Incremental Change at Galeri NON
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| Meriç Algün Ringborg, Harry plays the saxophone, from the series Which no one will ever see, 2012 Photo: Jean-Baptiste Béranger |
Incremental Change
Meriç Algün Ringborg, Olof Olsson, Pilvi Takala, Erdem Taşdelen
November 17 – December 24, 2012
NON is proud to present Incremental Change, a group exhibition bringing together works by Meriç Algün Ringborg, Olof Olsson, Pilvi Takala and Erdem Taşdelen. The works presented in the exhibition explore the notion of agency in the face of external social forces and constraints, probing the limits of willful self-change via different methodologies. Through their varying approaches to this central premise, these artists either fictionalize themselves through their works, or designate other fictitious characters as objects of scrutiny and present their investigations in a factual manner; ultimately pointing to the slippery relationship between truth and fiction.
galerinon.com
Dimensions of Sharing at Overgaden
Suzanna Asp, Maija Luutonen, Sini Pelkki, Pilvi Takala:
Dimensions of Sharing
at
Overgaden.
Institute of Contemporary Art
10.11.2012 - 20.01.2013
Preview 9.11. 5-8pm
The relationship between private and public is the focal point of this group exhibition by Suzanna Asp (b. 1976), Maija Luutonen (b. 1978), Sini Pelkki (b. 1978) and Pilvi Takala (b. 1981). Through a dialogue between the four artists' individual work the exhibition will, from different angles, identify some of the interfaces between private and public spheres, their functions, rules and usages.
Overgaden.
Institute of Contemporary Art
Overgaden Neden Vandet 17
DK-1414 Copenhagen K
info@overgaden.org
+45 3257-7273
Tuesday-Sunday 1-5pm, Thursday 1-8pm
www.overgaden.org
Barbarians of the Upper-Class – Masquerades of Systemic Violence
Barbarians of the Upper-Class – Masquerades of Systemic Violence
Opening: 07.11.2012, 19.00 / 7 pm
Duration: 08.11.2012 – 18.01.2013
Venue: ratskeller – Galerie für zeitgenössische Kunst Berlin
Artists: MERIÇ ALGÜN RINGBORG, MARIANNE FLOTRON, SØREN THILO FUNDER, FLORIAN GÖTTKE, NAOMI HENNIG, MIGRAFONA, OLIVIA PLENDER, PILVI TAKALA, FLORIN TUDOR & MONA VĂTĂMANU, KATARINA ZDJELAR
Curator: Sabine Winkler
www.barbaren-der-oberschicht.net
The term "barbarians of the upper class" is derived from a dictum of the British minister of justice Kenneth Clarke, who declared all participants of the riots – that took place in London in 2011 – as criminals and as "barbarians of the lower class". Premier David Cameron disposed severe punishments and actions of disciplining, fighting the "decline in values" as he called it. The politics of his Conservative Party, which supports the rich through neoliberal politics of tax privileges, endorsements of tax havens, etc. forced radical austerity programmes and cutbacks of the social sector. The systemic restructuring for the benefit of the upper-class does not only include financial and tax advantages, but also social-political agendas like the extreme increase of charges of tuition fees, of costs in education and healthcare, etc. David Cameron and his party denied any relation between this bottom-up redistribution and austerity policy and the riots. The exhibition deals with systemic and symbolic violence, often not apparent and anonymous, that provokes subjective violence as a reaction (often apparent, bound do individuals). The shown works explore different realms of systemic violence of capitalism, analysing different forms of masquerade, which are hiding this potential of violence. Immanent mechanisms of violence are central and not the agents of capitalism. Why systemic violence is so successful in acting invisible, without being discovered? Which masquerades are used? An ideologic masquerade, proclaiming social welfare for everybody, meaning in fact though the profit and richness of a few. The masquerade and the staging are perfectly hiding the fact, that there is not a moral pith, but a violent essence behind capitalism. What are the technologies of the adaptable and itself generating capitalism? What does these different masquerades of systemic violence hide and which role do they play within the social-political context?
Events
Friday, 09.11.2012, 7 pm
Artist talk
Florian Göttke: Toppled - Staging the Symbolic Fall from Power
Wednesday, 16.01.2013, 7pm
Context and Subtext
Artists discuss their methods of production
Naomi Hennig: Friendly Capitalist. Soros and the Politics of Giving Moderation: Seraphina Lenz in cooperation with the Institute of Art in Context Berlin University of the Arts, Department of Fine Arts
ratskeller – Galerie für zeitgenössische Kunst
Möllendorffstraße 6, 10367 Berlin, Tel.: 030-902963712
ratskeller@kultur-in-lichtenberg.de
www.kultur-in-lichtenberg.de
Opening hours: Mon–Fri 10am–6pm
Metro station: Frankfurter Allee (S41, S42, S8, S9, U5), Tram 16, M13
KNOX / ROSE / TAKALA at Transmission
Knox / Rose / Takala
30 October - 01 December 2012 O
pen Tuesday – Saturday, 11am – 5pm
Preview: 27 October 2012, 7pm
Transmission Gallery
28 King street
Glasgow G1 5QP
Transmission presents works by Una Knox, Pilvi Takala and Sarah Rose.
The exhibition will include work with elements of film, print and audio. The works have been drawn together more by an attraction to individual practices rather than a defined articulation of interrelating themes. However, relationships and non-relationships between the distinct works and practices provide textures for exploration and interrogation. The works play off of each other, involving the viewer in gestural, abstract and embodied processes that negotiate our proximity to and the interrelationships of subjectivities, communities, and histories.
Una Knox’s video 4 ½ feet to the left, behind me presents the scene of a man walking through the interiors of a museum archive describing the experiences of a brain condition that results in him suffering from continual feelings of déjà vu and seizure. The experience of his job as an image archivist is juxtaposed with descriptions of the spatial and temporal feelings of his condition, held out as lingering and concrete within the film.
In her work Players Pilvi Takala follows a small community of online poker players residing in a hotel in Bangkok, who organise themselves around the logic of the game that they make a living from. The element of chance becomes predictable when put in a continuous series of losses and wins, enabling an equal division of chores through card pulling and other simple zero sum games.
Sarah Rose new video work explores a divergent picture puzzle set from within an abstract domestic setting. The video's central motif the Ideal game Mouse Trap is expanded to create a set of proposals for the alternative experience of physical laws. The camera wanders between language, sculptural and digital media, in the form of capture and escape enjoying a technologically determined, psychologically experimental and detached reality.
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