HENDRIK KRAWEN – ICH SING’ DIR EIN LIED

Hendrik Krawen, Golf von Oman, 2017, Oil on Canvas, 300 x 150 cm

Hendrik Krawen, Golf von Oman, 2017, Oil on Canvas, 300 x 150 cm

HENDRIK KRAWEN – ICH SING’ DIR EIN LIED (PART 2)
11 November – 30 December 2017
Opening reception: Saturday, 11 November, 6 – 9 pm
ITALIC, Leipziger Str. 61, 10117 Berlin, Germany

Hendrik Krawen’s artistic focus is on painting, drawing and graphics.

A consistent feature in his work is reduction. With his affinity for music and pop culture and the references to it in many of his works, as well as in the knowledge of his enthusiastic and inspiring activities as a music collector and DJ (he has also designed flyers, posters and record covers – including eight for italic), one might even speak of Dub. In this musical genre, which originally emerged from Reggae, songs are purged and reduced to their essential elements; and single markers are repeated e.g. with echo effects. Likewise, Krawen interprets the surrounding world, reducing it to precise stark drawings, he works with a monochrome colour scheme and through the use of patterns makes visible the constructed nature of a supposed chaos.

Krawen’s drawings remind one of Ingres, of the illustrative works of early Warhol, of the Franco-Belgian ligne claire school of comics and, of course, of architectural drawing. Fastidiously rendered, he often contrasts his motifs with coarse shadow-figures, who in painterly quality go beyond mere staffage. Krawen’s tools are brushes and paint. The graphite pencil is used only privately or in the sketchbook.
Krawen plays with typography, between sgraffiti and graffiti, twisting and turning letters, working with stamps and stencils. Here handwork is crucial. Krawen does not paint watercolors onto computer prints. Keeping with music, his inspiration is more likely to be found in the DIY aesthetics of early Detroit Techno, Jamaican Reggae records, or African music.
Krawen’s painting is solid, graphical, often full-tone. Here, too, he works with utmost care – application of color, monochromy, contrast. What is portrayed becomes emblematic. Gestural expression is of less importance to him; rather an affinity to screen-printing, as an idea, the pattern, the serial.

ICH SING’ DIR EIN LIED – meaning “I’ll sing you a song” – is an exhibition in two parts.

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Hendrik Krawen, Ich sing’ dir ein Lied (Part 1), exhibition view ITALIC Berlin, 2017

HENDRIK KRAWEN – ICH SING’ DIR EIN LIED (PART 1)
9 September – 4 November 2017
Opening: Saturday, 9 September, 6 – 9 pm
ITALIC, Leipziger Str. 61, 10117 Berlin, Germany

For the first part (9 September – 4 November), Hendrik Krawen combines six individual works in situ to create a great narrative. Five landscape formats, one square. The color palette is reduced to brown, yellow and green, the color application is solid. I’ll sing you a song. From left to right are two shadows, an embrace, a kiss, folding pictures, a interplay with strong contrasts, what is there, what is not, what is the substance, what is the emptiness – all just a dream? This repeats itself in the stars – when I stamp them out, do I see them? Or not? “Fatal” (oil on canvas, 2016) is the title of the largest work. An urban network of streets, a connexion in the literal sense: framed by two watercourses in the form of a male and a female silhouette, which seem caught in an intertwining movement; the street names are an alphabet of meeting, loving and parting. Next to the green square, then “Fin”, the end, the orange-brown writing, the dark brown background bulges up, the paint seems to be blistering off, creating space, for something behind it: I’ll sing you a song. And it is far from over.

The second part (11 November – 30 December) belongs to the opposing tiled wall. The painting »Gulf of Oman« (oil on canvas, 2017) is part of his series of works featuring oil tankers, begun in 1991 (the first Gulf War). Hendrik Krawen translates the subject of marine painting, of real or possible veduta – decipherable in the composition of the ship models – into his own language: the extremely deep angle of perspective and the horizon, the wide-open sky, the precision in the monochrome representation. This can also be found in his cityscapes – where the real or possible location becomes visible by means of architectural elements and typographical signs, such as signposts or advertising billboards. I’ll sing you a song. The great ships distance themselves from us. I see them disappearing on the horizon.

Text: Andreas Reihse

Hendrik Krawen (b. 1963, Lübeck) lives and works in Berlin.

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Hendrik Krawen, Ich sing’ dir ein Lied, exhibition view ITALIC Berlin, 2017

Hendrik Krawen - Fatal
Hendrik Krawen, Fatal, 2016, Oil on canvas, 110 x 220 cm

Photo: Lepkowski Studios Berlin

KIRA BUNSE – PRZYSTANEK WOODSTOCK

Kira Bunse, Przystanek Woodstock, exhibition view ITALIC Berlin, 2017

KIRA BUNSE – PRZYSTANEK WOODSTOCK
8 July – 26 August 2017
Opening: Saturday, 8 July, 6 – 9 pm
ITALIC, Leipziger Str. 61, 10117 Berlin, Germany

Kira Bunse mainly works as a photographer in the field of fashion, primarily with young models. Her own artistic work is also regularly devoted to the attitude towards life shown by adolescents and youths. She often addresses aspects of youthful physicality and sexuality. Generation-specific musical influences also play an important role as a mode of expression and as a catalyst.

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Kira Bunse, Przystanek Woodstock, exhibition view ITALIC Berlin, 2017

With the exhibition Przystanek Woodstock at ITALIC, Bunse shows selected works from a series that was created in Summer 2013 at the free rock and independent music festival of the same name in the Polish town of Kostrzyn nad Odrą. The analogue black-and-white photographs, consistently printed in the same portrait or landscape format, appear as snapshots of the seemingly carefree activities of the young festival attendees. Alternating between documentary observation and a conscious aestheticization of the subjects, the images point to the special relationship between the photographer and the protagonists she has discovered on location. Supported by the social dynamics of the music festival, Bunse succeeds in capturing very special, intimate moments in this liberated atmosphere. In the tradition of Diane Arbus or Nan Goldin, her images of the young people at the festival can also be seen as social portraits, in which those who are generally not perceived as such become the main actors.

Text: Philipp Fürnkäs

Kira Bunse (b. 1978, Braunschweig) lives and works in Paris.

Publicity:
purple.fr/diary/kira-bunse-exhibition-opening-italic-berlin

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Kira Bunse, Przystanek Woodstock, exhibition view ITALIC Berlin, 2017

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Kira Bunse, Przystanek Woodstock, exhibition view ITALIC Berlin, 2017

SAVE THE DATE: Kira Bunse - Przystanek Woodstock, 8 July - 26 August, Opening: Saturday 8 July 2017, 6 - 9 pm, ITALIC, Leipzigerstr. 61, 10117 Berlin@kjbunse #kirabunse #przystanekwoodstock #photography #exhibition #berlin #paris #italic #art

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Kira Bunse, Untitled, 2013, analog b/w print, baryt paper, 40 x 50 cm, Edition 3 + 1 ap
Kira Bunse, Untitled, 2013, analog b/w print, baryt paper, 50 x 40 cm, Edition 3 + 1 ap

Kira Bunse, Untitled (Mud Girl 1), 2013, C-print, 30 x 40 cm, Edition 10 + 1 ap
Kira Bunse, Untitled (Mud Girl 2), 2013, C-print, 30 x 40 cm, Edition 10 + 1 ap

Installation view photography: Lepkowski Studios Berlin

NIKOLAI SZYMANSKI – MY LAPIS LULLABY

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Nikolai Szymanski, My Lapis Lullaby, exhibition view ITALIC Berlin, 2017

NIKOLAI SZYMANSKI – MY LAPIS LULLABY
28 April – 10 June 2017
Opening: Thursday, 27 April, 6 – 9 pm
ITALIC, Leipziger Str. 61, 10117 Berlin, Germany

Nikolai Szymanski’s works deal in different ways with the medium of moving images and questions of space in the realm between illusion and reality, invisibility and visibility, the private and public spheres, but also between art and everyday life.

Under the title “My Lapis Lullaby”, Szymanski presents a site-specific installation at ITALIC consisting of the video sculpture of the same name and the film work “Ghostshopping”. In addition to its striking tiles, the exhibition space is bathed in a deep blue. “My Lapis Lullaby” fits into this environment as a miniaturized pool, in which water becomes abstractly visible as a ghostly moving projection. In “Ghostshopping”, the viewers encounter illuminated shop windows by night and interiors of shops, empty of inhabitants, strangely deserted and desolate.

In the overall installation, Szymanski associatively brings together various references from art and popular culture. The blue of the walls is reminiscent of the French artist Yves Klein and deliberately refers to his statement that blue is “the visible invisible”. This way, an additional resonant space opens up against the illusionistic projection of the water. At the same time, the pool plays an important role as a place of longing, as in the paintings of David Hockney or as a (status) symbol of the Californian lifestyle, combined with the ideal of eternal physical youthfulness. “Ghostshopping”, on the other hand, evokes the potentially dark side of a seemingly infinite blue, which at night can evolve into something rather sinister. Amongst other references, Szymanski is inspired by the song Blue, from the eponymous album (1971) by the Canadian artist and painter Joni Mitchell, as well as the early film Ghost Dance (1983) by British director Ken McMullen. Solitude and isolation are reflected in the images of nocturnally deserted places, which seem to be inhabited only by spirits. In their nocturnal emptiness, they stand for traces of what is no longer present, and in the overall picture they remain in keeping with Szymanski’s artistic approaches to the invisible and the unspoken.

Text: Philipp Fürnkäs

Nikolai Szymanski (b. 1986, Düsseldorf) lives and works in Düsseldorf and Cologne.

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Nikolai Szymanski, My Lapis Lullaby, exhibition view ITALIC Berlin, 2017

Photography: Lepkowski Studios Berlin

LUKAS HEERICH – CREEPERS

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Lukas Heerich, Creepers, exhibition view ITALIC Berlin, 2017

LUKAS HEERICH – CREEPERS
6 February – 15 April 2017
Opening: Saturday, 4 February, 6 – 9 pm
ITALIC, Leipziger Str. 61, 10117 Berlin, Germany

Lukas Heerich‘s work deals with the subject of visibility and invisibility in different media using surfaces, overlays and stratifications.

With Creepers he devotes himself to the camouflage pattern. Closely associated with the methods of modern warfare, it was first tested in field combat during the First World War. Since the late 1960s, however, Camouflage has also become increasingly present in the civilian sphere: sometimes as a sign of pacifist protest, or as a conscious public provocation. Later, in many variations, it became part of fashion.

Heerich dissects and processes selected camouflage patterns and then precisely stencils them onto the carefully prepared canvas. Selected shapes and colors combine subtly varied elements from different historical and geopolitical contexts. The individual components of the patterns thus lose their clear recognition value and identities seem to dissolve in the process.

Placed in the exhibition space, with the distinctive tiles typical of GDR architecture, Heerich‘s work additionally unfolds its character as picturesque gestures.

Text: Philipp Fürnkäs

Lukas Heerich (b. 1989, Düsseldorf) lives and works in Paris.

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Lukas Heerich, Untitled (Creeper), 2016, acrylic and oil on canvas, 220 x 160 x 6.5 cm (detail view)

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Lukas Heerich, Untitled (Creeper), 2016, acrylic and oil on canvas, 220 x 160 x 6.5 cm (detail view)

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Lukas Heerich, Untitled (Creeper), 2016, acrylic and oil on canvas, 220 x 160 x 6.5 cm

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Lukas Heerich, Creepers, exhibition view ITALIC Berlin, 2017

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Lukas Heerich, Creepers, exhibition view ITALIC Berlin, 2017

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Lukas Heerich, Creepers, exhibition view ITALIC Berlin, 2017

Photography: Lepkowski Studios Berlin