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“Here Comes the Bad News”: New Solo Show with Jim Avignon

Jim Avignon returns to Urban Spree Galerie for his second solo show “Here Comes the Bad News”, 2 years after « Permanent Jetlag ».

In his only exhibition in Berlin for the year 2019, Jim Avignon describes the mood in the world and in Berlin in particular with his usual wit.

Gentrification, Global Warming, Surveillance Capitalism, Alt Right… here comes indeed the bad news. His paintings are a mash-up of cartoony figuration, expressionistic composition, – a maximum of expression with a minimum of lines.

Jim Avignon is a painter, illustrator and conceptual artist. Always ready to confront the establishment he is torn between pop art, street art, Picasso on acid or simply being the fastest painter in the world. His signature style consists of vivid colours, a biting humor, unpretentious materials and a mind numbing output. His art works like pop music in DIY mode.

According to the legend, the artist became stranded in the Provence city of Avignon at some point in the ’80s when his car unexpectedly broke down. He resorted to painting Dali images onto pavements, gradually raising money to repair his car. The name stayed.

In the early 90s, he became an ubiquitous painter of the techno movement, designing makeshift clubs and Love Parade trucks.

By creating a colorful flood of affordable, rapidly-produced works, Jim disrupts the well-oiled art market and pervades it with black humor and self-irony. Avignon’s images caricature the modus operandi of the art market and are also aimed at people who are bored or deterred by the gold-framed aura of so-called high art. “Good Artists Go To The Museum, Bad Artists Go Everywhere”.

 

Jim Avignon

“Here Comes the Bad News”

Solo Show at Urban Spree Galerie

Vernissage: Friday, August 09th, 2019

Exhibition: 09.08.2019 – 08.09.2019

Urban Spree Galerie

Revaler Str. 99

10245 Berlin

Info and catalogue: pascal@urbanspree.com



Jim Avignon: Here Comes the Bad News

Jim Avignon returns to Urban Spree Galerie for his second solo show “Here Comes the Bad News”, 2 years after « Permanent Jetlag ».

In his only exhibition in Berlin for the year 2019, Jim Avignon describes the mood in the world and in Berlin in particular with his usual wit.

Gentrification, Global Warming, Surveillance Capitalism, Alt Right… here comes indeed the bad news. His paintings are a mash-up of cartoony figuration, expressionistic composition, – a maximum of expression with a minimum of lines.

 

Jim Avignon is a painter, illustrator and conceptual artist. Always ready to confront the establishment he is torn between pop art, street art, Picasso on acid or simply being the fastest painter in the world. His signature style consists of vivid colours, a biting humor, unpretentious materials and a mind numbing output. His art works like pop music in DIY mode.

According to the legend, the artist became stranded in the Provence city of Avignon at some point in the ’80s when his car unexpectedly broke down. He resorted to painting Dali images onto pavements, gradually raising money to repair his car. The name stayed.

In the early 90s, he became an ubiquitous painter of the techno movement, designing makeshift clubs and Love Parade trucks.

By creating a colorful flood of affordable, rapidly-produced works, Jim disrupts the well-oiled art market and pervades it with black humor and self-irony. Avignon’s images caricature the modus operandi of the art market and are also aimed at people who are bored or deterred by the gold-framed aura of so-called high art. “Good Artists Go To The Museum, Bad Artists Go Everywhere”.

 

Jim Avignon

“Here Comes the Bad News”

Solo Show at Urban Spree Galerie

Vernissage: Friday, August 09th, 2019

Exhibition: 09.08.2019 – 08.09.2019

Urban Spree Galerie

Revaler Str. 99

10245 Berlin

Info and catalogue: pascal@urbanspree.com



Christopher Stead: Acid Reign

Urban Spree Galerie presents “Acid Reign“, the first solo show in Germany of the British visual artist Christopher Stead.

Acid Reign is the culmination of a long-term residency at Lab Kalkhost in North Germany. Christopher Stead produced on the shores of the Baltic Sea several large format works, using a process mixing graffiti techniques and natural elements.

Cans of paint are burst with nails, sand and mud is flung. An alchemy between the paint and the land turns into a painterly concrete, cementing ideas, solidifying a tangible truth. The paintings are stuffed into rucksacks and returned to the studio where Ikea bags full of previous endeavours lie dormant ready to rework. A fecund process is born.

The fences used in the supports of the pieces are taken from decaying plots on the train lines.

Rusty fences, transgressed and twisted by nature are transported to the studio. The erosion of the metal emasculates the sterile man-made purity of the material. This gives each painting a story and a history. Every fence painting starts at night on the train tracks with a pair of bolt cutters and finds its way into the light of the studio and finally into the gaze of the public domain.

Artist Statement:

“Once upon a time, on a small island called Great Britain, there lived a lady called Margaret Thatcher. Margaret along with her Tory Party ruled the land with an iron fist and squeezed the living life out of its people. Fed up of a decade of draconian rule, the people began to gather and dance their woes away at their own party. They called this the Acid House party.

Race and class barriers were dissolved as the people united and raved as one big family. The Tory party didn’t like this as they weren’t invited, so they invented a law to stop the gathering of 20 or more people, dancing to the sounds of repetitive beats. Techno, Jungle, call it what you want. It had to stop. Whilst this may sound like a children’s horror story, it was in fact or certainly a young adults nightmare. 30 years on, the nightmare continues. Britain is again been torn apart by the right.

The paintings in Acid Reign were made on the beaches of former East Germany. 30 years ago these beaches were patrolled by the military to stop East Germans defecting to the west. Cans of paint were popped and squeezed upon the sand soaked canvas to create the acid rain.

The works seeks new places to hang. Inspired by Foucault’s concept of heterotopia, it finds solace in spaces of otherness. Informed by a youth growing up free, painting graffiti on the trains. Painting in the dark. Surrounded by fences, along the train tracks, in and on derelict buildings. Buildings which housed these parties. Places of abandon and neglect. Again, the work finds itself back in its familiar territory.

Acid Reign is emblematic of the freedom of movement in open spaces without borders. A freedom which is slowly being choked out of the people once again.”  Christopher Stead

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Christopher Stead (b. 1974, UK) lives and works in London.

Tangled, torn, popped, squeezed and then hung in spaces of other, the work exists to evade the paradigms of commercial obedience, white cube boredom, and the polarities regimented by cultural hegemony.

Informed by Thatchers dystopian Britain and her Acid House love child, the work explores free movement in spaces without borders. 

In 2016 Stead graduated with a First Class BA Hons in Fine Art at the City and Guilds of London Art School, London, where he received the Painter – Stainers Scholarship Prize and Brian Till Art History Thesis Award. 

https://www.christopherstead.co.uk/


 

Christopher Stead

“Acid Reign”

Solo Show at Urban Spree Galerie

Vernissage: Thursday, May 23rd, from 19:00

Exhibition: 24.05.2019-09.06.2019

Opening Hours: Tu-Su 12:00-19:00

 

Urban Spree Galerie

Revaler Str. 99

10245 Berlin

Infos & Catalogue: pascal@urbanspree.com

 

 



“Berlin-Praha Barter” Group Show opens on 16.05.2019 in Prague

After the first exhibition, titled “Praha Berlin Barter” (March/April 2019) which was hosted by Urban Spree in Berlin, the gallery is this time being hosted by Trafo Gallery in Prague in a new group exhibition called “Berlin Praha Barter“.

BERLIN PRAHA BARTER

Preview: 16.05.2019
Exhibition: 17.05. – 23.06.2019

Curated by Pascal Feucher (Urban Spree)

In this second round, we have invited 11 visual artists of the Urban Spree family to exhibit artworks at Trafo Gallery:

 The artists are representative of the new Berlin scene that emerged since the Fall of the Wall, starting with the precursor – Jim Avignon – quite known for his painted decors of many of the Berlin squatted clubs of the early 90’s and large historic murals (East Side Gallery) and whose remixed cubist/pop art/Neue Sachlichkeit aesthetics are iconic of the Berlin art scene.
Going along the figurative trail, Marion Jdanoff (half of the duo Palefroi) develops a highly poetic and fairytale-like universe, fueled with middle age tales, strange characters, fabled animals in a rich palette of colors. Fabian Warnsing paints large-sized canvases in a faux-naïf style, creating still life paintings, urban landscapes and everyday scenes.
The graphite drawings of Lars Wunderlich are part of a series from 2017 titled “East German Realities”, whereby the artist applies his process of distortion and glitches to scenes witnessed in the Eastern parts of Germany where nationalism is still a vivid reality.

Sebas Velasco explores the remnants of the Eastern bloc in a series of oil paintings and drawings based on scenes from Yugoslavia and elsewhere, Plattenbau, old cars, graffiti, and neon hotel signs. An urban/architecture thematic which has been magnified over 20 years by EVOL with his stencils on outdoor electric boxes and on cardboard.

Going further, Hendrik Czakainski creates 3D large-scale post-architectural panels which are radical anatomical explorations of the urban body. His works are impressive, immersive, chaotic urban scenes captured from above, on a bird’s eye view perspective.

Besides figurative and architecture-inspired works, a strong line at Urban Spree has always been “post-graffiti abstraction”, i.e. using the codes, techniques, roots, flow and philosophy of graffiti, where the letter becomes an abstraction, a substance.

While Stohead is closer in some instances to the true form of the letter (calligraphy, handstyle, overwriting), he has always experimented beyond it, trying to deconstruct and dissolve the Letter in a post-graffiti approach. Theresa Volpp‘s practice is more focused on the very subject of abstract art and bears only a faint distance to graffiti, although some form of automatic writing exists in her work, in a pre-graffiti way, as if abstract art is trying to reconnect with a certain flow but before the invention of graffiti..

Christian August creates multiple layers of grey colors by erasing, scratching, repainting, and finally achieving a wall texture (in the scratchy meaning of Dubuffet and Brassaï in the early 20th century), then completing his work by a stunning dash of ultramarine color, the artist’s persistent signature. Johannes Mundinger has also strong roots in wall painting and creates delicate abstract works in subdued tones, large shapes and blocs, stunning and contemplative abstract landscapes.

Oscillating between abstract and figurative art, Berlin Praha Barter shows a diversity of approaches and styles, seemingly loosely connected but united by an undercurrent practice of wall painting and shared values.

—————————————————————————————————-

Urban Spree Galerie was created in 2012 in Berlin-Friedrichshain in 2012 as a 400 sqm “artist-run” space with the objective of discovering and promoting the emerging international wave of post-graffiti painters and artists, with a strong focus on local talents.

The gallery is an essential part of Urban Spree, a 1.700 sqm independent multi-cultural complex comprising a Biergarten, a concert room, a bookshop, 5 artist studios, a screen printing studio, itself set in a 70.000 sqm postindustrial creative compound in the heart of Berlin (R.A.W.).

The gallery benefits from its large urban grassroots ecosystem and offers its invited artists an ideal space for experimentation through ambitious on-site residencies and monthly exhibitions that usually involve painting the outside walls of the compound.

It is armed with these values of generosity and openness, shared with Trafo Gallery, that we together decided to initiate a gallery exchange.

https://www.urbanspree.com
instagram: @urban_spree
facebook: Urban Spree

 

Thanks to all Trafo Gallery supporters: Ministerstvo kultury ČR, Magistrát hlavního

města Prahy, Art District 7, Radio 1, Protisedi.cz, ArtMap and Wine4You.

Trafo Gallery, Hala 14, Pražská tržnice, Bubenské nábřeží 306/13, Prague 7, tram
no. 1, 12, 14, 25, metro Vltavská (300m),

Open Wed–Sun 3–7pm, Sat 10am–7pm,
www.trafogallery.cz ,

IG: trafo_gallery,

FB: trafogalerie



Berlin- Praha Barter (at Trafo Gallery in Prague)

After the first exhibition, titled “Praha Berlin Barter” (March/April 2019) which was hosted by Urban Spree in Berlin, the gallery is this time being hosted by Trafo Gallery in Prague in a new group exhibition called “Berlin Praha Barter“.

Berlin Praha Barter

Preview: 16.05.2019
Exhibition: 17.05. – 23.06.2019

Curated by Pascal Feucher (Urban Spree)

In this second round, we have invited 11 visual artists of the Urban Spree family to exhibit artworks at Trafo Gallery:

 The artists are representative of the new Berlin scene that emerged since the Fall of the Wall, starting with the precursor – Jim Avignon – quite known for his painted decors of many of the Berlin squatted clubs of the early 90’s and large historic murals (East Side Gallery) and whose remixed cubist/pop art/Neue Sachlichkeit aesthetics are iconic of the Berlin art scene.
Going along the figurative trail, Marion Jdanoff (half of the duo Palefroi) develops a highly poetic and fairytale-like universe, fueled with middle age tales, strange characters, fabled animals in a rich palette of colors. Fabian Warnsing paints large-sized canvases in a faux-naïf style, creating still life paintings, urban landscapes and everyday scenes.

The graphite drawings of Lars Wunderlich are part of a series from 2017 titled “East German Realities”, whereby the artist applies his process of distortion and glitches to scenes witnessed in the Eastern parts of Germany where nationalism is still a vivid reality.

Sebas Velasco explores the remnants of the Eastern bloc in a series of oil paintings and drawings based on scenes from Yugoslavia and elsewhere, Plattenbau, old cars, graffiti, and neon hotel signs. An urban/architecture thematic which has been magnified over 20 years by EVOL with his stencils on outdoor electric boxes and on cardboard.

Going further, Hendrik Czakainski creates 3D large-scale post-architectural panels which are radical anatomical explorations of the urban body. His works are impressive, immersive, chaotic urban scenes captured from above, on a bird’s eye view perspective.

Besides figurative and architecture-inspired works, a strong line at Urban Spree has always been “post-graffiti abstraction”, i.e. using the codes, techniques, roots, flow and philosophy of graffiti, where the letter becomes an abstraction, a substance.

While Stohead is closer in some instances to the true form of the letter (calligraphy, handstyle, overwriting), he has always experimented beyond it, trying to deconstruct and dissolve the Letter in a post-graffiti approach. Theresa Volpp‘s practice is more focused on the very subject of abstract art and bears only a faint distance to graffiti, although some form of automatic writing exists in her work, in a pre-graffiti way, as if abstract art is trying to reconnect with a certain flow but before the invention of graffiti..

Christian August creates multiple layers of grey colors by erasing, scratching, repainting, and finally achieving a wall texture (in the scratchy meaning of Dubuffet and Brassaï in the early 20th century), then completing his work by a stunning dash of ultramarine color, the artist’s persistent signature. Johannes Mundinger has also strong roots in wall painting and creates delicate abstract works in subdued tones, large shapes and blocs, stunning and contemplative abstract landscapes.

Oscillating between abstract and figurative art, Berlin Praha Barter shows a diversity of approaches and styles, seemingly loosely connected but united by an undercurrent practice of wall painting and shared values.

—————————————————————————————————-

Urban Spree Galerie was created in Berlin-Friedrichshain in 2012 as a 400 sqm “artist-run” space with the objective of discovering and promoting the emerging international wave of post-graffiti painters and artists, with a strong focus on local talents.

The gallery is an essential part of Urban Spree, a 1.700 sqm independent multi-cultural complex comprising a Biergarten, a concert room, a bookshop, 5 artist studios, a screen printing studio, itself set in a 70.000 sqm postindustrial creative compound in the heart of Berlin (R.A.W.).

The gallery benefits from its large urban grassroots ecosystem and offers its invited artists an ideal space for experimentation through ambitious on-site residencies and monthly exhibitions that usually involve painting the outside walls of the compound.

It is armed with these values of generosity and openness, shared with Trafo Gallery, that we together decided to initiate a gallery exchange.

https://www.urbanspree.com
instagram: @urban_spree
facebook: Urban Spree

 

Thanks to all Trafo Gallery supporters: Ministerstvo kultury ČR, Magistrát hlavního

města Prahy, Art District 7, Radio 1, Protisedi.cz, ArtMap and Wine4You.

Trafo Gallery, Hala 14, Pražská tržnice, Bubenské nábřeží 306/13, Prague 7, tram
no. 1, 12, 14, 25, metro Vltavská (300m),

Open Wed–Sun 3–7pm, Sat 10am–7pm,
www.trafogallery.cz ,

IG: trafo_gallery,

FB: trafogalerie



Lars Wunderlich: “What Are We Looking For?” Solo Show Opening

Urban Spree Galerie presents “What Are We Looking For?”, a solo show of new works by Berlin-based visual artist Lars Wunderlich a.k.a. “Look the Weird”.

The exhibition will kick off during Gallery Weekend Berlin with an Opening on Friday, April 26th, 2019 from 18:30 in presence of the artist.

The exhibition is the outcome of a 3-month Art Residency at Urban Spree.

What Are We Looking For?” is a vertiginous exploration of our tech-dominated and image-centric world. Our global course to an endless progress, always more distant from the natural order, over-leveraging our resources, using ever-expanding technology to achieve a deeper exploration and understanding. But what are we really looking for? And do we understand better?

In this conceptual journey which is an acute exploration of modernity, Lars Wunderlich crafts and paints visual collages, replicates portraits generated by algorithms, and juxtaposes different time elements which generate collisions, distortions and glitches, to better highlight the unreal nature of those representations and the danger thereof.

His paintings bear some similarities with the “New Leipzig School”, albeit with technology at the core, and aesthetics boosted by Artificial Intelligence and modern faux-semblants. They are representations of non-existing representations, real but fake, distorted, whether by time, space, speed, or truth. A perpetual collision of images.

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Lars Wunderlich (b. 1981 in Neubrandenburg, GDR) is a German post-graffiti artist, member of the 9-member street art crew “The Weird” (Nychos, Low Bros, DXTR, Vidam…) under the moniker “Look the Weird”.

Besides spraypainting/wallpainting and graphic design, Lars is an accomplished painter. “What are we looking for?” is his first solo exhibition with Urban Spree Galerie.

 

Lars Wunderlich

“What Are We Looking For?”

Solo Show at Urban Spree Galerie

Vernissage: Thursday, April 26th, from 18:30

Exhibition: 27.04.2019-19.05.2019

Opening Hours: Tu-Su 12:00-19:00

 

Urban Spree Galerie

Revaler Str. 99

10245 Berlin

Infos & Catalogue: pascal@urbanspree.com