http://www.art-agenda.com/reviews/new-dawn/

“Instead of drafting a definitive curatorial statement, Churchman offers an exhibition note in which art historian Manuela Ammer inquires in lyrical form: “Who controls the border of painting? What is the border of painting anyway. The edges of the canvas?” These questions’ self-congratulatory rhetoric suggests that the exhibition is the product of a circle of insiders. Yet, despite its jump-cut style and gestural naiveté, “New Dawn” is a sublime staging of the painterly form as a registration of affect and the exhibition format as a “medium” of contagion. The show offers a communal ground in which personal subjectivity negotiates a multifold “borderspace” where political life, the human-animal, and the cosmological meet. It fundamentally awakens our re-enchantment with a world whose sensuality is being systemically drained into unfeeling states of conformity.”
author: Natasha Ginwala is an independent curator, researcher, and writer. She is currently part of the artistic team of the 8th Berlin Biennale for Contemporary Art (2014).

I find the above an interesting discursive analysis – I appreciate the idea that the entire space however lyrical can function as a painting. I also enjoy a good read of complexity. The idea of a world being drained into ‘unfeeling states of conformity’ is something that has come up in multiple places – meaning it could be indicative of our time.

Although the work is very different than my own, I enjoy understanding and at times grappling with new ideas that are being presented.

Here are some installation shots of the exhibition – the link also has more along with more text and the artists’ names.

View of New Dawn Silberkuppe  Berlin 2014

View of New Dawn Silberkuppe Berlin 2014

View of New Dawn Silberkuppe  Berlin 2014

View of New Dawn Silberkuppe Berlin 2014