Montag, 17. September 2018

Franziska Wilser. Contemporary Artist from Berlin

Franziska Wilser catches the gentle dynamics between evolution and definition.  Her often surreal depictions of transformations in movement and meaning are forever alleviating.

Born into Berlin’s urban creed of grey skylines and enthralling nightlife, she has an affinity for nature and a great love for the outdoors.  Frequenting the outer limits of Brandenburg under the stars or not; Franziska brings much of that connection to her sought tranquillity towards the natural ebb and flow of things, into her works.

Franziska Wilser has over the years been a part of many intimate collections - be that performative, exhibitions, commissions or print.  Alone or in collaborative projects alike her work spans many varied techniques with a sure focus on drawing and collage. Not limited to this however, Franziska has explored paint, shop installations and lithography (gravure). 

Franziska’s most notable projects include; collages / drawings of characters, untitled, newspaper on paper.  Being part of many projects at Sisyphos, Franziska has produced posters for regular reading events and collages for a Sisyphos magazine.  The latter of which she also shared many of the Editorial responsibilities. 

Franziska’s performances are rooted in her time as a child spent at dance school, something she has practiced since.  Dealing with dance and performance specifically, she chose to express herself through a focus on slowness using the question ‘How quiet can the body be?’ as a chief source of inspiration.  Covering almost an entirety of Berlin a couple of her recent performances include walking predetermined routes through the city, allowing herself to become hyper aware of the contrast between her conscious efforts and the innocent yet chaotic city life around her.  She has also given performances at events in Leipzig and Festivals. 

In the meantime Franziska has continued her exploration of painting, drawing, installation and lithography and has found paper, in the form of collage, to be a satisfying media. Often using discarded magazines and newspapers, her reform of the structure and the characteristic uniformed grid used in printed media combined with her drawings perfectly exemplify the noted comfort in nature’s ebb and flow.

Paper is like painting in another way, I like the history it carries with it, the information repurposed for our time”

All images courtesy of Franziska Wilser


e-merginG artistS 

Torstrasse 208, 10115
030 9789 38 97

Freitag, 13. Januar 2017



All images courtesy of

e-merginG artistS

Imrpessum Torstrasse 208,

Georgia Today: e-merginG artistS. GOSLAB at Kino Babylon. Text: Lily Fürstenow

Scateboarders and Seascapes

Text by Lily Fürstenow-Khositashvili

Photography is the result of the dialogue between the author and the camera as media theorist Vilém Flusser put it. Images are projections that in our age of digital revolution turn each of us into obervers and simultaneously authors of images that we can create by tipping computer keybords and buttons operating respective softwares. In his cycle of photographs entitled “When the Earth Seems to Be Light” after the documentary with the same name that won the best documentary film award at the Film Festival in Amsterdam earlier in 2015 photographer David Meskhi analyses the digital nature of image projections.

The documentary, initially based on the photographs by Meskhi of skateboarders in picturesque urban land and seascapes is about movement and the ability to project it in photography and on film screen. Later when the film was ready he rephotographed the moving images from the cinema screen. What we see in this cycle are the photographic snapshots capturing free movement turned into moving images turned into screenshots of the moving images of scateborders. The result are reflections of light spots, camera lense reflections merged with the rectangular outlines of the screens, doubling images and multiplying repetitive projections frozen in front of the spectators as separate film stills. The figures, city views and seascapes are blurred, pixelled, they are everything but precise and show overlapping surfaces of projections and double screens.

In our age when contemporary technologies advertise themselves with the ability to reproduce reality as true as possible with images rendered as sharp as ever the attitude chosen by the artist is utterly subversive putting into question the abilities of the digital technologies. By reducing the forms and figures into blurred spots scattered across the surfaces he reveals the nature of the image consisting of separate colour pixels, innumerable colour dots and particles that the cinematographic and photo projections are made of.

The cinematographic motion akin to the universal motion is brought here to a standstill in snapshots. The repetitive character of the skateborders movements is emphasised by repetitive imagery and the 

snapshots out of focus that simultaneously irritate the viewer and intensify movement dynamics.

The camera captures a particular city, a flickering moment in life, and a specific time in history viewed through the eyes of youth who drift, almost invisibly, through a landscape of crumbling architecture and political protest. The subversivity of the youth is conveyed through the formal language of the photographer portraying his protagonists. His snapshots are made against the conventions of traditional image representation, as if the artist works “against the apparatus” critising it and testing the limits of the new media possibilities.

WHEN THE EARTH SEEMS TO BE LIGHT” is the winner of  International Documentary Film Festival Amsterdam 2015/ IDFA Award for Best First Appearance. It is a cinematic documentary by Salome Machaidze, Tamuna Karumidze and David Meskhi produced by Zaza Rusadze. The Berlin premiere of the film will take place in Kino Babylon on Friday January 13, 2017. The film focuses on the modern youth, being lost searching for non-existing spots of freedom in a post-Soviet Georgia. The cycle of photos by David Meskhi, having the same title were exhibited at the Tea Nili Art Space in Tbilisi earlier in 2016. 

Georgia Today Berlin
e-merginG artistS

Torstrasse 208, 10115,
All texts and photos courtesy of 
Georgia Today for e-merginG artistS Berlin

Montag, 28. November 2016

Kakhaber Kikabidze and Sandra Becker. Filmfest Stuttgart

 Tba. ტბა. (Lake). Kakhaber Kikabidze, 1998, Drama. OmU

Theater am Olgaeck, Charlottenstraße 44, Stuttgart
29. 11. 2016. 8 pm

curated by Dr. Lily Fürstenow

Tba is inspired by Heinrich Mann's "Abdication" (short-story)
Written by Len Massaar
Stars: Dito Shvelidze, Irakli Mshvildadze, Nino Koberidze 

This film tells the story of one boy's struggle to come to terms with his harrowing past; an adult story seen through the eyes of a child.
Zura is forced to watch as his father is slaughtered by members of his small village. The mother escapes with the boy, eventually moving away and living in a run-down apartment in Tbilisi where a new life (hopefully) awaits. However, a new location cannot begin to erase the psychological trauma the boy has experienced and this manages to affect his every relationship; neighbours, his new teacher, schoolmates and even his mother. His father's death at the banks of the lake (hence the title), have twisted his strong personality towards sinister/evil ways. His pent-up grief manifests itself in dark ways... can he possibly ever escape his anger and sorrow? 

Q&A at the Werkstatt der Kulturen Berlin after Tba screening. April 2016. With film producer Natia Rachvelishvili and artist Frederic Krauke (Guilty of Kissing) 

After screening Georgian Weinkost with H.E. Georgian Ambassador in Germany Lado Chanturia (All Photos Courtesy of Richard Schubert)

Sandra Becker 01. Lift, 2005
Filmstill. Lift 

Sandra Becker 01

1967 geboren in Freiburg/Breisgau, lebt in Berlin, 
             aufgewachsen in Bonn, Ankara, Lima und New York
seit 2013

Organisation und inhaltliche Leitung der Vorlesungsreihe „Cybertechnik“
„iblend-learning“, Veränderung meiner Hochschullehre am Rechenzentrum
der FU als Modellprojekt für die Umstellung der Lehre auf elearning
Einheiten an der ZedatGastprofessorin für künstlerische Transformationsprozesse, Universität der Künste Berlin, 
interdisziplinäres Teamlehrprojekt Stille Post Workshop „Gesichter von Berlin“, 
Grundschule am Koppenplatz
Forschungs- und Lehrauftrag eVideo 2.0, interaktiver Einsatz von Video zu Lernzwecken, 

Hochschule für Technik und Wirtschaft Berlin
Preise und Stipendien
2000 DigitalArt-Preisträgerin im Bereich Movies
2002 Atelierprogramm point B, Williamsbourgh, New York
2003/04 Förderung durch die Verwertungsgesellschaft Bild-Kunst (VG Bild)

Impressum  e-merginG artistS
Torstrasse 208, 10115 Berlin
Tel. 030 - 9789 38 97

Freitag, 25. November 2016

Lana Ghoghoberidze. Musquiqui Chihying. Filmfest Stuttgart

Lana Ghoghoberidze

Women in Georgian Film. ქართული კინო შტუტგარტში. Film Festival

 Theater am Olgaeck, Charlottenstraße 44, Stuttgart

Curated by Dr. Lily Fürstenow

Nov. 24, 2016. 8 pm: 

Some Interviews on Personal Matters. Lana Ghoghoberidze
USSR, 1977, 95 mins, Color, 35mm
In Georgian with German subtitles and English electronic titling

Sofiko, a young newspaper employee, is passionately involved in her work interviewing people who have submitted complaint letters to the editor. One of the women Sofiko interviews is her mother, and the pair's onscreen relationship strongly resembles the tragic early life of the director and her mother, making this a very personal film for Lana Gogoberidze. A bold mixture of documentary and social-psychological drama - and the first film to make mention of Stalin's camps - Some Interviews on Personal Matters makes powerful statements about women, work, family, and marriage that earned it international acclaim as the first feminist film of the Soviet cinema.

Camera. Seoul. Musquiqui Chihying 

 film still

The Camera (16) HD Video 1:46 on Loop 2016 Seoul Soundtrack from Twice Global: Tzuyu’s Official Apology

As the extension of the eye, the camera transcends the human imagination of time and space. Though specific operations, cameras can turn into powerful ideological machines, and easily seize a subject’s autonomy. When the shutter opens, a power competition between the camera and the subject begins: the one who stands in front of the lens has only a brief time to respond to the force of the camera. A video clip released by a South Korean entertainment company in 2016 could be a good example of such a situation. On the screen, the audience can see a young girl apologising for recent representations in the media about her national identity. However, the helplessness in the girl’s facial expressions and other non-verbal communication are seen by viewers as evidence that the girl has been forced to apologise. As a result, members of the public react negatively against the entertainment company, in strong support for the girl’s rights. Whether intentional or not, as a filmed object, the action of the young girl could be seen as a performance with a certain strategy, contending the force of the camera. By turning the lens of the camera and reconstructing the image from the subject’s perspective, which otherwise never really exists, the work The Camera faces the dominant narrative power of the camera. After the entertainment company refuses to co-operate with this project, The Camera (16) works with a young performer, who is the same age as the young girl, from a famous South Korean star scouting website. Using methods such as the performer’s imagined re-enactment of the event (?) and the recreation of the young girl’s view onto the office window, the process of the anonymous cameraperson shooting the young girl’s apology is reproduced as fictional documentary.

All images courtesy 
of Lana Ghoghoberidze and Musquiqui Chihying

e-merginG artistS
Torstrasse 208, 10115 Berlin
030 9789 38 97

Sonntag, 20. November 2016

Euan Williams. Collapse

Curriculum Vitae
2005 | Norwich School of Art and Design
2009 - 2014 | Institut für Raumexperimente | Klasse Prof. Olafur Eliasson
2008 - 2012 | Absolvent der Universität der Künste Berlin under Prof. Olafur Eliasson 2012 - 2014 | Meisterschüler unter Prof. Olafur Eliasson und Prof. Katja Strunz
Ausstellungen (Auswahl)
Metamachine, Kulturwerk des BBK Berlin, Berlin
We shall survive in the memory of others
, Werkstatt der Kulturen, Berlin
(Curator) This was the future once, Kreuzberg Pavillon, Berlin Kunstverein Familie Montez, Frankfurt am Main Kunst&Konstrukt, Westraum, Berlin
VKunst Frankfurt, Galerie Greulich, Frankfurt am Main

Zero, Martin Gropius Bau, Berlin
Outside (inside) the flocking, 30 Schilling, Berlin

24h Skulptur, Sexauer Gallerie, Berlin
Festival of Future Nows, Neue Nationalgalerie, Berlin
Light Up, WilmerHale, Berlin
Our Accursed Share, D.H.U.A. Galerie, Berlin Walk-In-Progress, Vitamin Creative Space, Guangzhou, China

Being Here, Intervention in Public Space, Barcelona (Solo) Accidental Accomplishment, Institut für Raumexperimente, Berlin Macht Kunst, Deutsche Bank Kunsthalle, Berlin
interferenz_en 013, EnBW Showroom, Berlin

Grosses Feld, Jan Meda, Addis Abeba, Ethiopia
Produzentenmesse 2012, Kommunale Galerie Berlin, Berlin
Time being being time, Baumwolle Spinnerei, Leipzig
Absolvent Ausstellung, UdK, Berlin
Translation Acts, The World Is Not Fair
Die Grosse Weltausstellung 2012, Berlin Glasauge, Bunker Virchowstr, Berlin
2011 2012
Japan Berlin 2000-2011: Playing amongst the Ruins, Museum of Contemporary Art, Tokyo, Japan

Testing Stages, Hebbel am Ufer, Berlin
Rundgang - Mapping Everything, UdK, Berlin
Leistungsschau, Kunsthalle am Hamburger Platz, Berlin
100 grad Berlin, Hebbel am Ufer, Berlin
Without Destination, Reykjavik Art Museum, Reykjavik, Iceland

Geist IV, Berlin
Let's start to implement little errors, Pfefferberg, Berlin

2009 - 2010
Turning Shadow into Transient Sight, Grey Sheep, Pfefferberg, Berlin (Solo)
Berlin Art Link, Studio visit interview, Dynamo, Zero Foundation, Publication | Martin Gropius Bau
A collection of shadows in the folds of books taken over the course of a year from around the world | Published by the Verlag der Buchhandlung Walther König, Köln
DIE NADEL - Kulturwissenschaftliche Zeitschrift für Kunst und Medien, 02/01 2013
Time being being time | Exhibition Catalogue
Translation Acts | Exhibition Catalogue
Mapping Everything | Collaboration with ETH Zürich and Institut für Raumexperimente, Exhibition Catalogue Rundgang 2013 | Exhibition Catalogue

Rundgang 2012 | Exhibition Catalogue
'Impossible Topics / Rescued Futures' - Otto's impossible talks | (Editor and contributor) Tick 1 (Online Journal) | (Editor)
09/01/2014 China >>>> 125/01/2014
22/11/2011 Sao Paulo >>>> 05/12/2011

e-merging artists

Torstrasse 208, 10115

030 9789 38 97
All images courtesy of Euan Williams

Freitag, 18. November 2016

T. Magradze and T. Karumidze. Films

Film Stills. Au-Pair

ქალი ქართულ ფილმში. Georgian Film Festival in Stuttgart. ქართული კინოფესტივალი შტუტგარტში.Woman in Georgian Film. Theater am Olgaeck. 

Mittwoch 23. Nov. 2016. 20 Uhr.

Theater am Olgaeck.
Charlottenstrasse 44,
Curated by Dr. Lily Fürstenow

Au-Pair. Tamar Magradze

Au-Pair - is a film about those who choose the right candidates for the au-pair program and those wishing to take part in it. Is au-pair a lucrative business for those running it or a chance of the lifetime for young people? For those from Georgia it's a promising adventure, an escape into the rich and thriving world of the West. But who knows the difference between harsh reality and the rosy dreamworlds?

Tamar Magradze was born in 1988, in Tbilisi/Georgia. She graduated high school in 2005. Until 2007 she studied at the (Nikoladze Art College) in Tbilisi and at the Georgian Academy of Arts during 2007- 2011. From 2012 she moved in Berlin. Since 2014 she is a student of Berlin University of Art (UDK) in the class of Hito Steyerl.

 Zahesi 708

Film Stills. Zahesi 708

Zahesi 708. Tamuna Karumidze
Documentary, 2002, 45 min.
English subtitles 

The film is just like one week of life in Tbilisi of the 90s. Capital of Georgia after soviet system broke down and the organaised and usual lifestyle just vanished. We dive into the Georgian reality and into the real emotions. There is nothing to investigate. There is a lot to observe... just to watch… (T. Karumidze)

All images courtesy of Tamar Magradze and Tamuna Karumidze


E-merginG artistS

Torstrasse 208, 10115