What the world could be created within a few days in a restricted environment of the gallery space? The first impulse to organize an exhibition on the theme of Creation of the Worlds was last year’s visit in 53rd Venice Biennale. Besides the pavilions representing individual states, was a key issue Biennial Making Worlds.

Is contemporary art a product of fascination with aesthetic objects or a space of knowledge production? In which way does art operate with knowledge in relation to the terrain of academy and science or to media channels of information exchange? Which aesthetic and formal means does it employ in order to establish this specific modus operandi?

“The Male Thing”, series of photographs by Boris Sribar, pictured through a new paradigm of masculinity – without masculinity, depraves (negates) the stereotypical macho discourse, where the basic power means active money and an even more active dick.

In this new body of work, the artist continues her exploration of familiar surroundings. In a series of drawings, objects, installations, videos and photographs, the artist examines, probes, and often redefines the conventional idea and meaning of “to be at home”. Through creating a series of staged situations, illustrated in drawings, video, photographs and models, the artist attempts to define the scope of deeply-rooted patterns and rules, which either influence or determine our behavior as we attempt to integrate ourselves in – or, distance ourselves from - conventional structures.

The purpose of our third visit to KWADRAT gallery in Berlin is the solo exhibition of Spiros Hajidjanos, a young artist from Greece and author of the project entitled WYSINWYG.

Artist, musician and writer Billy Childish is a cult figure, and one who has gained an international following, but this is the first time a public institution has brought together a major solo exhibition to encompass his extraordinary career.

Special impromptu concert for the new animated film “Cheese Dessert” of visual artist Pavel Ryška. Cheese cake originated in the course of several months study stay in the desert, consisting of bread crumbs, mimicking a homogeneous mass of sand grains.

Sound production forthcoming from the author’s text books supplemented by a few videos, performance and objects illustrating the text. Theme is inspired by the possibilities of personal reinterpretations of visuality in relation to the historical social phenomena of communism, Christianity or Hussite.

Sung Hwan Kim (b. 1975, Seoul), in his practice, artist integrates video and performance art, taking on the role of director, editor, performer, composer, narrator and poet. By approaching his own work from all production angles, his pieces are infused with his own highly subjective vision. Collecting and collaging encounters, images, sounds, and objects from his changing domiciles of Seoul, Amsterdam and New York he portrays his world with lyric complexity.

Monsters of the small-format in collages by John Dziaczkowski.