Gwen Smith’s Fuck, Cook 2, Look: the first and last time I remember being in Naples (1993/2017) juxtaposes a series of silver gelatin black and white images from 1993, taken during the artist’s first visit to the city, with color inkjet prints from her most recent trip. Nocturnal, these works seem to view their subjects through flashes and flickers, or dream-like and distant. Of a Fire on the Moon takes its title from Norman Mailer’s book documenting the Apollo 11 1 moon landing and brings together four artists whose 2 work stands at the intersection between realism and estrangement. Michelle Volta, Niklas Binzberger, Anne Fellner
Victor Payares, Esper Postma, Anton Steenbock Rob Crosse, Bertrand Flanet, Doireann O’Malley In partnership with KW Institute for Contemporary ArtīPA at Gropius Studios – public presentation With Anne Fellner, Bertrand Flanet, Katrin Winkler and BPA mentors Calla Henkel & Max Pitegoff Nadja Abt, Niklas Binzberger, Rob Crosse, Anne Fellner, Bertrand Flanet, Dina Khouri, Doireann O'Malley, Victor Payares, Esper Postma, Anton Steenbock, Katrin Winkler Programme
The programme is curated by Boaz Levin and Anna-Lisa Scherfose (Assistant Curator) and supported by the Senate Department for Culture and Europe. The mentoring programme organises reciprocal studio visits, public lectures and joint exhibitions. BPA // Berlin program for artists was founded in 2016 by artists Angela Bulloch, Simon Denny and Willem de Rooij, facilitating exchange between emerging and established Berlin-based artists. In addition to returning to the historical roots of the building, the collaboration also aims to open the exhibition hall to partners in the city and to provide a platform for Berlin artists together with BPA. With the rooms being utilised for both creative work and different presentation formats, BPA at Gropius Studios asks what it means for artists to reveal parts of their artistic process and to invite an audience into their studio. The project offers artists physical space for their work in the Gropius Bau building, thereby re-establishing the institution as a place of artistic production, and blurring the boundaries between studio and exhibition space. BPA at Gropius Studios resonates with the history of the Gropius Bau, which opened in 1881 as a Museum and School of Decorative Arts featuring numerous studios and workshops.
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