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Screenprint Exhibition and Pop Up Show

Starting this Saturday at noon, Urban Spree is hosting a screenprint exhibition curated by Mother Drucker‘s Dolly Demoratti. A few days ago, Dolly installed her new screenprint studio in the first floor of the Urban Spree Ateliers. To celebrate the opening of the studio, we are inviting all street art and screenprints’ fans to discover Dolly’s atelier and her wonderful old steel & glass machines. In addition, a pop up store featuring a selection of hand-pulled Dolly’s silk screenprints will be disseminated in the abandoned rooms of Urban Spree.

Works by Nomad, Anton Unai, SuperBlast, Elmar Lause and many more… Also featuring the one-colour iconic Victor Ash print that was made in conjunction with his Kreuzberg wall of 2007. All editions signed and numbered.

Urban Spree Gallery

Revaler Sr. 99

@RAW Tempel

Berlin-Friedrichshain

Opens everyday from 12:00 a.m. to 8:00 p.m.

www.urbanspree.com + www.mother-drucker.com

 



Worn Pop in Berlin: Super Besse (BY) + label residents showcase

“Worn Pop is a music organization based in Kiev and was formed by Nikita Netrebko in 2013 to develop Ukrainian coldwave movement by doing shows with guests from abroad, as well as managing and releasing artists coming from the local scene. Their first releases was produced in 2014 on cassettes and CD’s and were basically full DIY from recording at home till cutting cassette tape and assembling them back and were selling mostly offline. Later they stretch their genre palette a lot, but saved own image where all artists in rooster or line-up fit each other by mood and overall atmosphere. Being concentrated mostly on booking shows in 2015 – 2017 Worn Pop became well-known in Ukraine and through out some music scenes in Europe, so time has come for coming back to releasing. The residents of the label go on tour dedicated to their new releases in August of 2018 through Kiev, Lviv, Berlin, Copenhagen, Warsaw and Kalabalik Pa Tyrolen in Sweden.”

Line Up:
Super Besse (Minsk, BY – I Love You Records)


Cold Comfort (Kiev, UA – Worn Pop)
Gil’otina (Kiev, UA – Worn Pop)
Geuxx (Kiev, UA – Worn Pop)

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Facebook Event



Pop Up 'Art & Bicycle' Show in our Ateliers

In addition to the Grand Boucle Show which will take place in our main hall, Urban Spree is hosting a pop up show on its first floor Ateliers. Curated by Addison Karl (idrawalot) and Irgh (Wurst Bande), this pop up event is designed for bicycle & art enthusiasts, with a selection of hand-pulled prints and goodies.

Starting Friday, July 20th.

Urban Spree Ateliers. Revaler Str. 99 / RAW Area

 



“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



“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.

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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



Die Wände – Im Flausch (Offizielle Releaseshow) Support: Lafote

 

 

Nach
5 Jahren Bandgeschichte
4 Touren
3 x Pizza am Tag
2 EPs
nun also

1 Album: “Im Flausch” ab dem 8.3.2019 via Späti Palace erhältlich

Support: LAFOTE

Präsentiert von Späti Palace & ASK HELMUT

Carsten von Postel, Jann Petersen und Mathias Wolff gründen ihre Band 2013 während des gemeinsamen Studiums an der UdK (Universität der Künste Berlin) auf Basis einer beschwipst-euphorischen SMS. Alle Bandmitglieder kommen zu der Zeit aus unterschiedlichsten musikalischen Richtungen, sind neu in ihrer Rolle am jeweiligen Instrument und starten unter dem Namen “girlie” in Richtung Post-Punk. Eines ihrer ersten Konzerte spielen sie im mittlerweile abgerissenen Club Antje Øklesund und finden in dessen sozialer Umgebung schnell ein Zuhause. Im Oktober 2015 veröffentlichen sie über das Berliner Label Späti Palace ihre erste gleichnamige EP auf Kassette & digital, touren und spielen auf Festivals (u.a. beim Jenseits von Millionen, c/o pop, Alinae Lumr und dem Incubate in den Niederlanden). Der Musikexpress kürt sie zu einem der besten Newcomer auf dem c/o pop Festival 2016. Im gleichen Jahr veröffentlichen sie eine gemeinsame Split-EP (12“ Vinyl und digital) mit der Berliner Band Pigeon, anlässlich derer die TAZ ihren Sound als Weiterführung von 80er-Jahre Gruppen wie Dinosaur Jr., Sonic Youth oder The Wedding Present einordnet.

Diese Genre-Schublade werden sie in 2017/2018 jedoch in Teilen verlassen und beginnen an ihrem Debütalbum zu arbeiten. Im Zuge dessen entschließen sie sich, mit deutschsprachigen Texten weiterzuarbeiten, und veröffentlichen einen ersten Song mit Im Automaten. Die Stimmung der Songs wird offener, zwischen die Instrumentalparts kehrt so etwas wie Popmusik ein – ausgebreitet auf immer wieder gern 5 bis 7 Minuten Spielzeit. So etwa der Im Flausch eröffnende Song Im Park und im Café: So elegant, so träumerisch konkret und ja, so poppig waren sie noch nie. Es ist ihr Kommst du mit in den Alltag. Zwischendurch lassen sie unbeirrt ihre Feedbacks kreischen, die für „frischen Wind in stürmischen Zeiten“ sorgen. Passend raten sie in 11:55 Uhr vor einer Noiseattacke noch schnell „zieh dir ein Jäckchen an, draußen ist es kalt“.

Es ist ein unironisches Nebeneinander von schroffen Oberflächen und einladendem Gestus, von Noise und Pop, von Frustration (Halten Sie Ihre Pläne geheim) und Euphorie (die Chöre!), ja von der grauen Welt (auch der in einem selbst) und von etwas, dass sie Utopie nennen könnten. Wie diese aussieht? „Alles ist weich / alles ist warm / alles ist leicht / alles ist behütet“ singt der Chor in Projektor – nur um durch ein trockenes „konturlos“ ergänzt zu werden, das wie eine Absage an den aufkommenden Eskapismus des Stückes klingt. Keine Flucht möglich also, stattdessen: „Anspruch und Wirklichkeit haben Streit“ (11:55 Uhr). Der titelgebende Flausch ist Sehnsuchtsort und Lethargiefalle in einem (Formgedächtnispolymer).

Im Flausch wurde im Frühjahr 2018 in 7 Tagen live in Prinzhöfte, einer Gemeinde gleich hinter Delmenhorst mit knapp 700 Einwohner*innen, auf dem Dachboden eines leerstehenden Bauernhofhauses fertiggeschrieben und eingespielt. Während nachts der harte norddeutsche Wind durch das alte Gebälk des Hauses pfiff, schliefen Band und die mit den Aufnahmen beauftragten Freunde aus dem Flennen Kollektiv – Alexander Günther (Molde) und Julius Berger (Go Lamborghini Go) – mangels Betten auf Luftmatratzen und Isomatten inmitten der mikrofonierten Verstärker und Drums. Umgeben von nichts als Pferdekoppeln und einem kleinen Waldstück, gestaltete sich der Aufnahmeprozess so intensiv und einnehmend, dass Teile der Band das Haus tagelang nicht verlassen. Einen Tag nach Aufnahmeschluss, wird das Anwesen nach langem Leerstand verkauft. Gesangsaufnahmen und Overdubs entstehen in den darauffolgenden Wochen in einem Berlin-Lichtenberger Proberaumhaus, aufgenommen von Christian Ramisch (NOJ), umgeben von Plattenbausiedlungen. Die Band benennt sich in Die Wände um und beendet damit ihre Neuerfindung. Das Debütalbum der Wände erscheint Mitte März 2019 auf Vinyl und digital bei Späti Palace.