Ivana Franke

 

Retrospect

On the Far Side of the Marchlands

Exhibition opening:
Wednesday, February 1, 2017, 6–9 p.m.

Exhibition Dates: February 2 – March 26, 2017
Hours: Thursday through Monday, 1–7 p.m.
Free admission

Schering Stiftung
Unter den Linden 32–34 | 10117 Berlin

A “marchland” is a medieval term for a borderland beyond direct state control, governed by changing laws and rules. The exhibition “On the Far Side of the Marchlands” explores the potential of radically new topographies – border regions (marchlands) created by artists and composed of inextricably linked realms of experience, culture, and materiality.

Cathrine Disney: Synthetic Protection: Biointelligent Membranes, June 2015, bioplastic, dyed horsehair, lambs wool

Keeley Haftner, Black Box, 2016

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Artist Talk: Jens Brand in conversation with Volker Straebel

Artist talk (in German)
Wednesday, January 11, 2017, 6 p.m.

Schering Stiftung
Unter den Linden 32–34 | 10117 Berlin

We kindly ask you to register by January 6, 2017, at This e-mail address is being protected from spambots. You need JavaScript enabled to view it .

The musicologist Volker Straebel will speak with artist Jens Brand about his sound installation “TETRAKTYS,” whch is formed  of four aerial drones. “TETRAKTYS” refers to the Pythagorean “harmony of the spheres” and resulting notions of the “musica mundana” (Boethius) and “harmonice mundi” (Johannes Kepler), which once served as a universal model for explaining the order of the cosmos.

Jens Brand: TETRAKTYS, exhibition view Schering Stiftung, Photo: Andreas Müller

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Jens Brand: TETRAKTYS

Exhibition opening:
Thursday, November 24, 2016, 7–9 p.m.

Exhibition dates: November 25, 2016 – January 15, 2017
Hours: Thursday through Monday, 1–7 p.m.
Admission and Performance Times
From 1 until 6:30 p.m. every hour on the half hour and on the hour

Free admission

Further event: Artist Talk
Wednesday, January 11, 2017, 6 p.m.

Ernst Schering Foundation
Unter den Linden 32–34 | 10117 Berlin

Jens Brand’s installation “Tetraktys” is part of a series of experiments featuring “world machines.” Brand sees devices and installations such as the “G Player” (2004) or the “Small World Machine” (2011) as distinctive metaphors about the appropriation of space by sound and vice versa. “Tetrakys” is essentially a musical machine, consisting of four drones, which mechanically adapts aspects of the Music of the Spheres. In the history of ideas, the Music, or Harmony, of the Spheres is an essential element of Pythagorean cosmology and musical theory, which has been passed on through the writings of Boethius and Kepler and has preoccupied both artists and scientists ever since.

Tetraktys by Jens Brand, exhibition at Ernst Schering Foundation from November 25, 2016 until January 15, 2017

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PARANOMIA – A publication edited by Christoph Keller

28.09.2016, Berlin | The book PARANOMIA by Christoph Keller has been published by Spector Books in September. The artist’s book collects texts, interviews, and exhibition projects at the interface of science and art from the last six years. The term “paranomia” has multiple meanings, one of them being that which exists alongside the normative. In his inquiry into the entangled aspects of science and contemporary art, Christoph Keller outlines how knowledge is derived in the respective fields.

Christoph Keller: PARANOMIA, Katalog gefördert von der Schering Stiftung

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On Morphologies: Animalism and Animism

Lecture (in German) by Anselm Franke

October 4, 2016, 6 p.m.
Schering Stiftung
Unter den Linden 32–34 | 10117 Berlin

Please register until September 27 at This e-mail address is being protected from spambots. You need JavaScript enabled to view it (space is limited, participation upon confirmation only, confirmation will be sent by e-mail by September 29, 2016)

Modernity is defined by the idea of passive matter shaped and acted upon by humans. Through art, we can turn this perspective around and ask: How do these things shape and act upon us? This reversal is an integral part of reception theory, but beyond the field of art, the question also raises numerous border issues and phobias related to the dualistic world view and its separation of living and dead matter, and of subject and object. The “animation” of matter is a key problem of modernity only because it affects or directly alters the state of being not only of things, but also of the human subject.

Anselm Franke, Photo: Jakob Hoff

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Yvonne Roeb: IM ÜBER ALL

Exhibition opening:
Wednesday, September 14, 2016, 6–9 p.m.

Exhibition dates: September 15 – November 6, 2016
Hours: Thursday through Monday, 1–7 p.m.

Ernst Schering Foundation
Unter den Linden 32–34 | 10117 Berlin

In her show titled “IM ÜBER ALL,” the Berlin-and-Düsseldorf-based sculptural artist Yvonne Roeb (*1976) places her sculptures, which are composed of naturalistic, surreal and artificial elements, in the context of the Wunderkammer, the cabinet of curiosities. Borrowing from the animal, plant and mineral kingdoms, Roeb sculpts her composite creatures from modern, unusual materials, but also draws a line to classical sculpture. At the Ernst Schering Foundation, her thematically always ambiguous works will be presented in a wall of niches that allows every object to unfold its power.

Yvonne Roeb, Portrait, 2016, Photo: Markus Bachmann; Exhibition in the Ernst Schering Foundation: September until November 2016

Yvonne Roeb: Kaefer, Photo: Markus Bachmann

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Open Lab 'Irreversible Moment'

Exhibition Opening: June 23, 2016, 7–9 p.m.

Exhibition Dates: June 24 - July 24, 2016
Hours: Thursday through Monday, 1–7 p.m.

Schering Stiftung
Unter den Linden 32–34 | 10117 Berlin

“The ‘Irreversible Moment’ is the point in a process after which nothing stays as it was before.” Berlin artist Jenny Brockmann uses these words to describe an instant, that is not easy to grasp, to which the exhibition Open Lab ‘Irreversible Moment’ at the Schering Foundation's project space is devoted. The exhibition, curated by Nora Mayr, presents Jenny Brockmann's artistic research of several years for the first time, a work emerging from cooperation between interdisciplinary experts from the fields of chemistry, physics, dance, and music. The starting point of her research is the causation behind fundamental changes in structures, spaces, political and personal situations, and for the sociopolitical significance of the ‘Irreversible Moment’.

Jenny Brockmann

Jenny Brockmann

Jenny Brockmann

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Wie verstrahlt ist das Erzgebirge?

30.05.2016, Berlin | Die Sendung Wissenswerte im inforadio des rbb beschäftigte sich am Sonntag, den 29.05.2016, um 9:45 Uhr, mit der Sanierung des Uranabbaugebietes im Erzgebirge, in dem die ehemalige SDAG Wismut mehr als 40 Jahre Uran abgebaut hat. Seit 1991 werden die riesigen Gebiete in Thüringen und Sachsen saniert. Auch der Geologe Prof. Dr. Georg Büchel von der Universität Jena entwickelt zusammen mit biogeologischen Arbeitsgruppen Verfahren, um mithilfe von Mikroorgansimen die Bodenqualität in dem Wismut-Gebiet zu verbessern. Seine innovativen Forschungsansätze stellte Prof. Büchel am 26.05.2016 in einem Vortrag in der Schering Stiftung vor. Diesen Sonntag war er nun auf inforadio im Gespräch mit Thomas Prinzler zu hören.

Sendung Wissenswerte am 29.05.2016

Auch das kulturradio strahlte ein Interview mit Prof. Büchel aus: Interview mit Georg Büchel zum Vortragsthema im kulturradio des rbb, 25.05.2016

Bericht von Christoph Ellger auf der Website der GeoUnion

 

Georg Büchel
   

Artist Talk and Book Launch - Susanne Kriemann: P(ech) B(lende)

20.05.2016, Berlin | On June 3, 2016, 2–3:30 p.m., the Ernst Schering Foundation presents P(ech) B(lende). Library for Radioactive Afterlife, an artist’s book by Susanne Kriemann as part of her exhibition Pechblende (Chapter 1) at the Ernst Schering Foundation. The Berlin-based artist will be joined in conversation by artist and publisher Banu Cennetoğlu (Berlin/Istanbul) and discuss her new book in the context of (artists’) books, archives and collections and their function as both recording/storage media and instruments to disseminate information.

Susanne Kriemann: Pechblende (Chapter 1) © Schering Stiftung

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Lecture: 40 Years of Uranium Mining in the Ore Mountains - The Mammoth Project of Remediating a Region

11.05.2016, Berlin | Germany’s nuclear power plant operators are to pay 23.3 billion euro into a state-administered fund for the interim and final storage of nuclear waste. This compromise was mediated by the Commission on Funding Nuclear Decommissioning. But will this make the financial risks to the German taxpayers manageable? If we look at the remediation of the so-called Wismut region in Saxony and Thuringia, where SAG/SDAG Wismut, from 1946 until 1990, extensively mined the highly radioactive uranium-rich pitchblende, the dimensions of the disposal of nuclear waste become clearer. Until 2045, the federal government will provide some 8 billion euro for the remediation of 1,500 kilometers of open mine workings, 311 million cubic meters of overburden material, und 160 million cubic meters of radioactive tailings. On May 26, 2016, geologist Prof. Dr. Georg Büchel from the Friedrich Schiller University in Jena will provide insight into this huge environmental restoration project during a lecture at the Ernst Schering Foundation.

Georg Büchel

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