previous Exhibitions

Sybella Perry, stone-twice-fire, 4 - 18 December 2014

The search for the missing formula for artificial stone leads the disembodied voice of a psychic to question three historical monuments still standing due to the material’s unweatherable quality. Through a series of cold-readings her journey across England finally arrives at a street in London, where each house bears an enigmatic symbol. Could they be the key to the secret code for stone?

With her slideshow, stone-twice-fire, Sybella Perry (1986, UK) presents a new work, in which the artist explores human relationships to symbolic objects and analyses how we place meaning through situating statues and buildings within a specific environment and context. Borrowing elements of documentary and fiction formats, Perry combines photographic slides, which similar to the historical monuments they depict carry the idea of the possibility of freezing moments in time, with the by contrast time-based flux of the narrative voice. stone-twice-fire thus puts to the test the relationship between photography and story-telling, visual thinking and literacy and explores our constant struggle to try to make sense of things, and how the meaning we create over time corrodes and transforms as landscapes change and as the objects we give meaning to are moved, partially replaced, or preserved.

Opening: Thursday 4 December 2014, 6pm
Film Screening: Sunday 14 December 2014, 4pm
Robinson in Ruins, dir. Patrick Keiller (2010), 101 min.
selected by Sybella Perry

On occasion of Sybella Perry's exhibition at centrum there will be a screening of Patrick Keiller's feature-length essay-fiction film Robinson in Ruins (2010), in which the eccentric and mysterious protagonist Robinson leads the viewers on a trip through London and Oxfordshire. Exploring Britain's industrial heritage and residual romanticism at times of economic crisis, he discovers that the British industry has moved away from the cities to the countryside, into a hinterland of motorways and complex logistic systems operated almost without staff.

Please book your seat: info@centrumberlin.com



Annabel Hesselink, Towards a New Moon, 24 October - 1 November 2014

Towards a New Moon is a video installation by Annabel Hesselink (NL, 1987) in which through a range of video-experiments, the artist seeks to regain a wondrous image of the moon; an image that detaches itself from that of a grey and dusty surface which has become so deeply embedded in our cultural memory ever since its first appearance flickering on the television screens in 1969.

The artist asks, if there was the possibility to doubt this generally accepted, scientific image of the moon, could we wonder again? Hesselink’s video-experiments thus are a leap into the dark, towards a condition of not-knowing, doubt and questions seeking ways to depart from what constitutes the established image of the moon.

Hesselink has collected video-interviews in which she asks people around the world about their memories of the first moon landing, and their own ideas of the moon. Next to this Hesselink also digs within history for remarkable facts and fictions around the moon. Through video, building models, digging craters, and rolling snowballs the artists puts to the test the limits of what can be rationalised and imagined creating an alternative portrait of the moon.

Towards a New Moon was presented as part of NACHT&NEBEL cultural festival in Berlin-Neukölln.



Julie Myers 1 May - 30 June 2014

For her site specific compositions for three corners in Neukölln Julie Myers adopts the role of a stranger or outsider in order to initiate a response, or make sense of a specific place. She finds a place to sit and to watch, to get to know her environment. She hears the ‘sizzle’ of food being made, the timbre of a voice, the cry of a child, the hum of the traffic. Her texts, like graphic scores, are presented in the gallery for interpretation by improvisor Simon Rose on baritone saxophone.

Live performance: 27+28 June 2014, 8pm



Jefford Horrigan 12 - 27 May 2014

Jefford Horrigan works with furniture, drawing, sculpture, ritual, absurdism, intrinsic logic (and Beckett), humour, the outline of things (the recognition of objects, and also how they travel), narrative (literary), artist's process, mesmerism, labour and fate. He lives and works in London.

Freitagsabendessen: Friday 16 May 2014, 8pm
Booking is essential: info@centrumberlin.com
Screening: Sunday 18 May 2014, 8pm
Performance: Friday 23 May 2014, 8pm



Ute Klein, Positioning Project 2#: Kaskade, 6 - 12 December 2013

Positioning Project
Framed by Centrum’s large window to the street, the Positioning Project aims to highlight artist’s approach to inside/outside and subject/object.


Ute Klein’s recent photographic works often relate to a particular site and to objects found within a site. Through a repetitive process of being photographed and re-photographed, the found objects and their images are arranged in order to explore pictorial space and composition. Within this process the objects often take on a new set of associations in relation to the site. Ute Klein will be developing a site specific work, Kaskade, reflecting the particularities of Centrum’s space.

Ute Klein studied photography at Folkwang University of the Arts Essen and the Royal College of Art in London. Her works have received several prizes, such as the "gute aussichten young german photography award 2009/2010", "Bloomberg New Contemporaries 2011" and the Photography Art Award 2011, Munich. In 2012 she was invited to quartier21, artist in residency programme at the Museumsquartier in Vienna. She has exhibited Europe-wide and her work has been shown in several publications.

Opening: Tuesday 6 December 2013, 7pm
Finissage and Artist Talk: Tuesday 17 December, 8pm -with independent Curator Mareike Spendel



Catriona Shaw, A Gilded Age That Glitters. 18 October - 2 November 2013

Using drawing, performance, music and video Catriona Shaw creates interactive or set environments which engage audiences throughout the creative process. As her main starting point, Shaw's drawings connects her different creative outputs and makes visible her interest in popular culture, anthropomorphism, absence and social politics. As the live performer, Miss La Bomb, her stage shows draw the audience mentally and physically closer, investigating public expectation, pop myth and the ‘star’ as a consumer item. For her project residency at Centrum she will develop the use of her drawings as a tool for curation and collaboration.

From 1999-2004 Catriona Shaw co-founded and ran Club le Bomb, a platform for music and happenings. In 2002 she co-founded "Anville" a monthly event in a mirrored gay bar in Vienna, an attempt to explore unchartered underground music territory and bad taste. In 2004 she initiated her online gallery project 'Galeri Baberton' which found itself in 3-dimensions during 2006-2007 in Post 26, Berlin and Artklub, Vienna. She also collaborated as editor on the swiss music/film magazine Elend und Vergeltung with Isabel Reiss and Juerg Tschirren. In 2009 she co-founded the cultural education initiative gooeyTEAM and between 2010 and 2012 she devised the engagement programme 'Kombiticket' at Berlin's NGBK.

Opening: Friday 18 October 2013, 8pm
Clémentine Roy Homeostasis (video projection)
Hank Schmidt-in-der-Beek, The Dark Spot of Joy (poem)
Viola Thiele, War Kills (costume)
A Gilded Age That Glitters - Performance Festival:
Saturday 2 November 2013, 6-12pm
Andrea Lui, Ayaka Okutsu, Mimosa Pale & friends, Hank Schmidt-in-der-Beek, Catriona Shaw, Jes Walsh
A night of exhibition(ism), performance and market stalls, fun activities, things to buy, eat and drink, listen to, watch or take part in as part of Nacht&Nebel Kunst- und Kulturfestival Neukölln.



Alanna Lawley, Positioning Project 1#, 13-19 September 2013

Positioning Project
Framed by Centrum’s large window to the street, the Positioning Project aims to highlight artist’s approach to inside/outside and subject/object.


Taking the influence of spatial and architectural relationships on the individual within the private realm of the home as a starting point, Alanna Lawley mediates the experience of the temporary, representational environments that she constructs. By isolating space, Lawley investigates how deliberately fragmented spaces can generate experiences of disassociation, anxiety and isolation that deny the viewer the freedom ever to fully orientate themselves in a specific time or place.

Lawley graduated with a BA in painting from Chelsea College of Art and Design, London in 2005. Since then she has exhibited internationally including the UK, Germany and the US.

Opening: Friday 13 September 2013, 8pm



The Edge of Real 14 -30 June 2013
Angela Ender, Stefanie Seufert, Kate Squires, Nicoll Ullrich


A group show of works installed by four artists who’s work can be seen as indeterminate – between realism and abstraction. Starting with images, objects, signs, everyday objects and found materials, these artists create, extract, obfuscate and change histories, functions and associations in order to create a new view –one that is both familiar and unrecognisable.

Angela Ender makes assemblages and installations from discarded items or cheaply bought objects. She is concerned with the formal aspects of these things; the colour, material, scale and shape. The histories and former functions are extracted to create new associations and ideas.

Stefanie Seufert’s photographic pictures are of commonplace objects (conifer trees, wire baskets, eggs, plastic clothes tags etc.). Her conceptual and experimental approach to the photographic process ensures a careful transformation to the object –it stays true to itself but somehow our way of seeing it changes.

Kate Squires makes sculptural or installation based works which are often flat, or two dimensional. She is concerned with the space between reality and fictional space and our willingness to suspend belief. Using newspaper, wood, metal and found materials she creates works which use familiar shapes in unfamiliar scenarios often teetering on the absurd.

Nicoll Ullrich’s temporary installations are often of states of ‘in betweenness’ or suspended time. Using different materials, wood, glass, metal, textiles- they are held together with clamps, string, or attached to the walls or floor. She uses found images as the starting point of her work which become blueprints for her three dimensional, set like, new imaginings.

Opening: Friday 14 June 2013, 7pm
Open for 48 Hours Neukölln:
Sat 15 / Sun 16 June 2013, 2-6pm
or by appointment: info@centrumberlin.com 



Clara Bausch, Levitation, 8 - 28 April 2013

Clara Bausch made new work at Centrum exploring the theme Levitation. Installation and the possibility to understand the residency as an open space for collective exchange was explored through the process of film, photography and drawing. Clara Bausch works from found material in which she finds new histories or futuristic fictions. Her interest is in perception: both the personal and the public; close–up and distant. Traces from time are captured and distorted, narratives found and broken and new fictions created. As part of her residency Clara curated a programme of film screenings with films by Berlin based artists. The installation was open during Gallery Weekend.

Screening: Levitation, Sunday 14 April 2013, 8pm
As part of her residency at Centrum, Clara Bausch has selected a programme of artist films that echoes the theme of her residency, Levitation. The evening will include a series of short films by Ariel Reichman, Oliver Pietsch, Sara Lehn, Clara Bausch, Christopher Becks and Peter Miller followed by a feature length documentary Neukölln-Aktiv by Sabine Herpich and Gregor Stadlober.

Programme:
Stamford Hill (2009) by Sara Lehn S8, 2:25 min.
Ceifei (2009) by Clara Bausch S8, 3:14 min.
Maybe Not (2005) by Oliver Pietsch, 4:25 min.
An Endless Search (2012) by Ariel Reichman 16mm, 3:40 min.
Ritournelle (2012) by Christopher Becks & Peter Miller 16mm, 3:30 min.
- Break -
Neukölln-Aktiv (2012) by Sabine Herpich & Gregor Stadlober
HFF Potsdam-Babelsberg 2012, documentary, HDCAM, 16:9, 25fps, color, stereo, 97 min. German with English subtitles

Synopsis:
Neukölln-Aktiv is a year long activation measure for males aged between 17 and 25 years. Without graduation and no prospect of vocational training they are outsiders in a labor-oriented society. The Job Center and the Youth Welfare Service of Berlin’s district Neukölln fund a small team of social workers and teachers, who work fulltime in order to „activate“ the young men. Being taught key competences such as reliability, self-reflection and self-responsibility the adolescents should be ready to enter the workforce after this year. The film observes „Neukölln-Aktiv“ with a Direct Cinema approach over a period of three months. It shows fairly successful attempts and hollow rituals, imposition of discipline and social-pedagogical interventions that go far beyond the proposed scope of the activation measure. It also shows the institution’s troubled relation to the funders of the program, who foster a questionable attitude towards administering the young „customers“.

Open for Gallery Weekend: Friday 26 April, 7-10pm, Saturday 27 / Sunday 28 April, 2-6pm



Charlotte Thrane 31 January - 3 Februar 2013

During her short residency at Centrum, Charlotte Thrane will respond directly to the space. Inspired by Centrum's peculiar red, tiled floor as well as the history (including as a former brothel, Imbiss and lending library). Thrane is interested in the space in terms of it's colours, lines and textures.

Charlotte Thrane lives and works in Copenhagen, Denmark. She completed an MA at the Slade School of Fine Art, London in 2003. Recent exhibitions and projects include Lines in Drawings, 43 Inverness Street, London, 2012; Black and White House, Bow Wow Gallery, Krabbesholm Højskole, DK, 2012 and Sommerskulptur Søby (sculpture biennale), Ærø, DK, 2012. She recently received a one-year work grant from the Danish Arts Council.

Finissage: Sunday 3 February 2013, 7pm



Anne Kathrin Greiner & Lätitia Norkeit, Anonymous Monument , 12 - 30 November 2012

In their first collaboration, Anne Kathrin Greiner and Lätitia Norkeit will develop an installation at Centrum which fuses their different practices of installation and photography. Their project uses public and private spaces, taking inspiration from the landscape of the inner space of large home furnishings retailers, people's interaction with space as well as the area surrounding of Centrum.

Anne Kathrin Greiner was born in Weinheim, Germany. She is a photographer who engages with physical and psychological boundaries, easily overlooked spaces which hold the capacity to suggest and invoke individual and collective experiences.

Lätitia Norkeit’s practice is broad, including text, installation, drawing and photography. She is interested in spacial concerns, the interior and the urban landscape. Both artists were participants in Goldrausch Künstlerinnenprojekt - a postgraduate professional development programme for female artists.

Screening: Sunday 18 November, 7pm
Playtime (1967, dir. Jacques Tati) - selected by Anne Kathrin Greiner and Lätitia Norkeit
Finissage: Thursday 29 November, 7pm



Clémence Grieco 3-30 September 2012

Clémence Grieco makes objects and assemblages in situ, using a mixture of sculptural, industrial and found objects. Her experiments with materials forces intrinsic characteristics to the fore and transformations to take place. It is the remains of these alchemical acts that we are left with, and we can only look to these creations to tell us of their physical experiences. She was born in Montreal and lives and works in Berlin

Residency Launch: Thursday 06 September, 7pm
Join Clémence Grieco for drinks and an introduction to her work. (Collect the text for the forthcoming reading group: Let's talk about text, baby)
Reading group - Let's talk about text, baby: Sunday 16 September, 7pm
We will discuss Susan Sontag's essay Against Interpretation, copies available on the day or pick up a copy info@centrumberlin.com
Screening: Friday 21 September, 7pm
An evening of short films and extracts that touch on the physical, experiential and spiritual selected by Clémence Grieco as part of her residency. Including a documentary of the experimental performance vocalist and composer Meredith Monk, a large influence on Bruce Naumen (dir. Peter Greenaway); an early film by Bill Viola and a documentary about transcendence by Peter Mettler.
Finissage: Friday 28 September, 7pm
Join the artist to see the end result of her residency.



Tomoya Matsuzaki, The Chameleon's Eye, 15 - 21 June 2012

Nicholas Brooks, Megumi Fukuda, Anne Hardy, Vincent Hawkins, James Krone, Tomoya Matsuzaki, Henri Michaux, Angus Mill

The Chameleon’s Eyes "...sometimes, after a forest fire, the eyeballs of a chameleon are the only unburnt remains left on the ground. Chameleon's eyes, which are colder than liquid air, allow them to be able to look at the sun directly. They decompose light in their body so that they can change their skin colour freely ."
Kobo Abe – The Wall, 1951. (Translated by Tomoya Matsuzaki/ Roderick Harris)

A scene, tangible or intangible. Once it’s made it’s impact in one’s mind, is stored there. Sometimes with it’s shape and content transformed. I don’t remember when I first read this story, it must have been more than ten years ago. The vision of the forest is now tangled up with Paul Nash’s painting, We are Making a New World 1918. The imagination is a strong weapon, it can occupy your whole mind. Art making requires a particular mind set, which has a tradition of having a therapeutic aspect. Conversations about art making in the studio sometimes delve into very personal matters, which I love. Art practice is an occupation of the mind and a life style. Once someone is committed to making art works seriously (or committed to making not serious looking art works seriously), the art becomes incredibly important for their world because fundamentally all art works are routed in their ‘belief’ in life and art. Searching for artists without any set themes, that’s how I usually start. When I begin organising a project, I enjoy this process the most. It is always full of possibilities and excitement, I secretly know that for this kind of project there is no failure. After several studio visits in both London and Berlin, I somehow started thinking of this vision as the reference point for the show: the chameleon’s eyeballs on the burnt forest ground. It just came into my mind totally out of blue, (unfortunately life is like that, not very logical), but I remember the first time I read Kobo Abe’s book it made a quite strong impact. A vision of absurdity, of ordinary matters turned to extraordinary. Art work with an inner landscape. Henri Michaux is an good example of someone with an extreme vision. He took mescaline in so that he could see inside his own mind. Experience, imagination, memory, myth, all space and being, how is it stored in the mind, in what shape, and how is it transformed into art practice? (Tomoya Matsuzaki, June 2012)

Tomoya Matsuzaki organises exhibitions from a practitioner’s perspective. He selects and shows art works and objects from artist's studios which often reveal the process of making art. His very personal search for the objects in the exhibition have involved research, studio visits, extensive discussions as well as chance encounters. For this project he has been resident at Centrum and has worked with both Berlin and London artists.

48 Hours Neukölln 2012 (Preview): Friday 15 June, 8pm
Screening and Talk with Angus Mill: Saturday 16 June, 7pm Angus Mill is a UK based photographer and adventurer. He travels to Alaska and documents his journeys. He will be sharing his adventures whilst serving some food. Please come early to secure a seat.
Opening times: Friday 15 June 8-10pm, Saturday 16 June, 12am - 10pm, Sunday 17 June 12am-7pm, Monday 18 / Thursday 21 June 3-7pm
http://www.whitedeerproject.org/ http://centrum-berlin.blogspot.com/



Rose Butler & Katie Davies 14 - 21 May 2012

Rose Butler uses film and digital media to psychologically disrupt our sense of time and place. She is currently working on a video piece based in Berlin exploring particular sites and visitor’s encounters with these sites and the mediation of their experience through tour-led introductions to history and memorial. Katie Davies is interested in tactical measures by which society and territory are organised and controlled, Katie Davies’ makes films and installations which deal with both the private and collective human experience, global and intimate concerns in modes that are both analytical and emotional. Observations within the work often present a conflict of interest, reflecting what it might mean to occupy more than one position.

Rose Butler was recently short listed for the Jerwood Prize for Moving Image (for work made in collaboration with Kypros Kyprianou). Selected exhibitions include Contemporary Art Manchester. She has exhibited at Evolution Festival, Leeds; Site Gallery, Sheffield; The Cornerhouse, Manchester, Millennium Galleries, Sheffield; Consortium Galler, Amsterdam; Centre for Contemporary Art, Glasgow; Institute of Contemporary Art, London. Rose is a Senior Lecturer of Fine Art at Sheffield Hallam University

Katie Davies has exhibited her work in the UK and abroad including Border Visions. Connecticut, USA; Outpost Gallery, Norwich, ArtSway 2010, Istanbul Biennial 2009, Badhaus, St Gallen, Switzerland, Mains d'Oeuvres Contemporary Art Space, Paris, Centre for Contemporary Art, Palestine and Glasgow International. She was recently artist in residence at Yorkshire Artspace Society and is Associate Lecturer at Sheffield Hallam University.

Freitagsmittagessen: Friday 18 May 2012, 1.30pm
Finissage and Talk: Sunday 20 May 2012, 7pm



Kate Mackeson & Ruby Pester, There Are No Layby's In The Sky, 27 Februar - 18 March 2012

During their residency Kate Mackeson and Ruby Pester will develop an installation based on the 1990's entertainment show Gladiators. The UK TV programme, which aired in the 1990's, had members of the public battle against the show's own semi-professional athletes. There Are No Layby's In The Sky examines ideas of the spectacle, excess and audience consumption within the world of sporting events. The artists investigate the significance of the winning and losing that underpins this absurd, fantastical environment, probing its mimicry within our day to day lives and experiences, and the impending plasticity of reality. The artists pose questions at the simple manifestations of duality that we consume on a daily basis and how we continually categorise and appraise success and failure. Kate Mackeson works with mixed-media, print-making, installation and video. She is interested in thresholds, transitional and in-between states and often uses recurring processes, everyday materials and symbolism to develop a heightened sense of expectation. Mackeson uses these ideas to question personal boundaries, communication and the materiality of our exterior environments. In 2010 she co-founded Una Tittel (www.una-tittel.com)a network of multi-disciplinary artists and curators. Ruby Pester creates interactive performance based projects that focus on challenging conventional perceptions. She uses sculpture, installation, video, sound, costume and drawing and often responds to specific locations and communities exploring social exchange and the relationship between media, artist and society. She works with initiatives and individuals including Artconnect Berlin (www.artconnectberlin.com), Glasgow based artist, Nadia Rossi and is part of the Glasgow based artist group Now Now who create and host socially engaged art events across Scotland.

Love is a Trophy Workshop:
Life is a game and true love is a trophy. - Rufus Wainwright
Kate Mackeson and Ruby Pester invite you to build your way to monumental success. Joining one of two teams you will compete to sculpt winning faces onto trophies. All team players will be encouraged to envision their ideals of euphoric success and express this in the making of their trophies. Materials are included. Each volunteer sculptor will be energy-fuelled with a protein shake and awarded a medal upon achievement of their monuments of glory. The trophies made will be displayed in the artist’s installation the following week. Beginners welcome. Children must be accompanied by an adult.

Finissage: Friday 16 March, 7pm
Workshop:
Thursday 8 March, 7-9pm / Friday 9 March, 7-9pm / Saturday 10 March, 2-6pm
Additional Open Day: Saturday 17 March, 2-6pm



Matty Ben & Vivien Roos, DUAL Residency 9 - 14 January 2012

Poet Matty Ben and contemporary dancer Vivien Roos combine spoken word and body language to give emotions a voice and ideas a body. This experimental coming together of two very different art forms is a new strand of Centrum’s programme, which offers artists a chance to develop cross disciplinary collaborations.

Matty Ben is a poet and freelance writer based in Berlin. His written work is meant for stage and plays with positive and negative aspects of daily life, prejudice and incomprehension. His City Sermons use the idea of curing monotone perspectives created by mass media through spoken words and body language.

Contemporary dancer, Vivien Roos sees the body as a choreographic object which she uses as model through which to express the potential transition of one emotional state to another, inspired by the minutia in everyday life. She has worked with choreographers including Kirstie Simson, Robert Clark and Angela Woodhouse. Her work has been shown internationally including London and Berlin where she has also taught workshops in Hatha Vinjasa Yoga, Improvisation based Dance-, Site Specific- and Somatic Dance-Workshops.

Finissage: Saturday 14 January 2012, 7pm



David Rhodes 12 - 18 December 2011

For his residency at Centrum David Rhodes will be animating his black and white paintings. By using painted tubes instead of flat canvases, he will be able to play with the movement his paintings create. Spinning, leaning, hanging, he will experiment with the tubular paintings in space.

David Rhodes makes abstract paintings of vertical lines over black space. At a distance the stripes create a physical disorientation, close up though, the artist's interest in the surface of paint is revealed. His deliberate permitting of accidental imperfections opens up the possibility for an emotional as well as an intellectual response. David Rhodes lives and works in Berlin.

Finnisage: Friday 16 December, 7pm
Additional Open Day: Saturday 17 December, 2-6pm



Exotic Pylon (AKA Jonny Mugwump), City Symphony, 13-17 November 2011

Radio broadcaster, curator et al, Jonny Mugwump (Exotic Pylon) will turn Centrum into a live radio station and performace space with interviews/chatter/performances from:
Caretaker (Leyland James Kirby), Christoph De Babalon, Dalglish, Ectoplasm Girls, Infinite Livez, Wermonster, Zhao, and others still to be confirmed. His residency begins on Sunday with the second Sonic Lecture at Centrum.

Jonny Mugwump (Exotic Pylon), has become an important figure in the development of strange collage music, in his role as a radio broadcaster (on Resonance and Fnoob/NTS), music night curator (Exotic Pylon@ the Vortex), the creator of Weird Tales for Winter and now as arecord label head (Exotic Pylon Records). Called Exotic Pylon: City Symphony and running between 13-17 November, the residency will involve Jonny turning Centrum in live radio studio, with an invited audience, with interviews/chatter/performances.

http://pyloncitysymphony.wordpress.com/

Centrum Radio: Live Salon 13-17 November (daily, open to public), Monday -Thursday, 7-10pm:
Monday: Nadine Byrne (Ectoplasm Girls), Infinite Livez (live), Wermonster, Johanna Knutsson
Tuesday: Jade Boyd (EVP), Tapeworm, Sohrab, Christoph De Babalon Wednesday: Berlin Field Recordings #2,Leyland James Kirby, Dalglish, Thursday: Berlin Field Recordings #3 The Opiates (Billie Ray Martin and Ceven Knowles), DJ Zhao
Take part: As well as joining us at the live radio sessions, Jonny would like Berliners to send in field recordings of their favourite sounds in the city - these can be of any quality, recorded on any device, preferably with the time, date and location of recording accompanied with a short description of what the sound means to you (a photo too). Jonny will build a collage of these to play out in the gallery and mount them all separately on the blog as well. Send to info@centrumberin.com or Squires/Moynihan Reuterstrasse 7. 12053 Berlin

There will be 4 weeks of night broadcasts (Mon - Thurs).



Inder Salim 13 - 28 October 2011

Our current resident artist is Dehli based artis Inder Salim. Inder Salim works with performance, photography, objects, and ready mades, he is a writer, poet, curator and mentor at City-as-Studio project with Sarai. He initiated the Artkaravan International 2010 through North India. Following his fellowship in Sarai he contributed to this publication at Sarai.

During his residency, Inder Salim will work with artist Silke Eva Kästner to develop their ongoing project KASHMIR POINTS CHARLIE. The project aims to develop a dialogue between artists and create a chain reaction of art making. Of particular interest to Inder and Silke is exploring the potential of the city as a studio. During Inder's residency, artists are invited to join them to experiment, discuss, perform, make or react to in any way to each other's ideas. This is the second part of the ongoing project which was started in Sarai.

Freitagmittagsessen: 14 October 2011, 2pm – each sitter donates 5 euros for a lunch of main, starter and dessert. (Booking is essential: info@centrumberlin.com.)



Kate Squires & Claire Waffel - 31 August - 25 September 2011

In the second dual residency, Claire Waffel and Kate Squires will share the Centrum main space and project room. Although working with different processes and approaches, their practice often overlaps thematically. During the residency they will both work with 2D shapes to create forms with multiple elements or narratives. Over their stay they hope to develop a dialogue around their own work and with other artists through events at Centrum.

Claire Waffel works with film, photography and drawing to develop installations and projects. The central themes in her work are memory and time and she examines the potential of different media to represent these. She often explores historic references, unearthing comparable time structures in people or places.

Kate Squires makes objects and installations that, like theatrical props, imply multiple fictional narratives or situations. Using roofing paper, sheet steel, plywood and found items she makes objects that are often between 2D and 3D, like film sets or ‘pop-up’ books. By playing with dimensions, pictorial and architectural space, figuration and abstraction, she depicts or confuses the space between reality and non-reality.

Centrum Salon - WAHL HABEN - Projekträume in Berlin, Sunday 18 September
In support of the initiative, Centrum will be open from 2-6pm, Salon starts at 7pm - the first Centrum Salon, in which current residency artists invite other artists to talk about their work.
Finissage: 23 September, 7pm – join us to celebrate the residency and to see what the artists have made.
Opening times:
Every Wednesday from 11am - 1pm and 2-6pm or by appointment info@centrumberlin.com



Harbingers 26 May - 19 June 2011

Centrum invited past artists to suggest artists to take part in this exhibition. Harbingers is a way of meeting new artists whilst echoing the past programme.

Clara Bausch, Amelia Bywater, Francine Delorme, Samual Dowd, Esther Ernst, Hatty Lee, Maggie Nightingale, David Rhodes, Lucie Russell, Lisa Sigal, Melanie Stidolph

Selected by:

Jo Addison, Sophie Bélair Clément, Dominique Golden, Bill Leslie, Silke Eva Kästner, Patrick Lears, Marta Marcé, Marcin Malaszczak, Nicoll Ullrich, Alice Walton, Steve Williams

Opening: Thursday 26 May, 7-10pm
Meet the artists: Sun 29 May, Sat 4 June, Sun 5 June, 2-6pm
(plus tea, coffee and cakes served)
Finissage: 18 June - as part of 48 Hours Neukölln
Artists Lunch: Saturday 28 May, 2pm
(bookings only at info@centrumberlin.com)



Marcin Malaszczak, Sieniawka - a video installation at Centrum, 8 January - 23 January 2011

Opening: Saturday 8 Januar 2011, 7pm
Screening: 2001 - A Space Odyssey (1968, dir: Kubrick)
Friday 14 Januar 2011, 7pm
Finnissage and Artist Talk: 22 Januar 2011, 7pm


Marcin Malaszczak’s installation explores his personal connection to the mental health institution that dominated the polish village Sieniawka, where he grew up. Amidst a formal filmic language that deals with space and time and places the viewer both as an ‘insider’ and outsider’, borders of ‘normal’ and institutional life, sanity, chaos, and ultimately humanity, nature and civilisation are crossed and re-crossed. For Centrum, Marcin has been experimenting with both formal and conceptual elements of his artistic process as a filmmaker to develop new installation based work.

Marcin Malaszczak is a film and video director based in Berlin. He has been working on a series of projects inspired by Sieniawka since Autumn 2009, including a feature film of the same name. Sieniawka is the name of a polish village in which lies the Hospital for the Mentally / Nervously Ill and Alcoholics, which was founded in 1964 on the site of a Nazi sub-concentration camp for Labour.

In conversation between artist Marcin Malaszczak and Kate Squires (Centrum):

KS You have created an installation at Centrum from the material you filmed at Sieniawka, as a filmmaker what made you want to develop an installation in a physical space other than a cinema?

MM I started to work on the project Sieniawka in late autumn 2009 which at this moment consists out of four works: a feature film with the working title Sieniawka; the video installation presented at Centrum; another concept for a video installation, The Hi – room; and an installation Atavisagen. Above all I am concerned with and passionate about the moving image. By the amount of material that I have filmed and already while I was filming I felt that a big part of it will need to be presented in a different space than the cinema is in order to find complete expression with it. I would go even so far saying that the space of a cinema is a "non-space" or lets say the actual space needs to be neglected in favour of the imaginary space of a cinematographic image. There is no dialogue with the actual space because it is completely subservient to the cinematographic image. With this particular video installation my aim was to create a physical experience of fragmentation, disorientation and timelessness. Each screen shows a different long take that has been divided into four parts. Each part is being shown on the split screen at the same time. This fragmentation of a long take leads to a fragmentation of time and space in the work and in the space. Or time and space become relative to each other not only on the screen but also in the actual space itself, which is mainly due to the mirroring effect of sound and image. The spectator is never able to oversee the whole installation at the same time but is rather being put inside it, seeing only a fragment. The spectator has to move in order to see the other fragments. By not being able to see them all at the same time he or she has to put them together in his/her head. The speakers are facing each other like the screens so the spectator is not able to tell which sound is coming from which image. Therefore the sound becomes autonomous and in a way creates a 'third image' that fills the actual space in which the spectator is trying to orientate and connect image to image, sound to image, image to sound and the actual space to the space of the cinematographic image. The spectator's body becomes the meeting point of all of these elements, which he or she tries to put together. Eventually the spectator is left to experience present moment after present moment and so on which becomes one endless present moment.

KS Could you talk a little bit about the background to this piece, your relationship to Sieniawka and what led you to make this work?

MM I consider Sieniawka my most personal project so far. My aunt Irena Bielecka and my grandfather Piotr Malaszczak worked and lived at the hospital for the mentally and nervously ill in Sieniawka, for around 40 years. When my parents decided to immigrate to Germany around 1986 they couldn't take me with them. Sieniawka became the place where I saw the world for the first time. The so-called first images of my life reach back to that place in my memory. I remember being trapped in a playpen in a quite obscure room surrounded by handmade woollen pictures made by the patients. I had a hard time as a child to get used to the new world after finally arriving in Germany. I remember this constant light everywhere the neon signs, very much different to this anachronistic world of my grandparent's place and Sieniawka. I couldn't grasp as a child how it was possible that these two worlds actually existed on the same planet they seemed so extremely disconnected from each other. I realised through that how much as a human being one is basically disconnected from everything or some people call it the fundamental loneliness of a human being which reminded me of the feeling being trapped in the playpen in Sieniawka with no orientation whatsoever. At the age of 13 I underwent an operation were I was given a general anesthetic. The state I was in didn't feel like sleeping or even dreaming. It felt like someone would have cut out a piece of my lifetime and these lost hours never existed. That reminded me of my memory of the playpen. It dawned on me that a human life is basically surrounded by this nothingness. For the first time I realised the non-existence of God which contradicted my catholic upbringing. I do believe that the energy we carry with us goes somewhere after death but our consciousness comes out of this nothingness and goes back into it again. Being aware of that it is hard to believe in the continuity of time and space or something that could be grounded because I see my life floating on this nothingness.

KS How did you begin to approach making the film, confronted with both the emotional “familiarity’ and feelings of disconnection that you associate with it?

MM Around 2009 I felt that the time had come to take on that project but still it took me I think at least another two years to fully realise it. I soon noticed that it wouldn't be about recreating a certain memory or emotion but rather confronting myself with the state of the place at this particular moment in my life. As a child I wasn't fully aware of the different hospital wings and the patients inhabiting them. Now I could build up my own personal relationship to the place and the first thing to do was to enter the patient areas and get to know the patients (some of them have been living there for several decades). What was very different from my last work, Der Schwimmer and basically all the previous works was that for the first time I had decided to start filming without applying a preconceived aesthetic form or structure and to take the cinematography of the film entirely into my own hands. The only thing I was certain of was that it had to be a direct account and documentation of my perception and experience there, however it might turn out eventually. I arrived to what you see in the installation quite early on. I think it happened on the second day of filming when I felt how to position myself to what I see. My intuition would make me look for a place in a particular room where I would be static but at the same time able to pan in every possible direction. In the case of the video installation at Centrum, dealing with, so to say, the social room of a patient area (which is situated in the middle of every station being directly connected to the corridor from which you can access every room), I would choose to place myself in the centre of it. Then I started to make these very long takes, which consists of moments where the camera is panning and tilting and where it is completely static. When the camera moves it always does so at the same pace. I would always decide in the very moment of filming when it should move and to which direction and when it should be static, showing someone or something. The outcome of each long take would be unpredictable. My performance of movement can be linked to the state of the patients. In a way, they also move constantly without arriving anywhere, this movement would continue endlessly if death wouldn't cease it finally. This is the illusion of movement and the deconstruction of time and space - you are witnessing a present moment that lasts endlessly in a space that falls into pieces.

KS The installation that we see at Centrum doesn’t show the very personal connection that you’ve talked about, did you make a conscious decision to remove yourself in installation and focus on more universal themes?

MM I think it is important to differentiate between what you explore personally as a human being and what you explore artistically and philosophically as a filmmaker. There are of course touching points but sometimes there can be also none. It had to be a direct account of my perception in the very moment of filming which differs from what I perceive as a human being. Although I am talking about my perception it is actually more about what the camera the instrument that I direct and use sees. The camera always sees more than the human mind can grasp. Rather than creating a personal diary I am confronting myself with the unthinkable in relation to mental illness, the institution and, universally speaking, time, space and the human condition, in the very moment of filming. There was a greater need to approach everything in a more universal manner which I also think is far more important to confront the spectator with. By that I also believe to be even more personal because I am dealing with collective fears and what it means to be a human being or just simply to exist.

To see an extended trailer for the feature film Sieniawka: http://vimeo.com/18998825

To see Marcin’s previous work Der Schwimmer visit: http://vimeo.com/18991655



Sophie Bélair Clément 17-19 December 2010



Nicoll Ullrich 24 September - 30 October 2010

Nicoll’s temporary installations expose the often invisible space where art work is made. She uses found materials, wood, glass, carpet and paper to focus on the stuff around art: the artist’s studio; the work desk; ideas pinned to walls; the leftovers of discarded choices.

Using images taken in artist’s studios (both found and those she has taken herself), she creates a self imposed set of rules which allow her to make certain decisions about form and materiality, spacial awareness, colour and composition.

During her residency and exhibition at Centrum she is taking as her starting point a found image of a German artist’s studio. However rather than re-creating the image in 3-D, she will have to imagine the areas not photographed, giving space in her usually tight framework for the unexpected.




Jo Addison & Alice Walton 28 August - 2 September

In the first of its kind at Centrum, Jo Addison and Alice Walton will create a one-day exhibition following a mini-residency in the Project Room. During their short stay they will look at ways to develop a dialogue between their work as well as experimenting with installation and ideas of display.

Alice Walton makes collages and sculptures that incorporate found materials such as magazines and art history books. Her crafted objects are made of layered card or wood, and are suggestive of shelving or plinths. Her sculptures and collages often include images of (mostly female) statues and models, which through various processes of obfuscation, are rendered unrecognisable; the figures are semi-obscured, cut, masked out, or covered with associated forms. The viewer is left to imagine what might be missing.

Jo Addison is also inspired by found material. She seeks out invisible objects – things we are not supposed to notice: a municipal planter, a tarpaulin-covered car. In her sculptures, such mundane objects and occurrences are interpreted with a deliberately provisional approach to materials; Jesmonite, air-drying clay and plywood are manipulated in loose figuration. Minimal in their description but not void of a human element, Addison’s objects are ergonomic; their scale can be the right size for handling, ‘pet’ size, or the size of household furniture.



Bill Leslie 5 - 22 August 2010

Bill Leslie makes films, sculptures and prints. His process involves using lo-fi materials such as painted cardboard and expanding foam, to create objects which are arranged into small sculptural tableau. These temporary set-like works are explored through film and photography, playing with their scale and materiality. Influences include Modern abstract sculpture, lo-fi B-Movies, such as The Blob and King Kong as well as Russian Constructivism and modern architecture. More recently Bill has shot a series of tableau sequences on Super-8, which are influenced by early avant-garde and art documentary films. During his residency here at Centrum he will be working on these films and developing sound tracks to accompany them. Bill Leslie is a visual artist based in London.



Dominique Golden 31 July - 4 August 2010

Dominique Golden makes drawings, collages, films and music. Feminine sexuality and pagan like view of nature -often dark nature- weaves through the content of her work. Biblical or mythic themes become dream like, adult fairy-tales that link both the music and prints, banners and films together. There is a childlike innocence in the expression of the work that takes on adult themes of sexuality, death and other -worldy creatures.

Dominique was in the Project Space for five days. She made visited places especially those with trees and made collages. During her residency we held a Drawing Day. It started at Centrum with a short 'show and tell' of Dominique's work and then went to nearbypark, Hasenhide to do some drawing. That evening we put up the work from the Drawing Day and Dominique screened two films: Sleepwalking and Beaver Lux.



Marta Marcé, Nationless, 15-30 July 2010

Marta Marcé uses colour and structure to make playful, abstract paintings. Game theory as well as her own defined rules are part of her painting process which create an opportunity for coincidence, chance and experimentation. Although geometrically ordered, her colourful, upbeat paintings always have a visible human gesture. Recently Marta has temporarily relocated to Berlin. Here she began a series of new work called Nationless, in which 80 small canvases reminiscent of flags offer a critical and playful reflection on nationalism. Marta Marcé was born in Vilafranca del Penedes in Spain and has been living in London until recently relocating to Berlin.



Silke Eva Kästner 20 June- 2 July 2010

Silke responds to her surrounding environment and to human everyday use of space. In 2008, on DAAD scholarship, she created a series of temporary artworks in New York City. These painterly interventions were sited in condemned buildings or on construction sites fencing. Each one was created and then left by the artist, only to be added to, removed or covered by others over the course of the same day. More recently, she has been on Art Karavan International, joining the group of traveling artists on their two month journey through India. While she was there she made works using newspaper painted white. In an installation in Shimla, she used the painted material to paper over the entrance to a city tunnel. People entering had to rip through the newspaper in order to get in or out of the tunnel. There is a performative element to her work, which can come from the visibility of the artist making the work, or from the human interaction with the artwork itself. Back from her journey with the Art Karavan, Silke comes to Centrum to continue her ideas.

Silke spent some time in the Project Room continuing her ideas and processes developing in India. She held a workshop as part of 48 Stunden Neukolln inviting memebers of the public to work alongside her, working with white paint and newspaper.

She worked both inside and outside the space, making small interventions into the street and reflecting them back inside. She experimented with the paper, making a large sheet which became part of a performance and made smaller works which became sculptural and was part of an installation.



Position Normal 13 - 24 June 2010

Dubbed by critic Simon Reynolds (Wire Magazine), as the ‘Godfather of hauntology’, Position Normal’s Chris Bailiff, aka Position Normal creates lo-fi sounding experimental music with the help of his vocalist friend John Cushway. Position Normal’s debut album in 1993, Stop Your Nonsense and including the trademark sampling of often quinntessentialy English sounds and spoken word. Bailiff rummaged through his father’s East End attic and his collection of documentaries an old vinyl to create his melodic tracks.

Since their debut Position Normal have released ‘Goodly Time’ and their most recent album, ‘Position Normal’, which is being sold as different coloured cassette tapes, as well as MP3’s and is ranked in the Wire’s top albums of the year 2009.

Position Normal’s residency coincides with Centrum’s launch and first full season.