'OM-D: Photography Playground' opens its doors in Berlin

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'OM-D: Photography Playground' opens its doors in Berlin
Visitors walk past the installation 'Epiphyte Membrane' by Canadian artist Philip Beesley at the exhibition 'OM-D: Photography Playground' in Berlin on April 9, 2014. The interactive exhibition was designed by nine international artists and invites visitors to take pictures of themselves while visually experimenting with the art works. AFP PHOTO / RONNY HARTMANN.



BERLIN.- The OM-D: Photography Playground, which attracted more than 27,000 people to the Berlin Opernwerkstätten last year, opened its doors again on 10 April 2014 in Berlin Mitte. Visitors are invited to discover new worlds photographically using the OM-D E-M10. This year, artists Leandro Erlich, Clemens Behr, Maser, Dean Chamberlain and Philip Beesley, the artists’ collectives AlexandLiane, Anna Burns and Thomas Brown, Transforma as well as 3Destruct [ANTIVJ] present their installations on an area totalling 7,000 square metres at the Berlin Opernwerkstätten at 9, Zinnowitzer Straße. Opening hours are daily from 11 am to 7 pm. Admission is free.

Move into a new world – at the Berlin Opernwerkstätten
The OM-D: Photography Playground invites visitors to discover new worlds, to experiment on a playground of the senses and experience the unusual. Because the installations play with space, dissolve realities and shift dimensions. And in the midst of all this is the visitor. He becomes part of the new world, being able to stage themselves photographically in fascinating works differently again and again. He creates, produces self-portraits – and all this according to his own aspirations – in perfect quality. In this he is supported by the new OM-D E-M10, which is provided free of charge. Welcome to a new world.

The confrontation with photography can be experienced playfully in the individual art rooms: the young Berlin artist Clemens Behr developed his installation for Berlin at the Hamburg OM-D: Photography Playground Atelier. The unique composition of geometrical, partly moveable forms, materials and colours constantly creates new perspectives and viewpoints. After his successful collaboration with the London Barbican Centre, the Argentine artist Leandro Erlich presents with BERLIN FAÇADE a true Berlin reality displacement. A central concern of Irish street artist Maser is revitalising derelict buildings through an artistic “uplifting” and thus bringing them back into the public eye. At the OM-D: Photography Playground he presents an Op-Art-Labyrinth, which – through the interplay of walkable levels and strong geometric, graphical motifs – enables a virtually hallucinatory, hypervisual experience. Canadian architect Philip Beesley is a guest lecturer at the big universities of the world. His interactive and seemingly floating installations carry the viewer off into abstract dimensions and make them forget the daily routine in pure astonishment. Dean Chamberlain, the father of light-painting photography, is going to surprise visitors with a unique light-painting experience. Visual artists AlexandLiane from the United Kingdom have already created performative imagery for Kylie Minogue and Deichkind and contribute to the Berlin OM-D: Photography Playground a colourful installation that only comes to life through the camera’s flashlight. ANTIVJ is the label of a European artists’ collective. Their works focus on the effect of multi-dimensional light projections on human perception. In Berlin, Yannick Jacquet, Jeremie Peeters & Thomas Vaquié present with “3Destruct” a “cube” made up of around 120 light strips, which – as soon as it is played with – creates multi-layered perception processes. In the room installation of the Berlin artists’ collective Transforma the borders between live performance, art and reality blur. An experimental test assembly enables the photographer to view abstract forms, soft gradients and slow movements. ANNA BURNS and THOMAS BROWN let visitors explore their surreally equipped room “Tick Tock” with the flash of their cameras.











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