Within Apfelmus/ 16 years of Crystal Ball
Friday, 3th February at 7.30 pm
Extraction regimes, elective affinities, bodily juice analyses, alternative epistemologies of nature: Volume 45 of “Schriften zur Verkehrswissenschaft”, edited by Ivo Gurschler, Andreas Hofbauer, and Alexander Klose, gathers “necessarily fragmentary advances for thinking about nature in times of crisis “
Theory formation turns again to a sphere which, for lack of another term, continues to be called nature. At the same time, nature returns in the form of floods, droughts, and storms in an ever more urgent way, and people increasingly learn to understand themselves as earthlings. Under these circumstances, radical gestures of decentering into terrestrial constellations emerged as new forms of thinking about nature. The volume collects such, in their totality necessarily fragmentary, advances as four – thrown on the earth and into the unknown – nature-philosophical chunks.
Presentations, projections and audience discussion by and with the authors Salome Rodeck, Tom Turnbull and Daniel Tyradellis, the artist Jenny Michel, the composer Konstantin Schimanowski as well as the editors Andreas L. Hofbauer, Alexander Klose and possible surprise guests.
Followed by the Crystal Ball Bar and record music by dj.Catastrophé
Ausstellung/ Installation/ Performances
Eröffnung am Sa. 14. Januar um 19 Uhr
geöffnet Di. von 14 bis 19 Uhr, zu den Veranstaltungen und nach Vereinbarung
Lydia Karstadt wanted “Apfelmus” to be a thematic group exhibition for her birthday, because in 2023 the Crystal Ball phenomenon will be 16 years old. Admittedly, there is probably not much left to celebrate at the moment. But “Apfelmus” is intended to convey its positive impact in a reflection on essentials of life. Peace and human reanaturalization. The subordination of human existence to the ecological sphere appears as the inevitable, only way out of the crisis. In Karstadt’s view, art is never an opponent or even a target of attack, but a fellow combatant in the conflict for a future. Numerous foodstuffs have acquired a higher significance in the museum art context as a result of the protest culture in recent months. Thus, Apfelmus can be a performative device, political statement, enigmatic object, poetic sphere, or just a big old cardboard box with “applesauce” written on it. The playful exhibition in Crystal Ball shows artistic positions that imply associations of transience in their work via the subject and its interpretive range. The exhibition salon is accompanied by a program of events. For the opening Manfred Kirschner shows the performance: All You Need Is Lost
Mit Arbeiten von: Françoise Cactus, Evita Emersleben, Miriam Jadischke, Manfred Kirschner, Andreas Kotulla, Mo.Tunn, Gabriele Regiert, Caren Sielaff, Juwelia St. St., Frank Schoppmeier, Silky, Veronika Schumacher, Oliver Voigt, The Wa, und weiteren Künstler*innen
Performance am Sonntag den 11. Dezember um 17 Uhr.
On Sunday, December 11, the “Zugvögel” will make a guest appearance at the Crystal Ball gallery. The performance group around Zoe Tomruk works with the technique of action theater developed by Ruth Sapora in the 70s in the USA. In this technique, all actions are brought forth in the presentness of the moment. On Dec. 16, 2022, the Zugvögel will bring “Analogschatten 2” to the Dramatische Republik at Schudomastrasse 32 at 7 p.m.
Action Theatre is an improvisational performance technique developed by the American performance artist, Ruth Zaporah. Action Theatre is defined by its focus on embodied awareness, the tracking of the present moment through sensory experience, and by a structured training that uses exploration to build the performer’s ‘formal dexterity and the ability to “listen” to oneself and one’s acting partners’. This physical theatre technique is documented in Zaporah’s 1995 book, Action Theatre: The Improvisation of Presence. (Wikipedia)
Lamenting and complaining in the digital age
November, 24.th and 25.th, 6 pm Uhr
Symposium – Lamenting and Complaining in the Digital Age
In conversation with artists, philosophers, musicians and other people, artist Victor Kégli explores the question of how the traditional art of lamenting and complaining can be transported into the digital modern age.
Limited number of participants, please register in advance. November the 24th or 25.th 2022. Start of each event at 18.00 h.
Idea and organization: Victor Kegli & Kai Lillich
Anmeldung: 0152 04980110
… difficult, or the possibility of making an exhibition
Exhibition 22.05.22 – 06.08.22
Vernissage and open salon on May 21 at 7 p.m.
The exhibition is open every Thursday from 2 to 7 p.m. and by appointment
with: Gabi Garland, Miriam Licia Jadischke, Manfred Kirschner, Kai Lillich, Lee Negris, Sigrun Paulsen, Ilze Orinska, Oliver Voigt, Gabriele Regiert and other artists.
Lydia Karstadt doesn’t know what to do either –
and since she sometimes goes away in the summer to demonstrate for peace, to bury “Weltschmerz” at the Müritz or to grow vegetables in the province, she has thought up a self-maintaining exhibition. To do so, she interviewed artists she met on her way to Zickenplatz or recently. To give coincidence a chance, she asked them to participate in something that she herself does not know what it will be. An experimental exhibition, an experimental setup. Pacifistic, ambitious, voluntary, honest, entertaining, versatile, hopeful …
The exhibition salon is open every thursday from 14 to 19 o’clock and gladly by appointment.
as well as in the salon: Café Unst, arbitrary basic research & peaceful screen prints
Vernissage on Sat. 12. March at 7 p.m
from 12.3.-10.4. and 25.4.-30.4.2022< from 12.3.-10.4. and 25.4.-30.4.2022
Opening hours: Tuesdays & Fridays, 2-7 p.m and by appointment
Finissageon Fr. 06 May at 7 p.m
Javier Lozano is a talented draftsman and graphic designer. He taught at the IED in Madrid until 2020. In his first exhibition at the Crystal Ball gallery, however, the focus of his work is painting. Lozano, whose extraordinarily reduced style masterfully balances ironic connotation with pleasurable strokes, is showing a selection of new watercolors under the title “Antibodies.” Accurately applied gestural strokes and sensitively applied areas of color characterize these works. Lozano’s luscious art always seems to sound out just how much is needed to create a presence, a being. A few fine strokes, a reddish color surface set off against a darker brown one, and he already creates the cheek, the look of a being. Interacting with others or playing with themselves, they become bodies of his spherical images that shine with an ambivalence equal parts romantic and ironic. Javier Lozano’s works are mysterious, as irritatingly certain in their assertion of reductiveness as they are imbued with lightness. This ambivalence therefore makes them very lively.
Tuesdays from 2 to 4 p.m, ( Or all participants find a weekly day when it fits best!)
from November the 5th, with a maximum of 4 participants. Basic course: aesthetic practice & basic skills for textile screen printing Registration please phone/ call once! (no voice messages) Tel: 0151 55 91 0099 (11 am to 10 pm)
In the basic course with screen printing icon Lydia Karstadt you will learn basic techniques of the screen printing process. From the beginning of the idea, your inspiration over drawing to the development and realization of a motif with serigraphy. You will learn and later be able to coat, dry, expose with your motif, professionally wash out, re-expose & prepare for printing.You will learn more about color selection / color effects and learn independent printing on the screen printing machinewith textile stage and the correct use of the squeegee for good color economy. Material costs one-time 60,- for: screens, coating, colors, T-shirts, Tape and further materials. Participation each: 25,- / Test course possible
Course: (Winter 2022/23) Silk Screen Print Collage Couture
Malerei/ Installation, 17.9. bis 21.11.2021
Vernissage am Freitag, 17. September um 19 Uhr
Am Sonntag, 21. November ist die Künstlerin von 15 bis 19 Uhr in der Ausstellung
Sigrun Paulsen works in a concentrated way on colour and its effects with the aspects of representationalism. These effects are partly realised in auratically luminous paintings. Paulsen exemplifies how her colour tones and combinations create representationalism in her Colour Reflections series. At first glance, the object pictures of the series of the same name appear like wooden boxes containing neon tubes. Eventually one discovers that there are no tubes, that Paulsen has created this object effect solely through the virtuoso use of colouration. Our perception first creates the impression of matter, as the reflection on a real object would. But by separating the effects from the depiction of the physical, the artist is able to capture the pure glow of the colours. Sigrun Paulsen’s interest is in these invisible areas, the shimmering, energetic sounds of the colour combinations. In her stripe paintings, these effects are masterfully calculated. All her realisations are tested in long colour rehearsals that prepare the right mixture. Like the Impressionists before her, the artist does not use black from a tube but mixes it from the existing highly pigmented colours or creates its effect through coplementary effects. The stripe paintings are often combined with landscape sketches and nature portraits. This combinatory contrast between abstract and representational painting clearly shows her field of investigation, in that physical nature, i.e. representationality, points to the inherent radiance of the colours and their effect.
Das Kunstbuch von Manfred Kirschner erscheint im September 2021
Bestellungen auch über die Galerie Crystal Ball
Schmusen mit Papier – All You Need Is Lost by Manfred Kirschner will be published in September.
A total of 35 handmade photo collages are combined with prose to create an associative reading experience.
Schmusen mit Papier is set in Bremerhaven and links its history with contemporary snapshots of the seaside city. Ytong, the narrator, is supposed to double his friend Harald Baumeister, at an art exhibition in the harbour area of the city. After he has finished setting up the art exhibition, Ytong lets himself drift and, along with many new friends, meets the young, mute “Goethe”, who describes to him in letters a gay love story from 1860 about the emigrant Nicolaus and his lover Matthias.
Schmusen mit Papier deals not only with an absurdly funny description of the art business, exclusion and loss in systemic capitalism, but also with the power of human communication, friendship and solidarity. In the process, the text works with apparent doppelgängers and duplications. In a warm tone, he draws his figures who, connected to each other, make it clear that in personal striving a universal can be recognised which, if we can recognise it in other people, makes us equal and human.
The book is the third part of a collage story for the realisation of which Kirschner received a grant from the Dieckell Foundation and funds from the Bremerhaven Cultural Office. It will be published on 4 September to coincide with the opening of Manfred Kirschner’s exhibition “Goethe was here!” at Galerie Goethe45.
exhibition and book launch, Sa. 14. August um 17 Uhr
Sa. 14. , Su. 15, Mo. 16. August: from 2 p.m. to 7 p.m. and by appointment
Andreas Kotulla is showing his eponymous installation and the art book based on it at the gallery this weekend. We are pleased to present Colours For Ships, the edition of handmade books completed in June 2021. Each page is hand painted by the artist. The black and white book cover, also handmade by the artist, is a screen print. The extremely time-consuming, loving design sets a subtle, pleasurable contrast to industrial book productions. In contrast, the book has a special, beautiful feel. The concept of Colours For Ships, with its strong idiosyncrasy and its sensitive humour, makes it an important book. Attention.
Colours for Ships, handmade book, 19 pages, silkscreen/ painting, Andreas Kotulla 2021, edition of 30, numbered and signed for 120,- Special price/ valid only for the opening; 100,-
Colours for ships –
or perhaps even for containers.
Or any other object that needs to be painted.
Sometimes paint colour is determined by technical processes, by its manufacture or intended
use (e. g. anticorrosive paints made with red lead or tin chromate).
When this is the case, the colour becomes an attribute of an object rather than the surface
Colour can naturally also be used to differentiate between similar objects.