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.

MATTHEW LUTZ-KINOY

Window to the Clouds

12. JANUARY - 5. JUNE 2021
Current exhibition
Review
Press

About the Exibition

Window to The Clouds at Salon Berlin of Museum Frieder Burda is the Paris-based artist Matthew Lutz-Kinoy’s first institutional solo presentation in Germany. Comprised of recent paintings, ceramics and sculptures, the exhibition imagines a series of contemporary land- scapes as painterly reflections that look at—and through—various architectures, historical paintings and current events. These environments act as stages for worlds of shared experience, human presence and touch.
Entering Salon Berlin, visitors pass through an immersive sculpture of pink pompoms and a soft pink carpet that spatialize Lutz-Kinoy’s interest in artistic transformation and spiritual transitions. The pompoms, a pluralistic form, at once connote costuming and flowers while also performing as a filter through which other works can be seen. Bodies, sacred and pro- fane, appear in several of Lutz-Kinoy’s paintings in Window to The Clouds. A string of these reference the French sculptor Auguste Rodin’s La Porte de l'Enfer (1880–1917). Rodin’s dramatic bronze gate cites the epic poem Inferno, Dante Alighieri's 14th-century meditation on the rejection of sin as the soul journeys toward the divine. Over one hundred and eighty figures jostle and writhe within its monumental frame. In Exhausted Angel Receives an Announcement in Rodin’s Garden (2019), Lutz-Kinoy depicts a cherub, rendered in the color of a blush, gazing upwards. Two shadowy arms reach down toward the weary figure from outside the composition’s edge. The garden scene, framed by a bushy rococo evergreen, is a painterly contemplation upon the porousness between interior and exterior environments. Like a win- dow, a painting can invite a viewer beyond the present. In dialogue with Wings of Flamingos, Camargue (2020)—a large, site-specific ceiling painting in an adjacent gallery that calls to the figure of the exhausted angel—the lush floor covering directs attention to the theatrical possibilities of architecture, and to the activation of a room through ornamentation.

Matthew Lutz-Kinoy, Exhausted Angel Receives an Announcement in Rodin’s Garden, 2019. Acrylic on canvas, 260 x 170 cm. Courtesy the artist and Vince Q.Y. Xie; Photo: Sebastiano Pelliondipersano
Matthew Lutz-Kinoy, Exhausted Angel Receives an Announcement in Rodin’s Garden, 2019.

Matthew Lutz-Kinoy echoes this thematic generosity in his painting technique, which evokes printmaking. The artist’s additive application of acrylics, his gestural brushwork, and his overlapping, translucent colors offer an exploration of depth, both pictorial and spiritual. In Lombardy Capriccio (2020), a cloud of blue-green landscape is portrayed below a curving, embellished arch alluding to a section of ceiling molding in the artist’s home. The scene quotes Francesco Guardi’s Fantastic Landscape (ca. 1765) in the collection of The Metropolitan Museum of Art, New York, an imaginary idyll of classical ruins that was sized to fit into a now absent decorative plaster surround. In other paintings, Lutz-Kinoy removes de- tails from their surroundings in order to resituate them and to look at them anew, such as in Lectures of Burle Marx (2020), a portrait of a wild orchid found on a Rio de Janeiro sidewalk. Plants and flowers are often protagonists in Lutz-Kinoy’s work, appearing as companions to or extensions of the body. In each of these paintings, the frame is an active space where relationships can be recalibrated, transience articulated, and a field defined for the viewer to be absorbed in.

MATTHEW LUTZ-KINOY Salon Berlin

Turning seasons and fleeting clouds convey change and the passage of time. For Lutz-Kinoy, time is neither a linear nor singular concept. “Futurity can be a problem,” wrote the performance theorist José Esteban Muñoz in the influential book Cruising Utopia (2009), from which Lutz-Kinoy draws. In his argument, Muñoz critiques “straight time,” his term for conventional investments in the future. Time is straight, it follows, when the future is foreclosed on by the present. Heteronormativity is not, therefore, just a sexual relation, but is a mode of social production. Yet rather than contending that there is consequently—or even radically— no future, Muñoz celebrates the existence of many potential futures in the present. Futures are created on the dance floor, the stage, and elsewhere that queer worlds are enacted. In these places, a re-vision of the future is seen through the window of queered performativity.

In the interventions in this exhibition, which blend the languages of representation and performance, Lutz-Kinoy explores spaces beyond hereditary or inherited time. As views of a present not indebted to the future, these intimacies gift openings into heaven—or, as Muñoz names it, ecstasy—on earth.

Text: Harry Burke




Annette Kelm
Die Bücher
12. MAI 2020 - 24. OCTOBER 2020

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.

SONIA GOMES : I RISE
I'M BLACK OCEAN, LEAPING AND WIDE
7. SEPTEMBER 2019 - 22. FEBRUAR 2020

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.

Rwandan Daughters
by Olaf Heine
7. September 2019 - 22. Februar 2020

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.

THE VOID
Gregory Crewdson – Isa Genzken – Chris Jordan
9. FEBRUAR 2019 - 23. MÄRZ 2019

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.

JR – ADRIAN PIPER – RAY JOHNSON
25. April 2019 - 5. August 2019

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
21. September 2018 - 5. Januar 2019

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?
13. April 2018 - 18. August 2018

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
14. Oktober 2017 - 17. Februar 2018

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
30. Juni 2017 - 30. September 2017

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
4. Februar 2017 - 6. Mai 2017

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
15. Oktober 2016 - 21. Januar 2017

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

MATTHEW LUTZ-KINOY
 

Exhibition period:
1. DECEMBER 2020 - 6. MARCH 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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