Katharina Grosse

It Wasn’t Us

A painting by Katharina Grosse can appear anywhere. Her large-scale works are multi-dimensional pictorial worlds in which splendid color sweeps across walls, ceilings, objects, and even entire buildings and landscapes. For the exhibition “It Wasn’t Us” the artist has transformed the Historic Hall of Hamburger Bahnhof – Museum für Gegenwart – Berlin as well as the outdoor space behind the building, into an expansive painting which radically destabilises the existing order of the museum architecture.

christopher bauder

skalar

SKALAR is a large-scale art installation that explores the complex impact of light and sound on human perception. Light artist Christopher Bauder and musician Kangding Ray give an audio-visual narration of radiant light vector drawings and multi-dimensional sound inside the pitch-dark industrial space of Kraftwerk Berlin. By combining a vast array of kinetic mirrors, perfectly synchronized moving lights and a sophisticated multi-channel sound system, SKALAR reflects on the fundamental nature and essence of basic human emotions.

United Visual Artists

ユナイテッド·ビジュアルアーティスト
美国视觉艺术家
our time

Our Time (2016) is the latest large-scale installation by United Visual Artists investigating our subjective experience of the passing of time. How long is a moment? At what rate does time actually pass? The work joins a series of kinetic sculptures that began with Momentum (2013); an installation designed as a ‘spatial instrument’ that was to reveal the relationship between expectation and perception when intersected with a physical space.
Our Time defines a physical environment where pendulums swing at a pace apparently unhindered by the laws of nature and where no single time measurement applies. The installation combines movement, light and sound as a multi-sensory, multi-dimensional canvas the visitor can enter. Pendulums swing, each to their own rhythm, as time flows through the grid. With light tracing the path and sound its echo, the passing of time becomes almost palpable.

REBECCA WARD

APPARITION
Materiality and process are central to Rebecca Ward’s practice and evoke “architectural garments” ripped, unwoven, and re-stitched from fleshtoned canvas duck, leather hide, and silk organza. In her canvas works, the artist removes the weft (horizontal) threads of the fabric to reveal the underlying stretcher bars, highlighting the physical structure of the painting itself. Ward’s artworks reveal and obscure, and by their nature, entice viewers to closely investigate contrasts in line and material, modulations in color, and multi-dimensional layers.