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Dialogues on artistic production
and contemporary cultures
7. October : Eoghan McTigue
23. September: Annika Eriksson
16. September: 2/5BZ aka Serhat Köksal, Konzert und Visuals,
2. September: Joanna Rajkowska
26. August: Laura Bruce and Rui
19. August : Peter Spillmann and Heman
12. August :Nezaket Ekici
5. August : Curators
Night - Lise Nellemann and Montse
29. July : Oliver
Zwink and Julika Gittner
22. July : Simon
Starling and Michael Stevenson
1. July: Ed
Osborn and Annika Lundgren (Performance)
24. Juni: Dolores
Zinny & Juan Maidagan and Teresa
Seemann & David Galbraith
3. Juni: Stefan
Saffer and Dominic Hislop
28. Mai: Zeigam
Azizov and Colonel
Prokop and Jessika Miekeley
14. Mai: Deborah
Ligorio and Karen Yasinsky
5. Mai: Jan
Rothuizen and Sean Reynard
28. April: Jean
Lee and Jeroen Offerman
26. - 30. September
Discursive table auf "art
September um 19.Uhr
/ Wolf von Kries)
Hulten / Pia Lanzinger)
Philipsz /Kenneth Balfelt)
juli (Claudia Reinhardt /Annika
juli (Dellbrügge & deMoll)
Wudtke / Kirstine Roepstorff /
Römer Westh / Lasse Lau /
Unterstützung von DCA, the Danish Contemporary Art Foundation
26. September Eröffnungs Party DJ Allen,
Abnormal audio sound event
26. - 30. September at the
art forum berlin 2002
Discursive table: Karl Holmqvist and Sparwasser HQ
and many more
September 10. um 19.Uhr Morten Schelde and Wolf
I am in my apartment trying
to write a text on my work. In the background, the first Star
Trek movie is running. A little while ago, I was watching CNN,s
preparations for the upcoming september 11. Outside my open window
was just a minute ago the sounds of a weddingparty going on at
the church across the street, playing the wedding march and some
songs of Nena and Joe Cocker.
These clashes of different
realities is very much what my work is about. I like working
with a diversity of pictures, collecting and combining them.
I am interested in the psychological and emotional impact they
have on me, and in the way pictures are dealt with in the media
and in art. How do we encounter them as individuals?
In general, I am interested in producing images reflecting an
individual voice, while trying to find underlying structures
of what ties us together in communities and larger groups.
Specifically, I have chosen
drawing as my primary medium. I started working with drawings
because I like the slowliness and simplicity of the process,
and chose to work mostly monochromatic after having tried out
doing fullcolour drawings...which turned out to look like the
work of 10 kindergarden-kids. Working in just one colour is to
me about emphasising the drawing as surface, and it gives me
the possibility to work with shifts of ambiences between the
individual drawings. Like the differences between CNN, Nena and
Wolf von Kries
Bei den hier vorgestellten
Arbeiten handelt es sich zumeist um ortspezifische Interventionen,
in denen die Funktionsweisen sozialer, ökonomischer kultureller
Strukturen hinterfragt werden. Dabei werden bestehende Mechanismen
oder Objekte durch kleine Eingriffe isoliert, konzentriert oder
simuliert und erhalten so eine von der herkömmlichen Anwendung
abgehobene Bedeutungsebene, die seine Funktion zugleich auflöst
Wolf von Kries lebt und arbeitet in Berlin.
Most of the presented works
are site-specific interventions that question in one way or the
other the functioning of our social, economical or cultural structures.
They consist of little manipulations of existing mechanisms or
objects, which are either isolated, concentrated or simulated
thus adding a meaning beyond its original function, which it
affirms and dissolves at the same time.
Wolf von Kries lives and works in Berlin.
September 3. um 19.Uhr
The artists Sofia
Hulten and Pia Lanzinger
will present and talk about their work.
'Sofia Hulten's action videos
investigate the border between the mischievous and the absurd.
In Fuck It Up and Start Again, 2001, a young woman destroys an
acoustic guitar and tapes it back together, only to smash it
and repair it again-and again-until only an unruly mass of fragments
remains. Grey Area, 2001, follows a woman in a gray flannel suit
hiding in the most unlikely places in an office: Gray carpets,
open umbrellas, and filing cabinets all provide camouflage for
concealing office help. Her latest video, Ohne Titel (Untitled),
shows a woman attempting to put together an old set of metal
shelves with packing tape. Sped up slightly, the video exaggerates
the frustrated efforts of a do-it-yourselfer, who, appropriately,
disappears in a ball under her unlikely and unstable creation.
(text by Jennifer Allen)
"Mit Sicherheit in München
In einem Klima, in dem die wirtschaftlichen und sozialen Veränderungen
der Globalisierung mit ihren Deregulierungs- und Flexibilisierungstendenzen
die Menschen verunsichern, kann mit dem populären Schlagwort
"Innere Sicherheit" erfolgreich Wahlkampf betrieben
werden. Die Angst vor anderen und vor Verbrechen spielt eine
immer größer werdende Rolle in den Medien, während
Politiker vom 'Recht auf Sicherheit' sprechen. Innerhalb dieser
Diskussion präsentiert sich München gern als die sicherste
Millionenstadt Europas. Unter dem Titel "Mit Sicherheit
in München eine Sonderermittlung" organisierte
Pia Lanzinger im Rahmen der Ausstellung "Exchange &
transform (Arbeitstitel)" Führungen im Umfeld des Münchner
Kunstvereins, das mit seinen Regierungsgebäuden, Wirtschaftsunternehmen,
dem amerikanischen Generalkonsulat und exklusiven Geschäften
zu einem der bestgesichertsten der Republik zählt. Mittwochs
um 13.30 Uhr wurde der Kunstverein sechsmal zur Ausgangsstation
und zum Treffpunkt für Sicherheitsinteressierte und die
Künstlerin zum Tourguide. Während der "Sonderermittlungen"
war Pia Lanzinger als Moderatorin gefragt, die zwischen den Fragen
der Gäste und den Antworten der Gesprächspartner vermittelte.
Dabei entlockte die Gruppe ihren Gesprächspartnern spannende
Fakten und Meinungen über die Sicherheitsvorkehrungen der
jeweiligen besuchten Institutionen sowie deren Sicherheitsideologien.
Pia Lanzinger öffnete Türen, zum Beispiel zum Hochsicherheitstrakt
der Bayerischen Landesbank oder zum Erkennungsdienst der Polizei,
die normalerweise verschlossen bleiben.
Pia Lanzinger, lebt in München;
Veröffentlichungen als Textautorin in Katalogen und Zeitschriften.
Seit 1991 Ausstellungstätigkeit und verschiedene Arbeiten
im öffentlichen Raum: Zu Mädchenkultur entstanden die
Projekte "Das Mädchenzimmer" (München 1997),
"Das Mädchenzimmer REVISITED" (Zürich/Wien
1998/99) und "The Girl's Room Tour" (Schottland 1999).
Teilnahme mit einer Stadtrundfahrt zum Thema Geschlechterrollen
bei "Dream City" (München, 1999), mit vier Hörstücken
aus einem Phonomaten und über Telefon bei "Erlauf erinnert
sich..." (Österreich, 2000) und mit einer Sammelaktion
für unbekannte Geschichten bei "Log.in" (Nürnberg
2000). Bei "RE_public" auf der Expo Hannover und im
steirischen herbst (2000) veranstaltete sie Expeditionen hinter
die Kulissen der offiziellen Ausstellung. Über die Rolle
"der Frau des Künstlers" entstand am Beispiel
von Agnes Dürer eine Videoarbeit in der Kunsthalle Nürnberg
(2000). In der Gondelbahn "Flying Mozart" konnten Interessierte,
während sie über der vom Tourismus geprägten Landschaft
schwebten, den Träume und Gedankenflügen der Einheimischen
lauschen (Wagrain/Österreich 2000). Für die BewohnerInnen
einer im Entstehen begriffenen Trabantenstadt organisierte sie
"Wohnwanderungen" und gab die Zeitschrift "Schönes
Wohnen in der Messestadt Riem" heraus (2001).
Pia Lanzinger Texte online
english / deutsch
August 27. um 19.Uhr
Philipsz and Kenneth
My work deals with the spatial properties of sound and with the
relationships between sound and architecture. I am particularly
interested in the emotive and psychological properties of song
and how it can be used as a device to alter individual consciousness.
I have used sound as a medium in public spaces to interject through
the ambient noises of the everyday. Using my own voice, I attempt
to trigger an awareness in the listener, to temporarily alter
their perception of themselves in a particular place and time.
Susan Philipsz is from Glasgow,
studied Fine Art at Duncan of Jordanstone, Dundee and then completed
an MA in Fine Art in Belfast. She has been based there for the
past 8 years were she was a Director of Catalyst Arts, an artist
run gallery and also founded, and is co-director of grassy knoll
productions, a mobile arts organisation. She was awarded the
PS1 International studio programme in New York in 2000. Since
completing the fellowship she is currently doing an artist residency
at Kunst-Werke Berlin. She has recently been chosen to participate
in Art Pace 2003, San Antonio and in the next Triennal of British
Art, Tate Britian 2003. She was shortlisted for The Glen Dimplex
Artist Awards Exhibition at The Irish Museum of Modern Art, Dublin
in 2001. She participated Manifesta 3, Ljubljana, and has shown
in the Melbourne Biennial, 1999 and the Tirana Biennial, 2001.
text about Susan Philipsz
written by Caoimhín Mac Giolla Léith, March 2001.
Susan Philipsz will participate
in the exhibition "The island and the aeroplane", opening
the 26. of September at Sparwasser HQ
KENNETH A. BALFELT
I work with functional and
related projects that can serve as "a modest proposal"
or real model for socio-political changes.
Through functional art projects
I engage in real life
situations. I use the art viewpoint to infuse new ways
of dealing with problems. I wish to change.
I do not reject the art institution
as it is an
important place to experiment with ideas.
Kenneth Balfelt is an artist,
living and working in Copenhagen. Due to several recommendations
and as we know that Kenneth Balfelt is very active at the scene
in Copenhagen right now, we have invited him to Sparwasser HQ
to show his work.
link to Kenneth Balfelt homepage
30. juli um 19.Uhr
die Künstlerin zeigt ihre
inszienierte Fotos und einen neue Video.
Sie ist mitgründerin das kunstmagazin NEID
Claudia Reinhardt arbeitet
mit inszenierter Fotografie. Meist ist sie selbst
das Model ihrer Inszenierungen in denen sie sich - oft ironisch
mit geschlechtsspezifischen Rollenbildern auseinandersetzt. In
Videoarbeiten, die eher im trashigen Format produziert sind,
Geschlechtsidentitäten getauscht, verwandelt und dekonstruiert.
Sie ist Mitbegründerin von Neid (Kunstmagazin) und arbeitet
femistischen Zusammenhängen als Autorin und Fotografin (Blau
Ihre neue fotografische Arbeit hat den Titel "Killing Me
Softly" und zeigt
die Selbstmorde von zehn Künstlerinnen.
Die Auseinandersetzung mit dem Leben und Sterben dieser Künstlerinnen
verwandelt sich in den fotografischen Inszenierungen in eine
die einen Vorschlag dazu macht, "wie es hätte sein
können". Auch hier nimmt
Claudia Reinhardt selbst die Rolle des Modells ein, an dem diese
Versuchsanordnung durchgespielt wird. Keinesfalls geht es um
authentische Darstellung der Tat.
Die Auswahl, die dem Zyklus zugrunde liegt, ist von dem Interesse
Biografien und Werken diser Frauen geleitet, deren Tod in den
Ausgangspunkt sind die der Realität zugehörenden Selbstmorde,
mit denen sie
ihrem Leben ein Ende gesetzt haben, und die unterschiedlichen
die sie dafür wählten.
Something about my work:
Starting out working with sculpture,
and later installation and video, my
work eventually took on a purely conceptual form, including
performative elements. My later works can probably be described
kind of "public arrangements", where I frequently utilize
a known or
allready existing form, manipulating it by loading it with a
of content. My project "Public Educational Tours",
for example, consists
of a series of guided bus tours, questioning the issue of history
This way of working is for
me a possibility to get in touch with an
audience outside of the art scene (thus -for purely selfish reasons-
trying to create a dialogue different than the one being had
while simultaneously providing a way for the audience to approach
work without nessecarily having to negotiate the barriere of
And it is a lot of fun for
me, which is essential.
23. juli um 19.Uhr
Dellbrügge & deMoll
Parallel zur Ausstellung
in Sparwasser HQ 18. Juli bis 18. August: Kunst-Werke '93
Sparwasser HQ '02:
1993 bezogen Dellbrügge & de Moll für ein Jahr
ein Dachgeschossatelier in
Kunst-Werke Berlin. Ein wiedergefundener Film aus dieser Zeit
bildet nun den
Kern der Ausstellung "Kunst-Werke '93 Sparwasser HQ '02".
Schnappschüsse erinnern an Aufnahmen eines Tatorts. Das
menschenleer und verwahrlost. Jedes Objekt könnte sich als
die Aktentasche, die leeren Haken am Schlüsselbrett, die
der Handkasse. Als Indiz wofür?
Kunst-Werke Berlin hat sich vom besetzten, produzenten-betriebenen
rhizomatischen Aktivitäten zur arrivierten, staatlich subventionierten
Institution gemausert. Wer hätte das damals ahnen können?
Fotos versteckte Hinweise auf die bevorstehende Karriere? Waren
Sparwasser HQ hat alles noch vor sich
2. Juli um 19. Uhr
die Künstlerin zeigt Dj T-INA, Ina Wudtke & the NEID
Die Künstlerin präsentiert ihre Arbeiten.
die Künstlerin zeigt "Turbulenzen und Beziehungsfelder".
Dj T-INA, Ina Wudtke &
the NEID Magazina
Informationen zu meinem Projekt
NEID sind unter <www.thing.de/neid>
einzusehen. Das Sprengel Museum Hannover hat dieses Jahr meine
<Vinyl Soundscapes> fuer die staendige Sammlung gekauft
in der ich als DJ
In meinen Istallationen verwende
ich Techniken wie: Mixing, Serialitaet und
Re-representation. Es geht bei meiner Arbeit um das Sichtbarmachen
gesellschaftlichen Strukturen, besonders auf Deutschland und
Vorweg gibts eine kurze Diashow
zu meiner bisherigen Arbeit sowie eine
brandneue Animation mit elektronischer Musik von mir. Im Anschluss
ich zwei aktuelle Bildserien: benedictine monks & jewish
Naechste Woche trete ich mein Istanbul Stipendium an, wo ich
Teil ueber fundamentalistische islamische Glaeubige fotographieren
Ich freue mich darauf am Dienstag ueber meine geplante Installation
'believe' zu erzaehlen.
A theme crucial to Kirstine
Roepstorff's art in general, is her ongoing query of what does
and what does not constitute meaning on the level of society
as well as that of the individual. In her cotton thread installations,
Roepstorff reflects this basic semantic question in quite a formal
manner when she transforms a tangible, everyday object like a
chair into something almost invisible and definitely not solid.
As Marx said: "All that is solid melts into air". In
a way, Kirstine Roepstorff uses her art to underline the semantic
fragility of modern life, and the therefore inherent randomness
of the values and conventions on which society rests.
If Kirstine Roepstorff's light,
poetic thread installations give you an idea of an artist working
in silence and with an understated vocabulary, her large and
'loud mouth' banners proclaim the opposite. Roepstorff's colourful
banners are richly decorated in rhinestones, embroideries, pearls,
paint, ribbons and fringe. Moreover, the banners have powerful
and sometimes quite aggressive modes of expression that evoke
an aesthetic associated with political activism. Roepstorff appropriates
the style of good old Russian agitprop as well as that of women's
lib of the 70s. There is a strong sense of appeal - to act politically,
overthrow tyrannies or make revolutions. And then, observing
the works at close quarters, you discover the small print: personal
texts about anger, sadness or failed love. In fact the banners
do not convey a global message. Nor do they advocate a collective
movement. Still, Kirstine Roepstorff appropriates an aesthetic
from a time in history when there was a belief in a common cause
and communal action. It could be viewed as a nostalgic gesture
or even as an act of irony. But this really is not how
Roepstorff's banners function.
Kirstine Roepstorff seems to
use the activist mode of expression to emphasise the individual's
right to fight for her dreams be they ever so personal.
Roepstorff puts her individual worries and beliefs into enormous,
noisy tapestries, insisting that there is such a thing as a one-woman
Extract from a text by Pernille
link zu einem zusetzlichen
Turbulenzen und Beziehungsfelder
NET.TOURS ist ein Vernetzungsprojekt
und erforscht mögliche Beziehungen von
Feldern, die sonst nicht zusammengedacht werden, die durch räumliche,
gesellschaftliche, politische, kulturelle Barrieren getrennt
sind. Zu bestimmten
Themenfeldern entwickelt Dorothee Albrecht Reisen, besucht Projekte
Positionen in verschiedenen Ländern und setzt einzelne Teile
oder auch Zusammenhänge
in Beziehung zueinander. Sie interessiert sich für Strukturen,
über Gruppen, Projekte und Vernetzung von Gruppen und Themenfeldern
grösseren Zusammenhängen verbinden - und zwar weltweit.
- networking ? Gefüge
werden entwickelt, die verschiedene auch widersprüchliche
Fragmente in Beziehung
setzen, veränderbare Netze entstehen. Die einzelnen Positionen
sich gegenseitig, sie entwickeln sich in Abhängigkeit voneinander,
weitere Beziehungsfelder, Konstellationen, die sich immer wieder
Präsentationen werden in Ausstellungszusammenhängen
gleichzeitig aber auch über den Internet-TV-Kanal NT.TV
(www.nt-tv.net) für eine
grössere Öffentlichkeit verfügbar.
25. Juni um 19. Uhr:
Römer Westh, Kopenhagen
Arbeiten von einer in Dänemark zunehmend ausgestellten Künstlerin.
Der dänische Künstler präsentiert CUDI und individuelle
der isländische Künstler zeigt neue music videos, Animation
Marie Römer Westh 2002:
"In my artwork I am interested in working with communication
sociality. It is the attempt to investigate, enlighten, advocate
stimulate the encounter and communication between people both
and outside the art institution that interests me. I have made
different tables to creat a common and
social space for people to meet, and interact directly with artworks
of different artists.
In my home an essential piece of furniture. Outside my
home a mediator for contacts?
I do everything at my table
except sleep and watch TV. I eat meals,
big and little, I am on the phone, I work, relax, meet friends,
xand strangers. I change my
nephew¥s diaper and teach him to sit
properly at the table. I cut fabric for new clothes and repair
do accounts and write appointments
into my calendar, let things pile up and clear them away, set
table and light candles, spill something
and dry it up again. When I go outside my home tables in various
shapes play a central part in my dealings
with other people. Everywhere I go The Table is an essential
furniture for various kinds of
meetings. It serves as the meeting point in cafes and restaurants
at conferences larger groups gather
around It. It appears as desks and counters, in banks when we
money, in stores where we spend it, in
any kind of private, public or religious office where various
of life are managed. It exists as the
bar in pubs and clubs where profundities and trivialities, secrets
and lies are shared among friends and strangers. It is the surface
over which we exchange opinions where we agree and disagree open
close deals - over or under The Table as the case may be. We
things on The Table and clear It by certain dates.
The Table is a social piece of furniture, we gather around It,
keeps us apart physically, thus It becomes a symbol of civilization
itself, It promotes mental contact instead of physical. The surface
that It offers opens up a room and makes the exchange of ideas
possible. It stimulates communication, It is the
very furnishing of democracy - everyone is equal around The Table.
Without It maybe we would bang
heads, losing our language. Is this maybe the reason why It exists
everywhere and cannot - as the bench and the bed - be split up
I will talk about two projects.:
CUDI - Centre for Urban culture,
Dialogue and Information,
established together with the artist Lise Skou in an apartment
suburb Vollsmose 2000. Vollsmose is the outskirt of the city
in Denmark and the majority of population in this suburban area
a non-Danish background. The apartment was our private home and
platform for inhabitants and visiting artist for social gathering,
dialogue, critical thinking and generation of new ideas, that
realized and exposed in the area.
The project was established as an reaction to the medias
representation of a reality, criminalizing and people with a
non-Danish ethnic background. And further more the project was
reaction to authorities explicit way to marginalize people in
general. CUDI homepage
2. PARK - Privacy could only
be had in public
In the winter of 2000 members
of the city council in Copenhagen
ordered bushes removed from H.C. Oerstedsparken, a centrally
park in Copenhagen. The reason they removed the bushes was to
prevent gay people for having sex in the park.
In the summer of 2001 I therefore made an "exhibition"
in the park
where the idea was to create a counter public-space, and in the
time to criticize the city for sterilizing and commercializing
spaces. Furthermore to criticize Copenhagen's gay associations
not responding to this visible and apparent attack on gay rights.
"At the moment there is a video in BuroFriedrich, some photographs
and a video in Galerie Georg Nothelfer and a show in Frisr Beige
Auguststrasse 83. There are some videos on festivals and travelling
shows. Works from me were also in ARS01 in Kiasma, Helsinki 2001
North in Kunsthalle Wien 2000.
My works are centered around
photographs, computer works, video and
music. At the moment I am an employee for an Icelandic ghost
called"Mori". Ten days ago I was in Alma Lv museum
in Sweden where I
dug a hole in the ground for him. It was 60 cm wide and around
In Sparwasser I would like
to show some of my music videos and
animation works and other previous works and end with talking
Mori a little bit. "
Lee, Born in Wakefield, UK, currently living in Berlin, Germany,
Studied at Goldsmiths College, UK.
Makes painterly installations with references to pop art and
sculptures out of plants dressed up in Versace colours. Recent
works have been wallpapered installations with objects derived
from Pink Panther cartoons and collaged real and fake plants,
transforming banal everyday objects into glamorous art objects.
Offerman, born in Eindhoven, NL, 1970, studied BA Sculpure
in Breda, NL and MA Fine Art at Goldsmiths College, London, UK.
Works include installation, sculpture, performance and video.
Themes range from romantic nature through urban landscape to
pop-music and popular culture. Recently Offerman practised for
three months in a row to learn to sing Led Zeppelin's 'Stairway
to Heaven' entirely backwards. This was performed and video-recorded
at the steps of London's St.Paul's Cathedral. The audience at
Sparwasser will get to see this video and possibly get a demonstration
of how the video-performance was done originally!! This will
then be a premiere! Rock On!
The work of the Dutch artist
and writer Jan Rothuizen is not easily categorized under one
heading. Rothuizen employs photographic works, personal texts
and on-site infiltrations to detach images from their original
context, in order to present them anew in full vulnerability
and implicit pliability.
The artist's self-portrait in progress composed of existing portraits
that he considered to be resembling himself 'Somewhere over the
Rainbow' , a crossword puzzle based on personal questions and
a collection of 'missing'-signs, gathered from different places
and united on one tree: what binds these works is the reflection
of a longing.
The capturing of an image and its inherent ambivalence: Rothuizen
operates from the knowledge of its impossibility. It turns his
work into a paragon: a reflection on human signifying and its
inadequacies, and with that, or maybe rather, a monument of longing
At Sparwasser Jan Rothuizen
will review some earlier projects and show a project he is currently
working on in Berlin.
Sean Reynard, born in St.Helens,
UK 1971, studied St.Helens Technical College (Expressive Arts)
then Sheffield Hallam University UK BA Fine Art.
He will present and talk about
his short videos, often improvised tales of frustration
and death. For Sparwasser he will present a selection of recent
work, including Unkle God,
where God visits his niece in her bedroom and Mam, which
shows what he had to deal with
every single day of his adolescent life.
Space - living, urban and social.
I am interested in making abstract concepts visible and working
somewhere between the personal and the public.
A constant interest in my research
is the adaptability of people in relation to the spaces they
live in. This subject is addressed by the Custom Habitats
series (web project: www.deborahligorio.com) including Modular
Tent, 2000-01 (installation) ideal habitats shaped
according to the needs of the individual, i.e. homes that visualize
traits of individuals' personalities.
Urban and social space is the central theme of a series of video
animations in which they are reviewed with a narrative approach
Density, 2002, Hyperdevelopment, 2002, and
SizeScape, 2003. This series of videos adapt and appropriate
the language of music and design, indirectly commenting on larger
issues through individual existence.
In Emptiness, 2001 (video animation), lines and squares
slide one beside the other to create an abstract aerial view
of the city, while the emergence of empty spaces refers to both
an emotional and geographical vacuum.
Views from above are also featured in Landscape, 2002
(video animation) and Maps, 2001-03 (C-Print), where aerial
views incorporate the dual meaning of urban-area and information-landscape
maps. D L
Karen Yasinsky makes animated
films using traditional stop motion animation. She will talk
about her reasons for using this medium and her interest in video
art as cinema, the power of melodrama and sound. She presently
the Philip Morris Arts fellow at the American Academy in Berlin.
At the center of my artistic
practice lies a focus on the phenomenon of pop-culture and the
"cult" surrounding celebrities. How are stars understood
and what effect do they have on the masses who relate to them
with idolization? Cultural, social and political factors cloud
the image that we have of celebrity personas but where is the
line between the cliché of a star's image and the individual's
projection of themselves onto the star. The work concentrates
on mainstream and pop-culture to question who and what in today's
society really has the power to enable change. It is pop-culture's
ability to function as a tool to create change politically which
my work sets out to explore by looking at the point were everyday
life, politics and stardom meet.
birthday, 2:39min, col., silent, 2001,
pool, 2:19min, col., silent, 2002
a film, an evidence, a testimony and a secret which is not revealed.
a narrative hovering in between two mediums. a sunny Sunday around
a pool, seduction and surface. birthday, blow ups and a forensic
analysis of what could/ would happen. something about anticipation
and a posthumous storytelling around issues of fear and control,
public and private spaces.
London-based artist and theorist
Zeigam Azizov (born 1963 in Baku) draws on
practices from cinema and critical theory in his attempt to place
the artist in
a context where, in Foucault's words, in our modernity "documents
to monuments and monuments are rendered to documents".
The excessive effects produced by this kind of rendering are
cut and mixed and
open a space for the soft topology to negotiate missing moments
experience of modernity.
Based on his recent project
"Migrasophia" (from migration and philosophy), this
discussion will explore experiencing the distorted knowledge
of the global
connectivity, which became possible arguably by means of the
Zeigam Azizov's recent migrasophic
detours "Vokal Aphasia" and "Migrasophic
transformNation" are or will be shown in SKIF (St. Petersburg),
Bauhaus Foundation(Dessau) and the Venice Biennale.
"I will speak about my emergency manifeste
and different practise and reflection about the medias
(speed /transport/fluidity /penetration....)"
In Germany last year Colonel
has exhibited at the Sprengel Museum Hannover
and at Sparrwasser HQ in Torstrasse in the exhibition "Clockwise"
and at our stand in "art forum berlin" 2002 .
In June 2003 Colonel will be
exhibiting at Galerie Olaf Stüber in Berlin .
colonel coming projects
Working as part of an art/architecture
team (Together with Kathrin Böhm,
artist/London and Andreas Lang, architect/London) I am generally
interested in the existing dynamics between formal and informal
structures that are imminent to our everyday life; where individual
interests collide with institutionalized structures.
Recent and current projects create new overlaps between different
differing interests and expectations. The wish to apply our practice
concrete situations meets an interest in generating new spaces
possibilities for engagement and development.
Dominic Hislop, born in Dumfries,
Scotland, studied BA Sculpture in
Edinburgh and MA Fine Arts in Glasgow. He moved to Budapest in
1996 and met
the Hungarian artist, Miklos Erhardt, with whom he shared an
discussing strategies of engaging with social issues and a broader
art. Together they initiated the project group, 'Big Hope' and
on a number of participatory projects involving certain marginalised
groups as both project participants and audience. A key aim of
projects was to present the self-representation of the participants'
perspectives. In such projects, the role of the artists has been
facilitators, who set up the framework for a dialogue, monitor
accommodate new directions then finally present the results.
As well as some of his own
interventions/installations in public space,
Dominic will present and then discuss various site specific participative
projects undertaken by Big Hope in Budapest, Zagreb, Torino and
including the project, 'Talking About Economy' which was shown
as part of the exhibition 'Nomad Job' in March 2003.
Zinny & Juan Maidagan
We are originally from
Rosario, Argentina, since 1994 we live and work in Manhattan.
We arrive to Berlin in 2002 invited by the DAAD, as artists in
We began working in collaboration in 1991. Our ideas are realized
in drawings, models, objects and installations, and they intervened
museums, cultural institutions and public spaces. Most of the
times we focus in situations within the transitions and boundaries
of the exhibition spaces.
Seemann & David Galbraith
David Galbraith and Teresa
Seemann are a New York City-based art collaborative. Their collaboration
started by merging sculpture and sound in tactile, phenomenological
and sometimes interactive installations. Their dialogue and practice
grew and developed into an unique body of work that combined
cultural and perceptual ideas of space, body and technology presented
through a variety of mediums including: architectural structures,
drawings, paintings, graphic design, found objects, sound and
sculpture. Currently they have been working with video that often
in its final output takes the form of animation. However their
techniques which involve the use of water-colors, photos, photo-copies
and referential sound along with other analog mediums combined
with the editing abilities of software and digital space are
a continuation of earlier studies into new media, mediums, technology
and perception. Galbraith & Seemann´s two-person shows
have been at Innocence & Mystery, Berlin, New Museum of Contemporary
Art, New York and the Soap Factory, Minneapolis. They have participated
in group shows including ones at P.S.1/MoMA and Kunst Werke.
Galbraith and Seemann have MFA´s from the California Institute
of the Arts and attended the Whitney Independent Study Program
together in 1996-97.
Ed Osborn is an artist whose
pieces use sound as a primary material and take many forms including
installation, sculpture, radio, video, performance, and public
projects. His works combine a visceral sense of space, sound,
and motion with a precise economy of materials. Ranging from
rumbling fans and sounding train sets to squirming music boxes
and delicate feedback networks, Osborn's kinetic and audible
pieces function as resonating systems that are by turns playful
and oblique, engaging and enigmatic.
Ed Osborn showed an installation
in Sparwasser HQ in autumn 2001 "Air Driver". In his
talk he will be talking about his newest works.
Ed Osborns homepage
"Meanwhile, back at the
is an ongoing piece, consisting of
a series of performances build around short, fragmentary stories
and presented though spoken text, music and images.
The contents of the piece gradually
develope and change through a continuous introduction of new
material, so that every new performance is a different one.
"Meanwhile, back at the
performed at the exhibition space
ZDB, Lisebon in connection with the exhibition "Life Policies"
"Meanwhile, back at the
performed at the exhibition space
Charlottenborg, Copenhagen, in connection with the exhibition
"Fundamentalists of the new order" 2002
"Meanwhile, back at the
performed at the exhibition space
Planet 22, Geneva 2003
"Meanwhile, back at the
will take place at the exhibition
space Sparwasser HQ, Berlin as a contribution to "Consequenses
of summer" 2003, dialogues on artistic production and contemporary
I am happy with the idea that
my practice functions as a kind of parallel universe,
perhaps operating in the realm of the outmoded or obsolete. Holding
up a mirror to a contemporary reality. Investigating the roots
of contemporary issues rather than the issues themselves. For
example two projects from last year perhaps have an interesting
relationship to contemporary ideas on
globalisation but they look to earlier manifestations of this
'Flaga (1972-2000)' involved
looking at the history of the production of the Fiat 126 in Italy
and Poland. This car was produced under two very different regimes
over an exceptionally long period of time for a car. The small
red 126 that I bought in Italy and drove to Poland would still
fit body parts manufactured in 2000 in Bielsku-Bialej.
And 'Kakteenhaus', made at
Portikus in Frankfurt, investigated the phenomena of the increasingly
large Tabernas Desert in Andalucia, via the introduction of cacti
into the region as props for the production of Spaghetti Westerns
in the late 1960's.
I guess these objects and ideas
are reinvigorated to serve as investigative tools for understanding
I engage with these ideas on a very human level. It's not polemical
in any way. Both 'Kakteenhaus' and 'Flaga (1972-2000)' are essentially
works about the flow of energy around the world, and that is
really fundamental to what I doing.
Representing New Zealand at
the Venice Biennale, the Trekka, the only ever 'home-grown' car
becomes a complex metaphor for national identity. Cultural aspirations
are placed side by side with the belated production of a motor
Designed as a simple agricultural
utility vehicle, the Trekka and its peculiar production scheme
are closely linked to the protectionist trade policies that characterized
New Zealand in the 1960s.
The whole concept of this unusual
car was to fill a niche in the then tightly regulated New Zealand
economy. The Trekka was in fact based on a chassis and motor
sourced from the Czechoslovakian car manufacturer Skoda. 'Free
Western enterprise' bartering with a Communist Bloc country at
the peak of the Cold War is but one of the anomalies the Trekka's
New Zealand anticipated a leading
role for itself in the event of cold war end game, it would be
the island of survival, the only first world country to remain
completely untouched. Government planning, which at the time
favoured self-sufficiency and import substitution overlapped
with such thinking.
born in Cologne, D, 1974, studied
BA Fine Arts at Goldsmiths
and BSc Architecture at The Bartlett School of Architecture,
My works cover sculpture, photography,
video and are informed by a dialogue
with my architectural projects and vice versa.
Both explore the monstrosity of society's order and control mechanisms.
Recent works include sculptures based on the statistical analysis
of the per
capita consumption of material per day ('economic units' no.:1-7).
participants were portrayed with models of their personal daily
The projects 'Designing Dyslexia' and 'Planning Madness' are
investigations into the spatial impact of planning bureaucracy
in the City of
London and Ahmedabad in India.
Loopholes within the planning process are revealed and used to
for free interventions in existing physical and social structures.
'Planning Madness' proposes a retirement home built by 900 idle
using 5 million bricks in a period of 26 years.
Leaving the secure shores of
abstract painting in 1997, I started work engaging with urban
space. The development towards building city-models and bringing
them into a state of decay was a result of my interest in mapping
unconscious spaces. As a starting point I used the surface of
my face and photographs of urban spaces. Settled between "Anti-Utopia"
and "poetic transformation" these models, made out
of light paper, became somehow
three-dimensional paintings .
Relating to these works I will
talk about some drawings, two works on video and recent projects
which involve the architecture of the gallery space.
Short Statement about Curatorial
The transformations of contemporary
artistic practices outline the need of questioning and redefining
the roles of the curator, the artist and the system in which
they are immerse. In context of change of the temporary and spatial
conditions of the development and the presentation of projects,
it is necessary to adapt to new requirements. The exhibition
can be considered like the top of an iceberg whose unseen body
is a previous process or can be considered as one possible format
among many others. The curator is confronted to new demands and
to a redefinition of his/her practice. Sometimes the curator
is more the initiator, the one who invites or proposes, in other
occasions is more the provider, the producer and the organiser.
The task of the curator consists on working together with the
artists (better not using them as illustrators of his/her ideas),
on putting in contact ideas and people, becoming the editor of
Assuming the premise that the
discourse of art can take place in any context and at any moment,
the big challenge is to raise the right question at the right
moment and to have a real projection in society.
Lise Nellemann/Sparwasser HQ,
responsible for the program since 2000.
Combining a tight international exhibition program with an intensive
communication activity (ideas lab), Sparwasser has become an
vital element of the art scene in Berlin. Being aware of the
tradition of cultural activism and the highly political consciousness
of the Berlin art scene many dialog events are catching up on
the problematic of the political situation on a global street
level, and so producing the curatorial condition for future exhibitions.
Sparwasser has existed since summer 2000. Within this period
28 group exhibitions and many events have been organized. Approximately
200 participating artists/ theorists have been connected to a
network used to distribute information and exchange knowledge.
Exhibitions, video screenings, artists talk, and live sound performances
attract a broad audience, and thereby SparwasserHQ has become
known as an active forum and as a meeting point.
All exhibitions are made on the basic of collaborations and research
among artists, developing the conceptual, theoretical and organizing
strategies as a consequence of this collaborative process.
The idea, the thought, the
draft are the bases for the
execution of my artwork. Ideas come from everyday
life situations, social and cultural atmospheres. Then
the idea expresses itself in the performances and
installation art. As well as this, I use the body as a
means of expression.
The artistsic idea is expressed
using the body alone,
as part of the installation and within the context of
The subjects I deal with are
time, movement, space,
material, body, action/interaction. I try to create
works of art that leave for the viewer, free space
for associations and new possibilities. I take a
special situation from everyday life and without
illustrating this one for one; I place it into a new
I aim to create art where all
of the elements are
connected together to form a whole work of art (
In her videos Annika Eriksson
works with individuals or groups to whom she
offers the chance of presenting themselves within her video framework,
whether it be, for instance, in the form of a small performance,
of a chosen passion or simply an introduction to one's person,
and profession. This is a concept she has implemented, among
the brass and drum orchestras of volunteer fire departments or
a dance theatre group of the handicapped, a series of collectors,
staff of the Moderna Museet in Stockholm, students of the curator's
at the Goldsmiths College in London or personnel at the Sao Paulo
Biennale. All the presentations are based on a precise concept
one hand, provides exact definitions of the form and content
presentation and, on the other, always leaves room for those
in question to
fill ad libitum. For example, the presentations of the collectors
structured along the following lines: the collector stands before
camera, introduces himself and names the object of his collection.
collector speaks freely as long as he thinks it right or as long
as he has
something to tell about his collection and his passion. He then
the set phrase "thank you" and Eriksson switches the
camera off. This
pattern provides a formal frame for the recurring individual
that assigns the collector a genre and makes them comparable.
As viewers we
are sensitised to the distinctions between the collectors' presentations:
each one uses his room for manoeuvre differently, presents his
in various ways and portrays himself in his own fashion. This
is similar to
what occurs with the orchestras: their guideline is to march
from the left
into the video frame one at a time and to group themselves with
instruments frontally to the camera. Their exit takes the same
reverse. In the time in-between, the orchestras' sole task is
to play the
song "Sour Times" by the pop group Portishead in an
interpretation that is
left completely up to them. Since none of these ensembles ever
music, it is an exercise that gives them the freedom to deal
with the theme
as radically as they like. There is no set recipe. In this way
Erikson allows the participants is also a challenge, because
it can or must
be filled. Eriksson's projects always ask how individuals deal
possibility of an authentic self-presentation or performance
as well as what
the relationship is between the individual and the collective.
October, 7 p.m.
Sren Grammel, for "Es
ist schwer das Reale zu berüren", Kunstverein München
Heman Chong will in his talk
include his project MurMurMur, which is shown at the Venice Biennale
(Singapore Pavilion) . He will talk about his upcoming project
for Ars Electronica , which opens in September in Linz.
Heman Chong showed two projects
in Sparwasser HQ, in March and April 2003:
"Lost (Found Tracks)"
Heman Chong and Isabelle Cornaro:
"The End of Travelling"
(Trip to Asiatown and Back)
He is currently an Artist-in-Residence
at the Künstlerhaus Bethanien in Berlin.
Meine künstlerische und
kulturelle Arbeit ist thematisch ausgerichtet
und projektorientiert. Die unterschiedlichen Projekte entstehen
meistens im Austausch und in Zusammenarbeit mit KünstlerInnen
TheoretikerInnen, in wechselnden Konstellationen und in Bezug
einen bestimmten inhaltlichen und sozialen Kontext. Dabei haben
im Laufe der Zeit drei Themenfelder ergeben - die kulturelle
Konstruktion von Landschaft, symbolische und rituelle Dimensionen
Ökonomie und Institutionskritik bzw. selbstverwaltete kulturelle
Praxis - innerhalb derer alle Projekte an denen ich bisher beteiligt
war oder die ich initiert habe, ansetzten. Für mich steht
Werkcharakter der Kunst im Vordergrund, sondern vielmehr ihr
inhaltliches und gesellschaftliches Potential. Daraus ergeben
strategische Überlegungen zu aktuellen gesellschaftlichen
von Kunst, KünstlerInnen und Kultur und ein kritisches Verhältnis
den darin agierenden Institutionen und Subjekte einerseits und
andererseits Initiativen, eigene Arbeits- und Diskurs-Zusammenhänge
aufzubauen und zu stärken.
Ausgehend von drei ganz unterschiedlich
"Klöntal" (1996), "Route Agricole" (2002),
"Backstage" (2004), die
alle etwas mit Imaginationen und Begehren im Zusammenhang mit
Landschaft und Natur zu tun haben, möchte ich Überlegungen
und Strategien einer thematischen kulturellen Praxis anstellen
die eigenen Positionen und Interessen darin befragen.
Laura Bruce's works explore
the relationship between
the real and the surreal in small town, domestic
situations. The idea of the everyday interuppted by
defamiliarity, abstraction or even mystic is a central
issue for Laura Bruce. She uses her family, friends or
her own person as protagonists in her work in general,
and in her videos, follows a feature film- or
docu-drama-like strategy, essentially revealing
psychological structures of relationships, family
roles and social mechanisms that we recognise from our
own experience. Her work functions like material
depots stationed between actual situations, thoughts
and encounters, and symbolic memory.
"He uses video and its
potentials in the same way
others use a pencil.From a minimal technical
repertoire is born a living world of images that does
not simply unfold itself on the screen, but rather
uses it as its starting point."
Doris Von Drathen in IDENTIDADES Catalogue.2003
"... a central place in
Calcada Bastos' works: within
a fictional space bearing biographical features and
intertwined with personal memories, his work circles
around the complex substance of identity and the
melancholy of isolation"
Kathrin Becker.. in B Magazine 2003
I donít have any language
that I would call my own. In every project I am using the language
already invented, sometimes highly developed, sometimes very
simple. The use of ready languages creates a platform on which
I meet other people, I communicate with them or - in most cases
- I am with the others in the simplest way - physically.
I use myself in my work as
a material, vehicle, tool, as a person, bunch of chemicals and
as a medium. In all cases I am trying to get out of myself, to
find a way out and rather to become someone else than to find
any kind of identity.
I was taught by a painter,
a mystic and Eastern Orthodox Church philosopher, Jerzy Nowosielski.
The tradition of icons where the subject is not being represented
but is being present in the painting directed my way of thinking.
My professor used to tell me: you will paint this vase right
if you become it. Now, when I have a message to get across, I
have to become this message quite often. I make things happen
rather than I show that things happen.
Here are a few notions about
the latest project: Artist For Rent, in which my services could
be employed by anybody interested in it.
Artist for Rent was about spending
time. My time was being consumed by other people and in this
very way it was getting its quality. In many situations I had
the impression that I am living a double life, although in fact
I was living no life, neither mine nor someone elseís.
This was all about losing and about disbelief that anything can
The first question was, Ñwhat
can I honestly offerì. I had to admit, I had nothing to
offer. ÑWhat do you want from me, what shall I do?ì
- letting people answer these questions freed me from the responsibility
of choice. I was giving people exactly what they wanted, I was
not offering anything. Every single task was about their needs
and choices. I think art should be a mirror in this very way.
You get what you want, not
what I want you to get. I am not able to put myself in a position
of someone who knows more and knows what you need. I think an
artist has a social role not necessarily because of a creative
skill but rather because he/she is able to change a few things
in life of others. For example a way of spending time.
I was trying to be useful in
a fundamental way. Not showing that an artist can be useful,
but to be useful. Everyone, especially artists are entirely focused
on their own work. They are quite often blind and dead for others.
Alike car dealers, light designers, mothers, salesmen, directors,
film makers and workers, all of them have their own universe.
Why should I create a new one, while I can simply jump into one
of them and fill up a temporary hole.
Artist For Rent was also about
a certain way of being with other people. I think about the safety
of a relationship. You have a task for me. We spend time together
doing it, working on it. We do not communicate, except a necessary
exchange of technical information, we are not trying to understand
each other. The expectations are clear and fulfilled. I am working
for you but I ask for a more creative part - for the documentation
of an event. I am giving you the energy to do it.
'Mercedesstern' is a 16mm film
of a huge illuminated Mercedes
logo that rotates slowly and evenly above the Europa Centre on
Tauentzienstrasse. The Europa Centre was built in 1965, four
years after the Berlin Wall was erected, the area marked the
'new' centre of west Berlin until the wall came down in 1989.
my work I'm interested in investigating forms of display in the
built environment, I'm also interested in the way we approach
and accord value to works of art in the context of museums and
galleries. The projects I've been working on recently mix
photography or film and architectural space to explore the way
these different elements interact and create meaning.
Eoghan McTigue was born in
Galway, Ireland in 1969, he studied
Fine Art at University of Ulster, Belfast and then completed
MA in Art and Architecture at the Kent Institute of Art and
Design. He has recently completed a year long residency at
Kunst-Werke Berlin (2002). He is currently preparing a solo
exhibition for the Context Gallery in Derry (2004) and a film
commission to be screened at the Project in Dublin (2004) and
the Goethe Institute Inter Nations (2004).
He has had solo exhibitions
at the Project, Dublin, Old Museum
Arts Centre, Belfast, Proposition Gallery, Belfast, Golden
Thread Gallery, Belfast and at the University of Illinois,
Chicago. Other recent exhibitions include 'Freespace', PCBK
Provincial Centre for Visual Arts, Hasslet, Belgium (2003), How
things turn out, at the Irish Museum of Modern Art, Dublin
(2002) 'Greyscale/ CMYK', Tramway, Glasgow (2002), D.A.E., San
Sebastian, (2002), Source magazine (2002), Plug In Institute
Contemporary Art, Winnipeg, (2001), Eurojet futures, at the
Royal Hibernian Academy, Dublin (2001) The International
Language,, grassy knoll productions, Belfast (2001), ARCO Art
Fair,, Madrid, (2001)