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makayabundo-social-club · 2 years ago

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THESE FOLLOWING ARTISTS ARE GOING TO EXHIBIT:

DOCUMENTEMBELA

BLESS. MY NAME IS TEMBELA.

WHILE MOST PEOPLE HAVE ALWAYS THOUGHT OF ME AS A DREAMER, I'M MORE OF A GOOD OBSERVER. I GREW UP IN WUPPERTAL, WHICH IS WHY THE CITY AND ITS PEOPLE HAVE HAD A BIG IMPACT ON ME.

I'VE ALWAYS BEEN INTERESTED IN DIFFERENT LIFESTYLES. GROWING UP BETWEEN TWO CULTURES ALSO SHAPED MY VIEW OF THINGS. I NEVER KNEW HOW TO EXPRESS MYSELF. BUT WHAT STARTED OUT AS A DISTRACTION LIKE SKETCHING DURING CLASS IS NOW AN EXPRESSION IN THE FORM OF ILLUSTRATION, DIGITAL ART, PHOTOGRAPHY AND GRAPHIC DESIGN.

NOW I LIVE AND STUDY DESIGN IN KREFELD.

CEM KAVAKLIGOĞLU

CEM KAVAKLIOĞLU IS 25 YEARS OLD AND BORN AND GROWED UP IN THE RUHR AREA.

THROUGH HIS ANALOG PHOTOGRAPHY, HE DESCRIBES HIS OWN REALITY. FULL-TIME HE IS A NURSE IN AN INTENSIVE CARE UNIT AND STUDIES MEDICAL EDUCATION.

HE HAS BEEN LIVING IN BERLIN FOR TWO YEARS AND IS PART OF THE MAGAZINE “BREAUXZINE”.

BRAVEKINDERKLUB

SOUMEY AMADOU IS A 25 YEAR OLD PHOTO AND VIDEOGRAPHER WHO GOES BY THE NAME "BRAVEKINDERKLUB".

THE THEMES OF LOVE AND VIOLENCE ARE OFTEN ADDRESSED IN HIS ART. INTENSE COLORS IN VIDEO AND PHOTOS ARE ONE OF HIS TRADEMARKS. HIS MOST FAMOUS WORKS WERE SHOWN IN THE EXHIBITIONS "HONEST" (2019) AND "HEAT" (2022).

INTERNET HAPPY

HELLO MY NAME IS DAVID. I AM 17 YEARS OLD. I WAS BORN IN WUPPERTAL.

I CAPTURE MOMENTS OF MY LIFE IN THE FORM OF PHOTOGRAPHS AND FILM. MY PHOTOS SHOULD CAPTURE SPECIAL MOMENTS AND DOCUMENT YOUTH CULTURE IN THE MULTICULTURAL CITY OF WUPPERTAL.

THIS INCLUDES THE RAVE CULTURE AS WELL AS OTHER MODERN SUBCULTURES.

MARLON NIKOLAI

MARLON NIKOLAIS CURRENT STYLE DEVELOPED WHILE TRYING TO ANSWER EXISTENTIAL QUESTIONS IN A PAINTERLY WAY.

POINTING TO THE TRANSIENCE AND CONTINGENCY OF LIFE FROM AN EARLY AGE, THE ABRUPT LOSS OF HIS MOTHER AND THE RESPONSIBILITY OF HIS OWN FATHERHOOD SHAPE MARLON NIKOLAI’S BIOGRAPHY.

AGAINST THE MAXIM OF A LIFE THAT CAN BE PLANNED, THE OPEN PROCESS, IMPROVISATION AND CHANCE FORM HIS UNDERSTANDING OF EXISTENCE AND ART. FOLLOWING THE GUIDING PRINCIPLE OF CURIOSITY AND ARTISTIC DEVELOPMENT, IT IS DIFFICULT TO SPEAK OF A GENERAL WAY OF WORKING, SINCE MARLON DEMANDS THAT EVERY WORK OF ART REINVENT ITSELF.

DESPITE THIS WORK ETHIC, HOWEVER, RECURRING ELEMENTS CAN BE DISCERNED IN HIS WORKS, SUCH AS THE OPEN, MOVEMENT-RICH BRUSHSTROKE AND THE SPATULA SWEEP THROUGH COLOR FIELDS, WHICH OFTEN FORMS THE SPIRITED BEGINNINGS OF PAINTINGS. THE CONTRASTING EXPERIENCES OF DEATH AND BIRTH, ECSTASY AND MELANCHOLY, DETERMINE THE DIFFERENT STYLES AND MOODS THAT ARE TRANSPORTED THROUGH MARLON’S VISUAL WORLDS AND INVITE THE VIEWER TO A UNIQUE DIALOGUE.

HIS WORK WITH COINCIDENCES FEEDS ON THE IDEA THAT NOT EVERYTHING ALWAYS NEEDS TO BE CONTROLLED AND THAT LIGHT AND COLORS ARE ALSO HIDDEN IN THE DARK.

MAKAYABUNDO

MAKAYABUNDO IS AN CREATIVE ARTIST FROM WUPPERTAL-VOHWINKEL AND IS KNOWN FOR HIS WORK IN VARIOUS GENRES.

IN HIS YOUTH HE WAS STRONGLY INFLUENCED BY ART, URBAN LIFESTYLE AND HIS ENVIRONMENT. THIS LED HIM TO DEVOTE HIMSELF TO VISUAL ARTS AND MUSIC IN THE MID-2010S.

DUE TO HIS PROFESSIONAL BACKGROUND AND INTEREST IN PEOPLE, HIS ART IS SHOWCASING DIFFERENT PEOPLE AND CULTURES. BESIDES THAT HE IS CREATIVELY DIRECTING VARIOUS PROJECTS.

BABU NOELLA

BABU NOELLA IS AN GERMAN-CONGOLESE FASHION DESIGNER AND ARTIST FROM WUPPERTAL.

HER WORKS REFLECT BOTH HER ROOTS AND EUROPEAN INFLUENCES BY WHICH SHE’S CREATING AN ENTIRELY NEW FASHION. SHE ALSO CREATES NEW ART BY ADDING OWN PAINTINGS TO HER TAILOR-MADE GARMENTS. IN HER PICTURES, SHE COMBINES ACRYLIC PAINT AND COLORFUL FABRICS, WHICH RESULTS IN UNIQUE CREATIONS.

SHE CONVINCES WITH CRAFTSMAN WORK AND RECOGNITION.

LE MIETZ ART

HELLO, MY NAME IS TOM BERGER. IN 1993 I WAS BORN IN IN WUPPERTAL.

I SPENT THE FIRST YEARS OF MY LIFE TOGETHER WITH MY MOTHER IN HAAN. MY PARENTS SEPARATED EARLY DUE TO VARIOUS PROBLEMS, SO MY MOTHER WAS ALONE WITH MY DISEASE (CLEFT OF THE LIPS AND PALATES) AT FIRST.

LUCKILY A SHORT TIME LATER A MAN I CALLED DADDY TODAY JOINED INTO OUR LIVES. HE ALSO NAMED TOM AND ACCEPTED AND LOVED ME AS HIS OWN SON FROM THE BEGINNING. IT DIDN’T LAST LONG AND THE ADOPTION FOLLOWED. MY CHILDHOOD WAS MARKED BY MANY OPERATIONS, HOSPITAL STAYS AND THE FOLLOWING VISITS TO THE DOCTOR, COUPLED WITH LOVE, FOOTBALL AND LOTS OF AFFECTION.

I ALWAYS WAS A VERY HAPPY CHILD AND INSPIRED BY MY DAD'S ARTISTIC STREAK, MY ENTHUSIASM FOR MUSIC GREW QUICKLY.

SO I STARTED TAKING GUITAR LESSONS IN MY FATHER'S MUSIC STORE AND GAINING A FEELING FOR MUSIC.

MY MUSICAL INFLUENCES WERE BANDS LIKE THE BEATLES, DEPECHE MODE AND NIRVANA. I USUALLY SPENT MANY HOURS IN THE CAR WITH MY MOTHER. ON THE WAY TO THE EXAMINATIONS WE ALWAYS LISTENED TO OLD PUNK-ROCK SONGS, FROM WHICH TO THIS TIME IS STILL ONE OF MY FAVORITE BANDS "SOCIAL DISTORTION".

AS A TEENAGER, I MOSTLY HUNG OUT WITH MY BOYS, PLAYED SOCCER, AND STARTED TO BE INTERESTED IN HIPHOP, GRAFFITI, AND THE ATTITUDES THAT WENT WITH IT.

WITH A STILL VERY GOOD FRIEND AND FOOTBALL BUDDY NAMED "ELEXIER", I STARTED WRITING MY OWN LYRICS AND RAPPING INTO THE MIC. AT THE TIME WE WERE 15, YOUNG AND INEXPERIENCED.

MANY OF THE THINGS I CAN DO TODAY I TEACHED MYSELF, I DID NOT HAVE A MENTOR OR HELPING HAND TO LOOK OVER MY SHOULDER AND GIVE ME TIPS. SO I ALSO TRIED TO BRING MY THOUGHTS NOT ONLY ON PAPER BUT ALSO ON CANVAS.

I STARTED PAINTING PICTURES TOGETHER WITH A FRIEND, TRYING TO COMBINE MUSIC AND ART IN MY LIFE WITH WHICH I HAVE A OWN STORE.

93GRAPHIE

HEY, MY NAME IS DAWID KAMINSKI.

I AM 21 YEARS OLD AND I AM FROM HAGEN, 58093. I WAS BORN IN ALLENSTEIN, POLAND. AT THE AGE OF 1 1/2 I CAME TO GERMANY WITH MY PARENTS TO LIVE A BETTER LIFE.

ART AND CREATIVITY HAVE ALWAYS BEEN A PART OF MY LIFE, BE IT NUMEROUS COLORING BOOKS FROM THIS TIME, ALWAYS THE BEST GRADE IN ART CLASS OR NOW DIGITAL AND HANDS-ON ART IN THE FORM OF CARPETS AND OTHER IDEAS.

MY HEAD DOES NOT KNOW A BREAK WHEN IT COMES TO THINK. THAT'S WHY I ALWAYS TRY TO COME TO NEW IDEAS OR TO REALIZE EXISTING IDEAS.

TJ BRENO

TJ BRENO (*2001 IN BERLIN) IS A DESIGNER AND MUSIC PRODUCER FROM WUPPERTAL.

EVEN AS A CHILD HE WAS INTERESTED IN ART IN GENERAL AND MUSIC, CARTOONS AND VIDEO GAMES FROM THE 80S, 90S AND 2000S BUT ALSO MUSIC GENRES LIKE TRAP AND DRILL HAD SHAPED HIS STYLE.

HYPEGAL

HYPEGAL IS MY PERSONAL MISSION TO MAKE THIS WORLD A BETTER PLACE.

IT'S A COMBINATION OF TEACHING WHAT I'VE BEEN LEARNING IN LIFE, THAT WAS IMPROVING ITS QUALITY & ALSO AN OPPORTUNITY TO HELP US ALL GROW, KINDA LIKE ME TAKING YOUR HAND & DOING THIS LIFE-THING TOGETHER! LET'S CALL IT A PERSONAL DISCOVERY, DEVELOPMENT & ENJOYMENT JOURNEY.

HYPEGAL MAKES YOU REMEMBER WHO YOU ACTUALLY ARE & WHAT YOU ARE CAPABLE OF. GET READY TO LIVE THE LIFE OF YOUR DREAMS & BECOME THE BEST VERSION OF YOURSELF.

MINA

MINA IS AN ASPIRING DIRECTOR, PHOTOGRAPHER AND STORYTELLER FROM COLOGNE.

AS A NATIVE IRANIAN, HER WORK DEALS WITH THE TOPICS OF RACISM AND FEMINISM. ABOVE ALL, SHE PORTRAITS PEOPLE WITH WHOM SHE HAS A CLOSE CONNECTION BECAUSE THE RELATIONSHIP WITH THE PERSON IN FRONT OF THE CAMERA IS VERY IMPORTANT TO HER.

THE GOAL OF HER WORK IS TO CAPTURE PERSONALITIES AND NOT JUST FACES.

A.C./2000

HI, MY NAME IS AC/2000. I'M A PHOTO ARTIST FROM FRANKFURT. OCCASIONALLY I ALSO MAKE VIDEOS. I'M STUDYING TECHNICAL DESIGN, SO I GET A LOT OF INSPIRATION FROM DESIGNERS LIKE ŌKI SATŌ, LU YONGZHONG, MARCELLO GANDINI AND VIRGIL ABLOH.

I USUALLY TRY TO KEEP MY ART FAIRLY SIMPLE AND CLEAN, BUT I ALSO LOVE THE DOCUMENTATION OF THE SITUATION AND THE MOOD.

_______________

MAKE SURE TO TAKE A LOOK ON THE ARTISTS @ INSTAGRAM:

DOCUMENTEMBELA:

https://www.instagram.com/documentembela

CEM KAVAKLIOGLU:

https://www.instagram.com/hoodshoot

BRAVEKINDERKLUB:

https://www.instagram.com/soumekl/

https://www.instagram.com/bravekinderklub/

INTERNET HAPPY:

https://www.instagram.com/internet.happy

MARLON NIKOLAI:

https://www.instagram.com/marlonnikolai

MAKAYABUNDO:

https://www.instagram.com/makayabundo

BABU NOELLA:

https://www.instagram.com/babu_noella

LE MIETZ ART:

https://www.instagram.com/lemietzart/

CHIEF LOIFT:

https://www.instagram.com/chief_loift/

93GRAPHIE:

https://www.instagram.com/93graphie_/

TJ BRENO:

https://www.instagram.com/coverartsbytj

HYPEGAL:

https://www.instagram.com/hypegalsworld/

MINA:

https://www.instagram.com/minaaaaa.jpg/

A.C./2000:

https://www.instagram.com/ac.oz_

https://www.instagram.com/klimaanlage2000/

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nofomoartworld · 8 years ago

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Hyperallergic: Beer with a Painter: Albert Oehlen

Albert Oehlen, “Untitled (Baum 60)” (2015), oil on dibond, 98 7/16 × 98 7/16 inches, (250 × 250 cm) (© Albert Oehlen. Photo by Stefan Rohner. Courtesy Gagosian)

Albert Oehlen and I are in the thick of conversation over IPAs at the Maritime Hotel bar when his teenage daughter slides onto the sofa across from me with a book. She was on a school break and accompanying her father to New York for his exhibition at Gagosian Gallery.

Oehlen had been good-naturedly answering my questions about childhood experiences with art. He’s now telling me why he no longer cares about painters like Max Beckmann, and why he thinks figurative painting is fundamentally incapable of expression. Finally he chuckles. “I guess I don’t like art,” he says, and looks over at his daughter. Lovingly and mischievously, he tells me “She is interested in art history.” She seems unfazed by this unveiling of Oz, smiles sweetly, and returns to her book.

Albert Oehlen, “Selbstportrait mit verschissener Unterhose und blauer Mauritius (Self-Portrait with Shitty Underpants and Blue Mauritius)” (1984), oil on canvas, 94 1/2 x 102 3/8 inches, 240 x 260 cm (© Albert Oehlen. Courtesy Gagosian)

This exchange is a little taste of Oehlen’s attitude. The long-reigning bad boy of German painting has consistently poked and prodded at whatever preciousness we associate with the medium. Early in his career, fueled by his association with Martin Kippenberger and other Junge Wilde artists, he employed a sardonic and deliberately ham-fisted figuration. As he shifted into abstraction, he implicitly parodied the idea of the artist’s struggle by juxtaposing chaotic passages with highly controlled and mediated ones. The work is unsettling — maybe even more so in the vast barrenness of Gagosian’s white rooms — because it forces us to confront our vestiges of faith in stable meaning and the comfort of rules.

Oehlen was born in 1954 in Krefeld, Germany. He graduated in 1981 from Hochschule für Bildende Künste, Hamburg. From 2000 to 2009, he worked as a professor in painting at Kunstakademie Düsseldorf. Recent solo exhibitions include Home and Garden, New Museum, New York (2015); An Old Painting in Spirit, Kunsthalle Zürich, Switzerland (2015); Behind the Image, Guggenheim Museum Bilbao, Spain (2016–17); and Woods near Oehle, Cleveland Museum of Art (2016–17). Oehlen’s work was included in the 55th Biennale di Venezia in 2013. He currently lives and works in Switzerland.

* * *

Jennifer Samet: I know there are other artists in your family, like your brother. What part did art play in your childhood?

Albert Oehlen: My father was a graphic designer. He made cartoons and designed covers and illustrations for stories, novels, and children’s books. When I was a kid, I loved that world of cartoonists. I studied them and knew every drawing. My favorite was Saul Steinberg. I remember that in the house, we had reproductions of a Picasso, a van Gogh, and a Beckmann. I was always staring at them. I liked to look and concentrate on them.

JS: In Hamburg, your primary teacher was Sigmar Polke. What kinds of things did you learn or take from him?

Installation view of “Albert Oehlen, Elevator Paintings: Tree” (February 28–April 15, 2017), Gagosian (artwork © Albert Oehlen. Photo by Rob McKeever. Courtesy Gagosian)

AO: German art schools, at least at that time, were very different from other schools. They were very open, and we would come and go when we wanted. You didn’t go to classes every day to learn something. That didn’t happen in Düsseldorf or Hamburg. Also, our teachers were activist-artists.

Polke was my favorite painter. He was my idol. So it meant I had the chance to see him from time to time. He was a special character — a bit cynical in his humor. He would never teach in the sense of saying things like “If you do more of that and change that then the painting will be better.” He would leave us alone. The exchange was focused on talking, looking at art, or meeting people. We visited the studios of friends of his. Mostly we were just hanging out and talking about things.

JS: You spent a year living with your contemporary Martin Kippenberger, working closely together and critiquing each other’s work. It’s been considered a watershed moment in your development. Why did you decide to spend that year working together in this way?

AO: Our paths crossed between Hamburg and Berlin, and somehow we met. We were not in close contact, but intermittently we would call and visit each other. We decided it would be good to live in another country for a while. It was almost accidental, like, “Should we go to England or Spain?” We decided on Spain and met a gallerist from Madrid who helped us find a house in the south, in Carmona. We were there for a year, and then we split and didn’t see each other for about another year.

JS: It has been described that you emerged from that year (1988) an abstract painter.

Albert Oehlen, “Untitled” (1992), screenprint, acrylic and oil on canvas, 109 7/16 x 86 1/4 inches (278 x 219 cm) (© Albert Oehlen. Courtesy Gagosian)

AO: Yes, but that was the plan. I wanted to be an abstract painter. I never took figurative work seriously, even when I did it. I thought it was bullshit. The early self portraits are highly ironic.

JS: Why did you decide figurative painting was bullshit?

AO: I didn’t believe in the possibility of transmitting a message, expression or feeling. I was a friend of Jörg Immendorff, who was very political in the beginning. He brought me into that political left wing. There was this idea that art has to serve the masses, the movement. I got indoctrinated in that and I believed it. But as soon as I tried to do something like that, I thought, “This doesn’t work at all. “

You try to heroize something and the opposite comes out. It is out of control. You make fun of it without wanting to. Or, maybe ten years later it turns into something annoying, stupid, ridiculous.

Then you start thinking, “What is reproduction or representation? How does it work or not work?” I didn’t even have to read much about it. It just seemed obvious that there was nothing to win. I still don’t think that if you paint a person you can transmit something about that person. I don’t think you can communicate something about an experience or a situation. I got completely resistant to it.

Installation view of “Albert Oehlen, Elevator Paintings: Tree” (February 28–April 15, 2017), Gagosian (artwork © Albert Oehlen. Photo by Rob McKeever. Courtesy Gagosian)

As a kid, I was a fan of Francis Bacon. Now the only thing I feel is, “I guess this painter was in an aggressive state when he painted it.” That’s what I think. It doesn’t move me at all. I can respect it; I can think it is good, but it doesn’t touch me in the way that he wanted it to touch me.

There is no art that touches me in that way. Maybe I don’t like art. I do have admiration for artists — for having ideas, and being smart. If I see that ability, I become a fan and get enthusiastic.

JS: It seems as if you respect the project and the artwork as a record of the artist’s ideas. In your own work, this manifests in the way you set up parameters and work within them. Can you tell me about how parameters have functioned in your work?

AO: Yes, I have done that since the beginning. It stems from being a student of Polke: that was our world. I decided to make painting, but I wasn’t coming from painting in the sense of needing to hold a brush and smear paint. Rather, it was a decision, as part of a chain of reactions: How do I set it up? Do I need a style? No. What do I do with color? I didn’t know, so I found a vehicle to get rid of that problem, which was a couple of rules. It made my concerns obvious. You could tell that if I cared about colors I would have acted differently.

That was the beginning; then came different systems for using colors, like three primary colors on a brown ground. I did that for a year or two and it presented different problems, different challenges. Then I went on to the next thing.

Installation view of “Albert Oehlen, Elevator Paintings: Tree” (February 28–April 15, 2017), Gagosian (artwork © Albert Oehlen. Photo by Rob McKeever. Courtesy Gagosian)

I don’t really want to put it on the table — what those rules were, one by one — because why should I explain everything? But yes, something like that has always been part of my work — elements that I could control.

JS: Your current show at Gagosian presents two bodies of work: “Elevator” paintings and “Tree” paintings. The two series represent two very different concerns. Over the course of your career this seems like something you have explored: two distinct approaches occurring simultaneously. Can you tell me about why you do that?

AO: It’s not planned, but it’s something I do; it has happened again and again. In the “Tree” paintings I concentrated on forms and shapes, so I always use the same colors — red and black on a white ground. It’s a decision.

The other paintings are the opposite. I try to ignore forms and shapes completely. I just perform some actions on the canvas and focus on colors.

The color grid painting, “Untitled (Elevator 1-8) and Raumflug” (1996-2017), is an old piece that I had around. I thought that since the eight “Elevator” paintings are about color, it would be interesting to have it as part of the group, at the end.

JS: I am intrigued by your interest in de Kooning — an artist whose existentialist search, rather than a conceptual one, seems, on the face of it, diametrically opposed to your project in painting.

AO: His painting process was quite complex. There was a lot of intelligence involved. He tried things, tried to do things differently, change the process. For example, he involved time in his painting. He found out that time plays a big role, and other people had not thought about that before.

When de Kooning was teaching at the Black Mountain School, he had the students work for a very long time on one drawing. It was about what happens if you spend days on one drawing. I think this idea is so crazy and so intelligent. It wasn’t about showing that if you work more, it gets better. You might destroy it, or you might end up somewhere else. You might get bored. He was not saying drawing can only be good if you work for a week on it. He just wanted to explore what happened.

JS: Who are some of the contemporary painters you are interested in?

AO: Malcolm Morley is the greatest alive. It is so impressive to me what he did — so funny and so smart.

Albert Oehlen, “Untitled (Baum 84)” (2016), oil on dibond, 98 7/16 × 98 7/16 inches (250 x 250 cm) (© Albert Oehlen. Photo by Stefan Rohner. Courtesy Gagosian)

Sometimes, you look at a painting and say, “Something is different.” You see that something is wrong; it can’t be what it looks like. That’s enough. You haven’t seen it before and then you can feel something.

JS: You have been interested in electronic music for a long time. How has it informed your work?

AO: The first thing I was into was Acid house, which I liked because it was so stupid. I didn’t see it as the root of techno, because techno didn’t exist at the time. It was something Belgian or Italian — cheap shit. I bought cassettes at a gas station. They had a pirate smiley on the cover. I thought it was incredibly funny.

Then, early techno incorporated slogans like “No Women Allowed” or “I’m the One and Only Dominator.” “Captain Kirk, Your son is Dead.” “Who Is Elvis?” I loved it, because it made me think, “Why is this funny? What is going on?” I had my thoughts and theories about it. That was relevant to me for my art. I can’t explain in what sense — but anything that makes you think is relevant.

It is about the context. Slogans are at the beginning of the song and they give a context of stupidity, like leaving your brain at the entrance before raving. So you could do that in art — have one aspect that wipes away all seriousness, so it has a different starting point. That’s interesting: the context, the frame of it. Songs happen in time, so what’s in the beginning becomes the frame. But most importantly, I never went to a rave.

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