Ellen Keusen, Lutz Koebele-Lipp, Eva-Maria Schön,
Bernhard C. Striebel, Nanaé Suzuki
13 July to 14 September 2018
Monday to Friday, 9 a.m. to 7 p.m.
You are cordially invited to the exhibition opening, which
– on this occasion – will be held
on Thursday 12 July 2018 at 7 p.m.
in the foyer of Deutsche Wohnen SE
Mecklenburgische Strasse 57, 14197 Berlin
Manuela Damianakis, Head of Corporate Communications, Deutsche Wohnen SE
Dr Dorothée Bauerle-Willert, art historian
Ellen Keusen works with the medium of drawing. In her collections of works, which are often created over an extended period, wild discovery meets experimental arrangement, and linear energy combines with the representation of living organisms and vegetative forms. Fragile yet resolute, these drawings explore transformation processes and represent the shifting and marginalised figures of visual thought, which are only studied with the act of drawing itself.
The structures of Lutz Koebele-Lipp not only boast a variety of materials, but also draw on humour and surprising combinations. His pieces, which harness the principle of tensegrity (the synthesis of tension and integrity) discovered by Buckminster Fuller, are self-stabilising constructions, i.e. a solid composition of rods in which the rods do not touch each other but are instead held together by tensile elements to create interwoven structures kept aloft by tension and integrity.
Eva-Maria Schön’s collages bring together materials of assorted provenance, which suddenly create a whole new effect when photographed. The blurriness of the images challenges expectations of photography and gives rise to vivid transitions that appear as an interplay between the real and unreal. A kind of no man’s land takes shape between the inner and outer images. The works oscillate between visibility and invisibility, engendering a productive uncertainty in the viewer as they negotiate the process of perception and interpretation. The photograms, on the other hand, portray direct sequences of motion and came to life in a darkroom.
Bernhard C. Striebel creates complex interventions that question the relationship between image and space. Bernhard C. Striebel always seeks to explore the actual exhibition space as well as ideas and preconceptions about art whilst playing with the act of seeing and notions of visibility and revelation, with writing and imagery, words and colours, interacting in a mercurial fashion. Running along a glass facade, Striebel’s series of texts and images form, like any exhibition, a stage on which an open process becomes an act of perception: each image and each collection of images constitutes an invitation to look, see and become aware of change.
Nanaé Suzuki’s series entitled Facades, silent , comprises a range of photographic perspectives on chanced-upon situations as well as architectural fragments and lines of sight. She strikes a bold contrast to the tranquil scenes by including photos showing texts found on index cards that describe sounds that the viewer is unable to hear or sources of sound that the viewer is unable to see. Text, image, sound and perspective open up a fascinating structure built on perception and connection.
Ellen Keusen (born 1947 in Düsseldorf); studied at the Werkkunstschule Düsseldorf art school and Berlin University of the Arts; 2002: Dr. Dormagen-Guffanti grant, Cologne; 2007: study trip to Japan; 2013: NES residency, Iceland; 2015: Künstlerhaus Lukas; individual and group exhibitions in Germany and elsewhere; lives and works in Cologne.
Lutz Koebele-Lipp (born 1952 in Lörrach); worked as a screen printer; 1969–1971: Basel School of Design (Switzerland), design (painting) programme taught by Franz Fedier; 1974: Industrial Design degree at Berlin University of the Arts, taught by Professor Schliephacke and Professor Hans (Nick) Roericht; 1981: graduated as an Industrial Designer; work as a freelance designer in Berlin, the ‘Schön und Gut’ group; 1984/91: teaching posts at Berlin University of the Arts, Faculty 3 and Faculty 2; 1986 ‘MONOPOL Gruppe für Gestaltung’; 1992: guest professor at Faculty 3, Design, Berlin University of the Arts; 1995 ‘kubik. entwurf und gestaltung’; 1996 onwards: teaching posts at weißensee academy of arts berlin, Burg Giebichenstein University of Art and Design, Halle; 1999: ‘monopoldesignteam’ with Martin Rissler; 2004–2006: visiting professor, University of Duisburg-Essen, Faculty 4, Industrial Design; 2007: bureau ‘lutzkoebele’; 2013 onwards: involvement in InnoFabriek, Reuver, NL; 2015–2018: teaching posts in Regensburg, Halle and Berlin; lives and works in Berlin.
www.lutzkoebele.de and mohitotsu.lutzkoebele.de
Eva-Maria Schön (born 1948 in Dresden); trained as a photographer with Lore Bermbach in Düsseldorf; Studied at Fachhochschule für Grafik (Graphic Design Academy) in Düsseldorf; studied under Klaus Rinke at Kunstakademie Düsseldorf (Düsseldorf Art Academy); 1982: Villa Romana grant, Florence, Italy; 1983/84: Karl Schmidt-Rottluff grant, 1986/87: Künstlerhaus Bethanien, Berlin; 1998: Art Omi residency, New York, USA; 1997: grant from the Djerassi Resident Artists Program, USA; 1999: International Artist in Residence, Guernsey, GB; 2003: Artist in Residence, Shenzhen Fine Art Institute, China; teaching work: 1989/90 and 1996: visiting professor at Berlin University of the Arts, Berlin; 1999: Art College , Guernsey, GB; 2000/2002: Giessen University, Gissen; 2002: FKN Nürtingen; 2002 and 2004/5: University of Kassel, Kassel; member of the Association of German Artists and the International Artists Forum; individual and group exhibitions in Germany and elsewhere; lives and works in Berlin.
Bernhard C. Striebel (born 1953 in Laichingen); studied at the Stuttgart State Academy of Art and Design and HFBK Hamburg; master’s degree at the Institute for Art in Context at Berlin University of the Arts, Berlin; 1984: grant from the Arts Foundation Baden-Württemberg; 1985–86: postgraduate grant for Italy from the German Academic Exchange Service (DAAD); 1988: Karl Schmidt-Rottluff grant; 1990: working grant from the Senator for Culture, Berlin; 1991: atelier grant from Künstlerhaus Bethanien, Berlin; 1994: Deutsches Studienzentrum (German study institute), Venice; 2004: project grant from the Senate Department for Culture, Berlin; 2009: catalogue funding from Stiftung Kunstfonds, Bonn; individual and group exhibitions in Germany and elsewhere; has been living and working in Berlin since 1983.
Nanaé Suzuki (born 1947 in Kanazawa, Japan); 1969–1971: studied at Tokyo University of the Arts, Tokyo; 1977: moved to Europe; 1995: working grant from the Berlin Senate; 1997–2000: studio funding from the Berlin Senate; 2009: Artist in Residence in Edenkoben; individual and group exhibitions in Germany and elsewhere; has been living and working in Berlin since 1981.
Deutsche Wohnen has a long tradition of supporting artists, dating back to the 1920s: back then, Bruno Taut was the in-house architect of Berlin’s GEHAG. Whilst he designed rental apartment buildings as a successful architect, he was originally a painter and a member of the Glass Chain collective. In Taut’s honour, the inaugural exhibition of the GEHAG Forum, established in 1988, focused on the residential house in Dahlewitz that he designed himself (including the colour scheme). Many artists have presented their work ever since. Thanks to a diverse range of subject matter and the inclusion of works far removed from the mainstream, the GEHAG Forum has grown into a prestigious centre of contemporary art in recent decades.
Deutsche Wohnen is one of the leading publicly listed property companies in Germany and Europe. Its operating focus is on managing and developing its portfolio, concentrating on residential properties. As of 31 March 2018, its portfolio comprised approx. 163,200 units, of which approx. 160,700 are residential and approx. 2,500 commercial. Deutsche Wohnen owns residential units in four Berlin Modernist estates that were named UNESCO World Heritage sites in July 2008: the Weiße Stadt, the Britz Horseshoe Estate, the Carl Legien Estate and the Siemensstadt Ring Estate.