G.A.S-station präsentiert im Schaufenster:
G.A.S-station, Im Schaufenster - Niina Lehtonen Braun, RAUHA RAUHA RAUHA RAUHA RANTA RAUHA, 2022
Niina Lehtonen Braun

Ink, acrylic on paper, 163 x 110 cm

The tltel refers to a favourite song of hers from the 1980s, by the Finnish band Hassisen Kone. Painted as a protest painting against the war. Hassisen Kone: Levottomat Jalat. "... Peace, peace, peace, peace - Peace on the beach - I saw my head crying out in distress - But my feet are carrying me, and now it's starting again"

Niina Lehtonen Braun, born 1975 in Helsinki, Finland. She studied fine arts in Helsinki and Paris and lives and works in Berlin. Her artistic work is diverse and includes collage, installation and performance. She is part of the performance group JOKAklubi. Since 2015, Lehtonen Braun has been co-operating with the Berlin project space HilbertRaum. Three artist books, "Mädchen lass los" (2021), "These Foolish Things Remind Me ofYou" (2016) and "Mother Said" (2014) about her work have been published by Kerber Verlag.

G.A.S-station, Im Schaufenster - Oliver Orthuber, Turmartige Parasexualität, 2015
Turmartige Parasexualität, 2015
Oliver Orthuber

The object "Tower-like Parasexuality" was created during the installation development for the fall project 2015 "Augustina dreams in progressius". Oliver Orthuber has been working on a multimedia installation since spring 2014, this tower-like stacked object made of plastic, cardboard and small material outed its parasexuality on 25.4.2015 (at the OpenProcessDay).

Acrylic on plastic, cardboard, foam, ca. 28 x 15 cm

als ob (as if) - Christiane Spatt
als ob (as if), 2020/21
Christiane Spatt
3 photos laminated on Kapa, each 40 x 60 cm

Based on the biological phenomenon of the emergency bloom, the photo installation "als ob / as if" deals with the strategy of overcompensation as a reaction to a threat, the attempt to compensate for a lack through exaggeration and oppulence.

SYSTEMRELEVANTER DRUCKER, 2021 - Katharina Schnitzler
SYSTEMRELEVANTER DRUCKER (system relevant printer), 2021
Katharina Schnitzler

Overpainted canvas and a printer, 100 x 170 cm

A new no return, a never back - a corona never back makes us doubt everything, the rightness of the actions of others, the rightness of a conspiracy theory. The world is tipping out! The question about your or my relevance makes the security of the own perception crazy. I am not system-relevant with my art - neither I as a person nor you as art - what counts are the things that are indispensable. But what is indispensable? And who is in charge? The earth is recovering because we remain in corona rigidity, our skin is burning. - Art is dead. - A beautiful laughter flows through the room - art is dead! Why can’t I believe that? Because I know it’s not true, and it takes overpainted No Return paintings, very airy, muddy paintings that have a golden glow in the sunny shade. And it takes a printer to insist on its meaning.

The series of paintings No Return was created in 2015 in the context of people on the run | “1000 Africans”. Abstract landscape, traced by laser beams, seeking target like the search lens of a rifle. People on the run through unknown landscape - No Return. Otherwise: emptiness. In this emptiness we feel the loneliness, fear and hope, on a journey into the unknown. The people who have fled cannot simply return to their old lives, which no longer exist. And here? What is happening right now will change our society and we don’t know how.

Katharina Schnitzler (*1963 in Düsseldorf) lives and works in Berlin and on the road. From 1995 to 1999 she studied art therapy/art education at the Ottersberg University of Applied Sciences (diploma), then transferred to the UdK Berlin, where she graduated with a Master of Art in 2003.

daily: 10 a.m.-8 p.m.

Tanja, 1997 - Oliver Möst
Tanja, 1997
Oliver Möst
B/W photography Polaroid 55, baryta paper laminated on AluDibond, 70 x 55 cm

Oliver Möst deals in his works with processes of perception. In his photographic and filmic works he uses blurring as an aesthetic means to point out the subjective in the process of seeing. The portrait of Tanja Hofmann is from the series “Raindrops”. Tanja’s glasses are wetted with watery objects that alter the optics. The artist plays with the reversal of the angle of vision as well as the reversal of the function of glasses, namely to see sharply. Or one can interpret the convex reflections in the individual water beads on the visual aid as a fanning out of the view. In any case, for the viewer of the portrait, it changes the view through the glasses. Tanja Hofmann was close to Oliver Möst as a gallery owner, promoter, and personally.

Oliver Möst born 1968 in Füssen, Allgäu, lives in Berlin. Photography training 1992–1994 at the Lette-Verein. Since 1997 curatorial work for project spaces, galleries, museums. Since 2015 he is active in the Network of free Berlin project spaces and initiatives and is a member of Errant Sound Between 2019 and 2020 he was artistic director of the Kommunale Galerie Schoeler.Berlin and since fall 2020 he is project coordinator of StadtfindetKunst.Berlin for the district Charlottenburg-Wilmersdorf. Numerous exhibitions in institutions, galleries and project spaces. Individual publications of his work have been published by DE Books, Frankfurt/Main and Peperoni Books Berlin, among others.

daily: 10 a.m.-8 p.m.

Calypso, Christiane Spatt
Christiane Spatt

Is the hairstyle right, the make-up, are wrinkles already showing? - in the daily look in the mirror (or in a display in passing) we check our appearance.

The mirror installation “Calypso” shows a different, somewhat distorted picture. Engraved words denoting basic emotions such as joy, anger, shame, fear, love, etc., alter the smooth surface of the mirrors and thus the reflection, pointing to the basis of our human existence.

What makes us, what drives us, what determines our way of thinking, what shapes our actions?…

daily: 10 a.m.-8 p.m.

focus SCIENCE November 2020
James A. Shapiro did a lot of research on E. Coli bacteria, stained them to shoot their communication abilities and observed how genes can restructure by changing the nutrient solutions. "Living organisms have the ability and genetic tools in cells to actively modify their own genome. Most of the time the potential for "Natural Genetic Engineering" is inactive, but external influences (stressors) can be reacted to change the DNA architecture."

James A. Shapiro Professor of Microbiology at the University of Chicago. He is a leading scientific critic of orthodox evolutionary theory for 20 years. "Evolution: A View from the 21st Century” tries to explain what molecular biology and genome sequencing have taught us over the past 60 years. Shapiro had a close scientific and personal friendship with Barbara McClintock from 1980 until her death in 1992, which he says opened his eyes to completely rethinking science in general and evolution in particular. His vision also has major implications for evolutionary computation, information science, and the growing synthesis of physical and biological sciences. Furthermore, it might well be an input for non-biologists to re-consider their lives and world view in a new perspective.

focus SCIENCE November 2020 - online

During the 11 years of the exhibition, a number of scientific contributions on various topics were shown. We are proud to have inspired renowned scientists for the projects. They enriched the exhibitions with lectures, book contributions, professional articles, posters, videos and selected texts, which are also interesting for a professional audience.

daily: 10 a.m.-8 p.m.

Astrid Nischkauer, Fensterdichtung. 11 Jahre kunsT und impulS in der G.A.S-station Berlin +Zwischen Freiheit und Diktatur die Wand
Astrid Nischkauer

Poems to pick. The poetic installation "Fensterdichtung" during the literature focus, 11 years of arT and impulsE at G.A.S-station, will be presented in the window of the G.A.S-station. Pictures of old masters gave her inspiration, the transposition from visual art to linguistic art opens resonance lines.

daily: 10 a.m.-8 p.m. from 1.10.2020

11 years of arT and impulsE at G.A.S-station Berlin
P.E.N.-Club Austria as guest / poetry role of 'Writer in Prison' (excerpt)
Poems by Writer in Prison: published in books by P.E.N.Austria
Design: Elisa Asenbaum

11 years of arT and impulsE at G.A.S-station Berlin
Austrian P.E.N.-Club at GAS-station with „Writers in Prison

The Writers-in-Prison Committee of PEN International was founded in 1960, in response to the threateningly growing number of countries that try to silence writers through repression. It occupies a special position in PEN International, stands up for human rights and is a personalised seismograph: Individuals who do nothing but express their conscience-bound opinions and are persecuted for it are made known so that the world knows what injustice is being done to them. Literature is always personalized and individualized.

The Austrian P.E.N. Club was founded in June 1923, just two years after the International P.E.N. Club, making it the oldest authors' association in Austria.

PEN Austria was invited to the G.A.S-station for the literature focus 2020. Due to the Covid-19 pandemic, the events will now take place on 9th and 10th October 2020.

daily: 10 a.m.-8 p.m. from 29.4.2020

11 years of arT and impulsE at G.A.S-station Berlin
11 years of arT and impulsE at G.A.S-station Berlin
Opening 12th October 2019

In 2007 we wrote down our ideals and goals in the form of intentions and published them on our website. Now, twelve years later, we want to give an overview of the 11 years of the exhibition and its development. The publications of the works of over 350 art, literature and science contributors will be presented on space-filling, large objects, whereby our publications will be transformed into three-dimensional objects. All works will be shown in this special presentation once again and we invite the contributors to participate in the project (wall cycle and events) and to celebrate with us!

daily: 10 a.m.-8 p.m.

Zwischen Freiheit und Diktatur die Mauer im Das Fenster
Ulli Klepalski MAXIE MÖBEL, 2017
Mixed media on paper

daily: 10 a.m.-8 p.m. / 5.6.-23.8.2019

Zwischen Freiheit und Diktatur die Mauer im Das Fenster
Between freedom and dictatorship | the wall, 2018
Design Josef im Das Fenster
DesignJosef, 2018

Print on board, 75x50 cm

Schein und Spiegelung im Das Fenster
Reflection and Appearance, a Relation-Position Project, 2018
Harald Köhneke im Das Fenster
E.A.&TMS, ICH, 2018
golden fabric , grease on glass

Reflection and Appearance, a Relation-Position Project 2018
(Schein und Spiegelung, ein Relationspositionsprojekt)
Positiones in art, science and literature.

“The whole is not more than the sum of its parts, but something different!”

Harald Köhneke im Das Fenster
Spiegel Schein, 2017 - Poem: E. Asenbaum

Reflection and Appearance, a Relation-Position Project 2018
(Schein und Spiegelung, ein Relationspositionsprojekt)
Positiones in art, science and literature.

“The whole is not more than the sum of its parts, but something different!”

The relation-position project refers to this thesis and with its corresponding theme of appearance and reflection attempts to visualise the connection between relative references and their possibilities of interpretation via its organically growing development process.
The word Schein (appearance, but also shine) alone is ambiguous, it can be conceived as glowing or aura of light, but also as deceit, imposture, ostensibly presenting something which at closer inspection turns out to be insubstantial. Illusion and deception are not only used persuasively in the animal kingdom, but also are common practice especially in our fast-paced culture of oversupply where they find easy prey.
One sees the things that lying behind oneself, thus making it a glimpse of the past.

Harald Köhneke im Das Fenster
Harald Köhneke - Haltestelle, 2017

A Stop. A place, where you wait for transportation, for bus, tram or train; a well known and well defined place is connected and filled with expectation of enforced hold. Harald Köhneke adopt the shape of a typical bus stop; by installing it inside an art place he dispossess it of its meaning. Indoors the stop in its usual scale seams to be much taller, it divides the space into two halves. In the back of the construction you find a door to enter the stop-hemisphere behind. By a closer look, the building material turns out as silver coated square timbers and transparent foil. Details that have been kept holding up the familiar impression of a stop.

Another deformed 'stop' is placed at the public space in front of the G.A.S-station. You can stand and wait in this place under a little roof.

Waiting for what?

A sign at the back of the stop shows:

This Stop is
only for to a-wait


AUGUSTINAselbst im Das Fenster
AUGUSTINAselbst, 2016
G.A.S-station, Das Fenster, Peter Funken
Richard Burkart, out of the seria “GROSSSTADTPOESIE“, 2016
G.A.S-station, Das Fenster, Peter Funken
Peter Funken
Doppelter Schein (double appearance) – a triptych, 2016
(120~50 cm, acrylic on canvas)
G.A.S-station, Das Fenster, Albert Markert
Calla Mar, Crystal Sprawl (Identity 4-1), 2015
(seria out of 4 works, digital print á 80 x 60 cm)
In September 2016 we showed one of the last works from Calla Mar who passed away very much to soon.
We´ll miss here.
G.A.S-station, Das Fenster, Albert Markert

x|y|z:Spaceproject (for Augustina) for fine art und new media
8th.-21st June 2016

G.A.S-station, Das Fenster, Ulrike van de Löcht
Ulrike van de Löcht,
ELAN, 2016 Carrara Marble, 40x30x25 cm
4th - 30th April 2016
G.A.S-station, Das Fenster, Richard Burkart, 2016
Richard Burkart, Out of the cycle “B.U.B.; BABYLON-ULYSSES-BERLIN", 2003-09
Four collages out of about 1500 pcs.
5th-29th March 2016
G.A.S-station, Das Fenster, Julia Asenbaum, 2016
Julia Asenbaum, Das ICH ist Schnecke geworden, 2014

“Augustina sitzt im Terrarium, am linken Rand festklebend, und diskutiert mit den anderen über die schlechte Empfangsverbindung, das ICH ist Schnecke geworden.“

black ink, pencil on board

G.A.S-station, Das Fenster, Enzo Enzel, 2015
Enzo Enzel, "MOST WANTED", 2015
Fineartprints, 2 x A4
9.-15.9. 2015
G.A.S-station, Das Fenster, Oliver Orthuber Turmartige Parasexualität, 2015
Oliver Orthuber, Turmartige Parasexualität, 2015

acrylic on plastic, cardboard, foam, ca. 28 x 15 cm
5th May - 20th June 2015

G.A.S-station, Das Fenster, sie träumt ODER, ODER träumt sie, E.Asenbaum-Tomax, Installation
Jan Rehwinkel, without titel, 2015

In Jan Rehwinkel’s pictures, drawings and films it is about reduction. He see a challenge in painting black on black: "The color nuances of the various materials release a variety in detail. It´s about alternation between control and unpredictability."

The actual presentation behind reflecting glass on transparent paper expands another variable into the picture. It is supporting the attempt to remove the border between drawing and film, through the mirroring and reflections of the surrounding, permanently adding changing images. These imposing images from the outside is a light from the inside opposed - similar to film. Is the image moving? For sure another one in the window does: an animated figure, white on black, apparently detached from everything.

print on ransparent paier, 84 x 59 cm, video, b/w, loop
14th March - 30th April 2015

G.A.S-station, Das Fenster, she dreams OR, OR is she dreaming, E.Asenbaum-Tomax, Installation
E. Asenbaum & Tomax, she dreams OR, OR is she dreaming, 2014/15
Thrown out of the everyday life routine from sentence stems, peaces of thoughts,
like in a dream, a irritation. 19.11.2014-27.2.2015
G.A.S-station, Das Fenster, Burchard Vossmann, Jungle Concrete, Installation
Burchard Vossmann, “Jungle Concrete”, 2014
In x|y|z:Roomproject - Jungle Concrete at G.A.S-station Burchard Vossmann was for the first time expanding his working method into the entire exhibition space. As primary material were used original vinylrecords and covers out of the collection from the former Dschungel Club Berlin. - 12.8.-26.9. 2014.
G.A.S-station, Das Fenster, E.Asenbaum-Tomax, Installation
E. Asenbaum -Tomax
"muss man schon ein muster sein um unverkäufl-ich zu werden"
"Must we correspond to an model not to be for sale", 2002/2014,
Ceramic, enameled, each 39 x 39 x 3,4 cm (Aufl. 1-2-3 / 12) - 28.6.-3.8.2014
G.A.S-station, Das Fenster, K.U.SCH., Kasperl, Death and Devil, 2010/14
Kasperl, Death and Devil, 2010/14, text
Paper and board 100 x 22 cm, gold colored rag, 150 x 100 cm. 29th April until 16th June 2014

K.U.SCH. (Renate Krätschmer, Jörg († 16. Dez. 2013) and Sito Schwarzenberger). The installation was made upon a text spoken by Jörg Schwarzenberger, during the last joint performativ work of K.U.SCH. with Jörg (MUSA 2010, Wien Österreich).

G.A.S-station, Das Fenster, Marko Zink, sporthose, 2009
Marko Zink, sporthose, 2009
Alu-Dibond print on Diasec, behind acrylic, 70 x 45 cm -
18.2 until 20.4. 2014
G.A.S-station, Das Fenster, Johann Büsen, LOOP
Johann Büsen, LOOP
Digital print and videoanimation on monitor. April 19th until May 2nd 2013
G.A.S-station, Das Fenster, Burchard Vossmann, Black Stripes
Burchard Vossmann Black Stripes, 2011
Collage on wood (2-parts), 150x100x6 cm March 8th until April 5th 2013
Das Fenster, Heike Nösslböck, Sinnlose Lackierungen, 2011-12
Heike Nösslböck, senseless coatings, 2011/12,
different objects coated (February 8th until 1st March 2013).

Beside her work with video Heike Nösslböck realize since couple of years also works with objects.
Das Fenster, Ralph Bageritz, Muhammad Ali, 2010
Ralph Bageritz "Every Human Being is a Stealer!", 2010, from the seria Metaphysik des Verschwindens,
Lentikularbild, Lambdaprint behind Linsenraster on MDF, 102 x 102 cm. (Sept. UNTIL OCt. 2012)
Das Fenster, mühsam & kraus, fashion weak, 2012, 2012
mühsam & kraus (Tomax & Ina Krauß), "fashion weak", 2012
Installation, two Jeans (m: used 2008-2012, f: used 2006-2012), two mirrors.
„Fashion week“ was yesterday, fashion weak is today. The Installation from mühsam & kraus mirrors more than fashion trend, mainstream and industrial production. The Objects are reflecting stories.
Until they are falling apart...
Das Fenster, Mirko Tzotschew, AREA 1.7.01, Abstract Industrial Landscape I&II, 2012
Mirko Tzotschew, "AREA 1.7.01 – Abstract Industrial Landscape I & II", 2012, Installation, photo 92x100 cm, wood.
Abstraktion von Industrielandschaften. July 3rd until August 7th 2012 (special: Fr. 13.7. - 4-9 p.m., "Abend des Lobes und der Kritik").
G.A.S-station präsentiert im Schaufenster:
Stephanie Hanna, two sides: das bild vom anderen, der himmel ist für alle gleich, 2011,
foto und acrylic on canvas, mixed media, video 13:20 min. Installation august-september 2011.
G.A.S-station präsentiert im Schaufenster:
Peter Funken, "Städte im Fenster", drawings on paper 2010/11, installation july-august 2011
G.A.S-station präsentiert im Schaufenster:
Helen Acosta Iglesias “Macht Nichts“, 2010, 2.650 Strohhalme und Tesafilm, installation may 2011
G.A.S-station präsentiert im Schaufenster:
Stephanie Hanna, “Eine kleine Geschichte von Form und Inhalt”, Installation, april 2011
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