En Cuerpo y Alma

sala Kubo-Kutxa San Sebastián 18 junio -27 septiembre 2015

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http://www.sala-kubo-aretoa.eus/

EN CUERPO Y ALMA. MUJERES ARTISTAS DEL SIGLO XX Y XXI

Del 19 de junio al 27 de septiembre de 2015 Comisarias: Marisa Oropesa y María Toral

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Autismo, serie Flusser

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En Cuerpo y Alma

sala Kubo-Kutxa

San Sebastián

18 junio -27 septiembre 2015

[iranian-atheist]

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Darya von Berner, 2014

In Memoriam Professor Dr. Phil. Hans-Peter Dürr

In Mat(t)er* multiple windows open on a computer screen when, during a skype conversation with her collaborator Lilli Hartmann, who is visiting her mother’s home in Germany and holding her baby in her arms, Darya von Berner, in her studio in Madrid, has an intuition that something special is occurring as Hartmann’s private and public spheres seamlessly invade and pervade each other as she attempts to reconcile the traditionally restrictive role of mother and nurturer with that of artist and working woman.

After asking Hartman for permission, von Berner begins to record the conversation and when, in one of the windows of Mat(t)er the mother says, "I am real", our response might be "no, you’re a virtual image" inviting us to reflect upon the contradictory interpretations of words as we struggle to pin down their meaning in order to use them to improve the world.

To show how even scientific language can be treacherous, the artist then googles a video conference in which Professor Hans-Peter Dürr, former director of the department of physics of the Max Planck Institute, explains how quantum mechanics has redefined the terms “matter” and “form” in ways that transcend the meanings that classical physics traditionally bestowed upon them. The listeners respond on different levels, the baby tunes into the soothing tone of the scientist’s voice and the calm state of her mother whereas she (the mother) concentrates on the significance of the concepts expounded by the words, while the artist and the spectators are equally affected by both of these facets as we are drawn into intimacy.

The discovery and analysis of contradictions drives the evolution of the meanings of words as they adapt themselves to suit the changing requirements of a world constantly reinventing itself and the resultant new ideas and tools in turn provoke further evolutions that deepen the understanding of the traps and snares inherent in inherited patriarchal language.

Digital networks, when combined with basic and fundamental human technologies such as language and logic, become a powerful tool for the transformation of hierarchical, unidirectional and homogeneous culture into another that values the heterogeneous, creating space for new kinds of relationships no longer subject to subordination. *A play on mother/matter.

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der-rote-faden_2014 Luminale Saalgasse 18, Frankfurt March 30th – April 4th Der Rote Faden (the red line) is a German phrase (Goethe „Elective Affinities“) that refers to a track, a path or a guideline. A Roter Faden connects distant things that belong together. The building in Saalgasse 18, Frankfurt, by architect Charles Moore and Norbert Moest, is an example of an emotional and pluralistic post-modern architecture. The two houses are in reality just one. A red light tape joins the two seemingly different house-halves and repeats in it’s movement the circular elements of the architecture. Thanks to the generous support of: Ms. Monika Hermann-Simsch and Mr. Dr. Peter Hermann Light Tape® 

See more at: http://www.daryavonberner.net/en/der-rote-faden2014#sthash.5Xs8JMyG.dpuf

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Meister Klee!  Darya von Berner

(Deviation on the basis of the standard, BG II.11/17 Paul Klee)

Photo: ©Sven Hertel, Stadtarchiv Dessau-Roßlau

Light Tape®, studio daryavonberner

Triennale der Moderne, Stiftung Bauhaus Dessau, 2013

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Meister Klee! ‘Atelierhaus’ Bauhaus, Triennale der Moderne, Dessau 11, 12, 13 of October 2013 http://www.triennale-der-moderne.de/dessau/triennale-wochenende-iii/ Meister Klee! is a performance and light drawing on the balconies of the ‘Atelierhaus’ facade (Bauhaus, Dessau). The work is a three-dimensional translation of a drawing by Paul Klee, drawn in the air and freely adapting architectural dimensions. with kind support from Light Tape and Bauhaus Dessau

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VISIT !!!

http://daryavonberner.tumblr.com/technology

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Mountain Tree House

Darya von Berner Mountain Tree House, 2010 76 x 60 cm animated light panel (Light Tape) with 8 cm, DC 12V switching power suply adaptor.

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Fountain or Not

Paper maché, plaster, crocheted recycled plastic 360 x 480 x 610 mm Madrid, 2013 "A Museum That is not, one could say begins and ends in Marcel Duchamp’s Studio ....". Almost a hundred years later, Fountain or Not, a handmade replica of the original, wrapped in crocheted recycled plastic is exhibited in Darya von Berner’s studio. Duchamp’s Fountain, submitted for the exhibition of the Society of Independent Artists in 1917, was rejected by the selection committee, although some historians and art theorists, as Peter Bürger, considered it an important milestone in the art of 20th century. After much debate about whether or not the piece was art, Fountain was hidden during the show. http://www.e-flux.com/journal/a-museum-that-is-not/

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Winged Victory of Samothrace or Not

Recycled plastic and plaster 0,96m x 0,75m x 0,60m Madrid, 2004 Winged victory of Samothrace or Not is a replica of the original, wrapped in crocheted recycled plastic. "(...) A roaring car that runs like a machine gun is more beautiful than the Winged Victory of Samothrace (...) there is no higher beauty, apart from fight. A work can not be a masterpiece, if it does not carry a sign of aggression in itself (...). We want to destroy museums, libraries and academies of all kind, and fight against moralism, feminism and every kind of utilitarian cowardice." Filippo Tommaso Marinetti, Futurist Manifesto (1909). http://cronologia.leonardo.it/storia/a1909c.htm

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L´Oiseau dans l´espace or Not

Recycled plastic and wood 2,07m x 0,15m Madrid, 2004 L'Oiseau dans l'espace, or Not, is a replica of the original, wrapped in crocheted recycled plastic. L'Oiseau dans l'espace, is a series of sculptures by Constantin Brancusi. In 1927 it became the centre of a heated legal debate, redefining the meaning of art. The lawyers had to decide whether it was an ‘original sculpture’ or a metal article. It was not clear whether the ‘Bird’ could be called art, because it looked like nothing anyone had ever seen before. The following is an extract from the conversation that took place in the courtroom: lawyer: What do you call this? photographer: I use the same term the sculptor did, oiseau, a bird. lawyer: What makes you call it a bird, does it look like a bird to you? photographer: It does not look like a bird but I feel that it is a bird, it is characterized by the artist as a bird. lawyer: Simply because he called it a bird does that make it a bird to you? photographer: Yes, your honour. lawyer: If you would see it on the street you never would think of calling it a bird, would you? (photographer: Silence) 2.lawyer: If you saw it in the forest you would not take a shot at it? photographer: No, your honour. http://www.legalaffairs.org/issues/September-October-2002/story_giry_sepoct2002.msp Stéphanie Giry is an associate editor of Legal Affairs.

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Mountain Tree House, 2010 Combination of technology and nature Photography with animated light effect Material: vinyl coated Photography 76 x 60cm, Light Tape, Power Supply

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Fuera de lugar

Use the words otherwise the words will use you. Dimensions: 10 leather cases, each measuring 7cm x 18cm x 18cm, and a wooden/crystal display case 157cm x 29cm x 29cm Case of leather-lined wood with the word “Prostitución” (engl.: prostitution) engraved into the lid, the case is lined in red velvet, printed inside the lid is the word “Prostitución”. The display case is made of white lacquered wood and glass. Inside the shelves fit 9 of the red leather cases. In the glass display top, fits the tenth case. 15,000 candies wrapped in metalized paper, printed on them the word “Prostitución”. A high-class hostess, wearing a red dress and silver high-heeled sandals.

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Last Illusion (Golden Shit)

Brooch Bronze, gold 3.5 cm x 3.0 cm (approx) Case Cardboard 7.5 cm x 7.5 cm

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A.68

Doméstico’00 Madrid, 2000 68 peepholes were mounted into the entrance door of an appartment in Madrid. The peepholes were installed in reverse, so the people outside of the flat could get a closer look of what was going on inside. Inspired by Marcel Broodthaers Curators: Teodora Diamantopoulos, Joaquín García, Andrés Mengs, Giulietta Speranza and Virginia Torrente. Photo: Joaquín Cortés