SSSICHTBETON

SSSICHTBETON
LAMPUGNANO DREAMS. AS A MATTER OF FACT…

Opening
17.8.2017, 7 pm

Exhibition
18.8.2017 – 18.9.2017

Opening hours by appointment

13. Koblenzer Straßenfest: 19.8.2017, 2 – 10 pm
Saisonstart Frankfurter Galerien: 8.9.2017, 6 -10 pm, 9.9. & 10.9.2017, 11 – 6 pm

Husslehof is pleased to invite you to its first exhibition with the artist duo SSSICHTBETON on occasion of the collaboration with Stadtteilinitiative Koblenzer Straße e.V. – SIKS. Due to the current situation of the social initiative SIKS and thus „to gentrify the gentrification itself“ SSSICHTBETON challenge the dynamism and speed of contemporary economic and urban developments.
 
“It’s not an option to stop making spaces interesting”.
 
In Swedish there is this saying “don’t walk like the cat around the hot porridge” that urges someone to speak clearly instead of beating around the bush. For years Sssichtbeton has skilfully been tap-dancing dangerously close to the pot, making reports from the world with the means of aesthetics, but always keeping a safe distance from calling themselves political.
 
“The only action we take is to make art, and the good thing about arts that you don’t have to change, only to show”.
 
But this time the invitation to the show brought the context and the duo is taking advantage from the political history the location and situation holds to point a finger towards the problems the citizens of the street faces in the wake of gentrification.
 
Here the word “gentrification” is the pot of hot oatmeal because artists are usually the first to arrive on scene when it comes to renewing and highlighting forgotten areas, and now, Sssichtbeton is here to gentrify gentrification itself.
 
The idea is to make a funny comment, sarcastic without being cynical, not activist but
“We would love to think that our work would literally change the world, but it’s not works that change the world, it’s people. We don’t bring answers, nor advices, that’s not our mission. But perhaps to change the way people look at it”.
 
Nicolina Eklund

 

 

 

 

 

 

 

 

Philip Poppek

Philip Poppek
View, Wall, Door, Mirror, Wind

Opening
06.04.2017, 6 pm

Exhibition
07.04.2017 – 12.05.2017

Opening hours by appointment

View,
Manchmal wünsche ich mir noch ein Auge mehr
für den Goldenen Blick.
 
Wall,
Denn mit dem Goldenen Blick
sieht man Räume, da wo andere
nur eine Wand sehen.
 
Door,
Ich sage: Jeder offene Raum ist eine Illusion.
Denn Raum gibt es nur, wenn sich was schließt.
 
Mirror,
Ein Spiegel ist ein Bild,
höre ich dich sagen,
dem man im Weg steht.
 
Wind,
Und dann noch: Jeder geschlossene Raum ist ein Sarg.
Deswegen muss man ihn öffnen.
 
Image.
Jedes Bild: ein Silberblick auf die Welt.
 
Dominikus Müller

all photos Philip Poppek

 

 

 

 

 

 

 

 

Inhale Exile

Knowles Eddy Knowles
Inhale Exile

Opening
07.12.2016, 7 pm

Exhibition
08.12.2016 – 22.12.2016

Opening Hours
Mo – Fr 2 – 5 pm

Inhale Exile is a curatorial project by the art group Knowles Eddy Knowles. It gathers a selection of the artists’ ongoing archive on the culture of tobacco and invites the participation of a number of artists whose work has touched on the motif.
 
“(…) I think smoke has had its hay day so by by.
In the end I don’t think allowing smoking extends creativity and conversation. The late 60s and early 70s were generally easy going – the economy was good, once the Vietnam war ended, even better – people felt free and optimistic and risk taking, playing with context and deconstruction was the order of the day.” David Askevold in email correspondence, June 26th, 2006.

all photos Neue Linie

 

 

 

 

 

 

 

 

ImageFormatCandyflip

Vojtĕch Rada
Image Format Candyflip

c/o Katharina Baumecker

Opening
28.10.2016, 6pm

Exhibition
29.10.2016 – 25.11.2016

Opening Hours
Wed – Fr 5 – 8pm

Der in Prag lebende Künstler Vojtĕch Rada (*1991) erfährt auf der Suche nach kulturellem Austausch eine Selbsttransformation zu einem extraterrestrischen Astronauten. Seine Erfahrung mit der Filmindustrie Nigerias, genannt Nollywood, übersetzt er für die Ausstellung „Image Format Candyflip“ in raumgreifende Arbeiten. Grundlage dieses Prozesses sind die handgemalten Filmplakate Nollywoods aus den 90er Jahren. Die Distanz zur nigerianischen Filmproduktionslandschaft führte ihn zu einem utopischen Kommunikationsmodell.
Im Rahmen der Ausstellung erscheint ein Künstlermagazin, dass Ausschnitte der Kommunikation zwischen Vojtĕch Rada und Filmproduzenten in Nigeria dokumentiert. Es eröffnet Einblicke in den Arbeitsprozess von „Exploring Nollywood“, ein Projekt, welches der Künstler mit dem Vorhaben begann, technische Mittel und Fähigkeiten aus seinem Studium in Zürich der nigerianischen Filmindustrie anzubieten. Mit dem digitalen Raum http://www.vojtechrada.com/nollywood nutzt der Künstler das Web, um künstlerischen Austausch und neue digitale Technologien unentgeltlich anzubieten. Durch dieses neue Format des kulturellen Austauschs entstand ein kreativer Möglichkeitsraum im Web, der darauf wartet, genutzt zu werden.
 
Vojtĕch Rada (*1991, Prague), in search of cultural exchange, experiences a self-transformation into an extraterrestrial astronaut. For the exhibition „Image Format Candyflip“ he translates his interaction with the Nigerian film industry, known as Nollywood, into a three-dimensional work. This process was inspired by the handpainted Nigerian movie posters from the 90s. The distance to the Nigerian film production landscape lead him to an utopian model of communication.
As part of the exhibition, an artist magazine will be published. It documents parts of the communication between Vojtĕch Rada and film producers in Nigeria and provides an insight into the working process of „Exploring Nollywood“, a project that the artist began during his studies in Zurich, to provide technical resources and abilities to the Nigerian film industry. With the digital space Http: //www.vojtechrada.com/nollywood the artist uses the opportunities of the web to offer artistic exchange and new digital technologies free of charge. Thereby, developing a new format of cultural exchange.

all photos Peter Wolff

 

 

 

 

 

 

 

 

EndofPain?

Jessica Sehrt
End of Pain?

Opening
15.09.2016, 7pm

Exhibition
16.09.2016 – 16.10.2016

Opening Hours
Wed – Fr 4 – 6pm

Künstler_innenführung am 06.10.2016
16:00 Uhr HUSSLEHOF Koblenzer Str. 12
Führung durch die Ausstellung End Of Pain? von Jessica Sehrt
Gespräch – Der Husslehof im Kontext aktueller Stadtentwicklung
17.00 Uhr HAUSPROJEKT NiKa Niddastr. 57
Vorstellung des Hausprojektes NiKa @ Niddastr. 57
18:00 Uhr ONE FOOT DOOR IN Mainluststr. 15
Führung durch die Ausstellung LIFE von Jessica Sehrt und Daniel Stubenvoll
Getränke und Ginseng Tee @ ONE FOOT DOOR IN
Workshop 15.10.2016
with Kerstin Stakemeier, Realism Working Group, friends and guests
Location: Exhibition „End Of Pain?“ @ HUSSLEHOF Koblenzer Str. 12
11 am Workshop with Kerstin Stakemeier (Berlin),
Jeronimo Voss, Martin Stiehl, Jessica Sehrt (Frankfurt),
Felix Große-Lohmann (Frankfurt)
We will discuss central arguments of „REPRODUCING AUTONOMY – Work, money, crisis & contemporary art“
by Kerstin Stakemeier & Marina Vishmidt in the context of the exhibition.
Language of discussion: German/English
Participation is free, please register at:
hello@realismworkinggroup.org
Time schedule:
11 am_ text reading
12 am – 2 pm_ discussion with Kerstin Stakemeier
3 pm_ q&a with Jessica Sehrt
4 pm_ drinks & discussion

Husslehof freut sich Einblicke in die Arbeit von Jessica Sehrt und der Realism Working Group geben zu dürfen. JS arbeitet an der Schnittstelle zwischen Biowissenschaften, zeitbasierten Medien, Klanginstallationen und Malerei. Unter dem Titel „End of Pain?“ verhandelt sie das Thema Reproduktion in Technologie, Biologie und Kunst. Die RWG stellt dieses Thema in den Kontext von gemeinschaftlichen Arbeits- und Wohnkonzepten. Die Ausstellung wurde unterstützt durch das Kulturamt Frankfurt.
 
Husslehof is pleased to show works by Jessica Sehrt and Realism Working Group. JS works on the treshold between natural sciences, time-based media, sound installation and painting. In „End of Pain?“ the artist deals with reproduction in technology, biology and art, while Realism Working Group transfers the topic to the context of collective working and living concepts. The exhibition was supported by the culture department Frankfurt.

all photos Jessica Sehrt & Daniel Stubenvoll

 

 

 

 

 

 

 

HalloWien

Donghee Koo
Haejee Kim
Hyungwoo Lee
Jina Park
Koon Kwon
Minji Nam
Osang Gwon
Yuri Yim
Labor, Art

Opening
05.07.2016, 7pm

Exhibition
06.07.2016 – 12.07.2016

Opening hours
Mo – Fr 4 – 8pm, Sa – Sun 12 – 4pm
as well as by appointment

„Unstable artists working in poor surroundings“, „moonlighting for a living“ and „uncertain pay standards for artists“ are in fact old topics but still considerable by any means. The realities of creation and labor, institutionally unclear status of artists and the specificity of the art economy are the major talking points of this show. Is artwork considered labor? If so, by whom? Taking a more global approach at these matters can help us to understand artworks better and extend our imagination about possible relations of art and labor.
Labor, Art is a groupshow with artists from the young history of contemporary art in South Korea. It is the second in a series of exhibitions, focusing on international collaborations at Husslehof, Frankfurt this year. Curated by Namjoo Huh, who is currently studying curating and art criticism at Hongik University. The project was made possible with the support of Art Council Korea.

 

 

 

 

 

 

 

Stefan Cantante
Zoe Field
Mads Egeberg Hvidtfeldt
Soojung Kim
Yongxiang Li
Shaun Motsi
Ivan Murzin
Johanna Odersky
Vera Palme
Nadia Chen Perlov
Ada Raczka
Franziska Wildt
Judith Hopf
Before

Opening
29.04.2016, 7pm

Exhibition
30.04.2016 – 28.05.2016

Open by appointment

Before, is a collective video, film and exhibition project by students of the Städelschule Frankfurt am Main, which has been developed with professor Judith Hopf on invitation of the project space After the Butcher, showroom for contemporary art and social issues, Berlin and the support of Husslehof, Frankfurt.
The show follows the idea that different artistic approaches are not exhibited next to each other, but to animate them with each other. Using video, a new fictional place is going to be established: „a non space, an abstract anywhere, where gravity does not rule and time is on hold …“.
The aim is to vary one’s own work within the conflict zones of a group exhibition that may lay somewhere between assertiveness, difference or adaption of artistic works, in a common thematic voice-over and repositioning. Like the genre of comics, the different perspectives, time frames and the connected thought bubbles become addressed without beginning or end.
„No filming of discussion, no performing from our part – the works are the protagonists. First priority: the mediation of the works, to ’show‘ them to the audience and thus we will have all our works lifted on to the same platform, in one breath, a parliament of works, a family portrait of artistic concepts … „

all photos Ivan Murzin

 

 

 

 

 

 

 

Tomke Braun
Ella CB
Arthur Löwen
Tetsi Pecoraro
Nicholas Pittman
Corners

Opening
25.04.2016, 7pm

Exhibition open by appointment

 

 

 

 

 

 

 

Amy Ball
Sathit Sattarasart
Mark Walker
FUNNY THE plants

Opening
16.04.2016, 7pm

Exhibition
16.04.2016 – 19.04.2016

Sa – Mo 12 – 4 pm, as well as by appointment

Husslehof is pleased to invite you to the first exhibition in 2016, with Amy Ball, born 1987 in Canada, Sathit Sattarasart, born 1979 in Thailand and Mark Walker, born 1988 in the UK. The group show „FUNNY THE plants“ is the first in a series of exhibitions with a focus on international collaborations.
FUNNY THE plants is an ad-libbed shot at individual senses of humor – an exercise in whim, instinct and coincidence. It may seem for the light of heart, but perhaps that’s worth having a go at – trusting your gut, so to say, and letting humor seep through at the end of what has seemed a very-long-winter. It’s a bit the practice of saying “jah” instead of “nein”, to each other and to ones self – heavy on the art therapy, maybe, or why not all just take it a bit easy.
AMY BALL
by Mark Walker:
Amy Ball is an indy artist from the gold mining town, the city of Dawson, in the Yukon. Where, some summers, she retreats to her exLaundry cabin to hang out in the Wilderness. Sometime I am not sure if Amy Ball is real. What she is and what she does is very familiar but somehow so close she is completely unconnected. In Amy Balls work the abstracted character, becomes more visible, but still keep a distance. In ‘Thunder bang, bang lightning’ She is photographers from behind at the seat of a full drum kit, in front of which is vast green plane stretching out forever, with a raging thunderstorm. A total dreamscape with lightening filling the bloody sky.
Another report stated that she was a very post human child.
With reality emerging, slowly, steadily, like a wine-stain working its way through wool, AMY BALL deals with this in a grinding, passive aggressive and down to earth work, she presented a mop, inscribed with the words ‘Don’t let the bastards grind you down.’ turning the cleanly domestic activity into a fuck you to the man.
SATHIT SATTARASART
by Amy Ball:
It’s difficult for me to say, if washing your hands with a bar of soap, etched with stencilled letters spelling out “d i s s a p o i n t m e n t”, months after the exhibition has already ended, as the soap gets dirtier and dirtier and the letters less and less legible, is funny, or sad or self deprecating; but, maybe it’s all of those things, or some combination of them. And maybe, that’s where Sathit Sattarasart exercises his humour. Take his recent show at 1822 – there is absolutely nothing Funny about it at first glance, i.e – you’d be lying to me if you said you walked down Fahrgasse and lol’d to yourself the way you might if you were a bit hungover and making your way home reviewing the events which lead up to you feeling the way you felt right then. But then again, if Sathit really is doing, as his long time collaborator, Julia Schwadron, (they sometimes pretend to be each other) says he is doing: “deconstruct(ing), while simultaneously reconstructing, the language, the terms…the stakes and their use-values; poking with a gentle prod…at what is most violent or tragic or corrupt by building a quiet pile of elements, ingredients and ideas…in order to undermine their own context…” then maybe, you might not lol to yourself but instead keep in a sort of light chuckle, visible only to passerby’s by, by a slight change in your grin. Maybe, a clean and simple plywood table (size wise like a regular north american dining room table) with white light emanating from under it, in a staunch white room with a big store front window on a wacky little street with antique furniture shops and designer goods you can’t afford, commercial galleries you don’t understand the clientele of, and up-and coming hipster hot spots – is doing exactly that: “poking with a gentle prod”. And for me, if I think of it that way, it is kind of funny…
MARK WALKER
by Sathit Sattarasart:
Mark Walker seriously operates in a world of humour. The things he makes, make sense in a way that I would question myself twice or maybe thrice, as if I took a wrong turn off the Autobahn. My experience of Mr. Walker’s art objects is like walking along the sea shore during magic hour, and suddenly finding a whale that’s been hit by a car and then realizing that it’s not an ocean, its a lake. Maybe I really took a wrong turn. Mr. Walker finds himself working between languages and objects. Language plays a big part in his works, all the way from the titles to the recognition of objects. His titles can be somewhat melancholic, except the one that he accidentally butt-typed with his phone. It is the greatest butt-typed title ever created (if I could butt type this intro about Mr. Walkers work as well as his butt-typed title, I would do it). Then everything comes together – weird words followed by his absurd and odd objects – creating a good twisted contrast. Mr. Walker leads us somewhere with his work and unexpectedly we end up somewhere else with him; like his broken speaker that failed as a bookshelf and barely has the function of a light which works like a heater without producing heat. Once he said that his joke has already petered out, but that seems not to be the case. Currently Mark, as we call him, grows his bushy beard, and lives and works in Berlin. Sometimes he is spotted in Frankfurt am Main setting free ceramic monkeys from souvenir shops.

all photos Vivi Abelson

 

 

 

 

 

 

 

FLAWLESS

Edi Danartono
Inga Danysz
Ryan Karlsson
Natalia Rolón
FLAWLESS

Opening
02.12.2015, 7pm

Exhibition
02.12.2015 – 14.12.2015

Mi – Fr 6 – 8 pm So 2 – 6 pm as well as by appointment

Group show curated by Elena Frickmann

„The Skin I Live In“ (La piel que habito) is the title of a Spanish film by Pedro Almodóvar from 2011. In this thriller, a plastic surgeon cultivates an artificial skin resistant to burns after his wife was badly burnt in a car crash and commits suicide, because she can’t stand her own appearance. He is testing his invention on a young woman named Vera, who he keeps in his house and has a sexual relationship with. Vera was once a man transformed into a woman by the surgeon, with the face of his former wife. The thriller’s plot is built around the skin as a metaphor for human vulnerability and identity highlighting the importance of skin in relation to our image.
The skin is our shield. When we get injured, its fragility becomes visible. At the same time it can be a prison that we are trapped in; especially when we don’t feel comfortable inside it. This may be because of it’s color, it’s gender, it’s age or because of blemishes. For decades the industry has recognized it’s importance, which seems to grow everyday, when looking at digital and social media.
The web is not only full of commercials for products, promising a flawless look, it is also replete with Make-up and Beauty tutorials: How to contour and highlight your face like Kim Kardashian, female-to-male make-up transformation (or the other way around) and even race change make-up transformation. Make-up has become the most powerful tool when it comes to creating our superficial persona.
In highly glossed videos (mostly) women from all over the world reveal their beauty-secrets, talk about their skincare routine and teach us how to enhance our natural beauty. It is the natural look, that rules. Flawless, glowing, dewy skin is a must have. In many campaigns ‚imperfect‘ is claimed to be the new perfect. Winnie Harlow became an icon of this movement. The model suffers from vitiligo, a chronic skin condition characterized by parts of the skin losing it’s pigment. Despite having what would traditionally have been considered a flaw Harlow has experienced much praise and success as a model.
One highly utilized substance in cosmetic products is silicone. Cyclomethicone, Dimethicone or Amodimethicones as it appears in shampoo, body lotion or foundation; making hair shiny and skin smooth. Silicone is a synthetic material that is often used to imitate skin, thus is it used in the production of sex toys and dolls. The exhibition FLAWLESS is taking a look at the skin as a projection of capitalistic and medial ideas of beauty, gender and ethnology.

all photos Inga Danysz

 

 

 

 

 

 

 

TheInternetisPresent

LaTurbo Avedon
Killian Loddo
Pinar + Viola
Pussykrew
Eva Papamargariti
Tine Günther
Sucuk & Bratwurst
Theo Triantafyllidis
Gergo Kovács
Leonie Döpper
Katrin Krumm
Florian Mecklenburg
Sebastian Zimmerhackl
Manuel Rossner
Ruiné
The Internet is Present

Opening
20.11.2015, 8pm

Exhibition
21.11.2015, 8 – 11 pm – 22.11.2015, 2 – 6 pm

as well as by appointment

all photos Sucuk & Bratwurst

 

 

 

 

 

 

 

HalloWien

Anna Schachinger
Minda Andrén
Viktor Henderson
Anna Rettl
Bernhard Buff
Mathias Franz
Laura Hinrichsmeyer
Marek Kochanowicz
HalloWien

Opening
30.10.2015, 7pm

Exhibition
31.10.2015 – 14.11.2015

Mo – Fr 7 – 9 pm as well as by appointment

WORKFORCE FLACCID(#1-#8)
Stated below a list of eight nameless members, coming together for the first time, giving you a handful of introductory lines about what materials they are made of. Staging their characters only with an undefined screenplay at hand. Tricking each other into a togetherness, into unbearable dynamics.
The following enumeration is solely based upon loose teeth, loose tongues.
#1
Repeating evaluation on the subject, coalition between the receiver, sender and media. Where media becomes the receiver, recorder and player. The interviewer gets interviewed by media and herself. Talking head form, we establish an idea of a person transcending, a caricatured image of the human, pop and void.
#2
Straining. The bow is tensed, the finger is touching the trigger. An object gathering in the moment before action. In this moment time expands, the present becomes tangible. The sculptures gather in that millisecond, their silent preparedness for action makes this tension the very material they are formed of.
#3
color, form, eyes
shapes, movement, bodies
crack, mood, breast, dance
dance, dance, dance
(Artur Sand)
#4
He is carrying a lot of signs and is still surrounded by dyslexic. Playing for the high one and dancing with the devil… the pleasure is to play the game!!! Still try to read the signs? Searching the map for the ace of spades? You just missed the joker in front of you!
#5
Before I got to know you, you were already part of a bigger entity. The happy dualism making it harder to distinguish. You are a far fetched objet trouvé to me. With your partner in crime to your left, you are walking, the height of your shoulders matching perfectly. Constantly mapping each others bodies with some sort of superhuman mega awareness, rendering your textures. You‘re getting closer to the canal now and its incorporated liquids. Your taste buds are busy registering the sudden raise of adrenaline. The bodies leaning against you from both sides, carrying their torsos more sloppily, falling one after the other into dirty black water, leaving you standing alone. Finally I come close enough to see; You wear you hair italian.
#6
…still sailing on the dazzling sea, one eye chasing Moby Dick, causing us to flee one eye on the shore, may you leave an open door? Too many tries with unknown success, still sailing. Too many wishes… mute receivers, still transmitting over the sea, over the shore, may you leave an open door?
#7
Our days are numbered, and it’s getting darker. Time is slipping by, but time moves backwards, so it’s ok. You’re standing tall still, moving in circles on the ground and in the air. Mmm, back and forth, round and round, with a razor sharp tongue speaking only in pictures but sometimes also in words, leaving crop circles in our heads as proof.
#8
K: Hey who the fuck is this?
M: …it’s just me…
K: What are you doing in my mansion. You know you’re not supposed to be here.
M: I know. I`m sorry. I wanted to see it with my own eyes – the skeleton palm trees… the drippings of black liquid…I wanted to smell your sweet odor…touch the grungy hair…
K: You are pathetic! … you’re not ready yet. Come back in some years!
M: No wait, please, one last question; is it true, that you still pin needles into the skin of people…chosen people? They all say, they are healed afterwards. How do you do that…who are you really?
K: (Kal Vilmer took the lute in her arms, stroked gently the shiny wood and opened her yellowish green eyes) if you have to know – I am the daughter of the sun, soaked with radiant light and heat… human photosynthesis…you won’t understand… You have to leave now!

 

 

 

 

 

 

 

Postkarte-Indonesien_210915_DV.indd

Heri Dono / Joachim Blank
1965: Sorry is not enough / A Point of Light in the Dark

Eröffnung
11.10.2015, 16 Uhr

Ausstellung
12.10.2015 – 25.10.2015
Mi – So 18.00 – 20.00 Uhr
sowie nach Vereinbarung

 

Das Soziale Museum präsentiert in Kooperation mit dem Ausstellungsraum Husslehof zur diesjährigen Buchmesse mit Indonesien als Ehrengast zwei zeitgenössische Einzelpositionen: Heri Dono und Joachim Blank. 1965 kam es in Indonesien während eines Militärputsches zu politisch und ethnisch motivierten Massenmorden. Bis heute fand keine Aufarbeitung statt. Mit “1965: Sorry is not enough“ präsentiert Heri Dono Werke seiner jüngeren Schaffensphase. Gezeigt werden Gemälde, Installationen, Skulpturen und Performances, die Widerstand zum fundamentalen Prinzip der Kunst erklären.
Joachim Blanks: „A point of Light in the Dark” bezieht sich auf die Übersetzung des javanesischen Wortes `Batik`, jene traditionelle Technik der indonesischen Kultur, die Blank in zeitgenössischer Form verwendet; so entsteht eine freie, textile Kunstform.
Der Projektraum Husslehof, Koblenzer Straße 12, versteht sich als Plattform für künstlerische und kuratorische Experimente. Die zwei künstlerischen Positionen von Dono und Blank fügen sich in die Reihe „Husslehof – Duoshows“. Träger des Sozialen Museums ist Leonhardi Kulturprojekte e.V.. Seit 2006 werden regelmäßig Positionen „Verletzbarer Gesellschaften“ vorgestellt und diskutiert.

The Social Museum and the exhibition space Husslehof are pleased to present two solo-positions: Indonesian artist Heri Dono and Berlin-based artist Joachim Blank. A military coup in Indonesia, lead to a politically and ethnically motivated mass murder in 1965. Untill today, no historical and social work-up took place. With „1965: Sorry is not enough“ Heri Dono presents his more recent works. On display are paintings, installations, sculptures as well as performances, which proclaim resistance as a fundamental principle of art.
Joachim Blanks „A Point of Light in the Dark“ refers to the translation of the Javanese word Batik, a traditional technique of Indonesian culture that Blank uses in his own contemporary way; the result is a free, textile art form. The project space Husslehof, Koblenzer Straße 12, is a platform for artistic and curatorial experiments. The two artistic positions of Dono and Blank continue the series „Husslehof – Duoshows“. Leonhardi Kulturprojekte e.V. is supporter of The Social Museum. Since 2006, positions about “vulnerable societies” are being presented and discussed.

 

 

 

 

 

 

 

MartinKozlowski-Point of no return

Martin Kozlowski
Point of no return // nruter on fo tnioP

Opening
14.07.2015, 7 pm

Exhibition
15.07.2015 – 28.08.2015
Wed – Fri 6 – 8 pm
as well as by appointment

 

Space works. Some think about their past, present and future when they turn their heads to the stars. „They say that every atom of our body was once part of a star“ (GATTACA). Martin Kozlowskis works often question or reinterpret perceptions of his own past and present, as well as questioning the medium of painting itself. His method of working has similarities to a therapeutic process, reflecting and restaging situations he does not fully understand. In his exhibition „Point of no return // nruter on fo tnioP“ at Husslehof, urban structures can be seen as the connecting element between two mediums, painting and sculpture, as well as the source of inspiration for the two pieces on show. Lately, the focus of Martins practice has been on creating a bridge between painting and sculpture, in order to combine the two as a middle ground. The ambition for the exhibition was to create a rather sparse environment with just one large work per room, which would be as much sculpture as it would be painting.

The outside of Space Box No.1, marked with seemingly random graffiti, provokes associations with an urban structure, located in a public space, similar to where youths growing up in the city would have important experiences, like smoking a first joint or getting a first kiss. By creating the illusion of infinite depth on the Space Painting, which is built into the boxlike object, serving as both frame and sculpture, the aim is to trigger a cinematic relation to space in the viewer, playing with escapist tropes. The Space Painting in this sculptural frame can be seen as a metaphor for infinity, endless possibilities, yet also staging a “point of no return”, where things, actions and time irreversibly disappear into a void. Childhood, objects, friends, pain, the box itself, the now. Spacebox No.1 iconically represents the vastness in this universe of possibilities. Piff, a cutout of a former space painting, in the shape of a graffiti piece, combines attributes of sculpture and oil painting and even aspects of graffiti and painting in one work of art. All spaces become connecting elements in this show.

 

 

 

 

 

 

 

Husslehof
1/2 Year Anniversary Celebration

04.07.2015, 2 – 11 pm

 

 

 

 

 

 

 

Marta Orlando / Ivan Murzin
To tell fortunes by cotton mouth

Eröffnung
18.05.2015, 19 Uhr

Ausstellung
20.05.2015 – 26.06.2015
Mi – Fr 18.00 – 20.00 Uhr
sowie nach Vereinbarung

 

Unter dem Titel To tell fortunes by cotton mouth, wird am 18. Mai 2015, um 19 Uhr die zweite Duoshow mit jungen Künstlern der Städelschule Frankfurt – Ivan Murzin und Marta Orlando – im Husslehof eröffnet. Die Ausstellung ist der Funktion von Sprachen und den damit verbundenen Problemen der Kommunikation gewidmet. »Der Text« tritt darin als das Gedächtnis der Kommunikation und gleichzeitig als ihre Grenze auf.

Husslehof will open the second duoshow „To tell fortunes by cotton mouth“, on May 18th 2015, 7pm with two young artists of the Städelschule Frankfurt – Ivan Murzin and Marta Orlando. The exhibition is dedicated to the function of languages and the associated problems of communication. “ The text “ occurs therein as the memory of communication and at the same time as its limit.

all photos Ivan Murzin

 

 

 

 

 

 

 
cover

 

Jose Montealegre
GRAVINSA
ALLES MUSS RAUS

Opening
04.05.2015, 7 pm

Opening Hours
04.05.2015 – 08.05.2015
Mo – Fr 12.00 – 4.00 pm

 

We are sad to announce that Gravinsa, the store chain that provided Europe with the finest construction materials and hardware must now close its doors. After serving its customers for 25 years, all the Gravinsa retail locations across Europe are holding a massive liquidation of all of their stock, everything must go, and all sales are final. What you see here is what remains on stock. Enjoy the last sale.

all photos Benjamin Vögler

 

 

 

 

 

 

 

 

 

 

Tina Kohlmann / Moritz Grimm
Der Prinz und das Showgirl
alles für die Katz

Eröffnung
06.03.2015, 19 Uhr

Ausstellung
07.03.2015 – 30.04.2015
Mi – Fr 18.00 – 20.00 Uhr
sowie nach Vereinbarung

 

„Wie bin ich doch lecker“, sonnte sich der Schinken in seiner speckglänzenden Schönheit und ließ sich auf eine solche Weise lässig von der Decke hängen, dass jedem Betrachter augenblicklich das Wasser im Munde zusammenlaufen musste. Wie er da so prangte, als kulinarisches Ensemble aus zart-rotem Muskelfleisch, kraftvollen Sehnen und einem Hauch edelsten Fettes, konnte man ahnen, bei seinem Verzehr einen Teil der Kraft und Anmut seines einstigen Trägers auf sich selbst zu übertragen. „Man ist, was man isst“, schien er dem Betrachter zuzurufen. „Werde du ein wenig wie ich und so du selbst.“

„Was bin ich doch furchteinflößend und Schrecken verbreitend“, lobte sich der Tiger ob seiner hierzuorten offensichtlichen Einzigartigkeit und schritt wohlbedacht gravitätisch durch sein Revier, den mächtigen Schädel mal nach links und dann wieder nach rechts neigend, wie ein König, der seinen Untertanen einen sowohl gnädigen als auch gestrengen Blick zukommen lässt, so, dass es jedem, der einen dieser Blicke erheischen musste, einen eiskalten Schauer den Rücken herunterlaufen ließ. „Seht her, hier bin ich, Majestät von Schöpfers Gnaden.“

„Selbstverliebte Narren“, grinste die Spinne und zog aus der Mitte ihrer kunstvoll gewobenen Todesfalle genüsslich einen dünnen, kaum sichtbaren neuen Faden hinter sich her. Es war, als sprudele aus ihr unaufhörlich ihr feinziseliertes Imperium hervor, ein Grab für jeden Eindringling. „Euer Schicksal hängt an einem seidenen Faden“, dachte sie und bedauerte nun fast jene, die sich ihr an Größe und Schönheit offensichtlich überlegen fühlten und diesen Irrtum erst bemerkten, wenn sie dann sehen mussten, was sie nicht glauben wollten, und begriffen, dass es zu spät sein könnte, wenn es schon vorbei war.

„Nutzt die euch verbleibende Zeit gut, denn letztlich ist mir noch jeder ins Netz gegangen.“

Elisa R. Linn

all photos Mara Monetti

 

 

 

 

 

 

 

 

Marcel Walldorf
Skulpturensohn

Eröffnung
28.11.2014, 19 Uhr

Ausstellung
29.11.2014 – 23.01.2015
Mi – Fr 18.00 – 20.00 Uhr
sowie nach Vereinbarung

 

 

Mit der Eröffnung des Husslehofs am 28.11.2014 zeigt der Künstler Marcel Walldorf unter dem Titel „SKULPTURENSOHN“ Arbeiten seiner jüngsten Schaffensphase. Walldorfs Themen und handwerkliche Arbeitsweisen sind vielfältig. In seiner aktuellen Ausstellung verwandelt Walldorf den Husslehof nicht nur in eine Galerie, sondern in eine begehbare Installation, in eine Manege, in der er mit dem Verhältnis von Mensch, Tier und unseren sozialen Gepflogenheiten spielerisch umgeht.

„Die Skulpturen, Objekte und Installationen von Marcel Walldorf verfolgen nie direkt eine politische Absicht, wenngleich eine pointierte Gesellschaftskritik und ein gewisser ziviler Ungehorsam häufig im Spiel sind. Bewusst wählt der Künstler Alltagsgegenstände und kombiniert diese neu, um unbehagliche Situationen zu inszenieren, die den Betrachter zum Nachdenken über seine eigenen Unzulänglichkeiten anregen. Dabei ist ein Augenzwinkern des Künstlers nicht zu übersehen.“ (Auszug aus dem Buch Rising: Young Artists to keep an Eye on, DAAB Verlag, Köln, 2011)

Walldorf bleibt direkt, ohne dabei aufdringlich oder flach zu werden. Seine Kunst unterhält und erreicht den Betrachtenden so intuitiv. Schon im Titel zeigt sich das Spannungsfeld zwischen Atelier und Straße, dass Walldorf glaubhaft vertritt. Sein Stil zeichnet sich durch sicheres Gespür für doppelbödigen Witz, treffende Bilder und Metaphern aus. Walldorf verweist auf die Lebenswelt jenseits der Atelierwände, er überspitzt menschliches Verhalten und hinterfragt so Symbole der Macht und gesellschaftliche Normen kritisch.

Marcel Walldorf (*1983) studierte bis zum Vordiplom bei Manfred Stumpf und Wolfgang Luy an der HfG Offenbach und wechselte dann an die HfBK Dresden, wo er 2014 sein Meisterschülerstudium bei Eberhard Bosselt absolvierte. Der Künstler lebt und arbeitet in Frankfurt am Main. Marcel Walldorf war mit seinen Arbeiten bereits bei zahlreichen Ausstellungen im In- und Ausland vertreten. 2010 erlangt Walldorf mit der Plastik „Petra“, der Darstellung einer pinkelnden Polizistin in Kampfmontur, international Aufmerksamkeit. Mehrwöchiges kontroverses Medienecho war die Folge. Das Werk gewann im Januar 2011 den 3. Platz der Leinemann-Stiftung für Bildende Kunst.

With the opening of Husslehof on 11/28/2014 the artist Marcel Walldorf shows his most recent work under the title „SKULPTURENSOHN“. Walldorfs topics and technical procedures are varied: In his current exhibition Walldorf transforms the Husslehof not only into a gallery, but in a walk-in installation in an arena in which he playfully deals with the relationship between humans, animals and our social practices.

The title reveals the tension between the studio and the street, that Walldorf represents in his work. Walldorf remains direct, without being pushy or flat and reaches the viewer intuitively. His style is characterized by a keen sense of ambiguous humor, striking images and metaphors. The artist refers to the life and world beyond the walls of the studio, he exaggerates human behavior and thereby questions symbols of power and social norms critically.

Marcel Walldorf (*1983) studied with Manfred Stumpf and Wolfgang Luy at the Offenbach School of Design and then moved to the Academy of Fine Arts Dresden, where he completed his graduate studies with Eberhard Bosselt 2014. The artist lives and works in Frankfurt am Main. Marcel Walldorf was presented in numerous exhibitions at home and abroad. 2010 Walldorf gained attention with the sculpture „Petra“, the representation of a peeing policewoman in riot gear. Controversial media coverage was the result. The work won the 3rd prize of the Leinemann Foundation for Visual Arts in January 2011.

all photos Thorsten Fuchs

 

 

 

 

 

 

 

 

HHAM copy

 

Huseyin Oylum
HUSSLEHOF ARTMARKET

contemporary artsale with young artists
christmas edition
15.12.2013, 12 – 7 pm

all photos Duc V. Nguyen