The group exhibition „and Materials and Money and Crisis“ at mumok presents experimental propositions of eleven artists addressing the matter of material/capital as it exists in artworks. 08.11.2013 - 02.02.2014.
Artists: Terry Atkinson, Maria Eichhorn, Melanie Gilligan, Gareth James, Pratchaya Phinthong, Sam Lewitt, Henrik Olesen, R. H. Quaytman, Lucy Raven, Cheyney Thompson und Emily Wardill. Curator Richard Birkett.
Part 2 of "Why Paining Now?" curated by_ 2013 features the galleries in Eschenbachgasse: Steinek, Meyer Kainer, Krobath, Janda and Mezzanin.
The project "curated by_vienna 2013: Why Painting Now?" initiated by departure, Vienna's creative agency, takes place in 20 contemporary art galleries in Vienna from Oct 10th - Nov 14th, 2013.
GALLERY STEINEK curated by_Caroline Smulders "PAINTING ACCORDING TO LAVIER", works by Bertrand Lavier. GALLERY MEYER KAINER curated by_Ei Arakawa, works by: Henning Bohl & Sergei Tcherepnin, Kerstin Brätsch, Nikolas Gambaroff, Jutta Koether, Shimon Minamikawa, Silke Otto-Knapp, Amy Sillman, videos by: DAS INSTITUT & UNITED BROTHERS / The Dialogue / Grand Openings. GALLERY KROBATH curated by_Gerwald Rockenschaub: "Commodious Thoughts from Outer Space", works by Matthias Dornfeld, Alex Katz, Bernhard Martin, Mathieu Mercier, Daniel Richter, Thomas Scheibitz, Andreas Slominski, Despina Stokou. GALLERY MARTIN JANDA curated by_Jan Verwoert "next to perplexed you", works by Magni Borgehed, Sarah Forrest and Virginia Hutchison, Malin Gabriella Nordin, Lucy Stein. GALLERY MEZZANIN curated by_Tyler Coburn: "August", works by Shannon Ebner, Adam Putnam, Rachelle Sawatsky.
En este vídeo, Manuel Borja-Villel, director del Museo, explica esta exposición que se acerca al arte producido en los años ochenta y noventa en España y en el contexto internacional.
Mínima resistencia se centra en la búsqueda por parte de los artistas de espacios de resistencia en un mundo globalizado y se adentra en la serie de dualidades que polarizan el periodo abordado: de la crisis económica global al capitalismo financiero, de la potencia de lo colectivo a la recuperación del mito del artista, de las intervenciones que reivindican el espacio público a los discursos que giran en torno a la memoria y el cuerpo, de la teatralidad que enfatiza lo escenográfico y la arquitectura al lenguaje de lo performativo y los modelos relacionales o de la rehabilitación de los géneros tradicionales a la apropiación de imágenes de los medios de comunicación y la cultura de masas.
Filmed and edited by Natasha Klimenko
Directed by Anna Russ
Interview by Anna Russ
"Emptying flags" by artist Sonja Hornung, which will run over a period of several months.
Public space plays a central role in this exhibition project, insofar as the artist uses her work to bring into focus concepts of statehood and the significance of territorial spaces. Using installation and public intervention, Sonja Hornung attempts to approach a representation of a borderless political space. In the process, the artist annexes used and unused flagpoles within the city, hoisting flags that have no meaning whatsoever.
Ordinarily, flags carry cultural, religious, ethnic or ideological messages. Loaded with historical and geographical significance, they are symbols of domination and power, predetermining identity, including some and excluding others. The symbolism of flags is part and parcel of a system of order that influences, at any given moment, each and every individual.
Using a self-devised system, Sonja Hornung generates patterns for flags that have no historical basis. Instead, these new flags are formed – as much as possible – by chance. The artist uses emptied flags to scrutinize the mechanism at the heart of the process that anchors a flag to its symbolic meaning and its actual territory.
Emptying flags approaches the (im)possibility of separating spaces from borders, meaning and matter, form and content. In doing so, the exhibition project opens a fleeting moment of borderlessness, whilst prompting questions pertaining to the consequences of constructing different possibilities of meaning. What happens, for example, when we can no longer draw meaningful connections between the perceived and the understood? What happens when the symbol of the flag, always so distinct, loses its symbolic decisiveness, opening out to nothingness?
The first series of flags with no meaning created by the artist will be raised in front of Haus am Köllnischen Park, the previous academy for the Socialist Unity Party of East Germany (SED). Similar interventions will continue over the course of the summer, including in collaboration with international embassies in Berlin and other institutions, as well as in more mundane spaces that usually go overlooked.
The public part of the project will be followed in early 2014 with an exhibition including photographs, drawings and the flags themselves.
Sonja Hornung (*1987) is a Melbourne-born artist with an installation-based practice who uses public space to redefine the relation between humans and their environment. A recipient of the Melbourne National Scholarship, she graduated from her Bachelor of Creative Arts at the University of Melbourne with first class Honours. Currently, Sonja Hornung lives and works in Berlin, where she is studying for her Masters in Spatial Strategies at the Art Academy Weißensee. Her work has previously been shown in Berlin in two public projects in collaboration with General Public and the International Forum (Berliner Festspiele) respectively.
Partners of "Emptying Flags":
Senatsverwaltung für Inneres, Berlin; Fahnen Weissbach; Zentral- und Landesbibliothek Berlin; BBraun; Berlin Art Link
ArT ExHIBITIoNs aNd FesTIvaLS
videos from different art exhibitions and festivals around the world