On My Way. Sharing Experiences

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Open: Wed-Fri 11.30am-2pm & 3pm-6.30pm, Sat-Sun 1pm-4.30pm

Merseburgerstrasse 14, 10823, Berlin, Germany
Open: Wed-Fri 11.30am-2pm & 3pm-6.30pm, Sat-Sun 1pm-4.30pm


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On My Way. Sharing Experiences

to Sun 25 Sep 2022

Merseburgerstrasse 14, 10823 On My Way. Sharing Experiences

Wed-Fri 11.30am-2pm & 3pm-6.30pm, Sat-Sun 1pm-4.30pm


MAIREAD DAMBRUCH (USA) | VANINE NAJARYAN (Armenia) | SOKO (Argentina) | ULRIKE REETZ (Germany) | LAVIA LIN (China) | JAC CARLEY (USA) | LYNNE CAMERON (UK) | G.ERLA, GUDRUN ERLA GEIRSDOTTIR (Iceland) | TINU VERGHIS (India) | RUI YAMAGUCHI (Japan)

ON MY WAY. Sharing Experiences is a group exhibition of 9 international women artists and one young man which brings together works which move between photography and paintings, from documentation, expression to abstraction and conceptual art.

Artworks

The Mystic Hermit, 2019

Oil on Wood (original)
120 x120 cm, Archival Print 1/8 on HahneMühle, 55 x 55 cm
© Mairead Dambruch/UTMT

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Earth Toils on Math Mountain, 2021

Oil Pastel on Paper
30 x 45 cm
© Mairead Dambruch/UTMT

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Genesis, 2019

Oil on Wood (original)
60 x 36 cm, Archival Print 1/8 on HahneMühle, 40 x 61 cm
© Mairead Dambruch/UTMT

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Good Morning, 2019

Oil on wood
22.5 x 30 cm
© Mairead Dambruch/UTMT

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Cosmic call, 2022

Watercolor on paper
24 x 32 cm
© SOKO/UTMT

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Character = fate, 2021

Mix media on paper (charcoal and ink)
50 x 70 cm
© SOKO/UTMT

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Ending delusions, 2022

Mix media on cotton (charcoal and oil)
140 x 170 cm
© SOKO/UTMT

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Series: Undocumented Humans. Island Childhood, 2016

Mabul Island, Malaysia
Hahnemühle Photo Rag 50 x 40 cm
© Vanine Najaryan/UTMT

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Series: Undocumented Humans. Daily Strive, 2016

Mabul Island, Malaysia
Hahnemühle Photo Rag 40 x 30 cm
© Vanine Najaryan/UTMT

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Series: Undocumented Humans. Island Childhood, 2016

Mabul Island, Malaysia
Hahnemühle Photo Rag 50 x 40 cm
© Vanine Najaryan/UTMT

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Series: Undocumented Humans. Island Childhood, 2016

Mabul Island, Malaysia
Hahnemühle Photo Rag 50 x 40 cm
© Vanine Najaryan/UTMT

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Series: Undocumented Humans. Daily Strive, 2016

Mabul Island, Malaysia
Hahnemühle Photo Rag 40 x 30 cm
© Vanine Najaryan/UTMT

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Series: Flowing - A Whisper 1, 2022

Digital Photography, Print on FineArt Papier German Etching
30 x 20 cm
© Ulrike Reetz/UTMT

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Series: Flowing - A Whisper 2, 2022

Digital Photography, Print on FineArt Papier German Etching
30 x 20 cm
© Ulrike Reetz/UTMT

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Series: Flowing - Water Flowing 1, 2022

Digital Photography, Print on FineArt Papier German Etching
30 x 20 cm
© Ulrike Reetz/UTMT

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Series: Flowing - Dark Mysterious 1,

Digital Photography, Print on FineArt Papier German Etching
60 x 40 cm
© Ulrike Reetz/UTMT

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Series: Flowing - Dark Mysterious 2,

Digital Photography, Print on FineArt Papier German Etching
60 x 40 cm
© Ulrike Reetz/UTMT

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Series: Flowing - living Abstract 5, 2022

Digital Photography, Print on FineArt Papier German Etching
30 x 20 cm
© Ulrike Reetz/UTMT

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Series: Flowing - living Abstract 5, 2022

Digital Photography, Print on FineArt Papier German Etching
30 x 20 cm
© Ulrike Reetz/UTMT

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Pressure Drop (Video still), 2015

B/W 16:9 aspect ratio
1:51 sec
© Tinu Verghis/UTMT

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Pressure Drop (Video still), 2015

B/W 16:9 aspect ratio
1:51 sec
© Tinu Verghis/UTMT

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Pressure Drop (Video still), 2015

B/W 16:9 aspect ratio
1:51 sec
© Tinu Verghis/UTMT

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Untitled, 2022

Ragi seeds, adhesive
34 x 16 x 14 cm
© Tinu Verghis/UTMT

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stepping up, 2018

Fineliner on Braille. 1 of 8 limited edition prints, Hahnemühle Fine Art 305g
57 x 77 cm
© Jac Carley/UTMT

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first/last, 2018

Soft pastel, charcoal on Braille. 1 of 8 limited edition prints, Hahnemühle Fine Art 305g
57 x 77 cm
© Jac Carley/UTMT

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close up in the landscape, 2022

Fineliner on Braille. 1 of 8 limited edition prints, Hahnemühle Fine Art 305g
40 x 53 cm
© Jac Carley/UTMT

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femme, 2019

Charcoal on Braille. 1 of 8 limited edition prints, Hahnemühle Fine Art 305g
40 x 53 cm
© Jac Carley/UTMT

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dance capture, 2018

Graf brown pigment on Braille. 1 of 8 limited edition prints, Hahnemühle Fine Art 305g
40 x 53 cm
© Jac Carley/UTMT

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wordwall, 2022

Graf red pigment on Braille. 1 of 8 limited edition prints, Hahnemühle Fine Art 305g
40 x 53 cm
© Jac Carley/UTMT

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mystory, 2019

White marker on black paper
29.5 x 42 cm
© Jac Carley/UTMT

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You go to my head, 2017

Acrylic, Gouache, mixed media on canvas
40 x 40 cm
© Lavia Lin/UTMT

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When Sunny gets Blue, 2020

Oil, Gouache Acryl on Canvas
100 x 100 cm
© Lavia Lin/UTMT

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Blue because of you, 2016

Oil, Gouache, Acrylic on Canvas
40 x 50 cm
© Lavia Lin/UTMT

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A Tribute to my Grandmother, 2022

Photos and Text printed on Cloth. Framed in Velvet and hung on branches from a tree from Iceland
35 x 125 cm
© G.Erla/UTMT

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Neutralize #16, Neutralize #16

Acrylic, silver plate on canvas
22.7 x 15.8 cm
© Rui Yamaguchi/UTMT

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Meditation #60,

Acrylic on canvas
22.7 x 15.8 cm
© Rui Yamaguchi/UTMT

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Neutralize #23,

Acrylic, silver plate on canvas
22.7 x 15.8 cm
© Rui Yamaguchi/UTMT

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Meditation #7,

Acrylic on canvas
22.7 x 15.8 cm
© Rui Yamaguchi/UTMT

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Meditation #8,

Acrylic on canvas
22.7 x 15.8 cm
© Rui Yamaguchi/UTMT

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Neutralize #17,

Acrylic, silver plate on canvas
22.7 x 15.8 cm
© Rui Yamaguchi/UTMT

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Daring to hope, 2021

Acrylic on paper
61 x 86 cm
© Lynne Cameron/UTMT

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Under the west wind, 2017

Acrylic on paper
61 x 86 cm
© Lynne Cameron/UTMT

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We are manifold, 2022

Acrylic on paper
61 x 86 cm
© Lynne Cameron/UTMT

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Added to list

Done

Removed

UTMT

Incorporating fragments of their life which they have often sourced from their own social surroundings and personal history, all artists return to the human as the center of the universe, and recall the concerns and devices of expression, exploring psychological, mystical, physical and social relationships. Gallery Under the Mango Tree proudly presents 10 international artists who fearlessly continue on their way of observing, researching and connecting while sharing their experiences.

The exhibition examines the question of how one’s own social and individual history, present, and future manifest themselves from a personal point of view. Poetic, metaphorical, and quiet, but also radical, direct, and loud — they push limits of all kinds, be these political, ecological, social, personal, or gender-based. The exhibition focuses on 10 international positions, 9 women and 1 young man as special appearance, all with differentiated creative experiences and expressions, in order to present these more comprehensively. This is in pursuit to realise the unity in diversity and reflect on what “the other”speaks.

Mairead Dambruch (USA) | Vanine Najaryan (Armenia) | SOKO (Argentina) | Ulrike Reetz (Germany) | Lavia Lin (China) | Jac Carley (USA) | Lynne Cameron (UK) | G.Erla, Gudrun Erla Geirsdottir (Iceland) | Tinu Verghis (India) | Rui Yamaguchi (Japan), each one socialized and educated in a globalized world, gradually but surely, these artists no longer limit their “border controls” solely to the country that they were born in, but rather reach out into „the human landscape” of shared exchanges.

This exhibition has been developed out of a continuing dialog with the artists and reflects a collective intention of communication, exchanging and wish to understand the self, one ́s own way and that of the other, beyond all the restrictions, so, just to be.

Mairead Dambruch’s ( b.1996 ) use of bright colors – simplified forms with the details of everything– often imbues these works with a sensuously mysterious quality and an almost incomprehensible intimacy. She sees the actions involved in painting them in magnified metaphorical terms, often relating the natural process of birth and social existence, and the expression of psychic tensions. As a promising artist, she received the prestigious Anthony Quinn Foundation Scholarship in 2015 to attend a RISD summer program while in high school. She completed her Bachelor of Fine Arts from the School of Art at Carnegie Mellon University.

SOKO (b. 1995), an Argentinian artist, had always from a very young age tried to transform the act of painting into a spiritual experience. In her works, the coexistence of the human and the nature is of constant exploration and is asserted through her fearless use of color along the vertical, the horizontal lines and with her colorful brushstrokes, she is in a constant performance of a poetic abstraction. A graduate of Architecture, Design and Urbanism from the University of Buenos Aires, Argentina, her works naturally explore the spatiality within and on the Canvas. Before shifting to Berlin, she attended an art residency at the Pouch Cove Foundation-James Baird Gallery, Canada.

Investigating the interplay between anonymity and power through her images of the undocumented humans, Vanine Najaryans documentation is a form of remembrance, where everything is embedded within the grace of identity. Mabul Island in East Malaysia is a known spot for divers and luxury travellers. A lesser-known fact is the floating community living around the island and, usually earning their livelihood by selling the catch of the day in the Mabul Island village. Presumably, they are 3rd generation of pirates that have migrated from nearby Philipino islands. They do not hold any documents from either Philippines or Malaysia; and have no access to healthcare, education or any support system to better their lives. Moreover, they usually fall victim to intolerant government policies, that simply deals with the matter by arresting them. No one really knows what happens to them afterwards. Her documentation is an invitation for the observer “ to enter the frame”, provoking a dialog through her work to ensue the narratives at hand.

Ulrike Reetz, a Berliner, uses her camera as a medium and uses it as a brush with free strokes.A need for knowledge of what transcends time is built into the very nature of the human mind and imagination. Maps change, Waters flow, histories move. Lights, lives and landscapes blur. Open-ended and un-documentary. Presented within a photographic dialog her works are suggestive of life, there is the anticipation of movement: only colors are present. The “frames” evoke the flow and ever again asserts that the time is both a (un)physical dimension of the universe and a dynamic, fluctuating process of change. For her, all existence is in flow.

While waiting for an appointment at her borough hall in Berlin in 2019 and rummaging through the book exchange table, Braille found Jac Carley. Ten fifty-year-old braille books ended up in that pile- how and why – this question needed to be left open. These Braille Books originated from the GDR national library for the blind in Leipzig and the names of the very few borrowers are still in the front section. She carried them to her studio; started sketching women, from live sittings of a performance artist Irene Graziadei- on the Braille.

What started as a simple inquisitive pursuit of working on this robust surface, soon for Jac Carley, something very personal emerged and her engagement with braille suddenly made sense. While Christine Blasey Ford was being interviewed at the 2018 Supreme Court hearing, in America, Jac went reeling back into her own rape story, which she shared only with a very few people. Words could never capture the full emotional impact of the experience. Her work on Braille spoke directly to that event: her drawings captured lively figures, almost always alone, nude and vulnerable. Strong and enigmatic, all are trapped on a page full of a story that no one can read with naked eyes. Everyone wants to touch them. What could be worse than touching a hurt woman, than touching the art? Yet it is exactly that: the unreadble and unspeakable stories that give her figures on Brail both volumn and depth.*

*( From her interview with the Sanctuary Magazine, USA)

As the daughter of a Jazz bar owner in Shanghai, Lavia Lin, this young autodidact artist’s turn to music as her subject to paint could be seen as an exploration of her past to reach into her present. Her works invite us to reimagine the connection of the music and painting, at the same time including a concept of emotional repair which –with layered nuaunces can expand and refresh our perspectives. A graduate from the Bard College, Berlin, she is painting if she is not attending any Jazz/ Blues Evenings.

G.Erla – Guðrún Erla Geirsdóttir main focus was and continues to be on feministic topics and she works in different medias, although textile has been her main media of artistic expression. At the moment two of G.Erla ́s larger textile pieces are on display at The Reykjavík Art Museum, and other works by her are to be found in various museum collections. The work she is exhibiting here is dedicated to her grandmother. An exceptional lady that had a passion for literature, flowers, and trees. She lived in poverty on a farm in north Iceland, where she kept a beautiful garden – something that was rare at that time.

G.Erla – Guðrún Erla Geirsdóttir – is an Icelandic artist, educated at The Icelandic School of Art in Reykjavík, and the Rietveld Académie in Amsterdam, where she studied monumental textile as well as set and costume design. Her first solo exhibitions were in the late seventies.

Originally from Kerala, India, Tinu Verghis left her successful modelling career to pursue art as a channel to address systemic injustice, social and gender inequalities. In her practice, she uses her body as a political and poetic symbol to challenge and expand preconceived ideas surrounding systems of oppression. By re-examining cultural standards and viewers’ own sexuality, she hopes to unpack misogynist ideas of how the body of a woman is over idealised, systematically abjected and subjected to intense policing. Through her art practice she is interested in creating experiences for the viewers. “Experience comes from non-knowledge, as only non-knowledge can communicate ecstasy and the intensity of life.”- so Tinu Verghis. Tinu is also a farmer, certified by the Directorate of Agriculture in Goa, India. She uses rice that she grows for her performances to address gender and race in the postcolonial India.

Tinu has won the Presidents Award at the International Biennial of Contemporary Art (Italy) in 2015 for her video art (Under My Skin) & The Winston Oh Travel Research Award (Singapore) in 2016.

Rui Yamaguchi had been very successfully active on Internet under the name “ professionally unemployed” since 2016. Without defining any specific occupation, he expresses himself as a break dancer, poet and a you tuber, crossing genres and locations. He became a pioneer of a way of life that symbolizes the contemporary social era with sponsors attached to his activities. In 2019 he took a break from social networks. From words and people. To dive into his own inner world. In his quest to be present, in reality- he wanted to express more through “feeling” rather than anyother way. In April 2020, the artist started a project “ Painting meditation” in which he subconciously paints over the canvas. Studying Intermedia art at present in the Tokyo University of Arts, 2022, Rui Yamaguchi looks forward to this exhibition.

As a contemporary artist, Lynne Cameron’s work deals with her impressions of and reactions to specific places and nature. She uses colour, collage, déchirage, layering, veiling and veiling to create abstract, expressionist paintings. The paintings allow color to meet the viewer’s eye, offering form as gesture, and a possibility of beauty sometimes accompanied by the fragility of words. Her work has been featured in solo and group shows in London and Leeds.

all images © the gallery and the artist(s)


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