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Works Include
Works Include
Yeni Aya Cevaben/Responding to the New Moon/
Antworten auf den Neumond: Prologue
Opening: November 11, 2011, 6 – 9 pm
Exhibition: November 11, 2011 – January 7, 2012
Galerie Tanja Wagner is pleased to present Yeni Aya Cevaben/Responding to the New Moon/Antworten auf den Neumond: Prologue with works by Hasan Aksaygin, Natalie Czech (in collaboration with Ashkan Sepahvand and Mara Genschel), Nilbar Güreş, Runo Lagomarsino, Johannes Paul Raether, Anca Munteanu Rimnic, Pilvi Takala, curated by Övül Durmusoglu.
GALERIE TANJA WAGNER
Pohlstrasse 64 10785 Berlin
F +49(0)30 86 43 01 23 i16.09 - 16.10.2011
A new artwork everyday for 23 days. Exhibition, concerts, performances.
Dina Danish, Marius Engh, Søren Thilo Funder, Ahmad Ghossein, Marianne Heier, Runhild Hundeide, Hassan Khan, Guro Moe, Ahmet Öğüt, Pia Maria Roll, Benjamin Seror og Morten Norbye Halvorsen, Dan Starling, Pilvi Takala, Mario Garcia Torres, Synnøve G. Wetten, Dan Wolgers a. o.
'Run, Comrade, the old world is behind you' is an exhibition showing a new work each day from the 16th of September to the 16th of October. 23 artists will present performances, objects, films, lectures, concerts etc., during a month in line with our opening hours (wednesday-sunday).
The exhibition will start with an empty room, progressively filled with new artworks until it becomes a group exhibition. The show will end on a finissage, concert and party on Sunday the 16th of October.
Act / OUT
a call for contact - a call for clash
Ann Messner (USA), Karl Philips (B), Anna Witt (AT), Albert Heta (Kos), Pilvi Takala (F/NL), Jan Rothuizen (NL), Filippo Minelli (I), Ahmet Ögüt (TR/NL), Jeroen Erosie (NL), Sebastian Stumpf (D).
10 / 06 – 10 / 07 / 2011
opening: June 10th, 8pm
+++ colour bomb launched by Filippo Minelli +++ drinks & music: Nina Grunenberg + Damien Fagnant 'A primera vista – palmeras para llevar' +++
artist talk: July 10th, 2pm — Sebastian Stumpf, Albert Heta
KAAP
Exhibition (not only) for Children
Fort Ruigenhoek, Utrecht
Kaap is an exhibition of contemporary art consisting of new works made for the whole family. The exhibition will be open to the public from 10 a.m. to 6 p.m. on every weekend from 29 May to 10 July.
Artworks by artists from all over the world
The artistic management of this year’s Kaap was the work of Tiong Ang, artist and creator. He invited thirteen artists to take part. Each of them made a new work specially for Kaap. During the exhibition, each work will have an attendant guide to answer any questions about it. The idea of Kaap is that artists can find inspiration in the challenge of making work for children and in bringing out the essence of their art with absolute clarity. The work made for Kaap typically invites its public not just to look but also to take part.
Artists: Frank Koolen, Pilvi Takala, Yeondoo Jung, Birthe Leemeijer, Praneet Soi, Tintin Wulia, Rini Hurkmans and Hans Scholten, Erica van Loon, Mella Jaarsma and Nindityo Adipurnomo, Yoko Semaya and Lyndsey Housden
The fort location
Kaap is pure adventure, a trip of discovery through the bunkers and the greenery of Fort Ruigenhoek. The historic fort, which forms part of the 17th century New Dutch Waterline, lies on an island surrounded by open countryside. The bunkers and other buildings lie half-buried in grass, shrubs and trees.
Stichting Storm
Kaap is an initiative of Stichting Storm. This foundation works closely with artists and theatre makers on projects aimed at a youthful audience. Among other things Storm organizes the Tweetakt theatre festival in Utrecht.
Kjersti Andvig (NO), Páll Haukur Björnsson (ISL), Conny Blom (SE), Alessandra Di Pisa (SE), Sara-Vide Ericson (SE), Klas Eriksson (SE), Ivan Galuzin (NO), Tamar Guimaraes (DK), Gustav Hellberg (SE), Eva Isleifsdottir (ISL), Elin Magnusson (SE), Jumana Manna (NO) & Roxy Fahrat (SE), NUG (SE), Hanna Ojamo (SF), Kristian Skylstad (NO), Pilvi Takala (SF), Sören Thilo Funder (DK), Theis Wendt (DK), Danh Vo (DK) and YKON.
Curator: Martin Schibli
Kalmar konstmuseum
Stadsparken
SE 392 33 Kalmar
Telephone + 46 (0)480 42 62 82
Fax + 46 (0)480 42 62 80
27 March–22 May 2011
Juliette Blightman, Tania Pérez Córdova, Raphael Hefti, Tobias Kaspar, Adriana Lara, Adrian Melis, Pratchaya Phinthong, Pamela Rosenkranz, Pilvi Takala
To that end, the participants in “How to Work” deploy an array of strategies that demonstrate a notable political and ethical awareness, acutely conscious of the present art world economy and its instant commodification of any work made within (or without) the system. They use found objects and material sourced from the Internet, they document or straightforwardly imitate the reality that surrounds them in order to achieve the estrangement of all-too-familiar content, they stage performative interventions simulating and twisting reality, they perform a détournement on classical techniques and genres, and they employ seriality or chance procedures to make their works.The exhibition “How to Work” at Kunsthalle Basel brings together nine international contemporary artists from the generation that emerged in the first decade of the new millennium. Collectively, their practices, however varied, are indebted to Conceptual art of the 1960s and ’70s, as well as its manifold incarnations in the later, neo-Conceptual work of the 1980s and ’90s that, following the seminal “Pictures” exhibition curated by Douglas Crimp in 1977, critically engaged with politics of image- and object-making. In the 1960s, Conceptual art consciously mirrored the larger economic change from an industrial to service-based economy that had been taking place since the ’50s, as fields like advertising and information technology gradually advanced and more traditional industries went into decline.
“How to Work” attempts to look at possible ways of how one works as an artist today. The question of how to work in this cultural and political moment, and what that work should consist of, needs to be renegotiated or answered in a new way. The contemporary artists’ approach to work can be contextualized within the broader shift from material (manual) to immaterial (mental) labor, which is an indelible aspect of the change from an industrial economy (focused as it is on the manufacturing of specific products) to a service-based economy (providing as it does “solutions”). Even more recently, the knowledge-based economy has come to the fore, in which what matters is not the fixed and ready-available product or the way it is distributed, but how customers (now called participants) relate to each other. To counter the growing sameness of human relationships in the existing utopia of a global society that is composed of sharing, creative individuals, the artist’s work should make a difference. But can the very idea of making a difference be trusted?
The title of the Kunsthalle Basel exhibition quotes the artwork “How to Work Better” (1991), a ten-point manifesto by the Swiss artist duo Fischli and Weiss. Painted in large stenciled letters on the façade of an office building in Zurich, the titular work comprises ten short persuasive sentences (such as “know the problem” or “accept change as inevitable”) on how to work better, aimed at influencing the attitude of workers in order to improve the workplace environment, motivate creativity, and boost the quality of production—whatever it may be, wherever it is. At the same time, these new ten commandments seem to be retrieved from a creative director’s desktop trash folder (in former times, it used to be a dustbin), rather than invented by the artists themselves. The manifesto is patently generic, not tailored for any particular type of business, and the formulas it contains are so superficial that they can be read as a critique of the “aesthetics of bureaucracy” (a term often applied to Conceptual art, too), itself used as a cover for the constant strive toward the enhancement of “intellectual services” and the corresponding loss of tangible content in today’s creative industries, art included.
Fischli and Weiss’s “How to Work Better” also reads as a formal take on Conceptual art masterpieces like Lawrence Weiner’s enigmatic text works in block letters executed in galleries and public spaces around the world, or as a parody of formulations used in Sol LeWitt’s “Sentences on Conceptual Art” (1969), which include “Successful art changes our understanding of the conventions by altering our perceptions”. Interestingly, the source of the Fischli and Weiss work was a freestanding signboard featuring motivational sentences in English and Thai that the artists photographed in a pottery factory in Thailand in 1990. As cheap labor attracts global manufacturers to Thailand, local workers often travel abroad to find work, seeking better employment conditions. The motivational sentences appear to be gleaned from a Western European management manual, but when placed in a Thai factory, they immediately acquire an additional, distinctly Eastern flair. The Zen-like statements of “How to Work Better” seem to have lost their original intent in multiple translations – and money flows – across cultures and contexts.
The selection of works in “How to Work” at Kunsthalle Basel does not follow a thematic criterion, although many of the pieces exhibited address the economy of their own making and the way it relates to the larger economy. Accordingly, the title of the show is meant as a general framework of the question that every artist and worker today must face, and not as a fixed “theme” that the works should themselves illustrate. Rather than insisting on boosting quality, and instead of explaining “how to work better”, the exhibition proposes a critical reduction of the question, asking modestly how one works at all, now.
The exhibition has been generously supported by Annemarie Burckhardt.
With additional support by Roldenfund.