Culture(s) of Copy/ 重復 重造 翻譯
Presented by Goethe-Institut Hongkong and Edith-Ruß-Haus für Medienkunst in collaboration with Hong Kong Film Archive

Exhibition opens at 7:00pm on 22.6.2010 (Tue) at Goethe-Gallery, Goethe-Institut Hongkong
22.6. - 19.7.2010
Goethe-Gallery, Goethe-Institut Hongkong
Exhibition Hall, Hong Kong Film Archive

Candice Breitz, Sven Drühl, Harun Farocki,Omer Fast, Anna Jermolaewa, 梁志和 + 黃志恆 Leung Chi Wo + Sara WONG, 邱黯雄 Qiu Anxiong, Cornelia Sollfrank, Pilvi Takala, 黃海昌 Wong Hoy Cheong, 徐震 Xu Zhen, 張培力 Zhang Peili

Curatorial team:
Ackbar Abbas, Sabine Himmelsbach, Birgit Hopfener, 姜珺 Jiang Jun, MAP Office (Laurent Gutierrez/ Valérie Portefaix), Michael Müller-Verweyen, 葉德晶 June Yap

Goethe-Institut Hongkong and Edith Russ Site for Media Art in Oldenburg, Germany jointly present, in collaboration with Hong Kong Film Archive, the exhibition ‘Culture(s) of Copy’, a follow-up exhibition of the Institut’s ‘History Will Repeat Itself - Strategies of re-enactment in contemporary (media) art and performance’ (curated by KW Kunstwerke, Berlin, and Hartware, Dortmund) in 2008 and an earlier study of the Asian concept of ‘copy’, which was presented in the photo exhibition ‘Chinese Copy Art’ by Michael Wolf in 2007 at the Goethe-Institut Hongkong.

The exhibition ‘Culture(s) of Copy’ initiates from the exhibition that the Goethe-Institut Hongkong presented two years ago under the title ‘History Will Repeat Itself’. As that exhibition took a Western approach, we had in mind to follow up the topic with an exhibition from a perspective that involves Asia. It became clear that the term REPEAT should translate into COPY. ‘Culture(s) of Copy’ is about the phenomenon of the copy as a global cultural strategy. The discussion of intellectual property, as it has already been treated in diverse ways, is only one angle from which one can approach the topic. The ‘copy’ here is understood positively as a remake, a cultural translation and an achievement (“You have to copy a master to become a master”, “The best way to appreciate a master is to copy him”). The phenomenon of the copy is seen as a rewarding opportunity to understand and reflect on cultural differences beyond the rather poor terms of a dichotomy of East and West.

The works presented can be divided into different topics (’Archive’, ‘Theme Park’, ‘Claim of authenticity by media represented reality’, etc.). Some works use the stocks of art history. Existing artefacts of the economy or art are treated as an archive that one can make use of. The repetition of known formats and content is not for the sake of repetition, but for the sake of a new definition. The maxim of originality is thereby deliberately ignored – in the age of “copy and paste”, the creation of the NEW is bound by repetition, variation and cultural translation. Other themes include the process of copying itself and the relationship between context and content. Many of the works deal with the question of authenticity in a world in which reality is mediated mainly through the mass media.

Interestingly, languages are no exception. They don’t deliver what they are supposed to do: to find a title for this exhibition that is applicable to both the English language as well as the Chinese language proved to be nearly impossible. Words don’t copy, they translate.

The exhibition will later in the year be shown at Edith Russ Site for Media Art in Oldenburg, Germany from November 27, 2010 – February 2011.

Goethe-institut Hongkong

Applied reality at Heden

Applied reality
6 june - 28 august 2010
at Heden
Denneweg 14a
2514 CG Den Haag

Ton Schuttelaar, Jeroen Bosch, Lizan Freijsen, Daan Samson, Julika Rudelius, Pilvi Takala and Hugo Schuitemaker

With Applied Reality, Heden gets artists together for whom everyday reality not only is a source of inspiration, but apparently also at the same moment the artwork itself. Whether this reality does concern your own personal life, the wondrous world of advertising and corporate business, or something you come across in the street: the artworks at this exhibition very much resemble a reality which you also, and especially, will find outside the art world. Not applied art, but reality applied.