July 19, 2013
Danielle Adair & Natalie Häusler curated by Gladys-Katherina Hernando, Los Angeles
The exhibition of Danielle Adair and Natalie Häusler will present two site-specific sound works that embrace the temporal nature of “The Funny Pit” and its temporary location in Leipziger Strasse, Berlin. The artists will explore the fragmentation of communication and storytelling through visual and experiential methods.
Danielle Adair lives and works in Los Angeles and is currently a Fellow in Film/Video/New Media at the Akademie Schloss Solitude, Stuttgart. Adair’s videos have shown in exhibition and screening venues internationally, and with her current body of work, And I Think I Like It., she has performed most recently at the Kiesel, Friedrichshafen, Human Resources, Los Angeles, and Bruno Glint, London.
Natalie Häusler was born in Munich and currently lives in Paris. She received her MFA in 2011 from Bard College/Milton Avery Graduate School of the Arts, New York and a Diploma with honors and Meisterschueler degree from Braunschweig University of Art. Her work has been shown at PS122 Gallery, New York, Soi Fischer Projects, Vancouver (hosted by Butcher Gallery, Toronto), Chelsea Art Museum, New York, Galerie Warhus Rittershaus, and Cologne and Schnittraum/Lutz Becker, Cologne.
Infernoesque Press Release:
This year’s Infernoesque setup invites viewers to muse on the anthropomorphisms of Bataille. The Berliner project room has left its longtime space on Heidestrasse with the aim of utilising a park on Leipziger Strasse for the duration of fourteen weekends.
An exhibition architecture of rough timber planks, designed by the Berlin-based artist Alex Gross under the title Die Lustige Grube (the merry pit), possesses an interior from which the soil has been excavated, revealing bare roots. As provocative as it is unusual, this exhibition space is simultaneously characterised by both presence and retreat. Each exhibition in Die Lustige Grube offers artists and visitors a fresh opportunity to fathom the singular architectural location that is Leipziger Strasse, in the centre of Berlin, and to develop unique perspectives on place and environment.
In close contact with the life of the city, this park is too urban to allow any sort of ‘wasteland romanticism’. The exhibition architecture, itself a mixture between modernist petrol station and Hieronymus Bosch’s ‘Tree Man’, is towered over by the colourful highrise flats at Leipziger Strasse 40 and 41. Hence the Grube, or pit, is more a depiction of an unexpected detour leading away from the evolutionary path towards the skyscraper. Works shown here cannot avoid asserting themselves within the context of these surrounding structures. The special appeal of the project, however, lies not only in its architectural dialogue, but also in its direct contact with people who live in the vicinity, by whom the project, together with the Wohnungsbaugesellschaft Mitte (Mitte Housing Association) WBM, is supported. This exhibition architecture prepares a stage for the inhabitants of this area.
With its summer programme, Infernoesque furthers its undeviating efforts to make alternative spaces available for artistic experiments that function as aesthetic antipoles to the conventional white cube. The Infernoesque team – Sonja Gerdes, Johannes Weiss, Marius Schmidt, Alex Gross and Anna Mields – has invited international artists to activate dialogue between people and architectures.
The exhibitions will take place during a total of fourteen events from June to September 2013 on Friday and Saturday at Leipziger Strasse 40. For the opening of Die Lustige Grube on Friday, June 7, 2013, Infernoesque will show the work Starline by the New-York-based artists Kerstin Braetsch and Adele Röder. The programme to follow, which will consist of exhibitions alternated on a weekly basis, has been created by artists and curators from Berlin, London, Glasgow and Los Angeles. As a summary of the curatorial programme, a special edition of the publication project Pascal Richter will follow.
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