The opening will continue at Kampen Bistro (storsalen) Bøgata 21.
A stunning beauty weightlessly floating through space. As she gradually unveils words emerge and descend, covering her body like fig leaves. At the climax of this intro Barbarella delightfully floats before our eyes in paradisiacal nudity.
Umbral apparitions of uneven forms in the dark. Rhythmically to the ethereal play of a violine, the orifices of a face emerge as if reflected in a distorted mirror. The black gorge of a wide-opened throat engulfs our gaze and threatens to devour the titel Seconds.
The extraordinary challenge of combining writing, image, and sound to introduce a theme without giving too much away has majorly ushered and defined the emergence and style of a whole genre. Showing more than 50 opening and closing titles, the exhibition VORSPANNKINO (cinema of titles) is a premiere to honor this special form of film.
Elaine & Saul Bass, Kent Bateman, Samuel Beckett, Maurice Binder, Stan Brakhage, Robert Brownjohn, Marc Bruckert, Jörg Buttgereit, Penny Causer, Jean Cocteau, Kyle Cooper, Jeremy Dawson, John De Bello, Friz Freleng, Sandy Dvore, Pablo Ferro, Wayne Fitzgerald, Stephen O. Frankfurt, Jean-Luc Godard, Shan Hua, Teruo Ishii, Olivier Kuntzel & Florence Deygas, Dudley Murphy, Pier Paolo Pasolini, Dan Perri, Horst Piehler, James S. Pollak, Lotte Reiniger, Christoph Schlingensief & Norbert Schliewe, Orson Welles, David Wojnarowicz & Tommy Turner
BELLWETHER is pleased to announce Alyssa Pheobus’s first solo show, LAY IN THE REINS. The exhibition features a group of large-scale text drawings that excavate the lyrics of love songs and other fragments of language through an elaborate process of performative inscription. Positioning her disciplined and labor-intensive drawing practice as an analog to other subjective performances of text, Pheobus both “covers” and “samples” in an attempt to engage her source material critically and libidinally.
Many of the texts that Pheobus “performs” through drawing are stirred by a fascination with the threatening eroticism of violent sexuality. They also mark intersections between the language of aggressive desire and the hyperbolically “masculine.” Juxtaposed with escape fantasies in which acts of abandonment become expressions of agency, these themes remain carefully contained within a system that imagines both the limits of language and the experience of desire as prison-like. The perpetual chafing against captivity that is a palpable subject in Pheobus’s work is mirrored by her drawing practice, which is at once restrained and workmanlike, compulsive and devotional.
The tactile surfaces of Pheobus’s drawings, composed on cobbled-together sheets of handmade cotton rag paper, are incised with stitch-like graphite characters that form the building blocks for an austere visual language. This idiosyncratic graphic vocabulary simultaneously evokes instruments of confinement-barbed wire, cells, cages, nets, straps-and the psychic calendar of tally marks scratched upon a wall.
A native of Maryland, Alyssa Pheobus received her MFA from Columbia University in 2008. Her work has recently been featured in group exhibitions at Tracy Williams, Ltd., Exit Art, and Dieu Donné in New York. Pheobus lives and works in Brooklyn.
Maria von Köhler – Maybe a Herm is a new site-specific solo exhibition developing von Köhler’s fascination with the grotesque in both sculpture and painting, and the sinister relations between expectation and reward.
Maria von Köhler graduated from the Royal Academy in 2003 and lives and works in London and Los Angeles. Recent exhibitions include National Geographic, Faggionato Fine Art, Larry’s Cocktails, Gagosian, Right-on Write-off, Chapman Fine Arts, Timeline, Seeline Gallery, Los Angeles, MOCA Fresh Auction, Museum of Contemporary Art, Los Angeles, and When we Build, Let Us Think That We Build Forever, The Zabludowicz Collection at BALTIC. She has recently also had the solo exhibitions The Mother of all Babies, SEVENTEEN, London, and at See Line Gallery. She is currently exhibiting in the group show Booth 1812 at See Line Gallery, Los Angeles.
Originally commissioned by the Serpentine Gallery, London in 2008, Peres Projects, Berlin presents an expanded version of this text based performance work. This multi voiced work is presented in the various guises of two of London’s best loved alternative performers.
Alternatively humorous and disturbing this manifesto like assemblage, composed of fragmented found texts, aphorisms and axioms, examines how the failure of mass protest in the last decade has led to a nostalgic retreading of past failures. Focusing on the use of the polemical style in entertainment and media and how this consequently diverts social change towards individual selfishness. Disembodied and contradictory voices pile upon each other from crescendo to silence.
Charlie Isoe’s pictorial compositions are based largely on his personal experiences and observations he makes of his immediate social surroundings. Isoe left school at the age of sixteen and immersed himself in a world of graffiti, skateboarding, travel, and life on the streets. As he entered his twenties, already well traveled, rich in experiences with highs and broken bones, he went back to attain a high school diploma, and subsequently a Degree in Fine Art. For the last three years, Isoe has been living in Europe as a freelance artist, observer and wanderer. His work has been seen on the streets of Australia, Thailand, Slovenia, Croatia, Bosnia, Czech Republic and Germany.
Check it out, cool artist and nice web:::