RESEARCH _ ARCHIVE Daniela Brahm

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Daniela Brahm

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zur Flashversion

Kontakt

contact:

Daniela Brahm

Gottschedstrasse 4 Aufg.4

D – 13357 Berlin

 

e-mail:

studio(at)danielabrahm.de

 

 

represented by:

Mirko Mayer Gallery, Cologne

www.mirkomayer.com

SOUP

Biographie

CV

*1966       Düsseldorf / DE

1988/95   Studies Hochschule der Künste, Berlin

1991        ERASMUS Scholarship, Beaux Arts Marseilles / FR

1993        Diploma

1994/95   Master Class (with Valie Export)

1999        co-founder of “soup”

(collective studio of architects, designers, visual artists)

2003/04   Residency at Delfina Studios London / UK (financed by the Berlin Senat)

2005        Grant from the North Rhine-Westphalian Art Foundation

2005        co-founder of “ExRotaprint” www.exrotaprint.de

(socio-political initiative on the former Rotaprint factory site)

since 2007 ExRotaprint Planning Team

(with artist Les Schliesser, and architects Oliver Clemens and Bernhard Hummel)

since 2012 Member of “Initiative Stadt Neudenken”

(civic initiative to change real estate politics in Berlin)

 

exhibitions (selection)

 

2015 “Die Tour als Skulptur: Satteldach City Dinslaken” geführte Tagestouren

im Rahmen von “Reisen im Kreis”, Urbane Künste Ruhr

curator: Kay von Keitz

2014 “Our Place / ExRotaprint Berlin – Urban Activism as Artistic Practice” (with Les Schliesser)

0047 Oslo, NOR

curator: Markus Richter

 

2014 “HLYSNAN: The Notion and Politics of Listening” (with Les Schliesser)

Casino Luxembourg, LUX group show

curators: Berit Fischer, Kevin Muhlen

 

2014 “Ästhetik des Widerstands” (with Les Schliesser) IG Bildende Kunst Wien, AT and

Galerie im Turm Berlin, DE group show

initiated by Julia Lazarus and Moira Zoitl

 

2013 “Ich versteh´ nur Nordbahnhof!” (with Les Schliesser) Künstlerhaus Stuttgart, DE group show

 

2013 “Ereignispanorama und andere Verwicklungen” (with Les Schliesser) Kunstverein Nürtingen / DE

 

2013 “Verhandlungssache” (with Les Schliesser) Galerie Mirko Mayer, Köln / DE

 

2012 “Kirstenpläne” Project Space ExRotaprint, Berlin

 

2011 “Other Possible Worlds” Neue Gesellschaft für Bildende Kunst, Berlin

curators: D. Albrecht, B. Fischer, F. Lesák, H. Lobnig, M. Zoitl

 

2010 “Linie – Fläche – Raum: Bildarchitekturen” Plan 10, Cologne

curators: Thomas Schriefers, Kai von Keitz

Forum aktueller Architektur, Kunsthaus Lempertz, Köln

 

2010 “mapping my mind” Galerie Mirko Mayer, Köln / DE

 

2009 “the big argument” Museum of Modern Art, Warsaw / PL

site-specific installation in front of the Palace of Culture, satelite of „Warsaw Under Construction“

curators: Sebastian Cichocki, Ana Janevski, Tomasz Fudala

 

2009 “my city” Galerie Mirko Mayer, Köln / DE

 

2009 „Warsaw Under Construction“ Museum of Modern Art Warsaw

curators: Sebastian Cichocki, Ana Janevski, Tomasz Fudala

artists: Michal Budny, Carlos Bunga, Daniela Brahm, Cyprien Gaillard, David Maljkovic, Bartosz Mucha,

Ahmet Ogut, Toby Paterson, Katarzyna Przezwanska, Tobias Putrih, Joanna Rajkowska, Ariel Schlesinger,

Magdalena Staniszkis/Jan Smaga, Superflex, Armando Andrade Tudela, Uglycute, Aleksandra

Wasilkowska, Karol Zurawski

 

2009 “Building Berlin” Kitchener-Waterloo Art Gallery, Canada

curator: Germaine Koh

artists: Nevin Aladag, Daniela Brahm, Rui Calçada Bastos, Jesko Fezer and Axel Wieder, Pia Fuchs

(German Id Of Patricia Reed), Ingo Gerken, Thom Kubli, Lars Ramberg, Karin Sander, Daniel Seiple

 

2008 “on the edge of painting: sublime-construction-reality”, Mirko Mayer Gallery, Cologne

artists: Daniela Brahm, Les Schliesser, Edward Wright

 

2007 “Art is so small / Consider the opposite”, Art Forum Berlin / DE

curator: Sabrina van der Ley

 

2007 OPEN SPACE, Art Cologne / DE

 

2006 “Ideal City / Invisible Cities” Potsdam / DE

2006 “Ideal City / Invisible Cities” Zamosc / PL

curators: Sabrina van der Ley / Markus Richter

artists: Tarek Al-Ghoussein, Francis Alÿs, Carl Andre, Archigram, Colin Ardley, Tim Ayres, Miroslaw Balka,

Daniela Brahm, Pedro Cabrita Reis, Rui Calçada Bastos, Constant, Jonas Dahlberg, Tacita Dean,

Jaroslaw Flicinski, Carlos Garaicoa, Dan Graham, George Hadjimichalis, Rula Halawani, Franka

Hörnschemeyer, Craigie Horsfield, Katarzyna Józefowicz, Jakob Kolding, Ola Kolehmainen, Lucas Lenglet,

Sol LeWitt, David Maljkovic, Gerold Miller, Matthias Mueller, Teresa Murak, Brian O’Connell, Daniel Roth,

Albrecht Schaefer, Kai Schiemenz, Les Schliesser, Melanie Smith, Monika Sosnowska, David Tremlett,

Anton Vidokle, Lawrence Weiner, Tilman Wendland, Krzysztof Zielinski

 

2006 “Asterism. Artists living in Berlin” Museo Tamayo, Mexico D.F.

curator: Paola Santoscoy

artists: Nevin Aladag, Daniela Brahm, Björn Dahlem, Peter Friedl, Wiebke Loeper, Isa Melsheimer,

Lars Ramberg, Tilman Wendland

 

2006 “Painting as Presence” Künstlerhaus Bethanien, Berlin / DE

curator: Christoph Tannert

artists: Pablo Alonso, Daniela Brahm, Markus Draper, Sven Drühl, Marcus Eek, John Korner, Dominik

Lejman, Robert Lucander, Frank Nitsche, Anselm Reyle

 

2006 “Community” Galerie Mirko Mayer, Köln / DE

 

2005 “Highrise” Künstlerhaus Bethanien, Berlin / DE curator: Christoph Tannert

 

2005 “London Series (modern (no bricks))” Galerie Barbara Thumm, Berlin / DE

 

2004 “EASTinternational 04”, Norwich School of Art & Design / UK

selectors: G.H. Lybke / Neo Rauch

artists: Alicia Paz, Anja Schrey, Christiane Baumgartner, Christoph Ruckhäberle, Daniela Brahm, Eric

Fong, Etienne Zack. Frank Ahlgrimm, Hurvin Anderson, Jakub Dolejs, Janice McNab, Jennifer Walters,

Jo Mitchell, John Timberlake, Justin Mortimer, Karen Brett, Lela Budde, Liz Nicol, Martin Kobe, Mikael

Eriksson, Ridley Howard, Rosa Loy, Rose Wylie, Sean Dawson, Simon Collins, Susanne Kühn, Sven

Braun, Tilo Baumgärtel, Toril Brancher, Trish Morrissey

 

2003 “brand the image” Mirko Mayer Gallery, Cologne

artists: Daniela Brahm, Sven Drühl, Markus Huemer, Pietro Sanguineti

 

2002 “Bilder aus Berlin” Christopher Grimes gallery, Santa Monica / USA

artists: Daniela Brahm, Anton Henning, Achim Kobe, Erik Schmidt

 

2002 “Relocation Container” Art Position, Art Basel/Miami Beach, Miami / USA

 

2002 “Hinterland” Galerie Mirko Mayer, Köln / DE

 

2002 “Participation City” Galerie Barbara Thumm, Berlin / DE

 

2001 “NIMBY – Not In My Backyard” Galerie Mirko Mayer, Köln / DE

 

2000 “MALKUNST” Fondazione Mudima, Milano / IT

curator: Birgit Hoffmeister

artists: Franz Ackermann, Daniela Brahm, Valerie Favre, Anton Henning, Michel Majerus, Antje

Majewski, Carsten Nicolai, Neo Rauch

 

2000 “our place” Galerie Barbara Thumm, Berlin / DE

 

1996 “die kommunikation auf der erde ist erstaunlich gut” Container, Berlin-Mitte / DE

 


lectures (selection)

2014 Museum of Modern Art Warsaw, PL

2014 Künstlerhaus Stuttgart, DE

2013 Kunsthochschule Berlin Weißensee, DE

2012 Moscow Urban Forum, Moscow RUS

2012 The National Museum of Art Oslo, NOR

2012 Architekturzentrum Wien, Vienna, AUT

2011 Neue Gesellschaft für Bildende Kunst, Berlin, DE

2008 Kunstakademie Münster, DE

2006 Künstlerhäuser Worpswede, DE

2006 Akademie der bildenden Künste, Vienna, AUT

2006 Museo Tamayo, Mexico City, MEX

2005 Akademie der bildenden Künste, Vienna, AUT

2005 Neuer Berliner Kunstverein, DE

 

ExRotaprint (zusammen mit Les Schliesser)

seit 2007 Planungsteam der ExRotaprint gGmbH

2007 Kauf des Rotaprint Geländes, heute ExRotaprint,

und Unterzeichnung eines 99-jährigen Erbbaurechts

2007 Gründung der ExRotaprint gGmbH

2005 Gründung des Vereins ExRotaprint e.V.

2004 Konzept für die ehemalige Rotaprint Fabrik

 

links

Museum of Arte Útil, Van Abbemuseum, Eindhoven, NL

http://museumarteutil.net/projects/exrotaprint/

Living as Form Social Practice Data Base, New York, USA

http://creativetime.org/programs/archive/2011/livingasform/archive.htm

Bibliographie

Monographs 

2011 “the big argument”, Künstlerbuch, Edition 25, 16 Seiten

2008 “Wall Piece / Space Piece” Künstlerbuch, Auflage 50, 28 Seiten

2005 “Join” Verlag für Moderne Kunst, Nürnberg, 102 Seiten

Texte von Raimar Stange, Andreas Spiegl, Interview von Les Schliesser

2000 “backstage” Künstlerbuch, Auflage 100, 88 Seiten

Hrg. Daniela Brahm & Galerie Barbara Thumm, Berlin

 

Publications & catalogues of group exhibitions

2014 „Raumunternehmen“ Buttenberg, Overmeyer, Spars (Hg.), Jovis Verlag, S.13-24 und ff.

2014 „Make_Shift City, Renegotiating the Urban Commons“ Francesca Ferguson, Urban Drift Projects (eds.) in cooperation with Berlin Senate for Urban Development, Jovis Verlag

2013 “There is No Profit to be Made Here!” in: Scapegoat Journal #04: Currency, Toronto 2013

2013 “SELFMADE CITY” von Kristien Ring, Jovis Verlag Berlin 2013

2012 “City as Loft” von Martina Braun, Kees Christiaanse (Hrsg), gta Verlag, ETH Zürich 2012

2011 Arch+ Zeitschrift für Architektur und Städtebau #201/202, März 2011, S. 118-121

2011 “Other Possible Worlds” argobooks,  NGBK (ed.), D. Albrecht, B. Fischer, F. Lesák, M. Zoitl

2010 “Plan 10” magazine published by Forum aktueller Archtektur in Köln

2009 “Muzeum #8” magazine published by the Museum of Modern Art in Warsaw

2009 “Space Craft 2” die Gestalten Verlag Berlin, Hrg. Lukas Feireiss

2008 “Review – 32 Jahre Künstlerhaus Bethanien” Hrg. Künstlerhaus Bethanien

2008 “Warsaw Does Not Exist” Hrg. Sebastian Cichocki, Kurator & The Bec Zmiana Foundation

2006 “New German Painting” Positionen deutscher Malerei, Prestel Verlag, München

2006 “Ideal City / Invisible Cities” Revolver Verlag, Hrg. Sabrina van der Ley / Markus Richter

2006 “Asterism. Artists living in Berlin” Hrg. Museo Tamayo / Paola Santoscoy

2006 “Painting as Presence” Hrg. Künstlerhaus Bethanien / Christoph Tannert

2004 “EASTinternational 04” Hrg. Norwich Gallery / Lynda Morris, Text von Diana Baldon

2003 “The Sky´s the Limit” Hrg. Kunstverein Langenhagen / Astrid Mania

2000 “Malkunst” Hrg. Fondatione Mudima, Milano / Birgit Hoffmeister

 

Articles & reviews in periodicals and newspapers

2013 “Archäologie der Zukunft…” von D. Zimmermann, 20./21.4.2013 Kölner Stadt-Anzeiger

2012 “Bis das Eigentum verschwindet” von Uwe Rada, TAZ 4.5.2012

2011 “Kunst für den Arbeiterbezirk” von Claudia Wahjudi, Zitty Berlin Spezial: Das Berlin Buch 2011/2012

2009 “Malen für Zahlen” ART Magazin Hamburg, Dezember 2009, von Iris Hellmuth, Sven Stillich

2009 “Hinsetzen und kleben bleiben” Kölner Stadtanzeiger 10.10.2009, von Damian Zimmermann

2009 “der Luxus eines Areals ohne Lofts“ Süddeutsche Zeitung 1.9.09, von Laura Weissmüller

2009 “100 Jahre Gemeinsamkeit” Tip Stadtmagazin Berlin, 06/2009, von Erk Heier

2008 “alle Macht der Kunst” Die Welt, 21.12.2008

2007 “Alles hat seine Zeit” FAZ 21.4.2007, von Swantje Karich

2007 “Kultur schlägt Kapital” von Christoph Villinger, Kommentar von Uwe Rada, TAZ 7.9.2007

2007 “Frauenphantasien” ELLE, März 2007, von Michaela Kunze

2007 “In der Sackgasse der Verwertung” Berliner Zeitung 16.1.2007, von Sebastian Preuss

2006 “Die Stopptaste drücken” TAZ 21.12.06, von Brigitte Werneburg

2006 “Ideal City – Invisible Cities” art.es #17, von Mark Gisbourne

2006 “Ideal City – Invisible Cities” Contemporary Magazine, Issue 88, von Andreas Schlaegel

2006 “Ideal City – Invisible Cities” Frieze Magazin, Issue 102, Okt. 2006, von Goska Charylo

2006 “Utopie im Beton” Zitty Berlin 16/06, von Birgit Rieger

2006 “Ästetische Besatzung” FAZ 27.7.06, von Swantje Karich

2006 “Wo schwarze Brunnen sprudeln“ Tagesspiegel Berlin 24.5.06, von Christina Tilmann

2006 “Ich bau mir eine Stadt” TAZ 17.7.06, von Birgit Rieger

2006 “Alle Blicke…” Kölner Stadtanzeiger 22.6.06, von I.G.

2005 Neue Review Berlin, Mai 2005, Gespräch zwischen Les Schliesser und Daniela Brahm

2005 “Die Ödnis überwinden” Tagesspiegel Berlin 6.4.05, von Jens Hinrichsen

2002 “Thinking inside the Box” Miami Herald, Dez. 2002, von Daniel Chang

2002 “Bilder aus Berlin” Artnews, vol 101 no. 10 Nov. 2002, von Suzanne Muchnic

2002 “what the Fuss may be about…” Los Angeles Times, 13. Sept. 2002, von Holly Myers

2002 “tazplan” taz, 10. Apr. 2002, von Harald Fricke

2002 “Bilder aus dem Photoshop” FAZ, 16. Apr. 2002, von Johannes Wendland

2002 “Participation City” art in berlin, online magazin, Mai 2002, von Anne Schellhorn

2001 “Der Friede der Vorstadtsiedlung” Kölner Stadtanzeiger 25.5.2001, von Renate Roos

2001 “Universal Häuslebauer” Style & the Family Tunes, Mai 2001, von Ophelia Abeler

2001 “Reconciliation Truck Two” The Breeder Magazine, Vol. 3

2000 “Bilder aus dem Baumarkt” Zitty Berlin, 17/2000, von Ronald Berg

2000 “Weg und ran geschwebt” Blitz Review, online magazin, Juni 2000, von Christoph Blase

2000 “la rivincita dei tedeschi” Corriere della Sera, Nov. 2000, von Fransesca Bonazzoli

 

 

Die ExRotaprint Nachrichten / seit 2008

(Zeitung von ExRotaprint / Konzept, Gestaltung, Texte: D. Brahm und L. Schliesser)

Nr. 1 – Das Baudenkmal, 2008 (2. Auflage 2010, 3. Auflage 2012)

Nr. 2 – Das Baumaßnahmenspiel, 2010

Nr. 3 – Das Modell ExRotaprint, 2011

International Edition – The ExRotaprint Model, 2011

Nr. 4 – Die letzten Rotaprint Nachrichten, Die ersten ExRotaprint Nachrichten, 2012

Sonderausgabe – Extrablatt ExBrache, 2012

Projekte

ExRotaprint – social sculpture / since 2004

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ExRotaprint – eine Immobilienentwicklung als Möglichkeitsraum seit 2004 (zusammen mit Les Schliesser)

 

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ExRotaprint – eine Immobilienentwicklung als Möglichkeitsraum seit 2004 (zusammen mit Les Schliesser) 10.000 qm Nutzfläche, 11 Häuser Logo

 

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ExRotaprint – eine Immobilienentwicklung als Möglichkeitsraum seit 2004 (zusammen mit Les Schliesser) Programmatik Zeichnung: Eigentum 2010, ink on paper, 29,7 x 21 cm

 

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ExRotaprint – eine Immobilienentwicklung als Möglichkeitsraum seit 2004 (zusammen mit Les Schliesser) Programmatik Zeichnung: soziale Plastik 2010, Collage

 

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ExRotaprint – eine Immobilienentwicklung als Möglichkeitsraum seit 2004 (zusammen mit Les Schliesser) Treibstoff 2000, Fotografie

 

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ExRotaprint – eine Immobilienentwicklung als Möglichkeitsraum seit 2004 (zusammen mit Les Schliesser) Die Investoren sind wir. 10. Januar 2007, Fotografie

Initiiert von den Künstlern Daniela Brahm und Les Schliesser wird aus der Perspektive der Kunst Wirklichkeit gestaltet. Hier entsteht ein Möglichkeitsraum, gemeinnützig und solidarisch, nicht ideologisch aber angewiesen auf Abmachungen und Konsens. ExRotaprint verwirft die Aussicht auf Profit durch Eigentum zugunsten von Stabilität und Teilhabe und balanciert ein heterogenes Gefüge von Interessen aus. Der Profit des Projekts liegt in der Beständigkeit und den Handlungsräumen. ExRotaprint ist das ehemalige Produktionsgelände der Druckmaschinenfabrik Rotaprint in dem Berliner Stadtteil Wedding. 2007 hat die ExRotaprint gGmbH das Gelände in einem besonderen Eigentumsmodell übernommen. Die gemeinnützige GmbH unterbricht die Spekulationsspirale des Immobilienmarktes und ist mittels Erbbaurecht Besitzerin der Gebäude. www.exrotaprint.de

ExRotaprint – eine Immobilienentwicklung als Möglichkeitsraum seit 2004 (zusammen mit Les Schliesser)

 

Die Tour als Skulptur / 2015

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Die Tour als Skulptur – Satteldach City Dinslaken 2015, geführte Tagestouren bei “Reisen im Kreis”, Urbane Künste Ruhr Station 2: “An der Fliehburg” heute Übergangswohnheim für Flüchtlinge, erbaut als Zwangsarbeiterlager der August Thyssen Hütte, später als Bergmannsheim genutzt

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Die Tour als Skulptur – Satteldach City Dinslaken 2015, geführte Tagestouren bei “Reisen im Kreis”, Urbane Künste Ruhr Station 5: ND-Jugendzentrum, erbaut 1958-1965 von Architekt Heinz Buchmann nach dem amerikanischen Prinzip der “überdachten Straße”

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Die Tour als Skulptur – Satteldach City Dinslaken 2015, geführte Tagestouren bei “Reisen im Kreis”, Urbane Künste Ruhr Station 8: August Thyssen Siedlung, moderne Mietwohnungsanlage aus den 1960er Jahren mit Punkthochhäusern, 4-geschossigen Wohnhäusern und Bungalows

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Die Tour als Skulptur – Satteldach City Dinslaken 2015, geführte Tagestouren bei “Reisen im Kreis”, Urbane Künste Ruhr Station 9: Lohberger Standort von Nissenhütten Ende der 1940er Jahre, zu Beginn der 1950er Jahre wurde für die Bewohner Mietwohnungsneubau an selber Stelle errichtet

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Die Tour als Skulptur – Satteldach City Dinslaken 2015, geführte Tagestouren bei “Reisen im Kreis”, Urbane Künste Ruhr Station 10: 1950er Jahre Erweiterungsring der Gartenstadt Lohberg, Darstellung der Entwicklung der Eigentumsstruktur nach dem Ende des Bergbaus

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Die Tour als Skulptur – Satteldach City Dinslaken 2015, geführte Tagestouren bei “Reisen im Kreis”, Urbane Künste Ruhr Station 11: Selbsthilfesiedlung St. Barbara, Siedlerstellen für Bergarbeiter, Erwerb von Wohneigentum durch die gemeinschaftliche Verpflichtung zur Mitarbeit am Bau mit durchschnittlich 2.500 Arbeitsstunden (1949-51)

Die Fahrradtour mit Daniela Brahm durch Dinslaken ist vor allem der eingehenden Beschäftigung mit Wohnsiedlungen der 1950er und 60er Jahre, also der Moderne aus Nachkriegs- und Wiederaufbauzeiten, gewidmet. Dabei steuert ihre Reisegruppe Bergarbeitersiedlungen unterschiedlicher Prägung und Geschichte an, darunter sogenannte Selbsthilfesiedlungen, aber auch ein Zwangsarbeiterlager, das heute Flüchtlingsheim ist, ein Jugendzentrum, ein Schwimmbad, sowie Bauwerke aus dieser Zeit, die bereits abgerissen wurden. Die Architekturen werden visuell oder gedanklich von späteren Umgestaltungen befreit und auf ihre ursprünglichen funktionalen, gestalterischen und gesellschaftlichen Ideen hin betrachtet – ein „archäologischer“ Blick in die jüngste Vergangenheit. Text/Kurator: Kay von Keitz

Die Tour als Skulptur – Satteldach City Dinslaken 2015, geführte Tagestouren bei “Reisen im Kreis”, Urbane Künste Ruhr

Urban Activism as Artistic Practice / 2014

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Our Place / ExRotaprint Berlin – Urban Activism as Artistic Practice 2014 (with Les Schliesser) at 0047 Oslo, NOR, an independent platform for research in the fields of art, architecture and urbanism

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Our Place / ExRotaprint Berlin – Urban Activism as Artistic Practice 2014 (with Les Schliesser) at 0047 Oslo, NOR billborad prints, wall painting, drawings, posters, sculpture with leathers and monitors, slide projections, info material

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Our Place / ExRotaprint Berlin – Urban Activism as Artistic Practice 2014 (with Les Schliesser) at 0047 Oslo, NOR billborad prints, wall painting, drawings, posters, sculpture with leathers and monitors, slide projections, info material

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Our Place / ExRotaprint Berlin – Urban Activism as Artistic Practice 2014 (with Les Schliesser) at 0047 Oslo, NOR billborad prints, wall painting, drawings, posters, sculpture with leathers and monitors, slide projections, info material

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Our Place / ExRotaprint Berlin – Urban Activism as Artistic Practice 2014 (with Les Schliesser) at 0047 Oslo, NOR Detail: two billboard prints in two rooms, wall painting

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Our Place / ExRotaprint Berlin – Urban Activism as Artistic Practice 2014 (with Les Schliesser) at 0047 Oslo, NOR Detail: billboard print explaining the legal structure of ExRotaprint, framed drawing of signing the contracts

The exhibition Our Place / ExRotaprint Berlin – Urban Activism as Artistic Practice kicks-off a series of events dedicated to alternative bottom-up planning, namely in the field of creative culture, and participatory urban rehabilitation projects. ExRotaprint, an abandoned manufacturing site in the former working-class district Berlin Wedding, is initiated and driven by artists Les Schliesser and Daniela Brahm; a redevelopment project created from the viewpoint of art. As a social sculpture, it links the potential of its spectacular architecture with the local needs of a socially marginalized area, devoting aesthetic quality into socio-political activities. Over the past few years, the collaborative work on ExRotaprint has expanded into the artistic practice of Daniela Brahm and Les Schliesser. Within our exhibition, they trans- form the urban redevelopment project into a monumental installation, encompassing wall drawings, film and sculptural interventions. text by Markus Richter

Our Place / ExRotaprint Berlin – Urban Activism as Artistic Practice 2014 (with Les Schliesser) at 0047 Oslo, NOR

Ereignispanorama und andere … / 2013

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Ereignispanorama und andere Verwicklungen (with Les Schliesser) Kunstverein Nürtingen, 2013 Zeitleiste von 1958 bis 2106 mit Zeichnungen, Fotos, Leinwänden, Diasprojektionen, Printmedien und Modell

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Ereignispanorama und andere Verwicklungen (with Les Schliesser) Kunstverein Nürtingen, 2013 Durchbruch der Ausstellungswand, Informationstisch, Theoriefeld mit Zeichnungen, Plots, Diaprojektion, Fotos

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Ereignispanorama und andere Verwicklungen (with Les Schliesser) Kunstverein Nürtingen, 2013 Fotos der 50er Jahre Erweiterungsbauten, Architekt Klaus Kirsten

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Ereignispanorama und andere Verwicklungen (with Les Schliesser) Kunstverein Nürtingen, 2013 Modell des vorderen Betonturms, im Hintergrund Zeichnungen zur Entstehungsgeschichte von ExRotaprint

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Ereignispanorama und andere Verwicklungen (with Les Schliesser) Kunstverein Nürtingen, 2013 Zeichnungen zur Aufstockeung des vorderen Turms, zur Diskussion über Beton und der Ästhetik von Rotaprint Maschinen

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Ereignispanorama und andere Verwicklungen (with Les Schliesser) Kunstverein Nürtingen, 2013 Zeichnung zum Geldfluss von ExRotaprint zu den Stiftungen Edith Maryon und trias im Laufe der 99 Jahre Erbbaurecht

Mit der Ausstellung “Ereignispanorama und andere Verwicklungen” sickert die gemeinsame Arbeit an der Entwicklung des ExRotaprint Geländes in die künstlerische Arbeit von Daniela Brahm und Les Schliesser ein und fliest so den Ausgangslagen der Projektidee zu, die zunächst mehr künstlerische Intervention und Provokation als tatsächliche Gestaltung von Realität waren. In der Ausstellung, die Enstehungsgeschichte, Gegenwart und mögliche Zukunft des Ortes anreisst, verhandeln die beiden Künstler ihren Spagat zwischen Realität und Künstleridentität. Entlang einer Zeitlinie organisiert sich die Ausstellung ausgehend von den ergänzenden Architekturen des Geländes aus den späten 1950er Jahren bis zum vertraglich gesicherten Ende des Erbbaurechts im Jahr 2106. Anhand von Rotaprint Originalmaterial, Fotos, Plots, Dias, Zeichnungen, Zukunftszenarien, einem Modell, Leinwänden und Printmaterial werden die Stationen 1958, 1989, 1996, 2007, 2013, 2050, 2075 und 2100 nachgezeichnet.

Ereignispanorama und andere Verwicklungen (with Les Schliesser) Kunstverein Nürtingen, 2013

Verhandlungssache / 2013

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Verhandlungssache 2013 (with Les Schliesser) Mirko Mayer Gallery, Cologne

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Verhandlungssache 2013 (with Les Schliesser) Mirko Mayer Gallery, Cologne

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Verhandlungssache 2013 (with Les Schliesser) Mirko Mayer Gallery, Cologne

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Verhandlungssache 2013 (with Les Schliesser) Mirko Mayer Gallery, Cologne

 

Bei der Kollision von angrenzenden Themenfeldern und Interessenlagen sind Verhandlungen über Überschneidungen und Schnittmengen Voraussetzung des Zusammenarbeitens. Exemplarisch für die Auseinandersetzung mit Bedeutungstotalen und Eitelkeiten im Realraum verhandeln Daniela Brahm und Les Schliesser ihre jeweiligen Positionen in der installativ geprägten Ausstellung „Verhandlungssache“. Das ist die erste dialogische Ausstellung der beiden Künstler. Daniela Brahm erforscht die Stadt als Handlungsraum des Einzelnen vor dem Hintergrund der Versprechungen der Moderne in einer globalisierten Welt. Les Schliesser fokussiert das Chaotische der individuellen Erfahrungen in einem brüchigen, kulturellen Erwartungskonsens. Kunst als Strategie neuer Aneignungs- und Umwidmungsbewegungen innerhalb komplexer und festgefahrener Strukturen einzubinden und dadurch überraschende Perspektiven und Lösungsansätze zu entwickeln, ist einer der künstlerischen Ansätze von Daniela Brahm und Les Schliesser. Die beiden Künstler realisieren seit 2007 das Projekt ExRotaprint als heterogenen Möglichkeitsraum in der Stadt. Sie gestalten den Realraum und verhandeln die Entwicklung des 10.000 qm großen Areals als soziale Plastik.

Verhandlungssache 2013 (with Les Schliesser) Mirko Mayer Gallery, Cologne

The Big Argument / 2009

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The Big Argument 2009, in: “Warsaw Under Construction”, Museum of Modern Art in Warsaw (curators: S. Cichocki / A. Janevski / T. Fudala)

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The Big Argument 2009, in: “Warsaw Under Construction”, Museum of Modern Art in Warsaw site-specific installation, scaffoldings, billboards, large format prints, painting, approx. 11 x 7 x 4 m

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The Big Argument 2009, in: “Warsaw Under Construction”, Museum of Modern Art in Warsaw site-specific installation, scaffoldings, billboards, large format prints, painting, approx. 11 x 7 x 4 m

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The Big Argument 2009, in: “Warsaw Under Construction”, Museum of Modern Art in Warsaw site-specific installation, scaffoldings, billboards, large format prints, painting, approx. 11 x 7 x 4 m

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The Big Argument 2009, in: “Warsaw Under Construction”, Museum of Modern Art in Warsaw site-specific installation, scaffoldings, billboards, large format prints, painting, approx. 11 x 7 x 4 m

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The Big Argument 2009, in: “Warsaw Under Construction”, Museum of Modern Art in Warsaw site-specific installation, scaffoldings, billboards, large format prints, painting, approx. 11 x 7 x 4 m

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The Big Argument is a project accompanying the program of “Warsaw Under Construction”. Using a billboard cluster on the seats of honor in front of the Palace of Culture in Warsaw, the artist underlines the impetuous and complex character of conflicts evoked by attempts to manage and conquer public space by groups of conflicting interests. At the same time, Brahm defines the city as “the biggest exhibition in the world”, treating art as a magnifying glass which lets us see the pending urban, political, and social processes. (text by Tomasz Fudala, curator at the Museum of Modern Art in Warsaw)

The Big Argument 2009, in: “Warsaw Under Construction”, Museum of Modern Art in Warsaw (curators: S. Cichocki / A. Janevski / T. Fudala)

Proclamation Wall / 2009

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Proclamation Wall 2009 in: “Building Berlin”, Kitchener-Waterloo Art Gallery, Canada (curator: Germaine Koh)

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Proclamation Wall 2009 wooden structure, paint, 5 “Proclamation Poster”, oil on primed paper, approx. 17 x 5.5m alltogether

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Proclamation Wall 2009 wooden structure, paint, 5 “Proclamation Poster”, oil on primed paper, approx. 17 x 5.5m alltogether

 

Concerned equally with utopian architectural forms and temporary structures, Daniela Brahm’s art practice seems to carry an understanding of the provisional character of built space. The painted elements of her works present an essential function of posters and placards: that is, turning official space towards vernacular, unplanned use. Her painted posters and fragments of painting on other structures feature slogan-like text fragments and always the same cast of characters (from a found group of ID photos of international TV professionals). Within the lexicon of her work, these elements seem to represent the actors and private concerns that inhabit city space. (text by Germaine Koh)

Proclamation Wall 2009 in: “Building Berlin”, Kitchener-Waterloo Art Gallery, Canada (curator: Germaine Koh)

Space Piece #2 / 2008

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Space Piece #2 / The First Cabinet 2008 2 paintings on canvas, wood, paint, Jeans, neon lights approx. 300 x 300 x 150 cm studio view

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Space Piece #2 / The First Cabinet 2008 2 paintings on canvas, wood, paint, Jeans, neon lights approx. 300 x 300 x 150 cm

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Space Piece #2 / The First Cabinet 2008 2 paintings on canvas, wood, paint, Jeans, neon lights approx. 300 x 300 x 150 cm

Daniela Brahm’s work oscillates between reflection on the subject of a potential contemporaneity, which is exemplified in her series of portraits and group scenes (the characters of Brahm’s paintings – the representatives of a local society, whose photos are taken from Television Training Centres – comprise a fictional “cabinet”) and cataloguing modern architecture – the natural urban setting against which the drama of social interaction is played out. Both of these fields of interest converge in her expansive installations, in which paintings suspended from scaffolding form temporary architectural spaces – enclaves for linguistic fencing matches filled with competing found slogans and utopian postulates. (text by Sebastian Cichocki, curator at the Museum of Modern Art in Warsaw)

Space Piece #2 / The First Cabinet 2008 studio view

Wall Piece & Space Piece / 2007-08

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Wall Piece #1 / not the usual subjects, suspects 2007 Space Piece #1 / global village 2008 studio view

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Wall Piece #1 / not the usual subjects, suspects 2007 wooden structure, paint, oil on primed paper approx. 300 x 350 cm

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Space Piece #1 / global village 2008 wooden structure, paint, paintings on wood, painting on primed paper approx. 280 x 400 x 250 cm

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Wall Piece #1 / not the usual subjects, suspects 2007 Space Piece #1 / global village 2008 studio view

Currently, Daniela Brahm is probably one of Berlin´s most unpredictible painters. She constructs site specific installations for her paintings and is clearly driven by an interest in the social. Other artists´ work deals with color and form. Daniela Brahm works with color, form and political issues that she questions passionately (…) In Daniela Brahm´s mind, for paintig to be topical means that it must show an awaremenss of contemporary values. She thus transforms exhibitions spaces into artworks that viewers can move through. Most often, she uses unfinished wooden boards to construct an interesting provisional framework in which text, image and space deal with questions of modernism, human oriented architecture and humane, dignified urban realities, or about public and private, prototype and individual. (text by Christoph Tannert, director at Künstlerhaus Bethanien)

Wall Piece #1 / not the usual subjects, suspects 2007 Space Piece #1 / global village 2008 studio view

Art is so small / 2007

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Art is so small / Consider the opposite 2007 Art Forum Berlin wooden structure, paintings “Dim” und “Stiff” (curator: Sabrina van der Ley) (photo: George Steffens)

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Art is so small / Consider the opposite 2007 paint on chipboard, detail 250 x 380 cm (photo: George Steffens)

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Art is so small / Consider the opposite 2007 paint on chipboard, 4 “Proclamation Posters”, detail 350 x 620 cm (photo: George Steffens)

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Art is so small / Consider the opposite 2007 wooden structure, paint, 2 “Proclamation Posters”, detail 350 x 700 cm (photo: George Steffens)

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Art is so small / Consider the opposite 2007 paint on chipboard, paint on primed paper, detail 250 x 1000 cm (photo: George Steffens)

The exhibition occupies a transit situated between the fair halls. It is build to cross from one hall to the other. However, structurally it should be seen as a “traffic junction” and not simply a building. It is a dynamic outside space which has been brought inside and under a roof on the fair grounds. The work Art is so small / Consider the opposite deals with this parallel of indoor and outdoor space, the transfer of municipal urbanity into a safe art space. The artist is curious as to how much activity has to be assigned to art in this special arrangement to resist reality. (press release, abridged)

Art is so small / Consider the opposite 2007 Art Forum Berlin (curator: Sabrina van der Ley)

Recycling Utopia / 2006-07

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Recycling Utopia, 2006 in: “Ideal City / Invisible Cities” Potsdam, DE (curators: Sabrina van der Ley / Markus Richter) (photo: Michael Kuchinke-Hofer)

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Recycling Utopia, 2006 a hut in a public passageway build out of the paintings remaining from the installation “The New Town” in Zamosc, approx. 3.3 x 3.5 x2.5m (photo: Carsten Eisfeld)

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Recycling Utopia, 2006 a hut in a public passageway build out of the paintings remaining from the installation “The New Town” in Zamosc, view inside (photo: Carsten Eisfeld)

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Recycling Utopia, 2007 in: OPEN SPACE, with Mirko Mayer Gallery, Art Cologne, DE

The New Town and Recycling Utopia, have been realised for the exhibition “Ideal City / Invisible Cities”. The first part of the exhibition took place in Zamosc in eastern Poland in summer 2006. The New Town was located on a city´s market square for two months. Out of the component parts of this installation the shelter Recycling Utopia, has been built for the second part of the exhibition in Potsdam in autum 2006. www.idealcity-invisiblecities.org At the 2007 Art Cologne, the work Recycling Utopia, bears traces of its earlier appearences in the urban space, which have been transfered to the protective artistic surrounding. As a hybrid of painting, sculpture and installation art, Recycling Utopia poses a question on authorship, process and links between art and life.

Recycling Utopia, 2006-7 in: “Ideal City / Invisible Cities” 2006, Potsdam, DE and: OPEN SPACE 2007, Art Cologne, DE

The New Town / 2006

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The New Town, 2006 in: “Ideal City / Invisible Cities” Zamosc, PL (curators: Sabrina van der Ley / Markus Richter)

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The New Town, 2006 scaffolding, paintings, a flag, approx. 8 x 3.6 x 1.6m

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The New Town, 2006 scaffolding, paintings, a flag, approx. 8 x 3.6 x 1.6m

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The New Town, 2006 scaffolding, paintings, a flag, approx. 8 x 3.6 x 1.6m

In Zamosc and Potsdam Daniela Brahm adresses the construction of ideal cities directly, by declaring a plot of already built-on land a building site. Staying withing the formal language of post-war modernity, and relating in terms of content to a civic model of participation, she rattles the intactness of the ideal city and proclaims the possibility of change. Thus she points the way to an as yet invisible city, arising from the ideas of modernity, which would not however here represent salvation, but destruction. Daniela Brahm has thought the present situation through to its logical conclusion; up to and including the scrutiny of today´s attitudes to the idea of an ideal city. (text by Anne Maier) www.idealcity-invisiblecities.org

The New Town, 2006 in: “Ideal City / Invisible Cities” Zamosc, PL (curators: Sabrina van der Ley / Markus Richter)

Proclamation Wall / 2006

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Proclamation Wall, 2006 and London Series (modern (no bricks)), 2004/2005 in: Asterism. Artists living in Berlin, Museo Tamayo, Mexico D.F. (curator: Paola Santoscoy) (photo: Jesús Sánchez Uribe)

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Proclamation Wall, 2006 wooden structure, paint, 6 “Proclamation Posters” approx. 6 x 11m alltogether (photo: Jesús Sánchez Uribe)

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Proclamation Wall, 2006 wooden structure, paint 6 “Proclamation Posters” oil on primed paper, 260 x 150 cm each (photo: Jesús Sánchez Uribe)

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London Series (modern (no bricks)), 2004-06 in: Asterism. Artists living in Berlin, Museo Tamayo, Mexico D.F. 40 drawings, framed (photo: Jesús Sánchez Uribe)

Daniela Brahm is an artist who introduces questions about the city and its architecture into her work, from the perspective of an investigation focused on developing new possibilities for painting. Using drawings and paintings of various formats, Brahm assembles temporary installations that recall outdoor urban situations while evincing the fragility of the utopian outlook of most city planning. Proclamation Wall is literally a series of “proclamations” intruding into the museum´s space with phrases, such as “Dare to Enter”, “Participation”, “No Escape”, or simply “Yes”…, texts presented in various fonts. Their placement give the Museo Tamayo the appearance of a construction site, with these large posters establishing a formal analogy with one´s visual or spatial experiences in public space, as these works were hung on a rough wall that resembled a temporary street barricade. The artist presents these texts in English, the commonly accepted universal language nowadays, and ties this use to a historical architectural tradition that proclaimed a universal language. (text by Paola Santoscoy, curator at the Museo Tamayo)

Proclamation Wall, 2006 in: Asterism. Artists living in Berlin, Museo Tamayo, Mexico D.F.

Community / 2006

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Community, 2006 Mirko Mayer Gallery, Cologne (photo: George Steffens)

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Community, 2006 wooden structure, paint, 5 “Proclamation Posters”, oil on primed paper (photo: George Steffens)

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Community, 2006 wooden structure, paint, “Proclamation Poster / freedom”, oil on primed paper (photo: George Steffens)

The installation entitled Community encroaches upon the space of the gallery with its wall of roughly sawn boards covered in splashes of white paint, sparking interest in things that have been sealed or closed off—just as fences round building sites do. In terms of its three-dimensionality, the composition as a whole aims towards an encounter with the Participants, the recurring actors in Brahms` oeuvre, producing a situation in which the juxtaposition of disparate personalities demands that more light be shed on notions of cultural and political identity. Community addresses ideas of individual freedom and foreignness in equal measure, examining artistic methods and their confrontation with the viewer. (press release, abridged)

Community, 2006 Mirko Mayer Gallery, Cologne

Highrise / 2005

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Highrise, 2005 Künstlerhaus Bethanien, Berlin (curator: Christoph Tannert) (photo: Carsten Eisfeld)

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Highrise, 2005 spatial structure of scaffolding and plywood combining backstage material, text and paintings (photo: Carsten Eisfeld)

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Highrise, 2005 detail (photo: Carsten Eisfeld)

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Highrise, 2005 “Stiff” oil on OSB, 250 x 250 cm “Participant / Mr. Nguvauva” oil on Forex, cutouts, 240 x 140 cm “Proclamation Poster / Ausstellung mit Bildern” oil on paper, 250 x 150 cm (photo: Carsten Eisfeld)

Daniela Brahm´s work transforms spaces into images whose components are images she paints in her studio. Brahm works simultaneously on various series of motifs reflecting her observations of society, which she combines into fictional stories. Her latest work, Highrise, confronts the hospital chapel dating from the 19th century with a parasite architecture. Rising upwards from flat elements on the floor it towers at 8.5 meters and docks onto one aisle of the gallery space. Brahm uses the scaffolding and the sheets of wood as a canvas for existing works or paints directly on the wood. Formally speaking, this architectural intervention derives from the urbanistic features of social housing, more particularly England´s tenement blocks, whose architecture is an expression of social utopia in the aftermath of the Second World War. Tall housing blocks with flat side-buildings and a landscaped surrounding offer the pedestian changing views and perspectives. In Highrise, Daniela Brahm intends to create a complex arrangement allowing for as many perspectives as possible, which become animated like a film thanks to the spectator´s movemnt in and around the installation. The resulting “tower of images” underlines the artist´s interest in architecture as a medium of social expression. (press release, abridged)

Highrise, 2005 Künstlerhaus Bethanien, Berlin (curator: Christoph Tannert) (photo: Carsten Eisfeld)

Dare to Enter / 2004

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Dare to Enter, 2004 in: Eastinternational 04, Norwich Gallery, Norwich, UK “Anti-Tack” wooden structure, 240 x 550 x 50 cm (selectors: G.H. Lybke, N. Rauch) (photo: Peter White)

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Dare to Enter, 2004 paintings from the series “Proclamation Posters” oil on primed paper, 250 x 150 cm each (photo: Peter White)

Dare to Enter reflects the metropolis. A wooden wall provokes visitors into moving, into changing locations; it differentiates between the inside and outside, reminding us of the fences around building sites in London, where diagonal planks prevent posters being put up. At the same time, the installation shows the “Proclamation Posters”, which announce the work and showcase the motifs and subjects of the artist. The installation calls for the appropriation of space. (press release, abridged) Daniela Brahm comes from painting, she has however extended her work beyond the fixed limits of the canvas into the surrounding space. In her installations she combines drawing and painting with typography and sculptural elements. Again and again she concerns herself in her works with late modernist forms of architecture and the city, combines living accommodation of the 60´s with anonymous, temporary or nomadic forms of building and life. (text by Markus Richter)

Dare to Enter, 2004 in: Eastinternational 04, Norwich Gallery, Norwich, UK (selectors: G.H. Lybke, N. Rauch)

Hinterland / 2002

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Hinterland, 2002 Mirko Mayer Gallery, Cologne “Hiding”, wooden fence, 120 x 750 cm (photo: Ralph Baiker)

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Hinterland, 2002 paintings from the series “difficult characters”, oil on canvas, 60 x 70 cm each, emulsion on wall (photo: Ralph Baiker)

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Hinterland, 2002 “Participant / Mr. Nguvauva” oil on Forex, cutouts, 240 x 140 cm, emulsion on wall (photo: Ralph Baiker)

Drawing inspiration by 20th-century architects´ predisposition to change the way people thought about the built enviroment, in one of Brahm´s latest installations Hinterland, something between a wooden barrier and a self-supporting painting acts as artificial fence to add an extra layer in the exhibition. Here, to explore the notion of feeling out of place, the artist introduces her idea of boundary, that the philosopher Martin Heidegger called not at which something stops but, as the Greeks recongnised, that from which something begins. In fact, beyond the framing device that resembles a saloon door, we are duelled by the frontal assemblage of a few unsympathetic adjectives, and simultaneously invited by a friendly African. A photographic archive of the Television Training Centre in Berlin serves as the starting point to reflect on the social context in which his image-quotation first appeared. By making space in the exhibition to a professional from the Third World, the artist seems to point out this portrait can only exist at the interface between art and social life. Because to be portrayed means to appear in public and, if we also wish to fully participate in the artist´s culturally-diversified fabrications, we must play a role in the “conversation picture”, matching her “unknown twins”. (text by Diana Baldon)

Hinterland, 2002 Mirko Mayer Gallery, Cologne

Participation City / 2002

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Participation City, 2002 Barbara Thumm Gallery, Berlin “Participants”, emulsion on wall, free-standing “Rebuff” (photo: David Brandt)

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Participation City, 2002 “Rebuff” oil on Forex on framework, 305 x 280 cm (photo: David Brandt)

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Participation City, 2002 “Participant / Mr. Mangundap” oil on Forex, cutouts, 240 x 190 cm “Participants / Mr. Suraweera & Mr. Mangundap” 250 x 375 cm emulsion on wall, back of “Rebuff” (photo: Ralph Baiker)

The exhibition Participation City is a three-dimensional picture: large format portraits, a free-standing painting and two works on canvas are united against the backdrop of a monochrome wall-painting into one visual experience. The single pictures indicate possibilities that as a whole describe an utopian site. Daniela Brahm transfers motifs on a formal level via painting, giving the works a highly suggestive strength. This work is a model for the confrontation of parallel worlds and the opening up of the field of vision to foreign structures of living. In Participation City, the juxtaposition of different identities requires that notions of cultural and political identity themselves be clarified. The exhibition can thus be understood as a constellation within which a critical purchase on complex processes is made possible. The Participants gathered here address viewers directly, including them in the process of communication. The Participants are the key actors in the exhibition. (press release, abridged)

Participation City, 2002 Barbara Thumm Gallery, Berlin

NIMBY / 2001

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NIMBY – Not In My Backyard, 2001 Mirko Mayer Gallery, Cologne “Residually” oil on Forex on framework, 305 x 270 cm (photo: Ralph Baiker) “Participant / Mr. Yap #1” Öl auf PVC, ca. 135 x 280 cm, cutouts, Wandfarbe

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NIMBY – Not In My Backyard, 2001 “Familiar” oil on wood, 110 x 300 cm, emulsion on wall (photo: Ralph Baiker)

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NIMBY – Not In My Backyard, 2001 “Participant / Mr Yap #2” oil on Forex, cutouts, approx. 240 x 370 cm emulsion on wall (photo: Ralph Baiker)

NIMBY – Not In My Backyard is an acronym from the United States and, in particular, Los Angeles of the 1980s. It expresses the desire of local residents to shield their community from any form of change or infringement by strangers. With a house, a car and a portrait NIMBY – Not In My Backyard offers the minimal version of a world. The exhibition uses the possibilities of painting to creat a backdrop that transforms the local identity of each component into a greater integrity. (press release, abridged)

NIMBY – Not In My Backyard, 2001 Mirko Mayer Gallery, Cologne

our place / 2000

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our place, 2000 Barbara Thumm Gallery, Berlin Paintings from the series “Ideal Privacy”, emulsion on wall, raised hide (photo: David Brandt)

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our place, 2000 “Dizzy” oil on Forex, 150 x 200 cm “Finicky” oil and adhesive foil on Forex, 240 x 300 cm “Dim” oil on wood, 240 x 240 cm (photo: David Brandt)

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our place, 2000 “Big Potato” oil and adhesive foil on Forex, 240 x 600 cm emulsion on wall, raised hide (photo: David Brandt)

Die Ausstellung our place verbindet geschickt einige zur Zeit gerne gesehenen Blicklinien. Es gibt den Blick in die Baugeschichte, jedes Gehäuse hier erinnert an eine oder mehrere Ikonen der Moderne, ohne jedoch direkt Bezug zu nehmen. Der Stil der Ikonen ist halt inzwischen überall angekommen. Dann schweift der Blick über das Normadenhafte, nichts soll hier für die Ewigkeit erscheinen, alles für das Flexible. Keine Umgebung gibt Anhaltspunkte, es ist die nackte Architektur, ein deja-vu des gestern dort und morgen hier gesehenen. Dabei wird zwischen Dokumentarischem und Virtuellem gesprungen, die liebevoll laminierten Großtafeln könnten konkrete Vorbilder haben, aber auch frei erfunden sein. Das Geschehen spielt sich im Innenraum ab, doch der blaue Streifen, der oben an der Wand um den Raum läuft, signalisiert den Himmel des Außenraums. Aber es ist ein künstliches Blau, keines, das den Himmel simulieren will oder gar eine eintsprechende Stimmung erzeugen soll, sondern ein helles RGB-Blau, das nur als Verweis fungiert. Die ganze Ausstellung ist ein mächtiges Verweisen, daher fühlt man sich so unverbindlich wohl in ihr. (Text von Christoph Blase, in Blitz Review, Juni 2000)

our place, 2000 Barbara Thumm Gallery, Berlin

 

ExRotaprint Zukunftsszenarien / 2013

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ExRotaprint – eine Immobilienentwicklung als Möglichkeitsraum seit 2004 (zusammen mit Les Schliesser) “Es wird Zeit das Erbbaurecht zu verlängern.” “Ja, das sehe ich auch so.” 2013 ink and pencil on paper, 21 x 29.7 cm

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Kreditvertrag für weitere Aufstockungen im Jahr 2078 2013 ink and pencil on paper, 21 x 29.7 cm

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Die Zukunft von Arbeit, Kunst, Soziales 2013 ink and pencil on paper, 21 x 29.7 cm

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Etappen der Aufstockungen des Betonturms bis 2091 2013 ink and pencil on paper, 21 x 29.7 cm

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Zinszahlungen an die Stiftungen bis zum Ende des Erbbaurechts, inklusive Wertanpassungen 2013 ink and pencil on paper, 21 x 29.7 cm

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Gentrifizierung nicht aufzuhalten 2013 ink and pencil on paper, 29.7 x 42 cm

Die rechtliche Struktur von ExRotaprint bilden zwei Verträge, die sich in ihren Zielen verschränken und gegenseitig ergänzen. Die Verträge sichern langfristig die Gemeinnützigkeit der Projektentwicklung und das Nutzungskonzept ab, und schließen Immobilienspekulation an diesem Standort aus. Sie bilden den Rahmen, innerhalb dessen die soziale Plastik ExRotaprint gestaltet werden kann und setzen gleichzeitig die Grenzen gegen eine grundsätzliche Umorientierung des Projektes. Diese Langfristigkeit ist Thema einer Reihe von Zeichnungen. Was passiert in 30 oder 60 Jahren mit dem Nutzungsgefüge Arbeit, Kunst Soziales? Wieviel Geld ist an die Stiftungen geflossen? Wo und wie wird weiterhin aufgestockt? …

ExRotaprint – eine Immobilienentwicklung als Möglichkeitsraum seit 2004 (zusammen mit Les Schliesser)

ExRotaprint Verwicklungen / 2011-13

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ExRotaprint – eine Immobilienentwicklung als Möglichkeitsraum seit 2004 (zusammen mit Les Schliesser) Vertragsverwicklungen 2013 ink and pencil on paper, 21 x 29.7 cm

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Mieter werden Gesellschafter 2013 ink and pencil on paper, 21 x 29.7 cm

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Raucherpause vor neuer Fassade 2013 ink and pencil on paper, 21 x 29.7 cm

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… kann Kunst sein, muss aber nicht … 2012 ink and pencil on paper, 21 x 29.7 cm

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ExRotaprint – der Comic / Vereinssitzung 2007 2011 (Nr. 7 von 16, Detail) 2011 ink and pencil on paper, 29.7 x 42 cm

In einer heterogenen Gruppe aus Künstlern, sozialen Trägern und Gewerbebetrieben gibt es unterschiedliche Vorstellungen, die besprochen und moderiert werden müssen. „Urban design, Partizipation, Community Organizing“ oder „Nachhaltigkeit“ sind Schlagwörter einer sozial engagierten, aufgeklärten, kulturellen Öffentlichkeit. Verlässt man den Kunstraum und trägt die Strategieansätze der Kultur in den Realraum, hat man merkwürdige, absurde und ganz neue Begegnungen. Man spricht nicht dieselbe Sprache und verfolgt unterschiedliche Ziele. So haben kleine lokale Gewerbebetriebe in der Regel klassische Konzepte. Im Vordergrund steht das tägliche Geschäft, die Zeit für Experimente ist knapp. Soziale Einrichtungen sind zwar auf Engagement ausgerichtet, aber von Projektgeldern der Stadt und Kommune abhängig. Kreative sind Projektarbeit gewohnt, Zeit spielt eine untergeordnete Rolle, Selbstausbeutung wird seit Jahren praktiziert, allerdings ist ihr Diskurs hermetisch. Um alle Gruppen in die Diskussion zu bringen, mussten wir vor allem Verständnis und persönliches Vertrauen schaffen. Realität wird vor Ort mit kunstverwandten Strategien sozial, wirtschaftlich und kulturell gestaltet. ExRotaprint als soziale Plastik bedeutet eine Dehnung des Kunstbegriffs, der nicht als Abbild oder Zitat, sondern als gestaltete Wirklichkeit Form findet und Kunst sein kann, aber nicht muss.

ExRotaprint – eine Immobilienentwicklung als Möglichkeitsraum seit 2004 (zusammen mit Les Schliesser)

Hier entsteht ein Möglichkeitsraum / 2012

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ExRotaprint – eine Immobilienentwicklung als Möglichkeitsraum seit 2004 (zusammen mit Les Schliesser) Hier entsteht ein Möglichkeitsraum #1 2012 ink and pencil on paper, 29,7 x 21 cm

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Hier entsteht ein Möglichkeitsraum #2 2012 ink and pencil on paper, 29,7 x 21 cm

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55 Jahre später, 55 Grad gedreht (55 years later, rotated by 55 degrees) Konzept für die Aufstockung des Turms, 2012 (Idee: Les Schliesser, Zeichnung: Daniela Brahm) ink and pencil on paper, 42 x 29,7 cm

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ExRotaprint #1 2012 ink and pencil on paper, 29,7 x 21 cm

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ExRotaprint #5 2012 ink and pencil on paper, 42 x 29,7 cm

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celebrating ExRotaprint, queuing at Lidl 2012 ink and pencil on paper, 29,7 x 21 cm

Durchgesetzt von Künstlern soll ExRotaprint nicht nur ein Ort für Künstler sein. ExRotaprint vermietet heute zu je einem Drittel Flächen an Arbeit, Kunst, Soziales. Hier arbeiten Gewerbebetriebe, soziale Einrichtungen und Kreative. Es entsteht ein gesamtgesellschaftliches Bild, das sich gegen die Monokulturen aufgesetzter Renditeträume wendet und stattdessen das Miteinander und den Austausch fördert. Das räumliche Nebeneinander von Produktion, Kreativität und Maßnahmen der Beschäftigung ist eine Verschränkung, die sich gegenseitig kommentiert, kritisiert und befruchtet. Der Berliner Bezirk Wedding ist der Realraum stadttheoretischer Diskurse. Migration, Arbeitslosigkeit und Armut sowie die beginnende Aufwertung und Überprägung vorhandener Strukturen durch die „Kreativen“ und ihre Codes werden in den nächsten Jahren einen Konflikt eingehen, der für viele Städte und Entwicklungen exemplarisch ist.

ExRotaprint – eine Immobilienentwicklung als Möglichkeitsraum seit 2004 (zusammen mit Les Schliesser)

Warsaw fighting city / 2009

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Warsaw fighting city / look here, 2009 marker on paper, 29.7 x 42 cm

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Warsaw fighting city / the artists fear, 2009 marker on paper, 29.7 x 42 cm

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Warsaw fighting city / private-public-corporate, 2009 marker on paper, 29.7 x 42 cm

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Warsaw fighting city / shop shop, 2009 marker on paper, 29.7 x 42 cm

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Warsaw fighting city / city map 2009 marker on paper, 29.7 x 42 cm

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Warsaw fighting city / statue of liberty, 2009 marker on paper, 29.7 x 42 cm

the city as exhibition / 2008-09

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Die Stadt als Ausstellung / the city as exhibition / Art vs. Reality #11 2009 Öl auf grundiertem Papier, 150 x 105 cm

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Die Stadt als Ausstellung / the city as exhibition / Art vs. Reality #10 2009 Öl auf grundiertem Papier, 150 x 105 cm

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Die Stadt als Ausstellung / the city as exhibition / Art vs. Reality #9 2009 Öl auf grundiertem Papier, 150 x 105 cm

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Die Stadt als Ausstellung / the city as exhibition / Art vs. Reality #2 2009 Öl auf grundiertem Papier, 150 x 105 cm

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Die Stadt als Ausstellung / the city as exhibition / Art vs. Reality #15 2009 Öl auf grundiertem Papier, 150 x 105 cm

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Die Stadt als Ausstellung / the city as exhibition / Art vs. Reality #12 2009 Öl auf grundiertem Papier, 150 x 105 cm

Mexico Series / 2008

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Ideal Privacy / Mexico Series / UNAM 10 drawings, 2008 mixed media on paper, 29.7 x 21 cm

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Ideal Privacy / Mexico Series / UNAM 10 drawings, 2008 mixed media on paper, 29.7 x 21 cm

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Ideal Privacy / Mexico Series / UNAM 10 drawings, 2008 mixed media on paper, 29.7 x 21 cm

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Ideal Privacy / Mexico Series / UNAM 10 drawings, 2008 mixed media on paper, 29.7 x 21 cm

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Ideal Privacy / Mexico Series / UNAM 10 drawings, 2008 mixed media on paper, 29.7 x 21 cm

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Ideal Privacy / Mexico Series / UNAM 10 drawings, 2008 mixed media on paper, 29.7 x 21 cm

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Ideal Privacy / Mexico Series / UNAM 10 drawings, 2008 mixed media on paper, 29.7 x 21 cm

Poland Series / 2007

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Ideal Privacy / Poland Series 12 drawings, 2007 mixed media on paper, 29.7 x 21 cm

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Ideal Privacy / Poland Series 12 drawings, 2007 mixed media on paper, 29.7 x 21 cm

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Ideal Privacy / Poland Series 12 drawings, 2007 mixed media on paper, 29.7 x 21 cm

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Ideal Privacy / Poland Series 12 drawings, 2007 mixed media on paper, 29.7 x 21 cm

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Ideal Privacy / Poland Series 12 drawings, 2007 mixed media on paper, 29.7 x 21 cm

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Ideal Privacy / Poland Series 12 drawings, 2007 mixed media on paper, 29.7 x 21 cm

In the series of drawings entitled Ideal Privacy Daniela Brahm records the buildings she has encountered during her travels, and which are examples of an organic, spontaneous, self-generating architectural vitality of the city. The artist creates a type of a private encyclopedia of vernacular, improvised, and “parachute” architecture. (text by Tomasz Fudala, curator at the Museum of Modern Art in Warsaw)

Ideal Privacy / Poland Series 12 drawings, 2007

London Series / 2004-06

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London Series (modern (no bricks)) Trellick Tower, 2004-06, 40 drawings, mixed media on paper, 29.7 x 21 cm, framed

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London Series (modern (no bricks)) Thamesmead, 2004-06, 40 drawings, mixed media on paper, 29.7 x 21 cm, framed

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London Series (modern (no bricks)) Guys Hospital, 2004-06, 40 drawings, mixed media on paper, 29.7 x 21 cm, framed

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London Series (modern (no bricks)) National Theatre, 2004-06, 40 drawings, mixed media on paper, 29.7 x 21 cm, framed

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London Series (modern (no bricks)) Robin Hood Gardens, 2004-06, 40 drawings, mixed media on paper, 29.7 x 21 cm, framed

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London Series (modern (no bricks)) Barbican, 2004-06, 40 drawings, mixed media on paper, 29.7 x 21 cm, framed

The artist made the series of drawings London Series (modern (no bricks)) 2004-2006, during a residency in London. She spent her time photographing Brutalist constructions from the 1950s, 1960s and early 1970s– buildings characterized by the manner in which their exterior materials and ducts are exposed and unadorned, displaying a severe formalism that gives them a functional look. The artist subsequently eliminated any reference to the surrounding cityscape, excerpting only these massive concrete structures. In this process, she turns these forms into delicate drawings on paper, preserving elements that recall the play of light and textures on the original buildings. Together these works form a kind of typology, where each building is distinguished by its own personaltity. (text by Paola Santoscoy, curator at the Museo Tamayo)

London Series (modern (no bricks)), 2004-2006

Proclamation Posters / since 2004

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Proclamation Poster / freedom 2006 oil on primed paper, 260 x 150 cm

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Proclamation Poster / Mrs. Agyeman 2006 oil on primed paper, 260 x 150 cm

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Proclamation Poster / the selection 2006 oil on primed paper, 260 x 150 cm

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Proclamation Poster / how a show should be 2006 oil on primed paper, 260 x 150 cm

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Proclamation Poster / ExRotaprint #1 2007 oil on primed paper, 130 x 150 cm

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Proclamation Poster / ExRotaprint #2 2007 oil on primed paper, 260 x 150 cm

In one of her textual paintings, Proclamation Posters from 2004, Daniela Brahm listed “All I have been working on in the last 5 years. a resumé”. The list includes: utopian spaces, privacy, enclosures, houses, portraits, and difficult characters. The Berlin-based artist’s work oscillates between reflection on the subject of a potential contemporaneity, which is exemplified in her series of portraits and group scenes (the characters of Brahm’s paintings – the representatives of a local society, whose photos are taken from Television Training Centres – comprise a fictional “cabinet”) and cataloguing modern architecture – the natural urban setting against which the drama of social interaction is played out. Both of these fields of interest converge in her expansive installations, in which paintings suspended from scaffolding form temporary architectural spaces – enclaves for linguistic fencing matches filled with competing found slogans and utopian postulates. (text by Sebastian Cichocki, curator at the Museum of Modern Art in Warsaw)

Proclamation Posters, since 2004

Participants / since 2000

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Participant / Mr. Nguvauva 2002 oil on Forex, cutouts, 240 x 140 cm

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The First Cabinet 2008 oil on canvas, 250 x 300 cm

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The Pioneers #2 2008 oil on primed paper, ca. 120 x 150 cm

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Participant / Mr. Yap #2 2001 oil on Forex, cutouts, 360 x 220 cm

The artist’s Participants are a further visual language system. With these works, we have finally arrived at the real portraits, in other words, portraits of people. The painted participants of her exhibitions come from the archive of a “Television Training Centers“ where people working in television in so-called third world countries can receive further education. The passport-like photos are the basis for Daniela Brahm’s (pop-like) portraits. The artist adds their gesticular arm and hand positions to the heads, so that the “Participants” seem both activated and dynamic. Yet, instead of the alleged inwardness and individual characteristics that are supposed to actually define portraits, the artist intelligently creates a mixture of convention and individuality, of the familiar and the new. Thus the portraits recall people we think we know, without really depicting them. This tension turns the “Participants” into a type of projection surface that, comparable to the surfaces of the architecture facades, triggers associative interpretations, interpretations that productively challenge our idea of Modernism and identity, as well as signs and content. (text by Raimar Stange)

Participants since 2000

Ideal Privacy / since 1999

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Ideal Privacy “Haunted” 2003, Öl / Lack / Beize auf Sperrholz, 140 x 305 cm

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Ideal Privacy “Stiff” 2003, Öl / Lack auf OSB, 250 x 250 cm

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Ideal Privacy “Twin #1” 2007, Öl / Lack auf Holz, 165 x 250 cm

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Ideal Privacy “Clumb” 2003, Öl / Lack auf Aluminium, 150 x 180 cm

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Ideal Privacy “Keen” 2000, Öl / Lack auf Forex, 150 x 300 cm

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Ideal Privacy “Dim #2” 2000, Öl / Lack auf Sperrholz, 250 x 250 cm

Social critic and philosopher Walter Benjamin knew that “the readable only appears on the surface”. Daniela Brahm in her series Ideal Privacy, (cross) reads the surfaces, the facades of (modernist) architecture. Her work process begins with what you could say an obsessive photographing of everyday, of almost remote examples of this modernist formal vocabulary. As both hunter and gatherer, to stay in the Benjamin metaphor, she sweeps through large cities such as Los Angeles, London and Berlin, but also through the backlands of California and Poland. (Her book project “backstage”, Berlin 2000, offers a view into her photo archive.) She is less interested on these visual hunting trips in the big names of legendary urban formulations, and more in their residuum, the anonymous marginal phenomenon, which draw her artistic attention. She transforms these photographic models — the literal definition of icons by the way — into large-scale painting, which in Brahm’s words, “retrieves the modernist utopian aspects from these examples of architecture and transforms these into an idealized form, and with that into the portrait of a character”. (text by Raimar Stange)

Ideal Privacy, since 1999

 

backstage archive: architecture

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backstage archiv Kalifornien 2000

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backstage archiv London 2004

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backstage archiv Mexiko 2006

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backstage archiv Polen 2005

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backstage archiv Kroatien 2008

The trailer home is less a mobile apartment and more a logical expression of a modern spatial concept. Modern space and its architectural translations refer to an abstract functionality that, independent of cultural differences and traditions, promise to suit the needs of a global era. The consequences of this cultural indifference are the internationality of Modernism as well as a spatial concept, which has freed itself from regional differences. Living in a modern space means living in a space of modernism. But, as this Modernism sees itself as universal, the local reference alone grows to a contingent scale. Living in a modern space then means being only a guest at a place. The analog apartment could also be in another city, in another country or another continent. Whoever lives in a modern apartment becomes a tourist in his or her own region. The fact that this modernity can be found everywhere means that the modern house with foundation wall and fundament is only a still-image of a movement that is a paradigmatic issue of trailer homes. In this sense, all modern architectures are fundamentally trailer homes without wheels. (text by Andreas Spiegl)

backstage archiv Architekur

backstage archive: portraits

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backstage archiv Workshop “documentary production” Television Training Center Berlin 1985

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backstage archiv Workshop “animation course” Television Training Center Berlin 1982

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backstage archiv Workshop “TV Production” Television Training Center Berlin 1970-72

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backstage archiv Workshop “Television Engineering” Television Training Center Berlin 1987

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backstage archiv Workshop “Studio Production and Management” Television Training Center Berlin 1993, in Namibia

The traces of Modernism can be found everywhere, even where they represent local-specific issues. The German Bundesministerium für Entwicklung und Zusammenarbeit (Federal Ministry of Development and Cooperation) developed a television-training center thirty-five years ago, with the aim of conveying television’s technical and medial possibilities to interested individuals from Africa, Asia or Latin America. This training is based roughly on a principle of developmental assistance according to a help or self-help motto. Modernism based on import-export figures. In the course of the training, portraits are made of the participants, which are then collected as representatives of an international interest in this modern enterprise. The pictures of these participants, taken at the time of the workshop, have grown over the years into a representative archive of developmental assistance measures. Multiplied to a quantifiable scale, the subject disappears into the masses. A classic issue of Modernism, which Daniela Brahm adopts in order to re-direct attention to the individual subjects. Mr. Yap, Mr. Suraweera, Mr. Mangunda, Mr. Nguvauva, Mr. Chen Gongguo. Forgotten in the masses and over the years, their portraits are situated somewhere between the remnants of a culture of Modernism, and embedded in translations for an application of Modernism. (text by Andreas Spiegl)

backstage archiv Television Training Center Berlin[/vc_column_text][/vc_column][/vc_row]

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