Silver Lining
Turn Illness into a Weapon - Artistic Perspectives Within Healthcare Movements
Our fellow student Miriam Döring is represented in the exhibition Turn Illness into a Weapon - Artistic Perspectives Within Healthcare Movements at Kunstraum Kreuzberg/Bethanien, curated by Linnéa Meiners.
Reacting to the healthcare system’s discriminatory structures, in 1972, the Sozialistische Patient*innenkollektiv (Socialist Patients‘ Collective) called to weaponise their illness. The group aimed not to portray illness as something individual that must be overcome alone, but to show its complex connections with social neglect and structural inequalities. Relatedly, this exhibition draws attention to the structural and intersectional disadvantages faced by disabled, chronically ill, and/or neurodivergent people in a late-capitalist, ableist system. How to turn illness into a weapon?
The group exhibition Turn Illness into a Weapon – Artistic perspectives within healthcare movements takes its starting-point from the grassroots healthcare struggles around the former Diakonissen-Krankenhaus (welfare hospital) Bethanien in 1970s Berlin. When it became clear that the abandoned building was to be transformed into artists‘ studios, the initiative Kampfkomitee Bethanien, among others, demanded to use the space as a children’s polyclinic.
In the exhibition, 17 artistic positions are brought into dialogue with the site where these specific political struggles played out. The artists criticise present-day conditions in art and healthcare policy, and point towards alternatives.
01.06 - 18.08.2024, Opening: Friday, 31.05.2024 5-10PM
Opening Times: Sun - Wed: 10AM - 8PM |Thu - Sat: 10AM - 10PM
Featuring Works by: Anguezomo Mba Bikoro, The Chronic Iconic (Jessica Cummin), Chloe Pascal Crawford, Criptonite (Edwin Ramirez & Nina Mühlemann), Miriam Döring, Tomás Espinosa, Eva Egermann & Cordula Thym, Lotti Fellner-Wyler, Feministische Gesundheitsrecherchegruppe, Cornelia Herfurtner, Kallia Kefala, Magda Korsinsky, Julia Lübbecke, MELT (Ren Loren Britton & Iz Paehr), Silvi Naci, Sophie Unikal, RA Walden
Kleine Humboldt Gallery x Halbhaus Gallery Weekend
With work from Bailey Keogh
26. Apr – 28. Apr 2024
Potsdamer Straße 120, 10785 Berlin
Im Rahmen des Sellerie Weekends haben wir zusammen mit Studierenden der UdK die Ausstellung Truth or Dare in den Räumlichkeiten des UdK Halbhaus umgesetzt.
11 künstlerische Positionen stellen Fragen an ihre persönliche Wahrheit:
Was prägt meine Wahrheit, und wie verpflichtet sie mich zu Handeln? Kann mein Handeln meine Wahrheit verändern? Das Spiel Wahrheit oder Pflicht konstruiert einen unnatürlichen Zustand, in dem Denken und Handeln separiert werden – eine Trennung, die im wirklichen Leben selten so klar besteht.
Die Entscheidungsmomente im Spiel regen dazu an, sich selbst zu überwinden; sei es durch das Aussprechen einer Wahrheit oder das Ausführen einer Handlung. Wahrheit oder Pflicht spielt sich auf der Schwelle zwischen Selbst- und Fremdbestimmung ab. Was bleibt privat, was wird öffentlich? Wie sehr werden eigene Denkmuster und anerzogene Normen zur eigenen Wahrheit, der wir uns verpflichtet fühlen? Aus diesen auszubrechen kann schmerzhafte Fragmente aus der Vergangenheit zum Vorschein bringen. Als Schutz vor der Realität entstehen verschwommene Erinnerungen; eine neue Wahrheit, welche das Passierte nur noch erahnen lässt. Die Werke der elf Künstler:innen zeigen Konfrontationen mit individuellen Wahrheiten, Verweigerungen sich gesellschaftlichen Normen zu beugen und porträtieren die damit einhergehenden Emotionen. In diesem Spannungsfeld eröffnet die Ausstellung Räume für Reflexion und Selbsterkenntnis und stellt die Besuchenden vor die Wahl: Wahrheit oder Pflicht?
Das UdK Halbhaus hat sich aus Mangel an freien Atelierflächen innerhalb der Universität gegründet. In den Räumlichkeiten finden sich Studierende aus den Klassen Audrick, Bonvicini, Favre und Zipp zusammen und nutzen diese als Atelier und Ausstellungsfläche. In diesem Jahr haben sie die Kleine Humboldt Galerie eingeladen, um eine Ausstellung im Rahmen des Sellerie Weekends zu kuratieren.
NAPPING IN DENSITY
Presentation of artistic works by students of the Berlin University of the Arts (UdK)
at KW Institute for Contemporary Art
Concluding event of the teaching cooperation Geschichten zur Geschichte
between the UdK and KW
History can be documented, analyzed, criticized or even forgotten. We can deal with it in manifold ways, whether we consciously control this process or not. But how does a decidedly artistic approach to the past look like? How can a focus be set and materially conveyed in order to relate to the past in the present? And how does this relate to the future?
The teaching cooperation pursued these questions from two starting points during the winter semester 2023/2024: The first approach was to focus on the concurrent KW exhibition Coco Fusco: Tomorrow I Will Become an Island (2023-24) in order to highlight Fusco's artistic method of critically engaging with socio-political issues and events of the past and present. Drawing on Fusco's works, the participants explored materials from the recently established KUNST-WERKE BERLIN e. V. archive in further depth. Through the discussion of selected projects from the last 30 years, KW's current program was embedded within its exhibition history, which is located in socio-political discourses, while reflecting on them or adding new dimensions. At the same time, this exploration allowed to take samples of the institution's past in order to prepare the current presentation Napping in Density.
The topics discussed were starting points to which the participants could relate freely with their own artistic works. This resulted in an investigative, but above all artistic approach to history and archives, in which the past is activated, questioned and playfully reinterpreted. The results are 13 independent works, diverse in their media, in which the presence of past events and experiences emerges anew.
With works by
Arwina Afsharnejad, Jamila Barakat, Bella Bram, Miriam Döring (Class Bonvicini), Mika Ebbing, Koob Sassen Enterprises, Moritz Haase, Daria Kim, Daria Kozlova, Lena Kocutar, Victoria Martinez, Alma Poursangari, Livia Rauch, Jule Roehr, Aixing Wang, Alungoo Xatan
Concept and project management
Akiko Bernhöft (UdK)
Jenny Dirksen (KW)
Coordinator KW
Alexia Manzano
TRANSMITTER
During Berlin Art Week14. – 17.09.2023
Potsdamer Strasse 120, Berlin
"Transmitter" is a technical term from telecommunications and describes a device for generating and emitting electromagnetic waves that are modulated with information. Transmitters and receivers communicate with each other via these waves using codes and signes. Transmitters form the technical basis for many forms of communication.It is a similar situation in the HALBHAUS, which you can now enter here as an exhibition space. Rented by the Berlin University of the Arts as a studio space for students of the classes of Monica Bonvicini, Thomas Zipp and Valérie Favre, the place mainly serves as a work and production space. The artists come here not only to work, but also to exchange ideas with each other."Transmitter" sees itself as a space and an opportunity in which art is not only presented as a collection of connected objects of contemplation but where art takes place and defines itself as a practice of performance and organic growth. In a conscious renunciation of ideal conditions of undisturbed aesthetic perception, the exhibition seeks interaction out of contemporaneity.ArtistsMomo Bera Mina Büker Geli Derzapf Bailey Keogh Pia Li Grau Gerald Meilicke Mascha Serga Marco Siciliano Martin Sieron Josephine Rothäuser Curated by Max Rauschenbach
Hyperstition06.05.2023 to 18.06.2023 Museum für Fotografie
The exhibition explores the experimental philosophical concept of hyperstition and makes it the starting point for new artistic works by young artists on speculative themes in photography and video.And what if there was no beginning? (Iain Hamilton Grant)Hyperstition refers to ideas whose expression releases such vibrations that they ultimately realise themselves, similar to a self-fulfilling prophecy. The term was first coined in the 1990s by the interdisciplinary collective Cybernetic Culture Research Unit (CCRU) in the UK, whose members published their findings mainly on blogs on the internet. Hyperstition is a neologism made up of the English words 'hyper' and 'superstition'. Unlike superstition - a fiction that remains fictitious - hyperstition is a fiction that makes itself real. An example of hyperstition is virtual economic speculation, which has become a reality-constituting force in capitalism.We live in a complex system of feedback cycles: power supply systems, logistics chains, financial markets, neo-extractivist expansion etc. Confronted with governance models that are unable to initiate the necessary systemic change, younger generations often find thinking about the future difficult and paralysing. This exhibition is inspired by the idea that imagining the future fictitiously offers a better decoding of one's present than looking at the past.11 artists are showing 9 works, some of which were created for this exhibition project. Among other things, they deal with new and old thought games from science fiction and digitality, such as our relationship to artificial intelligence and computer simulations or, for example, the glitch as a feminist digital utopia. Online and offline, places are visited on different time levels and linked non-linearly like time capsules; imagined through dream time travel or collective artistic processes. Light plays a recurring role both in the creation of the photographic works and as a media-theoretical consideration of the relationship between photography and temporality. In terms of content, the individual works touch on common interests such as the unveiling of relationship complexes, the visualisation of algorithms, examinations of new technologies, internet, mysticism and alchemy. The works shown move between prophetic curiosity and archival interest in the contemporary. Realising that images and documentary no longer show reality, but rather something that could be, we are concerned with the relationship between propositions and things.
Artists A project by and with Arwina Afsharnejad & Daria Kozlova, Felix Ansmann & Kani Lent, Moritz Haase, Sophia Hallmann, Marie Salcedo Horn, Bailey Keogh, Victoria Martínez, Anna-Maria Podlacha and Lilith Tyrell (KSE).
Curator The exhibition is curated by Marlena von Wedel.
JUMPING TRAFFIC LIGHTS
The exhibition JUMPING TRAFFIC LIGHTS presents current works by eleven artists currentlystudying at the Berlin University of the Arts in the classes of Monica Bonvicini, Thomas Zippand Valerie Favre. The show, initiated by the emerging talents themselves, will take place from28 to 30 April 2023 within the time frame of Gallery Weekend Berlin and at the same time makesuse of a central location of this event: Potsdamer Strasse. Between well-known galleriesis the HALBHAUS, as it is called by the artists. This space is rented for two years by the artacademy to compensate the lack of free studio space for the students due to renovation. Now the artists are using the HALBHAUS as a temporary exhibition space.With its exhibition title, JUMPING TRAFFIC LIGHTS refers to a breach of rules. Traffic lightsserve to ensure safety and order in road traffic. However, the English term "jumping a redlight" resonates with a dynamic that gives the red light violation an almost positive expression.This term can be thought of in a more general sense: when restrictive structures are questioned,fought against or disregarded, a freer existence can sometimes be achieved.Thus, the offspace show implants itself as a diversified accent in the well-known galleryweekend and challenges the established structures of the art business in favor of a new wayof thinking. With courage and confidence – in the fast lane, so to speak – the artists defyseemingly entrenched rules by giving themselves, in the early stages of their careers, anunusual amount of visibility.
The space has been used repeatedly for exhibitions in recent years, such as from 2018 to2020 under the name PS120. It is characterized by its central location at the intersection ofPotsdamer Strasse and Kurfürstenstrasse, including a subway station, permanent car noises,street prostitution, fast food, and high-priced stores. The everyday life at this location becomesan essential part of the exhibition through the panoramic view to the outside. Life in the city also shapes the works of the eleven artists. They find their individual expressionto address urban socialization, their own experiences and longings in Berlin in the form ofpainting, photography, installation or sculpture.
The exhibition closes on Sunday, 30.4.2023 with a party at HALBHAUS, with DJs Grippe,BBY JSS, On a Crac, among others.
Bonvicini class members: Aaron Bircher, Pia Li Grau, Bailey Keogh and Marco Siciliano participated
Exhibitions involving students from our class over Gallery Weekend Berlin
HALBHAUS
Students from Bonvicini, Farve and Zipp activated the new space, Halbhaus at Postdamer strasse 120.
Showing artists: Nora Awad, Aaron Bircher, Mina Büker, Calman, Chatha, Geli Derzapf, Pia Li Grau, Bailey Keogh, Gerald Meilicke, Laila Ava Ohlhoff, Mascha Serga, Kaja Wandelt
#MAKEUSVISIBILE X DENKFEMALE
On October 1rst #MakeUsVisible x DENKFEMALE kicked off in Munich. 31 AR and soundmonuments of women and trans*persons created by artists all around the globe will enriched the public landscape and open up dialogues about representation.
Contributing artists: Mariella Kerscher, Nadine Kolodziey, Julie De Kezel, Leticia Almeida (Tanky) and Mathías Chumino (C03RA), antxnio graz, lizzybepainting, Tamiko, Thiel, Dagmar Schürrer, Wednesday Kim, Will Pappenheimer, Bailey Keogh, Anke Schiemann, Oto-Abasi, Manuela Illera feat Merlin Stadler, Tabitha Nagy, Jia-Rey Chang, Andrea Ricklin, Felizitas Hoffmann, Rebekka Feicht & Nils Peisker, She's Excited! & Clara, Francesca & Gretta Louw, Mary Ann Strandell, Jamie Burkart, Michael Rees, Jo Ngo, Aida Bakhtiari, GinSoul, Ansh Kumar, Paul Valentin, Carla Gannis, Sylvia Rothe, Alexandra Ginger, Felix Stöckle
IT WASN`T THE HELICOPTER LAST NIGHT. IT WAS THE WIND
Exhibition by Lee Everett Thieler & Louisa Frauenheim
Where :
Institut für Alles Mögliche
Ackerstraße 18, 10115 Berlin
When:
Opening Friday 21.10. 2022 18:00 - 22:00
20:00 Performance on Friday Running headfirst into the waves by Lee Everett Thieler
Saturday & Sunday 15:00- 19:00
Events:
SATURDAY 19:00 a fabulous QUEER reading Night hosted by
Lee Everett Thieler with
Artists: Cleo Kempe Towers, Samuel Benke and Ékate Teo
Studio Hannibal
Under the theme "Save Changes", the UDK new media artists showed a selection of their works at a 2-day screening program hosted by Studio Hanniball.
Showing artists: Bailey Keogh - Can Kurucu - Clemens Schöll - Daria Redkina - Elisa Jule Braun - Felix Ansmann - Giorgi Gago Gagoshidze - Heiko-Thandeka Ncube - Jack Hogan - Jeanna Kolesova - Kani Lent - Katharina Aae - Lena Kocutar - Leyla Toprak - Mariam Aslanishvili - Matthias Planitzer - Max Schweizer - Merve Cansız - Sarah Zeryab - Tekla Aslanishvili - Teresa Hoffmann - Victoria Martínez - Victoria Sarangova
Bailey Keogh and Kani Lent presented their performance, Come Here to Suffer. The performance developed from a research based practice that included fiction writing, simulated band practice and larping.
Parallel Narratives
Opening:Saturday, July 2nd, 5 – 8 pm
Exhibition: July 02 – September 03, 2022
Berlin: Schöneberger Ufer 71
with Kim Bode, Walker Brengel, Julia Eichler, Steffen Jopp, Jakub Kubica,
Felix Kultau, Eric Meier, Moritz Riesenbeck, Laura Sachs, Selou Sowe
Anica Seidel, Wanda Stolle, Taylor Tschider, Emil Walde, Nils Weiligmann
SETAREH is pleased to announce the upcoming group exhibition Parallel Narratives.
The exhibition takes its title from the term Parallel Narratives, coined by Peter Sloterdijk, describing the phenomena of images offering a spatial and visual "parallel narrative" to his intellectual exploration of bubbles (discovery of self).
Each work in the show represents its own narrative, juxtaposing a new story, evoking different thoughts and creating a temporary chronicle in the space.
Simultaneously creating parallels to the other works, sometimes in coherence, sometimes in juxtaposition, offering an investigation into space, self, intimacy and correlation. Walking through the exhibition can be seen as a continuous narrative, weaved by each visitor, closing gaps between memory and reality, between thought and creation, highlighting the capacity of objects in a space to construct a dialogue with one another.
I´M IN THE DOORWAY
Group exhibition in Projektraum 145
Design by Elena Buscaino
I´M IN THE DOORWAY
1 Anica Seidel I´m not going to be silent (2022)
Gas can, Zippo, bass drum pedal
A gas can, Zippo and bass drum pedal were transformed into an instrument that thematically deals with destructiveness and anger. I am not going to be silent also raises questions about the difference between noise and sound. The viewer can use the sound sculpture and thus become a musician in the exhibition space.
Do It Yourself.
2 Anica Seidel Bed (2022)
Kitchen graters, steel bars, steel pipes, wire, nails, Bed: 91cm x 115 x 205 cm, Table: 49 x 46 x 42 cm
The work Bed consists of steel rods and various kitchen graters that were collected over a long period of time and arranged into the shape of a bed and a bedside table. The steel tubes on the headboard of the bed are arranged like wind chimes. Bed here embraces brutality and fragility as well as the sleeping place as a place for Eros and Thanatos.
„Not much for mornings. Too much to dream about. To dreaming far too much.“ (Insomnia, Einstürzende Neubauten).
3 Lee Everett Thieler
die Welt um uns herum sie existiert nicht mehr (2022) 130 cm x 136 cm
Lee Everett Thieler‘s analog photographs can be read as visual documentation and fragmentary diary entries. The work focuses on capturing interpersonal relationships and their own non- binary gender identity.
Poems, memories, dreams and experiences set the mood and the foundation for the following work. Lee will for the first time read two texts as part of this exhibition at the opening and in days to follow.
4 Louisa Frauenheim stürzen (2022)
Ceramics, porcelain pieces, tiles from the kitchen from the house where my grandmother grew up (Hamburg Altona 1925-1945), plaster, wood, tiles, glue, lacquer, wax, porcelain figurines.
Sentences translated into english with the german word stürzen (to topple) with its various meanings: Falling from a height into the depths, to fall heavily, to topple walls, to bring someone down in one‘s arms, rain falls from the sky, to plunge a country into civil war, to rush into work/pleasure, to upset the cake, to overthrow a government (source: Duden)
Fragility, Vulnerability, Childhood Memories, Breaking, Healing, Rebuilding, Tradition, Coming Together, Drinking Coffee, Arguing, Being Hysterical, Throwing Porcelain at the Wall, Trophies
5 Louisa Frauenheim Onion (2022)
Photoprint, Hahnemühle paper, 20 x 30 cm
The traditional onion pattern is one of the most successful in porcelain history. One of the best known and oldest models is the blue and white pottery of the early Ming period (1420). In especially Germany, from 1860 onwards, it was good manners in bourgeois circles to own an onion pattern porcelain service. In reality, the onion pattern does not represent an onion but a pomegranate.
6 Milena Bühring & Judith Florence Ehrhardt Null zu Null (2022)
single channel video
2 performers and a thought experiment: Null zu Null revolves around the exclusivity of bodies in spaces. They imagine two heteronormative cis men having a game night where no women are allowed. It is an experiment, which is characterized by the fantasy and desire of the people who are denied entry.
7 Lisa Kaschubat Unstable Matters
8 min. 2-Channel HD Video +Stereo Sound, VR, CGI
There is no such thing as one coherent body. We are a multitude, contradicting, overlapping, fading and melting into each other. Corporeality becomes recognisable as a permeable and deformable medium that is threatened by fragmentation and external control. It deals with the sentiment of alienation. Alienation to ourselves and the world we live in. Alienation but also longing at once.
Kim Bode - those that slip among molecules
solo exhibition at Galerie im Turm
28.04.2022 - 03.07.2022
Opening 27.04.2022
A beam of orange light hits the brick-red, craggy floor. Electronic whispers travel through the room. Plants pierce through the piled-up layers of soil. In a transparently coloured atmosphere, Kim Bode present their work, titled those that slip among molecules, at Galerie im Turm. Frankfurter Tor’s grey, exposed-aggregate concrete contrasts with this raw environment, which opens a space for interrogations and new ideas.
A herbaceous plant, which also features in Homer’s Odyssey, grows steadily in this expansive artwork. In Greek mythology, the Asphodel Meadows are a region in Hades, the underworld. The myth describes a place where souls dwell without being rewarded or punished for their deeds during mortal life.
Kim Bode create landscapes that do not distinguish between the human constructs of what is artificial or natural, instead interweaving them. This not only challenges the narrative in which humans imagine themselves as ruling over nature, but also brings to the fore conceptions of queer ecologies.
curated by Linnéa Meiners
Text by Kim Bode and Linnéa Meiners
Photos by Kim Bode
Galerie im Turm
Frankfurter Tor 1
10243 Berlin
Marco Siciliano at Hošek Contemporary
The site-specific exhibition 'Vergissmeinnicht' and artist book by Marco Siciliano will be released on the pink full moon in Scorpio on Tuesday April 27, 2021 at Hošek Contemporary, Berlin & Superfluo Project, Milan.
Through the analysis of psychosomatic pain and proxemics distances, Marco Siciliano investigates relationships among bodies, transliterated into multidisciplinary works. The space assumes a pivotal role for Siciliano's research, a field where bodies acquire coordinates to appear in intimate places or in unknown landscapes, hiding and fragmenting themselves as we silently observe their slow dissolution between public and private. Photography and its serial accumulation act as leitmotiv of his research.
The Vergissmeinnicht exhibition and its book are inspired by the great ORLANDO FURIOSO by Ludovico Ariosto (1532).
Orlando’s madness because of Angelica’s “betrayal” has taken the paladin away from the war and his return to normality is necessary to make his decisive contribution to the battle, which is why Astolfo is commissioned by God to go to the Moon -where all the things that are lost on Earth are collected- to recover the wits of Orlando.After visiting Hell, Astolfo reaches the Moon on board Elijah’s chariot. His prodigious journey becomes an opportunity to blame the madness of man who throws time away chasing vain illusions in search of a lost reason.
Book your appointment and pre-order the artist book via info@hosekcontemporary.com The exhibition will be on display until May 22, 2021.
Billie Clarken's first solo: Change Blindness at Åplus
Billie Clarken's first solo show Change Blindness opens March 20th at @aplus.berlin
“Trap doors” is an ongoing series by Billie Clarken. The six panels displayed in the exhibition space are refrigerator doors. Found as leftovers on the streets, dismantled, collected, and hung at their purposive height – between eye level and hand grip – the refrigerator doors in a white cube highlight a meaning and perception shift, in which detritus becomes a precious treasure-trove.
(image kindly stolen from Billie, during set up)
The refrigerator, as an everyday object, intrigues the artist. Object poems, which contemplate ordinary items, come into mind.
Clarken considers this big memo board to be an interesting space to explore, physically and objectively, to fill in, to overlap different non-linear timelines, reality with fiction, shopping and other to-do lists with postcards, poems, quotations, calendar dates, photos, children’s drawings, grave frottages. Literally, everything a small lodestone can hold.
Yet, a closer look reveals that the doors of refrigerators are printed with photographs of refrigerators' doors, upon which other real elements such as drawings, postcards or photos are overlapped and fixed. This unexpected manner of lifting and moving things confuses the viewer’s mental perception.
As the title of the exhibition is slowly disclosed, we understand that we failed noticing the differences between what is printed and what is real from the beginning. No flash of light coming from opening the refrigerator is needed to introduce us to the changes of the appearance...
(excerpted from text by Majla Zeneli, Åplus Berlin)
Corneous Stories | 26th International Festival City of Women
Our fellow classmates Johanna Michel and collaborator Jinran Ha as well as Kim Bode (all part of the N*A*I*L*S - hacks*facts*fictions* collective) are gladly inviting you to the CORNEOUS STORIES exhibition at Galerija Škuc, Ljubljana.
8. 10. 2020 - 30. 10. 2020
Opening of the exhibition on Thursday 8 October at 7 pm!
___________
8. 10., 7 pm–11 pm: Exhibition opening with exhibition viewing and performance
9. 10., 6 pm–9 pm: Diskurzivni salon
10. 10., 5 pm–7 pm: Presentation of the Corneous Stories student research project and publication
What do we realize when we look at society and history through cosmetics and beauty work?
The Corneous Stories project includes an exhibition, discursive program, art education and a publication. It offers a platform for presentations and encounters within the transdisciplinary research of historical and societal perspectives on the material culture of cosmetics. Developed by differently organized individuals and groups – artists, researchers, art educators and students –, Corneous Stories look at history through the skin, nails and hair.
Perceived as a wide concept in Corneous Stories, cosmetics and beauty labour are seen as an everyday social practice. Despite their centrality within the visual culture and aesthetic-formal codings of individual eras and societies and their material circuits and connections, both cosmetics and beauty labour are rarely a subject of (artistic) research or (re)production. Revealing surprising links between different sectors of the economy (chemical, car and film industry), work regimes (service, but also forced- and migrant labour, as well as beauty labour), mobility, modernity and identity violence and how they intersect in the material culture of cosmetics and visual culture, Corneous Stories want to trigger reconsiderations of the ways of contemporary subjectivation and governance.
The Corneous Stories project strives for a mutually supportive transfer of different knowledge, experience, feelings, and practices that are not divided into more and less important ones. Situated knowledge such as social “readings” of appearances and recognising mechanisms of social divisions based on appearances is knowledge, too. To have the ability to reflect upon a personal and a experience of marginalization and suppression of others means to act against it.
No pedagogy which is truly liberating can remain distant from the oppressed by treating them as unfortunates and by presenting for their emulation models from among the oppressors. The oppressed must be their own example in the struggle for their redemption.*
*Freire, P. (2005 [1970]). Pedagogy of the Oppressed. New York:
Continuum, p. 54.
___________
The Corneous Stories project includes an exhibition, discursive programme, art education and a publication. It offers a platform for presentations and encounters within the transdisciplinary research of historical and societal perspectives on the material culture of cosmetics. Developed by differently organized individuals and groups – artists, researchers, art educators and students –, Corneous Stories look at history through the skin, nails and hair, asking “What do we see if we look at history and society through cosmetics and the labour of beauty?”
Revealing surprising links between different sectors of the economy (chemical, car and film industry), work regimes (service, but also forced- and migrant labour, as well as beauty labour), mobility, modernity and identity violence and how they intersect in the material culture of cosmetics and visual culture, Corneous Stories want to trigger reconsiderations of the ways of contemporary subjectivation and governance.
Exhibiting: Dovilė Aleksaitė, Milijana Babić, Mareike Bernien and Kerstin Schroedinger, Kim Bode, Centre for Women’s Studies at the Faculty of Humanities and Social Sciences in Rijeka, Lea Culetto, Lenka Đorojević, Anna Ehrenstein, Jinran Ha, Johanna Käthe Michel, Selma Selman
Sateliteprojekt, 01 Beginning - Exhibition Invite
Satellite project, 01 beginning“ 2020, was originally the title of the first exhibition of a series of exhibitions by the artists Nicole Hauck (DE), Kilian Heindl (IT), Tim Löhde (DE), (fellow classmate) Shin-Oh Nam (KOR) planned to take place in different locations (Düsseldorf, Berlin, Chicago, Incheon) .
The four artists each deal with the topic of "human development" and produce works of art in various media. Once conceived as a classic analog exhibition series, the show now adapts to the special situation caused by COVID-19 and proceeds in a digital form.
The digital processing of the material takes over a digital archiving and documentation function. The analog exhibition series will be postponed to 2021. The artistic works will develop in its form (Beginning-Development-Climax-Conclusion) and find its own dramaturgy, which can always be followed online on this website.
Text : Nicole Hauck, Kilian Heindl Tim Löhde, Shin Oh Nam
How does a state of liveness translate into a physical presence and where can it place its appearance and matter? How will the current situation shape future art platform?
In response to the above questions, creative technologists use new media in a particular volume of space, transforming it into a place of communication where the experience of both physicality and virtuality becomes possible. With an understanding of data integration through multi-disciplinary research between art and technology, our work incorporates machine learning algorithms and code-based illustrations in the Satellite Project.
Text : Youngjun Chang, Llorenç Garcia
Künstler : Nicole Hauck, Kilian Heindl Tim Löhde, Shin Oh Nam
Technologists : Youngjun Chang, Llorenç Garcia
“Sateliteprojekt, 01 beginning”
Digital Opening: 1.5.2020 at www.satelliteprojekt.com
Analog: ab 2021 Düsseldorf | Berlin | Chicago | Incheon
Directed by: Kilian Heind, Nicole Hauck, Shin Oh Nam, Llorenc Garcia, Youngjun Chang Production by: Llorenc Garcia, Youngjun Chang
Curated by: Shin Oh Nam
Ubiquitous / Transmediale Vorspiel - Exhibition Invite
Fellow classmate, Kim Bode, is happy to invite you to the group exhibition "Ubiquitous", curated by Johanna Wenzel and Nicolas Rosero.
Kim will be participating with a sound piece produced under the name of the group ‚Bureau of Transitioning Landscapes‘, currently consisting of Anne Line Gertz and Kim Bode.
‚Bureau of Transitioning Landscapes‘ is a long durational artistic-research and archival-project that focuses on the exploitation of landscapes and natural habitats.
Its aim is to shed light on the naturecultural entanglements of entities and their backlashes into the patriarchal anthropocentric worldview of human cultures (mainly focusing on Europe).
The exhibition "Ubiquitous" - an ambient intermission - is part of the CTM/transmediale Vorspiel program and will take place on the weekend of the 18th and 19th of January 2020. The program explores the state of affairs of our environment by bringing its peripheral aspects into the foreground. For this, the aesthetics of ambient music will be abridged with the ecological in an effort to renegotiate the power structure of the environments we occupy.
With works by: Alejandro Villegas, Bailey Keogh, Carlos Pablo Villamizar, Carlos Serrano, Felipe Vaz, Jérémy Bocquet & Grégoire Houcke, Jonas Wiese, Julio Lugon, Katharina Bevand, Kim Bode, M.Kardinal & Monocube, NO PROJEKT, Sally von Rosen, Sebastian de la Luz and Yasmin Nebenführ.