Die Ausstellung Around The Island wird ab 25. Februar in Berlin,

im Martin-Gropius-Bau gezeigt.

 

We are happy to announce the exhibition's part II

at Martin Gropius Bau Berlin.

 

Opening February 25th

Michael Hirschbichler 

 

Freitag, 22.1. - 10.3.2016

 

Breitensteinstrasse 45

8037 Zürich

office@abcontemporary.com

 

Spätestens seit Thomas Morus‘ Buch ‚Utopia‘ über die fiktive gleichnamige Insel ist man geneigt in Inseln mehr zu erblicken als topographische Erhebungen im Meer. Die Insel als Nicht-Ort beziehungsweise als Ort jenseits der Grenzen des Bekannten wird zum Gegenbild der Welt, wie sie ist, und zum Symbol der Möglichkeit einer anderen, besseren Ordnung. Die Beschäftigung mit Inseln gerät folglich zu einem Aufbruch in den vieldeutigen Bereich der Unschärfe zwischen Inseln, die existieren, und denjenigen, die imaginiert und ersehnt werden und die sich gleich einer flirrenden Fata Morgana über kargen aus dem Meer aufragenden Felsen erheben. Insbesondere im Mittelmeer lassen sich heutzutage derartige Inseln finden, die zwischen Symbol und Realität fluktuieren und die Sirenen gleich Verzweifelte in überfüllten, kaum seetauglichen Boten anlocken. Obwohl sie im Meer verborgen und schwer erreichbar sind, rücken sie ins Blickfeld als Zeichen für die zentralen Themen unserer Zeit. Sie verwandeln sich in Zerr- und Ebenbilder der Insel Utopia, die aus der Sphäre der Imagination verheissungsvolle Schatten wirft. Es ist dieser Glaube an das bessere Andere, der hier und dort zwischen Afrika und Europa aufscheint um sich bald jenseits der Hafenmolen hinter Stacheldrahtzäunen zu verflüchtigen oder in mehr oder weniger sicherer Normalität aufzugehen. Zwischen Kontinenten und Gesellschaftssystemen, zwischen Hoffnung und Tragödie, zwischen der Welt, wie sie ist, und wie sie sein könnte, wird die Insel zu einem Symbol für das Ganze, zu einem Gradmesser der Gegenwart.

 

Michael Hirschbichlers Arbeiten setzen sich mit existentiellen Aspekten des menschlichen Lebens innerhalb geplanter und gebauter Strukturen auseinander. In seiner zweiten Ausstellung bei AB Contemporary mit dem Titel AROUND THE ISLAND entfaltet er durch die Umkreisung der ‚Insel‘ (Lampedusa, Europa, Utopia) in verschiedenen Medien ein assoziationsreiches Symbolsystem, das durch die Kernzonen der Gegenwart verläuft.

 

Der Film AROUND THE ISLAND (2016) zeigt in einem Streifzug durch Lampedusa neun alltägliche Orte, die mit statischer Kamera jeweils für eine Minute gefilmt wurden. Die handlungsfreien, grösstenteils menschenleeren und zeitlich eng begrenzten Sequenzen rücken normale Orte ins Zentrum der Aufmerksamkeit, deren narratives Potential sich erahnen lässt.

 

Ähnlich verhält es sich auch mit dem Fotozyklus LAMPEDUSA (2015). Das Blau leckgeschlagener Holzkähne auf dem Ödland neben einem Fussballplatz kontrastiert mit winterlich leerstehenden Hotels an einer türkisblauen Küste, vor denen die Mannschaftswägen des Militärs und der Polizei auffahren, mit Stacheldrahtzäunen, nautischen Leuchtsignalen, Strassenschildern, aufgegebenen Industriearealen und Asphaltflächen. Die Bilder bieten eine Perspektive zwischen Alltag und Ausnahmezustand und eröffnen Bedeutungsverweise aus dem komplexen und vielschichtigen Kosmos der Insel.

 

In der Plankarte INSEL (2015) verschwimmen die Grenzen zwischen dem Faktischen und dem Fiktiven. In einer Extrapolation vorhandener Fluchtbewegungen überzieht die Struktur eines an das kenianische Dadaab erinnernden Flüchtlingslagers die gesamte Topographie Lampedusas. Die Insel als Europa vorgelagertes gigantisches Flüchtlingslager, rational geplant und zwischen Humanität und Absurdität situiert, verdichtet auf kritische Weise vorherrschende politische Positionen.

 

In der Zinn- und Blei- Skulptur UTOPIA (2016) wird Lampedusa – anknüpfend an Thomas Morus, Abraham Ortelius und andere – schlechthin zur Insel Utopia erklärt. Die Ambivalenz zwischen dem Erstrebenswerten und dem Abzulehnenden, zwischen Utopie und Dystopie spricht aus der reduzierten metallenen Materialität. 

 

Die ausgewählten Arbeiten aus dem Zyklus WHITEWASHING (2015) thematisieren den medialen Umgang mit den humanitären Katastrophen, die sich um die Insel ereignen. Sie stellen zwischen Vergegenwärtigung und Auslöschung, zwischen symbolischer Erlösung und Verdrängung den Versuch eines Umgangs mit der Wirklichkeit und zugleich das damit verbundene Scheitern dar. Das ‚Weißwaschen‘ erscheint als Akt der Befreiung und Verdrängung, des Entrückens und Vergessens zugleich.

 

Die Skulptur BORDERLINE (2015) präsentiert eine dreidimensionale stählerne Nachzeichnung des befestigten Grenzverlaufs zwischen Ungarn und Serbien im Massstab 1:50‘000. In ihr kommt eine Auseinandersetzung mit materialisierten ideologischen Trennungslinien, mit der Teilung des Territoriums in ein Innen und ein Aussen, sowie mit physischen Grenzen zum Ausdruck, die Enklaven und Inseln in übergeordneten Massstäben schaffen. 

 

 

 

Michael Hirschbichler

geboren 1983 in Graz, Österreich

lebt und arbeitet in Zürich

 

EINZELAUSSTELLUNGEN

 

“Around the Island”, AB Contemporary Zürich, 22. Januar 2015 – 10. März 2016 

„Jenseits der Küste Utopias”, Haus der Architektur, Graz, 3. Dezember 2015 – 22. Januar 2016 

„Toward the Vanishing Points”, AB Contemporary Zürich, Februar-April 2015

„Fragments from Utopia”, Artifact Gallery, New York, 4. - 22. Februar 2015 

„Theatrum Orbis Terrarum”, Galerie Karin Sachs, München, 22. Mai - 19. Juli 2014

„Erlösungsarchitekturen und Verdammungsarchitekturen“, MARIA HIL F, Professur Karin Sander, Zürich, 

23. April – 8. Mai 2013

 

GRUPPENAUSSTELLUNGEN

 

„Die Nacht der Villa Massimo”, Abschlussausstellung der Deutschen Akademie Rom Villa Massimo, Martin 

Gropius Bau, Berlin, Februar 2016 

„Finale”, Abschlussausstellung der Deutschen Akademie Rom Villa Massimo, Villa Massimo, Rom, 

19. November 2015 

„New Generation Festival”, Palazzo Pisani, Lonigo, 2. Oktober – 1. November 2015

„Werk- und Atelierstipendien der Stadt Zürich”, WWHelmhaus, Zürich, 18. Juli – 6. September 2015

„Premio Combat”, Museo Civico G. Fattori, Livorno, 27. Juni – 25. Juli 2015

„Spazi Aperti”, Accademia di Romania, Rom, 12. Juni 2015

„Sommerpräsentation”, Villa Massimo, Rom, 10. – 20. Juni 2015 

„Open Studios”, Ausstellung der Deutschen Akademie Rom Villa Massimo, Villa Massimo, Rom, 26. März 2015

„architecture. What else?“, Kulturtankstelle, Döttingen, 31. Oktober 31. - 7. Dezember 2014

„Periphere Architektur”, Architektur14, Maag Halle, Zürich, 24. - 26. Oktober 2014

„Side effects“, Side effects Kunstraum im Kontext der Art Basel, Basel, 17. - 22. Juni 2014

„Theatrum“, Photobastei, Zürich, 10. - 20. April 2014

„4 Monumente“, Grafik14, Maag Halle, Zürich, 13. - 15. März 2014

„Das Modell vom Modell vom Modell vom – ist die Welt“, Gruppenausstellung, zusammen mit Lukas Geisseler, Thomas Knüsel und MatterLuechinger, Kunstraum –ion+, Zürich, Februar - März 2014

„You are here“, Gruppenausstellung, zusammen mit Lukas Geisseler und Thomas Knüsel, Zollhaus, Luzern, 2013

„there is no there there”, Architektur13, Maag Halle, Zürich, 25. - 27.Oktober, 2013

„Sketch“, Fordham University Center Gallery, Lincoln Center, New York, Februar – März 2013

Cutlog Art fair, mit Galerie Armin Berger Contemporary Zürich, Paris, 2012

Art Bodensee, mit Galerie Armin Berger Contemporary Zürich, Dornbirn 2012

Swiss Art Awards 2012, Ausstellung im Kontext der Art Basel, Basel, 2012

Premio Arte Laguna, Ausstellung der Finalisten, Arsenale Venedig, Venedig, 2012

„Die Stadt und ihr Boden“, New Tech Club, Schlieren, 2010

„Vorstadt Wildnis”, Diplomausstellung ETH Zürich, Zürich, 2007

PREISE UND STIPENDIEN

Deutsche Akademie Rom Villa Massimo, Residenz 2015

Premio Combat, 2015

Werk- und Atelierstipendien der Stadt Zürich, 2015, Finalist

Lisbon Triennale Début Award, 2013, Finalist

Swiss Art Awards, 2012, Finalist

Arte Laguna Preis, 2012, Finalist

Studienstiftung des deutschen Volkes, 2003-2008

SIA-Preis, 2008

Erich-Degen-Stiftung, 2007 und 2008

Sutor-Stiftung, 2005

Cusanuswerk, 2004-2005

 

E-Fellows, 2002-2008

 

 

Since Thomas Morus‘ book ‚Utopia‘ about the fictional island of the same name, islands are not merely understood as topographical elevations surrounded by seas. As a non-place or as a place situated beyond the boundaries of the known, the island turns into a mirror image of the world and represents a symbol of another, better, order. Dealing with islands consequently entails departing into the ambiguous and blurry zone between existing islands and those imagined and desired, which envelop meager rocks, protruding from the sea, like a fleeting mirage. It is notably in the Mediterranean that such islands nowadays can be found, fluctuating between symbol and reality, luring the desperate in overcrowded boats, like sirens. Despite being concealed in wide open seas and hard to reach, these islands come into focus as signs relating to the central topics of our time. They assume the role of distortions and counterparts of the island ‚Utopia‘, casting meaningful shadows from the sphere of the imaginary. Between continents and societies, between hope and tragedy, between the world as it is and the world as it could be, the island seems to be a symbol and an indicator of contemporary reality.

Michael Hirschbichler’s work investigates existential aspects of human life as it unfolds within planned and built structures. In his second solo exhibition at AB Contemporary titled AROUND THE ISLAND he explores various meanings of the ‘island’ (Lampedusa, Europe, Utopia), unfolding a system of associations in diverse media. 

The film AROUND THE ISLAND (2016) is a derive of nine places on Lampedusa, each filmed with a static camera for one minute. The strictly timed sequences, seemingly devoid of human presence and a plot, focus on the mere existence of ordinary sites, only hinting at a narrative that might or might not be associated with them.

The photographic cycle LAMPEDUSA (2015) tries to capture places and their meanings in a similar way. The blue color of shipwrecked wooden boats dumped on a wasteland next to a football ground is contrasted with empty hotels at the shore of a turquoise bay temporarily housing police and soldiers, with barbed wire fences, beacons, street signs, with empty industrial areas and asphalt surfaces. The images offer a perspective between everyday situations and a state of emergency and open up paths of significance departing from and encircling the complex island cosmos.

In the plan map ISLAND (2015) the boundaries between fact and fiction are blurred. Extrapolating past and present refugee movements, a structure resembling the Dadaab refugee camp in Kenya extends across the entire topography of Lampedusa. The island is turned into a gigantic camp off the shores of Europe – rationally planned and situated between humanitarianism and absurdity – critically condensing prevailing political positions.

The sculpture UTOPIA (2016), an interpretation following Thomas Morus, Abraham Ortelius and others, merges the islands of Lampedusa and Utopia into one, maintaining an ambivalence between the desirable and the deniable, between utopia and dystopia.

Selected works from the cycle WHITEWASHING (2015) raise questions concerning the way in which humanitarian catastrophes that happen around the island are being communicated by the media and consumed by the viewers. They represent attempts at dealing with these aspects of reality – between visualization and suppression – eventually doomed to fail. 

The sculpture BORDERLINE (2015) is a three-dimensional drawing of the fortified Hungarian-Serbian border executed in welded steel in scale 1:50’000. It explores materialized ideological lines of separation creating enclaves and islands on a territorial scale. 

 

Punkt Komma Strich: Rita Ernst | Jürgen Paas | Joana Zak Dezember/Januar 2015/16

Ohne Ordnung und Struktur kann sich schlechterdings keine Form bilden. Doch die sogenannten schönen Formen haben immer auch mit einer Brechung von Ordnung zu tun.

 

So entsteht die Schönheit vor allem immer dort, wo eine Vertäuung mit dem Lebendigen erfolgt.

 

Rita Ernst spielt mit Ordnungssystemen, ihr geht es immer auch um ein Ausbrechen aus festen Strukturen. Ausserdem interessierte sich die Künstlerin von Anfang an nicht für die Einfachheit , sondern vielmehr für Komplexität. Dadurch , dass die Formen und Strukturen fortwährend verändert und in neue Zusammenhänge bringt, ist sie diesem Moment auf der Spur, in dem Schönheit entsteht.

 

Dr. Wita Noack, Berlin

 

Rita Ernst 

Jürgen Paas arbeitet in einer Doppelrolle als Maler und Bildhauer, reiht gemalte Flächen in blockhaften Depot-Konstruktionen hintereinander und verdichtet so malerische Flächen zu rhythmisch strukturierten Raum-Objekten.

 

In seinen neuesten, stark farbigen und scheinbar de-komprimierten Arbeiten fügt der Künstler seinen minimalistisch geprägten Objekten subtil rhythmische Elemente hinzu und gibt seinem Werk eine weitere expressive Wendung.

 

Dr. Kathrin Reeckmann

Stern-Wywiol Galerie Hamburg

 

Jürgen Paas

 

Die Bilder zeigen die zeitlichen Abläufe der Aktivitäten der Künstlerin, ihres Mannes und des Kindes an einem bestimmten Tag.

 

Die Aktivitäten des ganzen Tages wurden in vier Teile gegliedert. Jeder Tageszeit entspricht eine intuitiv gewählte Farbe: rot, grün, blau und schwarz.

 

Die Linien in den Bildern zeigen die Bewegung auf. Ein Punkt bedeutet Aufenthalt in einem Zimmer. In einigen Bildern gibt es statt der Punkte Kreise mit verschiedenen Durchmessern.

 

Der Durchmesser des Kreises hängt von der Länge der im Raum verbrachter Zeit ab.

 

Joanna Zak


                                                          4. November - 5. Dezember

                     Keren Cytter

In her 2nd solo show in Zurich,

Keren Cytter will display one new video, Game,

and two older ones: Siren and Ocean.  

 

Her 60-piece drawing installation, HOME, was shown recently

in her solo exhibition at the MCA Chicago.

 

Curated by Olga Stefan

 

With the kind support of Omanut

Verein zur Förderung jüdischer Kunst in der Schweiz.


 

Keren Cytter is best recognized for her experimental video works that illuminate both the realms of the interpersonal and the private spheres. The works of Keren Cytter are often based on templates of literary or cinematic classics, while simultaneously they reflect the influence of the media.  She recently had a solo show at the Museum of Contemporary Art, Chicago.  The drawings from this exhibition will be shown at ABContemporary in November.

 

Keren Cytter - Biography

 

Keren Cytter was born in 1977 in Tel Aviv, Israel, where she has studied visual art in the Avni Institute of Art. After several successful exhibitions in Israel, Keren Cytter was granted a scholarship from De Ateliers and has relocated to Amsterdam. She currently lives and works in New York. Videos of Keren Cytter were displayed in solo exhibitions such as:

 

Frankfurter Kunstverein and Kunsthalle Zurich both in 2005, I was the good was the bad and the ugly,

Kunst-Werke Berlin in 2006, The Victim, MUMOK Vienna in 2007,

Witte de With, Rotterdam in 2008 and at Le Plateau Paris in 2009,

Kunsthaus Basell and Moderna Museet, Stockholm in 2010.

 

Recent Group exhibitions include Making Worlds curated by Daniel Birnbaum at Venice Biennial 2009.

In 2006, Keren Cytter won the Baloise Art Statement Award at Art Basel and in 2009. 

Moreover, Keren Cytter was nominated for the prestigious Preis der Nationalgalerie für junge Kunst in Berlin.

              'Puzzle' Lia Perjovschi 

                 Ausstellung | Juni

                                                                                                 Curated by Olga Stefan

The exhibition Puzzle will present aspects of Lia Perjovschi’s practice spanning the last thirty years, mixing elements from her Contemporary Art Archive with those from her Knowledge Museum in a collage that offers a glimpse into her ongoing research and investigations. 
Lia Perjovschi was born on 11. 04. 1961 in Sibiu, Romania and studied at the Art Academy in Bucharest from 1987-1993. She currently lives in Bucharest and Sibiu. She is the founder and coordinator of CAA /CAA (Contemporary Art Archive and Center for Art Analysis), an organic project that is still in progress (under different names since 1985) and KM (Knowledge Museum based on an interdisciplinary research project from 1999-today). Her activity can be summarized as a journey from her body to the body of knowledge and has been shown in more than 500 exhibitions, lectures, workshops around the world including Tate Modern, Sao Paolo Biennial, Museum of Art Lichtenstein, etc.
“visual cv...annulment...silence...impressions...approach....
I 'm fighting for my right to be different...similar situations...attitude Max...Luca...project...archive...timeline, diagram/mind map...in between...from here-there...Knowledge Museum...” Lia Perjovschi
CAA/CAA 
(Contemporary Art Archive/Center for Art Analysis ) is a contemporary art museum in files focusing on art and its context, art theory and practice, cultural studies and critical theory. It’s a comprehensive (international) database, “a voice-activated” capsule of knowledge. A frame and platform for ideas, dialogue, communication, empowerment , focusing on issues that reflect the current debate in the art field and new cultural theories — about the social and political relevance of art, its autonomy and its changes. 

Under different names, the CAA has been active since 1985 in Lia and Dan Perjovschi’s home in Oradea, in the frame of the experimental studio at the Art Academy in Bucharest (Lia 1987-1993), in Lia and Dan Perjovschi’s artist studio in Bucharest (1990-2010), in national and international museums, galleries, non-profit or artist-run spaces and in the mass media (RO TV1 2000). CAA has been initiated and is maintained by Lia Perjovschi with the help of Dan Perjovschi and supported by various people, institutions and NGOs from all over the world. 
KM
Knowledge Museum is a project in which Lia Perjovschi recycles all her other projects. Like an architect, she presents the model - on a table, on the walls, or in a space, using diagrams from her interdisciplinary research - from books, reviews, the Internet, and objects both mainly in museum stores around the globe from 1999-until today (used for educational purposes). The museum comprises 7 (seven) departments: Earth, Body, Art, Culture, Knowledge, Science, and Universe.

It is not "The Museum“ and the associations we make in relation to it - it is a basic starting point. It is her solution to the question “What we can do (to improve or change)?” Knowledge is Surviving (doing the best you can out of what you have). Knowledge is transforming the "object" in the "subject" of history.

bruno streich’s practice, which lies at the intersection of art, science, engineering and architecture, plays with the “form versus function” binary to engage with the viewer in an examination of space and our place in it.

 

his large-scale sculptures, evoking familiar forms from aerospace engineering, the artist’s former profession, impose themselves spatially but are made of very rudimentary materials, in stark contrast to the sophisticated ones used in actual aerospace designs. 

and yet streich insists on an academic rigor in his fabrication – despite the crafty diy aesthetic, which places his works firmly in the field of art, his sculptures are made to standard light-weight engineering specifications. through this mode of production, the sculptures once again allude to the form versus function duality. 

 

in two satellites, streich moves beyond mere formal allusions to aerospace technology by integrating interactive sound elements into his two sculptures that occupy the space of the gallery.  the visitor is invited to engage with the works by banging on or touching the sculptures, thus activating sounds at different calibers that originate from actual space recordings.

 

 

naoki fuku's oeuvre is a critical approach to the controversy of the human existence.

fuku's new work is titled "We dont know each other but we feel we know each other, you are who I think as I am who you think, my honesty exists only in these canvases and I hope it will make you smile".

it tells the story of his inner life, pains, confessions, truths, regrets on white canvas.

 

"Toward the Vanishing Points"

a solo exhibition by Michael Hirschbichler

 

Vernissage: Thursday, February 12, 2015, 7-10pm

Breitensteinstrasse 45

8037 Zürich

office@abcontemporary.com

044 271 4 888

 

Michael Hirschbichler, born in 1983, works on the threshold of art and architecture. His speculative-critical artistic investigations in different media are tightly interwoven with his theoretical reasoning and writing. Recurring themes in his work are existential aspects of human life as it unfolds within planned spaces and ordering structures. Michael Hirschbichler studied architecture at ETH Zurich and philosophy at Humboldt Universität zu Berlin. He received numerous scholarships and awards, among others from the German National Academic Foundation, Erich-Degen-Foundation and Sutor-Foundation. He was a finalist of the Arte Laguna Prize 2012, the Swiss Art Awards 2012, the Lisbon Triennale Début Award 2013 and is a recipient of the Villa Massimo Award 2015 by the German Academy in Rome. His works are presented in numerous solo and group exhibitions and are published widely.

We see situations that are disturbing and familiar at once, which take form through analytic-manipulative interpretations of the history of architecture. Particular attention is paid to the moment when plans and utopias turn into dystopias, when striving for efficiency and a large-scale design produces absurd and inhumane situations.

A play on the meaning of point, a dot but also a topic, the exhibition deals with our utopias which become mere vanishing points, further and further away, never to be attained but endlessly desired and imagined.

Endless spatial perspectives open up into the distance like a fan in monotonous repetitions, abandoned scenarios spread out among starkly towering monumental structures creating scenarios in which people are inexistent and where built structures and space dominate. 

Michael Hirschbichler considers plans, photo collages and models to be tools of a speculative-critical archeology, by means of which to reveal layers of reality.  Using these media he studies, manipulates and assembles architectural-spatial fragments, forming them into dystopic spaces which are exaggerated to absurd extremes through scaling, repetition, contrasts and alienation.


Ideologically charged architecture and the venues of misdeeds in human history are placed in relation one to another, are counterposed and layered, and their mechanisms for the organization and manipulation of people and societies examined.

 

About... There is no There There

 

Mascontext

                   Blurred Lines 

                                              Opening Thursday, 4.12. 7 pm 


Vlad Nanca’s Portal, a line sculpture that is actually the recreation in wood of a rebar space-saver found in a parking spot on the streets of Bucharest, becomes a comment on the conflict between the self trying to carve out an identity and the anonymity one feels in the “urban jungle”, but also the reality of the need for space in the city that results in these artistic street markings. Bernard Williams places common words and concepts in American society on a scaffold, somewhat reflecting sentence diagrams, thus offering a critique of the faulty infrastructure on which that culture is built. 


Huber.huber walk the line between sculpture and drawing offering new ways of interpretation that belong to neither and both. 

 

Dear Milena Your Franz is a poetic paper work by Sandra Kühne that also balances the sculpture drawing divide, creating volume from the intense scratching-out of a phrase in a letter written by Kafka to his loved one that he later reconsidered and erased. The ambiguity of the gesture of elimination is also thematized – what once was is no longer, but it becomes something else, a process of becoming that relates to the politics of memory.

http://www.sandrakuehne.ch/files/72/thumb_LiebeFelice-Kopie.jpg

http://www.bettinadiel.de/files/gimgs/28_cantonalebern20120013.jpg


group show featuring

 

 

Bernard Williams (Chicago, USA),

Joelle Flumet (CH),

Baltensperger + Siepert (CH),

Pascal Häusermann (CH),

Bettina Diel (CH/D),

Andreas Marti (CH),

Vlad Nanca (Bucharest, RO),

Sandra Kühne (CH),

huber.huber (CH)


Formally, 'Blurred Lines' questions the fragile boundaries between dimensions, with slight missteps in both directions, by moving drawing from the flat plane into space and creating space on the flat plane.But beyond this formal treatment, the works in Blurred Lines reveal third spaces that defy categorization and that comment on social, political, and personal issues. Zones of marginalization that exist outside accepted norms become the topic of exploration for many of the artists in the show. Baltensperger + Siepert, for example. 

Desire-Lines Tibet-Zurich in Desire Lines


Pascal Häusermann’s two-channel video follows the artist in real time as he strolls for more than 70 minutes through various neighborhoods in Paris, marking changes in the urban landscape and its demographic. The path is documented by the video camera, then traced as a line on the map, thus shifting his movement between dimensions.

https://fbcdn-sphotos-c-a.akamaihd.net/hphotos-ak-xpa1/v/t1.0-9/10407286_10154800137460123_3206633648515441620_n.jpg?oh=c537f4eafbc1bc232a3cf649581a5db5&oe=55153922&__gda__=1423233844_589704db700a959f42e43dc7e6c82f29

Joelle Flumet’s digital drawings, Wasteland, show people who reside in marginalized spaces either self-imposed (like the ultra rich who segregate themselves in their opulent communities) or those imposed by society, like the homeless and refugees. Baltensperger+Siepert’s drawings represent the journeys that their immigrant interlocutors made to get from their homeland to Zurich. Complex and dangerous voyages through space and time get flattened to mere points and connecting lines, as maps are – a complete abstraction of the perils of their travels.

http://www.joelleflumet.org/image/dessin/Wasteland/Ile-70x100.gif

http://www.andreasmarti.ch/images/galerien/134_testingatestofatest/134_testingatestoftests3.jpg


Andreas Marti’s metallic line moves throughout the gallery, circumventing other works and architectural details, leading absurdly into a wall where a small motor activates its end, drilling a useless hole – a humorous comment on the grey area between art and craft, form and function, and the artist’s uncertain position in this debate. Hybridia are sticks composed by linking together fragments from different branches to form new wholes, new identities.

Other artists are introspective, but push the limits between public and private selves and expose the tension and overlap between the two. Through her fragile wall-installation of outstretched rubber bands precariously tied together by playdough, Bettina Diel undertakes a personal examination of her own artistic practice and struggle to reach a satisfactory form for her preoccupations. 


Blurred Lines starts with an examination of formal heterotopias but it quickly becomes clear that under the surface the exhibition is an analysis of social and personal ones.

Curated by Olga Stefan






An Infinite Blue

Solo Show

Stefan Constantinescu

Sa. 7.11. - Mo. 4.12.

Robert Desnos

J' ai tant reve de toi

Interview mit Stefan Constantinescu

Cannes 2012

Started in 2009, the ongoing project is titled after a 1970 song by Romanian singer Angela Similea.  The images originate in old Romanian Socialist propaganda photographs that through the artist's rendition, become testaments of a lost period in the artist's youth, that is wrought with nostalgia and longing, while also reflecting a dark moment in history.  

The exhibition will also include several drawings and a video, Dacia 1300: My Generation.

This exhibition takes place in conjunction with the artist's exhibition  at Corner College,I Dreamt of You so Much That...

Stefan Constantinescu is a filmmaker and artist living and working in Stockholm. He works in a multiplicity of mediums including film, photography, artist books and painting. In 2009 he represented Romania at the Venice Biennale with the film Troleibuzul 92. He has exhibited his films and other work in group and solo museum shows throughout Sweden and the rest of Europe.  In 2012 his short film Family Dinner was selected for the competition of the 51st Semaine de la Critique in Cannes, and in 2013 his film Six Big Fish premiered in the international competition Pardi di domani of the Locarno Film Festival.  He is currently working on a feature-length film, Seven Shades of Love, composed of a series of seven shorts portraying the conflict inherent in amorous relationships.

In his stirring 1926 poem, J’ai tant reve de toi, (J’ai tant reve de toi que tu perds ta realite) Robert Desnoslaments the impossibility of real love with the young woman he tries to capture in his dreams. Desnos remains in a state of longing, lost between reality and the idealised image he creates of her, the carnal and the immaterial. He takes refuge in his dreams, the space where he can hold on to her, and as he does, his lover recedes more and more away from reality. Therefore, hope for true connection is futile – the two lovers are but shadows to each other, existing only in the imagination, a third space, or heterotopia to quote Foucault, that mixes reality and fantasy, and allows them to make the impossible possible. 


Much like in Desnos’s poem, the imagination of the characters in Stefan Constantinescu’s three films (of a future seven-film series), Troleibuzul 92, Family Dinner, and Six Big Fish, which in this case is activated through the use of technology, plays a central role to the conflicts and tensions that well up within the relationship of today’s heterosexual couple. And yet, Constantantinescu’s open-ended stories do not cling to the specific events depicted– they reveal larger societal realities, hypocricies, and deformations that force the viewer to question himself and his role as spectator, but also participant, in everyday human dramas. This calling into question of societal structures is an aspect that Jean-Luc Godard considered essential to making films politically today, by ”creating moments of openness and undecidability: moments that also question the structural principles of cinema and the filmer-filmed-viewer contract." 


The exhibition, which in addition to the films also features a photo essay and journal, Northern Lights, revealing private moments, anxieties, and longing typical of the immigrant experience, as well as a pop-up book, The Golden Age, juxtaposing the artist's biography to the history of Romania, his native country, is built as a living room where one hosts friends and relatives, a third space between the public and the private, and yet a bit of both. Here we encounter the artist's most intimate disclosures, transforming us from mere spectator to participant and even more so, a partaker in the artist's life. We are forced to question our role as audience and explore new relationships with art and our environment, an essential element in today's political cinema and art. 

                                       Current Exhibition

Ştefan Constantinescu was born in Bucharest, Romania, in 1968. He lives and works in Stockholm.

STUDIES

1998 Master of Fine Arts, Royal Institute of Art, Stockholm, Sweden
1996 Bachelor of Art, University of Arts, Bucharest, Romania

SELECTED SOLO EXHIBITIONS

2015 (upcoming) lokal_30 Gallery, Warszawa, Poland Curator Agnieszka Rayzacher
2015 (upcoming) Kunstkraftwerk, Leipzig, Germany Curator Olga Stefan
2014 (upcoming) I Dreamt of you so much that…, Corner College, Zürich, Switzerland curator Olga Stefan
2014 (upcoming) Gävle Konstcentrum. Sweden Curator Anna Livion - Ingvarsson
2014 Three Shades of Love, Kalmar konstmuseum Curator: Bengt Olof Johansson, Kalmar, Sweden
2013 Stefan Constantinescu, Göteborgs Konstmuseum, Göteborg, Sweden Curator Johan Sjöström
2012 Troleibuzul 92 and Family Dinner, Film in the White Cube, NorrlandsOperan, Umeå, Sweden Curator Maria Lantz
2012 Troleibuzul 92 and Family Dinner, Art in the Cinema - Moderna Museet, the Mini Cinema, Stockholm, Sweden Curator Catrin Lundqvist
2011 An Infinite Blue, Galerie8, London, UK Curator Audrey Yeo
2009 The Golden Age for Children, Gallery Gal-On Art Space, Tel Aviv, Israel Curator Catrin Lundqvist
2008 The Golden Age for Children, Botkyrka Konsthall, Stockholm, Sweden Curators Joanna Sandell and Miriam Andersson-Blecher
2008 Archive of Pain, The Romanian Cultural Institute of Stockholm, Sweden Producer Giorgiana Zachia
2007 Thanks For A Wonderful, Ordinary Day, Museum of Contemporary Art, Bucharest, Romania Curator Oana Tănase
2006 The Passage, H.arta Gallery, Timisoara, Romania
2006 The Passage, Gallery Posibila, Bucharest, Romania
2004 Dacia 1300 – My Generation, The Museum of the Romanian Peasant, Bucharest, Romania Curator Tom Sandqvist
2004 Dacia 1300 – My Generation, Vector Gallery, Iasi, Romania
2004 Dacia 1300 – My Generation, H.arta Gallery, Timisoara, Romania
2004 Dacia 1300 – My Generation, Malmö Art Museum, Malmö, Sweden Curator Tom Sandqvist
2003 Dacia 1300 – My Generation, ID:I Gallery, Stockholm, Sweden Curator Tom Sandqvist
2000 Archive of Pain, co-authors Cristi Puiu and Arina Stoenescu, Sala Dalles, Bucharest, Romania Curator Tom Sandqvist
2000 Archive of Pain, co-authors Cristi Puiu and Arina Stoenescu, Contemporary Art Center, Vilnius, Lithuania Curator Tom Sandqvist

SELECTED GROUP EXHIBITIONS

2014 (upcoming) Menagerie: Art Not About Love, Elaine L. Jacob Gallery, Detroit, USA Curator Jaime Marie Davis
2014 [silence] – A Holocaust Exhibition, Ludwig Museum - Museum of Contemporary Art, 2014 Budapest, Hungary Curator Katalin Timár
2014 6 big fish - Malmö Konsthall, C-salen, MALMÖ KONSTMUSEUM@MALMÖ KONSTHALL, Malmö, Sweden
2013 Giving Form to the Impatience of Liberty, Württembergischer Kunstverein Stuttgar, Germany Curators Hans D. Christ, Iris Dressler
2013 I Have A Dream - Greek State Museum of Contemporary Art, Thessaloniki, Greece Curator Agnieszka Rayzacher
2013 I have a Dream, Contemporary Art Center in Thessaloniki, Greece Curator Agnieszka Rayzacher
2013 Art Rotterdam’ 13, presentation of Galerie Anita Beckers, Frankfurt, Germany
2012 One Sixth of the Earth: Ecologies of the Image, ZKM | Center for Art and Media Karlsruhe, Germany Curator Mark Nash
2012 One Sixth of the Earth: Ecologies of the Image, Museo de Arte Contemporáneo de Castilla y León, Spain Curator Mark Nash
2012 Memoirs from a Cold Utopia, Tallinn Art Hall, Tallinn, Estonia, Curator Eve Kask
2012 Art Stage Singapore’ 12, presentation of Galerie8, London, UK
2011 Beyond the Crisis, 6 Bienal de Curitiba, Brasil, Curators Alfons Hug and Ticio Escobar
2011 C.O.N.T.R.A.V.I.O.L.E.N.C.I.A.S Artistic practices against the aggression to women, Centre de Cultura de Palma, Spain, Curator Piedad Solans
2011 The Last Analog Revolution, A Memory Box presented within the Romanian Cultural Resolution – documentary at 53 International Art Exhibition-La Biennale di Venezia, Italy, Curators Stefan Constantinescu and Xandra Popescu
2011 Memoirs from a Cold Utopia, londonprintstudio, London, UK, Curator Eve Kask
2011 Vienna Fair’ 11, presentation of Waterside Project Space, London
2011 Moving Image, an art fair of contemporary video art, New York, presentation of lokal_30 Gallery, Warszawa
2011 Washed Out, Konsthall C / Central Tvätt, Stockholm, Sweden, Curators Corina Oprea, Isabel Löfgren, Judith Souriau, Milena Placentile, and Valerio Del Baglivo
2010 Video Zone #5– International Video Art Biennial, Tel Aviv, Israel Curator Chen Tamir, Guest curator Irina Cios
2010 ARTISSIMA 17, Torino, presentation of lokal_30 Gallery, Warszawa
2010 Audience as Subject, Part 1: Medium, Yerba Buena Center for the Arts, San Francisco, USA Curator Betti-Sue Hertz
2010 C.O.N.T.R.A.V.I.O.L.E.N.C.I.A.S Artistic practices against the aggression to women, Koldo Mitxelena Cultural Centre, San Sebastia, Spain, Curator Piedad Solans
2010 Bless my homeland forever, Kunsthalle Exnergasse, Vienna, Austria, Curators Ioana Marinescu and Karoline Mayer
2010 Going Places, Re-thinking Tourism, Gotlands Konstmuseum, Visby, Sweden, Curator Angelica Blomhage
2010 Handlung. On Producing Possibilities, Bucharest Biennale 4, Bucharest, Romania, Curator Felix Vogel
2010 Vienna Fair’ 10, presentation of Waterside Project Space, London
2010 Art Cologne, presentation of lokal_30 Gallery, London-Warszawa
2010 The Seductiveness of the Interval, The Renaissance Society, Chicago, USA, Curator Alina Serban
2010 All that remains… The Teenagers of Socialism, Waterside Project Space, London, England, Curator Maxa Zoller
2010 And the moral of the story is…, Apex Art, New York City, USA curator Zoe Gray
2010 MORALITY: Act III, And the moral of the story is…, Witte de With, Center for Contemporary Art,Rotterdam, Holland curator Zoe Gray
2009 The social critique 1993-2005, Kalmar konstmuseum, Kalmar, Sweden, Curator Martin Schibli
2009 The Seductiveness of the Interval, Romanian Pavilion, 53 International Art Exhibition-La Biennale di Venezia, Venice, Italy, Curator Alina Serban
2009 Dada East? Contextes roumains du Dadaïsme, Tourcoing, France, Curators Zofia Machinicka and Adrian Notz
2009 Portraits of the artists as young artist, Andreiana Mihail Gallery, Bucharest, Romania
2008 The Map: Navigating the Present, Bildmuseet, Umeå, Sweden Curator Jan-Erik Lundström
2008 Periferic 8 – Art as Gift, Biennial for Contemporary Art, Iași, Romania Curator Dóra Hegyi
2008 Dada East? Romanian Context of Dadaizm, Zacheta National Gallery of Art, Warsaw, Polen Curators Zofia Machinicka and Adrian Notz
2008 There and Here, wip:konsthall, Stockholm, Sweden Curator Karolina Pahlén
2007 Dada East? The Romanians of Cabaret Voltaire, Färgfabriken, Stockholm, Sweden Curator Adrian Notz
2006 Dada East? The Romanians of Cabaret Voltaire, Cabaret Voltaire, Zurich, Switzerland Curator Adrian Notz
2006 indirect speech, Kunsthalle Fridericianum, Kassel, Germany Curator Alina Serban
2005 Minnesbilder, Skulpturens Hus, Stockholm, Sweden Curator Viveca Lindenstrand
2005 On Difference #1. Local Contexts – Hybrid Spaces, Württembergischer Kunstverein, Stuttgart, Germany Curators Hans D. Christ and Iris Dressler
2004 Blick 2004, Kunstverein Munich, Germany and Moderna Museet, Stockholm, Sweden Curators Maria Lind, Anna Livion-Ingvarsson, Cecilia Widenheim
2003 Narration in Swedish Contemporary Art, Norrköpings Konstmuseum, Norrköping, Sweden Curator Marianne Hultman
2002 Public Art TransEuropa – Position: Romania, MuseumsQuartier, Quartier 21, Vienna, Austria Curator Susanne Neuburger

SELECTED SCREENINGS, ARTIST TALKS

2014 Friday Lecture on Disruptive Convictions - Stefan Constantinescu, Konstfack, Stockholm, Sweden
2014 I Dreamt of You so Much That..., Dok 18 - Rote Fabrik, Zürich, Switzerland
2014 Malmö Konsthall, C-salen, Malmö, Sweden
2013 Romanian Cultural Centre, London, UK
2010 Museum of Modern Art in Warsaw, Poland
2010 Kuntsi Museum of Modern Art / Plarform, Finland
2010 Kingston University, London, UK
2010 Goldsmiths College, London, UK
2009 Screening of The Passage, Eastside Projects, Extra Special People: Salon, Presented by Viviana Checchia, Birmingham, England
2009 Screening of The Passage and Troleibuzul 92, The Center for Contemporary Art, Tel Aviv, Israel
2006 Screening of The Passage within Politics of Space – conference in the context of the exhibitionOn Difference #2: Grenzwertig, Württembergischer Kunstverein, Stuttgart, Germany, Curators Hans D. Christ and Iris Dressler
2006 Artist talk – parallel event within Chaos: The Age of Confusion, Bucharest Biennial 2, Bucharest, Romania

FILMOGRAPHY

2013 6 Big Fish, Producer ATMO, Stockholm, Sweden
2012 Middag Med Familjen, Producer ATMO, Stockholm, Sweden
2009 My Beautiful Dacia, co-director Julio Soto, Producers The ThinkLab Media, Madrid, Spain and Hifilm Productions, Bucharest, Romania
2009 Troleibuzul 92, Producer Comitetul Central, Bucharest, Romania
2005 The Passage, 62 min. Producer: Stefan Constantinescu
2003 Dacia 1300 – My Generation, 62 min. Producer: Stefan Constantinescu
2002 The Baron, 22.02.2002 (based on a concept by Cristi Puiu), 45 min. Producer: Stefan Constantinescu

WRITER

2014 Viking Line Story, co-writer Xandra Popescu
2014 Dulce de Leche (short)
2014 Prologen (short)
2012 6 Big Fish (short), co-writer Xandra Popescu
2011 Middag Med Familjen (short), co-writer Xandra Popescu
2009 My beautiful Dacia (documentary - fiction), co-writer Julio Soto
2009 Troleibuzul 92 (short)

FILM FESTIVALS

2013 6 BIG FISH, competition Pardi di domani of the Locarno Film Festival, Switzerland
2013 6 BIG FISH, competition Best Swedish Short Award - Göteborg International Film Festival, Sweden
2012 Family Dinner, Kinoforum - Festival Internacional de Curtas Metragens de São Paulo, Brazil
2012 Family Dinner, Melbourne International Film Festival, Australia
2012 Family Dinner, European Film Festival Palic, Serbia
2012 Family Dinner, Transylvania International Film Festival, Cluj-Napoca, Romania
2012 Family Dinner, Semaine de la Critique, Cannes, France
2012 Family Dinner, Göteborg Film Festival, Göteborg, Sweden
2011 Troleibuzul 92, Göteborg Film Festival, Göteborg, Sweden
2010 My Beautiful Dacia, Corona Cork Film Festival, Ireland
2010 My Beautiful Dacia, Annual Margaret Mead Film & Video Festiva, New York, USA
2010 My Beautiful Dacia, Mediterranean Film Festival in Siroki Brijeg, Bosnia and Herzegovina
2010 My Beautiful Dacia, San Francisco Documentary Film Festival, San Francisco, USA
2010 My Beautiful Dacia, Jihlava International Documentary Film Festiva, Prague, Czech Repulic
2010 My Beautiful Dacia, Festival International de Cine Documental de la Ciudat de Mexico, Mexico
2010 My Beautiful Dacia, Medimed Documentary Film Market, Barcelona, Spain
2010 My Beautiful Dacia, Festival de Cine de Pamplona, Spain
2010 My Beautiful Dacia, Iasi International Film Festival, Iasi, Romania
2010 My Beautiful Dacia, Sardinia International Ethnographic Film Festival, Nuoro, Italy
2010 My Beautiful Dacia, Documentarist, Istanbul, Turkey
2010 Troleibuzul 92andMy Beautiful Dacia, Transylvania International Film Festival, Cluj-Napoca, Romania
2010 My Beautiful Dacia, Documenta Madrid, Madrid, Spania
2010 My Beautiful Dacia, Tempo Documentary Festival, Stockholm, Sweden
2010 My Beautiful Dacia, ZagrebDOX, Zagreb, Croatia
2010 My Beautiful Dacia, Trieste Film Festival, Trieste, Italy
2010 My Beautiful Dacia, Astra Film Festival, Sibiu, Romania
2010 My Beautiful Dacia, Montreal World Film Festival, Montreal, Canada
2007 The Passage, Tempo Documentary Festival, Stockholm, Sweden
2006 The Passage, Transylvania International Film Festival, Cluj-Napoca, Romania
2006 The Passage, festivalul cARTfilm, Iasi, Romania
2006 The Passage, Göteborg Film Festival, Göteborg, Sweden
2004 Dacia 1300 – My Generation, 8th Annual Rencontres Internationales Paris/Berlin, Paris, France

TV BROADCAST

2012 Family Dinner, HBO East
2011 My Beautiful Dacia, ADR/MDR (Germany)
2011 My Beautiful Dacia, YLE (Finland)
2011 My Beautiful Dacia, TVR (Romania)
2011 My Beautiful Dacia, Televisio de Catalunya (Spain)
2010 My Beautiful Dacia, SVT (Sweden)
2011 My Beautiful Dacia, Channel 4 (UK)

PUBLIC COLLECTIONS

KIASMA, Helsinki, Finland
Fondation Louis Vuitton pour la creation, Paris, France
Moderna Museet, Stockholm, Sweden
Museum of Contemporary Art, Bucharest, Romania
Malmö Museum of Contemporary Art, Malmö, Sweden

PUBLICATIONS

2013 Stefan Constantinescu, Göteborg Konstmuseum, Sweden
2011 Romanian Cultural Resolution, Contemporary Art in Romania, Hatje Cantz Verlag, Ostfildern, Germany
2009 Stefan Constantinescu, The Romanian Cultural Institute of Stockholm, Labyrinth Press, pionier press, Stockholm, Sweden
2008 The Golden Age for Children, The Romanian Cultural Institute of Stockholm, Labyrinth Press, pionier press, Stockholm, Sweden
2006 Northern Lights, IDEA arts+society, No. 23, Cluj-Napoca, Romania
2003 Dacia 1300 – My Generation, Simetria, Bucharest, Romania
2000 Archive of Pain, pionier press, Stockholm, Sweden

SELECTED ARTICLES

2013 Eskil Larsson "Ștefan Constantinescu på Göteborgs Konstmuseum". Radio P1 (Publicerat: tisdag 24 september kl 08:00 , Kulturnytt)
2011 Richard Unwin, “Romanian project to premiere at Venice”, The Art Newspaper, June 2011, London, UK
2011 Magnus Bons, “På jakt efter invärtesminnet”, Konstperspektiv, Nr 2 May, Stockholm, Sweden
2011 Marianna Liosi, “Stefan Constantinescu”, Drome Magazine, Italy
2011 Chris Bors, “Audience as Subject, Part 1: Medium”, Artforum International Magazine (January), New York, USA
2011 Luisa Etxenike, “Vuelco radical”, El Pais (24.02), Madrid, Spain
2010 Amanda Cachia, “Audience as Subject, Part 1: Public Relations”, Canadian Art (WINTER 2010–11), Toronto, Canada
2010 Kenneth Baker, Chronicle Art Critic, “Audience as Subject: Part I: Medium”, SFGate (9 december), San Fracisco, USA
2010 Michele Carlson “Audience as Subject, Part I: Medium”, Art Practical – Online Magazine (2.6)
2010 RTVE, “CONTRAVIOLENCIAS, Prácticas artísticas contra la agresión a la mujerl”, Metropolis, programa semanal sobre cultura y arte contemporáneo, Madrid, Spain
2010 Richard Unwin, “Iron Curtain project unites European artists from East and West”, The Art Newspaper, Jul 2010, London, UK
2010 Alexander Ferrando, “From Venice to the Renaissance Society”, Flash Art, July
2010 Daniel Tucker, “The Bucharest Biennale 4: Getting Real”, Hart International, June 2010 Sinziana Ravini, “Bukarestbiennalen BB4”, Göteborg_Posten, June
2010 Daniel Tucker, “Truth is Stranger On the Bucharest Biennale 4: Handlung. On Producing Possibilities”, Art-Agenda, June
2010 Jamie Keesling, “The Seductiveness of the Interval at The Renaissance Society”, Chicago Art Criticism, May
2010 Roxanne Samer, “The Seductiveness of the Interval at The Renaissance Society”, Chicago Art Magazine, May
2009 Lynn Macritchie, “Melancholy Giardini: The National Pavilions”, Art in America, September
2009 Catherine Millet, “Venise – Participations nationales”, Artpress, No. 359
2009 Patricia Bickers, Art Monthly, July-August
2009 Barbara A. MacAdam, “Reviews – 53rd Venice Biennale”, Art News, Summer
2009 Astrid Mania, “AUSNAHMEN VON DER SELBSTGENÜGSAMKEIT”, Artnet, Juni
2009 Simona Nastac, “New Media, New Europe”, Eikon – International Magazine for Photography and Media Art No. 63
2007 Sinziana Ravini, “An Archive of Pain in the Palace of Oblivion”, Site No. 21
2007 Alina Șerban, “Dada East? The Romanians of Cabaret Voltaire”, Flash ArtNo. 258
2007 Simona Nastac, “Ștefan Constantinescu”, Flash Art No. 256
2006 “Focus Romania”, Flash Art No. 251
2005 Ulrika Stahre, “Så kort är ett liv – och så långt”, Aftonbladet 24 November
2004 Susanne Neuburger, “Ștefan Constantinescu: Dacia 1300 – My Generation”, Springerin No. 3
2004 Martin Schibli, “Med rumänsk folkbil till det förflutna”, Helsingborgs Dagblad
2004 Jelena Zetterström, “Jelena Zetterström ser Ștefan Constantinescu”, Sydsvenskan 30 March
2003 Andreas Engström, “Centraleuropeisk ‘professionalism’ i den svenska idyllen?”, Nutida Musik No. 4
2003 Milou Allerholm, “Framtidens bil”, På stan Dagens Nyheter 31 October
2003 Milou Allerholm, “Konsten att berätta”, Dagens Nyheter 31 October
2003 Cristina Karlstam, “Berättelser i ung svensk konst”, Uppsala Nya Tidning 24 October
2003 Bo Borg, “Konsten som berättar”, Norrköpings Tidningar
2003 Ulrika Stahre, “Tomheten vinner”, Aftonbladet 4 November
2003 Pauli Olavi Kuivanen, “Konsten har blivit mer tillgänglig”, Norrköpings Tidningar 24 October
2003 Måns Hirschfeldt, “Globala vyer”, Bildbyrån, P 1, Sveriges Radio 1 December

SELECTED GRANTS

2011 Stockholm Kulturstipendium
2009 The Swedish Arts Grants Committee: Two-Year Working Grant
2008 Media Desk Broadcast Grant for My Beautiful Dacia, co-director Julio Soto
2008 The Swedish Arts Grants Committee Project Support for The Golden Age for Children
2007 Romanian National Film Board Grant for My Beautiful Dacia, co-director Julio Soto
2004 The Swedish Arts Grants Committee Project Support for The Passage
2004 The Swedish Arts Grants Committee: Two-Year Working Grant
2004 The Swedish Arts Grants Committee Project Support for Dacia 1300 – My Generation
1999 The Swedish Arts Grants Committee Project Support for Archive of Pain
1999 The Swedish Arts Grants Committee: Two-Year Working Grant

SELECTED PRIZES

2010 Jury Award “Best International TV Documentary” for My Beautiful Dacia at The International Documentary Film Festival of Mexico City, Mexico
2010 Second Prize, jury award for My Beautiful Dacia, Documenta Madrid, Spania

                                         Soundtracks

                                         Neue Arbeiten 

                                         Jürgen Paas (D)

                                         Eröffnung Freitag, 10.10.2014

                                         Artist will be present

                                         Catalogue available

                                       Upcoming Exhibitions

                                         Stefan Constantinescu

                                         Paintings, Objects, Film

                                         November 2014

                                       Past Exhibitions

                                         Season Opening

 

                                       Showtime

                                         Video art by international artists

                                         August 30-September 24

                                         Vernissage: August 29, 7-10pm

 

                                         More info coming soon

                                       Fake Fuko

                                         Karl Karner | Linda Samaraweerová | Royl Culbertson

                                         Opening Thu 15th of May - 6 pm - Performance approx. 7 pm

                                         Continues from Fr. 16th of May - 5th of July

Press Review
Karner
Samaraweerová
PRESSESPIEGEL .pdf
Adobe Acrobat Dokument 3.7 MB

 

 

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The tyranny of the selfie

I feel I know you as you feel you know me,

but my honesty does exist only on the canvas and I will show you

 

There's my honest mind of whom I'm fond, who lives most of the time in my deepest but occasionally comes out of the dark to be seen. If you want to take my photograph, well and good, but if you want to take your own photograph with me as incidental curiosity, I am not having any.

 

It is because the more I advance, the more I decline, you will never see me except of my expression on the canvas….there are the ravages of age, the incursions of melancholy, the confessions, the lies, the guilts and even the psychology of self-obsession itself, but commonly the selfie performs a less self-critical function, putting the self at the centre of everything we see, marking the landscape with our faces, as though the only possible interest of the outside world is that we're in it. Let's do more interesting and honest.

 

This is one of the first justifications of all art - that it liberates us from the tyranny of being who we always are, seeing what we usually see, into the exhilaration of "wild surmise". We might read to find ourselves when we are young, thereafter we should reveal to lose the self we found because you are often not you.


Naoki Fuku, 2015

Punkt Komma Strich

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