10115 Berlin
Germany

www.nbk.org
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Clemens von Wedemeyer
P.O.V.
May 28–July 31, 2016

Elizabeth Price
May 31–July 29, 2016

Opening: May 27, 7pm

Neuer Berliner Kunstverein (n.b.k.)
Chausseestraße 128/129
10115 Berlin
Germany

www.nbk.org
Facebook / Twitter

Clemens von Wedemeyer
P.O.V.

Curator: Marius Babias

The artistic practice of Clemens von Wedemeyer (b. 1974 in Göttingen, lives in Berlin) becomes visible in video works, short films and multi-channel installations. His examination of historical phenomena is the basis of his interest and establishes socio-political references right to the present day. With non-linear narratives the artist creates condensations that make the levels of the historical and the fictional intertwine. 

The starting point of the exhibition P.O.V. (Point Of View) at Neuer Berliner Kunstverein, which assembles seven new works, is the documentary footage of Captain Freiherr Harald von Vietinghoff-Riesch, who as an amateur cameraman filmed in Europe during the Second World War between 1938 and 1942 behind the front line. Using the material as an example, von Wedemeyer examines pictorial spaces and boundaries of the subjective camera at war. The historical shots are compared, analyzed and made tangible by way of an experimental presentation. The examination is made by means of an analysis of the filmed objects, places, points of view and duration of view as well as of other film-specific coordinates. Von Wedemeyer here investigates, who is behind the camera and which information can a subjective view provide at war. The 16mm material serves as a basis for the most recent media space installations. Such as in the work Against the Point of View (2016), where one scene of the historic film footage by Harald von Vietinghoff-Riesch is isolated and reconstructed in a computer game environment in the manner of the “Virtual Battlefields” in order to then allow alternative courses of the historic event. In the two video essays Die Pferde des Rittmeisters (The horses of the cavalry captain) (2016) and Im Angesicht (In the face) (2016) entirely different motifs are reassembled. In the first work, horses become the central protagonists of the war machine, in the second, the cameraman's view of civilians, prisoners of war and Wehrmacht soldiers becomes apparent, and the perpetrator's perspective is made tangible. Was man nicht sieht (What you do not see) (2016) presents a conversation with the literary scholar, cultural theorist and writer Klaus Theweleit, the director of Neuer Berliner Kunstverein, Marius Babias and Clemens von Wedemeyer himself, in which the historical footage is commented on while viewing it and aspects such as the ethnographic view, soldiers as tourists and the crimes of the Wehrmacht are analyzed. The other new video works in the exhibition reflect the film in the continuity of previous wars and reveal how in the film footage memories of the amateur filmmakers construct themselves. Ohne Titel (Alles) (Untitled (Everything)) (2016) shows the more than three-hour long 16mm original footage trimmed to four minutes.

The research and production has been developed in a conceptual collaboration of Clemens von Wedemeyer with the artist Eiko Grimberg.

Clemens von Wedemeyer (b. 1974 in Göttingen, lives in Berlin) studied photography and media at Fachhochschule Bielefeld and at the Academy of Fine Arts in Leipzig, where, since 2013, he is a professor of media art. In 2008, together with a group of artists he founded the Artists’ Film and Video Association (afava), which he headed until 2010. His works have been shown in numerous international exhibitions and his films were shown at various film festivals, most recently, among others, at Forum Expanded, Berlin (2016); Filmfestival Diagonale, Graz, Austria (2016); Museum of Contemporary Art, Chicago (2015); Braunschweiger Kunstverein, Germany (2014); Museo nazionale delle arti del XXI secolo, Rome (2013); dOCUMENTA (13), Kassel (2012); Frankfurter Kunstverein, Germany (2011); Barbican Centre, London (2009); PS1, New York (2006).


Publication
Accompanying the exhibition and as part of the n.b.k. book series "n.b.k. Exhibitions,“ a publication by Verlag der Buchhandlung Walther König, Cologne is released, with an introduction by Marius Babias and texts by Tobias Ebbrecht-Hartmann, Tom Holert and Klaus Theweleit.


Program 

Wednesday, June 1, 7pm
"Other Planes of There"
Artist talk and film screening with Renée Green (artist, professor MIT Program in Art, Culture & Technology (ACT), Somerville/Massachusetts and New York) and André Rottmann (art historian, college research group “BildEvidenz,“ Freie Universität Berlin)

Thursday, June 23, 7pm
“Über Holger Meins—ein Versuch, unsere Sicht heute” (1982)
Film projection and discussion with the directors Gerd Conradt and Hartmut Jahn, moderated by Siegfried Zielinski (media theorist, rector of the State Academy of Fine Arts Karlsruhe)

Thursday, July 7, 7pm
"Zum subjektiven Blick im Krieg" (On the subjective view at war)
Artist talk with Clemens von Wedemeyer (artist, Berlin), Gertrud Koch (professor of film studies at Freie Universität Berlin) and Volker Pantenburg (guest professor of film studies at Freie Universität Berlin)

Sunday, July 31, 8pm
Mark Waschke 
Lecture-performance
 

n.b.k. Showroom
Elizabeth Price

Curator: Kathrin Becker

Neuer Berliner Kunstverein, presents the British video artist and Turner Prize winner of 2012, Elizabeth Price, in her first institutional solo exhibition in Berlin. After a career as a pop singer and engaging herself in sculpture, in 2006, Price began to work with video and has since developed an independent and distinctive body of work. In her process-oriented practice she questions the significance of cultural artifacts, collections and archives. She often uses archive images and documents, and discharges them of their original meaning and categorization, so that they develop a life of their own and through the reorganization of the narration in the video obtain spatial and temporal dimensions. The piece The Woolworths Choir of 1979 (2013) is a 20-minute, rhythmic video collage that combines shots of Gothic choir stalls in medieval cathedrals, an appearance of the girl band The Shangri-Las in the 1960s and a department store fire in a Woolworth branch in Manchester in 1979 and structures them on the sound level with finger snapping and clapping. Price’s main interest here is the question of the autonomy of images and sounds, and the nature of the conventions by which both are interrelated. She creates fragile connections between disparate motifs and in this way consistently makes use of the “elasticity” (Price) of digital video technology. In the title of the piece, she replaces the word “Fire” with “Choir” and, in doing so, reproduces her visual practice at a semantic level. 

Elizabeth Price (b. 1966 in Bradford, lives and works in London) received the Turner Prize in 2012. Solo exhibitions include: The Model, Sligo, Ireland (2016); Ashmolean Museum Oxford, UK (2016); Turku Art Museum, Finland (2015); Kunsthalle Winterthur, Switzerland (2014); Julia Stoschek Collection, Dusseldorf (2014); Musée d’art contemporain de Montréal (2013); Contemporary Art Society, London (2013); Tate Britain, London (2012, 2010); Bloomberg SPACE, London (2012); The Baltic, Newcastle, UK (2011); New Museum, New York (2011); Spike Island, Bristol, UK (2009).

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