Jean-Pascal Flavien’s practice combines elements from architecture, sculpture, and the performative. The artist’s houses are based on imaginary settings imposed by the artist and/or requirements determined by function and imagined site. Each house bespeaks certain circumstances (technical, aesthetic and existential) but in turn may also itself produce such conditions. The structures are conceptual entities, representing ideas, locations, and events in which the architectural conditions can determine the behavior of its inhabitants (and vice versa).
Jean-Pascal Flavienwas born in 1971 in Le Mans, France. He studied Fine Arts in Rennes, Bologna, Lorient, and participated in the Graduate Program of the University of California, Los Angeles. The artist lives and works in Berlin.
Flavien’s recent solo exhibitions include: dancers sleeping inside a building, Les Ateliers de Rennes – Biennale d’Art Contemporain, Musée de la Danse, Rennes (2016); folding house (to be continued), NMNM – Nouveau Musée National de Monaco (2016); folding house, NMNM – Nouveau Musée National de Monaco (2015); statement house (temporary title), RCA, London (2015); night house at daytime, textes de nuit, Angle Art Contemporain, Saint-Paul-Trois-Châteaux (2013); Cinonema, no drama cinema, South London Gallery, London (2012); breathing house, la maison respire, Parc Saint Léger, Centre d’art contemporain, Pougues-les-Eaux (2012); Jean-Pascal Flavien, Kunstverein, Langenhagen (2012), and PLAY, HEDAH/Jan van Eyck Academie, Maastricht (2011).
Recent group exhibitions include: The Way We Perform Now, Ujazdowski Castle – Centre for Contemporary Art, Warsaw (2017); Meeting Points 8, Beirut Art Center, Beirut (2017); Variable Dimensions – Artists and Architecture, MAAT, Lisbon (2017); The House of Dust by Alison Knowles, The James Gallery, New York (2016); Jump, CAC Brétigny – Centre d’Art Contemporain, Brétigny-sur-Orge (2016); L’Esprit du Bauhaus, Musée des Arts décoratifs, Paris (2016); De toi à la surface, Le Plateau – FRAC Ile-de-France, Paris (2016); La collection des objets que l’on utilise sans les toucher, CNEAI, Chatou (2015); All that falls, Palais de Tokyo, Paris (2014); Was Modelle können, Museum für Gegenwartskunst Siegen (2014).
The life-sized project folding house (to be continued) was acquired for the collection of the NMNM – Nouveau Musée National de Monaco and inaugurated in July 2016 on the museum’s outside terrace.
Beyond his work related to the Internet, Wolfgang Plöger’s artistic practice includes diverse media like film, photography, sculpture, and diverse printing techniques. All works focus the inherent laws of the specific medium. How does a series of net-based images changes if printed in a book? What happens if a text is printed directly onto the film loop and being projected afterwards? What kind of images are created if single layers of color are separated from a CMYK print? Plöger doesn’t employ media as a container. Instead he generates the subject of the work based upon the medium. More and more, his oeuvre develops into a self-referential system of pictorial and textual information.
The central theme picked out here is the conditioning of both, image and text, the pre-formatting or framing of content which is running like a common thread through the history of media – just think of the book, index cards, photographic plates, substandard film, Polaroid, Cinemascope, computer screen, Twitter, Instagram… The medium still is the message.
Wolfgang Plöger (1971) in Münster, Germany lives and works in Berlin.
On occasion of the Biennale für aktuelle Photography ›Farewell Photography‹
More than a hundred fifty years after its invention, photography’s presence in the political sphere is today as contentious as ever. Its unique ability not only to render people and places beyond our immediate experience visible, but also to lend them new meaning, has often placed photography at the heart of political debates. Still images are better retained by memory, and despite theomnipresence of instantaneous “live” video documentation, iconic images—images that circulate extensively whose mark remains etched in our collective memory—are more likely to be still photographs. Since it first emerged, photography has been either heralded for its emancipatory and civic potential—it’s capacity, in the words of nineteenth-century abolitionist Frederick Douglass, to enable “men of all conditions [to] see themselves as others see them”—or derided and criticised as manipulative, crude and objectifying, as a mechanism of control, surveillance, and classification. At the advent of the digital age, the increasing scope, breadth and speed of image dissemination has made the question of navigating their political potential and shortcomings all the more urgent, and the stakes ever higher.
It is such contradictions and tensions that are explored within “Resisting Images”. The exhibition brings together a range of works operating at the frayed edges of documentary practices, and at the front of the politics of representation. As its title suggests, the works in the exhibition address this ambivalence within an image-saturated present, that is: they look at images both as a means of resistance and as a mode of control to resist against, a unique sort of pharmakon, a poison and a remedy.
curated by Boaz Levin
Natalie Czech (* 1976) lives and works in Berlin. Exhibitions i.a. in CRAC Alsace Altkirch, MOMA New York, Palais de Tokyo Paris, Fotomuseum Winterthur, Kunsthalle Vienna, Hamburger Bahnhof Berlin, Kunstverein in Hamburg, Braunschweig, Langenhagen. Works i.a. in the collections of the MOMA New York, Pinakothek der Moderne Munich, Fotomuseum Winterthur.
From 1982 to 1987 Via Lewandowsky (* 1963, Dresden) studied at University of Fine Arts in Dresden. In the period from 1985 to 1989 together with a group of avant-garde artists ›Autoperforationsartisten‹ he organized subversive performances, which circumvented the official art scene of GDR. In 1989 shortly before the Turn Lewandowsky left the GDR and moved to the Western Germany. He often travels and had multiple long-term stays abroad i.a. in New York, in Rome, in Beijing and in Canada. Nowadays he lives in Berlin.
Since 1986, after his short studies, Durs Grünbein (* 1962, Dresden) has been living as a poet, translator and essay writer in Berlin. He was a guest lecturer at the German Department at New York University and at Villa Aurora in Los Angeles. He has received a lot of awards for his works, i.a. the Peter-Huchel-Prize in 1995, the Georg-Büchner-Prize in 1995, the Literaturpreis der Osterfestspiele Salzburg in 2000, the Friedrich Nietzsche-Prize of the State Sachsen-Anhalt in 2004 and the Berliner Literaturpreis in 2006 of the Preußischen Seehandlungverbunden with the Heiner-Müller-Professur in 2006.
Martin Beck, a philosopher and an author, works on aesthetics, image theory, art and mathematics philosophy and is interested in the digital phenomena.
Joerg Franzbecker, a curator, at the moment works on the fluid bodies and infected landscapes. He is a copublisher of the ›Berliner Hefte zu Geschichte und Gegenwart der Stadt‹. In 2017/18 he is going to overtake the management of the M1 in the Arthur-Boskamp Foundation in Hohenlockstedt.
Christine Lemke works as an artist and an author. She publishes essays, catalogue entries and reviews. Her artistic work she presents as part of exhibitions and readings. Working out the sociocultural narrative as motives, reflecting on them and bringing out their poetics, her image-text combinations from an appropriated material have as a goal a critical approach to pictures.
David Polzin (*1982, Hennigsdorf, GDR) studied from 2003 to 2008 at Berlin-Weißensee University of Arts under the supervision of the Prof. Eran Schaerf and Prof. Karin Sander, as well as at BEZALEL – Academy of Arts and Design in Jerusalem. In 2009 he was an A student at Berlin-Weißensee University of Arts. His works were exhibited nationally and internationally. His recent individual exhibitions were ›Möbel und Objekte aus der Postimperialen Phase Deutschlands‹ (Galerie Anselm Dreher, Berlin), ›Obst und Gemüse‹ (MMK Zollamt, Frankfurt) and ›Cassette‹ (Galerie Waldburger, Brüssel). In 2010 / 2011 Polzin was a scholarship holder of the Jürgen Ponto Foundation. In 2015 / 2016 he received a scholarship for cultural exchange ›Kulturaustauschstipendium‹ from the State of Berlin, which included a position of a guest professor at Art Center College of Design Pasadena in Los Angeles. In 2015 his work ›Marken Zeichen Signete aus der Postimperialen Phase Deutschlands‹ was published by AKV Berlin.