15-16-17-18 Sep 2022
FLUGHAFEN BERLIN TEMPELHOF / Hangar 5/6 / Columbiadamm 10 / 10965 BERLIN
C04 ODP Galerie https://www.odpgalerie.de
POSITONS Berlin Art Fair
Previous II in der ODP Galerie
Gruppenshow
Artists of the Gallery
Opening 30.Jun, 7-9pm
Exhibition 1.JUL – 27.JUL 2022
mit
MARTIN BÖTTGER
VIKTORIA CONZELMANN
SIEGFRIED FUEREDER
AIKA FURUKAWA
LUNA HASER
ANJA HEYMANN
NINA HANNAH KORNATZ
JAKOB LIMMER
DAVID EAGER MAHER
MARTA POHLMANN-KRYSZKIEWICZ
ANNA SCHIMKAT
BJÖRN SIEBERT
ODP Galerie
Rolf-Axen-Straße 35
04229 Leipzig
+491735727305
info@odpgalerie.de
www.odpgalerie.de
Öffnungszeiten
Di–Sa 15–18 Uhr
Zu sehen sind:
RAUSCH, OPENING 08.04.2022 18UHR, Werkschauhalle, BAUMWOLLSPINNEREI Leipzig
UPCOMING:
AUSSTELLUNG RAUSCH
WERKSCHAUHALLE LEIPZIG
08.04. – 21.04.2022
VERNISSAGE: 08.04.2022 18:00 UHR
ÖFFNUNGSZEITEN
DI–FR 16-20 UHR | SA–SO 14-20 UHR | + MO 18.04. 14-20 UHR
AUSSTELLENDE
Alexandra Franke, Anja Heymann, Arina Heinze, Bea Puschka, Camilla Carlsen, Coretta Klaue, Eliane Diur, Elisabeth Stiebritz, Falko Kitsche, Fedele M. Friede, Franz Rentsch, Franziska Dathe, Geeske Janßen, Ingo Duderstedt, John Albrecht, Jonas Rausch, Julia Hochbaum, Julia Kiefer, Kang Eungbok, Kay Lotte Pommer, Klara Marlene Fischer, Lucie Hess, Lukas Schwake, Luke Carter, Margarita Kalinovska, Max Böhme, Melanie Schindler, Musafer Qassim, Nathanael Uhlig, Stefan Schwarzer, Victoria Matthies, Yvesque
KURATION
Ralitsa Benkova, Johanna Hertel
RAUSCH versammelt die verschiedenen Erfahrungen, inneren Erlebnisse und Eindrücke, die KünstlerInnen persönlich in einem Zustand des Berauschtseins empfunden haben. Im Vordergrund der ausgewählten Arbeiten steht dabei der Rausch als sehr individueller, intimer Ort der Freiheit und Entkopplung von vorgefertigten Denkmustern sowie der Rausch als Teil des Arbeitsprozesses beim Kunstschaffen selbst.
Einige KünstlerInnen beschreiben den Malprozess als explosionsartige Entladung durch eine körperliche Kraftanstrengung. Andere empfinden in der meditativen Hingabe zum Detail und dem Ausblenden von allem anderen eine gebannte Euphorie. Der Rausch entsteht oft auf natürliche Art, schließt aber den Konsum von bewusstseinsverändernden Substanzen nicht aus. Wichtiger als die Mittel ist der Sinneszustand selbst, der einen endlosen Raum bietet sich selbst und Denkmuster aufzulösen, sich fernab gesellschaftlicher Zwänge zu bewegen, sich auf etwas gezielt zu fokussieren oder loszulassen.
Inspiration oder Quellen ihrer Ekstase finden die ausstellenden KünstlerInnen dabei z.B. durch meditative und spirituelle Momente, sinnliche sexuelle Erlebnisse, Traumerfahrungen, aber auch der Kauf- oder Zuckerrausch. Andere Arbeiten beschäftigen sich mit dem negativen Kippmoment zwischen Ekstase und Agonie, also Anspannung ausgelöst durch bedrohliche äußere Gegebenheiten. Und auch das intime Durchleben eines Rauschgefühls in Ruhe und Isolation wird in den Werken thematisiert.
Who’s afraid of __ Rosa
- Date:19 Nov 2021 – 15 Jan 2022
Who’s afraid of__Rosa ist ein Dialog. Zwischen Berlin, Leipzig, Kraków, Poznań, Wrocław, Zamość und Zürich. Das kollaborative, wachsende und wanderne Ausstellungskonzept hat als Ausgangspunkt die Auseinandersetzung mit den unterschiedlichen Rezeptionsgeschichten von Rosa Luxemburg / Róża Luksemburg in Deutschland und Polen. Die Ausstellenden nehmen Anklang an ihren Tätigkeitsfeldern: Politik, Botanik, Prosa und auch allgemeiner im Interpretationsraum von Aufarbeitung, Zensur und Trauma. Dies schlägt den Bogen zur Gegenwart in der public space / private space / political space neu verhandelt werden.
Wie ändert sich der Blick auf Körper, Raum, Macht, Utopie und Freiheit?
Das Projekt vereint Arbeiten aus vielfältigen Feldern ästhetischer Praktiken: Fotografie, Installation, Malerei, Performance, Skulptur, Tanz und Video.
Rahmenprogramm:
19. November 2021 | 19 Uhr | Eröffnung der Ausstellung
19. November 2021 | 19 Uhr + 20 Uhr | Performance von Anja Heymann “Taktil”, 2021
Participating artists:
Enby Anakin
Lisa Maria Baier
Melo Börner
Judith Miriam Escherlor
Anna Goebel
Enne Haehnle
Friederike Jokisch
Renata Kaminska
Dorota Karolewska
Nadja Kurz
Roswitha Maul
Maryna Mazur
Maria Rehli
Mara Sandrock
Sophie Stephan
Louise Walleneit
Polymora Inc.
TAKTIL, Performance, 2021
AFTER THE BEFORETIMES, Collaboration Film by Viktor Witkowski
In April 2020, I reached out to over thirty artists who I have met over the past decade in different parts of the world and at different times. I asked them if they wanted to participate in a collaborative film which documents working artists today. Ten of them committed to this film project and they started filming their daily lives and routines between April and July 2020.
The result is an audio-visual collage created by artists who are based in the US, Canada, the UK and Germany. Even though the film brings together various voices, approaches, media and ideas, all artists participating share the drive to keep making work, to keep digging deeper into who they are and what it means to be making art today.
Even though the majority of the footage was shot between April and July 2020, some material was recorded in 2019 with the intention to draw a distinction between the ‚Beforetimes‘ and the ‚Aftertimes‘. „After the Beforetimes“ does not simply document working artists today, but it also offers a reflection on our current times with their politics, societal division, the ongoing pandemic, and the personal toll these issues take on each of us. Viktor Witkowski 2020
WINWINWIN, Pögehaus Leipzig, Kunstauktion, 2020
Die Preview-Ausstellung-Vernissage: 04.11.2020 ab 18 Uhr
Ausstellung: 04.11. – 22.11.2020, täglich einsehbar durch das große Schaufenster des POEGEHAUS
Auktion: “Stille Auktion”, reichen Sie Ihre Gebote bis 22.11.20 bis 24:00 Uhr online
hier geht es zum Katalog https://www.pöge-haus.de/de/projekte/jubilaeumsauktion/
IN LOVE WITH AN OBJECT by Anja Heymann
ODP Galerie www.odpgalerie.de 02.OKT- extended 2020
700.000 Golden neadles, linen, acrylic, Linoleum, bar, 100×700 cm, 2020
The Hair as Needle
In Anja Heymann`s work the needle assumes the role of a single hair. This piece of pointy, thin metal loses its sharpness when it appears in clusters of hundreds, thousands and even hundreds of thousands. Each needle is pushed through its support – a piece of primed linen – in a laborious and often painful process. Here the needle harnesses its industrial, mass-produced origin. It imitates animal hair, growth, and skin/ leather. In doing so, Heymann’s objects resemble pelts. The metal sheen of each pelt betrays its artifice, but it also elevates the object as a trophy and anomality. If we choose to look at these objects as pelts, we imagine the fantastical or extinct animal it came from. Or perhaps we choose to recognize them as symbols of power: precious pieces of animal fur that can be worn like armor.
It is appropriate to think of Heymann’s pelts as suits of armor since she clads her performers in them. Their protective quality is emphasized by the nudity of her performers who are given specific directions how to interact with any given exhibition space. Heymann’s performers are never confrontational; they acknowledge the presence of gallery and museum visitors, but they do not reach out to them. Instead, they remain bound to the objects they carry on their shoulders. The role of spectator and participant is clear-cut. We, the viewers, are kept at a distance to remind us that the needle is both a tool and a weapon: an object of desire better admired from afar.
Another object of desire and material in the work of Anja Heymann is her own hair which the artist has been collecting for the past thirteen years. In some cases, she details the amount of hair used for a work by listing the number of hairbrushes used. Even though there is a direct link between the needle as stand-in for hair and the actual human hair used by Heymann, the latter takes on a different role. It is detached from its original carrier. While the needle evokes an organic material, the hair which is organic and tied to an individual turns into an uncanny object. It implies a human carrier, but the hair suddenly exists in isolation from its carrier. The hair takes on a variety of forms: it is stitched, pressed behind glass, applied on canvas, or embedded in encaustic. These modes of usage amplify Heymann attempts to manipulate our perception of hair. In addition, her approach to hair as a medium speaks to the preservation of discarded hair. No matter if we are confronted with needles, suits of armor or discarded hair: we never quite manage to escape the sensation that we are witnessing something at once tender, fleeting, yet powerful and double-edged.
Viktor Witkowski https://www.viktorwitkowski.com/ September 2020/ Leipzig
Fotos Gustav Franz http://www.fotos-mit-freude.blogspot.de
IN LOVE WITH AN OBJECT BY ANJA HEYMANN OPENING 02. OKT 2020
IN LOVE WITH AN OBJECT
OPENING Freitag, 02.10.2020
03.10-13.11.2020
ODP GALERIE
Rolf-Axen-Straße 35, 04299 Leipzig
The Hair as Needle
In Anja Heymann`s work the needle assumes the role of a single hair. This piece of pointy, thin metal loses its sharpness when it appears in clusters of hundreds, thousands and even hundreds of thousands. Each needle is pushed through its support – a piece of primed linen – in a laborious and often painful process. Here the needle harnesses its industrial, mass-produced origin. It imitates animal hair, growth, and skin/leather. In doing so, Heymann’s objects resemble pelts. The metal sheen of each pelt betrays its artifice, but it also elevates the object as a trophy and anomality. If we choose to look at these objects as pelts, we imagine the fantastical or extinct animal it came from. Or perhaps we choose to recognize them as symbols of power: precious pieces of animal fur that can be worn like armor.
It is appropriate to think of Heymann’s pelts as suits of armor since she clads her performers in them. Their protective quality is emphasized by the nudity of her performers who are given specific directions how to interact with any given exhibition space. Heymann’s performers are never confrontational; they acknowledge the presence of gallery and museum visitors, but they do not reach out to them. Instead, they remain bound to the objects they carry on their shoulders. The role of spectator and participant is clear-cut. We, the viewers, are kept at a distance to remind us that the needle is both a tool and a weapon: an object of desire better admired from afar.
Another object of desire and material in the work of Anja Heymann is her own hair which the artist has been collecting for the past thirteen years. In some cases, she details the amount of hair used for a work by listing the number of hairbrushes used. Even though there is a direct link between the needle as stand-in for hair and the actual human hair used by Heymann, the latter takes on a different role. It is detached from its original carrier. While the needle evokes an organic material, the hair which is organic and tied to an individual turns into an uncanny object. It implies a human carrier, but the hair suddenly exists in isolation from its carrier. The hair takes on a variety of forms: it is stitched, pressed behind glass, applied on canvas, or embedded in encaustic. These modes of usage amplify Heymann attempts to manipulate our perception of hair. In addition, her approach to hair as a medium speaks to the preservation of discarded hair. No matter if we are confronted with needles, suits of armor or discarded hair: we never quite manage to escape the sensation that we are witnessing something at once tender, fleeting, yet powerful and double-edged.
Viktor Witkowski / September 2020/ Leipzig
`17.7`artists of the Galerie ODP Galerie Leipzig
Juli/August 2020
EINGEBETTET embedded (oder wie werd ich zum Fossil?/ or how I can become a fossil?)
cast resin, my hair, neon tubes, 2020
HEIMLEUCHTEN FINNISAGE 25.01.2020 ab 15 UHR Performance HAVE A LOOK VOL.II ab 17 Uhr
Initiiert vom RAUM MIT AUSSICHT und der Staatlichen Kunstsammlung Dresden sowie der Sammlung Hoffmann, Berlin
mit (von l-r) Marten Schech, Levi Wolffe, Alex Lebus, Franziska Müller(SKD-Kuratorin), Bernd Selle und Anja Heymann
HEIMLEUCHTEN, Unbekannte Gefilde, Body, 2019 Hintergrund Alex Lebus und Levi Wolfe Fotokredits: Alex Lebus
HAVE A LOOK VOL.II, Performance, 1 Std, 2019 im RAUM MIT AUSSICHT