Boulevard of broken dreams

Group exhibition in Reinbeckhallen
Boulevard of broken dreams
Artists: Ute Heim, Martin Sigmund, Ivo Stilling, Susu Gorth, Kerstin Serz, Cornelia Kohler

28/04/17 18:00 (Opening)
29/04/17 12:00 – 20:00
30/04/17 12:00 – 20:00
04/05/17 14:00 – 20:00
05/05/17 12:00 – 20:00 (Food Installation and beverages, from 19:00)
06/05/17 12:00 – 20:00

Address: “Reinbeckhallen” Reinbeckstrasse 9. 12459 Berlin

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„Boulevard of broken dreams“

I walk along the street of sorrow
The boulevard of broken dreams

The joy that you find here you borrow
You cannot keep it long it seems
But gigolo and gigolette
Still sing a song and dance along
The boulevard of broken dreams.

Tony Bennett

“What lies buried under the asphalt, is hidden behind the walls of houses, breaks forth with his blossoms and seeks space for the denied existence. ” Six artists from Berlin, Munich, Karlsruhe and Stuttgart are excogiating different facets of the shards of broken dreams and they reveal images of various aspects of human failure.
The title of the exhibition “Boulevard of Broken Dreams” refers to the area Schöneweide and relates with the exhibited works not only their own past and present history.
Oberschöneweide was one of the largest connected industrial areas of Europe, a microcosm of the younger german history: The pioneering spirit at the beginning of the 20th century, armament production and massive use of forced laborers at the time of national socialism.
After the war expropriation and dismantling, when the wall came down, one business after the other closed and the workers lived between hope and resignation. When it was in 2006 succeeds in locating the University of Economics and Technology, the area got a new impulse.
The place of exhibition corresponds as a metaphor between shattered political visions and the fragments of an intimate existential injury. The theme of unfulfilled children’s dreams can be found in the works of Susu Gorth’s work “Teddys” and Cornelia Kohler’s “Home is where I live inside”.
Gorth picks up on the subject in a way where the objects are refusing in an anarchic manner to accept their legal form, while the archetypes, like doll’s houses and hairs in Kohler’s work are relayed with a new nightmarish meaning.
The work of Kerstin Serz is also swaying between a romantic childlike reality and a profound, diffuse layer. Childhood serves as a mythical and utopian place in art as a field of ascertaining one’s own social and cultural existence and shows itself in the works rather of an instability particular intensity.
The painter Ivo Stilling dismantles the dream of speed. The status symbol automobile dissolves on the screen from perfect design to fragments of its function. The dream of Europe is in its political children shoes and fears of pending loss of national cultural identity.
The series “Borders” by Martin Sigmund documents the fragile and constantly changing political constructs of our time. Ute Heim combines autobiographical and political memories in her video work a journey back to a place of her childhood.

The artists:

Ute Heim

Travel is an attempt to understand the past. This journey is motion in a borderland, forward and backward simultaneously. Ute Heim is riding to the place of her childhood memories. However, it does not just approach moments of her own biography, but also west and east german history. Vehicles for Ute Heim ‘s journey are following the principle of improvisation, the aesthetics of western movies and Franz Schubert’s „Winterreise“.

Martin Sigmund

With the 1995 Schengen Agreement, the borders in Europe fell as well as ideological manifestations. Since 2005 Martin Sigmund photographed in a long-term project with the large format camera european border stations, which are abandoned human relics on the roadside letting uninvolved the current affairs pass by.

Ivo Stilling

The pictures, quite delicate in terms of form and content are showing luxury limousines after a serious accident, the status symbol car becomes a painted sculpture. The obstacle with which the limousine has collided deformed it in a severe way that a kind of lightning metamorphosis took place. These fine paintings never imitates exaggeratedly the often cheesy-looking photorealistic paintings. They keep their surliness, which can not be seduced by fair illusion to defend aggressively their autonomy.

Susu Gorth

By using utilization materials in her work to create a complex structure of the surface, their history always remains noticeable. Sculptures emerge which are anarchically refusing their given form. Built like a co-ordinate system, in which by the workings system errors occur and that creates for the artist the possibility and connecting point to break through the order. As in an expansive force, soft, partly biomorphic masses overcome their limitations and prescriptions. Works are created in which the connection of the antitheses here become a whole, artificially and profan, coarse and filigree, attractive and repulsive, a play of macro- and microcosmos.

Kerstin Serz
„Die Hirschkäferbraut“, „Evandre“, „Bubo Bubo“

The equality of nature, animal and men, is disturbing, surreal the piece of composition. The pictures are pointing the view to odd situations, unexplained relationships and romantic, intimate moments, whose uplifting beauty, is broken by the artist. The appearance of these figurative paintings is treacherous that the viewer can easily follow a narrative here. On the contrary, there is no reverberation of the occurrence, every statement that is made ends with a question mark or remains alone in a “land without echo“. While studying these pictures we are confronted by ambivalences of vulnerability and strength, power and impotence, fear and trust.

Cornelia Kohler
„Home is where I live inside“, „Selling my dreams“

Hairs tied to pigtails meandering through thick dust-patinated children’s toys. Hair is an expression of individuality, the cutting or tying of hair is evidence of cultural taming. The superficial view on the artist’s work consider us mostly in a well-known territory, pictures from fairy tales, stories and memories of childhood obtrude themselves strikingly and completely banal. But the view behind the scenes dissolves this familiarity by the replacement or destruction of the used symbols and creates a new complex, disturbing reality.