Lost Weekend
sic! Raum für Kunst, Luzern
October 13 - November 5, 2011
Opening October 8, 2011, 6 pm
A newspaper will be published to accompany the exhibitionin in collaboration with Amanda Haas and Diego Castro / Galerie Gitte Bohr, Berlin
The Uncanny Familiar . Images of Terror
C/O Berlin, International Forum for Visual Dialogues
September 10 - December 4, 2011
Opening September 9, 2011 . 7 pm
"The games must go on!" Avery Brundage . IOC President . 1972
"Show you’re not afraid!" Rudolph Giuliani . Mayor of New York . 2001
A masked man looking over a balcony. An airplane flying into a skyscraper. Hearing these descriptions, we immediately picture the scenes in our minds. We know exactly what events are meant. Pictures possess a tremendous power. Not only do they capture the decisive moment; they also influence public discourse, demanding reflection and response. Particularly after catastrophes and traumatic events, the ubiquity of the images makes the events themselves seem omnipresent, inescapable. Pictures of terror have an enormous, enduring power that holds the viewer in its thrall. They burn themselves deep into our collective memory. The exhibition The Uncanny Familiar curated by C/O Berlin examines the meaning of photography in our contemporary visual culture by exploring the visual processing of images of terror in recent decades. The events in Munich in 1972 and in New York in 2001 establish the temporal framework for the exhibition. Through the artistic confrontation with these events, political images are called into question; and the archival images presented lay bare the construction and illusion of photography.
This exhibition was organized to commemorate the tenth anniversary of September 11, 2001, and is curated by Felix Hoffmann for C/O Berlin. It features approximately 200 works from Spiegel magazine’s photographic archives and around 30 artists, including Thomas Hoepker,Dennis Adams, Michal Kosakowski, Coco Kühn, Fiorenza Menini, Thomas Galler, Thomas Ruff,Simon Menner, Peter Piller, Christoph Draeger, Thomas Hirschhorn, G.R.A.M., Walid Raad, Gael Peltier, Naeem Mohaiemen, Michael Schirner, Sarah Charlesworth, Mikael Mikael, Robert Boyd, Johan Grimonprez, Luuk Wilmering, Pascale Couvert, Natalie Czech, Reymond Depardon, Michael Schäfer, Marc Volk, and Malte Wandel.
What is the logic behind the use and dissemination of pictures in our modern media culture? Has the digital age heralded in a new kind of terrorism aimed at capturing the public attention? When does an event take on global im- portance and how strong a role do the media play in conditioning and synchronizing such events? Often it is only by confronting the images of terror that the structure and function of the journalistic photograph becomes evident. The media’s images of terror were and are more than mere depictions of situations or events beyond themselves, or pic- tures that simply document occurrences. They do more than simply convey meanings through their unique aesthetic properties. They are pictures with the capacity to shape reality.
The historical starting point for the exhibition is the attack of a Palestinian terrorist commando on the Israeli delegation to the twentieth Summer Olympic Games in Munich. There, for the first time ever, a terrorist act took place before the rolling cameras—and thus before the eyes of the world. The live television broadcasting of the events brought about a quantitative change in terror, transforming it into a strategy of mass communication. The staging of the scene thus became part of the terrorist act. In the modern media society, the image is both weapon and goal. And it is just a short path from the representation of the terrorist act in the image to the image as the act in itself.
The attacks of September 11, 2001—the most photographed and filmed event in media history—represent an extreme example of how terrorist visual events are cultivated. In line with their inherent logic of exploitation, the global mass media began right away, on the day of the attack, to repeat the same few images and sequences in endless loops, thus fixing them permanently in the media landscape. Here, the terrorist strategy of seeking to reach the wi- dest audience possible enters into a symbiotic relationship with the capitalist strategy of exploiting the possibilities of the mass media. The media inevitably become collaborators—mediators between terrorists and the public.
Despite the deluge of images, there were only around 30 photographs that appeared on the front pages of newspa- pers and magazines worldwide. Similarly, the images shown on television were always the same videos repeated in endless loops. The international concentration of and collaboration among photo agencies reduced the variety of images further. Years later, only five to ten images remain in collective memory. This reduction of the media’s coverage of the event to only a few image types is characteristic of the ways that the media deal with terror. Historical images are quoted, and new images become icons and media archetypes. As a result, the basic patterns of these images appear “uncannily familiar” to all of us. Through this sense of the familiar, the horror that bursts in on everyday life, resonating throughout the social system, becomes tangible. The familiarity of the incomprehensible—a feeble attempt at action in the face of helplessness.
A catalog will be published by Walther Koenig to accompany the exhibition. C/O Berlin will also be hosting a diverse program of events including a film series, lectures, and a symposium.
Sarajevo Film Festival
http://www.sff.ba/
July 22 - 30, 2011
Out of Storage / Provisoire et définitif
MAASTRICHT,Timmerfabriek
www.outofstorage.nl
Opening June 25, 2011, 15:30 pm
June 25 – Dec 18, 2011
Out of Storage is a cooperation of Marres, FRAC Nord-Pas de Calais, H+F Collection, Belvédère Development Group Maastricht and the Municipality of Maastricht, and is financially supported by VSB Fund, SNS REAAL Fund, Elisabeth Strouven Foundation and the Province of Limburg.
Out of Storage offers a glimpse of the dynamics within a collecting art institute and reveals functions that usually take place behind closed doors. The visitor can take several routes through the exhibition, allowing him to share the view of diverse experts in order to gain insight into the various functions of FRAC Nord-Pas de Calais, such as restoration, education, research and presentation.
The collection of FRAC Nord-Pas de Calais is one of the most important collections of contemporary art in France and consists of approximately 1,500 works, of which hundreds will be shown in Maastricht. The collection includes works from movements such as Arte Povera, Minimal Art, Conceptual Art, New Realism, Pop Art and Fluxus. Out of Storage also includes works that are generously made available from the H+F Collection. Spearhead of the collection policy of director Hilde Teerlinck is the acquisition of socially engaged art, which encourages reflective thought and the development of a critical attitude.
Guus Beumer is the initiator of Out of Storage and director of Marres, Centre for Contemporary Culture. He is also the commissioner of the Dutch Pavilion during the Venice Biennale. Hilde Teerlinck is curator of Out of Storage and director of FRAC Nord-Pas de Calais.
Vito Acconci, Pawel Althamer, Carl Andre, Micol Assaël, Atelier van Lieshout, Ralph Ball, Robert Barry, Walead Beshty, Joseph Beuys, Marc Bijl, Bless, Alighiero Boetti, Christian Boltanski, Cosima von Bonin, Sergey Bratkov, Marcel Broodthaers, Elina Brotherus, Stanley Brouwn, Daniel Buren, Victor Burgin, Tom Burr, James Lee Byars, André Cadere, Maurizio Cattelan, Guy de Cointet, Anne Collier, Hanne Darboven, Philippe Decrauzat, Jessica Diamond, Marcel Duchamp, Simon Dybbroe, Møller Matias Faldbakken, Dan Flavin, Nicolas Floc'h, Claire Fontaine, Maddalena Fragnito de Giorgio, Thomas Galler, Piero Gatti, General Idea, Isa Genzken, Liam Gillick, Jack Goldstein, Rodney Graham, Daiga Grantina, Joachim Grommek, Marti Guixé Roca, Raymond Hains, Isabell Helmerdinger, Georg Herold, Prudencio Irazabal, Peter Joseph, Donald Judd, Gerald van der Kaap, On Kawara, Annette Kelm, Anna Klamroth, Wolfgang Laib, Bertrand Lavier, Ange Leccia, Sol LeWitt, Klara Liden, Erik van Lieshout, Richard Long, Antonia Low, Ken Lum, Gordon Matta-Clark, Paul McCarthy, Catherine Melin, Mathieu Mercier, Philippe Meste, Boris Mikhailov, Mike Mills, Olivier Mosset, Matt Mullican, Masato Nakamura, Maurizio Nannucci, Deimantas Narkevicius, Maxine Naylor, Cady Noland, Ahmet Ögüt, Sarah Ortmeyer, Cesare Paolini, Blinky Palermo, Steven Parrino, Philippe Parreno, Mathias Poledna, Julien Previeux, L.A. Raeven, Gerhard Richter, Torbjorn Rodland, Allen Ruppersberg, Kelly Schacht, Sebastiaan Schlicher, Collier Schorr, Michael Scott, Maarten Seghers, Bruno Serralongue, Frederik van Simaey, Taryn Simon, Hedi Slimane, Andreas Slominski, Florian Slotawa, Daniel Spoerri, Simon Starling, Superflex, Mika Tajima, Franco Teodoro, Rirkrit Tiravanija, Gavin Turk, Dahn Vo, Martin in't Veld, Michel Verjux, Jacques Villeglé, Barbara Visser, Mark Wallinger, Andy Warhol, Lawrence Weiner, Jens Wolf, Christopher Wool, Margot Zanni, Rémy Zaugg, Lorana Zilleruelo
Stücke des Widerstands - Pièces de résistance
Motorenhalle, Projektzentrum für zeitgenössiche Kunst, Dresden
Opening May 27, 2011, 8pm
May 28 – July 9, 2011
Akademia Ruchu, PL | Die Planung / A Terv, H/D | Angela Lubic, D | Bettina Pousttchi, D | Calin Dan, NL | Ciprian Muresan, RO | Csaba Nemes, H | Else Gabriel, D | Erik Dettwiler, CH | Gintaras Makarevicius, LT | Ion Grigorescu, RO | Jirí Kovanda, CZ | Kristina Leko, HR | Marina Gržinic & Aina Šmid, SLO | Martin Krenn, A | Mona Vatamanu & Florin Tudor, RO/CH | Nina Höchtl, A | Oliver Ressler, A | Silke Wagner, D | Siniša Labrovic, HR | Thomas Galler, CH | Zbynek Baladrán, CZ
ReCoCo: Life Under Representational Regimes
Kunsthalle Exnergasse, Wien
Opening May 11, 2011, 7pm
May 12 – June 18, 2011
Boaz Arad & Miki Kratsman (IL), Ariella Azoulay (IL), Lisa Biedlingmaier (CH), Diego Castro (D), Köken Ergun (TR), Francesco Finizio (USA/F), Thomas Galler(CH), Roee Rosen (IL), Anna Witt (A), Hannes Zebedin (A)
The collection of Rudi Maier (D) as revolution turns - ads & revolt
Curated by Siri Peyer and Joshua Simon
Resignation, conspiracy and corruption (ReCoCo), have become the ways in which we understand and narrate politics. ReCoCo - Life Under Representational Regimes comes at a time of shared understanding that the political devices that have been established since the beginning of modern democracy, namely those of liberal democracies, are in a deepening crisis, especially since the collapse of the Soviet Block.
For the majority today, political agency takes its form as resignation, political truth arrives in the shape of conspiracy theories and governance is synonymous with corruption. As we are subjected to a politics of representation in two ways—one is the system of political representation (parliamentary regimes) and the other is that of the representation of politics (through the media), we find ourselves to be both the sovereign ("The people") and the audience of spectators ("The viewers"). This dual status produces a series of paradoxes: political resignation becoming a new form of agency; ignorance becoming our political knowledge; passivity turning to be our political activism.
In these post-democratic times, under the rule of Capital's technocratic Fascisms, a form of conspirative knowledge has emerged and we find ourselves reading images from the media—photos, captions, headlines, and news stories—in a paranoid way. The 24/7 live catastrophe on the news networks produces a constant disbelief. The same questions arise over and over: where did this image come from? Who brought it to my knowledge? Why am I seeing this?
ReCoCo - Life Under Representational Regimes answers to the discursive explosion of conspiracy theories, which stems from a widespread re-visioning of liberal politics. ReCoCo is a term through which we can look at the construction and organization of various political concepts of representational regimes: transparency and media, spectatorship and sovereignty, censorship and hegemony and citizenry.
ReCoCo - Life Under Representational Regimes puts these forms of knowledge and power, and the aesthetic economies that they produce in negotiation with artistic practice. This, at a moment of enhanced ornamentalisation of the classical political gestures of sovereignty—a rococo of those tropes (hence the echoing of term in the title). The exhibition brings together contemporary works that engage with questioning truth regimes and representational governments, experimenting with the performance of representations and the inactivity embedded in contemporary parliamentary systems, exploring spectacle and conspiracy, political spaces of appearance and political resignation, corruption and governance, the death of journalism and the rise of new non-representational forms such as wikileaks and live TV.
Small Fires
Sint-Lukasgalerie Brussels
Opening, April 28, 2011, 18h
April 29 - May 28, 2011
Edward Ruscha (USA), Bruce Nauman (USA), Jonathan Monk (UK), Superflex (DK), Keren Cytter (IL), Thomas Galler (CH), Reynold Reynolds (USA), Rosemary Laing (AUS), Ariel Schlesinger (IL), Leo Copers (B), Erich Weiss (B)
Blumen und Perlen
Kunstraum Baden
Opening, April 27, 2011, 18h
April 28 - June 26, 2011
Thomas Galler, Mireille Gros, Cécile Hummel, Oliver Lang, Ruth Maria Obrist, Sara Rohner, Christian Vetter
Week End
Galerie Gitte Bohr, Berlin
Opening March 24, 2010, 19h
March 25 – April 16, 2010
Thursday-Saturday, 14h-18h
Gitte Bohr präsentiert in einer Einzelpräsentation Arbeiten Schweizer Künstlers Thomas Galler. Das Werk des in Zürich lebenden Künstler operiert mit visuellen Strategien informationeller, propagandistischer und militärischer Bilderzeugung. Es setzt sich hier insbesondere mit Ikonographien und Repräsentationen des Konflikts auseinander: Bilder von Aufständen und Krieg treffen auf propagandistische Bildproduktion und polizeiliche sowie militaristische Ästhetik. Thomas Galler setzt diese Bilder durch seine Form der Präsentation erneut Konfliktsituationen aus, welche sich auf den Betrachter übertragen.
Die Akkumulation von Bildmaterial, sei es ausgeschnittenes Bildmaterial aus Zeitungen, das Galler zu mitunter reichhaltigen Sammlungsblöcken zusammenträgt, oder aber als Fundstücke ähnlich zu charakterisierende, vom Künstler neu angeordnete Videosequenzen, werden durch Auswahl und Zusammenstellung zu komplexen Gefügen, deren Aussage explizit, jedoch nicht implizit, beim Betrachter erst entstehen müssen. Sie fordern den Betrachter nicht nur auf, sich mit dem Gesehenen zu beschäftigen. Die Virulenz der Bilder in ihrer Ansammlung drängt sich dem Betrachter auf. Zu aufgeladen sind die Bilder, als dass sie einen kalt liessen. Zu sperrig, als dass man umhin könnte, sich als Betrachter ihnen gegenüber zu positionieren.
So zeigt Galler in der Videoarbeit Week-End einen Zusammenschnitt aus Videofragmenten, in denen sich im Irak oder in Afghanistan stationierte US-Truppen in ihrer Freizeit bei Männlichkeitsritualen filmen. Ohne direkt darauf zu verweisen, sorgt Galler qua Dekontextualisierung dafür, das Wesentliche an diesen Bildern wachzurufen: Es handelt sich um Selbstinszenierungen junger Männer, die fernab der Kampfhandlungen mit grenzwertigem Spiel, eine Aura der Entmenschlichung als noch kommendes Schicksal der jungen Soldaten und als Essenz des Krieges erahnen lassen. Inwiefern diese Selbstinszenierung sich von Repräsentationen von Folter und Gewaltexzessen, wie wir sie aus Abu Ghraïb kennen, strukturell unterscheiden, ist eine Frage die sich aufdrängt.
So erinnert Week-End in gewisser Weise an die in Michail Romm's aus Dokumentarmaterial zusammengestellten Filmessay Der gewöhnliche Faschismus von 1965, aufgeworfene Frage, warum gewöhnliche junge Menschen durch ideologische Indoktrination, durch autoritäre Strukturen und durch die Erfahrung des Krieges schlechthin, zur Unmenschlichkeit fähig werden. Denkt man an die Fotos aus dem Foltergefängnis in Abu Ghraïb, in denen eine zierliche US-Soldatin, nackte Gefangene erniedrigt und foltert und dabei stolz auf den Fotos posiert, bleiben diese Bilder ihrem Charakter nach nichts anderes als jene, die russische Soldaten während des sogenannten Russlandfeldzuges bei Deutschen Soldaten fanden: Junge Männer posierend vor von Ihnen getöteten Zivilisten, in der Hauptsache Frauen, Greise und Kinder, misshandelt und grausam zugerichtet.
Gallers Arbeit Week-End geht indes subtiler mit dieser Frage um. Ohne das Grauen zu zeigen, erfasst den Betrachter der Schauer vor dem was da noch kommen mag und von dem wir annehmen müssen, dass es die Abscheu überschatten wird, die sich in uns angesichts des ostensativen Machogehabes und der geballten Dummheit der Bilder vielleicht entwickelt.
Thomas Galler's Arbeit zeigt aber auch, wie soziale Medien die repräsentatorische Alleinherrschaft und Informationshoheit der Allianzen aus Staat, Militär und Massenmedien unterminiert. In Zeiten des Regierens im Bildraum (vgl. Tom Holert) hat die Demokratisierung des Bildes durch zum Beispiel soziale Medien neue Fronten gebildet: Während das Militär mit inflationärer Produktion von Bildern und der Unterdrückung von nicht-opportunen Bildinformationen reagiert, untergraben sogenannte Whistleblower bewusst, unbedarfte Bilderproduzenten vielleicht unbewusst, die Autorität der offiziellen Bilder. Der Kampf um die Bilder hat die Zuordnung der Wahrheit erschwert und einen Zustand kollektiven Misstrauens geschaffen. Die Frage, wie wir dennoch angesichts von Opfer- oder Täterbildern zu einem Konsens kommen können (wie Susan Sontag es in Regarding the Pain of Others beschreibt), wird durch dieses Misstrauen bedingt.
Denn auch davon spricht Week-End: Wie wird unser Denken über das Gesehene durch unser Wissen, bzw. Unwissen über die Herkunft der Bilder konditioniert? Sind die Bilder, die Galler zusammengetragen hat, Teil einer konspirativen und schwer zu durchschauenden Manipulation? Und schon misstrauen wir den Emotionen, die wir angesichts der Bilder haben, die uns der Künstler vorsetzt. Ist unser Lachen, unser Zorn, unser Mitgefühl, unsere Begeisterung oder unsere Abneigung gerecht? Begegneten uns diese Bilder, in der vorliegenden Zusammenstellung auf einem Kanal bei YouTube, so würden wir eventuell abwinken und keinen Gedanken an den Wahrheitsgehalt verschenken. Aber auch das ist bei Galler ein Bestandteil des dekontextualisierenden künstlerischen Gestus:
Indem wir es als Kunst betrachten, verdächtigen wir (als Kinder der Aufklärung) das künstlerische Bild, Wahrheit freizulegen. Diese Erwartung wird jedoch insofern enttäuscht, als dass der Künstler hier kein Postulat subjektiven Wahrheitsempfindens darbietet, sondern die Frage nach der Wahrheit, die der Betrachter dem Kunstwerk stellt, beantwortet, indem er durch das Werk die Beantwortung der Frage an der Betrachter zurück delegiert. Und das ist keineswegs künstlerische Aporie, sondern ein klarer Auftrag an den Betrachter.
Thomas Galler, geboren 1970 in Baden, CH, hat bildende Kunst an der HGK Luzern studiert. Sein Werk wurde in zahlreichen Ausstellungen international gezeigt und ist vielfach ausgezeichnet worden, u.a. 2009 mit dem Manor Kunstpreis oder dem Eidgenössischen Kunstpreis. Gitte Bohr präsentiert die erste kleine Einzelpräsentation von Thomas Galler in Berlin. DC.
follow-ed (after hokusai)
P74 Gallery, Ljubljana, Slovenia
March 11 – April 3, 2011
follow-ed (after hokusai) is an exhibition curated by Michalis Pichler and Tom Sowden, featuring conceptual artworks, which for the most part use photography, the book form, and are somewhat ruschaish.
The assembly attempts to span a larger arc of tension, integrate Ruscha’s own books and put him into a evolution line in particular with the publications of Hiroshige and Hokusai, whose titles show great parallels in rhythm and use of numeric and vague enumerations (e.g. SEVEN ASPECTS OF THE ACTOR, FIFTYTHREE STATIONS OF THE TOKAIDO, FOUR SAMURAI FAMILIES, THIRTYSIX VIEWS OF MT FUJI, ONE HUNDRED VIEWS OF MOUNT FUJI, UNUSUAL VIEWS OF FAMOUS BRIDGES IN VARIOUS PROVINCES).
The missing link could be Yoshikazu Suzuki’s GINZA HACCHO, buildings on Ginza, Tokyo, published as an accordion foldout book – in 1952, hence preceding Ruscha’s Sunset Strip for 13 years- in the same street-view-style which was for very long considered essentially Ruscha.
Another missing link could be Henri Riviere’s Thirtysix Views of Eiffel Tower, one of the first western explicit paraphrases of Hokusai`s Thirtysix Views of Mount Fuji, that by now has been ‘redone’ dozens of times, both by Japanese and international artists.
The show is traveling to Winchester Gallery (University of Southhampton), Gallery P74 (Ljubljana), Arnolfini (Bristol, UK) and other places.
On occasion of the openings different new bookworks will be launched Cover of Crackers, by the Performance Reenactment Society (PRS) at Arnolfini and SIX HANDS AND A CHEESE SANDWICH by Michalis Pichler (featuring an excessive after-ruscha bibliography) at Gallery P74.
With works from: David Abbott, Anonymous, Edgar Arceneaux, Frans Baake, Steen Bach Cristensen, Jill Ballard, Victoria Bianchetti, Doro Boehme & Eric Baskauskas, JeffreyBrouws, Stephen Bush, Corinne Carlson & Karen Henderson & Marla Hlady, Lin Charlston, Bill Daniel, Natalie Daves, Cathy N. Davidson, Adam & Kate Davis, Jen Denike, Eric Doeringer, Sue Doggett, Lee Duegyoung, Frank Eye, Hans-Peter, Feldmann, Joel Fisher, Rafael Flichman, Stephen Fowler, Jan Freuchen, Thomas Galler, Anne-Valérie Gasc, Kate Glicksberg, Dejan Habicht, Sebastian Hackenschmidt & Stefan Oláh, Marcia Hafif, Mishka Henner, Taro Hirano, Hiroshige, Katsushika Hokusai, Dominik Hruza, Easley Stephen Jones, Rinata Kajumova & Achim Riechers, Hildegard Karnath, Gandha Key, Tanja Lažetić, Jonathan Lewis, Jochen Manz, Michael Maranda, miss read, Jonathan Monk, Simon Morris, Audun Mortensen, Angel Morua, Dan Murphy, Toby Mussman, Bruce Nauman, John O’Brian, Michalis Pichler, Adrian Piper, Tadej Pogačar, Susan Porteous, Jon Rafman, Lee Really, Performance Re-enactment Society (PRS), Henri Riviere, Henri, Ed Ruscha, (solo, with & Lawrence Weiner & with Mason Williams & Patrick Blackwell) Patrick, Tom Sachs, Ari Salomon, Jeremy Sanders, Joachim Schmid, Jean Frederic Schnyder, Yann Serandour, Travis Shaffer, Matthew Sleeth, Thomas Sowden, Gary Starks, EF Stevens, Derek Sullivan, Yoshikazu Suzuki, EricTabuchi, Kazuhide Takada, Erik Van der Weijde, LouisaVan Leer, Sam Venables, John Waters, Roger Zelazny, Hermann Zschiegner
Why do you resist? Forms of Resistance in Contemporary Art
Arsenal Gallery, Bialystok, Poland
Opening 10 February, 2011
11 February - 6 March, 2011
Zwischenlager / Ankäufe der Stadt Zürich 06-10
Helmhaus, Zurich
Opening 10 February, 2011
11 February - 10 April, 2011
ReCoCo — Life Under Representational Regimes
White Space, Zurich
An exhibition project curated by Siri Peyer and Joshua Simon
Boaz Arad & Miki Kratsman, Ariella Azoulay, Diego Castro, Francesco Finizio, Thomas Galler, Roee Rosen, Anna Witt, Hannes Zebedin & the collection of Rudi Maier: So geht Revolution – Advertising & Revolt
Opening February 4, 2011
5 - 26 February, 2011
The Right to Protest
Museum on the Seam, Jerusalem
Opening October 14, 2010
October 14, 2010 - October 1, 2011
DESIRE AND VICE: THE SEVEN DEADLY SINS FROM DÜRER TO NAUMAN
Kunstmuseum Bern & Zentrum Paul Klee, Switzerland
October 15, 2010 - February 20, 2011
Opening: Thursday, October 14, 2010, 6:30 pm
Kunstmuseum Bern and Zentrum Paul Klee will devote a comprehensive exhibition to the seven deadly sins, targeting a fitting documentation of artistic preoccupation with this theme from medieval times to the present. The exhibition will address the relevance of the notion of sin in contemporary society and how our culture justifies changes in values..
Impakt
Impakt Festival 2010, Utrecht, the Netherlands
October 13-17, 2010
WERKLEITZ FESTIVAL
Werkleitz, Centre for Media Art, Halle (Saale), Germany
October 12–17, 2010
The international film programme will present current and historical films from all genres (feature film, documentary film, experimental film, animation, but also ephemeral films like adverts, educationals or propaganda). The programme will describe a line from macro sociological fears (like in politics, economics and wars) to micro sociological fears (like family, gender, body, psyche, illness, death) and investigate the interwovenness of social and individual fears.
Angst in der Schwarzen Schachtel (Fear in the black box) will be curated by Marcel Schwierin (Berlin) and guest curator Brent Klinkum (Caen).
Press Art - Sammlung Annette und Peter Nobel
Museum der Moderne Salzburg, Austria
July 3 - October 24, 2010
WHY DO YOU RESIST ?
PORI ART MUSEUM, Finland
June 11 - September 5, 2010
Zbynek Baladrán, Rebecca Bournigault, Thomas Galler, Fabrice Gygi, Thomas Hirschhorn, Alexey Kallima, Jiri Kovanda, Martin Krenn, Kristina Leko, Lucas Lenglet, Jérôme Leuba, Gintaras Makarevicius, Bettina Pousttchi, Oliver Ressler, Slaven Tolj, Mona Vatamanu & Florin Tudor, Costa Vece.
The younger generation of artists has in recent years once again begun to analyse the structures of power, while discussion of the forms of resistance has become one of the main themes of artistic practice. But what does power mean to this generation? Many artists focus on governmental power and its systems, and on political trends on a more general level, but also on the effects of globalisation, racist beliefs and the reality of migration. Artists are interested in how such issues are addressed by governments or the bodies of the European Union, how they wield power that they only understand as an administrative instrument. The WHY DO YOU RESIST? exhibition focuses on works from the topical field of international contemporary art, works that use available media with the purpose of making visible control mechanisms, structures of power and representation.
Curators: Andrea Domesle, Michal Kolecek & Pia Hovi-Assad. Produced in cooperation with: Kunstmuseum Thun, Kunsthalle Palazzo, Liestal, Switzerland.
\ ACTUAL FEARS
CAN, Le Centre d’Art Neuchâtel, Switzerland
4 JULY - 11 JULY 2010
NON STOP SCREENINGS 2 PM - 1 AM
Opening: Monday 5th July at 7 pm at Jardin Anglais, Neuchâtel
With a fantastic performance of DOMENICO BILLARI!
Video art presented by the CAN at the NIFFF (Neuchatel International fantastic film festival,
10th edition)
MIXED GAPS & VERTIGO
Fantastic is always looking, in a more or less obvious way, the offbeat effect, which prevents a rational resolution of h(H)istory by disturbing the vision of reality. The galloping vertigo of the global era is strong in the surrealist chaos effect. Video takes note of, diffuses and especially differs images sometimes going as far as expressing saturation. Today, where quotations are practiced in an unconscious manner, are the subtle effects of offbeat, which are so popular in fantastic as a deconditioning force, still effective?
The CAN is pleased to present a series of recent video installations by contemporary Swiss and foreign artists in the perimeter of the festival: 3 videos by day/night / 2 artist performances during the festival / free entrance.
Programmed by : Marie Villemin, Marie Léa Zwahlen