Carmen Alber
The percentage of unpredictability, 2024
digital print on paper, 145 x 230 cm

daily: 10 am–8 pm

Perlmutt and mixed media on canvas, 130 x 130 cm

Vernissage: Fr. 28.4.2023 4–8 pm and Sa. 29.4.2023 2–6 pm
Exhibition: 28th April – 16th Juni 2023
Opening hours: We–Fr 3–6 pm

The large room of the G.A.S-station is immersed in black and white. In the centre, there are objects as well as enigmatic apparatuses surrounded by a collection of sheets and shadowy drawings on the walls. The painted symbols on the paper sheets suggest sentences in a language whose letters are unfamiliar to us. This conceals the information that written language normally contains. Language forms the basis for a conscious confrontation with the complexity of our world.

daily: 10 am-8 pm

Öl auf Holz, 38 x 30 cm (gerahmt)

daily/täglich: 11:30 am-8 pm

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. www.niina-lehtonen-braun.com

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.

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.

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 www.errantsound.net. 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.

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.

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.

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
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.

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

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.

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

Print on board, 75x50 cm

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:

Attention!!!
This Stop is
only for to a-wait
measure.

9.5.-31.5.2017

Albert Markert, DREAMING OF SHOPPING - TERRORRAUM, 2016
x|y|z:Spaceproject (for Augustina) for fine art und new media
8th.-21st June 2016

“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
5.2.-29.2.2016

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

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).