I haven‘t been here for a long time. I tried to blame my new business and all that exciting work I do for my clients … In the end, it’s all about priorities … So, after successfully solving some project hickups last night I decided to treat myself with a ‚Free Lunch Concert‘ at Philharmonie … On arrival, I find out that it will be all pupils from a ‚Musik-Gymnasium‘ in Weimar … Stupid me, I start to get arrogant about what to expect … And then, what an experience … All that amazing talent … Their nervousness and shivering legs … Allmost impossible to continue breathing … The relief when it’s ‚over‘ … And the glow in their eyes, when the crowd starts to applaude – probably the biggest audience they played so far in their young lifes … And then, the final performer, a young boy of ten years. Totally cool. Like in a cocoon of his own … Breath-taking, tears of joy running down my cheeks, imagining the dreams these kids are dreaming and how hard they work to fulfill them … Thank you so much! I am truly grateful to be here and experience this moment … #music #concert #outstanding #young #talent #grace #joy #thankfullness #humble
#004 // The Inbitation IV … Didn‘t had much time to focus on doing art lately … Too many other things going on … So this is a rare piece I finished between Christmas and NY … Based on a wonderful poem by Oriah … #fredericwriter #art #artist#painting #photography #newlife #betterliving #collection #collector
If you are interested in buying this piece of art, you can find the details here.
The second half of the week I spent at Documenta 14. Although, this year’s Documenta was criticized a lot, I thought it was a superb exhibition. Very, very political in its nature with lots of art focused on migration and oppression issues. However, although this might not have been to many people’s taste, I believe that our times ask for artists being political and controversial, steering debate about issues that many politicians and media don’t want to touch.
Spent three wonderful days at Biennale di Venezia in Venice. Great start on day one with Peggy Guggenheim Foundation and an unbelievable exhibition by Damien Hurst at Palazzo Grassi. What a great and megalomanic idea.
The following two days were dedicated to the Biennale, with day two spent at the Arsenale and day three at the Giardini. Especially, Arsenale’s old warehouse buildings are a superb location and great backdrop for exhibiting the art on show – with the Lebanese contribution hidden at Arsenale Nord being a real highlight that only a few made an effort to see.
The pavilions at the Giardini are in very mixed shape, and the art on show – at least in my perception – did not match the level of those on show at the Arsenale. Here, the Austrian pavilion was a rare exception.
Visited a great vernissage at Evelyn Drewes’ gallery, showcasing some wonderful sculptures by Japanese artist Hirofumi Fujiwara. Remarkable works that sold very fast. Unfortunately my favorite work was already sold before the show began …
After some busy weeks in Greece, Lebanon and Israel I came back to Berlin, just to set up my first solo exhibition the next day.
The grand opening on Aug 5 was great fun, and the ten following days at the gallery amazing – with lots of different people visiting during day and night time. Many conversations, lots of encouraging feedback and three canvases sold. Woohoo!
Thus, I felt really sad when closing down last Sunday and packing all my remaining art to bring it back to the studio. I will definitely miss gallery life 😉 …
There is a solution to everything … And it was a lot of fun too!
Spent a wonderful afternoon in one of the few local galleries in Beirut that focus on contemporary art – Marfa’s Beirut (more info on the exhibition below):
There Is No Right Or Wrong Here – الأرض لـمَن يُحرّرها
Starting from a piece of land without a trace, Ahmad Ghossein’s project aims to question the conceptions of space, land, and its thickness – or the limits of its depths before it can be considered ‘underground’ in South Lebanon. This part of the country has no official cadastral record and no information about it exists in the Directorate of Land Registration and Cadasters in Lebanon. Cadastral surveys were considered one of the foundational tools for ‘modernizing’ a country, registering and classifying the demarcations between public and private property, and did not only imply enabling the planning and implementation of modern infrastructure, but also organizing private property, and thus introducing a new “objective” or “scientific” ordering of social, economic and political relations. Ahmad Ghossein starts from a personal experience and looks into the implications of such missing data, investigating the states’ practices and processes in relation to cartography, geodesy, hypsometry, and other related sciences.