Schlagwort-Archive: Alexander Bühler

Upcoming: shaped by ambition

Blyth Gallery, Imperial College, London

Level 5 Sherfield Bldg Imperial College

Exhibition Rd, London SW7 5NH

United Kingdom

Private view Tue 22. November 2016 from 6 – 8.30 pm.

 

The works are on display from 23. Nov – 6. Jan 2017.

Mon – Sun 9 am – 9 pm. The college will be closed from 24. Dec 2016 – 2. Jan 2017.

 

shaped by ambition

 

Blyth Gallery cordially invites you to the group show  ‘shaped by ambition’.

The exhibition focuses on the intertwined connections between fine arts and technology.

The term technology origins from ‘téchne’. It’s meaning in old greek is broad. It includes not just tools and machinery as the term suggests today but also implies a sense of methodology – a structured way of how to accomplish an ambition.

Humans are aspirational animals: we have always had the desire to shape the world according to our wishes.  – But not everyone desires the same. Even my feelings towards my own motivations may be inconsistent from time to time. The exhibition ‘shaped by ambition’ is not about ambition but about the inherent friction of ambition.

In the last century mainly in the advent of the ‘digital revolution’ when personal computers, internet and mobile phones became widely available in the 1990s, artists believed that these new technologies would have a massive impact on production and perception of art work. Today some 20 years later the discourse in the arts has changed from ‘new-media-art’ to ‘post-digital-aesthetics’. This means not just experimental play but scrutinising the naïve utopian ideas associated with technological progress and digital technologies.

The presented artists apply ‘technology’ in a highly subjective way. Sometimes to link towards current socio-political conditions, sometimes to experiment with what happens if technology is turned against its initial purpose and to discover the beauty of system immanent glitches.

The participatory printing series of Christoph Borowiak relates to the question of when reproduction becomes an original. In his sculptural work Alexander Bühler points out digitally produced glitches, through a series of replicas.  Zachary Eastwood-Bloom employs digital technology in relation to historical artefacts. Through digital embroidery Henry Hussey enhances the history of second hand fabrics. Dirk Krecker is interested in the question what kind of aesthetics a certain technology can produce. He frequently uses typewriters to create his drawings. Line Krom manually re-works immaculate industrial produced canvas and hints on the conditions of production of art. In reworking analog photographs on the computer Jens Lay alters the image until the factual information is lost. Eleanor Morgan uses print, sculpture and spider silk to examine technologies of making across species.

International Mail Art Exhibition Fundamental Ephemeris II at the Exhibition hall of the Goethe University Frankfurt

From Tuesday July 14th to Friday July 17th 2015 the international mail art exhibition Fundamental Ephemeris II took place at the Exhibition hall of the Goethe University Frankfurt at the Department of Art Education. 30 artists from Europe, USA, Asia and Africa were invited to send their works by mail to the exhibition space. The drawings, paintings, photographs, sculptures and video works were all kept within the format of 21 x 29,7 cm (Din A 4), small enough to be sent by mail.

The exhibiting artists were Faris Barakat, Khaled Barakeh, Florence Bechu, Alexander Bühler, Marina Cerea, Linda Cunningham, Robyn Doty, Carolyn Flood, Raul Gschrey, Jutta Heun, Won-Seok Hong, Yoonjung Kim, Wolfgang Klee, Dirk Krecker, Line Krom, Kerstin Lichtblau, Llobet & Pons, Mona Löffler, Kate Mahony, Rhea O’Neill, Pirjo Pulkkinen, René Schohe, Susan Sluglett, Annegret Soltau, Mamadou Touré aka Béhan, Annika van Vugt, Friederike Walter, Max Weinberg, Bas van Wieringen and Tammy Wolsey

In 2013 my partner Jutta Heun and me initated the Mail Art Project “The Magic Cube” in 2013. Curious to find out what the informal exhibition format would have to offer in the area of globalisation and e-mail. (There will be some reflections on that topic in the catalogue Fundamental Ephemeris accompanying the exhibition. Going to be published by the end of August 2015.) In September of the very same year we organised our first mail art group show with works of 32 international befriended artists at the Bronx Art Space in New York. Friends from Europe and the Americas send their works to New York. The art works were on display from 1st to 14th of September 2013. (Further information here). Now two years later with the support of the Department of Art Education and Prof. Dr. Adelheid Sievert head of the Alumni Association of the Department Jutta Heun and me received the opportunity to organise another group show inviting art practitioners from around the globe to present their works at the Exhibition Hall of the Goethe University Frankfurt.

Like in the first show “Fundamental Ephemeris” the exhibtion’s theme is “Time” in a very broad sense. The submitted works deal with the topic in various ways. Following I will give a few examples. The relationship between the photographic image and time became quite a big aspect of this exhibition. Images in a sequence can form to a moving image which we all know from the cinema. Image in a sequence is the topic of Pirjo Pulkkinen’s work “Aika Liikeh” (2015). Faris Barakat presented excerpts of his image archive of the Israeli Westbank Barrier. He shot his photographs for eight years in a row, each year between 2005 to 2013. Khaled Barakeh withholds the image from the viewer – no one except the artist himself knows what depiction is hidden behind the cryptic code of the gallery note. An artist embracing the moment is Mamadou Touré aka Behan, who is based in Dakar while travelling through Frankfurt captured precious and fragile moments of live and joy.

The reoccurring of death in life is also an important aspect of the exhibition, Alexander Bühler quotes the “Danse Macabre” of the Mexican Day of the Dead, Carolyn Flood reflects in her very personal work on the relation between mother and daughter, which she considers as “ties which can produce the feeling that her life spreads out through generations.“ (C.F., 2015). Florence Bechu’s poetic video work “Le Dernier Soupir“ caputures the last breath.

Either as an ongoing orgiastic phantasy or terrifying never ending nightmare one could describe the works of Max Weinberg, Wolfgang Klee and Annegret Soltau.

In contrast Bas van Wieringen reflects on the postitiv aspects of the “what happend if” in his video “Possibilities”.

From different perspectives the artists Yoonjung Kim, Line Krom and Marina Cerea take repetition as an agglomeration of time into account.

René Schohe focus on the ephemeral and immediate. His work “Sound Schnecke (Sound Snail) (2015)” is sound responsive to it’s surrounding. Dirk Krecker’s retro-like typewriter images visually recall a pre-computer or maybe an early DOS-era. Both artists Dirk Krecker and René Schohe also work with sound. On Friday night René Schohe, Philipp Russeger and Peter Fey presented their sound project Messy Brothers fusing electronic avant-garde, club music and classic cello. They were followed by Dirk Krecker and his collaborator Martin Bott, who together form Monorain. They presented live-electronic. Hardware only. No presets.
F.E.II Catalogue

A catalogue featuring the art works of 60 artists presented in both shows will be available end of August 2015. Texts by Aline von der Assen and Jutta Heun. Art works by Geza Adasz, Faris Barakat, Khaled Barakeh, Walli Bauer, Florence Bechu, Christoph Borowiak, Alexander Bühler, Marina Cerea, Linda Cunningham, Eric Decastro, Robyn Doty, Sibylle Feidt, Carolyn Flood, Aleksandra Frankowska, Charles Geiger, Raul Gschrey, Dede Handon, Jutta Heun, Cordula Hofmann, Dieter Hoffmeister, Max Holicki, Ina Holitzka, Won-Seok Hong, Yoonjung Kim, Wolfgang Klee, Gudrun Klöckner, Eva-Maria Kollischan, Dirk Krecker, Line Krom, Jens Lay, Kerstin Lichtblau, Monika Linhard, Llobet & Pons, Mona Löffler, Nestor Madalengoita, Kate Mahony, Bernd Metz, Loizos Olympios, Rhea O’Neill, Max Pauer, Anja Priska, Zeesy Powers, Pirjo Pulkkinen, Anke Röhrscheid, Chris Shaw, Eva Scheuter, René Schohe, Susan Sluglett, Annegret Soltau, Wang Ip Sszto, Astrid Stricker, Mamadou Touré aka Béhan, Annika van Vugt, Friederike Walter, Max Weinberg, Eva Weingärtner, Birgitta Weimer, Bas van Wieringen Tammy Wolsey und Maha Zarkout.

You will find some more details and images in this interview of Günther Michels (German only) http://www.feinripp.net/behind-the-scenes/mail-art-fundamental-ephemeris-ii/

Mail Art Ausstellung Fundamental Ephemeris II

The Magic Cube

c/o

Ausstellungshalle der Goethe Universität Frankfurt

Institut für Kunstpädagogik

Sophienstr. 1-3

60487 Frankfurt am Main

 

// Fundamental Ephemeris II  

Internationale Mail Art Ausstellung

 Dienstag 14. Juli 2015, Vernissage 19 bis 21.30 Uhr

Performance (von C. Kube-Druener und W. Klee ), 19.30 bis 19.45 Uhr  

Mittwoch 15. bis Freitag 17. Juli 2015, geöffnet von 11 bis 19 Uhr  

Freitag 17. Juli 2015 Catalogue Launch&Live Concert / Electronic 20 bis 22 Uhr

Messy Brothers (P. Fey, R. Schohe, P. Russeger) Monorain (M. Bott, D. Krecker)

Die Mail Art Initiative „The Magic Cube“ freut sich die Gruppenausstellung Fundamental Ephemeris II ankündigen zu dürfen. 29 internationale Künstlerinnen und Künstler zeigen Arbeiten zum Thema Zeit. Die Malereien, Collagen, Zeichnungen, Skulpturen und Video-Arbeiten entsprechen alle dem Format 21 x 29,7 cm (Din A 4) – gerade so groß wie ein Standardbrief, der mit der Post verschickt werden kann.

Teilnehmende Künstlerinnen und Künstler Faris Barakat, Khaled Barakeh, Florence Bechu, Alexander Bühler, Marina Cerea, Linda Cunningham, Robyn Doty, Carolyn Flood, Raul GschreyJutta Heun, Won-Seok Hong, Yoonjung Kim, Wolfgang Klee, Dirk Krecker, Line Krom, Kerstin Lichtblau, Llobet & Pons, Mona Löffler, Kate Mahony, Rhea O’Neill, Pirjo Pulkkinen, René Schohe, Susan Sluglett, Annegret Soltau, Mamadou Touré aka Béhan, Annika van Vugt, Friederike Walter, Max Weinberg, Bas van Wieringen und Tammy Wolsey

The Magic Cube ist eine Initiative der Frankfurter Künstlerinnen Jutta Heun und Aline von der Assen.

The Magic Cube

c/o

Exhibition hall of the Goethe University Frankfurt

Department of Art Education

Sophienstr. 1-3

60487 Frankfurt am Main

 

// Fundamental Ephemeris II  

International Mail Art Exhibition

Tuesday July 14th 2015, opening 7 to 21.30 pm

Performance (by C. Kube-Druener and W. Klee ), 7.30 to 7.45 pm  

Wednesday July 15th to Friday 17th 2015, open 11 am to 7 pm  

Friday July 17th 2015, Catalogue Launch & Live Concert / Electronic 8 to 10 pm

Messy Brothers (P. Fey, R. Schohe, P. Russeger) Monorain (M. Bott, D. Krecker)

Fundamental Ephemeris II is an exhibition by the mail art initiative “The Magic Cube”. A group of 29 international artists will show works referencing time. Each drawing, painting, photography, sculpture and video has the format of 21 x 29,7 cm (Din A 4), small enough to be sent as standard letter by mail.

Exhibiting artists Faris Barakat, Khaled Barakeh, Florence Bechu, Alexander Bühler, Marina Cerea, Linda Cunningham, Robyn Doty, Carolyn Flood, Raul GschreyJutta Heun, Won-Seok Hong, Yoonjung Kim, Wolfgang Klee, Dirk Krecker, Line Krom, Kerstin Lichtblau, Llobet & Pons, Mona Löffler, Kate Mahony, Rhea O’Neill, Pirjo Pulkkinen, René Schohe, Susan Sluglett, Annegret Soltau, Mamadou Touré aka Béhan, Annika van Vugt, Friederike Walter, Max Weinberg, Bas van Wieringen and Tammy Wolsey

The Magic Cube is a Mail Art initiative founded by the Frankfurt based artists Jutta Heun and Aline von der Assen.

Öffentliches Programm – Eintritt frei      

Dienstag 14. Juli 2015

Ab 19.00 Uhr Vernissage

19.30 bis 19.45 Uhr PERFORMANCE: EIN WALK ABOUT, 2015

Die Performance „Ein Walk About“ (2015) thematisiert das Gehen, das Weggehen, das Unterwegssein – Szenarien, die wechselnd aus der Gegenwart, der Vergangenheit oder der Zukunft zu sein scheinen. (Texte Cornelia Kube-Druener, Regie Wolfgang Klee)

Mitwirkende:     Wolfgang Klee, Cornelia Kube-Druener, Clemens Wolfart

Inspizientin:       Sonja Mlynarska      

Donnerstag 16. Juli 2015

16.00 bis 18.00 Uhr TALK AND Q&A „INTERNATIONALE KÜNSTLERKOOPERATIONEN“ – gemütlich bei Kaffee und Kuchen

Jutta Heun wird von ihren bisher realisierten internationalen Künstlerkooperationen berichten. Anschließend Q&A zur aktuellen Mail Art Ausstellung von Jutta Heun und Aline von der Assen

Freitag 17. Juli 2015 20.00 bis 22.00 Uhr CATLOGUE LAUNCH UND LIVE CONCERT / ELECTRONIC MESSY BROTHERS UND MONORAIN

Messy Brothers Die Messy Brothers sind ein Trio aus Frankfurter Musikern, die aus verschieden Bereichen der Musik kommen. Bei Ihren Konzerten fügen sie unterschiedliche Einflüsse von elektronischer Avantgarde, über Clubmusik bis zu klassischem Cello, zu einem neuen und unverwechselbaren Sound zusammen. Peter Fey : Synthesizer, René Schohe: Cello/ E-Cello, Philipp Russeger: Synthesizer

monorain u+003 wavefeeld//#capturoutine@deafstar live-electronic. hardware only. no presets. martin bott & dirk krecker

Catalogue Launch Feier der Veröffentlichung des Katalogs Fundamental Ephemeris. Dieser Katalog fasst die beiden Mail Art Ausstellungen Fundamental Ephemeris I (BronxArtSpace, New York, 2013) und Fundamental Ephemeris II (Ausstellungshalle der Goethe Universität, Frankfurt, 2015) zusammen.

Textbeiträge von Aline von der Assen und Jutta Heun

Kunstwerke von Geza Adasz, Faris Barakat, Khaled Barakeh, Walli Bauer, Florence Bechu, Christoph Borowiak, Alexander Bühler, Marina Cerea, Linda Cunningham, Eric Decastro, Robyn Doty, Sibylle Feidt, Carolyn Flood, Aleksandra Frankowska, Charles Geiger, Dede Handon, Jutta Heun, Cordula Hofmann, Dieter Hoffmeister, Max Holicki, Ina Holitzka, Won-Seok Hong, Yoonjung Kim, Wolfgang Klee, Gudrun Klöckner, Eva-Maria Kollischan, Dirk Krecker, Line Krom, Jens Lay, Kerstin Lichtblau, Monika Linhard, Llobet & Pons, Mona Löffler, Nestor Madalengoita, Kate Mahony, Bernd Metz, Loizos Olympios, Rhea O’Neill, Max Pauer, Anja Priska, Zeesy Powers, Pirjo Pulkkinen, Anke Röhrscheid, Chris Shaw, Eva Scheuter, René Schohe, Susan Sluglett, Annegret Soltau, Wang Ip Sszto, Astrid Stricker, Mamadou Touré aka Béhan, Annika van Vugt, Friederike Walter, Max Weinberg, Eva Weingärtner, Birgitta Weimer, Bas van Wieringen Tammy Wolsey und Maha Zarkout

///Opening group show ona i ja wahlverwandtschaften // Galeria OFF Piotrkowska///

Group Show

ona i ja

wahlverwandtschaften

Alexander Bühler, Keren Cytter, Aleksandra Frankowska, Agnieszka Kołek, Ola Kozioł, Line Krom, Astrid Stricker and Stefanie Trojan 06 September – 18 September, 2014 ///Galeria OFF Piotrkowska// ul. Piotrkowska 138/140// 90-062 Łodź, Polska///

DSC_0174 Aline von der Assen curator of the show gave an introduction into ona i ja wahlverwandtschaften for the opening on Friday 5 September 2014. „… The subtitle Wahlverwandtschaften (Elective affinities) is a term borrowed from physical chemistry, which became a winged word after Goethe’s iconic novel Wahlverwandtschaften from 1809. This term expresses relationships with close friends or soul mates – relationships that are not created by family bonds but by choice. In the novel Goethe applies the metaphor of chemical substances forming compounds or resisting decomposition on human relationships. He uses the chemical equitation ab + cd → ac + bd to illustrate the relationships between his protagonists, explaining that couple ab meets couple cd and they form new matches ac and bd. Goethe’s metaphor applying mathematical equitations on social relations raises the question if kinship could be as predictable and calculable as chemical reactions. Today this idea doesn‘t sound outlandish to us as a lot of information about our habits, preferences, lifestyle and social/economical situations is produced and collected online. This not just happens passively, when browsing websites or adds on the internet, but often we actively upload our data when using apps like Endemondo, ,the Personal Trainer for your smart phone‘, SleepBot, ,the wakeApp, that logs your sleep, tracks movement and sound, and wakes you up at the best time each day‘ or Dating Apps like Tinder and Happn, which are supposed to ,help you to find people you have crossed paths with‘. So to which extend are human relationships calculable and predictable through mathematic formulas and computer algorithms? In Goethe’s story the chemical equation as symbolic representation proofs wrong: human passion and guilt get out of control and mar the clear connections of science and math. Two protagonists die broken hearted, the other two feel guilty and lack of happiness. Contemporary artists too deal with predictability and uncertainty of love and live. They use experimental set-ups to analyse relationships. Or they deconstruct culturally shaped images of ephemeral encounters and intimate relationships, images and ideas, which are viral in the media and advertisement. Tonight New York based video artist Keren Cytter presents her new video ,Siren‘. For her films Cytter employs aesthetics of amateur home movies and video diaries. Her video works blend fictional and non-fictional narrative and imagery of the media as presented in movies and soaps. Her narratives often appear scattered, fragmented and looped to highlight the way media strategies work and shape our social reality. ,Siren‘ is dealing with the stereotype of a love-murder-movie: two lovers killing the wife/husband. In ,Siren‘ a woman employs her lover to kill her boy friend but eventually her lover turns against herself too and kills her in mania.

Zürich based artist Alexander Bühler presents a wall installation assembled of photos and texts. Referring to the image of the artist as flaneur, (visual) poet, scholar and dandy, strolling the touristy, neon lit night clubs in Bangkok and Fukuoka waiting for personal and random encounters, ready to consume and to be consumed. „The thing about traveling is that there are so many things you don‘t understand, and you will always end up in imagery worlds.“ is what Bühler comments on his new work ,The Journey‘. His blurred photographs and fragmentary texts communicate the aesthetics of being permanently on the move. Meeting random people and bringing different stories together.

German artist Line Krom deals with the supporting system in the gallery space, it‘s institutional laws, regulations, structures, architectural and legal frame and the people that keep the space running (workers and audience). She quotes administrative and hanging systems with their specific aesthetics of normative structures. In updating the discourses on minimalism and Institutional Critique Krom demonstrates interest in the visual and cultural heritage of this influential period and its relation to contemporary visual and political culture. For ,Dimensions Variable‘ Krom hires young sleek model-esque men to hold her minimalistic installation in place. They become an integral part of the installation itself, because it is only while they are in place and holding the works that the composition is whole. Line Krom’s work is a fragile system and once the agreed time is up the installation collapses.

Agnieszka Kolek a Polish artist and political activist based in London focuses on human relations, their complexity and interrelations. She moves from a microscopic view of one to one human relations to a wider one, where society chooses how to react to political events. She is particularly interested in human motivations behind ‘willful blindness’.

Aleksandra Frankowska, a Lodz based painter, who is present tonight, is working from direct observation. In the painting process she focuses on the overlooked and ordinary. In her new work Frankowska approaches observation as aesthetic discourse of painting through the interaction with her students. She gives instructions to them and observes what and how they perceive. She applies these records in her own painting process. In employing other people in the production process of her work Frankowska touches on to current aesthetic practises found in participatorial and socially engaged art. These practises follow up a post-structuralist discourse in art, abolishing the idea of ,the authentic‘, and the authoritative artist by including different ,points of view‘ into the production of art work.

Participation and communication are an important topic too for another Lodz based artist present tonight, Ola Koziol. The performance artist presents her new piece ,Ola&Jola‘ in which the artist is singing a duet with her cat. The work comes across as humorous. – Though what applies for ancient fables applies to their modern counterparts as well: Animals represent humans and present human interactions in disguise. While it is cute and funny to listen to, fables always have a serious concern underlying. In crossing the possible ways of communication between human and beast Koziol’s piece evokes mutual dialogue and proposes equally respect for one another. Her work leads to the moral lesson: „ Global crises: economic, ecological and a crisis of consciousness and meaning (spiritual exhaustion) is a result of our lack of respect for ourselves and for the nature… Each of us has only one life. Every gesture, word, deed proper on our surroundings. Everything is intertwined.“ (Interview with Ola Koziol, 2014) For more images and the video of ,Ola&Jola‘  see: http://olakoziol.blogspot.de/2014/10/ola-i-jola.html

While Koziol gives her cat human like qualities, Frankfurt based artist Stefanie Trojan irritates and disgusts the visitors of her show at Kevin Kavanagh Gallery, Dublin in 2005 with her animalistic behavior. Without any warning or any other word the artist approaches the gallery visitors and sticks her nose into the arm pit of strangers. Tonight we can watch the video documentation of that performance in safe distance. No one will come and sniff at our intimate body parts transgressing our borders of privacy and intimacy. We feel safe and we can even laugh as observers of Trojans grotesque inquiry of social norms and values. Trojan questions civilised behaviour. She points out on the proportions of regression and progression, both are the sides of the same medal: regression is essential part of progression, opposing and violating social norms and structures have always been integral part of artistic practise and can be interpreted as opportunity to start all over again. Watch Stefanie Trojan’s Kontaktaufnahme

Berlin based artist Astrid Stricker presents isolated protagonists in her recent drawings. Lonely people are wondering through suggested city scapes. The architectural fragments, blending partly with the figures. The outline blurs the barrier between building and human body. Rain, water floods and wind gusts create even bigger disorder and the whole composition describes a chaotic co-existence. Animism, is about the fantasy of (inanimate) objects being living entities which possess a soul. Interpreted by psychoanalysis animism describes an earlier stage of development through childhood, while for adults this condition is defined as primitive and pathologic. Both states form the opposition of control and predictability.

So what is to gain of formulas and algorithms of social patterns from the artist’s point of view? Art has many different approaches. Contemporary art includes the audience and invites the viewer to create their own interpretation of the scenario. As Roland Barthes claims in ,the death of the author‘, the opinion of the creator is just one out of many possible interpretations. Art opposes and deconstructs the idea of predictability of social relationships. This stands in harsh contrast to contemporary societies desire and ideal of calculability for the many inevitable contingencies of live in general. When I tell my exhibition proposal to a friend working as an associate professor in computing sciences, he laughs at me and says: Well, even in mathematics and computing sciences it is often more efficient and easier to go for the trial and error route instead of developing a formula for a specific problem.“ (Taken from Aline von der Assen’s opening speech on Ona I Ja Wahlverwandtschaften, 5. 9. 2014) ona i ja wahlverwandtschaften is running from 06 September – 18 September 2014 at Galeria OFF Piotrkowska, ul. Piotrkowska 138-140, 90-062 Łodź. Galeria OFF Piotrkowska is open from Mon – Sun  12:00-19:00 and on appointment.  Pracownia OKO developed the gallery program for ona i ja wahlverwandtschaften. The participation in the program is free. Booking is required. Further information www.oko.edu.pl Images by the courtesy of the artists Alexander Bühler, Keren Cytter, Aleksandra Frankowska, Agnieszka Kołek, Ola Kozioł, Line Krom, Astrid Stricker, Stefanie Trojan and photographer Michał Skrzecz.

/// Opening @ Galeria OFF Piotrkowska „ona i ja – wahlverwandtschaften“

ona i ja

wahlverwandtschaften

Alexander Bühler, Keren Cytter, Aleksandra Frankowska, Agnieszka Kołek, Ola Kozioł, Line Krom, Astrid Stricker i Stefanie Trojan

06 września – 18 września, 2014

Wernisaż: 5 września,  2014, godz. 19:00

 

///Galeria OFF Piotrkowska// ul. Piotrkowska 138/140// 90-062 Łodź, Polska///

 

Godziny otwarcia: Pn – Nd  12:00-19:00 oraz po umówieniu telefonicznym

Kurator: Aline von der Assen

Koordynator: Aleksandra Frankowska-Plewka

Program edukacyjny towarzyszący wystawie: Pracownia OKO, konieczna rezerwacja

T                + 48 790 607 786, + 48 531 400 882

E                pracownia@oko.edu.pl

W               www.oko.edu.pl

 

‘Ona i ja’ to ekspozycja zgłębiająca sposoby, na które artyści radzą sobie z kulturowo ukształtowanymi obrazami społecznych interakcji. Jak sugeruje podtytuł wystawy temat nadbudowany jest na koncepcji elective affinities (niem. Die Wahlverwandtschaften), pojęcia zapożyczonego z chemii fizycznej. W swojej uznanej powieści pod tym samym tytułem (w Polsce ukazanej pod tytułem “Powinowactwo z wyboru”), Goethe stosuje metaforę substancji tworzących związki chemiczne lub opierających się rozkładowi w odniesieniu do związków międzyludzkich. Czy jest tak jak sugeruje Goethe? Czy romantyczne relacje i więzi między ludźmi mogą być przewidywalne i obliczalne, jak chemiczne reakcje?

To w jaki sposób postrzegamy społeczne interakcje i relacje jest kształtowane przez normy i konwencje naszego zeitgeist. W neoliberalnym świecie gospodarki rynkowej, siatki  i relacje społeczne są w dużym stopniu widoczne, oceniane, racjonalizowane, stają się towarem. Inżynieria społeczna oraz oprogramowanie, z którego korzystają portale randkowe ukazują jak trafnie koncepcja ta może być zastosowana w odniesieniu do współczesności. Komputerowe algorytmy oceniają i katalogują informacje na nasz temat, aby dopasować nas do usług i produktów. Nasza historia przeglądania i kliknięte „lubię to” kategoryzują to kim jesteśmy i co można nam sprzedać.

W dobie Internetu teoria Goethego nie wydaje się cudacznym wymysłem. W narracji powieści koncepcja jednak upada, uczucia takie jak pożądanie i wyrzuty sumienia wymykają się spod kontroli. Współczesne artystyczne poszukiwania wykonalności teoretycznych założeń skupiają się wokół estetycznego dyskursu przekraczania i zacierania granic sztuki i życia.

Na wystawie można zobaczyć prace Alexandra Bühler, Keren Cytter, Aleksandry Frankowskiej, Agnieszki Kołek, Oli Kozioł, Line Krom, Astrid Stricker i Stefanie Trojan. Media, którymi operują artyści to fotografia, wideo, performance, malarstwo I rysunek.

Specjalnie na obecną wystawę Alexander Bühler stworzył nową pracę, która prezentowana jest w formie ściennego kolażu. Zdjęcia, teksty i obiekty funkcjonują jak łamigłówka osobistych i losowych spotkań artysty  w podróży po Azji. Praca jest zbiorem kilku różnych historii, które wzajemnie się przekształcają tworząc zupełnie nowe znaczenia.

Keren Cytter tworzy filmy, wideo instalacje i rysunki, które reprezentują społeczne rzeczywistości poprzez eksperymentalne modele sposobów opowiadania. Charakteryzujące się nielinearną, cykliczną logiką, filmy Cytter składają się z wielu warstw obrazów: rozmów; monologów i narracji, systematycznie skomponowanych by podważyć konwencje językowe i tradycyjny schemat interpretacji. Przypominające amatorskie filmy domowe i wideo pamiętniki, te montaże wrażeń, wspomnień i wyobrażeń to poetyckie i nawiązujące do osobistych doświadczeń kompozycje.

Aleksandra Frankowska maluje z natury i w swoich obrazach skupia się na tym co zwykłe i codzienne. Zafascynowana jest koncepcją nauki malarstwa jako nauczania sposobu widzenia i obserwowania. Artystka używa relacji uczeń-nauczyciel jako siły napędowej w swojej pracy, często przeprowadzając próby lub przepracowując swoje pomysły z własnymi studentami. Ostatnie prace zainspirowane są technikami recyclingu używanymi w pracy edukacyjnej z młodszymi dziećmi oraz naturalną zdolnością dzieci do wykorzystywania wyników swojej pracy jako materiał i inspirację do dalszej twórczości.

Prace Agnieszki Kołek skupiają się na stosunkach międzyludzkich, ich złożoności i wzajemnych powiązaniach. Artystka porusza się między mikroskopową obserwacją relacji pomiędzy dwojgiem ludzi a szerszym spojrzeniem na reakcje społeczeństw na wydarzenia polityczne. Jest szczególnie zainteresowana motywami postępowania określanego w języku angielskim jako willful blindness.

Ola Kozioł zajmuje się malarstwem, instalacją, wideo i performance, jednak tym, co stanowi o swoistości jej twórczości jest łączenie z tymi tradycyjnie używanymi w sztukach wizualnych metodami techniki „białego głosu”, czyli śpiewu na otwartym gardle. Ten rodzaj śpiewu archaicznego typowy dla muzyki ludowej jest charakterystyczny dla Europy Wschodniej: Polski, Ukrainy, Białorusi, Rosji i Bułgarii. Przenikliwy głos jest stworzony do niesienia się wśród otwartych przestrzeni lub zdolny w sytuacjach społecznych przebijać się przez gwar zatłoczonych pomieszczeń.

Line Krom wynajmuje młodych mężczyzn do podtrzymywania jej instalacji w miejscu. Mężczyźni są eleganccy i wyglądem przypominają modeli. Stają się integralną częścią instalacji. Kompozycja jest kruchym tworem i gdy skończy się ustalony czas, instalacja rozpadnie się.

Astrid Stricker jest najlepiej znana ze swoich rysunków. Jej ostatnie prace poruszają temat masowych zgromadzeń, procesji i powodzi. Wodne wiry, fale i lekkie powiewy zlewają się z fragmentami architektury by stworzyć chaotyczne współistnienie. Ta równoczesność nie jest szczęśliwa, jest raczej ścisłym obopólnym porozumieniem.

Prace Stefanie Trojan nawiązują do wzorów społecznych i nawyków dnia codziennego. Artystka rozwija swoje performance jak społeczne śledztwa. Sprawdza wartości przyzwyczajeń, rutynowych obyczajów, tabu i przenosi swoje pytania na obserwatora. Staje się częścią performance’u. Trojan nie pracuje z obrazami lecz z doświadczeniami.

 

ona i ja

wahlverwandtschaften

 

Alexander Bühler, Keren Cytter, Aleksandra Frankowska, Agnieszka Kołek, Ola Kozioł, Line Krom, Astrid Stricker and Stefanie Trojan

06 September – 18 September, 2014

Opening: 5 September,  2014, 19:00 h

 

///Galeria OFF Piotrkowska// ul. Piotrkowska 138/140// 90-062 Łodź, Polska///

 

Opening Hours: Mon – Sun  12:00-19:00 and on appointment

Curator: Aline von der Assen

Project Coordinator: Aleksandra Frankowska-Plewka

Gallery program by Pracownia OKO, booking required

T         + 48 790 607 786, + 48 531 400 882

E         pracownia@oko.edu.pl

W         www.oko.edu.pl

 

,Ona i ja‘ explores the ways that eight artists deal with culturally shaped images of social interactions. Elective affinities, the show’s subtitle indicates a theme loosely based around the term borrowed from physical chemistry. In his iconic novel with the same title the poet Goethe applies the metaphor of chemical substances forming compounds or resisting decomposition to human relationships. As Goethe alludes, can relationships be as predictable and calculable as chemical reactions?

In today’s deregulated neoliberal world, social networks and relationships become visible, evaluated, rationalized and commodified. For example, computing algorithms evaluate our searches and catalogue our information to match us with advertisements, businesses and interests that relate to what we have previously searched. Our search history like our preferences or ‘likes’ on dating sites and social networking sites categorize who we are and what people can potentially sell to us. (As the old adage goes, ‘If the service is free, you are the product.’)

With the internet, Goethe’s idea doesn’t seem outlandish. Yet, for him the concept doesn’t work because human passion and guilt get out of control and mar the clear connections of science and math. The contemporary artistic examination about feasibility in social interaction picks up on the aesthetic discourses of transgressing boundaries and, blurring art and life.

Works from Alexander Bühler, Keren Cytter, Aleksandra Frankowska, Agnieszka Kolek, Ola Koziol, Line Krom, Astrid Stricker and Stefanie Trojan in photography, video, performance, painting and drawing will be on display.

For the group show Alexander Bühler, is making a new work, one that is presented as a wall collage. Photos, text and objects function like a puzzle piece of personal and random encounters made on his travels throughout Asia and bring several different stories together – transforming each individual into a whole, new meaning.

Keren Cytter creates films, video installations, and drawings that represent social realities through experimental modes of storytelling. Characterized by a non-linear, cyclical logic Cytter’s films consist of multiple layers of images, conversation, monologue, and narration that are systematically composed to undermine linguistic conventions and traditional interpretative schemata. Recalling amateur home movies and video diaries, these montages of impressions, memories, and imaginings are poetic and self-referential in composition.

Aleksandra Frankowska works from direct observation, and in her paintings she focuses on the overlooked and ordinary. She is fascinated by the concept that to teach painting is to teach someone to look and observe. The artist uses the teacher-student relationship as a propeller in her work, often testing or reworking her ideas with students. Recent works are inspired by recycling techniques used in educational work with younger children and the children’s ability to use their own work results in a material and inspiration for further creation.

Agnieszka Kolek’s work focuses on human relations, their complexity and interrelations. She moves from a microscopic view of one-on-one human relations to a wider view where society chooses how to react to political events. She is particularly interested in human motivations behind ‘willful blindness’.

Ola Kozioł creates paintings, installations, videos and performances but what makes her art unique is her connection of traditional visual art methods with the technique of “white voice”. The ‘white voice’ is  a technique typical of Central and Eastern Europe (Poland, Ukraine, Belarus, Russia) and Balkan countries folk music culture, where air is pushed slowly through the diaphragm and the throat stays completely open. This piercing voice (white voice) can spread and push through the noisy, crowded or open spaces in social situations.

Line Krom hires young sleek model-esque men to hold her minimalistic installation in place. They become an integral part of the installation itself, because it is only while they are in place and holding the works that the composition is whole. Line Krom’s work is a fragile system and once the agreed time is up the installation collapses.

Astrid Stricker is best known for her drawings. Her recent works deal with mass gatherings, processions and floods. Water swirls, waves and airy puffs blend with architectural fragments to form a chaotic coexistence. The convergence is not a happy one, but a rather succinct mutual agreement.

Stefanie Trojan’s work is about social patterns, habits and daily things. She develops her performances like social investigations. She checks the value of routines and taboos and passes her questions over to the observer. The audience becomes part of the performance. Trojan doesn’t with work images, but with experience.