Tavar Zawacki (ABOVE) completed the « Pulse » mural at Urban Spree on the occasion of his solo show « Metamorphosis », on view until 08.10.2017 at Urban Spree Galerie.
The « Pulse » motive is part of the exhibition as a 180 x 240 cm original canvas and as well as a set of screen prints.
The wall reproduces the « Pulse » pattern two times with one half-arrow on the top left-hand side and a right half-arrow on the bottom right-hand side pointing downwards. Tavar created a very effective op-art outdoor piece, with 3D effects and optical illusions, notably in the middle of the piece.
StillSTAND – Paint the wall of Urban Spree! A project of Urban Spree and Senor Schnu
Scroll down for the German version
Artists of all ages and artistic backgrounds can apply to design the famous 15 m x 8 m wall of Urban Spree, which will get a new facelift every 14 days from mid-May onwards. Materials and an artist fee of € 500,- are provided to the selected artists. « The role and relevance of Art in the time of Corona » is the subject of this Open Call.
Artists and cultural workers bring new impulses, especially in these times, and make clear how important art and culture are for society.
Residence in Berlin
Maximum 2 artists* per application (collaboration work or split work)
Send a proposal on the topic (max. 1 A4 page explanation, with rough sketch if desired)
Not to have painted the wall before
If you are interested, send your application with the subject weSTILLSTAND to firstname.lastname@example.org. Deadline is fixed on the 8.5.2020
The jury of the project: Julia Benz (artist), Johannes Mundinger (artist), Katia Hermann (art historian), Senor Schnu (artist and curator) and Urban Spree.
Many thanks to our active sponsors: Molotow, Neis Design Berlin, Pandemic Healing Arts, We did nothing wrong e.V., Sehr Bueno, Katja Askenenka and Sophie Schermer. To make this project thrive, we are still looking for new partners to provide material and alleviate production costs. Potential sponsors can contact Pascal: email@example.com
StillSTAND – Bemale die Wand von Urban Spree! Ein Projekt von Urban Spree und Senor Schnu
Künstler*innen jeden Alters und jeglicher künstlerischen Herkunft können sich bewerben, um die berühmte 15 x 8 meter Wand der Urban Spree zu gestalten, die ab dem mitte Mai alle 14 Tage ein neues Gesicht bekommt. Gestellt werden Material und ein Honorar von € 500,–.
KünstlerInnen und Kulturschaffende bringen neue Impulse, gerade in diesen Zeiten und machen deutlich, wie wichtig Kunst und Kultur für die Gesellschaft ist. Die Rolle und Relevanz von Kunst in Zeiten von Corona sind Thema des Open Calls.
1. Wohnsitz in Berlin 2. Maximal 2 Künstler*innen per Bewerbung 3. Umsetzungsvorschlag zum Thema (max. 1 A4 Seite Erläuterung, gerne mit grobem Entwurf) und 4. du hast die Wand noch nicht bemalt
Kuratiert wird das Projekt von: Julia Benz (Künstlerin), Johannes Mundinger (Künstler), Katia Hermann (Kunsthistorikerin), Senor Schnu (Künstler und Kurator) sowie der Urban Spree Galerie.
Ein grosser Dank geht an die Supporter: Molotow, Neis Design Berlin, Pandemic Healing Arts, We did nothing wrong e.V, Sehr Bueno, Katja Askenenka und Sophie Schermer. Trotz dieser Supporter sind wir noch auf Support sowie Sponsoren angewiesen, um Material sowie Produktionskosten stellen zu können.
Iguana Death Cult
Special Guests: Tanning Bats
14.11.2019 | Berlin – Urban Spree
Doors: 8:00 p.m. Start: 9:00 p.m.
… presented by DIFFUS Magazine
The Rotterdam five-piece Iguana Death Cult first made a name for themselves with a twisted and hard-core garage punk including a hint of psychedelia, then the quintet grew into a band that incorporates post-punk, Krautrock, New Wave, soul and disco. Their second album « Nude Casino » will be released on October 25th on the label Innovative Leisure from LA. It shows the more top-heavy side of her songwriting and her sense for the absurd.
The frenzy of the early years can still be felt today: the band is a barely controllable force of nature. They have made their way from dark doldrums to the SXSW, and they prove that defiant dilettantism and real ability can be perfectly combined and lead to success. Opschoor used to play nimble flamenco ornaments on guitar, but would have broken his fingers on blues riffs. With Reek it was exactly the other way round: From wonderfully primitive punk rock he worked his way up to sophisticated retro soul, psychedelic rock and acid jazz à la Art Blakey. And so they meet in the middle, where Boer’s brawny bass competes against Van Opstal’s jazz-influenced licks.
Because the music scene in the Netherlands is very small and familiar, the rise of Iguana Death Cult to a legendary live act took place at an incredible pace. There is no difference for the band
between occupation and hobby, also because of that she was able to gain a big fanbase quickly. Her debut album « The First Stirring of Hideous Insect Life » was released in 2017.
In comparison, the successor « Nude Casino » sounds rather brittle and unembellished – a sceptical sound that also questions their own former hedonism. Jeroen Reek lets his neuroses run wild and oscillates between wild waking dreams and the narrow limits of reality. His lyrical abilities come to the fore on « Tuesday’s Lament », the heart of the album: The song is a monologue in five parts, which self-confidently and in a good mood deals with such difficult topics as mortality and faith. The occasional seriousness that blends into the sound and lyrics doesn’t harm the daring of Iguana Death Cult, like the band that has grown into a quintet through Jimmy de Kok on keyboard.
from the first note on.
« Nude Casino » evokes claustrophobic and absurd moods and is dedicated to themes like sleep paralysis (« Half Frisian ») and lost innocence (« Castle in the Sky »). These songs are based on earthly fears like neuroses and conflicts. That’s why the album is permanently jerking with nervous energy, which also comes from the wilder songs dominated by heavy hooks like « Carnal Beat Machine » with its dry disco pulse. Iguana Death Cult celebrate the art of rocking the shit and turning everything on 11. They dig their claws into the music and don’t let go. And they also have fun.
Distel (NL) live
(ant-zen / [aufnahme + wiedergabe])
www.aufnahmeundwiedergabe.de/wapens Alvar (SWE) live
(Daft Records / Beläten)
www.facebook.com/ALVAR-1426441654247820/ The Brvtalist (US)
www.thebrvtalist.com Philipp Strobel (D)
« underneath DISTEL’s third full length release lies a thorough personal re-evaluation of truth, unveiling and being. ‘wapens’ is the dutch word for ‘weapons’ and also translates to ‘family crests‘ or ‘coats of arms‘. however, a third sense, more specifically related to the kindred word ‘wapenen‘, is explored in the title track’s lyrics which propose a state of being wherein the self becomes an existential monolith – becomes focally reinforced in the sense that its presence refers first and foremost to only its own individual being instead of the networks of meaning that we tend to define ourselves by.
DISTEL’s intention while working on this album was to achieve a more direct, massive and monolithic sound than before: to channel most energy through an insistent impulse within the rhythmic and melodic movement – from stomping stabs to legato motion – and make every other embellishment secondary. this initial thought is the core of the music on this album and an overall synthesised modern classical mode is the guideline for new tracks. another aim is to show more colour, truth and openness – and this openness is obviously echoed in the sound of the album itself. thematically ‘wapens’ includes many references to end times, apocalyptic visions, embodiment and authenticity towards death. while its predecessors presented the ‘muffled sounds from within’, now the pandora‘s box has been opened for all to gaze upon its vast spectrum of horrors.
the self-applied tag ‘ultra / angst pop’ could now be redefined from the original industrial-based minimal electronics into a unique contemporary strain of high energy synth-pop-noir, or ‘dark energy’. a quite evocative mixture of excellent subliminal rhythm machine programming, predominant purging keyboard lines and swirling spectral vocals result in twisted dark wave pieces with a catchy approach carrying an overwhelming, coercive energy. »
« After the highly successful first album ‘Guilt Kollektion’ – sold out almost immediately – here comes the long awaited brand new album by the still young Swedish EBM institution, containing 11 tracks of amazing darknoise and EBM! ALVAR: pulsing, shadows, thrilling rhythms, furious loops and a feeling of total takeover of your soul.
ALVAR from Öland/Sweden, ‘discovered’ by Dirk Ivens (Klinik, Absolute Body Control, Sonar, Dive… & founder of Daft) 2 years ago, making music inspired by deserted places, forgotten houses and old legends. Alvar offer a clash between techno, old school industrial and EBM in a unique combination that makes this fresh new act extraordinary! »
Urban Spree Galerie presents « SWITCH-OVER« , the third solo exhibition of the Berlin-based visual artist Hendrik Czakainski at Urban Spree Galerie.
Hendrik Czakainski’s materia prima is the urban matter captured at different stages of dereliction. Adopting a bird’s eye view, the artist creates large-scale post-architectural panels which are dark anatomical explorations of the urban body.
The artist becomes a forensic architect, collecting evidence of disasters, past, present and future, incorporating them in surreal compositions of large proportions, creating 3-dimensional landscapes which have become void of human presence and frightfully beautiful at the same time. His creations bring us to a state of contemplation and fascination, owing to the combination of shape and colour.
His monumental cuts, holes, and excisions to his fantastic architectural matter reach us beyond the scope of architecture and strip down those man-made artefacts to the minimum, lay them bare, and essentially on the brink of abstraction.
In SWITCH-OVER, the artist distantiates himself from the highly densified housing settlements he has been creating in the past years to pursue a more radical approach. His apocalyptic tableaux give away few clues as to when the mutations happened, what exactly happened, how was it even possible to switch from one state to the next, and which situation we are actually in, leaving the spectator forging his own clues. Are we investigating a foregone reality, are we already processing the next move, or are we trapped in between ?
In his new compositions, we ask ourselves if humanity is still part of the global equation or if the tipping point has been already reached; if a reversal is even possible.
Most works of the show are constructed in two or three parts, creating a dynamic impulse, searching for life in interstitial space, infusing tension, and establishing a mutual dialog, a new social contract of what’s left.