Preservation Paths: An Interview with Liz Magor
by Alison Hugill // May 12, 2023
In this conversation, we touched on aging—both personal and material—and the incongruities inherent in decisions around what is deemed worthy of preservation…[read on]
Feb. 23, 2020
Climate change is no longer a scientific, but a societal and policy problem. Consequently, various social groups need to be involved in solution development as well as in debates on what sustainability may look like…[read on]
MONDAY, Jan. 16, 2012 PROGRAM “Artifacts and Interaction: 200+ Years of German/Turkish Material Exchange” Monday, Jan. 16; 6pm Invalidenstrasse 115 (Click here for map) THURSDAY, Jan. 19, 2012 KIM ONE NIGHT STAND with LARRY’S Opening Reception: Thursday, Jan. 19; 8pm Brunnenstrasse 10 (Click here for map) WENTRUP GALLERY “The Year Zero“ – JEN RAY Exhibition:… Read more »
MONDAY, Aug. 29, 2011 BERLINISCHE GALERIE Lecture: Homosexuality and Art – PROF. MARTIN DANNECKER; FRANK WAGNER AND HAINZ STAHLHUT Monday, Aug. 29; 6pm Alte Jakobstrasse 124 – 128 (click here for map) THURSDAY, Sep. 01, 2011 MICA MOCA “The End of the Dream (Comes too Soon)” – GROUP SHOW Exhibition: Aug. 31 – Sep. 03,… Read more »
Blog entry by Clare Ros – in Berlin; Friday, July 1, 2011.
Quynh Vantu received her Master of Architecture from the Cranbrook Academy of Art and her Bachelor of Architecture from Virginia Tech in the United States. Although trained and licensed as an architect, Quynh does not discern between architecture and art. Her work explores our physical relationship to the built environment and how we interact with our spatial surroundings. Drawing from her upbringing in the American “South”, Vantu’s work stems from influences of porch culture and “southern hospitality”, enacting social virtues and exchanges in the architectural interventions she creates.
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Blog entry by Clare Ros – in Berlin; Monday, June 20, 2011.
A Single Composite is a kinetic installation and multi-projection / viewing apparatus consisting of one 100 cm wide film strip stretched, twisted, and looped through multiple spaces by reconstituted digital printer chassis. This cinematic enterprise, a sprawling film through which declassified and other found reconnaissance footage is projected on walls, ceilings, and floors, forms a series of individual moments of surveillance and implied violence.
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Despina Stokou, Artator!
by Clare Ros // Nov. 26, 2010
Despina Stokou’s dynamic personality and engaging spirit are reflected equally through her vibrant, colorful canvases, overflowing with strong messages…[read on]
