sonneundsolche

An Empty Sofreh Samira Hodaei 6.10.-17.12.2023 The image of an empty sofreh has long been used by Iranian people in peaceful protests. But Hodaei’s work suggests that its deeper significance lies in the femininity embedded in the very concept of sofreh. Indeed, the messages of love and the blessings worked into these simple objects by the women who made them were aimed at bringing the family together. In other words, femininity seeks plurality and togetherness, and opposes violence and centralism. Thanks to these layers of hidden meaning, the simple spread becomes an iconic symbol. In the final, and most explicit, instalment of the series, The Empty Sofreh as a Diary, Hodaei recorded the events she witnessed between September and December 2022, when the protests in Iran reached their peak and normal life was no longer possible. Using thousands of tiny dots in vertical and horizontal lines, similar to the words in literary prose or the verses in a poem, she chron icled one event a day; each work therefore has a date and a title that refers to a specific incident. The idea to paint a kind of diary on empty tablecloths came to her when she saw students at the university who were protesting peacefully by sitting around an empty tablecloth, a symbol of life, blessing and freedom. @samirahodaei #sonneundsolche #samirahodaei #emptysofreh

An Empty Sofreh Samira Hodaei 6.10.-17.12.2023 Hodaei’s latest series, Spread Fabrics, is made of cotton fabrics used in kalamkari, which are typically painted with natural paints, in this case pomegranate peel. Kalamkari artists initially used wooden stamps to decorate fabrics known as takht-e-shaal. Their experimental and sometimes unfinished motifs were miniatures and arabesque floral patterns as well as hunting, battle and festive scenes or depictions of mythological stories from the Shahnameh and other Iranian epic poems. Hodaei uses the pieces of cloth and their asymmetrical and unfinished shapes as the background of her works. She either blackens these spreads with pitch or oil, or uses them as canvases for stories from her everyday life, executed in her trademark pointillist style. Besides kalamkari spreads, Hodaei’s installation uses rice and flour bags whose content has been removed. Still bearing their brand names, these empty containers symbolise poverty, much like the old, greasy gloves in her installations. @samirahodaei #sonneundsolche #samirahodaei #emptysofreh

„An Empty Sofreh“ By Samira Hodaei   06.10. - 17.12.2023 Sofreh traditionally refers to an iconic Persian fabric that is spread on the ground for eating or used as a backdrop for seasonal feasts and celebrations. Over time, the term itself has taken on a larger cultural significance, referring to concepts of gathering and sharing a place for family and friends to come together. In virtually all ancient civilisations, especially in the Middle East, sewing and knitting clothes and household items (furniture, utensils, and decorative objects for domestic use) was predominantly a women’s occupation. Persian carpet weaving, one of the most highly regarded crafts, is the result of the labour of women and girls sitting behind a loom for months or even years. The image of an empty sofreh has long been used by Iranian people in peaceful protests. But Hodaei’s work suggests that its deeper significance lies in the femininity embedded in the very concept of sofreh. Indeed, the messages of love and the blessings worked into these simple objects by the women who made them were aimed at bringing the family together. In other words, femininity seeks plurality and togetherness and opposes violence and centralism. Thanks to these layers of hidden meaning, the simple spread becomes an iconic symbol.   / #samirahodaei #emptysofreh #contemporaryart #iranianart #soloexhibition #sonneundsolche #fabricart

Cordial invitation to our LAST EXHIBITION at sonneundsolche: „An Empty Sofreh“ By Samira Hodaei   06.10. - 17.12.2023
  Opening Friday 06.10.  18 - 21 Uhr Sofreh traditionally refers to an iconic Persian fabric that is spread on the ground for eating or used as a backdrop for seasonal feasts and celebrations. Over time, the term itself has taken on a larger cultural significance, referring to concepts of gathering and sharing a place for family and friends to come together. In virtually all ancient civilisations, especially in the Middle East, sewing and knitting clothes and household items (furniture, utensils, and decorative objects for domestic use) was predominantly a women’s occupation. Persian carpet weaving, one of the most highly regarded crafts, is the result of the labour of women and girls sitting behind a loom for months or even years. The image of an empty sofreh has long been used by Iranian people in peaceful protests. But Hodaei’s work suggests that its deeper significance lies in the femininity embedded in the very concept of sofreh. Indeed, the messages of love and the blessings worked into these simple objects by the women who made them were aimed at bringing the family together. In other words, femininity seeks plurality and togetherness and opposes violence and centralism. Thanks to these layers of hidden meaning, the simple spread becomes an iconic symbol.   / #samirahodaei #emptysofreh #contemporaryart #iranianart #soloexhibition #sonneundsolche #fabricart

LAST CHANCE TODAY to see PUNCHED CARD By Arisa Purkpong 1.9.-1.10.2023 Open by appointment Vitrine visible 24/7 from the street #sonneundsolche #arisapurkpong #punchedcard #soloexhibition

PUNCHED CARD Arias Purkpong Opening hours by appointment until 1.10.2023 #arisapurkpong #punchedcard #sonneundsolche

On view until 1. October PUNCHED CARD - Arisa Purkpong 1.9.-1.10.2023 #punchedcard #arisapurkpong #sonnedunsolche

PUNCHED CARD - Arisa Purkpong 1.9.-1.10.2023 When pausing to look at a detail my gaze drifts off to something unexpected. The other day I saw Claudia von Alemann’s first film Einfach [Simple] (FRG, 1966) for the first time. It is about the attempt to capture something that cannot be grasped. Not unlike language – the way we fumble our way through the right words to describe something – it’s worth it to stutter for a moment in order to locate the closest sentence even at the risk of coming across as fragmented or chaotic. #punchedcard #arisapurkpong #sonnedunsolche

PUNCHED CARD - Arisa Purkpong 1.9.-1.10.2023 When pausing to look at a detail my gaze drifts off to something unexpected. The other day I saw Claudia von Alemann’s first film Einfach [Simple] (FRG, 1966) for the first time. It is about the attempt to capture something that cannot be grasped. Not unlike language – the way we fumble our way through the right words to describe something – it’s worth it to stutter for a moment in order to locate the closest sentence even at the risk of coming across as fragmented or chaotic. #punchedcard #arisapurkpong #sonnedunsolche

Cordial invitation to „Punched card“ Arisa Purkpong Opening Friday 01.09. 18 - 21 Uhr 01.09. - 01.10.20223 Opening hours Saturday 02.09., 13 - 17 Uhr And by appointment Contact @sonneundsolche sonneundsolche@posteo.de Vitrine 24/7 @sorry_purkpong #sonneundsolche #arisapurkpong #soloexhibition #contemporaryart #punchedcard

Whispering from the Other Apartment Barbora Dayef, Eva Rotreklová and Markéta Slaná
 Curated by Světlana Malinová & Max Dvořák - City Surfer Office 17.06 - 13.08.2023 @mar_sl @barboradayef @avejaeva @_svetlana_malinova_ xtrataniejaja @citysurferoffice (…) Every place has a centre. Through it, we go deeper into the heart of space. The pulsating contraction of the individual atria and chambers calms our minds and we slowly become part of the room. We return to a comfortable state of immaturity and the space becomes more and more an intimate retreat. We can smell the scents of memories of childishly instinctive thoughts that are irretrievably gone. We reshape feelings into new meanings and try to rewrite them in our minds, lest we accidentally remember where they originated. In a hidden place that each of us knows about but few have ever seen lives a piece of unexplored immaturity. The other self that is always a guest everywhere and never itself. Later, we will smooth out all these unruly shards of experience and transform them into our own image, which will eventually be detached enough to live with.

Whispering from the Other Apartment Barbora Dayef, Eva Rotreklová and Markéta Slaná
Curated by Světlana Malinová & Max Dvořák - City Surfer Office 17.06 - 13.08.2023 @mar_sl @barboradayef @avejaeva @_svetlana_malinova_ xtrataniejaja @citysurferoffice Strange place - so peaceful and strange. You breathe in the cold air that greets you with the creak of the door at the entrance. The human psyche needs to maintain a neutral ph, falling into reverie and rising again to complete concentration, as regular as breathing. That's why we seek relief in the diffuse rays of light that refract and create a subtle diffuse illumination. What are you doing here? Why do you spend months chasing this place? These are strange ecosystems. Floating islands. Each one has its own microcosm, a prison in which it's sometimes hard to break free from atmospheric conditions and complexities. You float inside, leaving the chaos partly behind. On the other side of the building, the layered rows of windows continue, and with them the paradisiacal illusion returns. This time accentuated by human interventions, expressing a desperate relationship with Eden - a double fall, where the loss of innocence and the expulsion from paradise initiated a compulsive transformation that began with the soil and progressed lower and lower, down to the molecular level, in an attempt to transform the planet into a home: one that might one day bear the fruits of goodness. In this way, the earth was excavated, and complex composites were broken down into their individual elements, until the atom itself appeared, not as a bulletproof particle, but as a territory to be divided - to be moved. In the space between the two halves of the universes, glass met with a perfect refraction of rays.