artists & participants
Sunday, July 1th, 2018, starting 4 pm
Venue: Halle fuer Kunst Lueneburg, Reichenbachstr. 2, 21335 Lueneburg Free entry
Within the frame of »Art and Cake« Special, Henning Bohl and Stefanie Kleefeld will guide through the exhibition »Harsh Astral. The Radiants II« which they curated together with UNITED BROTHERS. Afterwards »Mutant Autopilot Brushes« Open Karaoke Stage will open once again. Additionally there will be drinks, barbecue and for everyone who likes, football.
»Art and Cake« Special takes place within the exhibition »Harsh Astral. The Radiants II« with works by Norimizu Ameya/Iwaki Sogo High School, Ei Arakawa, Nobuyoshi Araki, Henning Bohl, Kerstin Braetsch, Kerstin Braetsch/UNITED BROTHERS/Sergei Tcherepnin/Stefan Tcherepnin, Chaos* Lounge, Jay Chung & Q Takeki Maeda, Bontaro Dokuyama, Wenzel August Hablik, Oriza Hirata/Seinendan, Ryan Holmberg, Susumu Katsumata, Erika Kobayashi, Jutta Koether, Kitty Kraus, Anita Leisz, Mutant Autopilot Brushes, Ariane Mueller, Yuki Okumura, Pratchaya Phinthong, Terry Riley, Lucie Stahl and Alivia Zivich. The show will be on view till July 22th, 2018 at the Halle fuer Kunst Lueneburg.
May 26, 2018 until July 22, 2018
Opening: Friday, May 25, 2018, 7 pm
Venue: Halle fuer Kunst Lueneburg, Reichenbachstrasse 2, 21335 Lueneburg
Starting at 8 pm: Open karaoke performance with »Mutant Autopilot Brushes«
»HARSH ASTRAL. The Radiants II« is the conceptual continuation of the exhibition »The Radiants« which in 2015 was presented by Bortolami Gallery in New York and in a similar fashion in spring 2018 at Galerie Francesca Pia in Zurich. While the theme in New York was radioactivity in the broadest sense set against the background of the fourth anniversary of the earthquake and its resulting crisis in the Japanese nuclear power plant Fukushima Daiichi, which prompted the foundation of both the Green Tea Gallery and the UNITED BROTHERS, »HARSH ASTRAL. The Radiants II« brings together works that revolve not only around radioactivity, but loosely and associatively follow the motif of radiation, transformation and energy in general, thus spreading out in different directions. Interestingly, radioactivity is permeated by a fundamental moment of ambivalence, which has less to do with the phenomenon itself than with its potential use, since every science and technology possesses both a utopian and a dystopian aspect. The fact that there is no escape—despite the end of the downright atomic euphoria in the 1950s, at least in Western countries, and the commencing critical questioning of it—is demonstrated not at least by the threat of renewed nuclear armament three decades after the end of the Cold War. So beyond the permanent threat it poses in civilian use as energy, radioactivity is now attaining political explosiveness again.