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2020/12/08

¿Que piensas de la súper-seguridad que busca el ciudadano, en relación con el
knock out que la naturaleza nos ha dado con la pandemia?

En la arquitectura moderna del período de entreguerras, Le Corbusier diseñó la chaise long B 306 /LC4 (La Machine à repos) en la que se inspira la obra Not merely with him, mientras concebía el plan Voisin, consistente en construir 24 rascacielos de estructura de acero, para alojar entre 500 000 y 700 000 personas. El plan era destruir todo
el barrio del Marais, dejando en pie sólo algún monumento histórico como el Museo del Louvre,justificando la violencia en la necesidad de modernizar el viejo París “obtuso, cerrado, y sofocante”, para arrancarlo de las “adicciones seculares” y reconstruirlo como una “ciudad industrial lineal” para
introducir la circulación de automóviles en el centro y salvar con todo esto a la población parisina, de la agresión de las enfermedades y plagas de sus viejos barrios insalubres.
Not merely with him escenifica una percepción alterada del deseo y de nuestra intersubjetividad donde la violencia se confunde con la agresividad. No somos culpables del miedo, el miedo se encarna. El cuerpo social no es una metáfora, es una forma de hablar de la somatización del estado de alarma.
Uno de los aspectos que ha mostrado la pandemia es que otro mundo es posible. Las calles vacías, los negocios cerrados muestran un mundo insólito, inesperado, a partir del cual se puede esperar un futuro distinto al que ha quedado definitivamente atrás.La satisfacción del 'objeto de deseo', según la 'tesis de la mímesis' de René Girard (1923-2015), depende de la mediación entre el sujeto y el objeto. Si el sujeto del deseo es un modelo, no crea violencia, pero si el sujeto imitado se convierte en un obstáculo para alcanzar el objeto de deseo esta mediación genera insatisfacción, disputas, rivalidad y violencia. A diferencia de lo que sucede en otras especies animales, que se relacionan de forma directa con sus objetos de deseo, que destruyen o transforman para satisfacer, por ejemplo, el deseo de comer. En el caso de las personas la mímesis del deseo permite fundar toda una antropología acerca del fenómeno de la violencia, en experiencias como la de la persecución y la violencia colectiva del mundo moderno, en donde siempre hay un rival que obtiene lo que uno desea, produciendo más y más violencia, siempre justificada demagógicamente, al no reconocerse nadie como 'el agresor' y justificar la violencia, en la necesidad de defenderse. Este tipo de violencia que crea el deseo insatisfecho sólo se puede evacuar cargando injustamente con la culpa a un chivo expiatorio. Esta tesis de las ciencias humanas se ha visto reforzada con el descubrimiento en las ciencias experimentales de las neuronas espejo, llevado a cabo, entre otros, por el neurólogo Vittorio Gallese (1959). Las emociones, según su teoría de la simulación incorporada, se generan en un mecanismo que nos permite una comprensión experiencial directa de la mente de los demás, que “no es la del razonamiento conceptual, sino la de la observación de los eventos a través del mecanismo espejo. Una frase como la de ‘poner los pelos de punta’, responde a una función corporal que tuvo sentido en el programa evolutivo de nuestros antepasados, que lograban verse más grandes y dar más miedo erizando su pelo”. Aquella función es ahora para nosotros innecesaria, pero esta frase demuestra, que las palabras y los objetos han ido incorporando las emociones y las experiencias subjetivas, a causa de “la relación indisoluble entre experiencia emocional y exhibición de la emoción”. Esto sugiere la posibilidad de considerar la experiencia emocional mimética como input, en vez de output y a la 'percepción emocional de la violencia' como 'acción emocional violenta', pues el comportamiento de una persona está permeado por su vida mental, objetivos, intenciones y emociones que acaban 'tomando cuerpo'.

2020/01/21

Francesca Thyssen-Bornemisza hosts this conversation that departs from her and José Luis de Vicente’s report on their participation on the official working sessions at COP25. This conversation addresses how art is an active tool for fighting climate change.

Participants: Francesca Thyssen-Bornemisza, Founder and Chairwoman TBA21; José Luis de Vicente, curator and researcher; Alexandra Daisy Ginsberg, artist; and John Gerrard, artist.

2020/01/21

During the weather conference COP25 Alice @alice.audouin invited Michael Pinsky @michael_pinsky , John Gerrard @johngerrard.inst , Fernando García Dory @fer_dory, Cédric Carles and other friends all aware that in a finite world we cannot grow indefinitely

2019/11/29

On the occasion of the Climate Change Conference @cop25_madrid from December 2 to 13, 2019, artists explore the impact of climate change. Ten years ago, in 2009, Darya von Berner created in Madrid “Universal Cloud Flag” a white flag of minute water drops, like the clouds that nourish and sustain life. Shortly after she carried out this idea that she patented, manufactured, and installed it in front of The Peace Palace in The Hague in 2012. The cloud flag was emitted from the top of a steel mast, using fog pressure to spray water in suspension into the atmosphere.

2019/11/27

Unique Multiples @unique.multiples is pleased to present The Last Illusion, a new sculptural edition made from one kilo of pure gold by Madrid-based conceptual artist Darya von Berner. This holographic, mixed media work features a cast sculpture of golden shit displayed within a custom holographic vitrine, which through its own visual alchemy renders the precious heavy metal into a hovering, ghostly apparition.

Following in the tradition of ‘épater le bourgeois,’ or abject works of art such as Maurizio Cattelan’s America (2016), an 18-karat gold toilet, and Piero Manzoni’s seminal work Artist’s Shit (1961), The Last Illusion continues this line of inquiry, questioning how the value of art is derived, and juxtaposing the symbolic with the tangible, the abstract with the real.

2019/06/22

Lupus Viator, 2000 – Asunción, Paraguay⠀
Darya von Berner⠀

AECID, Centro Cultural de España@juandesalazarpy⠀
Asuncion, Paraguay, 2000⠀
Audio installation, 200 mirrors, 100 books Lupus Viator⠀
Photo: Gabriela Zucolillo⠀

The artist invited a number of Paraguayan artists to collaborate in this presentation. The intention was to collectively engage in the meaning of Lupus Viator with the outcome of a sound work. Instead of turning reality into art, art became reality.⠀

Director: Lilo Acebal⠀

Audio installation, 200 mirrors, 100 books Lupus Viator⠀
Photo: Gabriela Zucolillo⠀

The artist invited a number of Paraguayan artists to collaborate in this presentation. The intention was to collectively engage in the meaning of Lupus Viator with the outcome of a sound work. Instead of turning reality into art, art became reality.⠀

Director: Lilo Acebal⠀


The project Lupus Viator (latin: wolf walking) began as a series of monumental painted installations of an ephemeral nature and realised in situ. Later the project continued to evolve over a period of 7 years. It travelled to 7 different countries worldwide. ⠀
Taking into consideration its extensive duration, as well as its territorial movements, from country to country, Lupus Viator can be understood almost like a mythical pilgrimage, which covers the trails and places, where wolves have formerly roamed in abundance, before the species has widely become extinct.⠀

2019/06/21

Lupus Viator, 1999 – Lima, Peru⠀
Darya von Berner⠀

AECID, Centro Cultural de España⠀
@ccelima⠀

Video, 200 mirrors, 100 books Lupus Viator⠀
Video duration: 0:43 min⠀
Photo: Daniel Thissen⠀

Is a collaboration, with a group of local Peruvian artists, Los Aguaitones. For this work the monumental wolf transformed into a multimedia installation, along with the presentation of the artist book Lupus Viator. The closed circuit works aim to observe the communication between all elements of the system, like the public awareness of this process.⠀

Curated by: Teresa Velázquez Cortés⠀

Many thanks to: José Carlos Mariátegui⠀


The project Lupus Viator (latin: wolf walking) began as a series of monumental painted installations of an ephemeral nature and realised in situ. Later the project continued to evolve over a period of 7 years. It travelled to 7 different countries worldwide. ⠀
Taking into consideration its extensive duration, as well as its territorial movements, from country to country, Lupus Viator can be understood almost like a mythical pilgrimage, which covers the trails and places, where wolves have formerly roamed in abundance, before the species has widely become extinct.⠀

2019/06/19

Lupus Viator, 1996 – Internet⠀
Darya von Berner⠀

World Wide Video Festival⠀
The Hague, Neatherlands⠀
Collaboration and Production: Teknoland / David Cantolla and Luis Cifuentes⠀
Foto: Erica Dines⠀


The project Lupus Viator (latin: wolf walking) began as a series of monumental painted installations of an ephemeral nature and realised in situ. Later the project continued to evolve over a period of 7 years. It travelled to 7 different countries worldwide. ⠀
Taking into consideration its extensive duration, as well as its territorial movements, from country to country, Lupus Viator can be understood almost like a mythical pilgrimage, which covers the trails and places, where wolves have formerly roamed in abundance, before the species has widely become extinct.⠀

2019/06/17

Lupus Viator, 1996 – Atlanta, USA⠀
Darya von Berner⠀

Nexus Contemporary Art Centre⠀
Wall painting and objects, performance⠀


Simultaneously with the Olympic Games of Atlanta 1996, a Cultural Olympiad took place. For this Cultural Olympiad a representative artist for each continent was selected. Darya von Berner represented Europe with her project Lupus Viator, which was exhibited at the Atlanta Contemporary Art Centre (Nexus Press International Program).⠀


The project Lupus Viator (latin: wolf walking) began as a series of monumental painted installations of an ephemeral nature and realised in situ. Later the project continued to evolve over a period of 7 years. It travelled to 7 different countries worldwide. ⠀
Taking into consideration its extensive duration, as well as its territorial movements, from country to country, Lupus Viator can be understood almost like a mythical pilgrimage, which covers the trails and places, where wolves have formerly roamed in abundance, before the species has widely become extinct.⠀

2019/06/15

Lupus Viator, 1994 – Madrid, Spain⠀
Darya von Berner⠀

Museo de Arte Contemporáneo⠀

Wall painting⠀
Foto: Joaquín Cortes⠀

In the context of the group show “Confrontaciones (los entornos de la imagen)”, the ephemeral painting Lupus Viator, acquired monumental proprtions and covered the entirety of a wall at the museum of Anthropology in Madrid.⠀

Curators: Martín Bartolomé and Félix Guisasola⠀
Sponsor: Ministerio de Asuntos Sociales⠀
In collaboration with Ministerio de Cultura⠀

The project Lupus Viator (latin: wolf walking) began as a series of monumental painted installations of an ephemeral nature and realised in situ. Later the project continued to evolve over a period of 7 years. It travelled to 7 different countries worldwide. ⠀
Taking into consideration its extensive duration, as well as its territorial movements, from country to country, Lupus Viator can be understood almost like a mythical pilgrimage, which covers the trails and places, where wolves have formerly roamed in abundance, before the species has widely become extinct.

2019/06/14

Lupus Viator, 1994 – Zaragoza, Spain⠀
Darya von Berner⠀

Galería Antonia Puyó⠀
@antoniapuyo⠀

Wall painting⠀
Photo: Pedro Avellaned⠀

In the “Galería de Arte Antonia Puyo” (Zaragoza), Lupus Viator once more took on monumental dimensions, covering the entirety of this enormous wall.⠀

The project Lupus Viator (latin: wolf walking) began as a series of monumental painted installations of an ephemeral nature and realised in situ. Later the project continued to evolve over a period of 7 years. It travelled to 7 different countries worldwide. ⠀
Taking into consideration its extensive duration, as well as its territorial movements, from country to country, Lupus Viator can be understood almost like a mythical pilgrimage, which covers the trails and places, where wolves have formerly roamed in abundance, before the species has widely become extinct.⠀

2019/06/12

Lupus Viator, 1994 – Basel, Switzerland⠀
Darya von Berner⠀

Galerie Triebold⠀
Wall painting and TVmonitor⠀
Foto: Grazia Branco⠀

In the Galerie Triebold (Basel), a large-scale wolf was painted on one of the gallery walls. A television monitor was built into the same wall, on which popular TV programmes where shown, from news to soap operas.⠀


The project Lupus Viator (latin: wolf walking) began as a series of monumental painted installations of an ephemeral nature and realised in situ. Later the project continued to evolve over a period of 7 years. It travelled to 7 different countries worldwide. ⠀
Taking into consideration its extensive duration, as well as its territorial movements, from country to country, Lupus Viator can be understood almost like a mythical pilgrimage, which covers the trails and places, where wolves have formerly roamed in abundance, before the species has widely become extinct.⠀

2019/06/10

Lupus Viator, 1993 – Pescara, Italy⠀
Painting – Darya von Berner⠀
Fuori Uso⠀
Photo: Grazia Branco⠀

This large-scale painting of a walking wolf (Lupus Viator) was the first in the series. It was shown for “Fuori Uso” (1993), an annual contemporary art exhibition that takes place in Pescara (Italy).⠀

Curated by Achille Bonito Oliva⠀

The project Lupus Viator (latin: wolf walking) began as a series of monumental painted installations of an ephemeral nature and realised in situ. Later the project continued to evolve over a period of 7 years. It travelled to 7 different countries worldwide. ⠀
Taking into consideration its extensive duration, as well as its territorial movements, from country to country, Lupus Viator can be understood almost like a mythical pilgrimage, which covers the trails and places, where wolves have formerly roamed in abundance, before the species has widely become extinct.

2019/06/07

Marchas de Elefantes, 2013 – Limerick⠀⁣
Multi-media installation, Darya von Berner⠀⁣
⠀⁣
Prequel Programme⠀⁣
Ormston House, Limerick, 2013⠀⁣
@ormston_house @cornellbirds⠀⁣
⠀⁣
‘Intelligent Elephant’ show graphically the infrasonic acoustic of elephant communication, with elephant calls of frequencies below the lower limit of human hearing (20 Hz). This special communication, serves elephant herds to coordinate themselves and can travel over distances of up to 10 kilometres. It was discovered by the bioacoustics researcher Katy Payne in 1984. Hereby very complex information is communicated acoustically, including emotive state, physical characteristics, intention, and perhaps reference to abstract concepts.⠀⁣
⠀⁣
sound recording and visuals with kind permission by:⠀⁣
Elephant Listening Project *⠀⁣
The Cornell Lab of Ornithology⠀⁣
with special thanks to Peter Wrege⠀⁣
⠀⁣
* Elephant Listening Project, uses acoustic methods to study and aid in the conservation of forest elephants in Central Africa.⠀⁣
⠀⁣
Curators: Joan Stack & Paul Quast⠀@elephantlisteningproject⁣

2019/06/06

Marchas de Elefantes, 1998 – Madrid⠀⁣
Video, Darya von Berner⠀⁣
⠀⁣
Mercado de Fuencarral⠀⁣
Madrid, 1998⠀⁣
Duration: 0:44, loop⠀⁣
⠀⁣
At the Mercado de Fuencarral (Madrid), Marcha de Elefantes was shown in the format of a multi-media installation. On several monitors, in and outside of the market, the video of an elegant couple walking in front of a homeless, was shown on a loop. Again, the work emphasized the notion of habitat loss and its problematic in the context of a city.⠀⁣
⠀⁣
Curated by: Eugenio Ampudia⠀⁣
⠀⁣
Production: Laagencia (Vicente Matallana)⠀⁣
⠀⁣
The project Marcha de Elefantes, is a metaphor of walking: the walk of all the wild animals and people which have lost their habitat and homes, uprooted and forced to leave their place of origin.⠀⁣
⠀⁣
The work began as a series of large-scale murals, but later the wall-based work was complemented by sculptures, videos and also performances.⠀⁣

@elephantlisteningproject⁣

2019/06/04

Marchas de Elefantes, 1997 – Basel⠀⁣
Wall Painting, Darya von Berner⠀⁣
⠀⁣
Galeria Triebold⠀⁣
⠀⁣
Basel, 1997⠀⁣
Wall painting, installation and sculpture⠀⁣
⠀⁣
The windows and beams of the gallery were covered with fabric, mattresses, wardrobes, chairs and other objects, as if a tornado had sucked everything into the gallery space. One of the gallery walls showed a large-scale mural of an elephant, tilted horizontally. All concentration was focused on the trumpeting of this elephant, which has not got a floor to stand on anymore.⠀⁣
⠀⁣
Text: Hubertus von Amelunxen⠀⁣
⠀⁣
The project Marcha de Elefantes, is a metaphor of walking: the walk of all the wild animals and people which have lost their habitat and homes, uprooted and forced to leave their place of origin.⠀⁣
⠀⁣
The work began as a series of large-scale murals, but later the wall-based work was complemented by sculptures, videos and also performances.⠀⁣

@elephantlisteningproject⁣

2019/06/03

Marchas de Elefantes, 1997 – Amsterdam⠀⁣
Wall Painting and web site, Darya von Berner⠀⁣
⠀⁣
Stedelijk Museum, World Wide Video Festival⠀⁣
Amsterdam, 1997⠀⁣
⠀⁣
@stedelijkmuseum⠀⁣
⠀⁣
In 1997, Tom van Vliet (director of the World Wide Video Festival, Amsterdam) selected Marcha de Elefantes for an exhibition at the Stedelijk Museum in Amsterdam. The work consisted of a webpage, showing a red toy elephant. Reflected on the surface of the elephant, one could see a sequence of images of miserable shacks, along a highway of south Madrid. The same elephant was then painted in a large format onto the wall of the museum, and the same sequence of images was projected on to the painting. The intention of the work, was to give a symbolic space to all those who have lost their homes⠀⁣
⠀⁣
–⠀⁣
⠀⁣
The project Marcha de Elefantes, is a metaphor of walking: the walk of all the wild animals and people which have lost their habitat and homes, uprooted and forced to leave their place of origin.⠀⁣
⠀⁣
The work began as a series of large-scale murals, but later the wall-based work was complemented by sculptures, videos and also performances⠀⁣


@elephantlisteningproject⁣

2019/05/31

Marchas de Elefantes, 1997 – Mannheim⠀⁣
Wall Painting, Darya von Berner⠀⁣
⠀⁣
Galeria Angelo Falzone⠀⁣
Mannheim, Germany, 1998⠀⁣
Wall painting, objects and performance⠀⁣
Foto: Claus Stolz and Andreas Winkler⠀⁣
⠀⁣
The most impressive of this series of ephemeral paintings, took place in a gallery space of almost 1000 m2. For this painting and performance, von Berner relied on the generous help of five volunteers.⠀⁣
⠀⁣
For the performance the helpers were painted in the same way like the ephemeral mural, to somewhat visually become a fragment of the great elephant, just like in the well-known Hindu fable, in which six blind men, explain from their fragmented and partial viewpoint, how an elephant is. But none of them achieves to give a vision of the elephants totality.⠀⁣
⠀⁣
In our society elephants appear in form of toys, logos, cartoons and also documentaries, all of which are partial visions, which makes it impossible to perceive what the presence of a real elephant in his natural habitat can really transmit, moreover we can not really understand the significance of the extinction of this animal and its natural habitat.⠀⁣
⠀⁣
The project Marcha de Elefantes, is a metaphor of walking: the walk of all the wild animals and people which have lost their habitat and homes, uprooted and forced to leave their place of origin.⠀⁣
⠀⁣
⠀⁣
The work began as a series of large-scale murals, but later the wall-based work was complemented by sculptures, videos and also performances.⠀⁣
⠀⁣

@elephantlisteningproject⁣

2019/05/29

Marchas de Elefantes, 1996 – Barcelona⠀
Wall Painting, Darya von Berner⠀

Galeria Metropolitana de Barcelona⠀
Barcelona, 1996⠀
Photo: Santi Viladrich⠀

At the Gallery Metropolitana (Barcelona) the large-scale mural, showed this time only large fragments of the body of an elephant.⠀

The project Marcha de Elefantes, is a metaphor of walking: the walk of all the wild animals and people which have lost their habitat and homes, uprooted and forced to leave their place of origin.⠀

The work began as a series of large-scale murals, but later the wall-based work was complemented by sculptures, videos and also performances.⠀

2019/05/27

Marchas de Elefantes, 1996 – Köln⠀
Wall Painting, Darya von Berner⠀

Art Special Hansa⠀
Köln, 1996⠀


Darya von Berner showed her monumental mural Marcha de Elefantes, as part of Art Special Hansa (Cologne).⠀

Curated by: Uta M. Reindl and Georg Dietzler⠀


The project Marcha de Elefantes, is a metaphor of walking: the walk of all the wild animals and people which have lost their habitat and homes, uprooted and forced to leave their place of origin.⠀

The work began as a series of large-scale murals, but later the wall-based work was complemented by sculptures, videos and also performances.⠀

2019/05/25

Marchas de Elefantes, 1994 – Assisi⠀
Wall Painting, Darya von Berner⠀

Rocca Maggiore Sistema Museo di Perugia⠀
Comune di Assisi⠀
Assisi, Italy, 1994⠀
Wall painting⠀
Photo: Mika Schiffer @mikaschiffer⠀

The second installation of Marcha de Elefantes took place at the Sistema Museo/ Rocca Maggiore di Perugia (Assisi, Italy). At this occasion the ephemeral painting of this monumental elephant march, was realized on a palisade, that surrounded the castle.⠀

Curator: Giulietta Speranza⠀
Performance dance: Gisella Zanmatti⠀
⠀⠀
The project Marcha de Elefantes, is a metaphor of walking: the walk of all the wild animals and people which have lost their habitat and homes, uprooted and forced to leave their place of origin.⠀

The work began as a series of large-scale murals, but later the wall-based work was complemented by sculptures, videos and also performances.⠀

2019/05/24

Marchas de Elefantes, 1992 – Gibellina⠀
Wall Painting, Darya von Berner⠀

Photo: Grazie Blanco⠀
@fondazione_orestiadi⠀
Gibellina, Sicily, Italy, 1992⠀

Marcha de Elefantes was presented at the Paesaggio con Rovine, Gibellina,Sicily. For the first time Darya von Berner painted a large-scale mural of several elephants, that seemed to walk around the room painted in red.⠀

Curators: Achille Bonito Oliva and Giuliana Stella⠀

#achillebonitooliva⠀

The project Marcha de Elefantes, is a metaphor of walking: the walk of all the wild animals and people which have lost their habitat and homes, uprooted and forced to leave their place of origin.⠀

The work began as a series of large-scale murals, but later the wall-based work was complemented by sculptures, videos and also performances.⠀

2019/05/18

Der Rote Faden, 2014 – Frankfurt / Darya von Berner⁣
Light Installation⁣


Der Rote Faden (the red line) is a German phrase (Goethe „Elective Affinities“) that refers to a track, a path or a guideline. A Roter Faden connects distant things that belong together.⁣

The building in Saalgasse 18, Frankfurt, by architect Charles Moore and Norbert Moest, is an example of an emotional and pluralistic post-modern architecture. The two houses are in reality just one. A red light tape joins the two seemingly different house-halves and repeats in it’s movement the circular elements of the architecture.⁣

2019/05/16

In Love with Unreality, 2009⁣
Madrid, Galería Moriarty⁣


An art installation at the Moriarty gallery in Madrid with the collaboration of the poet Lawrence Ferlinghetti known for his poems inspired by the New York subway, and the underground company of Metro de Madrid, that installed generously an access control turnstile at the entrance of the gallery.⁣

Whilst physically passing the barrier with a Metro ticket with a line of the poem In Love With Unreality by Ferlinghetti, he recited it (https://vimeo.com/38096965)⁣

2019/05/14

Años luz (un instante), 1999 – Barcelona⁣
Light Installation, Darya von Berner⁣

Site-specific installation at Gallery Metropolitana (Barcelona) for the occasion of the millenium change. For each year of the past millenium a date was written on the gallery wall and every century was marked with a neon tube.⁣

Art at the turn of the millenium.⁣

Photo: Pere Soldevila⁣

2019/05/10

¿Qué significa orientarse en el pensamiento?, 2010⁣
GALERÍA MORIARTY, Madrid⁣

Sight-specific installation at the Gallery Moriarty. For this installation, the basic architectural structure of the exhibition space, was redrawn with the help of a new lighting technology (Light Tape). The title of the exhibition was inspired by the work of Immanuel Kant (1786) ‘What does it mean to orient oneself in thinking?’⁣

2019/04/23

Este jueves día 25 de abril, en el ámbito del programa cultural “En torno al 8M y la marea feminista”, tendrá lugar a las 18.30h en la Sala de Protocolo del @museoreinasofia, la séptima edición de VOCES SITUADAS, donde hablaremos de maternidad y cuerpo – maternidad y trabajo – maternidad y psique.⁣

Cuando en el 2014 comencé mi proyecto “Maternidad Politica” no me imaginaba todo lo que aprendería en estos cinco años.⁣

2019/04/08

breathe( )red, Light Installation 2015 by Darya von Berner⁣

breathe( )red redraws – from sunset to midnight – the architectural structure of the pavilion with artificial light. Darya von Berner thus transforms the completely transparent pavilion into a floating mirroring object. Harry de Wit composed a soundtrack that interacts with the travelling of light coming from the inside of the pavilion. His sound waves originate in the trees that surround the pavilion and are sent from the trees to the glass panels of the pavilion, which then resonate with them.⁣


breathe( )red was commissioned by Tschumipaviljoen, with the kind support of Light Tape, the City of Groningen, Kunstraad Groningen, GasTerra, Beringer Haezewinkel Fonds and Time Shift.⁣

2019/03/30

Ninho – Paisagem de luz, 2015 ⁣
Light Installation – Cachoeira, Bahia (Brasil) ⁣
Curated by Tom van Vliet⁣
AD @danillobarata⁣
Photos: @andreamparo⁣

In February 2015, the artist Darya von Berner presented Ninho – Paisagem de luz.⁣
The piece was shown in Cachoeira, Bahia, with kind support by⁣ Fonds Prince Claus Fund and Fundaçao Cultural do Estado da Bahia⁣. ⁣


#paisagemsonorabahia⁣
#paisagemdeluz #art #cachoeira #bahia #brasil #contemporaryart #daryavonberner #culture #artist #daryavonberner #architecture #lighttape #publicart #artinstallation

2019/03/28

Atmosphère au Louvre, 2012 ⁣
Cloud, Project of deployment of a real cloud around the Pyramid by I.M. Pei of the Louvre.⁣

Projet 2012 de déploiement d’un véritable nuage autour de la pyramide par I.M. Pei du Louvre.⁣

#paris #art #contemporaryart #daryavonberner #culture #artist #daryavonberner #louvre #impei #cloud #nuage #atmosphere #museedulouvre #pyramidelouvre #atmosphereart #architecture #publicart #artinstallation

2019/03/26

Universal Cloud Flag, 2012 Darya von Berner⁣

In January 2012, the artist Darya von Berner presented her most recent work Universal Cloud Flag.⁣
The piece was shown at the Peace Palace in The Hague (Netherlands) @peacepalace.nl⁣
, which houses among others, the International Court of Justice and the Permanent Court of Arbitration.⁣

The flag consists of a real cloud, which is released from the top of a flagpole.⁣
The cloud is created with the help of a new nebulization technology, which employs high pressure to pulverise water into micro-particles, that can float in the air. The flagpole also emits light to enhance the visibility of the water particles.⁣

Curator: Tom van Vliet ⁣

#art #contemporaryart #daryavonberner #culture #artist #daryavonberner #cloud #cloudflag #peacepalace #universalflag #justice #universal #people #hague #architecture #publicart #artinstallation

2019/03/23

Madrid, 2007⁣
Technique: water and air⁣

La nube de la Puerta Alcalá, was a temporary site–specific intervention in a public space of Madrid. It was created for the Noche en Blanco´07 (Madrid) and consisted of a real cloud, which was installed in front of the historic monument ‘Puerta de Alcalá’. The cloud was created with the help of a new nebulisation technology and consisted of nothing else but pulverised water particles suspended in mid-air. The installation offered almost a million visitors the possibility, to experience a natural phenomenon in the heart of the city.⁣

Curated by: Pablo Berástegui⁣

Sponsored by: Noche en Blanco’07⁣

Technical realization: Reyes Abades⁣

#madrid #art #contemporaryart #daryavonberner #culture #artist #daryavonberner #atmospheres #madridart

2019/03/22

Ceci n’est pas un nuage, Brussels, 2009⁣
Technique: water and air⁣

Ceci n’est pas un nuage, was created for the Nuit Blanche Brussels ’09. It consisted of the temporary installation of a ‘real’ cloud at the Place Royale in Brussels (next to the Musée Magritte). The cloud was created with the help of a new nebulisation technology and consisted of nothing else but pulverised water particles suspended in mid-air.⁣

Homage to: Jan van Helmont, René Magritte y Marcel Broodthaers⁣

Curated by Sabine Cornu⁣

Sponsored by: Nuit Blanche, European year of creativity and innovation 2009 (European Comission)⁣

Technical realization: Fog Systems⁣

#madrid #art #contemporaryart #daryavonberner #culture #artist #daryavonberner #brussels #madridart #nuage #atmospheres

2019/03/20

Cordova mosque, Cordova, Spain, 2009⁣
Technique: water and air⁣

For the occasion of ‘Cordoba, European Cultural Capital 2016’, four different artists were invited to create a public intervention each. Every artist represented a different element: air (Darya von Berner), fire (José María Soler), water (Jeppe Hein) and earth (Miquel Barceló and the dancer Josef Nadj).⁣

Von Berners La nube de Córdoba, was a temporary installation of a cloud in front of the UNESCO World Heritage Site ‘Mezquita-Catedral de Córdoba’. The cloud was created with the help of a new nebulisation technology and consisted of nothing else but pulverised water particles suspended in mid-air.⁣

Curated by Carlota Álvarez Basso⁣

Technical realization: Fog Systems⁣

#madrid #art #contemporaryart #daryavonberner #culture #artist #daryavonberner #cordoba #madridart #nube #atmospheres

2019/03/14

Fuera de lugar, 2009 – Sculpture – Darya von Berner⁣

⁣Carole Pateman definition of ‘prostitution’ as an institution that involves the exchange of money for sexual services (property in the person) and, as an institution, has nothing to do with women’s desire, but has a lot to do with women’s survival – and the very large profits of those who control the global sex industry.⁣
⁣⁣
#feminist #feminism #8M #madrid #art #painting #contemporaryart #daryavonberner #culture #artist #daryavonberner #madridart #criticalart #money

2019/03/13


Deviation on the basis of the standard, 1997 – Painting, Darya von Berner ⁣

Paul Klee’s drawings about the “abnormal movements within the normal internal construction” are useful also to open the configurative possibilities of “abnormal” or “irregular” on some social norms.⁣

#madrid #art #contemporaryart #daryavonberner #culture #artist #daryavonberner #arco19 #madridart #arcomadrid

2019/03/12


Deviation on the basis of the standard, 1997 – Painting, Darya von Berner ⁣

Paul Klee’s drawings about the “abnormal movements within the normal internal construction” are useful also to open the configurative possibilities of “abnormal” or “irregular” on some social norms.⁣

#madrid #art #contemporaryart #daryavonberner #culture #artist #daryavonberner #arco19 #madridart #arcomadrid

2019/03/11


Deviation on the basis of the standard, 1997 – Painting, Darya von Berner ⁣

Paul Klee’s drawings about the “abnormal movements within the normal internal construction” are useful also to open the configurative possibilities of “abnormal” or “irregular” on some social norms.⁣

#madrid #art #contemporaryart #daryavonberner #culture #artist #daryavonberner #arco19 #madridart #arcomadrid

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