YEARS / Skånes Konstförening
Cevdet Erek, Saskia Groneberg, Anetta Mona Chişa & Lucia Tkáčová, Johan Thom / Bjarni Tor Petursson, Søren Aagaard, Maiken Stene
We invite you to a double walkthrough and a publication release Sat 30 Nov at 2pm
Art historian Nico Anklam will do an introduction to the exhibition Büroarbeit at YEARS at 2pm. After a drink we will continue to Malmö to Skånes Konstförening, where he will discuss the three current exhibitions with the artists at 7pm.
Büroarbeit is an exhibition curated by Nico Anklam with artworks by Cevdet Erek, Saskia Groneberg, Johan Thom and the duo Anetta Mona Chişa and Lucia Tkáčová. Büroarbeit takes the exhibition venue YEARS – a former shop now used as an office and exhibition site – as a starting point. The four works on view relate to aesthetic, social and political dimensions of the office space as such and the labor therein.
On the same occasion YEARS, Zwölf Berlin and Nico Anklam have produced a publication in connection with the exhibition which will be released.
For Büroarbeit an edition was produced which includes contributions by each of the artists in relation to their works on display and the overall theme of office work. The edition box, a wooden pen stand that one knows from office desks is on display in YEARS’ window and has filled itself over the duration of the show with the different contributions from the artists.
Büroarbeit is open until December 1, Thurs – Sat 13-17
In the exhibitions NEXT ROOM HARP / ADAPTATIONS / THIS LAND IS MY LAND by Bjarni Tor Petursson, Søren Aagaard and Maiken Stene, art historian Nico Anklam will join the three artists together with the audience for a walkthrough.
At 8pm Søren Aagaard will replace the video installation: Adaptions for the screen – screen test with the new work: Disruption of narrative flow – preparing for a tabletop dolly, followed by snacks and wine.
NEXT ROOM HARP / ADAPTATIONS / THIS LAND IS MY LAND are open until December 8, Wed – Fri 14-18, Sat – Sun 13-16
Cevdet Erek, Saskia Groneberg, Anetta Mona Chişa and Lucia Tkáčová, Johan Thom
Curated by Nico Anklam
Walkthrough and publication release Sat 30 Nov at 2 pm
Curator Nico Anklam will do an introduction to the exhibition on Saturday 30, 2 pm. On the same occasion YEARS, Zwölf Berlin and Nico Anklam have produced a publication for the exhibition which will be released: an alphabetical case folder comprehends installation shots as actual printed photographs and a short text by the curator. As such the “catalog” presents itself as a dossier, record or act compilation that will remain as a file in the archives, libraries and personal bookshelves it will go to.
For the exhibition Büroarbeit an edition of 16 + 4 APs was produced which includes contributions by each of the artists in relation to their works on display and the overall theme of office work. The edition box, a wooden pen stand that one knows from office desks is on display in YEARS’ window and has filled itself over the duration of the show with the different contributions from the artists.
Anetta Mona Chişa and Lucia Tkáčová
All Periods in Capital, 2007
clay, acrylic paint, plastic bag
ca. 40 x 40 x 40 cm
Courtesy Christine König Galerie, Wien/Vienna
Büroarbeit takes the exhibition venue – a former shop now used as an office and exhibition site – as a starting point. The four works on view relate to aesthetic, social and political dimensions of the office space as such and the labor therein.
The artist duo Anetta Mona Chişa and Lucia Tkáčová (Prague/Berlin) shows the work All periods in Capital (2007). In a white plastic bag one finds 22,591 clay globules. Each one was hand made by the artists for every period – the full stop punctuation mark – in Karl Marx’s Das Kapital. In doing so, the artists not only produce a physical, hand made product, they also perform manually the very alienation of mass production that Marx denounced with every ‘point’ they make.
The office as an aesthetic experience resonates in such tools as staplers, pencils and folders, and also in Istanbul based Cevdet Erek’s rulers. One of Erek’s plastic rulers shows only two marks though: to the very left “now”, to the very right “end” (2011). It becomes a false twins of the objects we are used to: their scaling does not measure a distance of space by reproducing a spatial object, but rather they are spatial objects that pretend to measure time – through space. This seemingly defined time space gets infinitely mirrored in the glass shelves at YEARS and blends in to the overall reduced setting of the exhibition site.
Saskia Groneberg’s research project Büropflanze (2012) is concerned with the plants in offices. A common element of many office spaces is the potted plant, which encompass many functions: from sheer agents to enrich the color palette in rather sterile settings to infiltrations of wilderness in a space that is connoted with regulations and standardizations. Groneberg’s photographic images of specimens are colored scans from the flora she found in various office locations. While the depiction reminds one also of illustrations from natural history books, for Büroarbeit her print
30-1.07+30.8 stadt münchen pflanze was mounted on a shelf that alludes to window sills. The image is therewith also in a place where its referent, the plant, could be found in its office habitat.
With Johan Thom’s single channel video The Pencil Test (2003), the office stands for a site of institutional power. His video shows a face covered by pencils that are held by a white hair net. Thom’s video relates to an absurd decision making process from Apartheid times when people of mixed background were classified at the state office. “It was thought, that if the pencil remained stuck in ones hair, you were ‘black’“ states Thom. Here the office becomes a metaphor for a site of decision-making processes that – despite their gravity – are often invisible or behind the scenes.
The exhibition is supported by the Danish Arts Council.
Performance. Gilded antique decoy duck, 3500 razorblades, text. First held as part of ‘Polyply 9: Animal’. Center for Creative Collaboration, London, England 2011.
FLOCK/ MIRAGE – Part of the INCANTATION SERIES (2010 – 2012) A mirage is defined as an optical illusion caused by atmospheric conditions, usually the refraction of light in heated air. The most well-known example is probably the false appearance of a distant sheet of water in a desert, or on a hot road.
there it is again
even as i whisper i hear it still
trailing my voice in perverse replication
almost the same but not quite
as if somewhere somehow out there
in the bouncing back and the going through
the muck and the rain
and the fleshy pouting grit
of it’s mispronounced migration
some words were irrevocably lost
whilst others were delayed
and found uninvited company strangely grafted
onto their limbs
before flocking to the edge of spring:
i didn’t say that
or say it in that way
much less mean for it
to come out suspended
primordial mating call
A description of the work can be found here.
Posted in News |
OPENING SATURDAY 27 JULY 2013 AT 18H00
“THE POSTCOLONY REVISITED”: OPENING ADDRESS BY ACHILLE MBEMBE AT 18H30
GOODMAN GALLERY JOHANNESBURG BASEMENT
THE BROTHER MOVES ON
TICKETS AVAILABLE FROM GOODMAN GALLERY JOHANNESBURG, TOKYO STAR AND OTHER VENUES TBC
FREE BUT LIMITED
In July this year Goodman Gallery Johannesburg will present the group exhibition [Working Title] 2013. This is the second installment of the annual group exhibition of the same name, the first of which premiered at Goodman Gallery Cape Town in 2012 and was curated by Federico Freschi. The [Working Title] exhibitions are part of a new initiative by the Goodman Gallery aimed at supporting young artists, independent projects and major installations and performances.
In the past Goodman Gallery has collaborated with independent curators such as Simon Njami and Bettina Malcomess, who curated the US exhibition, part of which was shown at Goodman Gallery Projects at Arts on Main in 2009. In 2010 independent curator and academic Nontobeko Ntombela curated the exhibition Layers at Goodman Gallery Projects as part of her ongoing research into the creative strategies of women artists, in particular those that aim to contextualise socio-political issues. In 2011 Goodman Gallery curators Tony East and Claire van Blerck produced The Night Show, a 3-part exhibition staged at Goodman Gallery Cape Town, which sought to destabilise the notion of the white cube and to engage with contemporary art practice on its own terms, courting the spontaneous and embracing the ephemeral.
Previous projects also include the site specific street performance Cut / Cute by Joel Andrianomearisoa, which premiered in Johannesburg as part of SA Fashion Week, and Nelisiwe Xaba and Mocke van Veuren’s performance Uncles and Angels, which was presented at Goodman Gallery Projects as part of the Dance Umbrella.
Goodman Gallery continues to collaborate with academics and theorists, and has hosted lectures by Jane Taylor, Federico Freschi and Alfredo Jaar – whose lecture coincided with his 2012 exhibition at the Goodman Gallery Gold in the Morning – and panel discussions with David Goldblatt, Ivan Vladislavić and Marlene van Niekerk.
While Goodman Gallery Projects closed at Arts on Main in 2012, the [Working Title] exhibition series exists as a resolution to the Goodman Gallery’s continued interest in independent and collaborative projects and allows for the continuation of previous projects and relationships, as well as the introduction of new artists, theorists and creatives into the Goodman Gallery. Each year the [Working Title] exhibition will have a new curator, either from the Goodman Gallery or through collaboration with an invited external curator.
This year’s [Working Title] is curated by Emma Laurence and includes artists who are pushing the limits of the contemporary South African art scene and who have produced work that is at the cutting edge of current art production. The exhibition is concerned with works that are born out of dynamic and independent practice. Included in the exhibition are artists who work across disciplines and who bring into the perceived elite gallery space sub-cultural aesthetics and standpoints.
The show incorporates artists working in various and perhaps unconventional media such as interactive gaming, short stories and punk inspired performance, as well as artists who begin to interrogate modes of representation and viewing in painting and photography. During the run of the show, a series of scheduled events will take place as part of [Working Title] and will include an off-site project by Cuss Group called Video Party, a performance after the opening by The Frown and The Brother Moves On and an opening address and lecture by distinguished theorist Achille Mbembe, who will speak on “The Postcolony Revisited”. Professor Mbembe’s lecture is co-sponsored by WISER (Wits Institute for Economic Research).
Wed 24 July 2013, Die Beeld (see: http://www.beeld.com/vermaak/2013-07-24-dissiplines-se-grense-vervaag) also posted in ‘Press | Disspilines se grense vervaag’.
Posted in News | Tagged ACHILLE MBEMBE, CUSS GROUP, Emma Laurence, GERALD MACHONA, Goodman Gallery, HAROON GUNN-SALIE, JACO BOUWER, JESSICA WEBSTER, Johan Thom, MISCHECK MASAMVU, MJ TURPIN, MURRAY KRUGER, NELISIWE XABA & MOCKE VAN VEUREN, TEGAN BRISTOW, THE BROTHER MOVES ON, THE FROWN, THENJIWE NKOSI, TIFFANY MENTOOR, VINTAGE CRU, VUSI BEAUCHAMP |
He explains: ‘I have long been fascinated by English sculptor Henry Moore’s series of artworks drawn from his observations of an elephant skull. A biologist gave the skull to Moore after a visit to Africa in the 1960′s. Moore was fascinated by the complex form and it became his favourite natural object. Recently I had the opportunity to study the series first-hand at the Tate Britain in London and now wish to rethink the material encounter with the elephant skull by producing a new series of artworks in different media (including video; photography; printmaking and drawing).’
For the etchings/ printing project four large-scale etchings of approximately 2m x 1m will be produced in collaboration with some of South Africa’s most prominent artists (Willem Boshoff; David Koloane and Diane Victor). According to the Artist’s Proof studios, this may well be the largest project of its kind ever in South Africa.
Photos will be posted on Twitter as the project evolves @JohanThom
Posted in News |
videoabend: Still Fighting Ignorance & Intellectual Perfidy
Der Kurator Kisito Assangni ist anwesend und gibt im Gespräch mit Frank Eckhardt eine Einführung. Zwischen den Blöcken und zum Ende steht er zur Diskussion bereit.
Der Videoabend präsentiert eine länderübergreifende Auswahl heutiger afrikanischer Videokunst. “Still Fighting Ignorance & Intellectual Perfidy” kontextualisiert afrikanische Videokunst in einem größeren kulturellen Rahmen. Im Zeitalter interkultureller Migration präsentiert [SFIP] auch Afrikanische Videokünstler/innen, die in Afrika, Europa und den USA zu leben. Ein verbindendes Element bildet das Interesse an den Beziehungen zwischen dem Selbst und der Gesellschaft. Die meisten Werke thematisieren Fragen von Alternativen, Identität, Toleranz und sozialen Beziehungen. Die experimentellen Videos konzentrieren sich auf ästhetische und methodische Perspektiven des Kampfes gegen Unwissenheit und geistige Niedertracht in der zeitgenössischen afrikanischen Kunst. Das Projekt erzählt Geschichten Afrikas von Afrikanischen Medienkünstler/innen wie durch die Linse der Beziehung zwischen Tradition und Zeitgenossenschaft.
Liste der Werke:
> * Said Afifi, Metamorphosis of the linguist #2, 4’58”, 2010 (Morocco)
> * Jude Anogwih, STOP! 2’04”, 2010 (Nigeria)
> * Younes Baba-Ali, Call for Prayer – Morse, 3’06”, 2011 (Morocco)
> * Wanja Kimani, Buttons, 2’03”, 2010 (Kenya)
> * Nicene Kossentini, Myopia, 3’13”, 2008 (Tunisia)
> * Kai Lossgott, Read these roads, 3’58”, 2010 (South Africa)
> * Victor Mutelekesha, Shadow of my shadow, 3’39”, 2009 (Zambia)
> * Saidou Dicko, Le petit Berger, 5’14”, 2011 (Burkina Faso)
> * Ndoye Douts, Train train Medina, 7’02”, 2001 (Senegal)
> * Samba Fall, Oil man, 1’00, 2008 (Senegal)
> * Nathalie M’ba Bikoro feat. Iris Musolf, Hide & Seek, 5’33”, 2010 (Gabon)
> * Saliou Traoré, Traffic mum, 10’00”, 2009 (Burkina Faso)
> * Ezra Wube, Gela 2, 1’57”, 2010, (Ethiopia)
> * Nirveda Alleck, Perfect match, 6’32”, 2009, (Mauritius)
> * Rehema Chachage, Kwa Baba Rithi Undugu, 1’23, 2010 (Tanzania)
> * Kokou Ekouagou, Taller man, 2’20”, 2011 (Togo)
> * Mohamed El Baz, FUCK THE DEATH, 11’10”, 2011 (Morocco)
> * Dimitri Fagbohoun, Black brain, 4’02”, 2010, Benin
> * Michele Magema, Interiority-Fresco IV, 2’31”, 2010 (D. Congo)
> * Johan Thom, llumination, 2’03”, 2012 (South Africa)
> * Guy Woueté, Le dilemme divin, 5’31”, 2009 (Cameroon)