<August, 2019>

  • 6P2P Project Feedback Session
    Hosted by Mikhail Haramati
    7pm - 9pm

    Event Details

    Tuesday August 6th 2019, SomoS host a new edition of our regular Peer to Peer Feedback Sessions, this time moderated by SomoS Artist-in-Residence Mikhail Haramati.

    This session is open to artists, curators and creatives of any background who would like to receive feedback on their work.

    At each session, artists and curators comment on each other’s work in an outspoken and constructive manner, with the presence of a moderator. The purpose of the session is to create a casual but focused atmosphere, in which creators get the opportunity to share their own work-in-progress and challenges, and at the same time to critique their peers.

    The session is free of charge. Capacity is limited to 8-10 people per session so registration in advance is required.

    Please confirm your participation by emailing somos@nullsomos-arts.org, and we will send you a confirmation back.

    Please bring along documentation of your work in any shape or format. There will be a video projector available. Physical work is also welcome.

    About Mikhail Haramati

    Areal painting of San Leandro Airportscape.
    Mikhail Haramati – San Leandro Airportscape, 2011, Acrylic on Canvas 10×30″
    Mikhail Haramati (b.1982) is an American painter based in Sacramento, CA, USA. She is interested in the often dramatic environmental impact of the unseen physical processes that keep industrialized societies going.

    In 2006, Mikhail Haramati obtained her BA from Mills College, Oakland (CA). She presented her work recently during solo exhibitions at The Urban Hive and Momentary Glance at Capital Public Radio Studios, both located at Sacramento (CA) in 2019 and 2017; including, as well, Works in Oil, Loanna Clark Gallery, Petaluma (CA) in 2004 and ​Patriotic Scenes of Northern California, Fort Mason Center, San Francisco (CA) in 2003.
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    Time

    6 (Tuesday) 7pm - 9pm

    Location

    Kottbusser Damm 95 - Berlin DE

  • 10Your Perception May Not Be My Reality
    Performance Evening
    6pm - 9pm

    Event Details

    With BBB Johannes Deimling

    10. August 2019, 6pm, SomoS hosts a final presentation by the participants of Performing Art Studies #65, presenting public performances developed during their week of working at SomoS in Berlin under the pedagogical, artistic and technical guidance of experienced artist and performance art professor BBB Johannes Deimling.

    We are looking forward to a glimpse into the results of the inspired and engaged sessions of the Performance Art Studies conducted at SomoS early August 2019.

    Participants:

    Viktória Heiser
    Gabriele Avanzinelli
    Luiza Martins Marques
    Laurence Beaudoin Morin
    Hannah Santana
    Jana Smetanina
    Manuela Covini
    Marion Henry
    Maja Maksimovic
    Theresa Sowka
    Tianxin Shi
    Zoncy
    Juliane Steding

    PAS #65 focuses on the concept of perception as a prompt and/or launching point for better understanding the body, space, time, material, and action as active tools of performance art. Throughout the week, participants have been engaging with other art forms, such as poetry, sculpture, drawing, painting, video, architecture, with the intent of demonstrating context in relation to time relevant issues.

    Thanks to all the people who participated in this workshop!

    Entry free

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    Time

    10 (Saturday) 6pm - 9pm

    Location

    Kottbusser Damm 95 - Berlin DE

  • 14 - 17Jameson Grant – Cobble Paintings
    Solo Painting Exhibition
    2pm - 7pm

    Event Details

    Opening: Tuesday, August 13th, 6-9pm

    Simple, regular structures of the everyday meet abstracted and disorienting elements in the latest series of paintings of New York based SomoS Artist-In-Residence Jameson Grant. His solo exhibition “Cobble Paintings” represents a casualist, personal reordering of historical painting tropes through the repeated depiction of set forms; in this case, the stones that shape and paved Berlin city streets.

    The impetus informing “Cobble Paintings” began with wanderings through Berlin upon which Grant found cobblestone grids that reflected the rhythm of these aimless walks. As he stumbled upon these textures, structures and forms, Grant would photograph them, then later develop paintings through non-hierarchical observations of drawings, other paintings and observations outside the studio. Based on quotidian notations of light, texture, structure and form, Grant’s process results in an abstracted image that may be simultaneously perceived as a number of living and non-living things which appear in day-to-day routine.

    Indeed, cobblestones have acted as the fixed, and fixated, structure from which Grant could develop his latest series of paintings. As in the case of Grant’s previous series “Twig Paintings,” cobblestones are simple objects that are part of the everyday, yet become repeated and depicted in a subtle, painterly manner that draws attention to the space between each painting. Similarly, cobblestones represent an element of the built and constructed that is also reflected in the painting practice of Grant himself. Providing structure to the streets, cobblestones are constant, yet also ruined by foot and vehicle traffic, worn by heat and rain, and then repaired in order to fill the gaps. In this sense, they are a solid structure that is both shifted and fluid, definite yet amorphous. Similarly, in “Cobble Paintings,” Grant examines the history of painting in a matter-of-fact way; as a set of forms, signs and symbols that are continually reordered in an attempt to try to find a new image. In any case, what shines throughout Grant’s solo exhibition is a sense of the thriving life of the familiar; an insistence on slowness within a rapidly shifting and destabilizing world.

    Jameson Grant’s paintings seem casual at first glance, but a close inspection of his work reveals the studied eloquence of a devoted painter. By revisiting the same visual motifs time and again, he allows for improvisation and experimentation to drive his work. Each painting is like a brand new map of a familiar terrain.

    Frank J Stockton, Fellow painter and founder/director of LA artspace Nothing Special

     

    About Jameson Grant

    2014 Jameson Grant received his BFA in Painting from the Maryland Institute College of Art Baltimore. He has presented his work in the solo exhibition “Oil Then Acrylic” at the Transformer Gallery, Washington DC, in 2014; and took part in the group shows Studio Mixx, Subbasement Studio, Baltimore MD, curated by Fletcher Mackey, 2012, Juried UG Show, Decker Gallery, Baltimore MD, curated by Karyn Miller and Jack Livingston, 2012, Chromatics Gallery 304, Baltimore MD, curated by Janet Olney, 2013, On The Mark, Middendorf Gallery, Baltimore MD, curated by Laura Beth Langley, 2014, Locally Sourced, American University Museum, Washington DC, 2014, Murica: A Patriotic Art Show, PhilaMOCA, Philladelphia PA, 2014, and Blushing, at the Ballroom Gallery, Baltimore MD, curated by Claire Felonis 2015. Grant was awarded the Trustee Grant, Maryland Institute College of Art, 2010.
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    Opening: Tuesday, August 13th, 6-9pm
    Duration – August 14th-17th, Tuesday-Saturday 2-7 or by appointment
    SomoS Art House, Kottbusser Damm 95, 1.0G, 10967 Berlin (U8 – Schönleinstraße)
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    Time

    14 (Wednesday) 2pm - 17 (Saturday) 7pm

    Location

    Kottbusser Damm 95 - Berlin DE

  • 21 - 24Teiko Ang Zheng – 25
    Solo Photography Exhibition

    Event Details

    Opening Tuesday, August 20th 2019, 6-9pm

    During his two-month residency at SomoS, Chicago-based Chinese photographer Teiko Ang Zheng has focused on visual and written storytelling, subjectively documenting inhabitants of Berlin and the city itself within a queer and digitalized narrative. Referred to by the artist as “encounters,” the bank of impressions and engagements with people has generated a subjective and honest narrative of life in Berlin, a city with an attracting aura that links it to an influx of queer migrants.

    “25” is the title of Zheng’s solo photography exhibition, reflecting on the implications of this sphere at the juncture between queer identity and a search for belonging in the context of increased global mobility. 25 stands for not only the age of Zheng, but also for an age when many feel prepared and comfortable enough to leave their city in search of something else. People leave for a reason, yet they also arrive for a reason. With queer dating apps as a basis, yet not a restriction, to Zheng’s modes of encountering, its algorithms meant that he was connected with people around his age. In this sense, Zheng could not deny the intertwinement of his self in the narrative portrait of queer migration amongst the aura of Berlin that he has been subjectively gathering. Rather, he puts himself also under the spotlight, as reflected in the diary-like texts that accompany each work. Furthermore, his landscape photography, impressionistic representations of parks and cruising spaces, describes the setting of this story and adds physicality to the digitalized notions surrounding the soft portraits. Meanwhile botanic still lifes punctuate Zheng’s visual and written narrative, becoming appendages of the everyday.

    Zheng has sought inspiration from Christopher Isherwood’s novel The Berlin Stories, set between 1930 and 1933 during the coming to power of Hitler as the author himself travelled to Berlin. Detailing the encounters between various characters, the novel ventures through themes of power, money and sex work. Yet it was in 1976, when Isherwood published his memoir Christopher and His Kind, that new light was cast on The Berlin Stories. In fact, Isherwood not only outed himself as homosexual, but also revealed that he had changed the gender of many characters so as to conceal their true identity and sexuality and thereby protect them from discrimination. Nevertheless, for Zheng, although fascinating, his main interest lies not in the uncovering of the queerness of many of the novel’s characters decades after its publication, but rather in the implication that The Berlin Stories has created its own life. That is, the story embarks on its own trajectory through history, legend and reinterpretation which is distinct from its written fictionalization. This is an approach to storytelling which informs the semi-documentative, semi-autobiographical and relentlessly personal 25. While seemingly just a number, 25 therefore reveals itself as an embodiment of the personal, global and independent qualities of visual and written storytelling through a queer lens in Berlin.

    About Teiko Ang Zheng

    Teiko Ang Zheng completed his education in Comparative Literature at The Pennsylvania State University and is now enrolled in a MFA at the Photography department of The School of the Art Institute of Chicago. He worked as teaching assistant for numerous courses in the Photography department since his enrollment. His interest for research lies in the theory/criticism of art and literature, (post-) modernism/structuralism, queer theory/art/literature and East Asian (diasporic) art/literature, and media theory and theory and history of photography.

    The artist took part in group exhibitions including the Open Studio Show, Sullivan Center, Chicago IL, USA, Pick Me Up, 062 Gallery, Chicago IL, USA, and Portrait, Through the Lens, Black Box Gallery, Portland OR, USA; his work can be found in the collection of The Art Institute of Chicago, Chicago IL, USA; Joan Flasch Artist’s Book Collection, SAIC, Chicago IL, USA; Chicago Artists’ Archive, Chicago IL, USA.
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    Opening Tuesday, August 20th 2019, 6-9pm
    Duration – August 21st-24th, Tuesday-Saturday 2-7 or by appointment. Free entry.
    SomoS Art House, Kottbusser Damm 95, 1.0G, 10967 Berlin
    (U8 – Schönleinstraße)
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    Time

    21 (Wednesday) - 24 (Saturday)

    Location

    Kottbusser Damm 95 - Berlin DE

  • 28 - 31Streaming Data is the Ultimate Trust Exercise with the Moon
    Solo Exhibition, Corinna Berndt (AUS/DE)
    2pm - 7pm

    Event Details

    Opening: Tuesday, August 27, 6-9pm

    “Stretch out your arm to touch the operating system.” So shall you be instructed by SomoS Artist-in-Residence Corinna Berndt (AUS/DE) at the entry of her solo exhibition, beckoning for you to reach out to your technologies, and across the blurred lines between the physical and virtual world. Her solo exhibition Streaming Data is the Ultimate Trust Exercise with the Moon culminates her three-month residency at SomoS by proposing a set of well-articulated, science-fiction-inspired artistic comments on the imbrication of digital technology into everyday life.

    As the exhibition’s title may suggest, the interaction with a device or with outer space may grapple with a dimension that is just as vast as one another. Indeed, as lonely rovers are sent by states to explore the planet Mars, so too do individuals on Earth gesture towards touch-screens at exponential rates. Perhaps our digital technologies have become more than just an extended limb. They construct how we may understand and navigate both the computer-generated and also the physical realm. Streaming Data is the Ultimate Trust Exercise with the Moon presents a mixed media array of video, digital art, sculpture and text that punctuate SomoS’ gallery space, providing an intimate commentary on the complex workings of technology on the everyday, the (dis)embodied yet bodied facets of human life and the imaginaries that may emerge through our daily interactions with digital technologies.

    Nevertheless, despite the vast universes conjured by technology, digitalization is an act of translation that never entirely reproduces the physical reality of its subject. Glitches, mishaps and mismatches are inevitable when information is transformed into the virtual realm, yet they are not repelled but rather embraced by the works presented by Berndt in her solo exhibition. One prominent example is her Silent Museum, an online series of digital paintings (or sculptures?) that were developed from 3D scanned everyday objects. In their often clunky, awkward reconstruction, these objects may barely resemble their physical form. Instead, glitches in translation mean that the objects appear closer to fossils and ornaments. We may marvel at these glitches, wondering how to understand them, how they are produced, and what may happen if they were in fact representing a reality or truth of their own. In this sense, Berndt’s solo exhibition approaches physical-digital mis-translation not as failure. Instead, she considers mis-translation as an opportunity for reflection and as a means to re-imagine what kinds of data-bodies might emerge when tangible and seemingly intangible systems of information meet.

    Streaming Data is the Ultimate Trust Exercise with the Moon suggests a reflection on the historically embodied relationship to our devices. Berndt’s video, her self-devised punch code sculpture referencing the first computer, and her partially bot-generated writings all return to the same original, embodied command – stretch out your arm to touch the operating system. Disembodiment is only an arm’s reach away.
     

    About Corinna Berndt

    Corinna Berndt is a Melbourne-based multi media artist working with sculpture, collage and video. Interested in the tension between physical and digital experiences, her works trace interactions between objects and beings, thematizing techniques of editing and image manipulation in the process.

    Berndt recently completed a Masters of Fine Arts with First Class Honours at the Victorian College of the Arts, Melbourne, Australia (2015-2017). She received a Bachelor of Fine Arts from the University of Auckland, New Zealand (2003-2007).

    Her work has been presented at various galleries and project spaces in Melbourne, including Anna Papa’s Gallery, West Space, Kings Ari and C3 Contemporary Art Space. Selected solo exhibitions have included ​Collision Level​, FeltDark, Adelaide (2018); ​Invisible Vision & Superimposed Rhubarb,​ Kings Artist Run (2017); ​To Move in Non-Linear Dimensions at Trocadero Art Space in 2016, and ​Activities for Small Hours at Seventh Gallery in 2015.

    Group shows include ​Our selves,​ Ctrl+Shft Collective, Oakland, USA (curated by Frances Fleetwood, 2017); Hobienniale, Hobart (2017), ​MCA ARTBAR​, Museum of Contemporary Art Australia, Sydney (curated by Julia Gorman, 2017); and ​Five Cents Cinema,​ Melbourne Fringe Festival, Melbourne Town Hall (curated by Paula van Beek, 2016).

    Awards and grants she has received included the Felt Space Philanthropic Fund (2017); Fiona Myer Award for Excellence (2016); and VCA & MCM Faculty Small Grant in 2016. She completed a twelve-month studio residency and internship at Five Walls Projects in 2017.

    Corrina Berndt’s work is represented in the Artbank Melbourne private collection, and the National Gallery of Australia.


    Streaming Data is the Ultimate Trust Exercise with the Moon
    Solo Exhibition by Corinna Berndt (AUS/DE)
    Opening: Tuesday, August 27, 6-9pm
    Duration​ – August 28-31, Tuesday-Saturday 2-7 or by appointment
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    Corinna Berndt’s artist residency at SomoS has been kindly supported by the The University of Melbourne, Faculty of Fine Arts and Music.

    University of Melbourne

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    Time

    28 (Wednesday) 2pm - 31 (Saturday) 7pm

    Location

    Kottbusser Damm 95 - Berlin DE