Hauptstrasse 97
D-69117 Heidelberg

Tue – Fri 12 am – 7 pm
Thu 3 pm – 10 pm / Sat – Sun 11 am – 7 pm

 

Phone +49 6221 – 184086

 

www.hdkv.de
hdkv@hdkv.de

 

Future

2018/1/12 – 2019/17/2
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›Sharing as Caring #6 Trans-Affects: Stories, Life and Landscapes‹
Satoko Nema, Michael Madsen, Nguyen Trinh Thi

Opening: 30. November // 7 pm

 

Contemporary modes of being and thinking are currently facing urgent challenges from the perspectives of multiple disciplines. Confronting their limitations in modern discourses, the recently forwarded notion of the ›care‹ has gained a foothold within interdisciplinary thinking and has become a magnet for revising existing discourses. Taking the Fukushima nuclear catastrophe as its starting point, the series Sharing as Caring addresses the notion of ›care‹ to reflect on current conditions of the nuclear presence. Since 2012, it has been experimenting and seeking a form for the intimate link between the political, economic, psychological, and personal desires to deal with the nuclear and social issues in a series of annual exhibitions at the Heidelberger Kunstverein.

After seven years living with the aftermath of the Fukushima catastrophe, the current situation in Japan and its neighbouring countries indicates the necessity of a long-term perspective and never ceases to demand from us new ways of confronting the incident on a fundamental level. ›Sharing as Caring #6,‹ the first instalment in a new series, presents artworks dealing with affects and landscapes behind the nuclear presence. ›Into Eternity‹ (dir. Michael Madsen, 2010) is a documentary film about the stories on the construction of the Onkalo nuclear waste repository in Finland. The repository was designed 4 km underground to store high-level radioactive waste for 100,000 years, even though no structure made by human beings has ever sustained for such a long time in history. The film explores ethical questions around the construction vis-à-vis the reality of energy needs and our responsibilities towards the future.

A series of photographs, ›Paradigm‹ (2016) by Satoko Nema, ponders how our bodies cope with the environment that is constantly affected by information technologies and ecology. Instead of being occupied by the baroque of the processed information provided by technological means, the artist reconsiders the in/adequacy of human perception in networked societies and urges us to seek ways to synchronise acts of ›seeing‹ with our bodily sensitivities in order to understand the daily environment on a deeper level.

Nguyen Trinh Thi is a Hanoi-based independent filmmaker and video/media artist. In her 35mm slide installation ›Landscape Series no.1‹ (2013), the artist presents a collection of 77 photographs, in which people each point out one part of a landscape. It is unclear for the viewer what exactly they indicate, however, this lack of clarity provokes our imagination and guides us to reflect the unsolved issues of nuclear presence over a century. The artist made this work while thinking over the Fukushima catastrophe and pondering the decision of the Vietnamese Government to build the first nuclear power plant in central Ninh Thuan Province, in the southern part of the country, in collaboration with the Russian State company Atomstroyexport. (In November 2016, the Vietnamese National Assembly abandoned plans for this first nuclear power plant.) The exhibition activates the imaginary space embedded in, evolved by and intervening with those art works. Thereby, it re-temporalises the catastrophe into the present and questions modernistic views that we accept in our everyday lives.

›Sharing as Caring # 6‹ will be held from November 30, 2018 to February 17, 2019 at Heidelberger Kunstverein. It is the first instalment in a new series curated by Miya Yoshida under the new directorship by Ursula Schöndeling. The second cycle not only explores the issue of nuclear presence on the deeper level including the global perspective, but also develop the exchanges and the collaboration with Japanese institutions.

 

2018/1/12 – 2019/17/2
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›Raumblüte‹
Kerstin Stoll, Frederick Kiesler

An exhibition by Kerstin Stoll in conversation with works by Frederick Kiesler.

In collaboration with the Austrian Frederick and Lillian Kiesler Private Foundation, Vienna.

Opening: 30. November // 7 pm

Further Information will follow soon.

Current

2018/8/9 – 2018/11/11
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WERK.STOFF Painting Award
Yorjander Capetillo / Ernst Friedrich Drewes / Friedhelm Falke / Nadira Husain / Michael Thümmrich

WERK.STOFF  Painting Award of the Andreas Felger Kulturstiftung and the Heidelberger Kunstverein.

The Heidelberger Kunstverein (HDKV) and the Andreas Felger Kulturstiftung (AFKS) are happy to present the results of their cooperation for the WERK.STOFF painting award.
Every three years, the WERK.STOFF painting award rewards artists in the field of painting. It is open to all artists living in Germany who aren’t yet know to the general public and without any age restriction. Artists will be appointed by nominators from the field of art. The prize should allow the winner to focus on his artistic development during an intensive phase of work.

The first exhibition of the five artists nominated for the award will take place in September 2018 at Heidelberger Kunstverein. The selected artists are: Ernst Friedrich Drewes, Friedhelm Falke, Yorjander Capetillo Hernández, Nadira Husain und Michael Thümmricht. The jury – composed of Dr. Martin Engler (Director of the Contemporary Art Collection at the Städel Museum Frankfurt a. M.), Dr. Ulrike Groos (Director of the Kunstmuseum Stuttgart) and Ursula Schöndeling (Director of the Heidelberger Kunstverein) – will select the winner of the award. The winner will present his work in a monographic exhibition accompanied by a publication in 2020.

Concept:
The WERKSTOFF art award understands the concept “Painting” in a broad sense. The works can encompass the traditional combination of brush, oil and canvas but can also reach into the room and space, as well as break traditional conventions. The award aims to put the diversity of painting at the center of the public perception.

Course:
1.   Conception of an exhibition of the five selected artists (Autumn 2018).
2.   Designation of the winner and awarding of the prize money of 10.000 euros. The decision of the jury is non-disputable, recourse to legal action will not be possible.
3.   Conception of a monographic exhibition and publication of the awarded artist (2020).

The nominees are:
Ernst Friedrich Drewes (nominated by Dr. Dieter Scholz)
Friedhelm Falke (nominated by Dr. Danièle Perrier)
Yorjander Capetillo Hernández (nominated by Prof. Jean-Baptiste Joly)
Nadira Husain (nominated by Prof. Antje Majewsky)
Michael Thümmrich (nominated by AFKS)

Jury 2018:
Dr. Martin Engler (Director of the Contemporary Art Collection at the  Städel Museum Frankfurt a.M.)
Dr. Ulrike Groos (Director of the Kunstmuseum Stuttgart)
Ursula Schöndeling (Director of the Heidelberger Kunstverein)
The vernissage of the nominees’ exhibition will take place on September the 9th, 2018 at 19:00 (7:00 p.m)  at the Heidelberger Kunstverein.
The jury will distribute the award during the closing ceremony of the exhibition at the Heidelberger Kunstverein on November the 11th, 2018.

2018/8/9 – 2018/11/11
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History Workshop #2

2019 will mark 150 years of the Heidelberger Kunstverein. In occaison of that we want to retell the story of the Kunstverein and its members but to do so we need your contribution!

The second edition of the  history workshop at the Kunstverein’s studio presents three past exhibitions, with which the Kunstverein has contributed to important social debates of the time and which were discussed in Heidelberg partly controversial: The first extensive and psychiatric critical exhibition of the historical collection Prinzhorn (1980) as well as the presentation of the estate of the photographers Gottmann sen. and jun. (1980), which gave rise to an argument with the controversial urban renewal. With the project ›ISLANDS+GHETTOS‹(2008), the Kunstverein discussed the global phenomenon of territorial segregation of 21st century cities in a comprehensive program.

We are calling out all members, fellows and friends to share their memories through text, image or words. Maybe you own interesting personal photographs from our events and exhibitions? Bring them along! Or perhaps you witnessed a particularly special occasion at the Kunstverein? Tell us about it! We look forward to finding out about your impressions and ideas.

 

Dates:

18.9. with Dr. Friedrich Kasten

25.9. with Hans Gercke

9.10. with Johan Holten

23.10. with Dr. Bettina Brand-Claussen and Doris Noell-Rumpeltes

6.11. with Francis Kelly

 

Film Screnning

4.10. with Nicole Güther and Jasmin Meinold

Past

2018/22/7 – 2018/19/8
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›TOP_0018‹

Meisterschüler of the State Academy of Fine Arts Karlsruhe
Johannes Bierlein, Lorenz Bögle, Stephanie Deuter, Vivian Eckstein, Desirée Eppele, Jorinde Fischer, Tatjana Gaer, Helene Kadura, Jimmy Langer, Maximilian Lanzl, Jannis Müller-Jehle, Martin Pöll, Bo Youn Ryu, Clarissa Schnitzer, Anna Schütten, Sebastian Späth, Nathalie und Alexander Suvorov-Franz, Thomas Henning, Hailin Wang, Johanna Weber, Nils Weilgmann, Jan Zöller

Exhibition opening : Sunday, 22nd of July, 11 a.m.

The 23 current ›Meisterschüler‹ – master students – of the National Academy of Fine Arts Karlsruhe are from July 22nd to August 19th guests of the Heidelberger Kunstverein with their exhibition ›TOP_0018‹. The graduates from different classes will give a comprehensive insight into their current work while they transition from higher education to professional artistic independence. The diversity of the works – which includes all forms of expression in the fields of painting, sculpture, drawing and graphics, but also video art and performance – highlights the varied possibilities of contemporary art.

The name ›Meisterschüler‹ or ›master students‹  is a specific term that designate chosen students of the Academy. This title is exclusively granted by their professor. Master students are allowed to study one more year at the Academy ; they are attributed a workshop space and can enjoy all the benefits linked to the trust of their professor and the access to the varied infrastructures

The artists are : Johannes Bierlein, Lorenz Bögle, Stephanie Deuter, Vivian Eckstein, Desirée Eppele, Jorinde Fischer, Tatjana Gaer, Helene Kadura, Jimmy Langer, Maximilian Lanzl, Jannis Müller-Jehle, Martin Pöll, Bo Youn Ryu, Clarissa Schnitzer, Anna Schütten, Sebastian Späth, Nathalie und Alexander Suvorov-Franz, Thomas Henning, Hailin Wang, Johanna Weber, Nils Weiligmann, Jan Zöller.

Exhibition coordination: Prof. Kalin Lindena, National Academy of Fine Arts Karlsruhe

2018/6/5 – 2018/8/7
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›Stadtansichten‹
Eric Baudelaire, Louidgi Beltrame, Dries Depoorter, Tim Etchells, VALIE EXPORT, Esther Hovers, Sharon Hayes, Jiří Kovanda, Till Krause, Andree Korpys / Markus Löffler, Klara Líden, Lotte Lindner / Till Steinbrenner, Maya Schweizer, Adnan Softić, Ettore Sottsass, Klaus Staeck, Rebecca Ann Tess, Clemens von Wedemeyer / Maya Schweizer, Florian Zeyfang / Alexander Schmoeger / Lisa Schmidt-Colinet, Seminar ›Neue Räume des Politischen‹, KIT Karlsruhe

The city is booming: More than 60 percent of the world’s population live now in cities – and the number is rising. From the very beginning, artists have taken on the theme of the city, whether as an utopian blueprint for a way of creating better communities or as a reflection of the actual conditions of life. The international group exhibition ›Stadtansichten‹ (›Cityscapes‹) embraces the discussion around the ideas of the city, with modern views and the measurement of real living and working conditions and presents international examples over the last 60 years.

At the same time, the neighboring Kurpfälzisches Museum presents depictions of Heidelberg from the end of the Middle Ages to the 21st century.

Associated with IBA Heidelberg 2018

Opening together with Kurpfälzisches Museum: Saturday May 5. // 3pm.

2018/6/5 – 2018/8/7
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›Wunschbilder‹
A participatory art project with refugees by Janet Grau

Under the direction of the artist Janet Grau, professionals and non-artists worked together to encourage participating refugees finding a way to express their hopes and desires. Beginning with their experience of fleeing their countries and the complicated situation they faced when they arrived in Germany, they created artworks which represent real experiences as well as desired outcomes. These “Wunschbilder” (desired images, ideals) mark one possible path and recognize the power of fiction as a culturally significant technique.

Blog: https://wunschbilder.wordpress.com

The staged scenes were directed by Mohamad Alraghban (Damascus) and Taisir Al Nakib (Mosul). The photographer Ella Kehrer supported the project.

Funding was provided by the state of Baden-Württemberg’s Innovationsfonds Kunst and the city of Heidelberg’s Kulturamt.

2018/6/5 – 2018/8/7
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›Crossing‹
Florian Glaubitz & Robin Kirchner

Queer Festival Heidelberg at the Heidelberger Kunstverein.

In the anonymity of fast growing cities in the 20th century homosexuals created their own spaces, the so-called ›gay ghettos‹. These ghettos run since the 50s businesses and institutions targeted at homosexuals. To a great extent, these areas still offer the freedom of unsanctioned self-expression, whereas every other urban space needs to be first checked for ‘homo-compatibility’.

The Queer (sub) cultures, that emerge in these cities, profile a counter-public which develope specific communication codes and norms. These include the use of certain symbols, behaviours as well as fashion. Florian Glaubitz and Robin Kirchner capture all of this in their photo series ›Crossing‹ and explore the relationship between physicality and their materiality.

2018/24/2 – 2018/22/4
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›house with things behind‹
Jean-Pascal Flavien

 

In the exhibition ‘Protocols’, visitors were able to familiarize with a series of model designs of the houses by Jean-Pascal Flavien. The artist devises and constructs fantastical houses, that interrogate and expand popular ideas about the role and use of architecture.

His constructions don’t comply with any building norms, instead turning them on their head. He is interested in states of being, feelings and dreams, as well as surprising situations and actions that are called forth by his buildings. Literary quotes and narratives are woven into his designs as fictional elements.

So far, Flavien has been able to realise eight houses out of the extensive collection of his designs, which were exhibited in an exterior space. In 2018, we will have the opportunity to erect the ‘house with things behind’ from the ‘short story houses’ series in the hall of the Heidelberger Kunstverein. A house that, through its open structure – it does not envisage a roof or back wall – investigates the limits between sculpture, architecture and installation, particularly between the work and the exhibition space.

As with all models of the ‘short story houses’, the ‘house with things behind’ also includes a short story by the artist. The stories deal with coexistence, and the dialogue between friends, couples or different living beings amongst other things. It also speaks of cohabitation or the neighbourly ignorance of two environments that do not recognise one another at all.

But they are also reflections on his own design work. The texts create poetic main themes for the houses, in which inside and outside, physical and psychic space overlap and are juxtaposed.

The ‘house with things behind’ includes a storage space behind the lightblue facade. This is where raw materials used for cladding and isolation can be found. With minimal gestures, Flavien creates a concentration of the sensual qualities of the materials. Piled next to the brittleness of steel wool are leather scraps and wool fibres. In the middle of this unslaughtered wealth of materials are improvised constructions: a tent made of cotton wool panels serves as a roof over one’s head which the three-sided facade house doesn’t appear to predict. Conversely, there are fenced off exit areas that designate the outside.

In Flavien’s short story, the friends Baku and Alexis live in front and behind the house: one is concerned with maintaining the facade and the outdoor area – revelling in the sky-blue and the sun – whilst the other spends his time sorting out and lending form to the things in storage and behind the house. Both are occupied with the upkeep of the house, which gives each of them a particular function, and divides their movement radius into ‘in front’ and ‘behind’. They interact with the house and are simultaneously actors in the mise-en-scène of the house.

This scenario also reveals itself to the visitors who experience the house from different perspectives. Though a distanced outside view is possible, the fusing of the house with its outside areas, and the exhibition space, involves the viewer in the surrounding composition. In the same way, the fixed categories of inside and outside are shifted. Yet this does not involve spatial expansion alone. Rather, the common ideas surrounding spaces and their functions are up for debate.

The ideas laid out by the model of the ‘house with things behind’ unfold with extensive potential in the hall of the Heidelberger Kunstverein: the house opens up individual experiences on differing levels for each of the visitors. It is a counterpart which demands new exchanges and new perspectives, fostering reflections on constructed environments and living spaces.

Jean-Pascal Flavien’s houses develop during a long process, which is often incited by observation, text, objects, an idea or a feeling. Sketching, text and the model are artistic means for the development of a design and are the preliminary stage to the house, which is inhabited and enacted as a building.

In a series of artist books, Flavien presents these intertwining processes. With progressive development towards the house that is constructed to scale, the aspects of the houses gain shape: details such as clothing and furniture design or the arrangement of the exterior is developed. Finally, the house becomes the setting for various actions. The construction of the house is thus not the culmination, but a highlight in an ongoing process.

We would like to thank the Ministry for Science, Research and Art in Baden-Württemberg (MWK), the Institute Française Germany and the company DBW for their support in the realization of this exhibition.

Jean-Pascal Flavien was 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).

2018/23/2 – 2018/22/4
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History Workshop

2019 will mark 150 years of the Heidelberger Kunstverein so we think that’s a good reason enough to celebrate! We want to retell the story of the Kunstverein and its membership but to do so we need your contribution!

We’ve set up a history workshop at the Kunstverein’s studio. With the aid of carefully selected sources we will present the first results of our research. Discover what spaces the Kunstverein has inhabited and what Wilhelm Fraengel and H.W.D had to do with it. What role did Heidelberg and representatives of the Verein play in the ‘art historian debate’ in 1900? What exhibitions contributed to which key social debates? We have a lot of material from the last seven decades but we need further information from you to complete it…

We are calling out all members, fellows and friends to share their memories through text, image or words. Come and view our rich photo archive and help us organise it! Maybe you own interesting personal photographs from our events and exhibitions? Bring them along! Or perhaps you witnessed a particularly special occasion at the Kunstverein? Tell us about it! We look forward to finding out about your impressions and ideas.

2017/24/11 – 2018/28/1
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›Protocols‹
Jean-Pascal Favien

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 Flavien was 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.

2017/24/11 – 2018/28/1
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›After This Comes That Before That Comes This‹
Wolfgang Plöger

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.
Exhibitions: MMK Zollamt, Frankfurt a. M.; westlondonprojects, London; Kreuzberg Pavillon, Berlin; KW – Institute for Contemporary Art, Berlin; Kunstverein Langenhagen; Künstlerhaus Bremen; Kunstverein Schloss Plön.

2017/24/11 – 2018/28/1
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›Bag Answers‹
Elif Erkan

Erkan’s work is reflective of her interests in cultural and intellectual history in relation to contemporary culture and her use of materials reveals her deep knowledge of 19th and 20th century sculpting. For her presentation at Zona Maco, Erkan has created a series of sculptures related to the use of molybdomancy and ceromancy – methods for fortune telling, used in northern Europe and in the Middle East, where hot, melted lead, tin or wax is poured into cold water and the resulting object is read by a person who can interpret the forms, using a form dictionary for the reading of their meanings. Her handling of materials even just through their sheer volume and weight can appear tough, their industrial origins prosaic, and the robust forms she produces severe, at first glance. Erkan works in the tradition of modern sculpture – creating in all sincerity, but with the awareness that objects are capacitors, magical objects, a solidified mass of memories and desires.

Elif Erkan (b. 1985) lives and works in Los Angeles. She gratuaded at the Städel School, Frankfurt/Main in 2013.
Soloshows: Portikus, Frankfurt (2014); Maison des Arts, Brussels (2015). Groupshows, amongst others: WIELS Centre d’art contemporain (2014); Hamburger Banhof, Berlin (2016); The Glucksman Museum, Cork, Ireland (2016). Grants and Residencies: Villa Aurora Berlin Fellowship (2015); DAAD Travel Grant United States (2014); Fulbright United States Travel Grant Wiels Residency Program, Brussels, Belgium (2013/14).

2017/9/9 – 2017/5/11
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Resisting Images
Forensic Architecture, Richard Frater, LaToya Ruby Frazier, John Heartfield, Nikita Kadan, Merle Kröger & Philip Scheffner, Fred Lonidier, Naeem Mohaiemen, Willem de Rooij, belit sağ, D. H. Saur, Mark Soo, Klaus Staeck, Oraib Toukan

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

2017/24/6 – 2017/20/8
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›you see // but / you say‹
Natalie Czech

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.

2017/24/6 – 2017/20/8
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›Komplizen im Verweilen‹ in cooperation with the Heidelberger Literaturtage im Aufbruch 2017
Via Lewandowsky und Durs Grünbein

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.

2017/18/3 – 2017/5/6
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›Die Idee der freien Flusszone‹
Galerie für Landschaftskunst (GFLK) mit Ravi Agarwal, Navjot Altaf, Bob Braine, David Brooks, Clegg & Guttmann, Stephan Dillemuth, Mark Dion, Magdalena Graf, Tue Greenfort, Klara Hobza, Florian Hüttner, Till Krause, Katja Lell, Jochen Lempert, Christina Möller & Friederike Richter, Matthias Moser, Nils Norman, Nana Petzet, Jörg Andromeda v. Prondzinski, Hille von Seggern & Timm Ohrt / Alltag – Forschung – Kunst und Luca Vitone
2017/18/3 – 2017/5/6
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›Leseraum analog & digital‹
Archiv des HDKV und Buchtips
2017/18/3 – 2017/5/6
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›Filmraum‹
Program compiled by Katja Lell / VETO Film, Marie-Hélène Gutberlet, Florian Hüttner u. a.
2016/3/12 – 2017/26/2
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›fühle meinen körper sich von meinem körper entfernen‹
a production e. V.: Martin Beck, Joerg Franzbecker, Christine Lemke, Hanne Loreck, Katrin Mayer, Eske Schlüters & Gitte Villesen

The exhibition ›fühle meinen körper sich von meinem körper entfernen‹ and the symposium ›stumble bumble fail fall hurt‹ take their starting point in dealing with the adolescent and current crises of embodiment.

 

An exhibition of a production e. V. and friends.

2016/3/12 – 2017/26/2
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›Sammelstelle für Körperkontaktkunststoffe‹
David Polzin

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.

2006/16/7 – 2006/20/8
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›Wolfgang Eckhard‹
2006/16/7 – 2006/27/8
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›Jo Achermann‹
2006/7/7 – 2006/19/7
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›Elke Weickelt‹
2006/9/6 – 2006/2/7
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›Innenarchitektur‹
2006/21/5 – 2006/2/7
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›Barbara Adamek und Jutta Freudenberger‹
2006/5/5 – 2006/5/6
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›Drei Orte der Zeichnung‹
2006/2/4 – 2006/14/5
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›Sati Zech‹
2006/26/3 – 2006/29/4
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›Florencia en el Amazonas‹
2006/19/2 – 2006/19/3
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›Emil Cimiotti‹
2006/19/2 – 2006/26/3
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›Maria Hobbing und Jan Kolata‹
2006/18/1 – 2006/15/2
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›Wärmestube‹
Inge Gutbrod
2005/13/11 – 2005/8/1
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›Farbe bekennen‹
Ines Hock und Claudia Desgranges
2005/23/10 – 2005/6/11
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›Oil on the troubled water‹
Jochen Schambeck
2005/17/9 – 2005/16/10
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›Christiane Löhr‹
2005/11/9 – 2005/6/11
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›Sammlung Rainer Wild‹
2005/22/6 – 2005/1/7
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›Auszeichnung guter Bauten. Hugo-Häring-Preis 2005‹
2005/19/6 – 2005/28/8
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›Fotobilder‹
Götz Diergarten
2005/1/6 – 2005/15/6
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›HeidelbergOperatingSystem. Logo Exhibition‹
2005/8/5 – 2005/12/6
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›TOP05‹ – MeisterschülerInnen der Staatlichen Akademie der Bildenden Künste Karlsruhe
2005/13/3 – 2005/1/5
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›Triangel‹
Thomas Hartmann
2005/5/3 – 2005/29/5
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›5ORTE‹
Andreas Oldörp
2005/30/1 – 2005/27/2
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›single episode‹
Sen Chung
2005/23/1 – 2005/27/2
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›Milch und Honig‹
Arvid Boecker
2004/12/12 – 2005/16/1
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›Jongsuk Yoon‹
2004/21/11 – 2005/16/1
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›Malerei im Verhältnis zu etwas anderem‹
Gisela Brinkmann
2004/20/11 – 2004/5/12
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›Auszeichnung guter Bauten – Hugo-Häring-Preis 2002 des BDA‹
2004/3/10 – 2004/14/11
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›Zeichnungen zu Urfaust‹
Armin Müller-Stahl
2004/26/9 – 2004/14/11
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›Thomas Kitzinger‹
2004/20/9 – 2004/22/9
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›365 Bilder in 3 Tagen‹
Dirk Juengling
2004/15/9 – 2004/18/9
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›Intermezzo II‹
2004/15/8 – 2004/18/9
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›GAP‹ – 5 Künstler aus China
Weng Fen, Jiang Zhi, Yang Jiechang, Chen Shaoxiong, Yan Peiming
2004/8/8 – 2004/5/9
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›Jene zwanziger Jahre‹ – Fotografien zur Architektur im Rheinland und in Westfalen
Deimel und Wittmar
2004/31/7 – 2004/12/9
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›Rhythmus und Klang‹
Ludwig Wertenbruch
2004/25/7 – 2004/12/9
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›Moving Woods‹
Karl Manfred Rennertz
2004/6/6 – 2004/18/7
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›The Outside’s Inside‹
Shiro Matsui
2004/25/4 – 2004/20/5
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›Echo‹
Micha Ulman
2004/1/2 – 2004/14/3
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›Xcultural codes‹
Susan Hefuna
2004/31/1 – 2004/29/2
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›Musik sprengt die Fesseln‹
Irmela von Hoyningen-Huene
2003/23/11 – 2004/18/1
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›Igor W. Klementjew‹
2003/7/9 – 2003/12/10
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›Irmela von Hoyningen-Huene‹
2003/24/8 – 2003/12/10
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›Klaus Gärtner‹
2003/25/5 – 2003/20/7
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›Shiro Matsui‹
2003/25/5 – 2003/27/7
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›Urban Camping‹
Francis Berrar
2003/18/5 – 2003/22/6
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›Christopher Muller‹
2003/23/3 – 2003/11/5
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›Erwin Bechtold‹
2003/16/3 – 2003/28/3
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›Intermezzo I‹ – Das Archiv/Sabine Kaeser und Thomas J. Hauck
Sabine Kaeser und Thomas J. Hauck Gabi Kaiser
2002/20/10 – 2003/26/1
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›Der Berg‹
2002/1/9 – 2002/6/10
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›Shiro Matsui‹
2002/21/7 – 2002/25/8
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›Cosmogonia‹
Mimmo Roselli
2002/21/7 – 2002/25/8
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›Christopher Muller‹
2002/9/6 – 2002/14/7
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›Franek‹
Sabine FRANEK-Koch
2002/28/4 – 2002/2/6
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›Videoinstallationen‹ – Thomas Sterna
Thomas Sterna
2002/16/3 – 2002/21/4
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›Ober-Flächen‹
Martin Brüger
2002/3/2 – 2002/3/3
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›Ulrike Flaig‹
2002/2/2 – 2002/3/3
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›George Pusenkoff‹
2001/9/9 – 2002/14/10
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›Kirstin Arndt‹
2001/29/7 – 2001/2/9
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›Intentionen‹
Manfred Vogel
2001/6/5 – 2001/4/6
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›I am always changing‹
Duniko
2001/11/3 – 2001/22/4
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›Mein Traum vom Süden‹
Irene Hoppenberg
2001/11/3 – 2001/22/4
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›Wiedergeburt der Malerei aus dem Film‹
Brigit Antoni
2001/21/1 – 2001/4/3
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›Loris Cecchini‹
1994/10/6 – 1994/21/8
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›Schnittstellen‹
1994/17/4 – 1994/22/5
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›Ré Soupault‹
1994/17/4 – 1994/22/5
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›Heinz L. Pistol‹
1994/27/2 – 1994/10/4
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›Hetum Gruber‹
1994/16/1 – 1994/20/2
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›Architektenträume. Neue Theater in Europa‹
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