I'm happy to share with you my contribution Reading Infrastructure. Theme Park in Paradise, which is published in the online journal Stages by the Liverpool Biennial. It is created during my residency in the Banff Centre (Alberta/USA) in May/June 2013. The program The Exchange of Economies. Banff Research in Culture (BRiC) 2013 was organized in partnership with the Liverpool Biennial.
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The following work was created during the research residency program in the Banffcentre (Alberta/Canada) in June 2013.
GerryCanMoreGerryCanMore is the title of an installation with a chair, a table, a whiteboard and 12 photographs. A voice is heard reading an article from the local newspaper Rocky Mountain Outlook: it tells the story of mining engineer Gerry Stephenson who gives guided tours in the former coal mining area in the vicinity of the small town of Canmore (Southern Alberta/Canada). With his own photographs and drawings, Stephenson illustrates the history of former local coal mining operations. Some of them were under his direction for almost a decade. A highlight of his tour is a reclaimed coal strip mining landscape, Quarry Lake Park, which he helped to re-cultivate.
User note: Please click the image to see additional images. You can read the article visible in the photograph (with the newspaper on the table) or use the audio controls below to listen to the voice reading the article.
"The windscreen separates interior and exterior space. When we sit in a car it is directly in our gaze
and we watch whatever is going on behind it. A picture hence takes shape and the windscreen serves
quasi as a blank screen on which an absurd reality is ‘projected’: a trip through an automatic car wash."(EC)
soft water - hard water group show
opening on Friday, May 3 at 7 pm
whiteBOX Munich 4.5. - 9.6. whiteBOX, Grafinger Straße 6, 81671 Munich
opening on Tuesday, May 21 at 11 am
CASO Contemporary Art Space Osaka 21.- 29.5. CASO (Contemporary Art Space Osaka), Kaigandori 2-7-23, Minato-ku, Osaka-city, Japan 552-0022
Eva Castringius (artist lecture) FELLOWS & Friends-Gathering of the Villa Aurora
Monday, April 8 at 7pm at the Louise-Schröder-Hall of the city hall, Berlin
Transatlantic Movements - A Temporary Art Project at the Residence of the
Ambassador of the United States of America to Germany January to September 2012
with Jörg Bürkle, Eva Castringius, Hans-Christian Schink, Agathe Snow,
Phoebe Washburn, Lawrence Weiner
This art project is a collaboration of the Public Affairs Section of the United States Embassy in Berlin, the Deutsche Guggenheim, and the Villa Aurora Forum Berlin.
Eva Castringius | BACK COUNTRY 9. 4. 5. 6 2011 KUNSTVEREIN & STIFTUNG SPRINGHORNHOF
From 126.96.36.1991 the Kunstverein Springhornhof presents Back Country, an exhibition by visual artist Eva Castringius. The theme of the large format paintings and photographs on show is industrial landscapes.
On entering the show one sees first of all an installation inspired specifically by the architecture of the Kunstverein. Comprising a large, walk-in cube, K-PAX brings paintings and photographs into an unusual dialog. On the entire exterior surface of the cube Castringius projects photographs of regions characterized by miningthe Bingham Copper Mine in Utah, for example. A step-shaped funnel draws our gaze, down to a depth of over 1,000 meters. Hidden within the cube is the Kunstverein’s actual staircase, via which the visitor is led into a space filled with paintings. (...)
Eva Castringius, Installation K-PAX, 2010, painting, photo projections, cube 250×300x300 cm
In my work K-PAX, I project photographs of mining areas such as the Bingham Copper Mine in Utah to fill the surface of a large cube which can also be entered. A step-shaped funnel leads our gaze down to a depth of over 1000 meters. The paintings inside the cube take the visitors to another world and they begin to consider the subject of landscape in a new light.
Transatlantic Impulses 15 Years Villa Aurora Friday, December 3rd at 7pm
Akademie der Künste, Hanseatenweg 10
Markus Adrian/Anna-Maria Hora Thomas Ankersmit Colin Ardley Mary Ayubi Sanath Balasooriya Heike Baranowsky Rosa Barba María Cecilia Barbetta Mathieu Bertholet Nico Bleutge Eliav Brand Paul Brodowsky Marcel Bühler Galima Bukharbaeva Jörg Bürkle Peggy Buth Eva Castringius Marko Ciciliani Sebastian Claren Simon Dybbroe Møller Gerald Eckert Frauke Eigen Sabine Ercklentz Anna Faroqhi Sherko Fatah Thomas Florschuetz Jochen Alexander Freydank Gerhard Friedl Sabine Golde Matthias Göritz Wiebke Grösch/Frank Metzger Eva Grubinger Carla Guagliardi Hanna Hartman Susanne Heinrich Carsten Hennig Felix Herzogenrath Christoph Hochhäusler Laura Horelli Sabine Hornig André Hörmann/Katrin Milhahn Tobias Hülswitt Christian Keinstar Veronika Kellndorfer Christian Kesten Zeynel Abidin Kizilyaprak Dagmar Knöpfel Jan Koester Takehito Koganezawa Thomas Köner Bettina Krieg Christine Lang Thomas Lang Andreas Lechner Michael Lentz Via Lewandowsky Wiebke Loeper Brigitte Maria Mayer Isa Melsheimer Sylke Rene Meyer Agnes Meyer-Brandis Rick Minnich Christopher Mlalazi Klaus Modick Birgit Möller Franz Müller Andrea Neumann Olaf Nicolai Georg Nussbaumer Matthias Pacht Max Penzel Tilman Peschel Kirsten Reese Marc Rensing Kathrin Röggla Jens Rosteck Marc Rothemund Miguel Rothschild Marc Sabat Sagardía Judith Schalansky Albrecht Schäfer Kai Schiemenz Sabine Schiffner Hans-Christian Schink Tina Schulz Andreas Schulze Maya Schweizer Pei-Yu Shi Hannes Stöhr Sven Taddicken Ilija Trojanow Kevin Vennemann Danh Vo Antje Vowinckel David Wagner Albert Weis Marc Weis/Martin De Mattia Steffi Weismann Florian Werner Maike Wetzel Uljana Wolf Xu Xing
Sabrina van der Ley & Markus Richter/
European Art Projects
In Transition. The Dreilinden Project.
Saturday, October 23 from 3pm to 9pm, followed by live music// DJ sets// music. Sunday, October 24 from 11am to 8pm.
Venue: DREILINDEN, the former rest stop (service station) at Potsdamer Chaussee 61a, 14129 Berlin-Nikolassee
Directions: THE REST STOP IS NOT DIRECTLY ACCESSIBLE FROM HIGHWAY A115 (the "AVUS"). Please take Exit 1 for Steglitz, which leads to Potsdamer Chaussee. There, make a U-turn, drive back to the first set of lights then take a left for ZOLLAMT DREILINDEN. A small road leads to the rest stop. Public Transport: Take S-Bahn 1 or 7 to Wannsee.
Click on pictures to see full serie.
We are delighted to welcome you on the weekend of October 2324, 2010 to an installation by artist Eva Castringius. Under the title In Transition. The Dreilinden ProjectCastringius presents a dramaturgical re-reading of the autobahn rest stop DREILINDEN.
Castringius' art installation in the circular first-floor section of the venue directly references its architecture, drawing explicitly on the existing structures, and combining them with fictitious elements and protagonists. The video "Who Is Afraid of Red, Yellow and Blue" will be on show, along with selected photographs from the series "Waiting," and paintings from the series "Round Corners."
The DREILINDEN rest stop lies close to the Allied border crossing point Checkpoint Bravo, also known as the Drewitz-Dreilinden border crossing. Until 1989, anyone wishing to leave West Berlin to travel to West Germany was obliged to transit East German territory. This invariably involved lengthy periods waiting in line at border crossings, and intensive searches of people, luggage, and vehicles. Architect Rainer Gerhard Rümmler designed the rest stop as a striking example of 1970s Pop architecture. The red, yellow and blue circular and cylindrical elements of the Dreilinden complex stood in marked contrast not only to typical rest stop architecture but also, quite provocatively, to the bleak gloom of East German border installations.
The rest stop has remained vacant for several years, exposed to vandalism and the caprices of nature. Now under new ownership, it is soon to be upgraded, and converted among other things for use as an American diner.
Castringius grasps this in-between moment as an opportunity to explore the atmospheric site. In her photographs one finds isolated figures waiting in deserted landscapes or abandoned rooms. In her film it is the artist herself one sees traversing the ghostly location. In her paintings she references the venue's formal idiom, and uses its original color scheme as the basis for abstract works with finely nuanced shades and surfaces.
These works by Castringius plunge visitors into new realms of experience, where they find themselves suspended mid-way between poles: In Transition.
Eva Castringius, Shedhalle, Zürich (2010)
Lands End. Landscape as Image and as Space Shedhalle / Exhibitions / Current: March 20th May 16th, 2010 Curators: Anke Hoffmann and Yvonne Volkart
Duration: March 20th May 16th, 2010
Opening reception: Friday, March 19th 2010, 7pm
Shedhalle, Rote Fabrik, Seestrasse 395, CH-8038 Zürich
In art, the most melancholic landscapes were created at a time when the natural of nature was surmised as something irretrievably lost, something endangered by industrialisation. Once more, one tried to halt the ravages of time and evoke an idyll that had never existed the way it was depicted. Those were the times of romanticism. What is the significance of landscape in art nowadays, 200 years later, in the year of biodiversity and hybrid artistic practices? What will happen if the social, economic, and cultural transformation processes in the terrain of landscape become topics of art? What if nature and technology no longer will be perceived as irreconcilable opposites but as mutually depending on each other?
The exhibition “Lands End” investigates the images and imaginations determining how landscape is being viewed today. It presents new ideas and alternative drafts. It presumes that melancholy, nostalgia, and attraction, today, still play an important role and act as moments of standstill and criticism since today’s art, in general, is inclined to use strategies of description and irritation, exaggeration and opposition. In times when knowledge about how landscape is being construed has become widespread und has led to a more precise approach to the subject it is extremely important to introduce different lines of thought. They have to take into consideration the dual meaning of landscape, real living space on the one hand and the ideal on the other. The artists we invited did this in their very own special ways, making obvious that we need images to view things in a different manner.
Guided Tours with the curators:
/ Wednesday, April 14th, 6pm
/ Wednesday, April 28th, 6pm
/ Sunday, May 16th, 2pm
Conference and on-site inspections (only in German):
/ Saturday, May 8th, 1 - 6pm
The World Beneath. Studio project, Chicago, 2009
The Chicago Department of Cultural Affairs hereby announces the exhibition “The World Beneath” by Berlin-based
artist Eva Castringius. The artist was invited by the Chicago Department of Cultural Affairs to work in this previously vacant storefront in the Millennium Pedway, under the Cultural Center, as part of a month-long residency program.
The exhibition runs to June 30, 2009.
Eva Castringius. Liquid Sky. Interview with Eva Castringius and Thorsten Platz.
On the occasion of the fifth anniversary of its location to the Zimmerstrasse, the Kai Hilgemann Gallery is proud to present an exhibition of new paintings and photographs by EVA CASTRINGIUS, "Liquid Sky". You are cordially invited to attend the exhibition opening on Saturday March 8th, 6 - 9 pm.
On Eva Castringius In her new photographs Eva Castringius has redefined the relationship of painting to photography on the basis of her painting, which is characterized by the interaction of different spaces. "Landscapes emerge as a projection screen for my visual concepts”, says Castringius. "I’m interested in the combination of architecture and landscape, in the sense of a fusion of interior and exterior space. I create depth in the visual field, interweave various pictorial elements and counter solidity with fluidity."
Castringius can thereby draw on her personal experience of urban areas on America’s West Coast. Her work on the one hand refers to Mike Davis' classic, "City of Quartz", a brilliant socio-historical portrait of the city of Los Angeles and, on the other, conveys a palpable, direct experience of architecture. We here encounter the architecture of Frank Lloyd Wright and Richard Neutra yet, equally, anonymous construction projects such as the Mulholland Aqueduct. The level planes of Castringius’ large format canvasses also allude to the wide sweeping landscape of the American West. One is tempted to use the analogy, “Painting of Quartz” in order to adequately express the self-reliance of her visual language. She constructs a wholly autonomous visual field, a non-place that evokes non-places.
Her photographs, by contrast, actually do picture something. These objects in ‘space’ are, quite specifically, objects of reference that catalyze the visual field. The latter remains, as in her paintings, essentially abstract: individual elements alone can be decrypted. The series illustrates a staged set: a world of electric lights, geometric forms and small figures. Double-exposures, which introduce into her work an uncontrollable element, are the artist’s reference to a similar process used in her painting: incorporating poured paint as an element of pictorial composition.
German painter and photographer Eva Castringius looks at Polke's experimental early photographs and explores how photographic and painterly sensibilities can combine to produce innovative work. Sign up at the Museum Information Desk beginning at 3:00 p.m. the day of the program.
Friday, March 2, 4:30 and 6:00 p.m.
Museum galleries, Getty Center
2. Dec 2005 - 19. Feb 2006
Please click on a photo to enlarge it
Niederkirchnerstraße 7 / Ecke Stresemannstr. 110