1. Credits:

    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

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  2. Die Dokumentation der Ausstellung "Interim-un tunnel transatlantique" zeigt Ergebnisse des zweiten Teils eines Künstleraustauschs zwischen Leipzig und Montréal, welchee im D21 Kunstraum Leipzig und in der HALLE 14 vom 16. Mai bis 16. Juni 2013 zu sehen waren.

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  3. The exhibition Salon der Angst at KunsthalleWien will focus on how culture shapes both individual and collective experiences of fear and fearful events. Salon der Angst explores the artistic confrontation with the fears of our time across a broad affective and socio-political spectrum. The artists in this exhibition address these fears in terms of a history of ideas, but also their specific psychological manifestations. Curators: Nicolaus Schafhausen and Cathérine Hug. 6/9 2013 – 12/1 2014
    Participating artists: Nel Aerts, Özlem Altin, Kader Attia, Gerard Byrne, Los Carpinteros, James Ensor, Ieva Epnere, Harun Farocki, Marina Faust, Didier Faustino, Peter Fischli / David Weiss, Rainer Ganahl, Agnès Geoffray, Thomas Hirschhorn, Iraqi Children’s Art Exchange, Cameron Jamie, Jesse Jones, Dorota Jurczak, Ferdinand van Kessel, Bouchra Khalili, Eva Kotátková, Nicolas Kozakis / Raoul Vaneigem, Alfred Kubin, Erik van Lieshout, Jen Liu, Marko Lulić, Fabian Marti, Florin Mitroi, Marcel Odenbach, Jane Ostermann-Petersen, Francis Picabia, Willem de Rooij, Allan Sekula, Zin Taylor, Noam Toran, Kerry Tribe, Peter Wächtler, Jeff Wall, Mark Wallinger, Gillian Wearing, Tobias Zielony

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  4. At the SECESSION German artist ULLA VON BRANDENBURG shows her new film Die Straße [The Street] as part of an installation Innen ist nicht Außen [Inside Is Not Outside] which she created specially for Secession's main gallery.
    Susi Jirkuff's installation Wild Wood comprises the three-part video animation Boyz in the Wood (2013), wall drawings, wallpaper, abstracted sculptural elements, and soundscapes. It forms a sort of life-size, walk-through film set to draw the viewers into the story and incorporate classical shots like long shot and close-up into the mise-en-scène.
    For his solo exhibition in the Grafisches Kabinett, HANNES BÖCK has produced a 16-mm film that addresses the complex relationship between archaeology, art history, photography, and their respective visual languages.
    Sep 19 - Nov 10, 2013.

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  5. Inside -- Out is a spatial intervention based on a series of weather responsive installations entitled Virtual Holes and Virtual Mirrors, which Tao G. Vrhovec Sambolec has been developing since 2006. The series investigates the relationship between weather conditions and the built architecture in an urban environment. Each work addresses a single weather element of the immediate surroundings of a building in relation to its interior.
    In the installations Virtual Hole -- Rain (2006), Virtual Hole -- Wind 1:1 (2011) and Virtual Hole -- Sun 1:1 (2011), weather phenomena such as rain, wind, and sunlight are detected through digital sensors and are recreated within the exhibition space through transformations of the received data. Every time a raindrop falls, the sun shines or the wind blows against the roof sensors, a water droplet, a ray of light or a gust of winds is being synthesized indoors correspondingly. I call this process "undoing architecture".
    The exhibited work Inside -- Out is an integration of the three previous installations into a single intervention, creating a setting where external rain, wind and sunlight are simultaneously synthesized indoors, establishing a tactile presence of weather inside.

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