KUNST BERLINALLE 2011

KUNST BERLINALLEE 2011
curated by   Javier RAMIREX

         Opening Reception: SATURDAY   March 12th   6 - 12 pm

        March 12   -   April 12,   2011

Daniele AFFERNI - Marco BACCHILEGA - Liliana COLLEONI - Nadiaanna CROSIGNANI - Martin BECH-RAVN - DEV01DED

Erene DELLAPORTA - Elisabeth HOOGLAND - EFFTER - Gianni LEONE - Daniela LOI - Anne Sophie LORANGE - Javier RAMIREX

Lisbeth PETERSEN - Ana PICASSO - Maurizio PICCIRILLO - Penny RAFFERTY - Eva REGUZZONI - Peter RADEMACHER - Robbekah RITCHIE

Sven STUCKENSCHIMDT - Sharman RIEGGER - Roswitha SCHABLAUER - Gisela WAHLSTROM - Marcelina WELLMER

   MARZIA FROZEN
   Landsberger Allee 54
   10249 Berlin, GERMANY
   Tel: +49 (0) 176 686 38384
   www.marziafrozen.com

Marzia Frozen is pleased to announce an international group exhibition of a new generation of artists working today. This will be a group exhibition at MARZIA FROZEN in Berlin, and will feature a selection of paintings, sculptures, photographs, performances and videos.

Chaos, economic crisis, anarchy, fear of the third war characterize the pace of modern times.....The Feeling of the big change is coming as Mayan Calendar said. One of those striking, uprising and influential elements within this process is the chemical "Neon", which is the light of our time. In a scientific approach "Neon" consists of the symbol Ne and an atomic number of 10. Although a very common element in the universe, it is rare on Earth. A colorless, inert noble gas under standard conditions, neon advertising signs. It is commercially extracted from air, in which it is found in trace amounts.

Other important pieces of the puzzle of modern times are Electronic music and visual arts. Both genres were an inspiration to follow spontanously new directions and to break simuntanously boundaries within contemporary art. Electronic music, as a wide and complex field, exists in many different forms and shades. One of them is Minimal techno, which is a minimalist sub-genre of techno . It is characterized by a stripped-down aesthetic that exploits the use of repetition, and understated development. This style of dance music production generally adheres to the motto less is more; a principle that has been previously utilized, to great effect, in architecture, design, visual art and Western art music. Minimal techno is thought to have been originally developed in the early 1990s by Detroit based producers Robert Hood and Daniel Bell, although what is currently referred to as 'minimal' has largely been developed in Germany during the 2000s, and made very popular in the second half of the decade by labels such as Kompakt and M-nus.

The experimenting with electronic sounds developed during the Futurist-Movement in the early 20th century in Italy. The Futurists approached the changing musical aesthetic from a different angle. A major thrust of the Futurist philosophy was to value "noise," and to place artistic and expressive value on sounds that had previously not been considered even remotely musical. Balilla Pratella's "Technical Manifesto of Futurist Music" (1911) states that their credo is: "To present the musical soul of the masses, of the great factories, of the railways, of the transatlantic liners, of the battleships, of the automobiles and airplanes. To add to the great central themes of the musical poem the domain of the machine and the victorious kingdom of Electricity."
On 11 March 1913, futurist Luigi Russolo published his manifesto "The Art of Noises. In 1914, he held the first "art-of-noises" concert in Milan on April 21. This used his Intonarumori, described by Russolo as "acoustical noise-instruments, whose sounds (howls, roars, shuffles, gurgles, etc.) were hand-activated and projected by horns and megaphones. In June, similar concerts were held in Paris.

Later in Germany, Karlheinz Stockhausen worked briefly in Schaeffer's studio in 1952, and afterward for many years at the WDR Cologne's Studio for Electronic Music.
In Cologne, what would become the most famous electronic music studio in the world was officially opened at the radio studios of the NWDR in 1953, though it had been in the planning stages as early as 1950 and early compositions were made and broadcast in 1951. The brain child of Werner Meyer-Eppler, Robert Beyer, and Herbert Eimert(who became its first director), the studio was soon joined by Karlheinz Stockhausen and Gottfried Michael Koening. In his 1949 thesis Elektronische Klangerzeugung: Elektronische Musik und Synthetische Sprache, Meyer-Eppler conceived the idea to synthesize music entirely from electronically produced signals; in this way, elektronische Musik was sharply differentiated from French musique concrète, which used sounds recorded from acoustical sources.

With Stockhausen and Mauricio Kagel in residence, it became a year-round hive of charismatic avante-gardism. on two occasions combining electronically generated sounds with relatively conventional orchestras --in Mixtur (1964) and Hymnen, dritte Region mit Orchester (1967). Stockhausen stated that his listeners had told him his electronic music gave them an experience of "outer space," sensations of flying, or being in a "fantastic dream world". More recently, Stockhausen turned to producing electronic music in his own studio in Kürten, his last work in the genre being Cosmic Pulses (2007).

Kunst Berlinallee 2011 is a survey of 26 contemporary artists living in this Chaotic Momentum before the final day.... December 21st, 2012

Daniele AFFERNI
Che stanotte abbiano paura del caos, fratelli miei!, 2010
Oil on canvas
70 X 70

sven

Sven STUCKENSCHIMDT
Noise, 2008
Aluminium, MDF, paint, plexiglass
120 x 120 x 100 cm

www

Eva REGUZZONI
WWW, 2010
Mixed Media on canvas
90 x 90 cm.

gianni

Gianni LEONE
Nefasto, 2010
Oil on canvas
150 x 120 cm.

erena

Erene DELLAPORTA
Untitled, 2010
Mixed media on canvas
100 x 70 cm.

daniela

Daniela LOI
Blue Mater, 2009
Mixed Media on canvas
50 x 50 cm