there is much to be said about PHILIP the workshop, but I am afraid I do not have time for it right now. Will get back as soon as possible, so instead some happenings in leipzig::

the exhibition Sexy Mythos in Leipzig --

then in Halle 14:


Eine Diskussionsrunde von und mit

Beatrice von Bismarck, Kunsthistorikerin und Professorin an der Hochschule für Grafik und Buchkunst (Leipzig)
Eva Kraus, Ausstellungsgestalterin und freie Kuratorin (München)
Barbara Steiner, Leiterin der Galerie für Zeitgenössische Kunst (Leipzig)

Tilo Schulz, Künstler (Leipzig)

am Dienstag, den 7.11.2006, 19 Uhr
in der Halle 14, 2. OG, Leipziger Baumwollspinnerei, Spinnereistraße 7, 04179 Leipzig

Von der ersten Dadamesse zum White Cube und zurück. Welchen Einfluss hat Ausstellungsgestaltung auf unsere Rezeption von Kunst? Bestimmt die Präsentation der Kunstwerke mittlerweile deren Produktion? Müssen Ausstellungen mit der Eventkultur wetteifern? Die 1990er Jahre brachten eine Flut an kuratorischen Konzepten für (Gruppen-)Ausstellungen hervor, die das einzelne Kunstwerk in den Hintergrund drängten. In den letzten Jahren haben sich jedoch vermehrt KünstlerInnen und KuratorInnen von dieser Position kritisch distanziert. Überraschenderweise war die Antwort keine Restauration des Einzelkunstwerks. Vielmehr geht es heute um einen sensibleren Umgang mit den Inhalten der Arbeiten und einen offenen Dialog zwischen Kunstwerk, Architektur, Design und Präsentation.

Die Diskussionsrunde verspricht einiges an Spannung: Nicht nur stehen die drei Referentinnen für sehr klare Positionen im zeitgenössischen Ausstellungsbetrieb. Sie decken auch ein breites Spektrum an theoretischer und praktischer Auseinandersetzung mit Ausstellung, Inszenierung und Display ab: Beatrice von Bismarck als Kunsthistorikerin, Barbara Steiner als Ausstellungskuratorin und Eva Kraus als Ausstellungsgestalterin und ehemalige Leiterin der Friedrich Kiesler Stiftung in Wien. Die Diskussion wird sich mit historischen Rückgriffen in das letzte Jahrhundert Ausstellungsgeschichte aktuellen Fragen der Präsentation von Kunstwerken stellen.

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PHILIP: let the games begin 
So, PHILIP, the work shop are on its way.
The first participants arrive to day, net is up, great working space (a bar) and sun. 14 degree Celcius - everything*s fine

The photo is taken by Heman Chong and
it is me (to the right) and Mark Aerial Waller, artist from London.

© Heman Chong

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leipzig, china, art - what ever.  
Since I cannot link to a certain blog out there (that is just so stupid, why do you have a blog if it is not allowed to link to it?), anyway, I have some of my best reads going through the posts, and in the middle of a biennale, it is clear that the art worlds are not plagued with one, but two trends of dislike:
" I don't know what sucks more - the Chinese or the Leipzig painting, all I know is that it both are totally overrated, and that it is so "easily" understood by moron American collectors who should simply STOP collecting art at all".

This adds up. I am trying to find out
a) why so few like it so much
b) why me and mines alike dislike it so strongly.

To take the b) side to it first, it is clear that there are certain forces that are easily to identify than others -- and when identified they can be valued on a subjective level much clearer. This is conservative bull and even though that are Leipzig painters out there that are good, they are not that good, and it is not that many.
But, there is a sort of oversensitive market for that now, and the wind will change, quite rapid, and most of these names will be (thank god) forgotten. It is nothing personal, but it is rather boring, just boring. In five years, it will all be forgotten. Believe me. Just flip through any issue of any magazine about art that is older then, let says, 5 years and take note of all the artists that you haven’t seen around for a while. You will be surprised.

Another Leipzig specific question is:
In a time where the art world expands more than ever before, the small art scene in Leipzig seems try to protect their brand by not approve of any gallery outside of the cotton factory. That is strange. I am not talking about any gallery space (like D21), but like commercial galleries that might be an expansion of the gallery scene in Leipzig. They try to build this brand by inviting external, more or less big, big art dealer to come to leipzig in order to start a branch here.
This should be seen in the lights of the fact that the Leipzig galleries was very quick on opening branches in Berlin (Eigen und Art being the most expansive one as they opened temporarily spaces in Tokyo and NY for a limited time in the beginning and mid- ninties). I understand that they want more and bigger money in quicker than any small time gallery here in leipzig can afford and are able to to, but why undermine it's own territory by acting as elitists?

But still, Leipzig does great in terms of international attention when you compare it to the number of inhabitans (500.000). Remember, it is just a small place far into the east of germany. Maybe thats why they are able to brand it so clear; it is easier to ignor local artists doing different stuff the smaller the place in question is.

There are some artists that are worth mentioning:
Tina Schulz
Tilo Schulz
Mark Hamilton
FAMED (Kretzschmar, Schellbach, Thomaneck)
Marion Porten (scroll down till you get to Marion Porten)
Hans Christian Lotz
Arthur Zalewski
Bea Meyer
(meyer, tina schulz and mark hamilton is found on the web site of galerie b2)

to mention some of those I appreciate and like the work of.

But with 2 alternative spaces (K26 and D21 (I am not joking, we also have b2, Halle 14, Kanal 11, not to mention the old magazine i10- last mentioned not in Leipzig though)), one kunsthalle (halle 14, sparkasse kunsthalle doesen't count), one contemporary art museum and one modern art museum, there are no question. They need to get out in order to survive, which is fine and very important. But the interesting thing about this is that most of these does not have any commercial gallery pushing them (I am then not see galerie b2 as a commercial gallery), and as good as no chance of showing off in institutions in Leipzig.

Which brings me over to what I am really aiming at: D21 and the role of an independent space in Leipzig. Should we use local artists more? Should there be more people living in Leipzig taking part in these shows that we are arranging? Yes, I do believe so. My last count showed that we will have, by the end of 2007 shown 15 artists in 5 different exhibitions, and three of them will them be from or living in, leipzig - 2/3 women, but that's another thing, most of the shows I am doing in o7 are without female participants. I do not consider all this as larger problems, it is just as important to bring people from the outside, with similar interest as us, in to leipzig and let them get to know people.

as for question a) I dunno. I am not a buyer of art on a regular basis. I do not buy art at all actually. I almost does not own any art, but what I do own have been givven me way back (other subject that are a bit sensitive that I might get back to as soon as I dare). There are different reasons why, and me I am guessing that these paintings actually strickes a nerver somewhere, and I have to be honest, I believe it is also bit of a hype. Everyone wants one, so there are no time or interest in actually checking the quality. Thats why I think that a lot of these painters will be gone in a few years: I belive that many of those buying will be in the situation where they wants to collect something else, and what then?

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the earth belonged to the martians... 
Setting my pandora on "punk" radio (the stupid thing played gorillaz as the first tune, I was looking for something a bit more... hard core), anyway, I skipped that and then this started playing. Jeff Wayne's musical version of War of The Worlds was one of my favorits when I was in my early teens.
I still have the CD-pack. It is great, it is like being back home in my room, dream about other worlds and surreal strange shapes and alike.

I remembering watching the 1953 film version in 2002 and found it quite funny the way they used the atomic bomb in a small valley in a desperate try to kill the attackers (did not work).

Haven't seen the newst version, think I would not like it.
I did like the radio play though.

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Why I blog/ write / what ever 
Just wrote a text about reading, why I read so to say, and I have never read in order to write, but reading is necessary if one wants to write.
Anyway, this blog and I have come a long way in terms of time; never have I so often written something to no one as the last year and a half -- or so I like to think, but the truth is all around us, and there are a few readers out there, some of you also keep coming back, which makes me think: Why to I write comments online?

As Nicholas G. Carr points out in his blog, that blogging is a type of community. That is true, but I am on the very edge here then, I hardly have anyone that I know of doing what I am doing where I am doing it (more or less the northern hemisphere), the only hard core blogger out there doing the same thing as I am where I am doing I am not allowed to link to even, so these blog-fungus going off are not a part of my reality. That was also not my intention starting this blog, I just needed it as a dumpster for thoughts etc. So today. There are no development there, as in my language skills.

But one thing happens more often than not: Writing something, anything helps me sort out thoughts and ideas, and yes, even information. Texts that does not make any sense starts to as I press *post*, or when I get feedback (more seldom).

more to it than that?
I do not think so, the traditional blogging -- might be that I do more of that later on.

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