In a montage comprising film footage of both women swinging on the trapeze, Sandgreff performing acrobatic dance moves, and also including private photographs, the film traces the relationship from its intense beginnings, via alienation to the eventual end of their love. Carolee Schneemann, in her performative, kinetic painting and experimental practice, opened the social discourse around physicality and gender roles earlier than many other female artists.
The act, which she filmed herself, has been collaged with color overlays and burn marks that have been inscribed into the film over time. All three artists were pioneers in their respective fields. All three died this year, in their seventies. A talk with A.
Burns and curator Lisa Long , 16 November , p. Engaging deeply with questions of materiality and re production, Burns examines how power is connected to the body, its functions, physiological processes, sensations, and pleasures. For Burns, the body is not an object with inherent boundaries and properties but multifaceted and porous, permeating and penetrated by its surroundings.
These inquiries take shape as visually seductive and socially critical videos, sculptures, writing, sound, drawings, and collages. Conceived as a non-linear and layered narrative, this series envisions a world wherein boundaries are fluid and hierarchical relations permute. This cycle of works playfully corrupts science-fiction tropes exploring the intersection of politics and fantasy to build idiosyncraticallegorical imagery. Burns deliberately locates the work in a speculative present filled with the detritus of everyday life.
The works challenge long-standing assumptions about social orders, marshaling familiar images and objects to ask how value is assigned to resources, how marginalized bodies navigate a fraught social reality, and how different forms of matter come to matter. In addition, the exhibition will include twenty-one collages related to the series, a new film observing a total solar eclipse, and an experimental sound work presented as a vinyl record.
The video works featured here, This Unwieldy Object and Endarchiv , examine how shifts in power and ideology are simultaneously inscribed in the body, psyche, and earth, subject to material processes of erosion and erasure. Taking what remains as their point of departure, Zett asks: how do human bodies perform, come to terms with, document, and resist these shifts? This very personal point of view facilitates intimacy but also a directness that suggests an unmediated form of experience.
In When the Moon is Full , Knight takes her family as a starting point from which to ask questions about the slippage of memory and performance within the home. Following a different type of performance, the visual essay My Ecstasy is Your Rapture weaves together phone camera footage of various musical performances seen both onscreen and onstage. Here, Knight ponders the social and cultural distance the use of screens allows, and how recording things and people is no longer exceptional. Lonely Planet was also shot entirely on a phone. A travelogue made by Knight and Shane Aslan Selzer in Costa Rica, the video includes footage of their daily routines and travels, interspersed with fragments of written and spoken text taken from conversations between them during and after filming.
Lonely Plan et , which touches on the artists sense of place in relation to feminism, mothering, nature, whiteness, fear, and privilege illuminates the layered performance inherent to the framing of any narrative. The work questions how institutional spaces, like a university, incorporate the voices of those who often go unheard or unseen. Serpent Rain and 4 Waters: Deep Implicancy by Arjuna Neuman and Denise Ferreira da Silva are grounded in experimental and collaborative research on migration, displacement, resource extraction, and colonial legacies, as well as quantum physics, blacklight, and cloud subjectivity a concept developed by Neuman in response to the resurgence of nationalist and racist claims on the sovereign body and state.
The artist and philosopher are interested in the politics and poetics of the moving image, focusing on the tensions between what is seen and remains opaque, what seems solid but is in transition. In Serpent Rain Neuman and Ferreira da Silva interlace long landscape shots with images of riots in London, Ferguson, and Baltimore; found footage from promotional videos by Statoil, a Norwegian public oil company, and The Secret Life of Plants ; images of drawings or paintings of slave ships i. They highlight the shifting states of the elements and how on a planetary level humans are enmeshed with the elements.
Expanding notions of linear time through residence time which describes the amount of time a material stays in a volume of water or liquid , Neuman and Ferreira da Silva consider the circulation of decomposed matter of bodies that have died crossing the ocean; the matter that is ingested by fish and then humans, or has evaporated, becoming clouds and then falling back to earth as rain. Continuing their inquiry into the elements air, fire, earth, water , matter, and on the displacement of peoples, in 4 Waters: Deep Implicancy , the Mediterranean, the Atlantic, the Pacific, and the Indian Oceans become guiding bodies through which the artists navigate historical and current racial injustices and impending ecological catastrophe.
In 4 Waters , the first iteration of a series of works each focusing on one element, they asked themselves how to make a film outside of the existing visual regimes of transparency, turning toward opacity and blacklight ultraviolet light as method instead. Arjuna Neuman is an artist, filmmaker and writer.
Her art-related work includes texts for publications linked to the Liverpool and Sao Paulo Biennales, advising Natasha Ginwala, the curator for the Contour 8 Biennale Mechelen, Alongside existing paintings and sculptures, the exhibition features new videos and virtual reality works, a site-specific livestream installation, and a soundtrack produced in collaboration with Milo McBride. Both definitions imply spatial demarcation—gestures whose benevolence and violence depend on context and point of view.
For Johnson, language is not supplemental but an integral part of each piece—it is just one of the many found, appropriated, recombined, and composed materials he uses to ask questions about agency and power. In this collision of language, object, and viewer, Johnson explores complex hierarchies that structure our societies, challenging their legitimacy and legibility. He does so by introducing radical subjectivity and intimacy to the work and by indulging in moments of ambiguity and ambivalence. Through language, Johnson draws attention to the often invisible but acute violence that permeates his—and our—lived experience.
Meaning, however, is obscured and continually deferred; each articulation is thereby also an act of refusal: a refusal to comply and a refusal to disappear. Instead there is a desire to overcome the binding states, the containers, and categories that define our current moment. I forgot! The current iteration of the poem determined the length of the film as well as its rhythm. During the editing process, Williams let the rhythm of the language and the images captured by his collaborators guide his own movements in VR to determine the final frame, which is then exported in ratio.
Although Williams was present during the filming, he handed the camera to his collaborators, who walked, ran, and rollerbladed across the city of Bissau, the capital of Guinea Bissau, as they might do on a daily basis. The viewer is instead nonchalantly invited to tag along while the actors move through their familiar surroundings. The film begins underwater, off the coast of Vietnam and ends high up in the sky overlooking a desolate suburban landscape of unfinished, empty homes.
As the film unfolds it presents a slow and gradual ascent, an intentional shift of position and point of view. In comparison, Pude ver un Puma Could see a Puma is distinguished by downward movement from start to finish. In this film, a group of young men descend from rooftops to traverse and explore a deserted and devasted landscape until they suddenly disappear, seemingly swallowed by the earth. The idea for this exhibition was developed in collaboration with Chinese artist Cao Fei and scientist and curator Yang Beichen.
According to curator Yang Beichen this is an obvious analogy, as metallurgists are not only guided by the specific properties of various materials and their processing, and indeed in their works also hybridize and meld a wide variety of contemporary themes. What the exhibition attempts to show is the working itself.
The result is an exhibition featuring 16 works by eight contemporary artists from China who reflect on their pluralistic and global worldview while simultaneously demonstrating that the view of classic China shaped by exotic Orientalism has become obsolete. Many of the works mirror this new reality by visualizing the multi-dimensional nature of time. Through this deceleration the artist makes palpably clear his own view of society and visualizes the downsides of global capitalism. In his work the artist takes up a central topic of his: the means of production and communication typical of capitalism.
Zhu Payne has produced a promotional film about a fictional sports brand, whose name LIKE is modelled on NIKE, to take a critical yet humorous swipe at the global player. He has designed a logo and sports clothing and has African immigrants act as brand ambassadors for the fictional brand, parodying the way African-American athletes feature in commercial advertising.
The artist Fang Di comments in his work Hit Me! It is typical for the artist to embed contemporary topics in a new context. They reveal not only which marginal areas the artists operate in, but also how they strive to open them up. Order now. As a singularly holistic technology, video has maintained its status as the most popular medium. In the last decade the distribution of video has become simpler in terms of access, and more complex as regards the mode of distribution itself.
The technological advances that account for these changes pervade artistic practice particularly, pragmatically as well as conceptually: Not only new reflexively approached formats abound, but new modes of behavior, communication and forms of representation, forms that are able to decisively alter our perception. However, this holds true not just for data formats or material media, but also manifests itself in an ideological sense in politics, culture, nature, from one generation to the next.
Formally, the exhibition will very visibly connect works, in a sort of straightforward, socially demonstrative way: projected works will be screened in choreographed sequences and in proximity to one another. This will be partially achieved using acoustic glass to divide the works and effectively block sound leaks, but allows you to see through to other spaces, works. We plan to pretty much do away with the preeminent, isolated black box of video installation. No work alone, all works in relation. The term means first and foremost the process of data quality deterioration that results from changing technologies.
This loss of quality, at the same time, also materializes in an ideological sense in the social change from one generation to the next. The catalogue takes up this question and addresses how the reception of the moving image has changed from the nineteen-seventies until today. In addition to video and film stills, the catalogue also includes historical material about the works presented as well as installation views of the exhibition. The filmmaker and author is considered a critical observer of our globalised world in the digital age. Her artistic practice precisely describes the fluidity and mutability of images — starting with their production and translation through to their interpretation and circulation.
In Factory of the Sun Hito Steyerl links the symbolically charged power of the sun with the enormous power of our current digitalised reality. In the installation, Steyerl uses the motif of sunlight allegorically to represent a complex exploration of everyday and surveillance technologies in order to tackle the dialectic of freedom and incarceration. Chan assumes that in the areas of technology and culture there are many missed opportunities for critical analysis of power and identity.
Thus the individual positions point to a subtle, postcolonial discourse on the intersections of ethnicity, gender and contemporary work conditions. On the occasion of the exhibitions a bilingual brochure was published with texts on individual works. A large number of female artists used video, which was then still a new medium, to document their performance-based works. In the process they elaborated a genuinely artistic approach and aesthetic.
These works have emancipated themselves from direct self-observation. From a more distanced viewpoint, femininity and masculinity are renegotiated in the media lifeworld, in filmic archetypes and in performance-based activities. Cyprien Gaillard often starts a new work by seeking out artefacts, monuments or architectural creations which seem to have lost their significance in the present time.
His nomadic gaze takes in backdrops both urban and natural, manicured or wild, focussing on spots where beauty has evolved from decay or where violence has left scars on the landscape. Thus the artist vividly depicts the times and places where our present-day economic and cultural needs interact with architectural legacies or the cultural heritage of a region. The exhibtion was accompanied by a public program consisting of lectures, as well as the monthly STUDIO 54 film program, for which Gaillard selected other film positions.
The highlight of the exhibition was the 3D film Nightlife Nightlife was on show there from 30 January to 3 April On the occasion of the exhibition a bilingual brochure was published with texts on individual works and an essay by Natalia Valencia Arango Independent curator based in Mexico City , including an in-depth discussion of Nightlife. Wu Tsang is interested in the formation of identites and the coding of social communities.
A day in the life of bliss tells the story of Bliss, a performer celebrated as a Pop star, in the style of a science fiction scenario. Bliss lives in the near future, in a world dominated by totalitarian surveilance systems. Bliss has an ambivalent relationship with her own fame and leads a subversive double-life in the underground scene. Bliss is played by American performance artist boychild. Her androgynous physique and the expressive force of her dancing counters the overwhelming loss of the physical and the de-personalization of social contact.
The two-channel video installation is doubled by two large format mirror screens, one of which is a two-way mirror. This performance is incorporated into the plot of A day in the life of bliss as a dream sequence. The presentation comprises works from the collection ranging from moving image, photography, sound installation to sculpture. The ensemble is creating a space saturated with a potential for transformations and reconfigurations of the senses, of realities.
In continually fluid interactions between the material and the immaterial Donnelly generates moments of absolute concentration. Since , Elizabeth Price has mainly worked with digital moving images. The key focus of her conceptual, institution-critical works has been to examine the significance of cultural artifacts, collections and archives.
Each work initially arises from an idea on a place and its history. In an analytical approach to the location, Price then explores the broadest variety of different sources of material and devises dramas to occur in that location, which feature no direct human action.
Instead historical artifacts, archival images and documents are used to enact social occurrences and play out collective fears and desires. Images, texts and sounds are composed in episodes that we migrate to through sections variously reminiscent of pedagogic lectures, cinematic melodrama or commercial advertising. In this process-based practice, categorizations and referential systems shed their original meaning, develop a life of their own, and expand in time and space through the rearrangement by narration in video. The scenography of the exhibition corresponds to the videos in that it unfolds in a special rhythmic sequence that includes the interiors and spatial elements of the installation.
The show was accompanied by a comprehensive line-up consisting of STUDIO 54, a film program compiled by the artist, a multi-part concert series entitled The Architecture of Sound and a lecture by the artist 23 January , p. Djurberg born in Lysekil, Sweden creates animated films that fascinate, amuse, disturb and shock. In her work she looks at the dark side of the human psyche — running through the whole gamut of perversions, sexual violence, fear, arrogance and vanity in a way that is both full of irony and at the same time almost painful to watch.
While Greed alludes with Biblical symbols to power, greed and sexual violence within the Catholic Church, Cave and Forest focus on issues of exhibitionism, voyeurism and sadism. At first glance, the colorful figures in painted scenery suggest a cute, funny scene. But the idyll is deceptive: Behind the facade, a world seemingly beyond good and evil comes to light, revealing the abysses of society in a brutally honest fashion. The Plasticine figures live out their sexual desires or are tortured with great brutality.
In this way the scenes trigger in the viewer both a sense of fascination with something forbidden and at the same time kindle a sense of repugnance.
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The exhibition was supported by Julia Stoschek. The artist was no stranger to controversy as early as the s and s. The works she recreated, including pieces by Marcel Duchamp, Andy Warhol, Jasper Johns and Joseph Beuys were later often considered iconic masterpieces. In the age of the digital revolution, she first of all noticeably acts at one remove from the original. She feels the idea of handmade repetition is outdated. The inclusion of images from the mass media and her own filmed material have given rise to an increasing number of time-based works since With the aesthetic and formal possibilities offered by the World Wide Web she analyzes the origins of knowledge, art and culture, and addresses the question how they can be produced and shared.
Presently the work is considered crucial and dynamic towards our present cybernetics world with its digital implications and the question of what constitutes the original in a cyber-reality characterized by simulacra. For decades, she has commented on the art currents of that particular time, demonstrating to this day extraordinary farsightedness in both art-historical and philosophical terms.
On the occasion of the exhibition a bilingual brochure was published. In their multi-disciplinary approaches, Ed Atkins and Frances Stark reflect the change in how artists define forms and the discourse of representation in the world of media images. The work of both artists, each of whom is also active in literature, is characterized by an exploration of the various interactions between image and text.
By means of state-of-the-art computer technology they weave a complex fabric of signs, text fragments and autobiographical references that then enter their visual pieces as hypertext. The exhibition will focus on video installations, with collages, conceptual wall pieces and sculptural objects rounding out the selection. The exhibition concept centers on sequences of individual rooms to broach a dialog between the two artists.
The configuration of works highlights the transformation of the classical moving image into digital image production processing. He primarily explores the one-sided focus on technical perfection in image quality as opposed to the fact that the media formats can no longer be grasped haptically.
Given the consequent de-corporealization, in his installations Atkins seeks to develop an aesthetic of disappearance, taking as his leitmotifs illness and death. For her art projects, Frances Stark relies on a self-created and multifaceted system of references that above all stem from questioning the notion of authorship and her own artistic creative process.
Her work cuts across genres and expresses a tussle with words and their meaning. Short quotes, music, literature, pop culture, autobiographical notes and events all serve as the basis for her video installations, performances, sculptures and works on paper. On the occasion of the exhibition a bilingual brochure was published with texts on individual works. A key starting point for the exhibition, and one of immense historical importance, is the work of US underground artist, performer and filmmaker Jack Smith born in , died in ; his scandal-sparking film Flaming Creatures is the source of the title of the new presentation.
Flaming Creatures is a surrogate for something that manifestly materializes as an extreme, excessive and exuberant element in the positions taken by the individual artists. In this context, Jack Smith should be seen not as the source of the idea, but as a key position in a critical enquiry into reality and fiction, identity and gender. An appropriation of fictitious realities or creaturely processes is common to all the works represented in the show.
By using disguise or clown-like exaggeration the artists involved create a new dimension, one not limited to film and instead also including a physical level. Moreover, a conscious addressing of pop and trivial culture is a further connecting element. Size: 21 x 27 cm.
ISBN Sold out! In seeking out Modernism, artists and intellectuals around the turn of the century developed new styles and forms that broke with tradition and were said to have left behind a conservative Europe and its historically oriented art. The show features 44 works by 35 artists in all, including many that have never been shown before, works acquired in the past few years and site-specific spatial interventions. Each work is presented in its own, carefully elaborated setting.
Rather than being organised around a single theme, the exhibition picked up on several content strands and reflects current themes in contemporary art. His films not only document his sometimes anarchic activities, they also map the city as an urban space in all its many facets and are all that remains of his processive interventions. In his photo animation made up of 7, individual images, Tobias Zielony documents the Le Vele Di Scampia urban housing project, built by architect Francesco di Salvo in the 60s.
This complex in a suburb of Naples has now achieved tragic notoriety as a mafia stronghold. Donning the hat of a documentary filmmaker rather than that of an archaeologist, Gaillard shows American students celebrating spring break with excessive binge drinking against the impressive backdrop of a hotel complex, which imitates Mayan pyramids — thus confronting viewers with the banalisation of culture.
Just before it reaches the top the band stops playing and the car rolls back down the hill, meaning that it has to start all over again. The video is an existential metaphor for the political situation in Mexico and for the economic discrepancy between the country and its larger neighbour, the United States. The second exhibition area marked a break from the dominance of filmic works. And these insidious changes are not obvious simply from looking at the page. The oversized reproduction of the photographed page also breaks with the conventional perception of art. His works constitute hermetic, self-referencing, humorous or profoundly poetic representations of an abstract version of his biography.
They consist of various components and are resonant with deep emotion and melancholy. Wekua has his alter ego — a boy wearing a mask — set out in search of traces of his childhood within a nightmarish setting. The video does not tell a straightforward story; its bizarre images and colours are more reminiscent of dream sequences. In his two channel video installation American Car — , Claerbout confronts the viewers with two projections they cannot see simultaneously.
The first shows the interior of a car; two men seen from behind stare out of the window as rain drums on the windscreen. The second shows the car from the outside, standing all by itself in the middle of an unspecified landscape. The viewers visit the two rooms one after the other, so that the period of time between viewing the two screens reflects the time represented in the film.
This allows viewers to leave the traditional perspective of the moviegoer behind and step inside the film. The illusionary movie space thus merges with real space, an effect that is subtly enhanced by the use of two audio channels, which unsettles the viewers, making them feel uncertain as to where exactly they are positioned. Claerbout throws a questioning light on the moving images of the film medium from the perspective of photography and by exploiting the editing options available to him. Screen 2 does not display an actual film, but a montage of digital photographs.
Essay by Mark von Schlegell. Rather than a thematic concept, the forty-four works by thirty-five artists follow various content-related threads that reflect topical themes of contemporary art. The British painter, film maker, set designer and writer Derek Jarman — is best known to the wider public primarily as the director of stylistically influential feature films and music videos from the s and early s. Less well-known, but vital to his oeuvre, are the over 60 Super8 films that Jarman filmed from until his death in The 24 digitalised films from the Super8 archive, complemented by a 16mm sound film and the BlueRay version of a 35mm feature film, are distributed over both floors of the exhibition space as well as in the basement cinema.
To begin with the first floor contains 12 films covering the social and sub cultural world of Jarman and his circle of friends. The overlapping of documentation and staging is constantly fluid here and this is further reflected stylistically in the works.
Two sound films, presented individually, break this sequence: in the first space TG: Psychic Rally in Heaven , an early music-video experiment, originally recorded on Super8 for the British industrial-music group Throbbing Gristle, and in front of the second space, Imagining October , which will be shown — not least because of its references to Sergei Eisenstein and Soviet film — in its original format, as a 16mm sound film. On the second floor 11 films from the group of works covering rituals, mythology and landscape were on display. The works were deliberately presented in the completely open space surrounding the centrally placed, boxed projection of Art of Mirrors I-III Between them, the various works from to generate panoramically stylistic and content-based references.
Text by Jon Savage. Size: 16,4 x 21 cm. British painter, filmmaker and author Derek Jarman is widely known for his groundbreaking and hugely influential feature films and music videos. However, the Super8 films he made in the s and 80s, although less well known, occupy an equally significant place in his oeuvre. Some of the works have been developed especially for the programme. Agar Agar. The exhibition documents the past hundred years of performance art.
The content and number of exhibits will vary depending on the specific location. The exhibition will also establish connections to the local performance scene in each city. The project is organised by P. Cao Fei is one of the most important Chinese artists of her generation. Born in Guangzhou in , she grew up in a world of advertising and electronic entertainment.
Fascinated by the vibrant nature of consumer society, she developed an idiosyncratic visual language that playfully, ironically and humorously juxtaposes how we imagine, desire, criticise and enjoy reality, thus blurring the boundaries between reality and fantasy. In her diverse work, which ranges from photo series, films, performances and installations to prose and plays, Cao Fei seeks above all to investigate the rapid social and cultural changes revolutionising China as well as the new generation of Chinese teenagers.
Workers were interviewed individually about their secret dreams, career ambitions, goals and personal beliefs. Here Cao Fei exposes the underbelly of globalisation, which is changing both the Pearl River Delta and China as a whole, and investigates the implications for individuals and their role in society. Additional to the video the photographs show their cramped, shabby apartments where there is almost no personal space as each worker is only allocated a space in a multi-tiered bunk bed.
In her works I. Over 15 million users have signed up for this 3-D internet-based world since and each user has an avatar, a computer-animated digital alter ego that they can style and control, enabling them to visit existing environments in Second Life, talk with other users, earn virtual money and even start up a virtual business.
Mirror is divided into three parts that portray both the beauty and excess of this virtual world. The fantasy world ultimately seems a cold and lonely place. The I. Mirror project came to an end in when the video trilogy was presented at the 52nd Venice Biennale in the Chinese pavilion. RMB City RMB is the abbreviation for the Chinese currency Renminbi reflects the current wave of urbanisation sweeping China as well as the rapid social and cultural changes taking place there. The virtual construction of the city was completed in late and the buildings in RMB City www.
In each city she transformed people from different national, social and cultural backgrounds into hip-hop dancers in an attempt to break down the rigid barriers between the media-dominated world of the younger generation and the everyday lives of the older generation. In Hip Hop Guangzhou Cao Fei plays hip-hop tracks to grocers and builders and introduces them to the basic dance steps, which are in fact reminiscent of the traditional formation dances performed by Chinese workforces.
The exhibition focuses on corporeality in videos, installations and photography, an aspect of art that has been explored intensively since the s and s, in particular within the genres of Body Art and Performance. The 54 works in the show were selected to shed light on the themes of self-dramatisation, pain, transformation, physicality in the sense of a plasticity that can be experienced as a real, external phenomenon, and also fragility in a literal way. Although the exhibition is unified by these overarching themes, it also allows viewers to discern the positions of the individual artists, since most of them are represented by several pieces.
Thus Art-Make-Up No. Technological advances in film and video and the development of closed-circuit installations in the s made it possible for artists to record their actions on film, to observe themselves in a mirror at the same time and even transfer the recordings in another room. Several other artists featured in the exhibition, such as Vito Acconci and Hannah Wilke, took advantage of the possibilities offered by this technology to expand the concept of sculpture.
In posing for the camera like a s model, she exposes the stereotypical role of women in the art world of that day. Painful and shocking in equal measure are the performances by Chris Burden, which document self-imposed ordeals verging on martyrdom in the cause of art. In his legendary work Shoot from , Burden has someone shoot him in the arm; in Through the Night Softly the naked artist writhes his way out of a pile of broken glass with his arms tied. Displayed in a self-contained room and accompanied by screeching violins, the work turns viewers into spectators of a horror scenario.
In Happiness finally after 35, Years of Civilization after Henry Darger and Charles Fourier , an animated digital video installation in wide-screen format, Paul Chan takes up the thread of his ongoing radical confrontation with politics and society. In his apocalyptic vision, a seemingly naive concept of paradise mutates into a horror scenario in a video-game aesthetic derived from the imagery of cult artist Henry Darger.
A glass coffin, porcelain chrysanthemums and a live performance recorded in the same room complete the opera-inspired, fairytale-like scenario. Cheese and Dough by Mika Rottenberg are being shown together for the first time. The main protagonists are six sisters with long, Rapunzel-like tresses who have magic powers and can make cheese with their hair. Using poetic imagery, Rottenberg repeats the production processes ad absurdum, incorporating the female body as a dynamic part of these processes and transporting viewers into a world that is at once comfortably familiar and bizarre.
Size: 21,70 x 27,70 cm. Linen binding. Published by Hatje Cantz Verlag, Ostfildern. It focuses on corporeality in videos, installations and photography, an aspect of art that has been explored intensively since the s and s, in particular within the genres of Body Art and Performance. The book and the exhibition shed light on the themes of self-dramatisation, pain, transformation and physicality in the sense of a plasticity that can be experienced as a real, external phenomenon.
It also features an article contributed by respected art scholar Elisabeth Bronfen. The volume thus constitutes an informative work on a theme central to the art of the past 50 years. The collection has found a new home in the former production facilities of the Conzen frame factory. The building, which celebrates its centenary this year, was redeveloped from top to toe by the architectural firm Kuehn Malvezzi to meet the particular requirements of the collection. A large opening connects the two main exhibition rooms and a delicate stairway leads up to the spacious attic floor and roof deck, 23 metres above the ground.
The way up and down is the key to the whole design — a building that is less an object to look at than a path to follow. It leads through dark and light spaces, from the little cinema on the ground floor, on through two different exhibition storeys and up to the top floor with its metre ceiling. It is remarkable to see how, even at the very zenith of the feminist movement, women were still being stereotyped as helpless creatures.
The pieces on show centre on extreme spatial, psychological and interpersonal situations. The two exhibition floors are also subdivided according to different questions and themes, both to highlight individual aspects of the works and open up the exhibition as a whole to explore further issues. Examples of works that centre on the destruction of interiors and structures are Shades of Destructors by Mark Leckey and Hammering Out an old argument by Monica Bonvicini. There is something profoundly unsettling and disturbing surrounding the act of destruction in the pieces by Robert Boyd and Adam McEwen.
In the four-channel video installation Xanadu , Boyd focused on the self-destructive impulses that characterise our society by condensing different elements of mass culture like news bites, documentaries, comics and pop music videos into a sequence of split-second images. The brutal and random interfaces reflect the media world we live in, where the boundaries between entertainment, information and horror have been virtually erased. The seemingly incongruous stories of different people, which move the protagonists through various interiors and urban landscapes, are projected onto three translucent screens.
The works of Anthony Burdin heighten this feeling of disorientation; the protagonist in his Desert Mix leads spectators through a series of bizarre places. McCall uses a 16mm film projector to direct light at a black surface; with the help of a smoke machine, the beam gradually becomes visible as a perfect cone of light. The space and the projection itself become a kind of sculpture that breaks down the traditional relationship between cinema viewers and the film projector.
Foreword by Julia Stoschek. Size: 21,80 x 27,50 cm. The volume documents the exhibition and its extraordinary backdrop. Over the course of the exhibition, the silkworms undergo a slow material metamorphosis, feeding, defecating, and spinning silk cocoons inside which they resurface their bodies. This transformation is captured by three cameras and livestreamed on the gallery walls. The live video feedback loop creates a disorienting shift between the material presence of the work and its mediated image.
Locating these dragon gates as portals for formal and ideological therianthropy shapeshifting in the film, the narrator embarks on a sprawling sociopolitical critique of gender, cinema, and Western thought. Presented as the final installment in this body of work, this piece is both a place of arrival and a site of disappearance, a presence and an absence. Consisting of woven fragments of translucent LED screens used for skyline advertisements, the work is installed in a way that the ideal viewing distance lies inches beyond the gallery walls, situating the onscreen images at the edge of perception.
As one approaches, both image and object begin to dematerialize, entrapping the viewer in a state between cathexis and abstraction. Melgaard compares the experience to taking Dimethyltryptamine DMT , a naturally occurring drug, which is produced by a gland in the brain. DMT is considered the strongest hallucinogenic chemical substance and is found in almost every living organism on earth.
The artist is raising the contradictory view that if we are to continue to exist, humans will have to cease to procreate, as a result of the carbon impact of producing new human life. My Trip also explores the abyss of the technological underground, the endless information consumed every day and the feeling of apathy and dullness that this technology consequently produces.
Dealing with the dark side of humanity, it often discusses, investigates and pushes the boundaries of societal acceptance. Melgaard has had more than forty-five solo exhibitions in leading galleries around the world. His work has been seen in numerous group shows and at international art fairs; he is a frequent curator and collaborator, has written more than a dozen novels, and produced seven films. He has twice participated in the Biennale de Lyon.
In , Melgaard participated in The Whitney Biennial and in January Melgaard was the focus of the first of six important exhibitions at the Munch Museum in Oslo. Since the early s, Koo Jeong A has made works that are seemingly casual and commonplace, yet at the same time remarkably precise, deliberate, and considered. Her reflections on the senses and the body incorporate objects, still and moving images, audio elements, and aromas.
Many of her works are conceived within site-specific environments that question the limits of fact and fiction, the imaginary and actuality of our world. Koo considers the connection of energies between a place and people, relying on chance to drive her encounters. A curatorial laboratory and research hub, Acute Art are committed to finding new ways to take digital artwork to the public, both physically, through exhibitions, and as a curated offer on the Acute Art website and free app. Since the late s, Stan Douglas has been creating films, photographs, and installations, as well as recently venturing into theater productions and other multidisciplinary projects, exploring the parameters of their respective mediums.
The artist queries the past in his works, breaking through traditional narrative structures to blur fact and fiction. The works on display reconstruct and reimagine the s and 70s, centering on de colonization, migration, jazz, underground disco, and Afrobeat. On view are the early two-channel video installation Hors-champs , the six-hour video Luanda-Kinshasa , as well as large-format photographs from the series Disco Angola The artist shot Luanda-Kinshasa in a space modelled on the legendary New York recording studio The Church, while Hors-champs was filmed in a Parisian television studio.
It is not only the meticulous staging during the filming and photography process, but above all rigorous construction in the editing room, which effortlessly transports the viewer through space and time. Stan Douglas is widely regarded as one of the most important representatives of time-based media art. His works are again being shown in a solo exhibition in Berlin for the first time since Clad as a sci-fi documentary about daily life on the Caps, an island in the middle of the Atlantic where illegal migrants are detained, the work amplifies reality through magical realism and humor.
The Siblings Compendium is a collective research document inspired by writers and thinkers including Ursula K. In SUBTEXT, Self presents an imaginary stage beneath the opera of Siblings, having agents perform and recount the research in simultaneity, through recitation, song, and games. By including various stages and objects from their films in the gallery, the boundaries between the representational space of the film and the actual space of the gallery begin to dissolve.
These on- and off-screen human and non-human encounters examine the limits of musical and filmic forms as protest and resistance, calling for an urgently desired future. The piece comprises two parallel videos that use allegory and animation to think about progress. Through intricate drawings in ink and pencil, speckled clay, and encrusted plasticine, Crewe reflects upon the evolution of mythic narratives, inter- personal change, and collective political time.
In its double telling, Pastoral Drama envisions the collapse of mythic pasts with the dangerous after-world of the present. The filmmaker tersely distills material shot on the eve of the 45th presidential inauguration in January and blends moments of perilous public authority with more intimate scenes and tender portraits. The film uses poetry as a means to reckon with the present, and casts the figure of the poet as a guide in times of chaos.
Ian Cheng creates live simulations that explore the nature of mutation and our capacity to relate to change. Drawing on principles of video game design and cognitive science, the simulations are populated with characters programmed with behavioral drives, but left to self-evolve amidst otherworldly environmental conditions. It is composed of three interconnected episodes, each centered on the life of a narrative agent — the Emissary — who attempts to achieve a series of narrative goals, only to be disrupted by the underlying simulation and deviate into new directions.
Across three decades, Jafa has developed a dynamic, multidisciplinary practice ranging from films and installations to lecture-performances and happenings that tackle, challenge and question prevailing cultural assumptions about identity and race. By re-performing these narratives in the present, Jafa imagines and constructs new possibilities for making them visible. Jafa creates work that approximates the radical alienation of Black life in the West while seeking to make visible — or emancipate — the power embedded in modes of African expression.
Texts by Fred Moten, Tina M. The artist has been collecting and working from a set of source books since the s, seeking to trace and map unwritten histories and narratives relating to black life. Between and a young naturalist, Alexander von Humboldt — , visited the American continent for the first time, making two expeditions. The most adventurous section of his journey was the trip down the Orinoco to the Rio Negro in Venezuela. At the time, his report on this journey laid the foundations for a holistic way of looking at nature — one that was way ahead of its time.
Von Humboldt was the first researcher to point out how the forces of nature, both animate and inanimate, work together. Starting with the idea of the kind of ecology that focuses not only on natural circumstances but also on the economic and socio-political situation, as well as on technological progress, the exhibition investigated an alternative interpretation of anthropology and zoology. Accordingly, the selection of works evidenced the search for our evolutionary roots, looking into questions of indigeneity, of hybrids and synthetic forms of life, the migration of the species, and that of our constantly changing perceptions of reality due to all kinds of different influences.
The different complexes of subjects move within that intermediate space between nature and art, their various systems offering new approaches to interpretation and methods of classification. A free magazine accompanied the exhibition, which is here as download available. Nothing is left to chance at the Institute for Cybernetics and Future Research.
Ostensibly for research purposes, a private corporation uses a mainframe to create a computer-animated world where economic and social developments can be simulated in order to make forecasts and thus lay the basis for decision-making. This mainframe goes by the name of Simulacron 1 and is capable of perfectly simulating a section of reality with all the respective inhabitants. All the simulated persons have their own minds, but no idea that they are part of a virtual reality. By means of the virtual animated real-time simulations that arise through the 3D videogame design Cheng enables viewers to experience the microscopic but essential mechanisms of the complex, multi- millennia-long process of evolution.
The structure of consumer and product experiences in capitalist societies and the creative industries become the main theme of art. The narratives overlap with one another, reveal different angles on death, and morph into a kind of deja-vu in the viewer. The works in the exhibition shared in common a critical thrust that asks how digital technology should be limited and justified.
In this regard, the individual art forms oscillate between the different genres. They radically cast into question traditional notions of the artwork and the original creation of pictures as the main task of art. A free exhibition magazine accompanied the exhibition with an essay by Hannah Black and introductory texts on the individual works, which can be downloaded here. The exhibition brings together works in film and video by seventeen artists, spanning over six decades of audiovisual production focused on themes such as cultural history, race, gender identity, circulation of images in the media, and the role of artists in contemporary society.
Self-representation and its strategies, such as self-portrait and the fictionalization of life, emerge in various works, functioning as a potential guiding thread and uniting productions in the exhibition, as well as appropriation, collection, and montage of images from other sources. These are two possible thematic trends running through the exhibit, serving as useful conceptual cores to navigate it, but which do not exhaust the possibilities of interpreting the works displayed and the relationships between them. Time kills simply by passing, and there is nothing we can do about that or the veracity of the phrase.
Nevertheless, it serves to activate other senses in the context of the exhibition. Time-based art relates to works of art produced in video, film, audio, or computerized technologies that unfold to viewers over time, with duration rather than space as their main dimension, unlike painting and sculpture although duration is also an element of those two- or three-dimensional art forms. To collect time-based artworks, one must compress time in analog and digital media. Therefore, exhibiting them requires decompressing those time frames and creating different forms of spatialization, generating displaysof different lengths occurring simultaneously in a group show.
In the case of this exhibit, adding up to ten hours, thirty-one and forty seconds which viewers break down and recombine at will. Historically, the development of video as an art form occurs in tandem with the spread of the electronic image and its interlacing with everyday life, irreversibly altering our perception of time and space. Even more so in a context in which it is continuously changing, making us anxious to keep up and directly influencing the way capitalism affects our consumer desires and drives.
The virtualization of our world experience and increasing temporal hence subjective compression are the context the artists must deal with to create their work. Thus, time not only kills passively, it kills a little more every second. The exhibition comprises three halls for large-scale installations on the fifth floor displaying works by Arthur Jafa, Rachel Rose, and Monica Bonvicini, immersive spaces that offer time-based experiences isolated from their surroundings. Around these spaces, in the circulation areas, other works establish new relationships with one another.
In twin rooms, Hito Steyerl and Ryan Gander investigate the potential of their own images as material for the creation of their works. The works by Ulay and Lutz Bacher deal respectively with stolen paintings and appropriated photographs, lending new meaning to icons of art history and mass culture. On the sixth floor, works by Douglas Gordon and Cyprien Gaillard are screened in a kind of diptych, referring to the landscape of corporate architecture around the building and revisiting the narcissistic role of images in the construction of urban icons.
Manipulation of time is one of the features used by the artists to deal with images, from recording to screening, including, naturally, editing. The curator who exhibits these works enjoys the same prerogative when positioning them in space — and in time. The exhibition constituted the largest presentation of time-based media works in Israel. As a whole, the collection centers contemporaneity as an active engagement with the here and now. True to this emphasis, this exhibition focuses on the contemporary part of the collection.
The works featured in TURN ON were created in the last decade, in which technology-based media have developed at a dizzying speed. This is reflected in an astonishing variety of media-based art, showcased in the exhibition via 22 works by 17 artists. These range from performative and theatrical elements in the works to different means of narration.
More than half of the artists featured in the exhibition are women. This female presence introduces into the exhibition aspects concerning gender, sexuality, and female identity, while accentuating the existential questions underlying the works in the exhibition as a whole. Implicit subtexts of power struggles — between the sexes, between the individual and society, and between different creative traditions — are present throughout, resulting in an exhibition that is contemplative, seductive and reflective. The works were displayed as installations that relate to the museum space as a sculptural sphere, presenting the video projections as distinct artistic experiences composed of image, movement, sound, space, and time.
They present and reflect incommensurability and simultaneity as characteristics of our time, as well as revealing a museum space that accommodates itself to the unique qualities of the projected medium. It is to date the most extensive presentation of time-based art in Israel. The exhibition title derives from TURN ON, an artwork by Adrian Paci made in , and allows countless different levels of association: switch on, trigger, provoke, and a physical turn-on.
It also gives a glimpse of some imagined scenarios of our future. The work presented in the project has been produced since the turn of the last millennium and spans from seminal contemporary classics to very recent productions. A further chapter will thereafter be presented at Moderna Museet in Stockholm There will be works that explore the growing xenophobia, extremism and religious fundamentalism of our time, and others that remind us of the colonial past and how it continues to affect the way we live together as humans today.
A number of works in this chapter seem to point towards a shift—perhaps a devolution of mankind, or a transformation into something new. We here enter worlds in which the semantic order seems to implode and we find that language no longer connects to what we see. Known categories dissolve and disparate objects and materials seem to fuse and melt into one another. New amalgamations are being formed and a future human existence appears fundamentally uncertain.
With large-format video works and films as well as multi-channel installations, the exhibition demonstrates conclusively how video art as an artistic medium has lost none of its power in the 50 years of its existence. Clouds of smoke that rise up from the friction slowly blur the scene. In this creative, high-powered performance a destructive act melds with creative violence to form a threatening contradiction, with man and machine coming up against their limits to the point of complete disappearance.
Painting, sculpture and sound are quite radically manifested in this admixture of roaring high speed and groaning standstill. With this extraordinary exhibition, the ZKM is continuing its tradition of major panoramic shows on video art. As this book demonstrates, video art, which first emerged five decades ago, has lost none of its vitality. By focusing on engagement with the contemporary world, the collection seeks to create a panorama of social and cultural tendencies.
The conceptual structure of the exhibition concentrates on media art from the beginning of the s to the present. As of 16 April across a total space of over 2, sq. The exhibition will focus on pieces on film and video, as is the case for the entire Julia Stoschek Collection. They are rounded out by sculptures e. The exhibition takes up the Deichtorhallen tradition of presenting major collections.
In this case, the collection is one of the most important sets of media-influenced art in Germany, something no doubt related to the age of the collector At the same time, the show links back to the Fire, Earth, Water, Air exhibition, organized at the Deichtorhallen in as part of the Mediale and the first display of media-influenced art at the Deichtorhallen. Edited by Dirk Luckow. Foreword by Dirk Luckow. Interview with Julia Stoschek by Dirk Luckow. From 16 April till 25 July , works by over 50 artists from this very young private collection will be on display in the Deichtorhallen in Hamburg on a total space of over 2, sq.
Andreas Gursky is known across the globe for his monumental photography in which he reconstructs reality using digitally manipulated images. Christiane Fochtmann, Andreas Bunte, Manuel Graf, Andreas Korte, Bianca Voss and Jan Wagner develop artistic positions that address the history of art and culture, everyday events and poetry in the media of film and music. The presentation of their works is in interesting contrast to the architecture of the KIT. With reference to the exterior of the KIT, it shows the seagulls that swarm past on the banks of the Rhine, plummeting greedily to earth to snap up the food the artist has strewn.
Christiane Fochtmann plays with a humorous interaction between image and sound. The work Flower Power , for example, shows flower buds opening and closing in fast motion to the sound of snoring. The Driver by Andreas Korte plays inside a parking building.
A person facing away from the viewer is moving towards the exit. Camerawork and distorted sounds create an atmosphere of primeval fear, turning the viewer into an involuntary pursuer. The 16mm, black-and-white film has the aesthetic quality of the silent films from the beginnings of cinematic history. Persistent ideas and the universality of the language of architecture are the themes in the work of Manuel Graf.
A wild, colourful pictorial history of architecture begins to the rhythm of the music. In addition, small lines of text irritate the eye. Andreas Korte and Christiane Fochtmann will also each be presenting a new work, and five further artists are showing their works in a film programme in the KIT Blackbox. How to find us. Advance registration for the visit during the opening hours is not required.
Public guided tours in German through the current exhibitions take place twice a month on Sundays, noon and p. Free of charge for children and young people under eighteen, as well as school children, students and trainees. If you are interested in booking a guided tour in English, please send us an e-mail to visit. If you would like to use the lift to travel between the floors of the exhibition space, just ask our service staff and they will be happy to assist you.
The distinctive nature of the collection carries over into the space in which it is exhibited. Between the cinema room in the basement and the roof terrace above the new attic floor, a whole series of spatial experiences unfolds — from the closed to the open, from the dark to the light. A media museum is no black box. On the contrary, the spatiotemporal works here challenge the architecture as an opponent that lends form and support as explicitly as it does discretely, that facilitates a range of spatial experiences and that never becomes conspicuous in its surfaces and materiality.
The openings in the inner shell can be altered in their relation to the windows in the outer shell. On one occasion this became the setting for an artistic intervention by Olafur Eliasson. The building, which dates to , is a shining example of modern industrial architecture, combining as it does a reinforced concrete skeleton and roof structure of Polonceau trusses with large-scale elements such as the symmetrical towers flanking the main section of the building.
Having served many different purposes over the course of its year existence, the building reflects how industry evolved during the 20th century. Before it was used first as a theatre workshop, then as an engine and lamp factory, a production facility for corsets and mattresses, and by the metal and wood industries for — among other things — military purposes.
G Conzen. Renovation work in strengthened the generic, flexible character of the building, while making a clear typological intervention to reflect its contemporary use as an art repository and exhibition space. The spatial characteristics were revealed by removing small fixtures, exposing the skeleton structure and retaining the original staircases and steel windows.
At the same time a modern roof extension where the company lettering used to stand updated the building in a way that clearly expresses its new use while also creating a connection to the city: from the ground the building is visible from far off, from the roof terrace visitors can look out over the urban landscape. Kuehn Malvezzi, founded in Berlin in by the architects Simona Malvezzi and Johannes and Wilfried Kuehn, has become a leader in exhibition and museum space design.
The work of Kuehn Malvezzi architects has been shown in solo and group exhibitions around the world, including at the German pavilion at the 10th International Architecture Exhibition in Venice. Kuehn Malvezzi was awarded the Deutscher Kritikerpreis in Celebrate exclusively in the rooms of an internationally renowned art collection. Entrance is free of charge for children and young people under eighteen, school pupils, students, trainees, the disabled, pensioners, the unemployed and those on social security on presentation of a relevant valid ID as well as members of ICOM and AICA. Public guided tours in English through the current exhibitions on Saturdays, p.
Registration online through our calendar. Free of charge for children and young people under eighteen, school pupils, students and trainees. Barrier-free access to the ground floor of JSC Berlin. The first floor is not suitable for visitors in wheelchairs or for baby strollers access only via the staircase; no lift. In this spirit, it is appropriate that the collection has found a home in the former Czechoslovakian Cultural Institute, a structure that was built in the s and united various functions such as a library, a movie theatre, showrooms, and administration spaces under one roof.
Following the demise of the German Democratic Republic, when the cultural institute was closed, it was used for temporary, mostly cultural programs, yet it was never remodeled, thus making it a rare example of an unadulterated location in Berlin-Mitte which remains true to its original state. Many rooms of various sizes are connected in nested sequences, offering ideal conditions for mounting exhibitions of time-based art, but also required a new system to provide orientation.
These spaces accommodate receptions and circulation. They encourage visitors to linger, to pause during their visit, leaf through the catalogue and orient themselves in the collection before they focus on individual work. This is also where openings and public events are held. The furniture, most of which was designed especially for this site, supports these activities. The white curtain dims and softens the light without darkening the rooms. Instead of making comprehensive structural changes, an additional layer was merely added, thus responding to the requirements of lighting, clear orientation and exterior visibility using one single element.
The curtain gives the building a new identity, without eliminating the original one, rather like a new dress that can be taken off at any time — leaving the building open to change respectively to the collection and for subsequent use. In dialogue with its clients, it strives to develop new convictions. With a variety of projects, ranging from buildings in the art and exhibition sector to living spaces, office buildings and furniture design, the office examines the possibilities of creating new forms of living together and generating new identities.
The collection is thus a complex archive of temporalities, storing passed moments and layers of time that can be technically repeated, in principle an infinite number of times. Sed ultrices ipsum non mattis pharetra. Integer laoreet non felis sit amet pharetra. Integer mollis eget felis non finibus. Nullam nibh mauris, fermentum vitae felis vehicula, aliquam bibendum sapien. In euismod velit vitae neque rhoncus congue. Aliquam luctus, sapien in consectetur cursus, quam urna euismod magna, sed pellentesque massa libero eu lorem.
Aenean rhoncus gravida nisl vel pretium. Nam ac nisl non ipsum vestibulum vehicula vulputate sagittis magna. Aenean est nisl, convallis volutpat tempor ac, tempus ac ante. Class aptent taciti sociosqu ad litora torquent per conubia nostra, per inceptos himenaeos. Fusce rhoncus sodales tempor. Nunc pretium tortor felis, eget cursus magna accumsan a. Etiam eu molestie eros, commodo hendrerit sapien. Maecenas tempus leo ac nisi iaculis porta. Sed sapien tortor, aliquet a velit ut, lacinia molestie velit.
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