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She is an artist creating transdisciplinary works and projects in a wide spectrum of media. She works in installation, photography, video, drawing and performance. (since 10th December 2018 joined in ARTMO)

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The group exhibition takes on the city as a hotbed of dreams, longings, and ambition. The artists, some of them in a very personal way, explore how Berlin has changed over the past thirty years and how it continues to change. Fourteen artistic positions tell a story of historic transformation, some of them documentary or experimental in nature, and others with a focus on historic transition, material change, and the shift in value judgments. Each of them allows the viewer to experience—in many cases in an almost physical way—how the city has exerted its effect on the individual, as well as the importance it still has in terms of a collective understanding of history and community life.

In a majority of the works, the series plays an important role. Photographic forms such as photomontage and double exposure as well as a wide variety of dimensions ranging from very large formats to the small passport photo size are also represented.

Heike Franziska Bartsch, Sandra Becker, Cora Berndt-Stühmer, Marion Luise Buchmann, Aenne Burghardt, Isabelle Gabrijel, Margret Holz, Verena Kyselka, Erika Matsunami, Barbara Noculak, Karina Pospiech, Kathrin Sohn, Gisela Wiemann, Sonia Wohlfahrt-Steinert
Galerie GEDOK-Berlin
Motzstraße 59
10777 Berlin
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Artist ON EXHIBITION Image 2



Since 2013 I have been concentrating more and more on artistic research / artistic research as well as current knowledge from the transdisciplinary approach (cross-discipline approach). In ongoing projects, I deal with a philosophical topic of aesthetics theoretically and practically in terms of artistic methods and techniques and which topic is related to cognitive science, psychology and neuroscience, especially in neuroscience in terms of biology and transdisciplinarity various disciplines is explored, for example, the topic "pain" in the project, such as the project "B.O.D.Y. - そ し て, そ れ ら_work in progress (2016-2018)".

In the written component, various theories of art and science are considered as essential definitions of art in the context of art philosophy as well as (neo-) representation theory in art. This written component is reflected in the artistic results or conceived as an artistic project in the reflection of the social context. In the artistic phase, I develop my own approach in art theories, which combines with current science.

In my artistic work I implement autobiographical experiences such as motifs and subjects into an artistic context, in which I encounter in my social environment and create the projects using the media of photography, video, sound, mixed media, performance (as well as live art). and (spatial-) installation on a visual and/or auditory level.

Examples of current work are the project "B.O.D.Y. - そ し て, そ れ か ら (2014-) work in progress" and the project "N.N - Zwischenliegend (2015-)".

ABOUT ME Image 1
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Installation, Photography, Sound, Video, Mixed Media, Drawing, Performance 

Artist TECHNIQUE Image 1

In Sensation of Motion in Time (2000), Japanese performance artist Erika Matsunami created a public event at a gallery opening with two performers of the Theater Thikwa in Berlin, Germany, a well established disability-focused theatre group. Matsunami and her two performers, both of whom have Cerebral Palsy, performed task-based actions among spectators in the Kunstlerbahnhof Westend, an old train station re-functioned into an art space. In the show, they walk or slither closely by their audiences: some spectators decide to move, making way for the performers taking space, others seem to enjoy the close contact, the permission to stare and to see in close-up. At times, Erika Matsunami, Martina Nitz and Tim Petersen are noticeable in unison: with Matsunami’s (who is non-disabled) ‘normate’ motion in a form of echo or counterpoint to Nitz’s spastic impulses. The ‘rawness’ of huddled spectators sitting on concrete benches and on stair steps, watching the writhing of Nitz on the floor at their feet, is off-set by large video projections on the top floor of the old railway station. These projections present the performers in a more ethereal light, giving an aesthetic frame to their unfamiliar physicality. The video projections allow for a different perspective on both Nitz and Petersen: not as live presences of disabled bodies in a public space that isn’t designed for them as valid citizens (the stairs are a constant reminder of this), but as signs of beauty, shapes and lines in movement. With this, the presentation sets different sets of understandings of disability in tension: As Overboe reminds us, The identity of disabled people who experience cerebral palsy is reduced to their appearance that is, according to Young (1990: 124), the antithesis of the controlled being associated with rationality, linearity, productivity and normality. (Overboe, 1999: 18) Here, the appearance, the visual encounter itself is manipulated, creating a temporal difference that translates that what appears uncontrolled into an elegiac dance – mediation, difference, the space between performer and spectator becomes visible as it doubles up between live performance and video. The space between projection and live presence allows for many details to emerge: different rules of visual engagement apply to the two forms of communication. The video presents Nitz in slow-motion, with beautifully colored tones, and the spectator can gain a different relation to Nitz’s see- through shirt showing off her muscular upper body and allowing vision of her breasts, and to her private and triumphant luxuriating smile at the execution of her movements. In the live action, the same kind of ‘aesthetic’ appreciation becomes more complex through the abrupt quality of Nitz’s movement, more ‘alien’ to many observers, and her position at the feet of most spectators, echoing uncomfortable social realities rather than ‘value-free’ art spaces. Energy, circulating clearly like shocking currents through the three different live performances, is transformed into a more elegiac and expansive pace in the interaction between camera and bodies captured on the screens. But the quality of energy as motion binds all elements of this site-specific work together: spectators and performers, architecture and videos. The train station is a place of coming and going, of traversal lines, of lines shooting off to elsewhere. Train time tables and the geometries of railway lines create striations in a field of reverberating departures and arrivals. The movement energy creates smooth pockets of encounters, where the directions of erotics and fascination, disgust and upset are arrested and set into ‘tactile relations among themselves’. Beyond the visual distance between extraordinary and normate body, the eye itself has a haptic, nonoptical function: no line separates earth from sky, which are of the same substance; there is neither horizon nor background nor perspective nor limit nor outline nor form nor center; there is no intermediary distance, or all distance is intermediary. (Deleuze and Guattari: A Thousand Plateaus, 494) The happening doesn’t model a larger social homogenisation, or a carnival celebration of shared space. But it focuses attention on the living quality of encounters, on the quality of disabled bodies as carriers of live energy, and as engaged in a journey between life and mediation, art and everyday. The vulnerability of the body is present, and pressing onto the sensibilities of the spectators so close in contact with bodies usually held at bay through the ‘disabled’ label. But the vulnerability (imagined and otherwise) pairs with strength and resistance as presence. I am not sure whether I should read the performer’s presence in their bodily difference as openings into the possibility of sharing social space, or rather as monsters, as Lingis’s sharks that destabilize vicariously the ‘normate’ nature of non-disabled viewers. I want to read the immersion into an ocean of bodily difference in the tank of the train station as a moment that can overwhelm the escaping striations of categorisation into an encounter with smoothness .
(“Bodies on Edge” Petra Kuppers, London and New York Routledge Academic Press, 2003 )



Project Scholarship:

2006 Project scholarship at Künstlerhaus Lukas (Luke artists’ centre), Ahrenshoop, Germany



Major exhibitions/creations:

Solo exhibitions

2011 re/cycle – “I’m also there” | Galerie M, Berlin, Germany B.O.D.Y. – hidden codes | L’Associazione culturale Diip, Venice, Italy


Selected group exhibitions

2018 N.N-zwischenliegend (2015/2018) | Himmel über Berlin, within the framework of the program European Month of Photography, GEDOK-Galerie, Berlin, Germany

2016 Les coloris (Project 2012–/Photography 2005/2013/2016) | DisAppear–Fotografische Materialitäten, within the framework of the program European Month of Photography, GEDOK-Galerie, Berlin, Germany

2015 sable | Finsternis, GEDOK-Galerie, Berlin, Germany

B.O.D.Y. そして、それから - et ainsi de suite / Rhizom | Zerreißprobe OCEAN contemporary #1, GEDOK- Galerie, Berlin, Germany

2013 B.O.D.Y. – hidden codes | BILDER DENKEN, GEDOK Galerie, Berlin, Germany

2012 B.O.D.Y., B.O.D.Y. – hidden codes | imaginarium III, Galerie Wedding, Berlin, Germany

2011 B.O.D.Y. | Wo ist Sophia? Die Weisheit des Leibes | Frauenmuseum, Bonn, Germany



Selected festivals

2007 transformation#2_Landscape | Experimental Film and Video Festival EXIS 07, Seoul, Republic of Korea

deflection | Transmediale 07, Akademie der Künste, Berlin, Germany



2010 still/silent, les coloris | OSTRALE–center for contemporary art, Dresden, Germany



Selected publications

2011 “still/silent”, contains a DVD with audio-visual works and videos of the performances (2007–2010), Revolver Publishing by VVV, 2011 (ISBN 978-3-86895-194-3), Germany

(The bibliographic information of the German national library. The German national library listed this publication in the German national bibliography; detailed bibliographic data are available on the internet KATALOG DER DEUTSCHEN NATIONALBIBLIOTHEK and Library of Congress, USA)


Matsunami, Erika
Künstler: Antonis Anissegos, Chris Dahlgren, Niklas Schmincke
Autoren: Natasha Bordiglia, Tatjana Fell, Susanne Hauser, Gye-Joong Kim, Shaheen Merali, Miya Yoshida.

Erika Matsunamis works comprise a spectrum of both themes and media that spans from sculpture and photography by way of video and performance art all the way to mixed-media installations. Among these works, one of the most prominent is the serial project ?still/silent? that is documented here for theperiod from 2007 through 2010. Initially arising from her collaboration with the composer and pianistAntonis Anissegos, ?still/silent? was realized multiple times since 2007 and was then refined anddeveloped in collaboration with the composer and bassist Chris Dahlgren and the sound engineer NiklasSchmincke. The original idea for ?still/silent?, however, was conceived in Hiroshima, the city that fellvictim to the first atomic bomb attack in 1945 and Matsunamis city of birth: between collectiveremembrance and individual recollection, ?still/silent? connects the question of identity with a dialectic ofconcept and variation.

By structurally inscribing her work with a re-contextualization of space-times and media, she has it referand point to the potentiality of the identity creating function of remembering. The spatial transfer that isprogrammatically expressed in the choice of diverging venues of performance, thus intuitively becomesthe transformation in the sense of the experiment in medium and memory. Its open structure therebymakes ?still/silent? perceptible as prospective artistic practice that works with the motive of silence andthe possibility of peace.

The catalogue presents the project by means of photographs and video-stills in different phases of itsdevelopment and provides insights into the artistic methods of Matsunami and her collaboratorsAnissegos, Dahlgren and Schmincke. Additionally, ?still/silent? is theoretically discussed in conversationsbetween the participating artists on the different aspects of their respective work and in the interviewsMatsunami herself conducted with the curators Shaheen Merali and Tatjana Fell which fathom the socialdimension of artistic mediation in particular. Finally, Dr Miya Yoshida, Prof. Dr Susanne Hauser, NatashaBordiglia and Prof. Gye-Joong Kim in their respective essays explore the aspects of cultural difference andits possible balance in art.
Berlin 2011, 96 pages, approx. 150 pictures, 21 x 21 cm, Softcover, English, contains a DVD with audio-visual works and videos of the performances (2007-2010)
ISBN: 978-3-86895-194-3
English, German, Japanese
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