ART CITIES:Berlin-Nationalgalerie Prize 2019

Flaka Haliti, Ars Viva Prize Exhibition, 2016, Exhibition view Ars Viva Prize Exhibition, Gallery of Contemporary Art Leipzig, 2016, Photo: Andy Keate, Courtesy of the artist, Deborah Schamoni and LambdaLambdaLambdaPauline Curnier Jardin, Simon Fujiwara, Flaka Haliti and Katja Novitskova have been nominated for the Preis der Nationalgalerie. The Museum prize is awarded every two years and pays tribute to artists under 40 who live and work in Germany. All four artists show spatial ensembles in which they combine existing and new works. The tonality and handwriting of the four spatial work presentations is very different; what they have in common is an explicit reference to aspects of our contemporary European society.

By Dimitris Lempesis
Photo: Hamburger Bahnhof-Museum für Gegenwart Archive

With her transgressive artistic approach, which combines visual and narrative elements of theatre and cinema, Pauline Curnier Jardin creates a stage space for the shortlist exhibition; a walk-in installation in which cinematic and sculptural work intermesh in Curnier Jardin’s characteristic manner. Her often humorous works are the result of a very personal examination of historical circumstances, our historical background, our religious and cultural traditions as well as common gender roles and connotations.  With his works, which include painting, video, sculpture, installations and performances, Simon Fujiwara comments on very different levels on the situation of the human being in the medialized 21st century, starting from his own person and generation. His works, which have been selected for the exhibition and in part newly created, are the result of Fujiwara’s in-terest in contemporary mass phenomena and their economic and socio-political aspects. The very different works illustrate the extent to which these phenomena have an emotional component of their own. Flaka Haliti’s sculpture and installation work refers to themes of current political importance; she addresses war and peace, migration, borders and their permeability. Often and explicitly, the artist focuses on Europe. Her works have a clear statement and at the same time a strong meta-phorical and poetic quality. With two sculptural installations, she refers to the recent past of her country of origin. She continues her series of works “Is it you, Joe?” with large wall works, playing with identity and schematization. As one of the pioneers of an artistic language known as “Post-Internet Art”, Katja Novitskova create a virtuoso, multi-part and multi-layered “environment” for the exhibition, that encompasses and captures the vis-itors and blurs the boundaries between the individual works. The works are the result of Novitskova’s ongoing interest in current biotechnological research and revolve around the question of the future existence of the organic as a component of technological processes.

Info: Hamburger Bahnhof-Museum für Gegenwart  Berlin, Staatliche Museen zu Berlin, Invalidenstrasse 50-51, Berlin, Duration 16/8/19-16/2/20, Days & Hours: Tue-Wed & Fri-Sat 10:00-18:00, Thu 10:00-20:00, sun 11:00-18:00, www.freunde-der-nationalgalerie.de

Flaka Haliti, Here – Or Rather There, Is Over There, 2018, Exhibition view: Here – Or Rather There, Is Over There, Kunsthaus Hamburg, 2018, Photo: Michael Pfisterer, Courtesy of the artist, Deborah Schamoni and LambdaLambdaLambda
Flaka Haliti, Here – Or Rather There, Is Over There, 2018, Exhibition view: Here – Or Rather There, Is Over There, Kunsthaus Hamburg, 2018, Photo: Michael Pfisterer, Courtesy of the artist, Deborah Schamoni and LambdaLambdaLambda

 

 

Flaka Haliti, its urgency got lost in reverse (while being in constant delay), 2017, Installation view: its urgency got lost in reverse (while being in constant delay)‚ LambdaLambdaLambda-Pristina, Kosovo, 2017, Photo: Majlinda Hoxha, Courtesy of the artist, Deborah Schamoni and LambdaLambdaLambda
Flaka Haliti, its urgency got lost in reverse (while being in constant delay), 2017, Installation view: its urgency got lost in reverse (while being in constant delay)‚ LambdaLambdaLambda-Pristina, Kosovo, 2017, Photo: Majlinda Hoxha, Courtesy of the artist, Deborah Schamoni and LambdaLambdaLambda

 

 

Pauline Curnier Jardin, Blutbad Parade, 2014, Film, Installation view in Fußnoten eines Krieges-Kulturtage Festival, 2014, Photo: Oumeya El Ouadie, Courtesy of the artist
Pauline Curnier Jardin, Blutbad Parade, 2014, Film, Installation view in Fußnoten eines Krieges-Kulturtage Festival, 2014, Photo: Oumeya El Ouadie, Courtesy of the artist

 

 

Pauline Curnier Jardin, Grotta Profunda Approfundita, 2017, Installation-film, Installation view, Viva Arte Viva, Arsenale, 57. Biennale di Venezia, Curated by Christine Macel, Photo: Daniele Zoiko, Courtesy of the artist
Pauline Curnier Jardin, Grotta Profunda Approfundita, 2017, Installation-film, Installation view, Viva Arte Viva, Arsenale, 57. Biennale di Venezia, Curated by Christine Macel, Photo: Daniele Zoiko, Courtesy of the artist

 

 

Katja Novitskova, Pattern of Activation (eyes of the world), 2017, Installation, sculpture, sound, various media, From solo exhibition for Estonian Pavilion for the 57th Venice Biennale, 2017, Venice, Photo: Anu Vahtra, Courtesy of the artist, Kraupa-Tuskany Zeidler, Berlin
Katja Novitskova, Pattern of Activation (eyes of the world), 2017, Installation, sculpture, sound, various media, From solo exhibition for Estonian Pavilion for the 57th Venice Biennale, 2017, Venice, Photo: Anu Vahtra, Courtesy of the artist, Kraupa-Tuskany Zeidler, Berlin

 

 

Katja Novitskova, Earth Potential (CRISPR embryo), 2017, Sculpture, From her solo exhibition: Earth Potential for Public Art Fund, NYC, 2017, Photo: Hans-Georg Gaul, Courtesy of the artist, Greene Naftali gallery-NYC
Katja Novitskova, Earth Potential (CRISPR embryo), 2017, Sculpture, From her solo exhibition: Earth Potential for Public Art Fund, NYC, 2017, Photo: Hans-Georg Gaul, Courtesy of the artist, Greene Naftali gallery-NYC

 

 

Katja Novitskova, Invasion Curves, 2018, Exhibition view, sculpture, sound, various media, From her solo exhibition: Invasion Curves, Whitechapel Gallery-London, 2018, Photo: Andrew Radford, Courtesy of the artist, Kraupa-Tuskany Zeidler, Berlin
Katja Novitskova, Invasion Curves, 2018, Exhibition view, sculpture, sound, various media, From her solo exhibition: Invasion Curves, Whitechapel Gallery-London, 2018, Photo: Andrew Radford, Courtesy of the artist, Kraupa-Tuskany Zeidler, Berlin

 

 

Katja Novitskova, Pattern of Activation (Mamaroo nursery, dawn chorus), 2018, Exhibition view, sculpture, sound, various media, From her solo exhibition: If Only You Could See, What I’ve Seen With Your Eyes, KUMU Art Museum-Tallinn, Estonia, 2018, Photo: Tõnu Tunnel, Courtesy of the artist; Kraupa-Tuskany Zeidler, Berlin
Katja Novitskova, Pattern of Activation (Mamaroo nursery, dawn chorus), 2018, Exhibition view, sculpture, sound, various media, From her solo exhibition: If Only You Could See, What I’ve Seen With Your Eyes, KUMU Art Museum-Tallinn, Estonia, 2018, Photo: Tõnu Tunnel, Courtesy of the artist; Kraupa-Tuskany Zeidler, Berlin