Research Fellowship, Berlin Senat
Rungestraße 30, 10179 Berlin
Dienstag – Sonntag
11 – 19 Uhr
A broken glass bottle, bravely balancing itself upright. The sound of an ambulance wraps itself into a song. Wet glass pitches a frequency when touched. Rainwater, softly mixing with sand, slowly becomes more and more steady, until it has formed into concrete. A beech leaf, about to unfold, with many others about to follow.
The group exhibition “Promising Premises” presents different artistic approaches toward the concept of ‘gleaning’, touching upon the relationship between gathering and memory in urban-rural spaces.
‘Gleaning’, most simply put, is the act of gathering what was left behind on the land after the harvest. What is collected is what has slipped through the established structures. It is a practice that is hopeful, which takes on a considerate attitude, and in Western and Central European tradition it was done in groups.
Today, the practice has evolved and expanded in both its meaning and attitude, as can be seen in Agnès Varda’s documentary film “The Gleaners and I”. One picks up a potato, an object, or a thought and thinks: How can this be used? In times of (in)tangible scarcity, economic inflation, political uncertainty, and a deep climate crisis, perhaps we can reach for this practice to connect with our social and ecological environment. Sometimes it means leaving something behind, holding space.
Because ‘gleaning’ is first and foremost a way of perceiving, it means keeping your senses open and looking for the disregarded, something deemed unimportant at first glance. It balances between viewing and evaluating. When doing so we practice being attentive.
In five contemporary positions, the group exhibition takes the ideas of ‘gleaning‘ off the field and looks into their translations in the artistic realm. Through installations, sculptures, photographic, and sonic works the participating artists display a vast array of artistic ‘gleaning’: from scouring archives and adapting existing works to developing new (site-specific) ones, while reinterpreting, recontextualizing, and rerouting the recognizable.
They shift thematically between the urban and ecological, the archived and the present, the self and the collective, and rigid structures and the soft organic currents in between, all while engaging with space and place or ways to it, through it. The title “Promising Premises” alludes to the hopeful wandering through the (city)- landscape, inviting the audience to notice and re-evaluate the familiar: beech leaves, broken glass, murmurs, fluidics, and concrete. And thus, to enter spring as gleaners themselves.
The very Important, the in-between, the monolithOPENING: FRIDAY 10 MARCH, 2023, 7-10 PMEXHIBITION PERIOD: 10-25 MARCH, 2023
The gallery is located at MS HEIMATLAND
March-November, Thu-Sat 2-6 PM
and during the events
The very Important, the in-between, the monolith are three artistic elements that rescue forms found in public spaces in Berlin, while treated as formal cultural heritage of the present.
The fragility, temporality and the multiple authorship as well as the aesthetic characteristics of these elements are made visible in this installation.
The very Important is a large-format painting displayed on a zigzag of fences, showing us many copies of underlined lines of words found on facades in Berlin.
The in-between is a reenactment of the marks left from an erased message on the tiles of the Kottbusser Tor underground station, now only visible in the tile joints.
The monolith is a public transport support bar made with leftover materials such as plastic, glass and coloured cardboard found on the grey floors of the city.
The affective power of these three encounters produces deviations, inviting for multiple readings. There is no narrative thread in this installation, but it is rather an ambiguous scenario in which different elements with a decadent aesthetic are taken from public spaces and transformed, giving them the opportunity to meet.