HENDRIK KRAWEN – ICH SING’ DIR EIN LIED

Hendrik Krawen - Fatal

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

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

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