Salon Berlin

In the fall of 2016, in the course of a generational change, the Museum Frieder Burda opened the Salon Berlin in one of the most vital art districts of the capital. Closely linked to the museum in Baden-Baden, the Salon is more than just a project and showroom that accompanies and conveys the museum program and the collection of the mother house. Under the curatorial direction of Patricia Kamp, a place of exchange and discourse has been created in the former Jewish Girls' School in Auguststraße, dedicated to the promotion and mediation of new forms of artistic expression. In changing exhibitions, individual, outstanding positions of the Frieder Burda Collection are brought into a dynamic field of tension with contemporary art.

As a forum for international contemporary art, the Salon Berlin uses the expertise of one of the most successful private museums in Germany to present contemporary positions in Berlin in challenging contexts and combinations. Young artists such as Alicja Kwade or Nathalie Djurberg have already entered into dialogue with works by Sigmar Polke or Willem de Kooning from the Frieder Burda Collection. For each exhibition, thematic and aesthetic concepts are developed that shape the visual design of the salon and also the supporting program.

Patricia Kamp, Künstlerische Leitung

With its thematically and aesthetically developed exhibition formats, the Salon Berlin aims to transcend boundaries. It does not only want to present urgent positions, but to provide intellectual and emotional impulses through art to develop necessary visions for a common future.

Current exhibition
Review
Press

Annette Kelm - Die Bücher

In her photographs, Annette Kelm (b. 1975) explores a variety of styles and genres—still life, object, architecture, and landscape photography—while deliberately flouting their conventions. As she experiments with the semantic charge various photographic forms of representation can give a subject, subtle ambivalences of meaning infiltrate the image, and the things shown seem both familiar and remote at the same time. Appropriation becomes commentary. This applies as well to Kelm’s engagement with the theme of Nazi book burnings in her current exhibition Die Bücher (The Books) at Museum Frieder Burda's Salon Berlin, where she presents a selection of books that were proscribed starting in 1933 as being “un-German.” Kelm pays tribute to these books as “survivors” that stood the test of time, acting as proxies for their authors and keeping them alive in collective memory.

The artist focuses in her photo series on the liberal, enlightened metropolitan zeitgeist that gave rise to these books as well on as their cover design, which reflects the avant-garde spirit of the 1920s and 1930s. Artistically designed dust jackets, which became popular in the late nineteenth century and rose to prominence with the Book Art movement, took up the formal languages of Expressionism, Constructivism, Bauhaus, and Dada, often displaying photomontages and experimental typography. The Nazi regime set out to extinguish this burgeoning modernist aesthetic. Annette Kelm now strives in her work to recall to memory the books that were destroyed and forgotten.

The historical background behind the Nazi book burnings
On May 10, 1933, Nazi students burned some 30,000 books on the former Opera Square in the center of Berlin: political literature, scholarly treatises, novels and poems, and even children’s books. The list of authors includes many well-known names but also some that have since then disappeared from our cultural memory. The burning and subsequent banishment of these books marked the beginning of Gleichschaltung, the enforced conformity of public opinion and university teaching, and was accompanied by the unrelenting persecution of writers and intellectuals who thought differently, especially if they were Jewish. Else Lasker-Schüler’s “Hebrew Ballads,” Erich Kästner’s children’s book “The Enchanted Telephone,” Stefan Zweig’s novel “The Refugee,” Oskar Maria Graf’s “Notebook of a Provincial Writer,” Alfred Döblin’s “Berlin Alexanderplatz” – all of these works were on the list of “harmful and undesirable literature.”

Annette Kelm’s photographic engagement with the subject
Kelm’s images of the books exhibit a sober and objective aesthetic, showing these editions published between 1913 and 1944 individually as flat objects, photographed frontally against a neutral background. This conceptual approach, with detailed images lighted neutrally, lends the book covers a presence that goes far beyond mere documentation. Emphasizing the factual avoids charging the images with symbolic meaning. What comes to the fore instead is the cultural and ideological significance of these publications. By applying strict formal criteria, the artist renounces all narrative elements, which furthermore underlines the translation of the object from three dimensions into the two-dimensional space of photography: The book becomes an image. The shots follow the serial principle, pointing to how photography can be used to produce signs and metaphors. Reproduced in the style of classic object photography, the books are freed from space and time. It is precisely this device that brings them up to date and makes them topical again, overcoming the historical distance: As they step out of history and into the spotlight, the political imagery, modernist aesthetics, and the socio-critical overtones of many covers come into sharp focus.

There is no archive of the banned books that formed the basis for these photographs. Kelm had to work with various private and public collections. But it’s not a matter of creating a complete catalogue. Her pictures are instead reduced and formalized compositions in which seeing and reading conspire to assign meaning. As in her other work, Kelm’s vantage point on historical artifacts in the series Die Bücher (The Books), produced in 2019/2020, is factual and invests what we see with a meaning that already lies within our realm of knowledge. These are abstractions in which something disappears and is added elsewhere as a visual surplus. The precise photographic focus on each book and its design thus stands as proxy for the persecuted authors, setting us to thinking about both how history is represented and how we are to come to terms with the Nazi era once the contemporary witnesses are no longer with us and we have nothing but objects to keep the memory alive.

In the galleries of Museum Frieder Burda’s Salon Berlin, the former classrooms of a Jewish girls’ school, Kelm’s photographs gain additional trenchancy, resonating with the architecture, which in turn summons to the visitor’s mind the systematic annihilation of the Jews and the persecution of all those who opposed Nazi ideology.

Patricia Kamp, artistic director of the Salon Berlin: “The articulation of racist ideas by a minority in Germany has grown intolerably loud. This gives us all the more reason here at the Salon Berlin – housed in a Jewish cultural heritage site – to actively raise our voices: to promote dialogue in society while joining forces with others to take a resolute stand against racism and hatred, anti-Semitism and apathy, and for greater humanity, diversity, and tolerance. Annette Kelm’s work, especially the series Die Bücher (The Books) on view here, creates a unique platform for urgent dialogue while making it clear that we must never stop remembering.”

SONIA GOMES : I RISE
I'M BLACK OCEAN, LEAPING AND WIDE

Head overhanging, twisted bodies, reminiscent of lynxes or wilting vegetation. Nerve tracts, inner maps, dream catchers: Sonia Gomes' biomorphic sculptures have a disturbing, almost magical presence. Born in 1948 as the illegitimate daughter of a black mother and a white father in Caetanópolis, a centre of the Brazilian textile industry, Gomes grew up in the white Catholic family of her father, a textile entrepreneur, after the mother's early death. However, the African culture and spirituality of her mother and grandmother, her interest in rituals, processions and myths were to have a lasting influence on her life and later work. Already as a teenager, Gomes had begun to deconstruct textiles and clothing to create her own style and from this to create utility items and handicraft objects. But it was not until she was 40 years old, when she attended the Guignard School of Art in Belo Horizonte, that she decided to pursue a career in contemporary art with the support of a teacher. Today, following her participation in the 56th Venice Biennale in 2015, she is one of Brazil's most influential artists.

THE VOID
Gregory Crewdson – Isa Genzken – Chris Jordan

Gloomy streets and lonely houses, hardly anyone on the road. The literally uncanny pictures of the American photographer Gregory Crewdson(born 1962) from the series ''Beneath the Roses'' could have been taken from an old Hitchcock film in best Hollywood manner. As in these films, the places and scenes become mirrors of the soul - and of a depressingly felt emptiness of existence. The house as the dwelling of the searching, lonely soul, mysterious and oppressive: Crewdson stages his large-format pictures with the highest cinematic effort and allows the abysses behind the everyday facades, their delicately illuminated windows, to shimmer through in a restrained manner. What is probably happening inside the houses, is this where the well-known corpses are produced that are always and everywhere slumbering in the cellar? Crewdson's father was a psychotherapist. Reading the things that surround people as an expression of their inner being, diving into the depths of the soul and making the processes of the subconscious visible, was something the artist was familiar with from an early age. Beyond the conciliatory surfaces, his paintings therefore function as perfectly staged metaphors for fears and longings.

Rwandan Daughters
by Olaf Heine

Almost one million people fell victim to the 1994 genocide in Rwanda and some 250,000 women were raped. Today, perpetrators and victims often live next door to each other. And while women have gained influence in Rwandan society over the past 25 years, the victims of rape and their children continue to live often marginalised with the stigma of widows and orphans. Today, it is the daughters of rape victims who are the ones who receive their traumatised mothers and fight against the stigma - with unprecedented courage and boundless confidence in a society marked by severe trauma and governed by authoritarianism. Rwandan Daughters is a testimony to the strength of these women. In expressive pictures, the German photographer Olaf Heine (*1968) has portrayed the mothers and daughters of Rwanda - side by side on the scene. Sometimes the looks of mother and daughter go in different directions, sometimes there are tender touches. Only a mild smile would be a lie. But from the similarities of the faces speaks their connection and with it their shared hope to leave the past behind. Often the tropical natural space seems reconciliatory, while the urban space keeps the deprivations and injuries alive. And yet: all places have also been crime scenes.

JR – ADRIAN PIPER – RAY JOHNSON

Mail-Art has no history, only the present moment. Never before has this statement by Ray Johnson from 1977 been more valid than in the context of today's correspondence and communication behaviour, especially in the context of social networks. On the Internet everything exists in the present moment. The information we create and pass on is transported through media without hierarchy or centrality and develops the artificial intelligence of tomorrow. Social networking through the possibilities of the internet has long since restructured global society. -With its current exhibition, the Salon Berlin of the Museum Frieder Burda brings together three artistic positions of different generations, origins and strategies, all of which have one thing in focus: The appeal to the viewer to participate as an actor in the sense of the artwork and thus to lead it to its actual purpose. Only the pact between artist and recipient completes the often ephemeral work of art in its actual intention.

Candice Breitz: Sex Work
Im Dialog mit Werken von William N. Copley aus der Sammlung Frieder Burda

Since the #MeToo movement reached the mainstream, the discourse has aimed to analyse and make visible gender-based violence and has triggered one of the most important and controversial debates of our time. However, in revealing the dynamics of gender and power that determine relationships in the workplace (and in the rest of the world), the movement has paid disproportionate attention to those incidents of abuse and sexual harassment that have been raised by privileged individuals and/or people with high media coverage. Although the video works shown in Candice Breitz: Sex Work were made before the #MeToo movement reached its peak in October 2017, they are a powerful reflection of the debate. Candice Breitz deals with the gender-specific violence sex workers* are confronted with in their work and life, thus resetting the focus on central questions of the movement.

Zurück zur Natur?

New Nature-Optimised Man? Digitisation is taking its toll, the Anthropocene has long since begun - and God is no longer in the picture: Man is designing his living space, his body is becoming a modular construction kit. If man now experiences himself as the creator of his own reality, how will he succeed against this background in cultivating his own vitality and keeping alive the connection between all life on our planet, as the famous natural scientist Alexander von Humboldt (1769-1859) once formulated it for our understanding of nature?

Bharti Kher

New Nature-Optimised Man? Digitisation is taking its toll, the Anthropocene has long since begun - and God is no longer in the picture: Man is designing his living space, his body is becoming a modular construction kit. If man now experiences himself as the creator of his own reality, how will he succeed against this background in cultivating his own vitality and keeping alive the connection between all life on our planet, as the famous natural scientist Alexander von Humboldt (1769-1859) once formulated it for our understanding of nature? In her work, Bharti Kher combines not only different techniques, materials and media, but also masculine and feminine, animal and human, sacred and profane, tradition and technology. Just as her work is associated with alchemical or magical processes, it also conveys the idea that human identity is in a state of constant transformation and construction. The core of her work, as she herself emphasises, is the hybridised, recalcitrant, questioned or even completely absent body.
>br> Against the backdrop of a globalised world in which the balance between civilisation and nature is increasingly shaken, Kher's works convey an almost physical experience of shock, uncertainty and change. At the same time, they address the continuous striving for balance and unification. Kher is interested in that moment when seemingly contradictory forces find an equilibrium and produce completely new experiences and meanings. She experiments with the most divergent materials for her sculptures, installations and paintings: fibreglass, wood, steel, broken mirrors or even bindis. These are painted or glued by Hindu women as a spiritual symbol on the forehead - between the eyebrows, where the third eye is supposed to sit. Originally associated with femininity and religiosity, Bindis are now both mass-produced goods and costume jewellery. In her Bindi works, Kher reinforces both aspects: the materiality as well as the spiritual dimension.

Nathalie Djurberg & Hans Berg

Djurberg's & Berg's terrible women, seductresses, demons, witches or super-mothers are reminiscent of de Kooning's famous Woman cycle from the early 1950's. As in de Kooning's work, the artistically transformed and deformed body provides access to suppressed mental states - albeit under completely different circumstances. Djurberg uses the deformation to deliberately reflect on role models and power relations in a male-dominated world. As with de Kooning, the artistic process at Djurberg & Berg is determined by intuition, the physical, immediate contact with the artistic medium.

Deconstructing Boarders

The starting point of the project curated by Patricia Kamp is Sigmar Polke's fluorescent painting American-Mexican Border, which was created in 1984. Using the grid technique he has been using since the 1960s, Polke transformed a newspaper picture of illegal Mexican migrants trying to cross the metal fence in the direction of the USA into a shimmering composition. While the neon-yellow colour seems like poisonous acid, the grid dots and the grid pattern of the fence cut through the image planes. Polke's painting seems almost prophetic in view of the current plans of the new US president Donald Trump to build a wall along the 3141 kilometre long south-west border of the USA with Mexico. At the same time, Polke avoids the emotional charge of the subject. With his ironic mixture of politics and pop he keeps his distance and instead questions the effect of media images and the attitude of the viewer.

Das Schöne, das ich suche

Closely linked to the museum in Baden-Baden, the Salon Berlin, under the curatorial direction of Patricia Kamp, presents the diverse aspects of the museum programme and the Frieder Burda Collection. The exhibition space is also a forum for international contemporary art. It is both a showcase and a field of experimentation for the MuseumFrieder Burda. With current theme exhibitions, solo presentations and events, the Salon Berlin enters into dialogue with the vital art scene of the metropolis. Its opening revives a great tradition in the capital - in a contemporary form at a historical location in the middle of one of the city's most vital art districts.
>br> The Salon Berlin is located in the former Jewish girls' school in Auguststraße. The rooms, directly opposite theKW Institute for Contemporary Art, were first introduced in an art context by the 4th Berlin Biennale 2006. For several years now, various art institutions and galleries have been located in the building complex. Together with the gastronomic facilities on site and in direct proximity to numerous other art locations in the neighbourhood, this provides a perfect location and spatial situation for the project. The Salon Berlin is a place of exchange and inspiration - not only between historical and contemporary artistic positions, but also between museum and artists and last but not least between Baden-Baden and Berlin.

Veranstaltungen

04. JANUAR
10:00 - 13:00

Ferienworkshop ''Die Montagsmaler - Malen nach Lust und Laune''

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14. JANUAR
10:00 - 13:00

Ferienworkshop ''Die Montagsmaler - Malen nach Lust und Laune''

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16. JANUAR
10:00 - 13:00

Ferienworkshop ''Die Montagsmaler - Malen nach Lust und Laune''

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Neu: Der Ticketverkauf für die Workshops findet ab sofort über unseren Onlineshop statt.

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Current exhibition

Annette Kelm - Die Bücher
 

Exhibition period:
12. MAI 2020 - 24. OCTOBER 2020

Curator: Paticia Kamp



























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Patricia Kamp


Patricia Kamp


Patricia Kamp


Patricia Kamp


Frieder Burda und Patricia Kamp




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