open space

Transcription

open space

J.W., Artist, for OPEN SPACE. 5 Years of Passion
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EDITORIAL 3/4
IMPRESSUM, PROGRAMM 6
ARTISTS
JULIA BÜNNAGEL 7
CATH CAMPBELL 7
CIESLIK UND SCHENK 8
KEVIN COSGROVE 8
ALEXANDR DASHEVSKIY 9
LUCILE DESAMORY 9
MARTE EKNAES 10
CEVDET EREK 10
ERIC ELEY 10
KIRSTEN EVERBERG 11
OLIVIER GARBAY 11
FEDERICO GELLER 12
JOANNE GREENBAUM 12/13
TRIXI GROISS 12
MARIA HAHNENKAMP 13
LONE HAUGAARD MADSEN 13
DIANGO HERNANDEZ 14
CHRIS HIPKISS 14/15
SANJA IVEKOVIC 14
SCHIRIN KRETSCHMANN 15
ANDREAS LORENSCHAT 15
CONSTANTIN LUSER 18
IVES MAES 18
BABETTE MANGOLTE 14
LIN MAY 19
JENNY MICHEL 18/19
MELIK OHANIAN 19
ANNA PARKINA 20
MARK PEARSON 20
BRUNO PEINADO 20
KATRIN PLAVCAK 21
BLAKE RAYNE 21
CLAUS RICHTER 21
PIETRO SANGUINETI 22
BOJAN SARCEVIC 22
HANNES SCHMID 22
NORA SCHULTZ 23
JOE SOLA 23
MARTIN SOTO CLIMENT 23
JÜRGEN STOLLHANS 12
MARIUSZ TARKAWIAN 23
ROB THOM 24
MARK THOMPSON 24
SIMON THOMPSON 24
TRIS VONNA-MICHELL 24
CENTRAL NERVOUS SYSTEM /
FORGOTTEN BAR PROJECT
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Im ersten Katalog von OPEN SPACE heißt es: „Mit OPEN SPACE holt
sich die ART COLOGNE 2005 die kritische Auseinandersetzung mit
dem Phänomen Kunstmesse ins eigene Boot. Als ein Experiment
und eine Kooperation zwischen dem Büro Neumann + Luz, einigen
Kölner Galeristen, allen voran die Galerie Christian Nagel, und der
Koelnmesse erprobt OPEN SPACE neue Formen der Messepräsentation dort, wo es weh tut: Mitten im Geschehen der Messe. Befreit
die Kunst aus den Kojen! Über windet die üblichen Geschäfts- und
Standordnungen und das Denken in territorialen Claims! Forciert
den Diskurs und die Kommunikation, entdeckt die Lust an der
Vermischung der Positionen und der Ver wirrung der Gefühle!“
Mit der 5. Ausgabe in diesem Jahr zelebrieren wir unser Jubiläum
unter dem Motto 5 YEARS OF PASSION und schauen – zugegeben
nicht ohne Stolz – auf eine beachtliche Entwicklung zurück. OPEN
SPACE hat sich mit seiner internationalen Magnetwirkung in den
letzten fünf Jahren als eine unverzichtbare Größe für die Art
Cologne und als ihr zeitgenössischer Nucleus erwiesen – und, das
lässt sich rückblickend wohl feststellen, als ein Motor der Veränderung.
Aus unserem Selbstverständnis als Entwicklungslabor einer Kunstmesse haben wir in fünf Jahren OPEN SPACE zahlreiche inhaltliche
wie gestalterische Optionen durchgespielt. Es wurde mit Formaten
und Positionen experimentiert, es wurden Innovationen eingeführt,
erprobt und wieder verworfen. So gab es zum Beispiel für zwei
Jahre die so genannten Sell Cells, die den Galerien, die ausschließlich im OPEN SPACE ausstellen, eine weitere kommerzielle Option
geben sollten. Eine eigentlich erfolgreiche Idee, die sich jedoch in
dem Moment überlebt hatte, als es so gut wie keine Überschneidungen zwischen den Galerien der Art Cologne und den Galerien
im OPEN SPACE mehr gab.
Bereits im zweiten Jahr wurde die großzügige OPEN SPACE
Lounge mit dem eigenen Restaurant zum kommunikativen Zentrum
und „place to be“ der gesamten Messe. Und wenn es ein Leitmotiv
gibt, das die Entwicklung von OPEN SPACE treffend beschreibt,
dann ist es eben diese enge Verbindung von Kunst und Kommunikation. Dies ist an vielen Details erkennbar und erlebbar. Etwa in
der einheitlichen Galeriemöblierung, die auf dem Loungemodul
beruht und so den gesamten OPEN SPACE zu einer Einladung zum
Verweilen und zum Gespräch macht. Mit der Einrichtung der
Offices haben wir nicht nur die Servicequalität für die teilnehmenden Galerien erhöht, sie dienen auch als Amalgam einer
Nachbarschaft auf Zeit, die alle Galerien und Künstler im OPEN
SPACE eingehen. Eingebunden ist all dies in eine Landschaft, die
jedes Jahr aufs Neue aus den einzelnen Kunstpräsentationen entsteht und die das Team um Meyer Voggenreiter Projekte und
Sebastian Hauser jeweils in enger Zusammenarbeit mit den
Künstlern und Galerien entwickelt.
Seit 2006 haben wir regelmäßig Off-Spaces der Kunstszene eingeladen, sich auf dem OPEN SPACE zu präsentieren und damit
den Diskurs über die kommerziellen Aspekte einer Kunstmesse
hinaus zu er weitern. Den Anfang machten Projekte aus Köln, im
Folgejahr bildete die Berliner Szene den Schwerpunkt, bevor wir
2008 drei internationalen Kunsträumen aus London, Zürich und
Hong Kong eine Plattform geboten haben. In diesem Jahr haben
wir mit dem CENTRAL NERVOUS SYSTEM / FORGOTTEN BAR
PROJECT (initiiert von der GALERIE IM REGIERUNGSVIERTEL) ein
spannendes, von Künstlern getragenes Projekt aus Berlin zu Gast
(detaillierte Informationen finden Sie dazu auf Seite 16/17).
Ein besonderes Projekt, das einmal mehr unser zentrales Thema
Kommunikation im Visier hat, ist unsere Zusammenarbeit mit dem
internationalen Internet-TV Sender Vernissage TV, die wir im letzten
Jahr begonnen haben. Für unser erstes gemeinsames Live-Studio
entwickelten wir eigene Sendeformate und haben so z.B. dem
Künstler Christian Jankowski eine Plattform zur Realisierung eines
neuen Werks geboten. Auch in diesem Jahr kooperieren wir mit
Vernissage TV und bieten unseren Gästen ein spannendes Programm mit Talks, Diskussionen und Lectures (detaillierte Informationen zum Messeprogramm finden Sie auf Seite 6).
Soviel zur Kontinuität. Wo aber ist der weiße Teppichboden hin?
Wenn es ein Markenzeichen der letzten Jahre gab, dann war es
doch dieser weiße Boden, der – zugegeben – nie lange weiß
geblieben ist. Aber eben dennoch signalisierte: hier betreten Sie
ein anderes Gebiet. Im Jahr 2009 präsentiert sich OPEN SPACE
erstmals nicht mehr in dieser offensichtlichen Form der Abgrenzung
zur Kunstmesse. Denn schließlich riskiert die gesamte Art Cologne
einen umfassenden Neustart, und natürlich verändert sich damit
das Verhältnis der Protagonisten zueinander. Wir verzichten also
auf unseren schönen weißen Teppichboden – und proben zugleich
die positive Abweichung: die gesamte Architektur von OPEN
SPACE ist in einem Winkel von 45 Grad zum Rest der Messewelt
verdreht. Nach dem bekannten japanischen Glücksspiel, bei dem
die schnellen Kugeln erst gerade durch ein Gangsystem fallen und
dann plötzlich und unvorhersehbar abgelenkt werden, nennen wir
es den Pachinko-Plan. Wir sind gespannt, wie das Spiel ausgeht.
Kathrin Luz, Adelheid Teuber, Meyer Voggenreiter
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In the first OPEN SPACE catalogue we wrote: ”With OPEN SPACE
the ART COLOGNE 2005 has taken on board a critical examination
of the art fair phenomenon. An experiment and a collaboration
between Neumann + Luz, a number of galleries from Cologne,
above all Galerie Christian Nagel, and Koelnmesse, OPEN SPACE
explores new forms of presentation at trade fairs and puts its
finger on the sore spot: The middle of the fair’s hustle and bustle.
Liberate art from the stands! Overcome the established rules of
business and of stand positions and the territorial way of thinking!
Provoke discussion and communication, discover the joy of
jumbling up artists’ work and of emotional confusion!”
This year, with the 5th edition, we celebrate our anniversary under
the motto 5 YEARS OF PASSION and look back, admittedly rather
proudly, upon an impressive development. Over the last five years
OPEN SPACE, with its international appeal, has shown itself to be
an indispensable factor for the Art Cologne and its contemporary
nucleus, as well as – we are entitled to say in retrospect – an
instrument of change.
Taking the way we see ourselves – as a development laboratory of
an art fair – as our point of departure we have, in the five years
of OPEN SPACE, investigated numerous contentual and artistic
options. We experimented with formats and artists, innovations
were introduced, tested, and then discarded. For two years there
were, for example, the so-called Sell Cells, which were meant to
provide galleries exclusively exhibiting in OPEN SPACE with a further commercial option. In theory a successful idea, but one which
became redundant the very moment that there were scarcely any
galleries taking part both in Art Cologne and in OPEN SPACE.
During its second year, the OPEN SPACE lounge with its own
restaurant had already become the communication hub and the
“place to be” of the entire trade fair. And if there is a leitmotif to
describe the development of OPEN SPACE, then it is this very close
connection between art and communication. This can be seen and
experienced in countless details, for example the uniform furnishing of the galleries echoing the lounge module which, in this
fashion, turns the entire OPEN SPACE into an invitation to linger
and communicate. By setting up the offices, we have not only
improved the quality of service for the participating galleries, they
also support the amalgamation of all the artists and galleries of
OPEN SPACE into a temporary neighbourhood. All this is bound
together as a landscape which arises afresh year by year from the
individual art presentations, and one which the team surrounding
Meyer Voggenreiter Projekte and Sebastian Hauser develop in
close collaboration with the respective artists and galleries.
Since 2006 we have regularly invited Off-Spaces from the art
scene to present themselves at OPEN SPACE and, in doing so, to
broaden the discussion about the commercial aspects of an art fair.
We started with projects from Cologne, and the following year the
Berlin scene was the focal point before, in 2008, we provided a
platform for three international art spaces from London, Zurich,
and Hong Kong. This year our guest is CENTRAL NERVOUS
SYSTEM / FORGOTTEN BAR PROJECT (initiated by GALERIE IM
REGIERUNGSVIERTEL), an exciting project from Berlin initiated by
artists (for detailed information please see p. 16/17).
A special project, once more focusing on communication, our main
theme, is our collaboration with the international Internet-TV station
Vernissage TV, which began last year. For our first joint live studio
we developed our own broadcasting formats and with this, for
example, provided the artist Christian Jankowski with a platform
for the realisation of a new work. This year we will once more
collaborate with Vernissage TV and offer our guests an exciting
programme with talks, discussions and lectures (for detailed information about our programme at the fair please see p.6).
So much for continuity. But where did the white carpet go? If there
was ever a trade mark in the last years, it was definitely this white
carpet which – admittedly – never stayed white for long. Nonetheless it signalled: you are entering a different area. In 2009
OPEN SPACE will, for the first time, not be presenting itself in this
obvious way of distancing itself from the fair. After all, the entire
Art Cologne is risking an extensive re-start and of course this will
alter the relationship between its protagonists. So we will forsake
our beautiful white carpet – and simultaneously we will go for
positive deviation: the entire architecture of OPEN SPACE is at a
45 degree angle to the rest of the fair. In keeping with the wellknown Japanese game of chance, where the speeding balls
initially drop vertically into a systems of lanes before suddenly and
unpredictably being deviated, we call it Pachinko-Plan. We are all
curious to see how the game will end.
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Unser Dank gilt auch dieses Jahr unserem engagierten und großartigen
Komitee mit Vasif Kortun (Istanbul), Stefanie Kreuzer (Leverkusen) und
Beatrix Ruf (Zürich); das uns durch Empfehlungen von jungen inter nationalen
Künstlerinnen und Künstlern eine besonders gezielte Auswahl für die Teilnahme am OPEN SPACE er möglicht und damit unseren Fokus auf die
künstlerische Position unterstrichen hat. Es sei herzlich allen Galerien und
den Künstlerinnen und Künstlern gedankt, die unsere Jubiläumspräsentation
erneut haben entstehen lassen. Ein großer Dank gilt allen, die zum Gelingen
von OPEN SPACE 2009 im 5. Jahr der Passion beigetragen haben.
FOR OPEN SPACE: CONGRATULATIONS TO THE 5th JUBILEE!
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Vasif Kortun is the director of Platform Garanti
Contemporary Art Center in Istanbul. He is proud
of that institution. He knows how to hang stuff,
apply vinyl lettering on glass and on walls, and
build a promise. He is very good with computers,
and most technical stuff. He is not afraid of ladders, heights or fund-raising. He micromanages
when he should not, and goes bunkers when
colleagues make mistakes that he can predict. He
takes the bus to work. He pokes his nose in others’
business. His daughter thinks he is absent-minded
because he goes out to walk the dog but forgets
the dog at home. He thinks he should take a ridiculous number of vitamins each day and panics
when he forgets. He is dreaming of a better world.
He does not know the ”next big thing.” There is a
trophy with his name on it in the living room. He
notices it when he watches the telly. There has not
been a TV at home for a long time. He is very
proud to be married to Defne. Everybody’s thankful that they have found each other. He is not an
exhibition machine. He loves to gossip. He dreams
of the texts he should be writing. He confesses to
having knowledge of things he is not interested
in. He is depressed a lot, or at least thinks he is.
He cannot sleep some nights, because of the birds
and other things. He thinks he is meta-ethical and
he is trying to figure out what that means. He
knows he is getting old. He cannot give the same
talk twice. He started running recently. He has
many moles. He likes drinking. He lost a friend
whom he longs for every single day.
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was part of the team for “Interrupted Careers –
Art and AIDS”. Following a senior internship at
the K21 Kunstsammlung Nordrhein-Westfalen,
Dusseldorf, she ran the NAK Neuer Aachener
Kunstverein, Aachen. Among the artists Kreuzer
presented there are Kris Martin, Michael
Stevenson, Simon Dybbroe Møeller, Cieslik and
Schenk, Pablo Zuleta Zahr, Sebastian Ludwig,
and Christoph Schellberg. At the Museum Morsbroich she has presented art from the 1980s
and also younger, contemporary artists like Jens
Ullrich and Jan Albers.
Statement: “For me being a curator means working at a creative interface of society – especially
as a curator for contemporary art. It involves
generating ideas and rising to the challenge of
linking specific works of art with a location or
situation, allocating them a social space and, by
doing so, establishing their historical, philosophical, and theoretical context. However, it also
implies deliberately exposing them, in a special
form of “display”, namely that of an exhibition, to
a critical discourse between the artists, the
viewers, and the curator.”
organized exhibitions, has written essays and
published catalogues on artists such as Jenny
Holzer, Marina Abramovic, Peter Land, Liam
Gillick, Urs Fischer, Emmanuelle Antille, Angela
Bulloch, Ugo Rondinone, Richard Prince, Keith
Tyson, Elmgreen&Dragset, Monica Bonvicini,
Eija-Liisa Ahtila, Pierre Huyghe/Philippe Parreno:
“No Ghost just a Shell”, Rodney Graham, Isa
Genzken, Doug Aitken, Wilhelm Sasnal, de Rijke/
de Rooij, Eva Rothschild, Rebecca Warren, Carol
Bove, Oliver Payne & Nick Relph, Dominique
Gonzalez-Foerster, Sean Landers, John Armleder,
Catherine Sullivan, Daria Martin, Trisha Donnelly,
Guyton/Price/Walker/Smith, General Idea,
Valentin Carron, Allora& Calzadilla, Nicole
Eisenman, Christopher Williams, Kai Althoff,
Derek Jarman, Luke Fowler, Seth Price, Tris
Vonna-Michell, Ian Wallace, and many others.
The Kunsthalle Zurich pursues the goal of making
contemporary international art accessible to a
broad public in order to point out exemplary
artistic developments of our time. Over the years
the program of first larger solo presentations and
thematical group shows aims at crystallizing an
overall view. Single presentations of artists of a
more recent generation form emphasis as qualitative and deepening argument with important
contemporary artist personalities. In addition to
its exhibition program Kunsthalle Zurich functions
as a platform for intellectual discourse offering an
extensive array of lectures, artist talks, symposia
and discussions. Founded by an art society in
1985 the institution has established continuity of
presenting 5 large scale and up to 5 smaller
exhibitions a year, most of them accompanied by
a comprehensive catalogue. The Kunsthalle Zurich
is supported through their members, friends and
sponsors and from the City and the Canton of
Zurich. Since 1996 it is permanently housed in
the art centre of the Löwenbräu.
Beatrix Ruf is Director/Curator of the Kunsthalle
Zurich since September 2001. 2008 Co-Curator
of the Yokohama Triennial, 2006 Curator of the
Tate Triennial, Tate Britain, London. Previously,
she had been Director/Curator of the Kunsthaus
Glarus, and between 1994 and 1998 curator at
the Kunstmuseum of the Canton of Thurgau. Since
1995 she is curator of the Ringier collection;
since 1999 Boardmember of the Schweizerische
Graphische Gesellschaft (SGG) and a regular
member of various Art commissions. She has
Current shows at Kunsthalle Zurich: Annette Kelm
Audio, video, disco (curated by David Bussel)
Ohne Titel /Untitled, 2005, C-Print, 80 x 100 cm,
Courtesy Johann König, Berlin
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Stefanie Kreuzer works as curator for temporary
exhibitions and as curator of the collection of
paintings and sculpture at the Museum Morsbroich
in Leverkusen. She studied art history, German
and Italian in Mannheim, Berlin and Rome and,
in her doctoral thesis Catastrophes as the Cause
of Change in Cultural Systems, examined with the
transition from the 1970s to the 1980s. As research
assistant she worked at Hamburger Bahnhof,
Museum für Gegenwart, Berlin and NGBK Neue
Gesellschaft für Bildende Kunst, Berlin, where she
Koelnmesse GmbH
Messeplatz 1, 50679 Cologne, Germany
phone + 49 (0)221 8213248
fax + 49 (0)221 8213734
[email protected]
www.artcologne.com
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OPEN SPACE Office
Eigelstein 103–113, 50668 Cologne, Germany
phone + 49 (0)221 91394915
fax + 49 (0)221 91394919
[email protected]
www.openspace-cologne.com
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Projektidee / project idea
Neumann Luz, Cologne
Projektträger / commissioned by
ART COLOGNE, Koelnmesse
Projektmanagement project management
Adelheid Teuber
Installationsdesign / installation design
meyer voggenreiter projekte, Cologne &
Sebastian Hauser
OPEN SPACE Team
Kathrin Barutzki, Helen Boeßenecker, Julia
Diekow, Sebastian Hauser, Claudia Hoffmann,
Philipp Lines Lange, Kathrin Luz, Carolyn
Meyding, Jakob Pürling, Adelheid Teuber,
Meyer Voggenreiter
Beratung / project consulting
Kathrin Luz, Meyer Voggenreiter, Cologne
Beirat / committee
Vasif Kortun (Istanbul), Stefanie Kreuzer
(Leverkusen), Beatrix Ruf (Zurich)
Herausgeber / publisher
OPEN SPACE Office
Redaktion Lektorat / editorial staff
Jana Strippel, Adelheid Teuber
Gestaltung / design
lange + durach, Cologne
Fotos / photos
Cover and p. 4, Weible, Cologne
Herstellung / printed and bound by
DUMONT Buchverlag GmbH & Co.KG,
Cologne
Veröffentlichungen / reproduction
Für versehentlich nicht erfolgte Eintragungen,
fehlerhafte Ausführungen, Druckfehler und
unrichtige Angaben übernimmt die Redaktion
keine Haftung. Die Rechte für die Abbildungen
liegen, soweit nicht anders angegeben, bei
den jeweiligen Institutionen. Aus dieser
Broschüre sind Veröffentlichungen, auch auszugsweise, nur mit Genehmigung der Redaktion gestattet. Erfüllungsort und Gerichtsstand
ist Köln.
/ The publisher is not liable or responsible
for incorrect, incomplete or missing entries.
Copyright for the photos is with the institutions if not stated otherwise. No part of this
publication may be reproduced or used in
anyway or by any means without prior
written permission of the publisher. Place of
fulfilment and jurisdiction is Cologne.
/i
09
DIENSTAG, 21. APRIL 2009
(MESSE-ERÖFFNUNG)
17:00–21:00 und täglich 15:00–17:00
Filmprogramm imai „La Plage“ und „L’ Opium“
(Michel Auder), Europasaal zwischen den Messehallen 10 und 11, 23:00–2:00 After-Vernissage Party
mit DJ Spencer Sweeney, Alter Wartesaal / kunstbar,
Johannisstr. 11 Chargesheimer Platz 1, 50667 Köln
täglich ab 20:00 ART COLOGNE Meeting Point Alter
Wartesaal / kunstbar
MITTWOCH, 22. APRIL 2009
ab 13:00 und ab 18:00 Filmprogramm imai „Digital
Dreams“ (mit Arbeiten von Petr Vrána, Woody
Vasulka, Peter Callas, Juan Pueyo, George Barber,
Peter Simon), Europasaal 16:00 OPEN SPACE Talk
Mark Thompson, Künstler (Gal. Thomas Zander)
& David Pagel, Kritiker L.A., OPEN SPACE, 11.3
18:00 Monopol-Kurztalk, Monopol-Lounge, 11.3
19:00 Monopol-Talk „Sind die (Privat- und Unternehmens-) Sammler die Kuratoren des 21. Jahrhunderts?“ mit Prof. Kasper König, Museum Ludwig
und Sabine DuMont Schütte, Sammlerin, MonopolLounge, 11.3 18:00–22:00 Premierenabend in den
Kölner Galerien 20:00 Eröffnung der Ausstellung
Nora Schulz, Kölnischer Kunstverein 21:30 Eröffnung
Dark Fair, Kölnischer Kunstverein ab 21:00 Special
in der Stadt, Johanna Billing – Drei Kurzfilme mit
Musik im Plattenladen, a-Musik, Kleiner Griechenmarkt 28–30, 50676 Köln, +49 221 5107592
DONNERSTAG, 23. APRIL 2009
ab 13:00 und ab 18:00 Filmprogramm imai
„Radical Performance“ (mit Arbeiten von Ulrike
Rosenbach, Dieter Appelt, VALIE EXPORT,
Survival Research Laboratories, Jochen Gerz, Freya
Hattenberger), Europasaal 14:00 OPEN SPACE Talk
„From A to B and Back Again“ – eine neue
Kooperation zwischen Köln und New York, mit
Astrid Wege (Köln), Rike Frank (Berlin/Wien),
Anders Kreuger (Lund), (European Kunsthalle) und
Tobi Maier (Ludlow 38, New York), OPEN SPACE,
11.3 16:00 OPEN SPACE Talk „Yolk O’ Larry“
Lecture mit Olivier Garbay, Künstler (Blanket Gall.),
OPEN SPACE, 11.3 17:00 Verleihung des ADKV-ART
COLOGNE Preises für Kunstkritik, OPEN SPACE,
11.3 18:00 Monopol-Kurztalk „Mythos Beuys und
die Art Cologne” mit dem Galeristen Heinz
Holtmann, Monopol-Lounge, 11.3 19:00 MonopolTalk „Akademie der Künste der Welt“ u. a. mit Dr.
Konrad Schmidt-Werthern, Leiter des Kulturamtes der
Stadt Köln und Regina Wyrwoll, Generalsekretärin
der Kunststiftung NRW, Monopol-Lounge, 11.3 19:00
Doppeleröffnung Erik van Lieshout und Jonathan
Horowitz, Museum Ludwig
FREITAG, 24. APRIL 2009
ab 13:00 und ab 18:00 Filmprogramm imai „Zoom:
Mike Hoolboom“ („Imitations of Life“ – eine Arbeit
von Mike Hoolboom in 10 Kapiteln) Europasaal
15:00 Verleihung des AUDI Art Award for New
Positions, OPEN SPACE, 11.3 16:00 OPEN SPACE
Talk in Zusammenarbeit mit dem ART Magazin mit
Henrik Hanstein, Geschäftsführer Auktionshaus
Lempertz; Heribert C. Ottersbach, Künstler; Gisela
Capitain, Galeristin; Moderation: Ute Thon, ART
Magazin, OPEN SPACE, 11.3 19:00 Monopol-Talk
„Strategien 2009: Bluechip-Kunst oder Fresh &
Upcoming?“ mit den beiden Kölner Galeristinnen
Linn Lühn und Iris Maczollek, Monopol-Lounge, 11.3
20:30 Sonic Youth Concert, Im Club 3001,
Franziusstr. 7, 40219 Düsseldorf
SAMSTAG, 25. APRIL 2009
ab 13:00 und ab 18:00 Filmprogramm imai „CineJunction“ (mit Arbeiten von Norbert Meissner, Paul
Garrin, Philippe Andrevon, Rafael Montañez Ortiz,
Marcel Odenbach, Margot Zanni), Europasaal
15:00 OPEN SPACE Talk, Gespräch zwischen
Dr. Alexander Abbushi (Klinik für Neurochirurgie der
Charité, Berlin) und Prof. Mischa Kuball (KHM, Köln),
OPEN SPACE, 11.3 17:00 Verleihung des ADKV-ART
COLOGNE Preises für Kunstvereine, OPEN SPACE,
11.3 18:00 Monopol-Kurztalk mit Jürgen Stollhans
(Gal. M29), Monopol-Lounge, 11.3 18:30 MonopolKurztalk mit Thomas Rehbein (Rental Gall.),
Monopol-Lounge, 11.3 19:00 Monopol-Talk „Das
Rheinland: Ein Gesamtkonzept für eine Kunstregion?“
u. a. mit Susanne Titz, Direktorin Städtisches Museum
Abteiberg Mönchengladbach und Anja NathanDorn, Direktorin des Kölnischen Kunstvereins,
Monopol-Lounge, 11.3
SONNTAG, 26. APRIL 2009
ab 13:00 und ab 18:00 Filmprogramm imai „imai’s
new choices“ (mit Arbeiten von Robert Cahen,
Myriam Thyes, Jan Verbeek, Hörner/Antlfinger, Lutz
Gregor, Gudrun’Kemsa, Dellbrügge & de Moll),
Europasaal 18:00 Monopol-Kurztalk mit Daniel Hug,
Monopol-Lounge, 11.3 19:00 Monopol-Talk
„Medienkunst in Köln heute – die Kunsthochschule
für Medien Köln“ mit den KHM Professoren Mischa
Kuball und Marcel Odenbach, Monopol-Lounge, 11.3
Das aktuelle Tagesprogramm des CENTRAL
NERVOUS SYSTEM / FORGOTTEN BAR PROJECT
finden Sie auf Seite 16 / 17.
Zusätzlich auf dem OPEN SPACE 2009 platziert:
EDITIONEN: Texte zur Kunst www.textezurkunst.de,
Salon Verlag & Edition www.salon-verlag.de,
Parkett www.parkettart.com
KUNSTVEREINE: Kölnischer Kunstverein
www.koelnischerkunstverein.de,
Kunstverein für die Rheinlande und Westfalen
Düsseldorf www.kunstverein-duesseldorf.de,
Bonner Kunstverein www.bonnerkunstverein.de,
ADKV Arbeitsgemeinschaft Deutscher Kunstvereine
www.kunstvereine.de
Liebe deine Stadt e. V. www.liebedeinestadt.de,
SUMO KunstNetzKöln www.sumo-koeln.com
08.04.2009
14:57 Uhr
Seite 7
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to reconfigure the architecture of the exhibition
booth. After discussion between Workplace
Gallery and OPENSPACE only one proposal will
be executed, the remaining 49 will exist as
drawings, architects models and text. 50 Ways
to Leave Your Lover is unique in the context of
Campbell’s practice, in that all elements of work
are entirely site specific and self-referential.
By intervening directly with the programme at
Open Space, Campbell not only explores the
infinite potentials of architectural structures, but
also engages with the processes of art making.
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5If You Leave Me Now, 2007, Mild Steel,
203 x 148 cm, Courtesy of the artist and
Workplace Gallery
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Taking Modernism as a point of departure, Cath
Campbell appropriates imagery from architectural
plans and encounters with real or conjectural constructions, to create works which reinvent our
associations with the built environment. Her largescale interventions are visually tense and deliberately disorientating; a series of subtle re-orderings
of existing materials within public buildings. This
strategy is complemented by the combination of
real and invented imagery in her drawings of
illusory architectural arrangements. Campbell’s
works on paper are palimpsest-like and are often
inspired by plans for buildings that are inaccessible. The drawings borrow their titles from sentimental pop songs such as All I Need Is The Air
That You Breathe… or If You Leave Me Now and
imply that architecture could be used as a metaphor for states of being. This tenuous relationship
between object and subject locates her practice
in an ambiguous territory between profundity and
self-parody.
For Open Space Cologne 2009 Workplace
Gallery presents 50 Ways To Leave Your Lover, a
new work that brings the principles of Campbell’s
public work into a gallery context for the first
time. Through the process of dismantling, manipu lating and replacing the fabric of the space,
Campbell will create a site-specific work that
directly disrupts and undermines the expected
form of the exhibition architecture. In time leading
up to the fair, Campbell will make 50 proposals
C
W A
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Walk the Line, 2008, LPs, Schallplattenspieler, Verstärker, Boxen, Kabel, Holz,
Lack, Acryl, 140 x 200 x 37 cm
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Julia Bünnagel (*1977 in Haan, Studium Bildende Kunst Kunstakademie
Düsseldorf, Prof. Hubert Kiecol) setzt sich in Ihren Arbeiten mit den Themen
Urbanisierung, Architektur, Städtebau sowie Stadtentwicklung auseinander.
Die Künstlerin verweist nie explizit, aber doch spürbar auf die modularen
Stadtutopien eines Le Corbusier, Oscar Niemeyer und anderer Architekten
sowie Science fiktionale Stadtkulissen wie aus „Blade Runner“ oder „Das
fünfte Element“. Für den Open Space 2009 hat sie zwei Objekte geschaffen:
Die skulpturale Wandarbeit „o.T.“ (2009, ca. 270 x 560 cm) besteht aus
von hinten schwarz lackierten Glasplattenstreifen in verschiedenen Formaten,
die in unregelmäßigen Abständen unterschiedliche Partien der Wände
bedecken. Die Segmente sind nicht unmittelbar auf der Wand befestigt,
sondern schweben etwa drei Zentimeter davor. Durch die fluoreszierend
grüne Lackierung ihrer Rückseite löst sich die Mauer hinter ihnen zu einer
farbig leuchtenden zweiten Ebene auf, die den Raum entgrenzt und vor der
die einzelnen Elemente der Verkleidung zu schweben scheinen.
Die Soundskulptur „Walk the Line“ (2008, ca. 140 x 200 x 37 cm) verknüpft
die Urbanität bei Nacht mit ihrer hörbaren Komponente vorbeiziehender,
wiederkehrender, eintöniger Geräusche. Die Arbeit besteht aus drei in Reihe
angeordneten schwarzen Türmen: auf dem mittleren, erhöhten Gebäude steht
ein Schallplattenspieler, dessen Nadel über eine urbane Landschaft gleitet.
Dazu hat Bünnagel Schallplattenfragmente zu tektonischen Ebenen aufgeschichtet und mit schwarzem Lack überzogen. Über die beiden Boxentürme
links und rechts ertönt so eine urbane Soundscape.
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WORKING ON THE DNA OF IMAGES
Hans-Jürgen Hafner, November 7, 2008
Cieslik and Schenk – Sea or see. Sí. No, listen:
see or sea. Sí. No, I said sea. Sí. No, listen to me:
sea or see. Sí. No, I said sea. Sí. No, listen to
what I said: sea or see. Sí. No, I said sea. Sí. No,
sea. Sí. Sea or see. Sí. No, I said sea. Sí. No,
listen to me: sea or see. Sí. No, I said sea. Sí. [...]
Don’t worry, the exhibition is by no means as
tough to get through as the baroque, extended
title might indicate, an endless declination of a
simple linguistic misunderstanding. If one takes a
close look, it quite quickly becomes apparent
where the small pictures, which the Düsseldorf
artist couple Cieslik and Schenk cloak as photographs, get their perplexing potential that so
persistently and strangely demand one’s attention.
Although in and of themselves they are unspectacular in terms of their format, use of color and
motifs, the inherent capital of the images begins
to mushroom just at the point where things
generally threaten to get boring. This capital is
simply the investment in the way they are made
and results from the manner in which they are
produced.
14:57 Uhr
Seite 8
Barbara Schenk (born in 1967) and Oliver Cieslik
(born in 1966) exclusively work digitally, which
means they literally “invent” their images on the
computer, and they produce them – in small
editions of three plus two additional artist proofs
– as small-format, intimate lambda prints, which
are carefully framed behind glass with a passepartout. In their case, working in the guise of
photography entails much more than creating an
overall photographic impression or a concrete
presentation of photograph picture-objects.
Instead it is the entire way in which individual
motifs and perspectives are arranged and the
gaze is directed; it is also their tendency to
choose architectural subject matter, which is
punctuated by objects shifted into the center of
the composition in order to flatter our stably
rooted expectations of the image, for example a
narrow vase that just stands there or a glass bowl
centered in front of a neutral background. Schenk
and Cieslik start at the point, so to speak, where
the representational typologies of artistic photography have already been worked out, where –
thanks to the stable codes of Neue Sachlichkeit
and its subsequent adherents (certainly those
riding the wake of the so-called “Becher School”)
– genres tend to follow the trodden path.
Thus, a general and quite understandable familiarity with these kinds of images is suddenly inverted in a sense of alienation; unmet expectations
lose themselves in disappointment; and a too
hastily diagnosed emptiness, the anonymity and
abstraction that seem to characterize these images,
is transformed into an utter excess of stimuli;
signals are more or less overturned by the hidden
codes they carry. Indeed, a number of the works
shown at Adamski (all from the past two years)
could be interpreted as references to specific
questions in photography – as subtle darts
critically aimed at a medial arsenal, when, for
example, questions of legitimacy intrinsic to the
image or aesthetics are still preferably negotiated
in relation to technique. For example, a typical
motif surfaces twice in the exhibition: a
“photographic” view, so to speak, through a
wrought-iron grate to the module-like ornamentation of the 1970s-style cement façade on a highrise (in the ilk of the famous Horten Department
Kevin Cosgrove’s understated paintings (Mother’s
Tankstation, OPEN SPACE) are compelling
individually, but together they make up an
ingenuously coherent body of work. His relatively
traditional upbringing in a mining community in
the central heartlands of Ireland has instilled a
sense of survival, craft and industry into his
austere and muted canvases of under-populated
workplaces: factories, workshops, industrial yards
and offices. The notions of ‘proper’ work and the
oral communication of skills, from generation to
generation, are fundamental to his paintings,
which can be art-historically contexualised by an
framework of artists who have explored the social
structures and the nobility of labour, linking
Corot, Courbet and Manet to the Euston Road
School and extending as far as the anonymous
artists of Soviet and Chinese social realism.
Similarly, Cosgrove (based in Berlin) sees himself
as craftsman, or artisan, and accordingly his art
is superbly constructed and carefully articulated.
Crudely speaking, Cosgrove’s practice falls into
the category of representational realism, however
these are difficult terms, as they are by definition
relative and constantly re-defined, but in certain
Store). And almost just like in a photography text
book, the façade is shown along with the grate,
with the latter out of focus in the foreground.
What here may seem like a painstakingly crafted
insider joke proves to be less forced and more
naturally implemented in their new images than in
their previous “sites”.
Overall the exhibition gives the impression not so
much of an interesting investigation into the
relationship between the image and reality but an
examination of the highly complex relationship
between the image and its medium. Thus, Cieslik
and Schenk do not use the interface between
media and technology to operate within the boundaries of a medium, but instead they pointedly
pursue “picturemaking” under altered conditions
of knowledge. They also do not work like the
current generation of photographers (from Thomas
Ruff to Wolfgang Tillmans), which fetishizes –
instead of deconstructing – the medium of photography for their own purposes in the course of
their photographic self-reflection. They do not
spend their time repeatedly calculating the degree
of ambivalence between documentation (photo)
and fiction (painting) anew – like the current
generation of painters from Eberhard Havekost to
Wilhelm Sasnal, which uses a critique of representation as an ongoing excuse for new paintings
without really advocating a structurally “different”
approach. In contrast, Cieslik and Schenk once
again raise the issue of the image as image. By
reconstructing the image with full awareness of
the truth inherent in fiction and the rhetoric
potential of any medium, they reveal its limits and
possibilities. Neither art nor genre, neither photograph nor image exist as pre-given fact, but
instead they are material that must be created.
They are so unnatural that thanks to the way they
are made and constructed it is possible to
recognize fact that we are looking at images and
to realize the manner in which we are viewing
them.
First published online in artnet: “Arbeit an der DNA
der Bilder”, Hans-Jürgen Hafner, 2008
Cieslik und Schenk, VNR 16:14, Untitled, 2007
Lambda print, 27 x 38 cm, Framed: 52 x 61 cm;
Edition: 3 + 2 AP
senses his paintings can certainly be considered
as a mirror held up to his particular world of
industrial middle Ireland.
Although very young, Cosgrove has already been
noted as an artist of great promise with a mature
quality of observational noticing and a being
superb painter of light. However, his focus is
drawn to the buzzing green-white fluorescence of
contemporary factory spaces rather than the
pathos of natural light. When we do see this in
his canvases it appears as a cruel burning-white
invasion from a threateningly implied exterior
world, eroding its way into the relative safety of
the over-familiar interiors through corrugated
plastic skylights, distant and high windows or
warehouse doors left ajar.
Workshop with Trestles II, Oil on Canvas,
100 x 110 cm, 2008
Courtesy the artist and mother’s tankstation.
08.04.2009
14:57 Uhr
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Lord Henry, 2008, Collage auf Stoff, verschiedene Materialien, 152 x 160 cm,
Foto: Henning Moser
“garages”; “postboxes”
LU
LUCILE’S WORLDS
“I grew up in an Emmaüs community, one of those places founded by the
Abbé Pierre to help the homeless. We lived in a former factory, on an
industrial wasteland in the middle of nowhere: a desolate landscape, but
which was also a boundless playground, where my imagination could run
riot. Up until the age of fourteen, I was surrounded by people who had
been destroyed by life. It is in this world that the fantastical universe of my
films has its roots. When I discovered cinema, I was attracted by Z movies,
horror films and serial films. Franju, Feuillade, Argento…Zombies, vampires,
ghosts, the otherworld. I started making films in 1997, when I was 20, I
made a whole series of silent short-films, as simply as possible, with virtually
no means, but that were very structured, precisely written. Then, from 2000,
I made collages. My characters are out of touch with reality, they are
projected into a universe that is whimsical, unreal, light-hearted and funny.
I put them into images in a way that is deliberately naïve and I follow my
intuition without trying to explain things. I also made four films with myself
in the role of a nun. I had a very catholic education, was immersed in a
very simple set of beliefs, in god, the devil. The community lived off
donations, things recuperated from attics, second-hand clothes. I grew up in
the middle of all this bric-a-brac, in a sort of magical relationship with the
past. I was very curious, I devoured picture books, comic books. That’s how,
on my own, I made my own artistic education. Things came to me in a way
that was completely random. I started making photomontages by cutting out
images from old picture books found in second-hand shops. From the
photomontages were born the collages, then the banners. With the banners,
I love the tactile relationship with all the different kinds of pieces of material
found around and about. I juxtapose different worlds, with spirits, people in
levitation, flying…I feel at home there. Recently, I started a series of collages
based on the theme of the life of a late 19th century visionary: Lord Henry.
He was a complete eccentric who theatricalized his whole life, dilapidating
his fortune on jewelry and dying at the age of thirty. I feel a real connection
with him, across the centuries, by his naïve desire for an artistic absolute.”
(As related to François Jonquet, translation: Erin Lawlor)
windows is present both memoirs of crash of
modernist Utopia, and the proofs of step-type
behaviour of the modern world. Everywhere, from
cells inhabited and bank up to cells of the information, pixel and a bat, Mondrian’s horizontalvertical lines were stretched. They already mark
nothing, but only are multiplied indefinitely.
And Dashevskiy preference gives utilitarian cells.
Their surfaces and the emptiness which have been
gone through as unique in own way, give out
melancholy about the absent hero. So, combining
receptions of formal idealism with the constrained
lyricism of Severe style, Dashevskiy postulates
some kind of new gravity. (Ilya Arhipenko, art
critic)
A
used products, or waste. Having generated under
unconditional influence of the Leningrad nonconfor mism, Dashevskiy at the same time is inspired
also by the Soviet official painting, and the
American geometrical abstractionism, and the
European avant garde of beginning XX century.
So, a sight not only the painter, but also the
professional critic, he distinguishes in accessories
of daily occurrence a material for reconsideration
of Mondrian’s credo- one of his favourite artists
“Beauty simply useful”.
If the Dutch artist only dreamed what the surrounding validity sometime becomes total Gesamtkunstwerk, in Russia in this high time just had
started an embodiment of the scale vanguard
project. As for to architecture of constructivism, it
has gradually degenerated in the block-panel real
estate. In its uniformity, in hundreds identical
G
“CELLS”– THE SERIES OF
ALEXANDR DASHEVSKIY
Anna Nova art gallery presents the new painting
series of Alexandr Dashevskiy “Cells”. Several
years ago Alexandr Dashevskiy has begun making
portraits of serial high-rise buildings, closely
studying as typical cells acquire signs of an
individual life: each glazed loggia, the satellite
aerial or the conditioner has been lovely written
off from a nature. In the new series “Cells” traces
of human presence are reduced, and five the
general name big format cloths speaks for itself –
a cell as formation’s unit of lonely inhabitancies.
Instead of an apartment house – a ferro-concrete
structure gaping by blackness. There correspond
to it the numbered cells of mail boxes and leftluggage offices, and also garages. And, at last,
cells of containers, employees for storage still not
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s.l.w., 2006, wood, canvas, twine, plaster, ink,
acrylic, staples, 335 x 280 x 365 cm
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EK
INGREDIENTS FOR CEVDET EREK’S ‘A FEW
RETROSPECTIVES IN OPEN SPACE’
1. Studio,video
Two hands impulsively beat selected notes from
someone’s timeline of life.
2. SSS (Shore Scene Soundtrack), installation
SSS, the Shore Scene Soundtrack is about
mimicking the sea, or imitating a very common
piece of nature, by using 2 hands and a piece of
carpet.
Installation includes the video of a recording
session of SSS and a carpet which was used for
performance. In video, a carpet is being rubbed
by a half naked man, with a series of massagelike hand movements. The very dramatic image is
irregularly interrupted by some short scenes e.g.
zooming in to the hands or showing the sound
engineers located behind the glass of the
recording room.
3. SSS (Shore Scene Soundtrack, book
“SSS can be seen as an attempt to share a discovery. It explains in detail to the reader how one
can mimic the sea, how this can be done simply
for oneself or formally as a performance. In each
case the emphasis is on delighting in this
experience. The required state of mind for making
A
O
‘Inclined Demeanour’, 2007, Perspex, adhesive
décor paper, tape, found steel platform,
63 x 36 x 49cm, Courtesy Circus, Berlin
Seite 10
Eric Eley wird für OPEN SPACE ein raumgreifendes „schwebendes“ Objekt installieren. Seine
Objekte sind hybride Konstruktionen aus Holzleisten und farbigen Schnüren, präzise definierten
Linien und Flächen, die doch nichts Reales
beschreiben. Sie erinnern an Flugkörper, an das
tragende Gerippe eines Vordachs oder das Skelett
eines prähistorischen Wesens. Eleys Affinität zu
futuristischen Maschinen und den utopischen
Räumen der russischen Konstruktivisten ist auffallend. Die scheinbar der Schwerkraft trotzenden
Fragmente sind eine schön formulierte Schwebung
zwischen mathematischer Kalkulation und phantastischem Wuchern.
Zur Biographie:
Der 1976 geborene Eric Eley erhielt 2005 sein
MFA im Fachbereich Keramik an der University of
Washington und im Jahr 1999 sein BFA von der
University Syracuse. Von 1999 bis 2001 war er
artist-in-residence Stipendiat der Archie Bray
Foundation in Helena, Montana und erhielt ein
Taunt Fellowship Stipendium. Eric Eley nahm an
Gruppenausstellungen in Seattle, Portland, Chicago
and Baltimore teil, Einzelausstellungen in Seattle,
Spokane und Hamburg folgten. Eley lebt und
arbeitet in Seattle.
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My introduction to Norwegian-born Marte
Eknaes came via an engaging review she published about an exhibition by the artist Jack
Goldstein held in Los Angeles in 2002. In retrospect this overture seems entirely appropriate.
Not unlike Goldstein’s magical paintings and
films, Eknaes’ work is marked by its concern
for surface, light, and the limits of materials, and
it stakes out the potential for a practice rooted
in representation to be critical. The review is
also a token of her tenure in Los Angeles (where
she studied at CalArts) and the deep impact
Southern California’s particular architectural
and environmental qualities have had on her
visual vocabulary. Eknaes mines the alternately
sadistic and symbiotic relationship between
image and architectural surface that defines
the contemporary built environment. The
manageable scale of her contaminated minimalism is less of a participatory theatre than a
series of improvisational maquettes, jagged
proposals whose use-value remains slippery.
Using degraded materials, she constructs
metallic dystopias in miniature. But these are
neither simply the mirrored surfaces of Smithson
nor the transparent facades of Le Corbusier.
Eknaes’ surfaces, although reflective, generally
remain opaque, deterring any direct identification with the viewer or any easy notion of
modernist emancipation. Her materials approximate machine-age metal, but such industrial
swagger is thwarted by the reality that Perspex,
tape, and mirror card more often comprise the
work. Eknaes often tests how far she can suspend the space between the elements in her
arrangements. The formal tension created
further challenges any promise of functionality
and allows unexpected narratives to form and
dissipate simultaneously. While chains and
other adornments hang benignly across segments of certain works, sharp points threaten
to cut into the ground in others. These tensions
delineate spaces of unease and frustration, sensibilities very much in tune with the increasing
uncertainty of both the institutional and urban
contexts that frame her work. (Stuart Comer)
14:57 Uhr
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08.04.2009
ES
the imitation is treated with the same precision as
technique and necessary equipment. Humorously
but without irony, Erek constructs a subjective
guide by passing from a contemplation on the
imitation of nature, through a step-by-step manual
to a form of sheet music”.1
4. Dark Light Dark, Led Panel, LED panel
dark light dark
1 0 1
breakfast break fast breakfast
on off on
5. Father’s Timeline, drawing on paper
Erek’s father was asked to sketch a timeline of his
own life, covering a span of years from 1938 to
late 2007.
6. Ruler I, ruler
The first prototype from the Ruler set. Shows a
span of years from 1974 to 2007, in Arabic,
with a scale of 1cm = 1 year.
7. Ruler 0 – Now, ruler
The second prototype from the ruler set. Shows a
period of time from 0 to ‘now’.
(1. from press release of the by book BAS – Istanbul.)
‘A few retrospectives in open space’, Digital
collage, A4, images from ‘A Few Retrospectives’
installation shown at Open Space.
08.04.2009
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painting itself, placing great importance on such
painterly concerns as paintwork, color and composition. The viewer is invited to explore the different
levels of shifting pictorial space.
Looping lines of paint veil the composition in a
willful rejection of perspectival recession, forcing the
viewer to consider the work in purely abstract terms.
Acutely aware of her artistic heritage, Everberg
condenses in the painting’s surface an accumulation
of techniques which references canonical abstraction from Claude Monet to Gerhard Richter. At once
a parody and homage to earlier abstract movements,
Everberg harnesses the techniques of abstraction in
a figurative mode, uniquely reconfiguring her
referents in a wholly new breed of painting.
Kirsten Everberg’s paintings absorb the viewer into
a world that combines the mystery of a disjointed
narrative with the materiality of the picture itself,
expressing a sense of shifting temporality and our
collective struggle with memory and a sense of
place. This sensation is heightened by imagery often
collaged from photographs from a wide range of
sources and time periods. Here, the construction of
the image, much like the construction of histories or
myths, is assembled from varying perspectives, over
time, and is in constant flux.
In as much as the paintings draw from memory and
an historical representation of memory, meaning is
evoked not only through the image, but also through
the actual creation of the picture itself. In the Tate
Birches, the branches obscure the view, forcing us
to reappraise the act of looking, both within and
outside the context of art. And the branches also
add an almost abstract element, albeit one firmly
grounded in the figurative world. These jagged
streaks bring our attention to the act of painting, to
the surface of the picture, to the fact that it is a twodimensional surface packed with colors that have
come almost inadvertently to represent the scene.
10
One of the defining characteristics of Kirsten
Everberg’s approach to painting is her ability to
harmoniously combine image and process, deftly
creating a tension between the subject of a painting
and the abstract possibilities of the medium. This
is effectively accomplished in the Tate Birch series
that takes as its source image a Modernist museum
structure. In Everberg’s hands, the view through
the densely tangled undergrowth onto the building
is transformed into a dramatic pretext for a postmodernist exploration of the painted surface.
Referring to the 2008 work, LA Mill, Russell Ferguson
points out, “Everberg’s thick enamel paint simultaneously seduces and repels the viewer as it seals the
image of the place. The shiny paint echoes the
surfaces, as if in amber, yet at the same time its
fluidity suggests that the whole scene could be at the
point of melting away forever. The emphatic materiality of the paint threatens the very stability of the
image it represents.”
Hovering between abstraction and representation,
Everberg’s compression of space conflates surface
and depth, distance and proximity, materiality and
illusion. The paintings do not stress the permanence
of place, rather the endless possibilities of space.
What we regard is undefined, as the distance between the paintings and the object represented is
the direct result of Everberg’s technique and
approach to painting. The works are not objective
models of reality but a type of mediation or
construction through which ideas of space and
place are seen.
As the eye struggles to reconstruct the threedimensional illusionistic space of the landscape or
interior, the rich tapestry of textural diversity in the
foreground insistently returns us to the real planar
space of the painting’s surface. We are forced to
see the world as a constructed space, regarding our
perception through a simultaneous alternate reality
that communicate with our collective memory and
conscience. Everberg concentrates her, and subsequently the viewer’s, mind on the construction of the
BL
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Tate Birches #10, 2009, oil and enamel on board, 5’ x 4’
“The Devil sent him the seven vipers of the
rainbow”, begins Olivier Garbay’s The Cloud
(2007), his collection of poems, notes, exchanges, and fantastical streams of consciousness.
More often irreverent than venomous, the
compositions slither through the book’s pages
cloaked in hues of red, violet, purple – and a
painter’s palette worth more. Colour gives these
texts a kind of objet d’art concreteness that hints
at Garbay’s roles as draftsman, painter and
sculptor alongside that of word moulder. He
juggles these in ways that conjure up medieval
archetypes: grail-seeking knight, dotty alchemist,
Celtic woodcarver, mocking court jester. The
amalgamated oeuvre brims with the stuff of myth
and legend, as in his earlier drawings of
equestrians in deep forests, or the repeated,
wallpaper-like pattern of a pagan-tinged icon he
showed at his ‘Nature’ exhibition in 2008, at
Concrete, The Hayward Gallery, London.
Born in the South of France, Garbay moved to
London in 1994, after having studied at the
ENSAD in Paris. 2005 saw him co-authoring
God Is Dad with Sarah Lucas. Two years later
he showed at the touring exhibition ‘Hamsterwheel’, originally presented at the 2007 Venice
Biennale and conceived by Franz West, an artist
with whom he shares a wayward intelligence
and puckish humour. His latest collaboration
with Sarah Lucas is The Mug (2009), a lexicon
inspired by William Blake’s illustrated books and
S. Foster Damon’s A Blake Dictionary (1965).
“It’s an inside view of two artists’ inspirations
and loving/fighting jolts,” Garbay says. “It’s an
impossible love story made possible.”
In typically quixotic fashion, Garbay’s latest
explorations pit space travel against an inward
quest for the origins of life. Where do we come
from? And what lies ahead of us? The protoscience fiction of Cyrano de Bergerac’s The
Other World: The Comical History of the States
and Empires of the Moon (1657), which lists
seven ways to travel to the moon, along with the
rich symbolism of the egg, provide clues to the
answers that take on a yellow hue and spherical
shape. Works such as Portrait of a Lysozyme
(2009) seem to marvel at the minute complexity
and simplicity of organic life, proffering the cell
as a universe in its own right. Like the 16th
century painting Concert in the Egg (attributed
to a follower of Bosch), Garbay’s is a selfcontained world that sings makeshift paeans to
its muse full-voiced. (Text and Interview by
Yannis Tsitsovits)
Olivier Garbay will hold a lecture at OPEN SPACE
(please see page 6)
Piglet, 2009, Colour photograph
Courtesy of Blanket, Vancouver, Canada
Ham’s Flash Backs, 2008, Tempera auf Holztafel, 30 x 30 cm
© Federico Geller / Jürgen Stollhans
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SUBJEKT IST OBJEKT IST SUBJEKT (AUSZUG)
Die körperliche und performative Assoziation von Greenbaums abstrakten Formgespinsten wird nochmals gesteigert, wenn man den Blick auf die kompositionelle Grundstruktur ihrer Gemälde richtet: Das von Joanne Greenbaum gewählte
Wort des „brain mapping“ wird zum konkret fassbaren Bild eines Gehirns. Fast
jede von Greenbaums Malereien hat ihren Ausgangspunkt mitten auf der Fläche
der Leinwand, von dort greift sie aus. Bereits in den frühen Gemälden ist ein
punktartiges Zentrum zu erkennen. Fast immer auch eine kreisförmige Struktur,
die sich um diesen Punkt bildet, eine Ausweitung, Verästeltung oder Zellbildung,
deren Einbindung Greenbaum zusätzlich durch mysteriös hergeleitete Nummerierungen verstärkt. In jüngeren Gemälden kommt eine Umgebungsfarbe hinzu,
die manchmal als Fond, häufiger jedoch als abschließende Umkreisung und
Einfassung erscheint. Vielfach vervollkommnen sich diese Elemente zur Suggestion
eines konkreten Kontur- und Innenbilds von menschlichem Kopf beziehungsweise
Gehirn. Diese gleichermaßen diagrammatisch abstrakte wie bildhaft konkrete
Assoziation eines Gehirns ist vielleicht die eigentliche Entdeckung Joanne
Greenbaums: Eine unvorhergesehene bildnerische Analogie, die sich aus dem
scheinbar vorsatzlosen und unkontrollierten Agieren in den Vokabularien der
Abstraktion und der von Greenbaum gewählten gestischen „Performance“ dieser
Formen herausbildete. Als ich vor ein paar Tagen Greenbaums Gemälde jemandem zeigte und von dieser Analogie sprach, gingen die Antworten gar bis zu
Michelangelo zurück, der in der Erschaffung des Adam ein abstraktes Bild von
Geist und Gehirn in die Menschwerdung einschleuste: Gott reichte den Finger
aus einer ihn umgebenden Corona von Engeln, die nicht Himmelssphäre, sondern
menschliches Gehirn meinten. Ihre Kontur ist unauffällig und abstrakt – von der
Bildhaftigkeit zu lösen, doch dann eindeutig jene dieses menschlichen Zentrums.
Diese Situation ist eine weitere Begebenheit in der Beschäftigung mit den Gemälden von Greenbaum, an deren anderem Ende die vielen Assoziationen und
Bezüge zur heutigen Gegenwart stehen: die Möglichkeit eines Psychogramms
für abstrakte Formen, eine Interpretation der Visualisierungen von modernem
Schutt und Barock, welche schließlich in eine gemeinsame Denkrichtung münden.
In dem Kreisen um formale Abstraktionen, das Greenbaum betreibt, liegt eine
malerische Virulenz, die dem heutigen Kreisen um zeichenhaft gewordene Objekte gleicht. Es geht um das Objekt Malerei, doch nunmehr in der Perspektive von
subjektiver und klaustrophobisch solipsistischer Imagination. (Susanne Titz)
Joanne Greenbaum (USA, 1953), Yet, 2006, Oil on linen, 152,4 x 139,7 cm
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DEVELOPMENTAL NOISE – ECONOMIC GLACIATION
Federico Geller and Jürgen Stollhans’ installation is a science-based
artistic project called “Developmental Noise – Economic Glaciation”.
It revolves around different approaches to the history of evolution,
genetics, creationism, and economics. The initial and central point of
their work is the lost tape of an interview with an ape called Ham.
Looking back, they talk about his life…
“Ham speaks for us and he does it better than the two of us together.
When we found him on Pindoí Island he told us about his life, having
almost always been abused as an object for political adventures in
the Cold War. He learnt a lot in both scientific and artistic institutions,
but instead of feeling resentful of our species, he chose to love us, not
only because he realised that we are also apes, like him, but because
he knows that the future of chimpanzees, bonobos, gorillas and many
other animals is in our hands.”
“It is a pity that we lost the tape. However, we decided to reconstruct
the interview we made with drawings and different documents for
preserving his unique testimony and statements. Both science and art
are battle fields where ideological consensus is built on the basis of
representations. We need to understand: how they are made and
what they mean, because we want to understand our human-ape
nature, in order to change it and make it happier.” (Federico Geller/
Jürgen Stollhans)
Federico Geller, biologist and artist, lives in Argentina. With the
Grupo Arte Callejero he took part in the 50th International Art
Exhibition in Venice in 2003. In 2004, he was invited to the exhibition
“ExArgentina” at Museum Ludwig in which Cologne based artist,
Jürgen Stollhans was also involved. Stollhans’ participation in
documenta12, saw him travel to Argentina, and together with Geller
he began to develop the project entitled “Sorry Ham!” and
“Developmental Noise – pay attention to Ham.” Parts of their work
has previously been on show at Kunstverein Hildesheim and M29
Gallery.
Seite 12
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„eines Abends“, 1997, Acryl auf Aluminium, 43 x 59 cm
„ohne Worte“, 2007, Bleistift auf Papier, 42 x 30 cm
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museum Winterthur, Schweiz / Museum der
Moderne Salzburg. 2005 Galerie PrazDelavallade, Paris (E). 2002 „Transparency“,
MAK-Galerie, Wien (E). „Bilder und Nachbilder“,
Oberösterreichische Landesgalerie, Linz (E).
2001 „Maria Hahnenkamp. Fotoarbeiten /
Installationen“, Stadtgalerie Saarbrücken (E).
Courtesy: Krobath, Vienna und Maria
Hahnenkamp, Foto: Nora Schöller
spiegeln auf diese Weise ihre Abhängigkeiten
stets wider. Ihre „künstlerische Kraft“ lässt sich mit
konzeptuellen Überlegungen nicht vollständig
fassen. Sie sind jedoch, wie Anette Freudenberger
im Katalog zur Ausstellung in der Wiener
Secession (2006) schreibt, „keine unschuldigen
Kreationen, sondern sich ihrer komplexen Hintergründe stets bewusst“.
Lone Haugaard Madsen ist 1974 in Silkeborg,
Dänemark geboren. Sie lebt und arbeitet in
Kopenhagen und Wien.
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Installationsansicht Lone Haugaard Madsen,
Raum #214 – Frühwerk, Galerie Christian Nagel,
Köln 2008, Foto: Simon Vogel
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Für den künstlerischen Werdegang von Lone
Haugaard Madsen ist die Reflektion auf die
Bedingungen von Produktion und Repräsentation
von Kunst von unbedingter Relevanz. Sie hinterfragt die Parameter der jeweiligen Ausstellungssituation, den räumlichen und institutionellen
Kontext sowie ihre eigene Position darin, und
entwickelt aus dieser Hinterfragung konsequent
die entsprechende Arbeit. Eine ältere Serie besteht
beispielsweise aus fotografierten Wandstücken,
die wiederum auf die fotografierte Stelle im Raum
projiziert werden, oder aus Fotoabzügen von
Wandstücken, die gegen die Ausstellunsgwände
gelehnt sind.
Während ihrer Studienzeit beschäftigte sich Lone
Haugaard Madsen mit den institutionskritischen
Ansätzen von Daniel Buren und Michael Asher
und war dabei in ihrem Umfeld in Aarhus (DK)
relativ isoliert. Erst durch ihren Wechsel nach
Wien in die Klasse von Heimo Zobernig fand sie
„Geistesverwandtschaften“.
Lange Zeit stellte in ihrer streng Raum und Kontext
bezogenen Arbeit so etwas wie das „Kunstwerk“
eine Unmöglichkeit dar, bis sie sich mit ihrer
Abschlussarbeit an der Akademie der Bildenden
Künste Wien in einem Vortrag, quasi per bewusster Entscheidung, der nun folgenden „Objektproduktion“ zuwandte. Die eleganten, rau-rohen und
bisweilen sehr humor vollen Skulpturen und Objektformationen, für die man die Künstlerin inzwischen
kennt, sind jedoch nicht einer plötzlichen Kehrtwende zu einem autonomen Kunstbegriff zu
verdanken. Sie entstehen aus gefundenen Objekten
und angesammelten Dingen, die aus künstlerischen
Arbeitsprozessen als Nebenprodukte oder Abfall
hervorgehen, Arbeitsunterlagen, Kisten, Bretter,
Materialstückchen, Atelier- und Werkstattreste und
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Maria Hahnenkamp wendet sich in ihrer Kunst
der Rolle der Frau in patriarchalen Gesellschaften
und den darin entwickelten und überlieferten
Bildern der Weiblichkeit zu. In Fotografien, Diaprojektionen, Buchobjekten und raumbezogenen
Arbeiten untersucht sie die Beziehungen zwischen
gesellschaftlichen Machtstrukturen und weiblicher
Identität. Sie geht dem Einfluss von öffentlichen
Ritualen, deren Sprachregelungen und ästhetischen
Formen auf das Verhalten und die Darstellung des
weiblichen Körpers nach. Dabei spielt das Ornamentale als tradier tes Motiv der Festlichkeit, des
Schmückens und als Synonym für eine männlich
definierte Weiblichkeit eine zentrale Rolle.
Gerade in den abstrakten und vermeintlich inhaltslosen Formen der Ornamente verbirgt sich mit der
Geschichte der Ästhetik auch jene der Geschlechterbeziehungen und der dabei der Frau zugeschriebenen Rolle. So sind Hahnenkamps Ornamente
nicht bloß schmückende Formen, sondern immer
auch abstrakte sprachliche Zeichen über konkrete
gesellschaftliche Hierarchien.
Rainer Fuchs, Mumok, Wien 2007
2009 „Die Macht des Ornaments“, Belvedere,
Wien. 2008 Salzburger Kunstverein (E).
„Sechs Plakate“ im Stadtraum Innsbruck, Galerie
im Taxispalais, Innsbruck (E). Galerie Krobath
Wimmer, Wien (E). 2007 „Einführung in die
Kunstgeschichte“, Ursula-Blickle-Stiftung, KraichtalUnteröwisheim. 2007 / 2006 „Erblätterte
Identitäten – Mode, Kunst, Zeitschrift“, Galerie
der Hochschule für Grafik und Buchkunst Leipzig /
Stadthaus Ulm. 2006 „Why Pictures Now –
Fotografie, Film, Video. Die neue Sammlung.“
MUMOK, Wien. 2006 / 2005 „Simultan – Zwei
Sammlungen österreichischer Fotografie“, Foto-
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BABETTE MANGOLTE’S INSTALLATION
“HOW TO LOOK”
“This installation is dedicated to all my
models…. The show was on for a month.
There was no security in the gallery. Often
the visitor was left alone in the space for
several hours, especially on weekdays.
Several cards were found missing at the end
of each days. My biggest surprise was that
no more than a couple of photo cards were
stolen each days, mostly the composite card
10 (my favorite) and two of the portraits
cards; there were of famous personalities in
the Soho Art World of the time and I was
prepared with replacement cards. The cards,
which disappeared were the one of Kate
(Manheim) and Richard (Serra), two celebrities of the portraits series. Strangely enough
the wall was never touched. The show was
read as a play on distance.
Surprisingly, so few visitors gave themselves
the permission to be outrageous with the
installation. Give permission: that was what
the show was all about. The visitor was
given the possibility to invent, subvert or
redefine its own rules. The concept for the
show was simple: the distance at which you
see, construct what you see.
The program notes alluded to a multiplicity
of readings but most people privileged one.
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say: Why are you the president and not I? For
those whom have believe that giving shape to
our countries have given shape to all of us I would
say: Leave me alone! For those whom have
been playing with my body and my mind I would
say: Now I’m going to play with you.
“History is my best toy” is an articulated piece,
it’s a piece that can be moved and can be
placed in many different situations and contexts.
It’s composed of three movable elements and
each one of them carries a fragment of a 2
meters Lenin plaster sculpture. The first “car”
carries the legs, the second the body and the
third the head. This plaster sculpture what I
believe was meant to be the plaster mold for a
bronze casting was found in a basement of an
embassy in Europe, but as we know this Lenin
plaster is not the only one that has been hidden
in a basement or trashed and this is what has
happened with this chapter of our history. Let’s
play with it! (Diango Hernández, Limerick 2009)
From installation “History is my best toy”, 2009
A
HISTORY IS MY BEST TOY
If we believe in the future the present becomes
just a way to get there and the past a helpless
memory, a place where an optimist shouldn’t
step in. Most of the socialist communication
(propaganda) strategies were based in comparisons between the past and the present. The
present was always better and we could imagine
following dialectics rules that the future would
have been even extraordinary. But my question,
which is not philosophical, is: How many kinds
of past, present and futures do exist? Can we
simplify all those almost endless kinds of past,
present and futures to only one? And then to
refer to them as The past, The present and The
future of a country or a city or even a family?
I would say NO. Time is a strictly personal
concept and that’s why each one of us dies and
is born on different days, to different times and
in different places and ways.
To those whom have been trying to make us
believe that time is a collective matter I would
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The majority was fascinated with the large
wall. The size was an impressive 24 feet
by 16 feet. The distance of the banister was
at 12 feet. The banister was outlining the
divisiveness of the visitor’s experience of
the show. Another way to describe it: see
the details up close with the cards, or see
the whole at a distance: one or the other.
Few people experienced both. You cannot
see the wall in one look. You’re too far to
see details, too close to see it in its entirety
without moving your head.
I dreamt of a revolt. I never knew who had
opened the window, or who gave the sign
to start ripping everything apart. The
photographs suddenly were seen without
frame. Fragmentation is self-contained and
impossible.” Presentation at Open Space
2009: A Conceptual Reconstruction of
Babette Mangolte’s Installation “How to
Look” at PS1, New York 1978, Courtesy
Anke Kempkes, BROADWAY 1602
BROADWAY 1602 and Galerie Gisela
Capitain share a special presentation of
works by Alina Szapocznikow at Art
Cologne 2009
P.S.1. Installation, 1978, Courtesy of
BROADWAY 1602
08.04.2009
14:57 Uhr
Seite 15
Mischtechnik auf Papier, 2008, 180 x 112 cm
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Alpha Mason: …so, what you’re saying is that you
think you are an altermodernist? We’ve finally found
a ‘box’ you think you might fit into?
Chris Hipkiss: No, no chance. I still don’t really have
a clue what it means. I just stumbled upon a review
of a Charles Avery show, in which my work was
compared with his… and I thought what the writer
said about me was quite accidentally insightful
because it reminded me of where it all started, you
know? I’d been so bored and frustrated trying to
draw in the house on my own, and on that boat on
the Seine I just decided to doodle whatever I wanted
rather than thinking about it all the time–
AM: Yeah, you tell that story every time someone asks
the “When did you start?” question, but to me you’d
been doing much the same thing ever since you were
a kid. It was a process, a natural development…
CH: …but it was like BC and AD. It was only with
the recession, on the dole together, that I could really
be bothered to do it full-time. I needed that constant
creative interaction to make it interesting. Then once I
decided to doodle it was like zooming into the future;
I’ve got a thousand detailed landscapes in my head
I’ll never have enough time to draw. At least I’ve got
to the stage now where I can make small-sized landscapes big; I’m finally learning how to draw! Thanks
to you, of course, as ‘Shading and Perspective
Consultant’–
AM: Of course!! Then again, you know when we
looking at that view the other day, when I suddenly
realized that sometimes real perspective can be like
the stubborn Hipkiss elements I still think are ‘wrong’;
like the road in A Knife For Europe – it’s going up
that steep a hill, it looks impossible.
CH: I like that. But it’s true that a lot of it was wrong,
and improving at least some of the perspective has
made the work better. It’s even helped me find ways
of getting down the repetitive detail fast enough
before it gets too much. My art feeds from every
experience I ever have, which is why the labels I
tend to get lumbered with are so way off…
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Schirin Kretschmann’s artistic practice settles
at the liminal space of painting and her work
can be considered as a constant defiance of
the medium’s specific conditions. Hers is an
investigative approach to the medium combined
with a search for the presence of the medium,
in fact, the notion of epiphany. The works are
mainly abstract, formally defined sculptural in
situ installations, built into public and institutional spaces. They are understood as ephemeral
occurrences depending on the spectators’
points of view.
For the Open Space, she will develop a new
project that is dealing with the spatiotemporal
dimensions of the concept “painting”. This
project is considered as response to the actual
situation and location. It explores the medium’s
transitory force with respect to spatial, social
and metaphysical transitions. The concept of
painting becomes extended into the dimension
of time and is driven by an epistemological
interest in the creation of the image that is the
time-based structures of the image as well as
the becoming-image of time.
The visual perception of a material phenomenon is considered the origin both of the
construction and the reception of an artistically
created image.
The concept is understood as a proposal, a
first draft for the presentation of her work.
The openness of the concept is aligned with
the idea to realize the concrete project with
the given conditions of the exhibition “Open
Space”. She will create a sculptural installation
in which several individual pieces will coalesce
and build a formal alliance.
Kasimir loves it with Tea, 2008
Apple pie (carbonized) on wheels, ice-lollies,
woven bag © Schirin Kretschmann and
VG Bild-Kunst, Bonn. Courtesy FerenbalmGurbrü-Station, Karlsruhe / New York.
SELBSTPORTRÄT DER HERSTELLUNG EINES SELBSTPORTRÄTS
Selbstbildnisse waren schon immer eine ziemlich selbstreflexive Angelegenheit.
So saß häufig ein Maler an der Staffelei und blickte aus dem Bild heraus wie
auf den Spiegel, in dem er sich selbst betrachtete, um das Bild zu malen.
Bei Rembrandt und Goya wurde das Selbstbildnis zum Mittel der intensiven
Erforschung der eigenen Psyche, und sie konfrontieren uns fast nur mit ihrem
verdüsterten Gesicht.
Die Intensität des Ausdrucks geht allerdings auf Kosten der „Information“.
Ist es nicht ein wesentlich getreueres Selbstbildnis, wenn man die Gedanken
und Erlebnisse sichtbar macht, die einen selbst geprägt und zu demjenigen
gemacht haben, der man „ist“? Boris Groys behauptet, dass Künstler heute
„Selbst-Sammler“ sind, die ein Bild ihrer Identität nicht im Blick in den
Spiegel suchen, sondern diese aus Traumata und Erinnerungsbildern zu
konstruieren suchen.
Wenn Andreas Lorenschat sich nicht abbildend inszeniert, sondern eine
räumliche Inszenierung medialer Spuren des eigenen Lebens vornimmt,
ergibt sich an Stelle der scheinbaren Gegenwärtigkeit des Spiegelbilds eine
Projektion vergangener Erlebnisse auf die Zukunft des eigenen Lebens. Aus
dem räumlichen wird gleichsam ein zeitlicher Spiegel. Wir sehen nicht den
Maler an der Staffelei, auch nicht den sich selbst erforschenden verdüsterten
Blick, sondern blicken auf die räumliche Inszenierung der gedanklichen und
medialen Konstrukte, die Lorenschat zur Erforschung der eigenen Biografie
einsetzt und mit ihnen gleichzeitig eine Projektion in das Ungewisse der
Zukunft vornimmt. Und so wird das Selbstporträt letztendlich zum Selbstporträt
der Instrumentarien, die der Künstler zur Herstellung des Selbstporträts
einsetzt. So sehen wir im Spiegel nicht das Gesicht des Künstlers, sondern
die Kamera, die sich gleichsam selbst porträtiert. (Ludwig Seyfarth)
„Das Selbstportrait“, 2009, Installation aus 36 gerahmten C-Prints (Detail)
08.04.2009
14:57 Uhr
Seite 16
CENTRAL NERVOUS SYSTEM / FORGOTTEN BAR PROJECT
APRIL 21–26, DAILY 12.00–20.00
NEVIN ALADAG, JULIETA ARANDA, TJORG DOUGLAS BEER, TOBIAS
BERNSTRUP, MARC BIJL, MAURO BONACINA, MONICA BONVICINI,
ULLA VON BRANDENBURG, ELI CORTINAS, CAROLA DERTNIG, STEPHAN
DILLEMUTH / NILS NORMAN, ANTJE EHMANN, HARUN FAROCKI,
ANNA-CATHARINA GEBBERS, ANDREAS GOLDER, ALEX HEIM, GREGOR
HILDEBRANDT, CHRISTIAN JANKOWSKI, DANIEL JENSEN, OSKAR
KORSÁR, ALICJA KWADE, APRIL ELIZABETH LAMM, ANNIKA LARSSON,
JOEP VAN LIEFLAND, MARK LOMBARDI, KLAUS METTIG, OLAF METZEL,
ERIC B. MITCHELL, CHRISTOPHER MINER, STEPHAN MOERSCH, LAURENT
MONTARON, DEBORAH SCHAMONI, CHRISTOPH SCHLINGENSIEF,
KATHARINA SIEVERDING, FRANZ STAUFFENBERG, ROTHSTAUFFENBERG,
POLINA STROGANOVA, ALEXANDROS TZANNIS, MALTE URBSCHAT,
COSTA VECE, SEBASTIAN ZARIUS
(Initiated by Galerie im Regierungsviertel)
For OPEN SPACE Tjorg Douglas Beer has invited several colleagues to
realise the installation CENTRAL NERVOUS SYSTEM. The installation
includes paintings, sculptures, objects with an hourly program of videos,
performance and music.
GALERIE IM REGIERUNGSVIERTEL is a module fed by a group of artists,
curators and others. The first exhibition took place in the area of government
administration – the Regierungsviertel – in Berlin in April 2007.
Since April 2007 GALERIE IM REGIERUNGSVIERTEL has realised several
exhibitions around Europe including GINNUNGAGAP / PAVILLION OF
BELIEF, Venice, THE FOUR HORSEMEN / DIE RAND COOPERATION, Berlin,
Turin, THE END WAS YESTERDAY, Berlin, Innsbruck and THE FORGOTTEN
BAR PROJECT, Berlin, Turin, Stockholm.
Tobias Bernstrup, Midnight Blue And Other Songs
About The Dark, Performance I
1. Reihe v. l. n. r.: Laurent Montaron, Readings, 2005 / The Forgotten Bar Project, Berlin-Kreuzberg, 2008 / Tobias Bernstrup, Midnight Blue And Other Songs About The Dark, Central Nervous System/Forgotten Bar Project, Open Space,
Artcologne, 21st of April 2009 at 3 pm and 6 pm / RothStauffenberg, Untitled Character (2), 2008 / Julieta Aranda, This Is Most Modern And Safe, 2008 / 2. Reihe v. l. n. r.: Katharina Sieverding, O.T. 2009 / Christian Jankowski, Kunstmarkt
TV, 2008 / Joep van Liefland, Ampex Mediadeath, Das Ende einer Odyssee, 2009 / Galerie im Regierngsviertel, Inaugurational Exhibition, Berlin, 2007 / Harun Farocki, In-formation, 2005 / 3. Reihe v. l. n. r.: Christoph Schlingensief in
Kooperation mit Walter Lennertz und Alexander Kluge, Hasenverwesung V, 2004 / Nevin Aladag, Raise the Roof, 2007 / Sebastian Zarius, Razor, 2009 / Ginnungagap – Pavillion Of Belief, Venice 2006 / 4. Reihe v. l. n. r.: Christopher
Miner, Auction, 2000 / Marc Bijl, The Simplicity Of It All, 2009 / Malte Urbschat, Migräne-Mobile, 2005 / Antje Ehmann, Loud and Clear, 2008 / Gregor Hildebrandt, C.N.S.(E.N.), 2008 / Daniel Jensen, Terri. 2009 / Ulla von Brandenburg,
Around, 2005 / 5. Reihe v. l. n. r.: Carola Dertnig Revolving Door, 2001 / Andreas Golder, Teil I, 2009 / The End Was Yesterday II, Kunstraum Innsbruck 2008 / Tjorg Douglas Beer, --uilty, 2005 / Alexandros Tzannis, untitled 2009 /
6. Reihe v. l. n. r.: Monica Bonvicini, Beer Cans 04, 2008 / Olaf Metzel, Milieufragen, 2007 / Alicja Kwade, Neverending Stories / Klaus Mettig, UNTITLED II, 1976 / April Elizabeth Lamm from Mr Koresh’s Untimely Attempts … / Deborah
Schamoni, Dead Devils Death Bar, 2008 / 7. Reihe v. l. n. r.: Stephan Dillemuth/Nils Norman, Headshots at an Art Opening, 2008 / Alex Heim, Untitled (Recycling Bottles), 2003 / Stefan Mörsch, The House In The Middle, 2009 / The
Forgotten Bar Project, Alp Peter Bergmann, Stockholm, 2009
08.04.2009
14:57 Uhr
Seite 17
EXHIBITION AND PROGRAM (HOURLY PRESENTATIONS OF VIDEOS, PERFORMANCES AND MUSIC)
TUESDAY APRIL 21
11.00 Christopher Miner, Videos
12.00 Anna-Catharina Gebbers,
Kreislaufsysteme
13.00 Nevin Aladag, In Takt, Four
videos
14.00 Polina Stroganova,
Chimera & Chronos, Videos
15.00 Tobias Bernstrup, Midnight
Blue And Other Songs About The
Dark, Performance I
16.00 Klaus Mettig, Stay Hungry,
1976, Video and Eric B. Mitchell,
Kidnaped, 1977, Video
17.00 Annika Larsson, 3l33t,
BEND II and D.I.E., Three videos
18.00 Tobias Bernstrup, Midnight
Blue And Other Songs About The
Dark, Performance II
19.00 Marc Bijl plays Records
WEDNESDAY APRIL 22
12.00 Joep van Liefland, Major
Meat II, 2007, Video
13.00 Costa Vece, The Long Voyage
Home, 2002, Video
14.00 Deborah Schamoni, Dead
Christopher Miner, Videos Auction,
2000, The Best Decision Ever Made,
2004, Self-Portrait, 2000
Anna-Catharina Gebbers,
Kreislaufsysteme “...Videos and films
about circuits, circulations, cycles,
recycling, rotations, round tours of
money, bodies, bottles, fortune,
planets, life and death by Ulla von
Brandenburg, Carola Dertnig,
Stephan Dillemuth / Nils Norman,
Alex Heim, Laurent Montaron and
Christoph Schlingensief...”
Nevin Aladag, In Takt, Four videos
Familie Tezcan, 2001, Lowrider
Bellydance, 2004, Voice Over, 2006,
Raise the Roof, 2007
„...Musik und Tanz als Ausdrucksformen von kultureller Identität und
subkulturelle Interaktionen und
Artikulationen in urbanen Räumen
markieren zentrale Themen...“
Polina Stroganova, Chimera &
Chronos, Videos Polina Stroganova
presents Aspects of Hybridity and
Time in films and video works by Chris
Marker, William Burroughs / Anthony
Balch / Brion Gysin and Eli Cortinas
Tobias Bernstrup, Midnight Blue And
Other Songs About The Dark,
Performance I “...With unmistakable
stage persona dressed in elaborated
latex costumes and heavy make-up he
performs his own music accompanied
by his digital animations. ... intimate
live show inside the installation
CENTRAL NERVOUS SYSTEM.”
Klaus Mettig, Stay Hungry, 1976,
Video and Eric B. Mitchell, Kidnaped,
1977, Video Klaus Mettig presents
Devils Death Bar, 2008, Video
15.00 Polina Stroganova presents
Eli Cortinas, 2 or 3 things I knew
about her, 2007, Lovers – all the
same in front of God, 2007, Dial M
for Mother, 2008
16.00 April Elizabeth Lamm, A Crash
Course in Saddam Hussein’s Favorite
Films
17.00 Christian Jankowski,
Kunstmarkt TV, 2008, Video
18.00 Tobias Bernstrup, Mantis City,
2006, Video
THURSDAY APRIL 23
Kreislaufsysteme
videos
16.00 Eric B. Mitchell, Kidnaped,
1977, Video
17.00 Annika Larsson, 3l33t, BEND
II and D.I.E., Three videos
Stay Hungry, 1976, Video and Franz
Stauffenberg presents “...Mitchell’s
first film, a stark unedited recreation
of Andy Warhol’s Vinyl, this super-8
film purports to be the story of bored
terrorists who kidnap a businessman.
Stars Mitchell, Anya Phillips, Patti
Astor and Duncan Smith among a
crowd of hip poseurs talking sex,
manners and politics. A classic look
at the No Wave ennui ideal...”
(MWF Video Club)
Annika Larsson, 3l33t, BEND II and
D.I.E., Three videos “...Even though
Annika Larsson’s video stages only
men and deals with primarily male
themes and its symbolic language,
playing with concepts such as power,
submission or violence, her work must
not be simply understood as a mere
criticism of these preestablished
codes. Rather than developing an
analytical discourse, she tries to
submerge us into a peculiar atmosphere, in order to confront us with
our own ambivalence towards the
power of seduction and indisputable
eroticism which emerges from her
images. Regarding her video Dog,
Annika Larsson says the following in
the magazine Zoo: “The video Dog is
a work that follows closely my earlier
works in which reduction, power and
control play important roles. (...) The
work also deals with seduction and
my ambivalence toward image...”
Tobias Bernstrup, Midnight Blue And
Other Songs About The Dark,
Performance II “...With unmistakable
stage persona dressed in elaborated
latex costumes and heavy make-up he
performs his own music accompanied
by his digital animations. ... intimate
2006, Video
FRIDAY APRIL 24
2006, Video
Home, 2002, Video
1976, Video
Kreislaufsysteme
videos
18.00 Annika Larsson, 3l33t, BEND II
and D.I.E., Three videos
SATURDAY APRIL 25
2006, Video
live show inside the installation
CENTRAL NERVOUS SYSTEM.”
Joep van Liefland, Major Meat II,
2007, Video “..from a series of black
and white silent videos- invites you to
a filmic landscape without sound or
objects in which cool minimalism
relates to overexaggerated explicity,
shock’nmentary and exploitation film
elements...”
Costa Vece, The Long Voyage Home,
2002, Video “...A study in slow
motion of the artist as an animal
behind of a cage in a dark room
lighted by a flashlight...”
Deborah Schamoni, Dead Devils
Death Bar, 2008, Video AnnaCatharina Gebbers presents
Schamoni’s Dead Devils Death Bar,
“... in one continuous 360 degree
tracking shot, without any cuts, the
film tells the story of a night in the
“Devils Bar”. The 21 guests, represented by only eight actors/actresses
and friends, constitute a loosely connected, urban, hedonistic society of
persons which revolve around
themselves and their hybrid roles...”
Polina Stroganova presents Eli
Cortinas, 2 or 3 things I knew about
her, 2007, Lovers – all the same in
front of God, 2007, Dial M for
Mother, 2008 Three video pieces by
Eli Cortinas revolving around
psychgrams of several females and
their roles, approaching the genre of
portrait in cinematographic
language. The artist will be present.
April Elizabeth Lamm, A Crash Course
in Saddam Hussein’s Favorite Films
15.00 Polina Stroganova,
Chimera & Chronos, Videos
Home, 2002, Video
18.00 Annika Larsson, 3l33t, BEND
II and D.I.E., Three videos
SUNDAY APRIL 26
1976, Video
13.00 Eric B. Mitchell, Kidnaped,
1977, Video
2006, Video
Kreislaufsysteme
16.00 Annika Larsson, 3l33t,
BEND II and D.I.E., Three videos
Private screening, selection of videos,
The Day of the Jackal, 1971, The
Conversation, 1974, Enemy of the
State, 1998
Christian Jankowski, Kunstmarkt TV,
2008, Video “...In einem auf der
Messe installierten Studio wurde auf
Vernissage TV eine Teleshopping
Sendung von zwei professionellen
Moderatoren präsentiert, in der
Originalkunstwerke prominenter
Künstler dem Fernsehpublikum zum
Kauf angepriesen wurden. ...Kunst
wäre in dieser Gleichung auf einem
ungebremsten, seine Regeln selbst
definierenden Markt so etwas
Ähnliches wie der willkürlich
überbewertete Tischstaubsauger...”
Eric B. Mitchell, Kidnaped, 1977,
Video Franz Stauffenberg presents
“...Mitchell’s first film, a stark
unedited recreation of Andy Warhol’s
Vinyl, this super-8 film purports to be
the story of bored terrorists who
kidnap a businessman. Stars Mitchell,
Anya Phillips, Patti Astor and Duncan
Smith among a crowd of hip poseurs
talking sex, manners and politics.
A classic look at the No Wave ennui
ideal...” (MWF Video Club)
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Pure Kraft, 2008, mixed media auf Leinwand,
200 x 200 cm, courtesy Galerie Jette Rudolph, Berlin
un
Br
only German Science Fiction series, Raumpatrouille
Orion. But today it mostly speaks of yesterday.
The future changes rapidly. With that, progress
and optimism dominates the manifestations of all
World Expos, while in the world of Science Fiction
the future is looked upon most critically and dark.
Ives Maes compares these different designs of
the future. In his photographs he makes known
characters of SF-films visit the remains of the
futuristic visions that had been built with grand
luxury: sometimes prestigious monuments, sometimes overgrown ruins. And not just for Fritz
Lang’s Maschinenmensch from Metropolis (1927),
that is reflecting over the model of Mies van der
Rohes Barcelona-Pavilion (1929), remains the big
question, how to go ahead without the promise
of the modern, into history, before and after the
images of Ives Maes. (Hajo Schiff; Excerpt from
the text ‘The Future from Yesterday can only
become Contemporary as History’ by Hajo Schiff,
published for BE-Magazine, Künstlerhaus
Bethanien, Berlin)
die Momente von Emotionalität einfangen.
Gleich einem Kartographen kreiert Luser übergreifende Szenarien von Architektur, Landschaft
und Storyboards, in die sich menschlich individuelle Bezüge mischen wie Gesichter, Blutgefäße,
mikroskopische Ansichten von Zellen etc.
Während der Betrachter die Zeichnungen lesend
wahrnimmt, erfährt er die Musikinstrumentenkonstruktionen des Künstlers körperlich. So dient
das Trommeliglu als Behausung, Nische oder
Schlupfloch.
In einer synästhetischen Beziehung zur Welt, ihrer
Erfahrbarkeit in Bild und Ton, spielen Lusers
Gedankenwolken mit der minutiösen Fragmentierung unserer Wahrnehmung, ähnlich einer Achterbahnfahrt auf ornamentalen Arabesken, wobei
Luser es zu vereiteln weiß, uns in metaphysische
Betrachtungen abdriften zu lassen. Die Installation
von Trommeliglu, Wandzeichnungen und Malerei
ist ähnlich einem Musikstück- fantastisch, interaktiv,
ein wenig ironisch und dreidimensional- bunt
schillernd. Man kennt noch die Melodie hat aber
den Text vergessen und ähnlich dem, tauchen
Fragmente und Neuschöpfungen von Wörtern an
Wänden und Leinwand auf.
JE
Der österreichische Künstler Constantin Luser
(geb. 76 i. Graz, lebt und arbeitet in Wien)
arbeitet in den Medien Wand- und Papierzeichnung, Skulptur sowie Malerei. Er bezieht sich auf
Form, Kontext und Rhythmik auf Notationen und
technische Zeichensysteme, während sie sich
motivisch aus Erinnerungen generieren, die sich
protokollartig in feinlinearen Gedanken- bzw.
Handlungswolken visualisieren.
Die Skulpturen von Constantin Luser sind vergleichbar mit Zeichnungen kommunikativer Apparaturen,
speziell aber Reminiszenzen an Klanggebilde
oder Töne, die in Interaktion mit den linearen
Wand- und Papierzeichnungen zu einem Gesamtbild werden, begleitet von kommentierenden
Texten, respektive assoziativen Wortschöpfungen
des Künstlers.
Die Töne und Geräusche generieren sich in einem
Schallsystem, die Ausbreitung derselben im Raum
gleichen einer Welle, die ihr Pendant in den sich
über die Wände ziehenden Zeichnungen findet. Es
konstruieren sich endlose musikalische Parameter,
um sich mäander förmig auszubreiten, in einer
allmählichen Transformation von Liniensystemen –
vom Strich zum Wort, Gedanken bis hin zum Bild
oder Klanggebilde.
Zeichnung und Klang als Wahrnehmungsspeicher
der Umwelt und ihrer Rezeption, feinlinear und
grafisch spielen sie kulturelle und soziale Codes
ab, optisch wie auch akustisch. In seinen großformatigen Malereien führt Luser die Idee der
Zeichnung als Wahr nehmungsspeicher fort, hinterfangen mit losen farbig- transparenten Lasuren,
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THE FUTURE FROM YESTERDAY CAN ONLY
BECOME CONTEMPORARY AS HISTORY
On the photography of Ives Maes Experiments
with nuclear fission: Klaatu wants to prevent
them. The messenger from a far, intelligent World
from the film The Day The Earth Stood Still (1951)
is visiting the, in 2008 for the 50th anniversary
freshly restored, silvery radiant Atomium. As a
relict from the first official World Expo after the
Second World War, this 165 billion times enlarged iron atom is standing in Brussels. Klaatu is
looking at this symbol of change from a nuclear
Era like a tourist in a silver spaceship. Still his
mission is to destroy this World. A mysterious
image. The author from this photo from Klaatu in
front of the Atomium is Ives Maes. He feels at
home where there are remains from Science
Fiction to be found. Places with a futuristic past
incite the artist to a search for what is left from
those dreams. That goes especially for cities that,
since 1851, hosted World Expos and have built
dreamy futures.
“What sounds like a fairytale today, could be
reality tomorrow. Here is a fairytale from the day
after tomorrow...” So goes the trailer from the
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Portrait Ives Maes, Photo: Nadine Dinter
STAUB – JENNY MICHEL / MICHAEL HOEPFEL
Die Arbeit von Jenny Michel und Michael
Hoepfel bewegt sich an der Schnittstelle von
Kunst und Wissenschaft. Im spezifischen geht
es ihnen um das Ausloten des Bereichs zwischen
eigener Imagination und empirisch ‘gesicherter’
Erkenntnis. Ignoranz und Hybris der Wissenschaft sowie kritiklose Wissenschaftsgläubigkeit
werden ihnen zum Reibungspunkt. Es ist ihr
Bestreben, neue Denkräume aufzumachen,
Realitätsvorstellungen zu verflechten und die
08.04.2009
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Seite 19
Jenny Michel/Michael Hoepfel, Materia Prima,
3-Kanal Video aus der Installation Staub, 2005–2009
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Bedeutung gängiger Erklärungsmodelle zu verschieben. Wissenschaftliche Denk- und Darstellungsweisen dienen ihnen dabei als Struktur, die
sie aufgreifen, nachahmen und verfremden. Die
Arbeiten gehen meist von einer Kernidee aus und
entwickeln sich zu immer größer werdenden
Gefügen. Es entstehen Rauminstallationen, in
denen verschiedene Medien zueinander in Bezug
stehen.
In der bei Open Space präsentierten, mehrteiligen
Installation Staub beschäftigen sich Jenny Michel
und Michael Hoepfel mit Staub, diesem unscheinbaren Phänomen, das als Anfang und Ende aller
Existenz Eckpunkte des Lebens und des Universums darstellt.
Eine Dreikanal-Video-Arbeit zeigt die drei Zustände
des Staubs: Staub, der sich mit einer Art Eigenleben einen verlassenen Raum zurückerobert,
Staub in einem medialen Prozess und schließlich
in seiner Wandlung zu Kristall in „Crystal City“,
einer künstlichen Reinraumwelt. In der Wandarbeit „Pulvarium“ wird eine systematische Sammlung und Kategorisierung verschiedenster Staubarten dargestellt – frei nach dem Linneeschen
System – präsentiert in Insektenkästen, aufgespießt
und etikettiert. Von der Decke hängen ‚Kristallflusen’, besonders seltene und wertvolle Staubgebilde – in Kunstharz eingegossen – die in ihrer
zeitlich enthobenen Form gezeigt werden. In
Memory/Intervention, einer 8mm Projektion,
greifen meist unbeachtete Staubpartikelchen auf
dem Filmmaterial plötzlich ins Geschehen des
Films ein. Und schließlich bilden wissenschaftliche
Zeichnungen, die sich in halb-fiktiver Weise dem
Phänomen des Staubs nähern, den theoretischen
Hintergrund der Arbeit.
In a monothematic approach, which encompasses an engagement with
sculpture, bricolage, drawing and text, Lin May addresses the historic developments in human-animal relations. In this regard, an allegorical mode of
operation has been a constant motif in her work since around 2003. Her
pieces often seem to stem from a prehistoric time, and contain references to
non-European cultural connections. Sculptures, reliefs and silhouettes, as well
as fables written by the artist tell of fictitious incidents from the coexistence
of humans and animals, often in a humorous manner. These range from peacefulprivate scenes with pairs of figures through imaginary mythic-utopian spaces
in which the boundaries between the different species are still permeable, to
hilarious and hopeless situations of rivalry between humans and animals.
In the reliefs and sculptures, so-called poor materials are employed, such as
light building materials, tool steel and found objects, which are combined
with each other and partly painted.
Series currently in progress such as The Liberation of Animals from Their
Cages I–VI increasingly formulate critical ideas and throw open questions
concerning alternative models of coexistence (human / human – human /
animal) for the future.
Regarding its content, Lin May’s work contains numerous allusions to the socalled animal rights movement, which emerged in the middle of the 1970s,
originally in the Anglo-American areas, and from which, besides various
internationally active groups, Human-Animal studies has also emerged as an
interdisciplinary field of research.
The formal vocabulary of Lin May’s work allows many references to classical
modernism to be seen, as well as very different historical relationships, which
pertain back only peripherally to contemporary visual art, almost like witnesses of ancient oriental culture, school children’s art from the so-called third
world, the caricatures of Wilhelm Busch and the utilitarian aesthetic of political demonstrations – banners, like those known from left-wing movements.
Lin May (DE/IQ) born 1973 in Würzburg, lives in Berlin. She studied from
1995–2001 at the Kunstakademie Düsseldorf.
Befreiung der Tiere aus den Käfigen III, 2008, coated and painted styrofoam,
wood, polyester wool, 70 x 100 x 32 cm
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HENRI BERGSON’S SOLE VOICE RECORDING
These letters in plaster, made by hand, are
arranged on the ground taking the form of
“heaps”-reducing expression and thought to its
most primitive manifestation. Melik Ohanian has
produced several sentences. Each disorderly
pile of letters in the space re-propels a fragment
of the thought of one person, of a philosopher,
a cineast, a critic…
“This recording, which lasts 37 seconds, was
made in 1936 for the Musée de la Parole
(Museum of Speech). It’s a voice test in which
Bergson reads two sentences from his book on
laughter, published in 1899. The first sentence
starts with the question, ‘What does laughter
mean?’ After 37 seconds the tape recorder
broke, interrupting the planned recording. I had
those 37 seconds burned as a 33 rpm disc and
reproduced the two sentences in plaster letters
stuck on the walls of the CCA exhibition space
in Kytakyushu. During the making process, the
letters took the form of a pile on the floor.
I took a photo of that. It represented a fragment
of Bergson’s thought. For the exhibition at
Le Plateau, I wanted to make a single piece
around the question of recording by working
with the voices of some forty people who had a
strong influence on the history of the twentieth
century.
In relation of the aural embodiement of this
thought, the disorderly pile of letters (which
visitors can move around) would seem to
represent a kind of pre-linguistic or pre-structural
state. Here I am at the heart of my concerns:
producing a receptacle of data rather than
imposing an unequivocal meaning.” (Melik
Ohanian; Interview with Bernard Marcadé in
Artpress n° 350, novembre 2008)
Thirty Seven Seconds, 2008, Henri Bergson’s
sole voice recording, 278 plaster letters and
12” LP record, Exhibition view at Le Plateau /
FRAC Ile-de-France, © Martin Argyroglo
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WHITE TIME
The collages, paintings, paper-based objects and
film montages by Anna Parkina are inspired by
the voids in our days, when we wait at stations,
travel through cities in trains or cars, or when we
are suddenly interrupted during daily activities
without a cause. The transport systems of modern
reality provide the Moscow based artist with an
infinite realm, in which a space of otherness
begins. Parkina’s imagery obviously being indebted to modernist Russian art and involved in the
idea of psycho-geography. Parkina’s suggestions
are related to artistic traditions, which are confident that the rationalistic, Newtonian worldview
in which we live cannot grasp all layers of reality.
In modern Physics, there is a hint that makes a
rationalistic world-view implode. The paradoxes
of quantum physics present us with a non-causal,
fluid rather than determined cosmos, which cannot
be separated, as the Cartesian division between
mind and matter has suggested since the 17th
century. Abstract notions such as “wave-particledualism”, “distant effect”, “non-locality” point
towards deeper layers of reality, were non-linearity,
multiple identities, foreshadowing and meaningful
fortuities make sense. In its dreamlike architecture,
this part of “Wirklichkeit” is related to an inner
life, the night-side of human experience. Parkina’s
works seem to grasp this interior by its most
enlightened point. She cuts up and into the dreamlayers of modern human consciousness. The
picture fragments are derived from magazines or
film adverts, and they merge with coloured papers
and drawings until the montage creates a layer of
its own. This layer works like an active transmitter,
which turns an exterior view into an interior space,
inner view into outside matter, back and forth.
In this vivid oscillation, Parkina takes the loss of a
distance between subject and object seriously,
without losing her self in this field. (Lina Launhardt,
June 2008)
Gray Frame Cottage, 2008, Color paper,
photocopy, books, 50 x 32,5 cm
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Sans Titre, California’s System Game Over, 2007,
Painted aluminium; each 220 x 60 x 39 cm
View of the exhibition “Radicale Buissonnance”,
FRAC des Pays de la Loire, Carquefou, France.
Photo: Marc Domage
The starting point for Mark Pearson’s work is often based on punk and
new wave iconography, using imagery and motifs that are applied,
repeated and overlaid using stencilling, spray paint, photocopy and
collage techniques to generate a graphic edge that is associated
with nihilism and discontent. The works attempt to tap into the vitality
of these subcultures using techniques that offered a genuine form of
expressive energy and freedom. They were a means of production
and communication that was readily accessible and democratic but
perhaps only considered of having immediate and disposable value.
The worked surfaces explore feelings of affect and disaffection:
having ecstatic, luxurious, beautiful as well as abject, degraded and
grotesque elements within the work. The compositions contained in
the work also deal with what appear to be abbreviated codes or
geometrical systems that might represent some pseudo occult or
mystical order and imply some form of complex significance that has
become obscure and meaningless over time. The works acknowledge
temporal and successive shifts in culture that hasten the redundancy
of these forms of expression, they become part of events that are
destined to be used up, burn out or become appropriated as cheapened ciphers of social decay.
For Open Space Cologne, the artist will present two supersized
collages using personal drawings, notes, photographs and scraps of
personal information that have been collected by the artist over the
past 7 years. The pieces were started as tapestries stuck together
by Sellotape 3 years ago and currently measure at approximately
4.5 metres x 3 metres and are continually being developed. The
works stands as mind maps that can studied horizontally by the
viewer and suggests artistic thought processes that border on the
neurotic and the obsessive.
© the artist
08.04.2009
14:57 Uhr
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HERE YOU LEAVE TODAY AND ENTER THE WORLD
OF YESTERDAY, TOMORROW AND FANTASY
Es gibt eine kleine Bronzeplakette, die über dem
Eingang von Disneyland den Besucher mit folgendem
Text begrüßt: „Here you leave today and enter the
world of yesterday, tomorrow and fantasy”.
Die Plakette ist nur klein, und leicht zu übersehen, doch
sie formuliert ein Versprechen, dem Millionen von
Mensch seit Anbeginn der Unterhaltungskultur nur
allzugerne folgen.
Claus Richters Arbeitsfeld ist diese flüchtige Welt der
Unterhaltung, der unerreichbaren Verheißungen von
Kulissen, Kostümen und blinkenden Lichtern. In raumgreifenden Installationen re-inszeniert er aus einfachen
Materialien die multimillionen Dollar teuren Kunstwelten, mit denen Hollywood und Themenparks wie
Disneyland den Wunsch nach einer anderen,
magischen Welt immer aufwändiger und immersiver
illustrieren. Richter bedient sich dabei den Arbeits-
techniken von Fans, die Objekte und Kulissen ihrer
Lieblingsfilme nachbauen oder ganze Miniatur-Themenparks in Garagen und auf Brachflächen errichten, und
in diesen Re-Materialisierungen der kommerziellen
Entertainmentindustrie neue und eigene Geschichten
erzählen. In den vergangenen Jahren schuf Richter so
von einer 300 Meter langen Achterbahn aus Schaumstoff über eine funktionstüchtige Geisterbahn bis hin
zu einem kompletten Themenpark in den Rängen der
Festhalle Frankfurt (in Zusammenarbeit mit Tobias
Rehberger) nach und nach ein eigenes mit Verlockungen und Fluchtangeboten geradezu überbordendes
Vokabular. Der Wunsch nach Transzendenz, nach einer
Welt, die „Larger than Life“, unalltäglich und ständig
überraschend ist, bildet die Grundlage für Richters
Auseinandersetzung mit der Welt des Showbusiness,
die genau diese Transzendenz scheinbar stetig lebt.
Produktionsphoto, FACADE, 2007, fine art fair frankfurt
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Es sind oft Aliens, fremdartige Gestalten oder Monster, die die Bilder
und Raumbilder von Katrin Plavcak bevölkern. Rätselhafte Wesen
mutieren zwischen fantastischen Bildfindungen und Figuren aus
Horror- und Science Fiction Filmen. Weit aufgerissene Augen starren
einen an, suchen den Weg aus dem Bild. Katrin Plavcak greift auf
Motive aus diesen Genres nicht zuletzt auf Grund einer verschobenen Perspektive, auf den distanzierten Blick zurück. Besonders
deutlich wird dies, wenn die Künstlerin ihre Bilder mit Zeichnungen,
Objekten und Skulpturen in räumlichen Anordnungen zusammenführt.
Kulissenhafte Modelle von Röhren, polymorphe Körper, utopische
Architekturen und netzartige Strukturen, wie die der Geodesic
Domes setzt sie vor ihre Bilder, konfrontiert sie miteinander, bringt
ihre mediumsspezifischen Qualitäten zur Sprache. Die Gemälde
Katrin Plavcaks erzeugen auf diese Weise Parallelwelten, Welten in
denen Verschiebungen und Ausweitungen von Grenzen einen dynamischen Prozess des Schauens, des Zuschauens in Gang setzen.
Das Zuschauen könnte eine Aktivität sein, ‘eine Aktivität welche
die, denen man zuschaut, auf den Sprung bringt oder: ändert’, wie
Peter Handke in den ‘Spuren der Verirrten’ schreibt. Diese Form der
Dynamik erreicht Katrin Plavcak mit der Differenz der Zeichen zueinander. Sie zwingt den/die Schauer/in innerhalb und außerhalb
des Bildes zu sein. Der Imagination und Illusion der Bildwelten steht
die Präsenz der Objekte und Modelle gegenüber. Katrin Plavcak gibt
mit der unabdingbaren Verquickung von Nähe und Distanz Einblick
in die eigenen Arbeitsbedingungen, in die Arbeit mit malerischen
Effekten und räumlicher Dekonstruktion.
Helmut Draxler spricht in seinem Manuskript zu dem Film ‘Time
Code’ von Mike Figgis, von ‘Entfremdungsgewinn als grundlegender
Voraussetzung von Kritik und antiidealistischer ästhetischer Erfahrung’. Nicht das Lamento über neoliberale Individualisierungsnöte,
sondern ein mehr an Distanz in der Entfremdung wäre produktiv für
einen kritischen Blick. Für Katrin Plavcak scheint genau diese Entfremdung von Bedeutung zu sein, wenn sie über den ikonographischen
Kanon des Weltraums hinaus, stets Brüche und Dissonanzen in der
eigenen Bildsprache implantiert. (Aus „We are all astronauts“ von
Eva Maria Stadler 2007)
Hoffnung Zukunft, 2008, Öl / Baumwolle, 170 x 140 cm
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“My attitudes towards the medium of
painting are organized by my practice
that works on, and with, the material
conditions of painting. The sign
“painting” is to be understood as a
site that is continually being constructed by linguistic, institutional and
physical relations. The material conditions of the medium of painting are
not reducible to its sheer physical
components; they also include historical and discursive conditions as well
as the sign itself”. (Blake Rayne; In:
“Focus New York”, Flash Art,
January/February 2009, p.80)
Blake Rayne was born in 1969 in
Lewes (Delaware). He lives and works
in New York. He is a professor of
Visual Arts and director of Graduate
Studies at Columbia University, New
York. His work was recently included
in The Space of the Work and the
Place of the Object at the Sculpture
Centre, Long Island City in New York
and has been acquired by MoMA
(Museum of Modern Art, New York)
for its permanent collection in 2008.
September 12 – October 18, 2008
Sutton Lane, Paris
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tilt, 2000, installation view, Stadtgalerie Kiel,
2003, courtesy: private collection Schopfheim
and Daimler Art Collection, © Pietro Sanguineti
ROCKSTARS
Die Galerie Nicola von Senger zeigt auf der ART
COLOGNE 2009 eine Einzelausstellung noch nie
zuvor gezeigter Fotografien von Hannes Schmid.
Hannes Schmid wurde 1946 in der Schweiz
geboren und blickt auf eine lange und erfolgreiche
Karriere als professioneller Fotograf zurück;
besonders bekannt ist er für seine Bilder in Mode,
Werbung, Motorsport, Reisereportagen und
Musik.
Hannes Schmid hat Bands und einzelne Stars mit
der Kamera begleitet; nicht als Paparazzo,
sondern als freundschaftlich verbundenes `Mitglied`. Schmid schuf so ein Bildarchiv, das subtil
und einfühlsam die private Seite der Stars dokumentiert, ob bei ihnen zu Hause oder backstage
auf Konzerten. Schmid hat damals die Stars in
einer eigenständigen Art porträtiert, welche die
Inszenierung von Rock & Roll bis heute prägt.
Präzis beobachtet, überraschend eingefangen und
sehr persönlich sind diese Bilder eine Entdeckung,
die eine wertvolle Erweiterung des visuellen
Archivs der Populärkultur darstellen.
Der Ausstellungsstand der Galerie Nicola von
Senger im OPEN SPACE der ART COLOGNE
2009 besteht aus drei riesig vergrößerten
Fotografien von Schmid, die jubelnde Fans an
SS
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challenged. Meaning decomposes into lack
of meaning and backwards. It is up to the
spectator then, to accept the role of the interpreter, to assign meaning and finish and
complete the work.
Sanguineti was master student of Joseph
Kosuth and lives in Berlin. His work has been
exhibited in numerous international solo and
group exhibtions including for example
“Digitale Raumkunst”, Wilhelm Lehmbruck
Museum, Duisburg (2008); “Idylle”, Phoenix
Kulturstiftung, Sammlung Falckenberg,
Hamburg / Museo Domus Artium, Salamanca,
Spain / Galerie der Stadt Remscheid (2008);
“toxic gestures”, Kunsthaus Baselland,
Muttenz (2003) (solo); “talking pieces”,
Museum Morsbroich, Leverkusen; “on the
edge”, ZKM, Karlsruhe (2003), “full”, Galerie
der Stadt Stuttgart (Kunst Museum, 2002)
(solo); “TALK.Show”, Haus der Kunst, Munich
/ von der Heydt Museum, Wuppertal
(1999). In 2010, his work will be shown in
a comprehensive exhibition at the Galerie
der Stadt Remscheid.
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einem KISS Konzert zeigen. Zusätzlich wird in
Ordnern eine Auswahl an Fotografien zur Ansicht
aufgelegt. Rockstars dreht sich um die drei
Themen Backstage, Fans und At Home. Während
die Backstage Fotografien ein bekanntes Genre
in eine frühere Zeit erweitern, wird in der Serie
At Home eine vertrauliche und persönliche Seite
der Rockstars vorgestellt. Außergewöhnlich sind
die Fotografien von jubelnden Fans an Konzerten;
anstelle der Stars zeigt Schmid das Publikum,
welches das ikonenhafte Bild der Stars widerspiegelt. Schmids Rockstars ergänzt noch immer
reproduzierte, ikonische Bilder um einmalige,
intime Einblicke. Seine Fotografien werden in
einen neuen Kontext gesetzt und erfahren so eine
anregende Erweiterung ihrer Wirkung. Die Galerie
Nicola von Senger freut sich, in Köln eine neue
Position zu präsentieren, die im heutigen Kunstbetrieb einzigartig ist.
Kraftwerk, Hungary, 1980, Fine Art Print on
Hahnemühle Art Paper, 60 x 90 cm, 3 + 1 A.P.,
100 x 150 cm, 1 + 1 A.P.,
Courtesy Galerie Nicola von Senger
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“WHAT YOU SEE IS WHAT YOU SEE. NOT.”
Working in a variety of media including
installation, sculpture, and digital film, Pietro
Sanguineti (*1965) explores the visual structure of language and the meaning of images.
Words, slogans, signs and found footage of
films and tv-advertisments are transformed by
a contextual as well as a media shift. As fragments of an alienated society of “high definition” spectacle, they reappear in the artist’s
‘mise en scéne’. This is done with the help of
computers, the artist’s basic tool. By inseparably intertwining language and image, rather
than opposing or combining them, Sanguineti
pushes language and image to their edges.
While historical Concept Art obscured the
disturbing differences produced by the ‘dirty’
materiality, unavoidable to give language an
appearance, Sanguineti exactly focuses on
that aspect of ‘dirt’. The resulting visual complexity creates differences vis-à-vis the
“original” meaning of the words themselves,
that can only be sublated by additional
linguistic operations. It is through their beauty
that Sanguineti’s works lure the spectator
into a multi-layered labyrinth, where image
and language start to lose their stability, as
their pre-established concepts of identity are
14:57 Uhr
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“Untitled (Film 4)”, Only After Dark Series,
2007, 16mm-Film, Farbe, Ton, 2.29 min.
14:57 Uhr
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Nora Schultz hat gleichzeitig zu
ihrer OPEN SPACE Präsentation eine
Ausstellung im Kölnischen
Kunstverein April 23 – June 7, 2009,
Opening on 22nd of April
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Nora Schultz “The Predicament of
Culture”, 2009, Installation, (Detail),
rails, ropes and photo copies variable
dimensions. Courtesy: Galerie Isabella
Bortolozzi, Berlin
Self Portrait Playing Scrabble (2008), Watercolor and pencil on paper
“SENSUALITY / IDEA”
The project consist of drawing works, inspired
and realized within a couple of cycles: Looking
For Art, In Anticipation Of Art, History of Art
Colloquy, Own physique for Art, Utopia. The
proposal is composed as a two-directional
installation. A background for various paper
works will be a large scale drawing in the form
of fresco which will appear on the surface of
exposition walls. Additionally the exhibition will
be supplemented by drawn objects, determining
symbols or specific datum points for sensuality
and conceptualism in art. An object and idea,
stratification and overvaluation after moving the
attention from object to creative process,
determines inspiration for creating a kind of
surrealistic space of the museum. Every contact
with this astonishing installation filled with the
series of drawings forces the viewer to re-read
the motifs and patterns remembered and introduced within it.
This kind of picking and collecting, based on
the searching process, creates an unique order
selected and presented by the artist. The first
cycle “Looking For Art” places the artist in a
SHOES, WHEELS, DISHES, CURTAINS …
Products that people desire, miss and dismiss. Martin Soto Climent has a
passion for materiality. In his works he focuses on every-day objects and
their symbolical aspects. He brings their shapes and surfaces closer to the
spectator’s mind and, in doing so, he enchants them immediately.
Born in 1977 in Mexico City, the artist studied at the Universidad Nacional
Autónoma de México first architecture, later industrial design. Till this day
he lives and works in the capital and it is mostly there, in the streets of
Mexico, where he finds the inspiration as well as the physical basis for his
works. His sculptures are made of objets trouvés, found objects, abandoned
or lost by their owner.
The present work consists in a series of framed vintage paintings, ranged
accurately on the floor, decorated with all kinds of ordinary objects, as for
example a flashy pink telephone. Soto Climent stages with care and creates
thereby sculptural compositions that witness a sensitive, even sensual
approach. The objects are deprived of their function, but in doing so the
sculpture develops its own, new value. Martin Soto Climent displays the
products and materials of our society in all their aesthetic, their liveliness but
also their decay. One can see his artworks as anthropological studies or just
enjoy them in their simplicity. Some works seem like a musical composition,
a melody. By removing the objects from their original context, he intensifies
their optical presence. Thus the observation of an ordinary form can result in
an erotic experience or alternatively call upon a serious discourse about
human nature.
Martin Soto Climent, born in 1977, lives and works in Mexico City. In 2008
he exhibited in the following shows: ‘Art Positions’, Art Miami Basel, Miami;
‘Hidden Symmetries’, Broadway 1602, NY; ‘Naples 01.18.08’, T293, Naples.
In the near future he will exhibit more works at the Museum Morsbroich,
Leverkusen and at Karma International, Zurich. (Melanie Jäschke)
Untitled, 2009 (detail), mixed media installation, 25 x 25 m,
Courtesy T293, Napoli
position of a special juror whose decisions
are subjected for the most part the criterion of
subjective choice; in the second cycle – In
Anticipation Of Art – the order is far more
controversial. The artist invades the space of
another creator, sometimes his own friend, agemate, sometimes world’s artistic scene star.
Objective status of the victim has no meaning.
A fictional art world is created, evidencing a
nonexistent work, built of alleged realisations
of hundreds of artists made up by one mind.
This difficult situation causes the rise of intriguing
relation between that what it is – and what it
could be. It prompts a question – does boredom
exist in art? Is art predictable? In which part
must it be logical, constant, consequent? Does
such attitude set free or enslave?
´
(curator: Aneta Marcinkowska-Muszynska)
“Araki” 2009 from cycle “Own physique for art”,
pencil on paper, 100 x 70 cm
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Der Installationskünstler Mark Thompson (geb. 1950 in Fort Still / Oklahoma, lebt und arbeitet in
Orinda, Kalifornien) widmet sich in seinen experimentellen Rauminstallationen und Performances der
Beziehung zwischen Naturprozessen und menschlichem Handeln. Bereits seit den 1970er Jahren
beschäftigt sich der Künstler, der über sein Studium der Ingenieur wissenschaften zur Kunst gelangte,
mit Honigbienen, die als Metapher für komplexe Lebenszusammenhänge und Kommunikationssysteme stehen. Der zwischen 1974 und 1976 entstandene Film Immersion, der als digitale Projektion auf der diesjährigen OPEN SPACE-Ausstellung zu sehen ist, dokumentiert, wie ein Schwarm
Bienen den Kopf, Hals und die Schultern des Künstlers sukzessive komplett einhüllt. Der Künstler, der
seit Jahren auch als Hobbyimker tätig ist, beweist meditative Fähigkeiten, indem er sich die Bienenkönigin aufs Haupt setzt und still in dieser Position ausharrt, als tausende Bienen ihrer Königin
folgen. Vor dem strahlend blauen Himmel Kaliforniens gleicht der skulpturale, blickdichte Bienenhelm einer Tarnkappe, unter welcher der Künstler während des Filmes allmählich verschwindet. Es ist
der Mensch, der in den Lebensraum der Tiere eindringt bzw. „eintaucht“ – wie es der Werktitel ausdrückt – und sich damit dem natürlichen Ablauf von Naturprozessen unterordnet. Thompson geht es
nicht um eine verklärende Darstellung der Honigbiene, die als niedliche Figur aus Kinderfilmen
bekannt ist und meist für Fleiß und Reinheit steht; in seiner Performance steht das Zusammentreffen,
fast schon die Verschmelzung von Mensch und Tier im Vordergrund. Der Künstler wird zu einem von
ihnen, zu „one animal among many“ – wie es Thompson in einem Interview auch beschreibt. Die
gewagte Aktion des Künstlers erzeugt Unbehagen, Verstörung, aber auch Bewunderung. Sie lotet
die Grenzen des Vorstellbaren für den Betrachter aus und verdeutlicht den erweiterten Kunstbegriff
in der Allianz von Mensch und Tier.
can be seriously at this moment? It is assumes, in
order to be. And I mean that the ideas are and
the art speaks for itself… A: But on the other hand
ironically you form for designs of the money.
R: But that’ s not seriously, necessarily. A: No. But
I think that it is approximate a point of a gesture
of discrediting a moment. S: They mean the worldwide lowest point moment or…. R: It is as,
possibly its kind of, yeah I assumes. Its not… A: A
slander however its same… R: I always tried to do
the smallest common denominator. A: What do
you mean by that? R: Are not joke art, its not
joke, which I do, but it… A: I do not see the work
as joke. S: Not It’ s rather how. because people
can’ t. R: It is uh…, which it needs does? S: What
does Tom? T: That is Rob Thom, this is by the way
James. R: That is my middle name. T: They heard
over the Jamesthom bloodbath. I never heard
R: [strong laughter]! T: I remember to read over it
when I at school was. It frightened me.
Text ends here due to word limitations. Please
contact gallery for complete interview.
Sc
R: …. CIA position. T: We speak now about this
thing for the Cologne art fair, the space-time
writing. Which you people with it take away wish.
I mean that they are as, Rob Thom, which is this
chap? Is it Irish the Japanese? R: It is really a
Korean name. The surname, apparent. T: It is by
the way a good name. R: But it is Scottish in my
case. T: They have much on common, Korean and
Scottish. T: They know that this little could be…
A: Why is Tom is DJ-ing, while we do this? It left
straight. S: We if, wait him or holding to go. He’
s-sprechenunsinn this evening. R: Do you have a
question for me? They have a question, use them
intelligently. [Laugh] A: Well would you like to
speak about the work? R: It is up to you, I is a
little like the complete idea was that, I can not to
this idea react. A: The interview? R: The way was
raised it. Well it should not be an interview
necessarily. Those was a choice. The generic way.
Steve said, to the one-way to be would go. We
tried to do it officially. I am not an official chap,
worked not. Yeah is not serious it. I mean, how art
M
S: Steve Hanson, China Art Objects Galleries
(CAOG)
R: Rob Thom, artist
A: Ana Vejzovic Sharp, (CAOG)
T: Tom Watson, (CAOG)
U: Unknown loudspeakers
Seite 24
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Interview excerpt from 03/10/09 at the
Mountain, LA, CA
14:57 Uhr
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08.04.2009
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Mark Thompson im Gespräch mit dem Kritiker David Pagel am 22.4.09 (siehe Programm Seite 6)
Tris Vonna-Michell, Untitled (5 x 7)
2008, 3 printed letterpress block
texts on 120 gsm Cairn Natural
White.
Each text folded and paginated.
5 x 7 inches, 1 printed letterpress
image with 3 mm white border,
5 x 7 inches, 1 envelope signed
and numbered.
Published in an edition of 150
Simon Thompson, ‘Chair’ 2009
(detail), Pencil on paper, 77 x 84
inches, Courtesy Cabinet, London
08.04.2009
14:57 Uhr
Seite 25
24
,2
5
april 23–26, 6 pm–midnight
Presented by Milwaukee Interna tional
Ancient and Modern, London
Art Since the Summer of ‘69, New York
Bas Fisher Invitational, Miami
CANADA, New York
China Art Objects, Los Angeles
Gavin Brown’s enterprise, New York
General Store/Club Nutz, Milwaukee
Green Gallery, Milwaukee
Guido W. Baudach, Berlin
Jack Hanley Gallery, San Francisco,
New York
Inova, Milwaukee
Leo Koenig Inc, New York
Malmo Konsthall, Malmo
Misako and Rosen, Tokyo
New Jerseyy, Basel
Maureen Paley, London
Projects for Art and Theory, Cologne
Small A Projects, New York
The Suburban, Oak Park
Swiss Institute Contemporary Art, New York
Tanzschule Projects, Munich
Willy Wonka, Inc, Oslo
opening
April 22, 9:30 pm–midnight, with DJ Spencer Sweeney and other special guests
08.04.2009
14:57 Uhr
Jenny More, „School Poster (Poster for School) #3“, 2009
Poster, dimensions variable, Plakat, variable Größe
Seite 26
Lisa Schairer, Grete Turtur, Akademie der bildenden Künste München
Anselm Bilbo Bauer, Kunsthochschule für Medien Köln
Yiannis Papadopoulos, Akademie voor Kunst en Vormgeving/
St. Joost Breda & ‘s-Hertogenbosch
Marianna Christofides, Kunsthochschule für Medien Köln
Florian Auer, Akademie der bildenden Künste München
Hans Diernberger, Kunsthochschule für Medien Köln
Gili Avissar, Bezalel Academy of Art and Design/Postgraduates
Jerusalem/Tel Aviv
Noa Gur, Kunsthochschule für Medien Köln
Hannes Müller, Technische Universität Berlin
Mühlenkampf (Lisa Klinkenberg, Dominik Siebel u.a.), Kunsthochschule
für Medien Köln
Rafael Rozendaal
Jenny More, Kunsthochschule für Medien Köln
Andreas Schneider, Staatliche Akademie der Bildenden Künste Karlsruhe
Jens Pecho, Kunsthochschule für Medien Köln
Kathrin Maria Wolkowicz, Piet Zwart Institute Rotterdam
Johanna Reich, Kunsthochschule für Medien Köln
Philip Jaan, Academie Beeldende Kunsten Maastricht
Timo Seber, Kunsthochschule für Medien Köln
Oleg Yushko, Hoger Instituut voor Schone Kunsten Gent
Anna Sokolova, Kunsthochschule für Medien Köln
Die Kunsthochschule für Medien Köln präsentiert 2009 ein neues Konzept
für die jährliche Sonderschau auf der Art Cologne: den Art Campus.
Studierende der KHM laden Kommiliton/innen anderer Kunsthochschulen zu
einer gemeinsamen Ausstellung ein. Art Campus – dynamisch und dialogisch
angelegt, mit einem täglich wechselnden Programm – bietet einen
inspirierenden Blick auf junge, internationale künstlerische Positionen.
Art Campus – Projektentwicklung und -organisation: Studierende der
Kunsthochschule für Medien Köln in Zusammenarbeit mit Studierenden des
CIAM – Zentrum für Internationales Kunstmanagement, Köln. Initiiert und
betreut von Mischa Kuball, Professor für Medienkunst, und Heike Ander,
Kuratorin, Kunsthochschule für Medien Köln.
Aktuelle Informationen unter www.khm.de/artcampus
ART CAMPUS 2009
KUNSTHOCHSCHULE FÜR
MEDIEN KÖLN (KHM) & GÄSTE
ACADEMY OF MEDIA ARTS
COLOGNE (KHM) & FRIENDS
Halle 11.3, G/40
Kunsthochschule für Medien Köln
Peter-Welter-Platz 2, D–50676 Köln/Cologne
Tel. +49 221 20189213, Fax +49 221 2018917
[email protected], www.khm.de
In 2009, the Kunsthochschule für Medien Köln (KHM), Cologne’s Academy of
Media Arts, has developed a new concept for its annual special special at
Art Cologne, entitled Art Campus. KHM students have invited fellow students
from a broad range of international art schools to participate in a joint
exhibition. Designed as a dynamic platform for exchange and dialogue, Art
Campus offers an inspiring perspective on emerging, international art. Drop
by for daily specials and events.
Art Campus has been developed and organized by students of the Academy
of Media Arts Cologne, in cooperation with students of CIAM – Center for
International Arts Management, Cologne. Initiated and supervised by Mischa
Kuball, professor for Media Arts, and Heike Ander, curator at the Academy
for Media Arts Cologne.
Please check www.khm.de/artcampus for updates.
08.04.2009
14:57 Uhr
Seite 27
267
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7
„Sehen wir die Welt, die wir sehen
wollen? Ist zum Beispiel die Person,
die ich gerade gesehen habe, tatsächlich die Person, für die ich sie
halte? Stimmt meine Wahrnehmung
mit der Vorstellung der Person von
sich selbst überein?“ Diese Überlegungen sind Ausgangspunkt der
Filminstallation „Assumptions and
Presumptions“ (2007), die Stephen
Willats, der zum Sommer 2009 eine
neue Arbeit auf und für den Ebertplatz realisieren wird, auf der Art
Cologne präsentiert.
Auf drei Monitoren sind verschiedene
Darsteller beim Betreten, während
der Fahrt und beim Verlassen einer
Londoner U-Bahnstation zu sehen.
Während dieser Aktion verändern
sie ihr Aussehen und beeinflussen so
die Wahrnehmung und Einschätzung
ihrer Person: eine filmische Inszenierung über Fremd- und Selbstwahrnehmung, wechselnde Identitäten,
Interaktion und öffentlichen Raum –
Fragestellungen, die auch in dem
neuen Projekt, das Stephen Willats
für die European Kunsthalle in ihrer
temporären Verortung auf dem
Ebertplatz entwickelt, eine wichtige
Rolle einnehmen werden.
Geboren 1943 in London, gilt Stephen
Willats als einer der wichtigsten Vertreter der britischen Kunstszene und
als Konzeptkünstler der ersten Stunde.
Willats, der zahlreiche Ausstellungen
im In- und Ausland realisiert hat, ist
seit 1965 zudem Herausgeber des
„Control Magazine“.
Parallel zu Stephen Willats’ Filminstallation zeigt die European
Kunsthalle Kunstwerke und Editionen
u.a. von Thea Djordjaze, Robert
Elfgen, Martin Kippenberger, Albert
Oehlen, Tobias Rehberger, Jürgen
Stollhans, Johannes Wohnseifer und
Peter Zimmermann. Der Erlös dieser
Arbeiten unterstützt die Aktivitäten
der European Kunsthalle.
“Do we see the world we want to
see? For example, is that person I
just saw, actually the person I
perceived them to be? Does the
perception I have instantly created,
match the perception the person has
of themselves?” These thoughts were
the point of departure for Stephen
Willats’ “Assumptions and Presumptions” (2007), his film installation
presented at Art Cologne. Willats
will develop a new work on and for
Ebertplatz this summer (2009).
On three different monitors, we see
various performers entering, traveling through, and leaving a London
tube station. While doing so their
appearance changes, thus influencing
the way we perceive and reflect upon
them as a person: the film stages
questions of self-perception and the
perception of others, changing
identities, interaction and public
space – considerations that also play
a key role in the work Willats will
develop for the European Kunsthalle’s
temporary location on Ebertplatz.
Born 1943 in London, Stephen Willats
is one of the British art scene’s most
influential figures and belongs to its
first generation of conceptual artists.
Willats, who has participated in
numerous exhibitions both at home
and abroad, has been the publisher
of “Control Magazine” since 1965.
To support the European Kunsthalle’s
acitivities we received art works and
editions by Thea Djordjaze, Robert
Elfgen, Martin Kippenberger, Albert
Oehlen, Tobias Rehberger, Jürgen
Stollhans, Johannes Wohnseifer and
Peter Zimmermann which will be on
view and sale during the fair.
EUROPEAN KUNSTHALLE
AT ART COLOGNE 2009
OPEN SPACE / Halle 11.3
22. – 26. April 2009
Wie im Rheinland junge Sammler neue
Traditionen begründen, zeigt die Initiative „Junger
Ankauf“ der Jungen Mitglieder der Gesellschaft
für Moderne Kunst am Museum Ludwig Köln.
„Mit ihrer Initiative „Junger Ankauf“ engagieren
sich die Jungen Mitglieder auf vorbildliche Weise
für das Museum Ludwig. Eine neue Generation
schreibt sich in die Geschichte des Museum
Ludwig ein!“, so Kasper König, Direktor des
Museum Ludwig.
In 2009 engagiert sich der Kreis Junger
Mitglieder das fünfte Jahr in Folge.
SUSAN PHILIPSZ – LOWLANDS – JUNGER
ANKAUF
In diesem Jahr erwerben die Jungen Mitglieder
für das Museum Ludwig die Arbeit „Lowlands“
der 1965 in Glasgow geborenen Künstlerin
Susan Philipsz.
„Lowlands“, eine 3-Kanal-Soundinstallation (2008),
nimmt Bezug auf eine gleichnamige historische,
schottische Ballade, die in drei unterschiedlichen
Versionen überliefert ist. Gemeinsam ist ihnen die
Geschichte eines ertrunkenen Geliebten, der als
Geist auf die Erde zurückkehrt, trauernd, dass die
Liebenden nie wieder zusammen sein werden.
Susan Philipsz, selbst in den schottischen Highlands
aufgewachsen, vereint in ihrer Soundinstallation
eigene Aufnahmen der drei von ihr gesungenen
Balladen. Simultan abgespielt, sind diese am
Anfang gleich, verändern sich allmählich, die
gesungenen Textzeilen greifen ineinander,
überlagern sich, kommen wieder zusammen und
teilen sich wieder, bis zum Schluss nur noch eine
einsame Stimme hörbar ist.
„Lowlands“ wird in einer Doppelpräsentation
gleichzeitig im Open Space der Art Cologne
sowie im Museum Ludwig präsentiert. Im Museum
Ludwig wird „Lowlands“ für die Dauer eines
Monats präsentiert.
Die Soundinstallation „Lowlands“ wird bei der
Galerie Isabella Bortolozzi, Berlin, erworben.
In regelmäßigen Treffen gemeinsam mit Museumsdirektor Kasper König und Barbara Engelbach,
Kuratorin für zeitgenössische Kunst und Medien
am Museum Ludwig, stellen die Jungen Mitglieder
Arbeiten unterschiedlicher künstlerischer Positionen
der eigenen Generation vor. Die vorgeschlagenen
Werke werden in Hinblick auf die Sammlung des
Museum Ludwig im Dialog diskutiert und analysiert:
Welche Arbeit genügt musealen Ansprüchen?
Welcher Künstler, welche Arbeit ist für den
Sammlungskontext des Museum Ludwig sinnvoll?
Zum Schluss wird in gemeinsamer Abstimmung
sich für das Werk entschieden, auf das die meisten
Stimmen fallen.
Seit 2005 hat der Junge Ankauf Arbeiten der
folgenden Künstler für das Museum Ludwig
erworben:
2009 Susan Philipsz Lowlands (2008)
2008 Edgar Arceneaux Arrangement without
Tormentors (2003–2004)
2007 Tom Burr Video Booths (1995)
˘ ´ Working Surface I (2004) /
2006 Bojan Šarcevic
Miniatures (2002)
2005 Peter Piller durchkämmten (2004) /
Liegeplätze (2004) / deko+munition (2003) /
Pfade, aus: Von Erde schöner (2003–2004)
PRÄSENTATION
JUNGER ANKAUF 2009
mit Kasper König und Barbara Engelbach
Donnerstag, 23. April 2009, 17 Uhr,
Open Space/Art Cologne
DUMONT EDITIONEN
GEORG BASELITZ
SLAWOMIR ELSNER
EVA & ADELE
WERNER FEIERSINGER
ASTA GRÖTING
JAKOB KOLDING
ATELIER VAN LIESHOUT
JONATHAN MEESE
DAN PERJOVSCHI
MAGNUS PLESSEN
PETER POMMERER
TOBIAS REHBERGER
nt
ANSELM REYLE
DuMoonen
i
Editf der
au ologne
TOMI UNGERER
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13.03.2009 13:38:02 Uhr
WWW.DUMONT-EDITIONEN.DE
TOBIAS REHBERGER
good night & good luck, 2008
2 Leucht-Objekte aus Acrylglas
ca. 19 x 10 x 5.5 cm
Edition in 27 Exemplaren + 5 AP
signiert und nummeriert
€ 3.000
good night & good luck, 2008
2 acrylic-glass light objects
Approx. 19 x 10 x 5.5 cm
Edition in 27 copies + 5 AP
signed and numbered
€ 3.000
Schlafzimmer-Präsentation von Tobias Rehberger auf
dem Stand der DuMont Editionen, Halle 11.3, Stand E9
Bedroom presentation by Tobias Rehberger at the
booth of DuMont Editionen, Hall 11.3, Booth E9
Tobias Rehberger
1993–2008
Uta Grosenick(Hg./ed.)
260 Seiten/pages,
Hardcover
deutsch/englisch
German/English
€ 49.90 (D) / SFr. 83.90
ISBN 978-3-8321-9126-9
16.03.2009 12:06:57 Uhr
SLAWOMIR ELSNER
Mädchen der Woche, 2008
Druck auf Leinwand,
einzeln übermalt
45 x 27 x 2.5 cm
Edition in 24 Unikaten + 4 AP
€ 1.800
Mädchen der Woche
(Girl of the Week), 2008
Print on canvas,
individually overpainted
45 x 27 x 2.5 cm
Edition in 24 unique copies + 4 AP
€ 1.800
Slawomir Elsner.
Panorama
Galerie Gebr.
Lehmann (Hg./ed.)
168 Seiten/pages
Hardcover
deutsch/englisch/polnisch
German/English/Polish
€ 39.90 (D) / SFr. 67.90
ISBN 978-3-8321-9098-9
16.03.2009 12:07:02 Uhr
WWW.DUMONT-EDITIONEN.DE
ANSELM REYLE
Ohne Titel, 2009
Mischtechnik auf Leinwand,
Metallrahmen, Reislack
36 x 30 x 8 cm
Rahmen 43 x 37 x 3 cm
Edition in 10 Exemplaren + 2 AP
€ 10.000
Untitled, 2009
mixed media on canvas,
metal frame, crinkle lacquer
36 x 30 x 8 cm
frame 43 x 37 x 3 cm
Edition in 10 Copies + 2 AP
€ 10.000
The ART of Anselm Reyle
Uta Grosenick (Hg./ed.)
450 Seiten/pages
Hardcover
englisch mit deutschem
Beileger/English with
German insert
ca. € 198.- (D)/
SFr. 334.–
ISBN 978-3-8321-9170-2
erscheint im /
will be released in
September 2009
13.03.2009 13:39:40 Uhr
08.04.2009
14:57 Uhr
Seite 32

open space

Transcription

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