RISC Night #3 12.04.2019  20pm  Berlin Schlesische Str. 38  3. Hinterhof   5.Etage
mit:
Komi Mizrajim Togbonou performs Kairos
Jan St. Werner (Mouse on Mars / Thrill Jockey Records) performs Fiebblatter Katalog
Tilman Kanitz performs Saturn A for Violoncello Solo (by Sebastian Claren)
Andi Toma performs Damn Luei Lit (Mouse on Mars / Infinite Greyscale)
Thomas Mahmoud performs with Tilman Kanitz (Univorm / The Tapeworm)
Elena Poulou (The Fall / Zen-Faschisten)
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RISC Nights #1 & #2 Yorckstr.85 Berlin, 2016
Am 08. und 09. April 2016 fanden unter dem Titel „RISC Nights #1 & #2“  
zwei Hommage Abende für den 2015 verstorbenen Gerd Rische statt. Gerd Rische war langjähriger Leiter des Elektro-Akustischen Studios der Akademie der Künste Berlin. RISC als Keimzelle Neuer Musik, viele Freunde, die er inspirierte und förderte spielten an diesen beiden Abenden Musik von ihm und für ihn. Die RISC Night #2 wurde ausserdem zum Record Release Abend der Full Blast CD “risc”. Full Blast sind Peter Brötzmann, Marino Pliakas und Michael Wertmüller sowie Electronics von Gerd Rische.
RISC Nights #1 & #2, Yorckstr.85 Berlin, 2016, u.A.mit: Ives#1 (Mahmoud/Pliakas/Wertmüller)/ Helly Hortons (Fahrenkrog-Petersen/Wallbaum/Savy)/ Thomas Mahmoud Solo/ Michael Wertmüller Solo/ Olaf Rupp/ Full Blast (Brötzmann/Pliakas/Wertmüller)/ Kalle Kalima/ Louis Rastig/ Sound Installation: Thomas Schulz/ Manuel Liebeskind/ Hörstücke: Brigitte Witzenhause "Antigone. West of Sorrow - Amplified Streams“, Produktion E-Studio AdK, Ursendung D-Radio, Sendereihe Klangkunst 2010./ “Texte für Nichts” (Wertmüller/Jirgl/Rische)/ “Pilzfuge” (Wertmüller/Weber)
Spiegelmund: “mirror-mouth”. Is it the conversation, or lack thereof, with a barber while you get a haircut, looking both in front and behind you? A speech articulate enough to reflect the world? Promotional narcissism? Dubbed as “an open forum for future programming, a reading of live texts, an exhibition of speaking images,” this Friday’s show at Am Flutgraben 3 might be comprised of all three. 
It’s worth noting the fourth descriptor, a mouthful or eyeful “weekend-pre-rage salon.” Spiegelmund is set to be the first in a series of such events, conceived as a stop in one’s Friday night before really starting the weekend spiral, lodged between the vernissage and the change of outfit to go out dancing. Attendees are invited not just to project themselves onto the works presented, but also discuss and develop a program for the series’ next event. Following the lead of the Ying Colosseum intervention series, which was held monthly in non-traditional exhibition spaces throughout Berlin in 2016, Spiegelmund sees itself as a nexus for collaboration. Every salon needs a mirror. Depending
on who’s looking, it may be a poetry reading, a gallery more inviting than most, or just a spot to get a little raucous off some Spanishwine.

The first edition of Spiegelmund takes as a motif the relation between image and language, either in print or enunciated speech. Visual works exhibited by Matthias Crause appropriate automobile logos, floating concepts like “FOCUS” and “ACCENT” affixed to the wall. A forbidding, coffin- or fortune-teller-like wooden sculpture is accompanied by a text by Patrick Gaden, beginning with “Something to place your loved ones in.” The ‘live texts’ will be read by Katrice Dustin, Caspar Heinemann, Alizee Lennox and Nat Marcus. Or are they the speaking images? And finally, a selection of music will be curated by creo en todo, tracks lingering at the threshold of turn-up but never quite diving in.
Liminal in content and form, the inaugural evening of Spiegelmund should feel like a pleasant question. As the poet Rainer Maria Rilke wrote in ‘Sonnets to Orpheus’: “Spiegel: noch nie hat man wissend beschrieben, / was ihr in euerem Wesen seid” – “Mirror: never before knowingly described, / what are you in your being?” The difficulty in defining this event may be its greatest strength.
Article by Nat Marcus in Berlin // Tuesday, Feb. 28, 2017



Black Door Istanbul was a free platform, a forum initiated in Istanbul Karaköy, 2010. BDI’s purpose was to accumulate communication. A sociogeographical journey into Istanbuls 2009 - 2013 years. The programming was/is without excluding parameter, the retrospective view is. Looking back becomes a tool, a manual. exhibitions, researches, performances, public presentations, civil sequences... Black Door Istanbul is co-directed by Mark Henley (NZ) and Matthias Crause (DE) 2012 
MEETING ON COMMON GROUND / BDI, Istanbul / 2012 - Screening: Francis Alÿs (BE), Matthias Wermke / Mischa Leinkauf (DE), Santiago Sierra (ES), Fernando Sánchez Castillo (ES). Curated by Nadim Assad (TR).
GROUP GROUP SHOW / Penny Temporary Arts, Neumunster / 2012 - Philipp Ackermann (DE), Christoph Wustenhagen (DE), Senem Denli (TR)
DAHL MEETS JUDISCH / German Hospital, Istanbul / 2012 - Marius Dahl (NO), Thomas Judisch (DE) 2011
98 WEEKS BAZAAR / Thessaloniki Biennial, Greece / 2011 - Curated by 98 Weeks, Beirut (LB)
TOUCH / German Hospital, Istanbul / 2011 - Conference: Forecasting / Performing Statistics
SLEEP: PERFORMING STATISTICS / Kafe 17, Istanbul / 2011 - Forecasting: 0090 Platform (Antwerp), Mashallah News (Beirut), Superpool Ltd (Istanbul), Buildings and Politics (Istanbul / New York), Sans Practice (Beijing)
OPEN RADIO / Acik Radyo, Istanbul / 2011 - Live to air: Burcak Konukman
INTRO / Machine Club, Istanbul / 2011 - Listening Session: Der Grieche, The XXXXXX, Rangleklods, Cortina, Franziska Mercedes Cordes, So So Modern, Ergot Garden w/ Calm Palm, Strong Minded, Munit, F L O W R S, PORSCHISMUS, Trüe Deined 4.0, Denied Reality, Die Die Die, Beauties of the Night, Basketball
MENU / Flutgraben Studios BDI Interface, Berlin / 2011 - Open Table: Michael Rudolph, Veronica Manchego, Judith Raum, Stella Schwender, Paul Phillip Heinze, Mohamed Derbal, Normen Perke, Ben Kluncker,
OUTLOOK / Der Greiche, Berlin / 2011 - Event launch: Milchhof Atiier (DE)
ATTENDING / Essential Existence Gallery, Leipzig / 2011 - Poster Release: SLEEP:Performing Statistics 2010
WORKS DON’T COME EASY / BDI, Istanbul / 2010 – Paul Phillip Heinze (DE), Philipp Ackermann (DE)
DE SERVICE GARAGE / BDI, Istanbul / 2010 - Lecture: Charlott Markus (SE), Benjamin Roth (NL), Pieter Verbeke (NL)
DAHL.BOVEE.FEIGL / BDI, Istanbul / 2010 - Marius Dahl (NO), Floris Bovee (NL), Zoro Feigl (NL)
LEAUD UN ENSEMBLE / BDI, Istanbul / 2010 - Patrick Gaden (DE), Florian Göthner (DE)
UPDATING THE ARCHIVE / BDI, Istanbul / 2010 - Yaron Attar (IL), Latif Erdem (TR), Manuel Gorkiewicz (AU), Özlem Günyol / Mustafa Kunt (TR), Volkan Kaplan (TR), Peter Kogler (AU), Derren D. Mclin (US), Philipp Schwalb (DE), Canan Tercan (TR), Christoph Wüstenhagen (DE), Ekrem Yalçindağ (TR)
PLURAL ISTANBUL / BDI, Istanbul / 2010 - Public Idea Lecture: Matteo Locci (IT), Merve Yucel (TR)
BLACK DOOR FILES / BDI, Istanbul / 2010 - Works on paper Archive – 180 Artists including – Julius Popp (DE), Matthias Weischer (DE), Kate Newby (NZ), Peter Kogler (AU), Matthias Crause (DE), Senem Denli (TR), Gallery Fist (NO/DE), Philipp Ackermann (DE), William G. Buchina (US), Ronny Szillo (DE), Seda Hepsev (TR), Guillaume Krick (FR), Shannon Reed (NZ), Matthias Crause (DE) and more…
A.B MACHINES / BDI, Istanbul / 2010 - Curated by Nathan Lee (US)
FLOWERSHOW / BDI, Istanbul / 2010 - Franziska Cordes (DE), Normen Perke (DE)

Painting offshore: the art show inspired by the Panama Papers
Echoing the duplicity revealed by the largest data leak ever, artist Philipp Ackermann’s ‘offshore painting’ show is full of works created on his behalf
Among the Panama Papers – 11.5m documents that comprised the biggest data leak in history – were details of enough privately collected Monets, Picassos and Hirsts to fill a museum. But these were not the Panama Paintings exhibited at Neu West Berlin last week. Instead, the gallery has been showcasing what London-based German artist Philipp Ackermann calls his “offshore paintings”.If it wasn’t for the media frenzy surrounding the Panama Papers, the show would never have come about. It all started when Neu West Berlin’s curator, Matthias Crause, invited Ackermann to exhibit at short notice. With less than two months to put together a show, Ackermann employed a time-saving concept he had used before. He asked the curator to play artist’s assistant and paint a copy of one of his paintings to show in the exhibition.But Crause didn’t paint a thing. Instead, he asked Galician painter Daniel de Isabel to make the copies. Crause calls the concept “painting with an invisible hand” – Ackermann gave De Isabel instructions on how to make the works via phone and email, directing the exhibition from his London studio to ape the degrees of remove involved in the offshore dealings exposed by the Panama leak.The concept is based on political philosopher Robert Nozick’s theory of the “invisible hand” or in Ackermann’s words “orders that give the impression they’ve been created by a central authority”. The only thing the artist is evading here is paintbrush-to-canvas elbow grease and maybe some shipping costs. Still, the aim was to make the paintings look like what Crause calls “an offshore, undercover business”.It’s not a new idea in art either – a parallel can be drawn to Lieber Maler male mir (“Dear painter, paint for me”), in which German artist Martin Kippenberger contracted colleagues to paint works on his behalf. “He used a multitude of strategies to obtain the highest possible profit from his ideas, though not necessarily financially,” says Ackermann of the earlier project.
As for De Isabel’s copies, the samples were “very convincing” and Ackermann believes he picked the “right person for this job”. The exhibition’s title is knowingly promotional. “The hype which the media has created around [the leak] seems like a piece of art to me,” says Ackermann. “The Panama Papers name is an accomplishment in itself.”Among the artworks on show is an abstracted interpretation of Seated Man With a Cane, a 1918 painting by Amedeo Modigliani, which is worth £18m and was the subject of a legal dispute between a New York art gallery and the heir of an art dealer who fled the Nazi regime during the second world war.Ackermann made the abstract version of the Modigliani and painted a version of it in oils, from memory, before De Isabel reproduced it. Visitors walking in wouldn’t know the Ackermann from the De Isabel. The gallery becomes a shell company of sorts for shady dealings.
“When you’re contracting someone else to make the paintings, authorship and copyright come into play,” says Crause. “It’s an intervention, not just an exhibition.” The Panama Paintings are not only symbolic of the scandal, but of wider corruption in the art market. “Money laundering in the art world is everywhere, but without the scandals. Where does the money go? Where is the ownership? It’s this behind-the-curtains process with rich people.”
Even in a show that uses the Panama Papers as a starting point, some details remain hidden. Ackermann’s works are valued upwards of £1,600, but where will the money go if they sell? “That’s yet to be decided,” says the artist.
by Nadja Sayej

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weekend riffs @ 5th Moscow Biennale of Contemporary Art 
9 digital video stills 
taken from the Trailer of the ongoing video Projekt Weekend Riffs