… The king remained as if the sword had stab his chest through. He didn’t sleep until morning; he wondered what and how, to so that it did not happen what he heard here …
Prague-based puppet theater and performance crew Hura Collective presents in Berlin at Urban Spree a puppet performance from the cycle of dark adaptations of the fairy tales of K.J. Erben.
K. J. Erben (1811-1870) was a Czech folklorist and writer of fantasy prose from the 19th century in the wake of the Gebrüder Grimm.
VLASY means “hair” – referenced in the performance as the three golden hair, and accounts for the first part of the story HAIR – EYES – DEATH based on the stories from K. J. Erben.
The King, who loved to chase game the woods, eventually, after a number of evil deeds, he longed to chase for the game forever. Hand of destiny, drowned Princess, revived skeleton, shadows, live sounds on the springs and bells in the tradition of family puppet theaters.
Prague-based Hura Collective, mostly through the “Echt Street Puppets” project and the leadership of Hza Bažant, is the main driving force behind the renewal of the czech millenary tradition in puppet mastery, bringing the art to a larger scale with some puppets ranging in the 4 to 5 meters range.
The theater performance is wordless, so it is suitable for all public. However due to a dark theme and supernatural elements, we advise it may not suitable for children under 8.
The premiere of the event will be launched in Prague on 01.12.2018 (http://www.jatka78.cz/cs/inscenace/erben-vlasy) and will premiere in Germany on Saturday, December 15th, 2018.
Hura Collective presents:
Urban Spree Galerie
Revaler Str. 99
Friday 14.12. 2018 at 18:00 (estimated duration: 55 minutes)
Mit freundlicher Unterstützung des Regierenden Bürgermeisters von Berlin – Senatskanzlei – und Magistrát Hlavního Města Praha.
Urban Spree returns for the third consecutive year to the Paris Urban Art Fair
from 12th to 15th of April 2018.
We will be presenting a duo show with two Berlin-based artists represented by the gallery, Hendrik Czakainski (GER) and Tavar Zawacki (USA). Both artists will be present during the Fair.
One of the highlights of the Urban Spree booth will be the presentation of a triptych by Hendrik Czakainski (see below). This artwork in 3 framed panels has a size of 288 cm long by 160 cm high. The german artist is known for his 3D surreal visions of urban and industrial settlements, prone to chaos, uncertainty and destruction, however reaching a formal and hypnotic abstracted beauty.
Urban Spree Prints will also release a limited edition 15-colour screen print set of the triptych work, masterly crafted at the Urban Spree Studios by Dolly Demoratti. This release is exclusive to the fair and will be launched at the Opening.
Urban Spree will also be presenting 6 new medium-sized works on canvas (120 x 90 cm) by Tavar Zawacki aka ABOVE. A further step away from his iconic “arrow” motive towards geometric abstraction and hard-edged painting, Tavar’s new works are subtle trompe l’oeil and variations perfectly executed in a muted color range. We will also introduce a new series of resin cut-out works from the Californian artist.
Tavar will sign copies of his book Metamorphosis – published by Urban Spree Books in September 2017 – on Saturday 14.04 at 16:00 on the Urban Spree booth.
We will also show some calligraphic works on paper by Bisco Smith and Jonas “Sun7” Bournat.
URBAN ART FAIR | PARIS 2018 LE CARREAU DU TEMPLE
4, Rue Eugene Spuller
75003 Paris, France
12 >15 avril 2018
29.09. Berlin, Urban Spree
Doors: 20h | Start: 21h
// Tickets: http://bit.ly/2ssSLFe
Following the release of their second album ‘Albeit Living’ in July 2017 and the “Current Affair” single in January 2018 on Felte Records, L.A. punk/EBM band Sextile have announced another European tour for September. Sextile are in the process of finishing up a new EP to be released around these tour dates.
As a stable fixture in the Los Angeles underground over recent years, Sextile have been gaining a devout following since their inception in 2015. The band boldly throw convention out of the window to create and genre-bending imprint that combines the raw energy of 70’s punk with the intricate and sophisticated structural elements of 80’s post-punk and synth-wave.
Beyond the Streets is Roger Gastman’s follow-up show to Art in the Streets, the graffiti and street art retrospective that broke MoCA Los Angeles’ attendance record with 220,000 visitors.
7 years since the MOCA’s groundbreaking exhibition, Roger Gastman invites 100+ artists to showcase their art and create immersive installations over 4000 sqm of industrial indoor and outdoor space in Los Angeles for what will surely become 2018’s most ambitious show: Beyond the Streets.
Beyond the Streets will be opening in Los Angeles on May 6, 2018. Gastman will not only be looking into the roots and historical figures of Graffiti and Street Art, but also take an in-depth look at just how expansive street culture has become in the worlds of contemporary art, photography and other mainstream pop and art movements.
Beyond the Streets will focus on artists with a documented history of mark making and rule breaking as well as a current, robust studio practice primarily derived from the graffiti and street art movements.
Beyond the Streets is not intended to be an historical retrospective but rather an examination of cultural outlaws who embody the spirit of the graffiti and street art culture. The exhibition includes well known artists whose work is influenced or inspired by these risk takers and whose efforts have elevated the movement to new heights.
Among the installations, we can mention a handball court complete with site-specific artwork by famed NYC artist Lee Quiñones drawing inspiration from his lion mural in 1982, FAILE’s Temple, is a highly interactive, life size construction of ceramic, steel, mosaics and prayer wheels that re-conceives historical references from sacred structures that invite play and contemplation from the audience, as well as a historical recreation of the Venice Pavilion, the legendary graffiti and skate destination in Venice Beach, in partnership with adidas Skateboarding.
Roger Gastman is a curator, graffiti historian, urban anthropologist and collector. Gastman founded and co-published Swindle magazine with Shepard Fairey, co-authored The History of American Graffiti and co-produced the Oscar-nominated Banksy documentary Exit Through the Gift Shop.
In 2007, the Berlin-based artist duo Various & Gould launched the Identikit series, a reflection on multiple identities, through a choice of faces & words composing endless variations and contradictions.
10 years later, the duo is invited by the Leipzig Book Fair 2018 to introduce an updated version of the series, focused on Europe and its numerous crises and issues.
This project discusses the topic of immigration, identities and clichés. Identities are highly complex and always diverse whereas clichés are the embodiment of simplification.
To visualize this issue, Various & Gould have chosen a technique known from children’s books. Portraits of prominent personages and words are horizontally cut into strips enabling to rearrange them in endless variations. There are numerous different options – some make sense, some do not, but most invoke images confronting the viewer with own stereotypes and clichés.
The duo has developed a digital version, where users can compose their own motives and then publish online. So far, the version uses only german words but an english version should be available soon.
You can access the generator here: http://variousandgould.com/identikit-generator/
+ special support
Doors 8 pm
Ticket presale starts Monday, January 29th 2018
Wrekmeister Harmonies return to Urban Spree to present their new album, “The Alone Rush”, their first as the core duo of JR Robinson and Esther Shaw. “The Alone Rush” is a hauntingly intense and dark meditation on death and isolation, whose concise compositions carry an emotional heft without the orchestrated bombast of their previous four albums.
After confronting the dual tragedies of the death of a loved one and the exhaustive experience of caring for another family member with a chronic illness, Robinson and Shaw removed themselves from the intensity of Chicago living to the seclusion of Astoria, Oregon. With little else besides their instruments, the couple focused on just two things: healing their psychic wounds and composing. Robinson likened this period to a “cult like affair, just the two of us, thinking the similar thoughts and working them out with hours and hours of conversation, totally alone.” After spending two years in their remote surroundings, together in almost every endeavor, Robinson and Shaw developed an especially intuitive musical communication. Says Robinson it was “almost like two stones being put in a small bag and being carried around constantly. The rough edges wear away. What seemed claustrophobic reveals itself to be comfort.”
The Alone Rush retains Wrekmeister Harmonies’ expansive and ambitious aesthetic, blending waves of ethereal keyboards, haunting string melodies, and crescendos of dissonance, but now turns central focus towards Robinson’s deep, rich, and soothing vocals. The two guests involved in The Alone Rush are longtime friend and Swans drummer Thor Harris, performing minimal drums and clarinet, as well as acclaimed New York producer/engineer Martin Bisi. Keeping the album’s deeply personal subjects in mind, Robinson and Shaw aimed to maintain the material’s emotional potency through an intense intimacy. Harris’s contributions were immediately resonant and in touch with Shaw’s and Robinson’s. It was not until after the recording was complete that Harris informed them about his own deeply personal loss.
Wrekmeister’s work is often based upon literature and The Alone Rush continues in this tradition, specifically through very personal emotions processed with the help of books that involve grief. Thoughts on coping mechanisms, specifically in the age of social media were filtered through works such as George Monbiot’s essay The Age of Loneliness is Killing Us, as well as broader thoughts on the nature of grief itself explored in George Saunders’ Lincoln in the Bardo, and depictions of lost life in Marlon James’ A Brief History of Seven Killings. Much of the album’s words, and specifically “Forgive Yourself and Let Go,” and are drawn from the musicians’ personal answers to questions one faces when confronting death and the associated sadness, confusion and violence of the event. “There’s a realization, a moment of perfect clarity that comes from meditating on these ideas,” says Robinson, “and that is, at the end of it all, we are perfectly and utterly alone.”