Daniela Brahm

Hinterland, 2002
Inst. view
Mirko Mayer Gallery, Cologne

Brahm_Daniela_Hinterland_2020_19

Hinterland, 2002
Inst. view
Mirko Mayer Gallery, Cologne

Highrise, 2005
Inst. view
Künstlerhaus Bethanien, Berlin

Brahm_Daniela_Highrise_2005_18

Highrise, 2005
Inst. view
Künstlerhaus Bethanien, Berlin

Proclamation Wall, 2006
Asterism, inst. view
260 x 150 cm each

Brahm_Daniela_Proclamation_2006_17

Proclamation Wall, 2006
Asterism, inst. view
260 x 150 cm each

Proclamation Wall, 2006
Asterism, inst. view
260 x 150 cm each

Brahm_Daniela_Proclamation_2006_16

Proclamation Wall, 2006
Asterism, inst. view
260 x 150 cm each

Recycling Utopia, 2006
„Ideal City / Invisible Cities“ in Potsdam
approx. 3.3 x 3.5 x 2.5m

Brahm_Daniela_Recycling-Utopia_2006_15

Recycling Utopia, 2006
„Ideal City / Invisible Cities“ in Potsdam
approx. 3.3 x 3.5 x 2.5m

The New Town, 2006
„Ideal City / Invisible Cities“ Part 1 in Zamosc
approx. 8 x 3.6 x 1.6 m

Brahm_Daniela_The-New-Town_2006_14

The New Town, 2006
„Ideal City / Invisible Cities“ Part 1 in Zamosc
approx. 8 x 3.6 x 1.6 m

Community, 2016
installation photo
Mirko Mayer Gallery

Brahm_Daniela_community_2006_13

Community, 2016
installation photo
Mirko Mayer Gallery

Recycling Utopia, 2007
in: OPEN SPACE, Art Cologne
with Mirko Mayer Gallery

Brahm_Daniela_Recycling-Utopia_2007_12

Recycling Utopia, 2007
in: OPEN SPACE, Art Cologne
with Mirko Mayer Gallery

The Big Argument, 2009
in: 'Warsaw Under Construction #1'
Billboards, approx. 11 x 7 x 4 m

Brahm_Daniela_The-Big-Argument_2009_11

The Big Argument, 2009
in: 'Warsaw Under Construction #1'
Billboards, approx. 11 x 7 x 4 m

The Big Argument, 2009
in: 'Warsaw Under Construction #1'
Billboards, approx. 11 x 7 x 4 m

Brahm_Daniela_The-Big-Argument_2009_10

The Big Argument, 2009
in: 'Warsaw Under Construction #1'
Billboards, approx. 11 x 7 x 4 m

The Big Argument, 2009
in: 'Warsaw Under Construction #1'
Billboards, approx. 11 x 7 x 4 m

Brahm_Daniela_The-Big-Argument_2009_09

The Big Argument, 2009
in: 'Warsaw Under Construction #1'
Billboards, approx. 11 x 7 x 4 m

Verhandlungssache, 2013
(with Les Schliesser)
Inst. view, Mirko Mayer Gallery

brahm_daniela_installationview_2013_08

Verhandlungssache, 2013
(with Les Schliesser)
Inst. view, Mirko Mayer Gallery

Verhandlungssache, 2013
(with Les Schliesser)
Inst. view, Mirko Mayer Gallery

Brahm_Daniela_Installationview_2013_07

Verhandlungssache, 2013
(with Les Schliesser)
Inst. view, Mirko Mayer Gallery

eins und eins sind eins, 2014
(with Les Schliesser) audio recordings
inst. photo, Casino Luxembourg

Brahm_Daniela_eins-und-eins-sind-eins_2014_06

eins und eins sind eins, 2014
(with Les Schliesser) audio recordings
inst. photo, Casino Luxembourg

Ereignispanorama
und andere Verwicklungen,
2014
Kunstverein Nürtingen, inst. photo

Brahm_Daniela_Ereignispanorama_2014_05

Ereignispanorama
und andere Verwicklungen,
2014
Kunstverein Nürtingen, inst. photo

Ereignispanorama
und andere Verwicklungen,
2014
Kunstverein Nürtingen, inst. photo

Brahm_Daniela_Ereignispanorama_2014_04

Ereignispanorama
und andere Verwicklungen,
2014
Kunstverein Nürtingen, inst. photo

Our Place / ExRotaprint Berlin -
Urban Activism as Artistic Practice
, 2014
(with Les Schliesser), Inst. view Oslo

Brahm_Daniela_OurPlace_2014_03

Our Place / ExRotaprint Berlin -
Urban Activism as Artistic Practice
, 2014
(with Les Schliesser), Inst. view Oslo

Our Place / ExRotaprint Berlin -
Urban Activism as Artistic Practice
, 2014
(with Les Schliesser), Inst. view Oslo

Brahm_Daniela_OurPlace_2014_02

Our Place / ExRotaprint Berlin -
Urban Activism as Artistic Practice
, 2014
(with Les Schliesser), Inst. view Oslo

Our Place / ExRotaprint Berlin -
Urban Activism as Artistic Practice
, 2014
(with Les Schliesser), Inst. view Oslo

Brahm_Daniela_OurPlace_2014_01

Our Place / ExRotaprint Berlin -
Urban Activism as Artistic Practice
, 2014
(with Les Schliesser), Inst. view Oslo

2002
HINTERLAND

Drawing inspiration by 20th-century architects´ predisposition to change the way people thought about the built environment, in one of Brahm´s latest installations Hinterland, something between a wooden barrier and a self-supporting painting acts as artificial fence to add an extra layer in the exhibition. Here, to explore the notion of feeling out of place, the artist introduces her idea of boundary, that the philosopher Martin Heidegger called not at which something stops but, as the Greeks recognized, that from which something begins.

Drawing inspiration by 20th-century architects´ predisposition to change the way people thought about the built environment, in one of Brahm´s latest installations Hinterland, something between a wooden barrier and a self-supporting painting acts as artificial fence to add an extra layer in the exhibition. Here, to explore the notion of feeling out of place, the artist introduces her idea of boundary, that the philosopher Martin Heidegger called not at which something stops but, as the Greeks recognized, that from which something begins.

Diana Baldon
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2005
HIGHRISE

Brahm works simultaneously on various series of motifs reflecting her observations of society, which she combines into fictional stories. Her latest work, Highrise, confronts the hospital chapel dating from the 19th century with a parasite architecture. Rising upwards from flat elements on the floor it towers at 8.5 meters and docks onto one aisle of the gallery space. Brahm uses the scaffolding and the sheets of wood as a canvas for existing works or paints directly on the wood. Formally speaking, this architectural intervention derives from the urbanistic features of social housing, more particularly England´s tenement blocks, whose architecture is an expression of social utopia in the aftermath of the Second World War. (press release, abridged)

Brahm works simultaneously on various series of motifs reflecting her observations of society, which she combines into fictional stories. Her latest work, Highrise, confronts the hospital chapel dating from the 19th century with a parasite architecture. Rising upwards from flat elements on the floor it towers at 8.5 meters and docks onto one aisle of the gallery space. Brahm uses the scaffolding and the sheets of wood as a canvas for existing works or paints directly on the wood. Formally speaking, this architectural intervention derives from the urbanistic features of social housing, more particularly England´s tenement blocks, whose architecture is an expression of social utopia in the aftermath of the Second World War. (press release, abridged)

2006
COMMUNITY

The installation entitled Community encroaches upon the space of the gallery with its wall of roughly sawn boards covered in splashes of white paint, sparking interest in things that have been sealed or closed off—just as fences round building sites do. In terms of its three-dimensionality, the composition as a whole aims towards an encounter with the Participants, the recurring actors in Brahms` oeuvre, producing a situation in which the juxtaposition of disparate personalities demands that more light be shed on notions of cultural and political identity. Community addresses ideas of individual freedom and foreignness in equal measure, examining artistic methods and their confrontation with the viewer. (press release, abridged).

The installation entitled Community encroaches upon the space of the gallery with its wall of roughly sawn boards covered in splashes of white paint, sparking interest in things that have been sealed or closed off—just as fences round building sites do. In terms of its three-dimensionality, the composition as a whole aims towards an encounter with the Participants, the recurring actors in Brahms` oeuvre, producing a situation in which the juxtaposition of disparate personalities demands that more light be shed on notions of cultural and political identity. Community addresses ideas of individual freedom and foreignness in equal measure, examining artistic methods and their confrontation with the viewer. (press release, abridged).

2006
PROCLAMATION WALL

Proclamation Wall is literally a series of "proclamations" intruding into the museum´s space with phrases, such as "Dare to Enter", "Participation", "No Escape", or simply "Yes"..., texts presented in various fonts. Their placement give the Museo Tamayo the appearance of a construction site, with these large posters establishing a formal analogy with one´s visual or spatial experiences in public space, as these works were hung on a rough wall that resembled a temporary street barricade. The artist presents these texts in English, the commonly accepted universal language nowadays, and ties this use to a historical architectural tradition that proclaimed a universal language.

Proclamation Wall is literally a series of "proclamations" intruding into the museum´s space with phrases, such as "Dare to Enter", "Participation", "No Escape", or simply "Yes"..., texts presented in various fonts. Their placement give the Museo Tamayo the appearance of a construction site, with these large posters establishing a formal analogy with one´s visual or spatial experiences in public space, as these works were hung on a rough wall that resembled a temporary street barricade. The artist presents these texts in English, the commonly accepted universal language nowadays, and ties this use to a historical architectural tradition that proclaimed a universal language.

Paola Santoscoy
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2006
THE NEWTOWN

In Zamosc and Potsdam Daniela Brahm addresses the construction of ideal cities directly, by declaring a plot of already built-on land a building site. Staying within the formal language of post-war modernity, and relating in terms of content to a civic model of participation, she rattles the intactness of the ideal city and proclaims the possibility of change. Thus she points the way to an as yet invisible city, arising from the ideas of modernity, which would not however here represent salvation, but destruction. Daniela Brahm has thought the present situation through to its logical conclusion; up to and including the scrutiny of today´s attitudes to the idea of an ideal city.

In Zamosc and Potsdam Daniela Brahm addresses the construction of ideal cities directly, by declaring a plot of already built-on land a building site. Staying within the formal language of post-war modernity, and relating in terms of content to a civic model of participation, she rattles the intactness of the ideal city and proclaims the possibility of change. Thus she points the way to an as yet invisible city, arising from the ideas of modernity, which would not however here represent salvation, but destruction. Daniela Brahm has thought the present situation through to its logical conclusion; up to and including the scrutiny of today´s attitudes to the idea of an ideal city.

Anne Maier
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2006
RECYCLING UTOPIA

The New Town and Recycling Utopia, have been realized for the exhibition “Ideal City / Invisible Cities”. The first part of the exhibition took place in Zamosc in eastern Poland in summer 2006. The New Town was located on a city´s market square for two months. Out of the component parts of this installation the shelter Recycling Utopia, has been built for the second part of the exhibition in Potsdam in autumn 2006.

The New Town and Recycling Utopia, have been realized for the exhibition “Ideal City / Invisible Cities”. The first part of the exhibition took place in Zamosc in eastern Poland in summer 2006. The New Town was located on a city´s market square for two months. Out of the component parts of this installation the shelter Recycling Utopia, has been built for the second part of the exhibition in Potsdam in autumn 2006.

2007
RECYCLING UTOPIA II

At the 2007 Art Cologne, the work Recycling Utopia, bears traces of its earlier appearances in the urban space, which have been transferrd to the protective artistic surrounding. As a hybrid of painting, sculpture and installation art, Recycling Utopia poses a question on authorship, process and links between art and life.

At the 2007 Art Cologne, the work Recycling Utopia, bears traces of its earlier appearances in the urban space, which have been transferrd to the protective artistic surrounding. As a hybrid of painting, sculpture and installation art, Recycling Utopia poses a question on authorship, process and links between art and life.

2009
THE BIG ARGUMENT

The Big Argument is a project accompanying the program of "Warsaw Under Construction". Using a billboard cluster on the seats of honor in front of the Palace of Culture in Warsaw, the artist underlines the impetuous and complex character of conflicts evoked by attempts to manage and conquer public space by groups of conflicting interests. At the same time, Brahm defines the city as "the biggest exhibition in the world", treating art as a magnifying glass which lets us see the pending urban, political, and social processes.

The Big Argument is a project accompanying the program of "Warsaw Under Construction". Using a billboard cluster on the seats of honor in front of the Palace of Culture in Warsaw, the artist underlines the impetuous and complex character of conflicts evoked by attempts to manage and conquer public space by groups of conflicting interests. At the same time, Brahm defines the city as "the biggest exhibition in the world", treating art as a magnifying glass which lets us see the pending urban, political, and social processes.

Tomasz Fudala
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2013
EREIGNISPANORAMA UND ANDERE VERWICKLUNGEN (WITH LES SCHLIESSER)

Mit der Ausstellung "Ereignispanorama und andere Verwicklungen" sickert die gemeinsame Arbeit an der Entwicklung des ExRotaprint Geländes in die künstlerische Arbeit von Daniela Brahm und Les Schliesser ein und fliest so den Ausgangslagen der Projektidee zu, die zunächst mehr künstlerische Intervention und Provokation als tatsächliche Gestaltung von Realität waren. In der Ausstellung, die Entstehungsgeschichte, Gegenwart und mögliche Zukunft des Ortes anreisst, verhandeln die beiden Künstler ihren Spagat zwischen Realität und Künstleridentität.

Mit der Ausstellung "Ereignispanorama und andere Verwicklungen" sickert die gemeinsame Arbeit an der Entwicklung des ExRotaprint Geländes in die künstlerische Arbeit von Daniela Brahm und Les Schliesser ein und fliest so den Ausgangslagen der Projektidee zu, die zunächst mehr künstlerische Intervention und Provokation als tatsächliche Gestaltung von Realität waren. In der Ausstellung, die Entstehungsgeschichte, Gegenwart und mögliche Zukunft des Ortes anreisst, verhandeln die beiden Künstler ihren Spagat zwischen Realität und Künstleridentität.

2014
EINS UND EINS SIND EINS (WITH Les Schliesser)

The sound work eins und eins sind eins (one plus one equals one) reflects in an abstract way on the complexities behind the process of bringing a (utopian) realm of possibilities into actual being. The audio work consists of two contracts that form the legal basis of ExRotaprint, an industrial site that both artists transformed into an exemplary model of real estate development which is based on the common good and which they run today. For the sound work eins und eins sind eins, the artists asked the solicitor read out the articles of the partnership agreement of the non-profit GmbH ExRotaprint and the heritable building rights contract again while being recorded. Both contracts stipulate aims and parameters, scope and dimensions, obligations and rights of the project.

The sound work eins und eins sind eins (one plus one equals one) reflects in an abstract way on the complexities behind the process of bringing a (utopian) realm of possibilities into actual being. The audio work consists of two contracts that form the legal basis of ExRotaprint, an industrial site that both artists transformed into an exemplary model of real estate development which is based on the common good and which they run today. For the sound work eins und eins sind eins, the artists asked the solicitor read out the articles of the partnership agreement of the non-profit GmbH ExRotaprint and the heritable building rights contract again while being recorded. Both contracts stipulate aims and parameters, scope and dimensions, obligations and rights of the project.

Berit Fischer
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2014
OUR PLACE/ EXROTAPRINT BERLIN- URBAN ACTIVISM AS ARTISTIC PRACTICE (WITH LES SCHLIESSER)

ExRotaprint, an abandoned manufacturing site in the former working-class district Berlin Wedding, is initiated and driven by artists Les Schliesser and Daniela Brahm; a redevelopment project created from the viewpoint of art. As a social sculpture, it links the potential of its spectacular architecture with the local needs of a socially marginalized area, devoting aesthetic quality into socio-political activities. Over the past few years, the collaborative work on ExRotaprint has expanded into the artistic practice of Daniela Brahm and Les Schliesser. Within our exhibition, they trans- form the urban redevelopment project into a monumental installation, encompassing wall drawings, film and sculptural interventions.

ExRotaprint, an abandoned manufacturing site in the former working-class district Berlin Wedding, is initiated and driven by artists Les Schliesser and Daniela Brahm; a redevelopment project created from the viewpoint of art. As a social sculpture, it links the potential of its spectacular architecture with the local needs of a socially marginalized area, devoting aesthetic quality into socio-political activities. Over the past few years, the collaborative work on ExRotaprint has expanded into the artistic practice of Daniela Brahm and Les Schliesser. Within our exhibition, they trans- form the urban redevelopment project into a monumental installation, encompassing wall drawings, film and sculptural interventions.

Markus Richter
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daniela brahm / biography

 
  
  
1966*Düsseldorf / DE
1988Studies Hochschule der Künste, Berlin
1991ERASMUS-Stipendium, Beaux Arts Marseilles / FR
1993Diploma
1994Master Class (with Valile Export)
1999co-founder of soup (collective studio of architects, designers, visual artists)
2003Residency at Delfina Studios London / UK (financed by the Berlin Senat)
2004Conception for a redevelopment of the former Rotaprint manufacturing plant by the tenants already on site (with Les Schliesser)
2005Grant from the North Rhine-Westphalian Art Foundation
 co-founder of ExRotaprint www.exrotaprint.de (socio-political initiative on the former Rotaprint factory site)
2007ExRotaprint Planning Team (with artist Les Schliesser, and architects Oliver Clemens and Bernhard Hummel)
 Foundation of the ExRotaprint GmbH (the non-profit Ltd.) by on-site tenants; purchase of the premises; signing of a 99-year heritable building right
2010gradual renovation of the premises which is a registered historic landmark
2012Member of "Initiative Stadt Neudenken" (civic initiative to change real estate politics in Berlin)
2016ExRotaprint was awarded the Julius Berger Prize for Urban Development
2018Gastprofessur an der Weißensee Kunshochschule Berlin, Fachbereich Raumstrategien / Spacial Strategies
2019ExRotaprint was awarded the Ferdinant-von-Quast-Medaille for the preservation of the architectural monument
  
  

einzelausstellungen | solo shows

 
  
2018Die Tour als Skulptur: Property Matters Zentrum für Kunst und öffentlichen Raum / ZKR Berlin, DE
2009the big argument Museum of Modern Art in Warsaw, site-specific installation in front of the Palace of Culture, satelite of „Warsaw Under Construction", PL
 my city Galerie Mirko Mayer, Köln / DE
2007Art is so small / Consider the opposite Art Forum Berlin, DE
 OPEN SPACE, Art Cologne, DE
2006Community Galerie Mirko Mayer Köln, DE
2005Highrise Künstlerhaus Bethanien Berlin, DE
 London Series (modern (no bricks)) Galerie Barbara Thumm Berlin, DE
2002Relocation Container Art Position, Art Basel / Miami Beach, Miami, USA
 Hinterland Galerie Mirko Mayer, Köln, DE
 Participation City Galerie Barbara Thumm, Berlin, DE
2001NIMBY - Not In My Backyard" Galerie Mirko Mayer, Köln, DE
2000our place Galerie Barbara Thumm, Berlin, DE
1996die kommunikation auf der erde ist erstaunlich gut exhibtion in two shipping containers, lacated at Unter den Linden / Friedrichstraße, Berlin, DE
  
  

gruppenausstellungen | group shows

 
  
2020Uferhallen Manifest, eine Ausstellung auf dem Gelände der Uferhallen Berlin/Wedding, DE
2019ExRotaprint goes statistics, Haus der Statistik, Berlin, DE
2017WARSAW UNDER CONSTRUCTION #9 Museum of Modern Art in Warsaw, PL
 Fokus Papier, Raumdenken - Denkräume Kunstmuseum Basel, CH
2016Community.based An Archive of Berlin Projects, Decad project space, Berlin, DE
2015Die Tour als Skulptur: Satteldach City Dinslaken geführte Tagestouren im Rahmen von "Reisen im Kreis", Urbane Künste Ruhr, DE
2014Our Place / ExRotaprint Berlin - Urban Activism as Artistic Practice (with Les Schliesser), 0047 Oslo, NOR
 HLYSNAN: The Notion and Politics of Listening (with Les Schliesser), Casino Luxembourg, LUX
 Ästhetik des Widerstands (with Les Schliesser) IG Bildende Kunst Wien, AT and Galerie im Turm Berlin, DE
2013Ich versteh´ nur Nordbahnhof! (with Les Schliesser) Künstlerhaus Stuttgart, DE
 Ereignispanorama und andere Verwicklungen (with Les Schliesser) Kunstverein Nürtingen, DE
 Verhandlungssache (with Les Schliesser) Galerie Mirko Mayer, Köln, DE
2012Kirstenpläne Project Space ExRotaprint, Berlin
2011Other Possible Worlds Neue Gesellschaft für Bildende Kunst, Berlin, DE
2010Linie - Fläche - Raum: Bildarchitekturen Plan 10, Cologne, Forum aktueller Architektur, Kunsthaus Lempertz, Köln, DE
 mapping my mind Galerie Mirko Mayer Köln / DE
2009Warsaw Under Construction Museum of Modern Art in Warsaw PL
 Building Berlin Kitchener-Waterloo Art Gallery, CAN
2008on the edge of painting: sublime-construction-reality Mirko Mayer Gallery, Cologne, DE
2007 Art is so small / Consider the opposite Art Forum Berlin, DE
2006Ideal City / Invisible Cities Potsdam, DE
 Ideal City / Invisible Cities Zamosc PL
 Asterism. Artists living in Berlin Museo Tamayo Mexico D.F.
 Painting as Presence Künstlerhaus Bethanien Berlin, DE
2004EASTinternational 04 Norwich School of Art & Design / UK
2003 brand the image Mirko Mayer Gallery, Cologne
2002Bilder aus Berlin Christopher Grimes Gallery, Santa Monica, USA
2000MALKUNST Fondazione Mudima, Milano, IT

daniela brahm / biography

1966
*düsseldorf / de

1988
studies hochschule der künste, berlin

1991
erasmus-stipendium, beaux arts marseilles / fr

1993
diploma

1994
master class (with valile export)

1999
co-founder of soup (collective studio of architects, designers, visual artists)

2003
residency at delfina studios london / uk (financed by the berlin senat)

2004
conception for a redevelopment of the former rotaprint manufacturing plant by the tenants already on site (with les schliesser)

2005
grant from the north rhine-westphalian art foundation co-founder of exrotaprint www.exrotaprint.de (socio-political initiative on the former rotaprint factory site)

2007
exrotaprint planning team (with artist les schliesser, and architects oliver clemens and bernhard hummel)
foundation of the exrotaprint gmbh (the non-profit ltd.) by on-site tenants; purchase of the premises; signing of a 99-year heritable building right

2010
gradual renovation of the premises which is a registered historic landmark

2012
member of "initiative stadt neudenken" (civic initiative to change real estate politics in berlin)

2016
exrotaprint was awarded the julius berger prize for urban development

2018
gastprofessur an der weißensee kunshochschule berlin, fachbereich raumstrategien / spacial strategies

2019
exrotaprint was awarded the ferdinant-von-quast-medaille for the preservation of the architectural monument    

einzelausstellungen | solo shows

2018
die tour als skulptur: property matters, zentrum für kunst und öffentlichen raum / zkr berlin, de

2009
the big argument, museum of modern art in warsaw, site-specific installation in front of the palace of culture, satelite of warsaw under construction, pl
my city, galerie mirko mayer, köln / de

2007
art is so small / consider the opposite, art forum berlin, de open space, art cologne, de

2006
community, galerie mirko mayer köln, de

2005
highrise, künstlerhaus bethanien berlin, de
london series (modern (no bricks)), galerie barbara thumm berlin, de

2002
relocation container, art position, art basel / miami beach, miami, usa
hinterland, galerie mirko mayer, köln, de
participation city, galerie barbara thumm, berlin, de

2001
nimby - not in my backyard, galerie mirko mayer, köln, de

2000
our place, galerie barbara thumm, berlin, de

1996
die kommunikation auf der erde ist erstaunlich gut, exhibtion in two shipping containers, lacated at unter den linden / friedrichstraße, berlin, de    

gruppenausstellungen | group shows

2020
uferhallen manifest, eine ausstellung auf dem gelände der uferhallen berlin/wedding, de

2019
exrotaprint goes statistics, haus der statistik, berlin, de

2017
warsaw under construction #9, museum of modern art in warsaw, pl
fokus papier, raumdenken - denkräume, kunstmuseum basel, ch

2016
community.based an archive of berlin projects, decad project space, berlin, de

2015
die tour als skulptur: satteldach city dinslaken, geführte tagestouren im rahmen von "reisen im kreis", urbane künste ruhr, de

2014
our place / exrotaprint berlin - urban activism as artistic practice (with les schliesser), 0047 oslo, nor hlysnan: the notion and politics of listening (with les schliesser), casino luxembourg, lux
ästhetik des widerstands (with les schliesser), ig bildende kunst wien, at and galerie im turm berlin, de

2013
ich versteh´ nur nordbahnhof! (with les schliesser), künstlerhaus stuttgart, de
ereignispanorama und andere verwicklungen (with les schliesser), kunstverein nürtingen, de
verhandlungssache (with les schliesser), galerie mirko mayer, köln, de

2012
kirstenpläne, project space exrotaprint, berlin

2011
other possible worlds, neue gesellschaft für bildende kunst, berlin, de

2010
linie - fläche - raum: bildarchitekturen, plan 10, cologne, forum aktueller architektur, kunsthaus lempertz, köln, de
mapping my mind, galerie mirko mayer köln / de

2009
warsaw under construction, museum of modern art in warsaw pl
building berlin, kitchener-waterloo art gallery, can

2008
on the edge of painting: sublime-construction-reality, mirko mayer gallery, cologne, de

2007
art is so small / consider the opposite, art forum berlin, de

2006
ideal city / invisible cities, potsdam, de
ideal city / invisible cities, zamosc pl
asterism. artists living in berlin, museo tamayo mexico d.f.
painting as presence, künstlerhaus bethanien berlin, de

2004
eastinternational 04, norwich school of art & design / uk

2003
brand the image, mirko mayer gallery, cologne

2002
bilder aus berlin, christopher grimes gallery, santa monica, usa

2000
malkunst, fondazione mudima, milano, it

daniela brahm / bibliograpy

 
  
  

monographien & künstlerbücher |

 

monographs & artist books monographs & artist books

 
  
2011"the big argument", Künstlerbuch, Edition 25, 16 Seiten
2008"wall piece / space piece", artist book, edition of 50, 24 pages, ed. Daniela Brahm
2005"Join", Verlag für Moderne Kunst, Nuremberg,102 pages, texts by Raimar Stange, Andreas Spiegl, interview by Les Schliesser
2000"backstage", artist book, edition of 100, 88 pages, ed. Daniela Brahm & Barbara Thumm Gallery, Berlin
  
  

publikationen & kataloge |

 

publications & catalogues

 
  
2014„Hylsnan - the Notion and Politics of Listening" Berit Fischer (ed.), published by Casino Luxembourg 2014
 „Raumunternehmen" Buttenberg, Overmeyer, Spars (Hg.), Jovis Verlag, S.13-24 und ff.
 „Make_Shift City, Renegotiating the Urban Commons" Francesca Ferguson, Urban Drift Projects (eds.) in cooperation with Berlin Senate for Urban Development, Jovis Verlag
2013"There is No Profit to be Made Here!" in: Scapegoat Journal #04: Currency, Toronto 2013
 "SELFMADE CITY" von Kristien Ring, Jovis Verlag Berlin 2013
2012"City as Loft" von Martina Braun, Kees Christiaanse (Hrsg), gta Verlag, ETH Zürich 2012
2011Arch+ Zeitschrift für Architektur und Städtebau #201/202, März 2011, S. 118-121
 "Other Possible Worlds" argobooks, NGBK (ed.), D. Albrecht, B. Fischer, F. Lesák, M. Zoitl
2010"Plan 10" magazine published by Forum aktueller Archtektur in Köln
2009"Space Craft 2", die Gestalten Verlag Berlin, ed. Lukas Feireiss
 "Muzeum #8" magazine published by the Museum of Modern Art in Warsaw, text by Tomasz Fudala
2008"Warsaw Does Not Exist", ed. Sebastian Cichocki and The Bec Zmiana Foundation, Warsaw
 "Review - 32 Jahre Künstlerhaus Bethanien", ed. Künstlerhaus Bethanien Berlin
2006"New German Painting - 31 Positionen deutscher Malerei", Prestel Verlag, Munich, text by Jens Astho
 "Ideal City / Invisible Cities", Revolver Verlag, Frankfurt, ed. EAP / S. van der Ley / M. Richter, text by Anne Maier
 "Asterism. Artists living in Berlin", ed. Museo Tamayo, text by Paola Santoscoy
 "Painting as Presence", ed. Künstlerhaus Bethanien, text by Christoph Tannert
2004"EASTinternational 04", ed. Norwich Gallery / Lynda Morris, text by Diana Baldon
2003"The Sky´s the Limit", ed. Astrid Mania
2000"Malkunst", ed. Fondazione Mudima, Milano
  
  

zeitungsartikel |

 

articles and reviews in magazines and newspapers

 
  
2013Archäologie der Zukunft... von D. Zimmermann, 20./21.4.2013 Kölner Stadt-Anzeiger
2012Bis das Eigentum verschwindet von Uwe Rada, TAZ 4.5.2012
2011Kunst für den Arbeiterbezirk von Claudia Wahjudi, Zitty Berlin Spezial: Das Berlin Buch 2011/2012
2009"Der Luxus eines Areals ohne Lofts" Süddeutsche Zeitung 01.09.2009, von Laura Weissmüller
 Hinsetzen und kleben bleiben Kölner Stadtanzeiger 10.10.2009, von Damian Zimmermann
 Malen für Zahlen ART Magazin Hamburg, Dezember 2009, von Iris Hellmuth, Sven Stillich
 "100 Jahre Gemeinsamkeit" Tip Stadtmagazin Berlin, 06/2009, von Erk Heier
2008"alle Macht der Kunst" Die Welt, 21.12.208
2007"Alles hat seine Zeit" FAZ 21.4.2007, von Swantje Karich
 "Frauenphantasien" ELLE Magazin, März 2007, von Michaela Kunze
 "In der Sackgasse der Verwertung" Berliner Zeitung 16.1.2007, von Sebastian Preuss
2006"Die Stopptaste drücken" TAZ 21.12.06, von Brigitte Werneburg
 "Ideal City - Invisible Cities" art.es #17, von Mark Gisbourne
 "Ideal City - Invisible Cities" Contemporary Magazine, Issue 88, von Andreas Schlaegel
 "Ideal City - Invisible Cities" Frieze Magazin, Issue 102, Okt. 2006, von Goska Charylo
 "Utopie im Beton" Zitty Berlin 16/06, von Birgit Rieger
 "Ästhetische Besatzung" FAZ 27.7.06, von Swantje Karich
 "Wo schwarze Brunnen sprudeln" Tagesspiegel Berlin 24.5.06, von Christina Tilmann
 "Ich bau mir eine Stadt" TAZ 17.7.06, von Birgit Rieger
 "Alle Blicke..." Kölner Stadtanzeiger 22.6.06, von I.G.
2005Neue Review Berlin, Apr. 2005, Gespräch zwischen Les Schliesser und Daniela Brahm
 "Die Ödnis überwinden" Tagesspiegel Berlin 6.4.2005, von Jens Hinrichsen
2002"Thinking inside the Box" Miami Herald, Dez. 2002, von Daniel Chang
 "Bilder aus Berlin" Artnews, vol 101 no. 10 Nov. 2002, von Suzanne Muchnic
 "what the Fuss may be about..." Los Angeles Times, 13. Sept. 2002, von Holly Myers
 "tazplan" taz, 10. Apr. 2002, von Harald Fricke
 "Bilder aus dem Photoshop" FAZ, 16. Apr. 2002, von Johannes Wendland
 "Participation City" art in berlin, online magazin, Mai 2002, von Anne Schellhorn
2001"Der Friede der Vorstadtsiedlung" Kölner Stadtanzeiger 25.5.2001, von Renate Roos
 "Universal Häuslebauer" Style & the Family Tunes, Mai 2001, von Ophelia Abeler
 "Reconciliation Truck Two" The Breeder Magazine, Vol. 3
2000"Bilder aus dem Baumarkt" Zitty Berlin, 17/2000, von Ronald Berg
 "Weg und ran geschwebt" Blitz Review, online magazin, Juni 2000, von Christoph Blase
 "la rivincita dei tedeschi" Corriere della Sera, Nov. 2000, von Fransesca Bonazzoli
1998"Alles für Mr. Adam and his Madam" TAZ, Feb. 1998, von Brigitte Werneburg
  
  

Die ExRotaprint Nachrichten / seit 2008

 

(Zeitung von ExRotaprint / Konzept, Gestaltung, Texte: D. Brahm und L. Schliesser)

 
  
 Nr. 1 - Das Baudenkmal, 2008 (2. Auflage 2010, 3. Auflage 2012)
 Nr. 2 - Das Baumaßnahmenspiel, 2010
 Nr. 3 - Das Modell ExRotaprint, 2011
 International Edition - The ExRotaprint Model, 2011
 Nr. 4 - Die letzten Rotaprint Nachrichten, Die ersten ExRotaprint Nachrichten, 2012
 Sonderausgabe - Extrablatt ExBrache, 2012