Love is Colder than Capital An Exhibition About the Value of

KUB 2013.01 | Press release
Love is Colder
than Capital
An Exhibition About
the Value of Feelings
02|02—14|04|2013
Press conference
Thursday, January 31, 2013, 12 noon
The exhibition is opened for the press at 11 a.m.
Opening
Friday, February 1, 2013, 7 p.m.
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The title of the large-scale group exhibition at Kunsthaus
Bregenz Love is Colder than Capital has been filched: it
comes from the play of the same name by the controversial post-dramatic stage director René Pollesch, whose
works deal with the neoliberal exploitation of the private
and the personal by economic interests. More clearly than
ever the progressive dwindling of manufacturing production and the steady rise of service-oriented industries call
on the emotional commitment of workers, and make feelings—whether purportedly genuine or merely feigned—an
increasingly integral part of immaterial, commodity-like
products.
Similarly Rainer Werner Fassbinder’s film Love Is Colder
Than Death (1969) is also all about love and its relation to
money. In what was Fassbinder’s first full-length movie, a
complicated ménage à trois of desire and yearning involving the pimp Franz, played by Fassbinder, his prostitute
girlfriend Joanna (Hanna Schygulla), and the gangster
Bruno (Ulli Lommel), ends in a furious showdown, with the
cadaver of one of the three being shoved by the other two
out of the moving getaway car.
Emotion, passion, caring, even love, are the ostensible
themes of this Bregenz exhibition. At the same time, however, this essayistically conceived show never sidesteps
the tricky ambiguities of such sympathy-based concepts.
One cannot always tell with the exhibited works whether it
is the supposedly romantic idea of »true« love that is at
stake, or rather a variant »tainted« by economic or other
social aspects. Since the end of the first decade of this century, at the latest, it has become increasingly difficult to
draw a line between what is one’s own and personal and
what is public. To support this thesis it is not necessary to
look to digital social networks, sifting for information
about users’ activities, relationships, preferences, and hobbies according to their utility for the consumer and entertainment industries. In other areas of work and leisure, too,
so-called soft, emotion-oriented factors are becoming more
important economically.
It would be misleading, of course, to then argue that there
is an absence of real feelings and empathy within society
at present. On the contrary: the desire to create personal
and social meaning beyond economic utility is stronger
than ever. At the latest since the financial crises in the
wake of the 2008 bank crash, the resulting Occupy movement, and the emergence of other groups demanding more
social responsibility, the search for alternative models of
living has been evident throughout public discourse.
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Against this background and the mutual interdependence
of art and society, the exhibition raises questions such as:
How do artists address the relation between emotion and
economy? How do they look at the latter’s assurances of
sympathy? How do they reflect the ambivalence of personal and social empathy between the two poles of authenticity and staged seduction?
Some of the works exhibited use presentational and sometimes performative techniques differing little from theater
and its stage practices and devices.
Many of the installations, objects, and videos have been
especially created for the exhibition. Major works by Hans
Haacke, Isa Genzken, and Cindy Sherman that are already
part of the canon of contemporary art, are also on show.
Famous works by the legendary New York artist Keith Haring will constitute a historic highlight of the exhibition,
works that gave expression to the relations between love,
sexuality, and commerce in innovative pictorial compositions as early as the 1980s.
Text: Yilmaz Dziewior
Participating artists
Neil Beloufa, Minerva Cuevas, Mariechen Danz, Isa
Genzken, Hans Haacke, Keith Haring, Teresa Margolles, Ken
Okiishi, Julika Rudelius, Yorgos Sapountzis, Cindy Sherman,
Andreas Siekmann, Dirk Stewen, Pascale Marthine Tayou,
Rosemarie Trockel, Cathy Wilkes.
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KUB Billboards
Andreas Siekmann
Theatrum Mundi | Think-Tanks
21 | 01 – 14 | 04 | 2013
Seestraße Bregenz
Up to the end of the 19th century in Saxony and Thuringia
and other places a tradition of folk art practiced by disabled or discharged miners existed. These people constructed mechanical figures—referred to as »theatrum
mundi«—that were exhibited at annual fairs. They became
the stage for plays depicting natural catastrophes, battles,
major world events, and for making up for lost jobs.
The »theatrum mundi« figures mark the beginning of a
process of privatization of political decision-making, a privatization of power that heralded the neoliberal offensive
in the 1970s and 1980s. The organizational units of neoliberalism are referred to today as think tanks. Think tanks
claim to be objective, but are in fact committed to political
and private sector interests.
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KUB Publication
Love is Colder than Capital
Quoting German theater director René Pollesch in its title,
the Kunsthaus Bregenz group exhibition Love is Colder
than Capital brings together 16 artistic standpoints that
explore the interrelationships of economics and feelings in
contemporary society. A catalog book accompanies, documents, and complements the exhibition by means of interviews with all the participating artists who present their
positions and approaches to the subject. In addition, the
publication contains theoretical essays from art historical
and sociological points of view on the relations between
emotions and economics in the contemporary world.
Love is Colder than Capital
Edited by Yilmaz Dziewior
Designed by Selitsch Weig—Büro für grafische Gestaltung,
Düsseldorf
Texts by Yilmaz Dziewior, Manfred Hermes,
and Eva Illouz
German|English
Ca. 288 pages
21 x 27 cm
Soft cover
Due out: April 2013
42.– EUR
KUB Online-Shop
www.kunsthaus-bregenz.at
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Details on the participating artists
Neil Beloufa *1985, lives and works in Paris | Minerva Cuevas *1975, lives and works in Mexiko City | Mariechen
Danz *1980, lives and works in Berlin | Hans Haacke *1936,
lives and works in New York | Isa Genzken *1948, lives and
works in Berlin | Keith Haring, Pennsylvania 1958–1990
New York | Teresa Margolles *1963, lives and works in Mexiko City | Ken Okiishi *1978, lives and works in New York
and Berlin | Julika Rudelius *1968, lives and works in
Brooklyn, New York, and Amsterdam | Yorgos Sapountzis
*1976, lives and works in Berlin | Cindy Sherman *1954,
lives and works in New York | Andreas Siekmann *1961,
lives and works in Berlin | Dirk Stewen *1972, lives and
works in Hamburg | Pascale Marthine Tayou *1967, lives
and works in Ghent | Rosemarie Trockel *1952, lives and
works in Cologne | Cathy Wilkes *1966, lives and works in
Glasgow
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Works in the exhibition
1st floor
Teresa Margolles
PM 2010, 2012
313 prints of covers from the newspaper PM from Ciudad
Juarez, collected for one year from Monday to Saturday in
2010
313 prints, each 37,2 x 32,2 cm
Dimensions of installation: 14,5 x 2,57 m
Courtesy of the artist and Galerie Peter Kilchmann, Zurich
DZ BANK [KUNSTSAMMLUNG]
Isa Genzken
Untitled, 2011
Wheelchair, fabric, Mercedes hubcap
91,5 x 55 x 86 cm
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Wind (D), 2009
Wood, fabric, ceramics, color prints on paper, tape, spray
paint, CDs, metal clips
Approx. 315 x 190 x 110 cm
Wind (C), 2009
Wood, fabric, plastic, acrylic glass, tape, metal, spray paint,
metal clips
Approx. 330 x 150 x 200 cm
Galerie Buchholz, Cologne|Berlin
Dirk Stewen
Untitled (Schwarzes Brett 1), 2012
Ink, black & white laser copies, offset prints, paper streamers, gouache on paper, confetti, silver foil, thread on RC
photographic paper
183 x 152,5 cm
Frame 192,5 x 161,5 x 5 cm
Private collection, Hamburg
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Untitled (Schwarzes Brett 2), 2012
Ink, black & white laser copies, ink jet prints on Photo Rag,
paper streamers, gouache on paper, confetti, silver foil,
thread on RC photographic paper
183 x 152,5 cm
Frame 192,5 x 161,5 x 5 cm
Courtesy Philipp and Christina Schmitz-Morkramer
Collection, Hamburg
Untitled (Hamburg 2012), 2012
Laser print, gouache, thread on paper folder, ink on wood
Installation, two parts, each 69 x 235 cm
Dimensions of installation variable
Courtesy of the artist and Galerie Karin Guenther, Hamburg
Untitled (Tiffany Äffchen), 2003|2004
C-Print
30 x 45 cm
Courtesy of the artist and Tanya Bonakdar Gallery,
New York
Cathy Wilkes
I Give You All My Money, 2008
Mixed media installation
Dimensions variable
Courtesy of the artist and Toby Webster Ltd., Glasgow
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Julika Rudelius
One of Us, 2010
Video installation, 2 synchronized HD projections
29:30 mins.
Assistant Director: Sunita Prasad
Director of Photography: Paola Calvo Picado
Production Sound: Myriam Valdez
Editor: Martin Hansen
Locations thanks to: Stefano Campanini & Alicia Restrepo,
Kathryn & Dan Mikesell, David Farcy, Awa & Doug Lodmell
and Dake Gonzales
Equipment supplied by: Midtown Video, Budget Video
Rental, Professional Sound Services and Carousel Studios.
Featuring: Dan & Kathryn Mikesell, Stefano Campanini &
Alicia Restrepo, Diana D’Ambrosio & Pearce Blair, Sean
Drake & Michelle Leshem, Kalyn & Rico James, Awa & Doug
Lodmell, George & Denise Tucker, Joe & Lauren Lee Hansen
With thanks to: Joe & Lauren Lee Hansen, Alyssa & Glen
Larson, Liliana Castillo, Danny Santiago and David Fittin,
Oliver and Min Sanchez, Marty Lamers, Marieken Verheyen,
David Mulder, Gerindo the Gringo, Christine Taplin, Anthony Spinello, Russle Evely, Tairone Bastien, Elizabeth
Apgar, Louky Keijsers Koning, Maria Valdez, Ivan Julian,
Kiki Allgeier, Felix Burrichter, Paul Kopkau, Michael Bullock,
Dominic Lamberti and Tijana Petrovic.
This work was made possible with the generous support of
Kathryn Mikesell and The Fountainhead Residency, Ruba
Katrib, Alice Anaide Govaert, and Sunita, Paola and Martin.
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Ken Okiishi
Untitled, 2013
1 Euro coin
Aluminum, print, motor
Diameter 2,1 m, rotating
Courtesy of the artist, Mathew, Berlin
Andreas Siekmann
die ökonomische Macht der öffentlichen Meinung & die
öffentliche Macht der ökonomischen Meinung
Denkfabriken, Think Tanks und die Privatisierung der
Macht, Berlin|Bregenz, 2013
Stage table with 32 moving wagons and 23 topics
Wood, metal, mixed media
600 x 100 x 103 cm
1 Denkpanzer
2 Denkfabrik I II III
3 Brain
4 Statistik (4 wagons)
5 Mont Pelerin
6 Einflüsterer (2 wagons)
7 Expertenrunde (2 wagons)
8 Tagung
9 Fernseher
10 Century-of-the-Self
11 Wirtschaftstalk
12 5 Wirtschaftsweisen
13 Ready-Steady-Go
14 Benchmarker
15 Parlapayment
16 Politikertalk
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17 Drehtürenkapitalismus (2 wagons)
18 Think Tank Mitarbeiter
19 Sealed Lips
20 Private-Public-Finanzierung (2 wagons)
21 Public Relations
22 Troika
23 Klassenlage
Staged by Helmut Siegl with the help of the Bregenz model
railway club
Courtesy Galerie Barbara Weiss, Berlin
Minerva Cuevas
All Heaven in a Rage, 2013
Installation, paintings, display case
Dimensions variable
Conejo blanco | Weißes Kaninchen, 2012
Acrylic on plywood
30 x 31 x 3,5 cm
Gatitos | Katzen, 2012
Acrylic on plywood
53,5 x 40 x 3,5 cm
Mink | Nerz, 2012
Acrylic on plywood
28 x 36 x 3,5 cm
Oso | Bär, 2012
Acrylic on plywood
33 x 30 x 3,5 cm
Perro blanco | Weißer Hund, 2012
Acrylic on plywood
63 x 50 x 3,5 cm
Perro en verdes | Hund im Grünen, 2012
Acrylic on plywood
24,5 x 34 x 3,5 cm
Pollo | Huhn, 2012
Acrylic on plywood
27 x 40 x 3,5 cm
Kurimanzutto Gallery, Mexico City
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Display case with books:
Animal Liberation Front
Complete U.S. Diary of actions: The first 30 years
Voice of the voiceless Communications 2010
UNDERGROUND
The A.L.F in the 1990's
Collected Issues of the A.L.F Supporters Group Magazine
Warcry Communications 2011
Flaming Arrows
Collected writings of animal liberation front warrior Rod
Coronado
IEF Press 2007
From Dusk 'til Dawn
Keith Mann
Voice of the voiceless Communications 2008
Animal Liberation
A Graphic Guide
Lori Gruen and Peter Singer
Camden Press 1987
Stevenage Animal Rights
Newsletter Spring|Summer 2001
Green Anarchy
An Anti-Civilization Journal of Theory and Action
#25
Spring|Summer 2008
Various leaflets
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2nd floor
Yorgos Sapountzis
redial: monument dog, and makigiaz, 2013
Aluminum panels, aluminum pipes, plastic pipes, plaster,
fabric, mixed media
2x1m
Courtesy of the artist and Galerie Isabella Bortolozzi, Berlin
For the installation the artist has taken parts of the bronze
sculpture Anton Schneider from 1910, located on the
square next to Kunsthaus Bregenz, as plaster casts for his
work at the Kunsthaus.
Cindy Sherman
Untitled #464, 2008
Color photograph
214,3 x 152,4 cm (227,4 x 163,8 cm framed)
MUMOK – Museum Moderner Kunst Stiftung Ludwig Wien,
Vienna; on loan from the Austrian Ludwig Foundation,
since 2010
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Pascale Marthine Tayou
Empty Gift, 2013
Approx. 1,000 empty parcels, suspended as a sphere, motor
Diameter 300 cm
The individually packed parcels were produced by the
friends of Kunsthaus Bregenz, by retailers in Bregenz with
support of WIGEM, by schools, during workshops, and by
many other helpers.
Construction: Kunsthaus Bregenz, Brigitte Natter
Francesca Spanò, Galleria Continua, San Gimignano
Mariechen Danz
Ruler, on the rebound: statue for gesticulation, 2010-2013
Fiberglass
173 x 93 x 63 cm
10 coins, mixed media
(4 coins: bronze, 6 coins: polyurethan with sand, dirt, cement)
Each 24 x 24 x 1,3 cm
Galerie Tanja Wagner, Berlin
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Rosemarie Trockel
Lebendes Geld, 2006
4 posters
Each 120 x 87 cm
Limited edition book + poster
A.P. 07|10
Rosemarie Trockel presents »Pierre Klossowski|Pierre
Zucca lebendes Geld (1982)«
Edition Ex Libris 4
Published by Gerward Theewen Salon Verlag, Cologne
2005
Edition of 200 copies, with signed, titled, and numbered Ex
Libris
1 Poster
110 x 83 cm
Sprüth Magers Berlin London
Ken Okiishi
The Deleted Scene (We're in the Money), 2012
4-channel HD video, color, sound
27:35 mins. loop
Produced by AP News, Zurich
Courtesy of the artist, Mathew, Berlin
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Cindy Sherman
Untitled #472, 2008
Color photograph
184,2 x 141 cm (framed)
Sprüth Magers Berlin London
Untitled #473, 2008
Color photograph, C print
178,4 x 152,4 cm (191,8 x 165,7 cm framed)
Ringier Collection, Switzerland
Untitled #470, 2008
Color photograph, chromogenic color print
214,7 x 145,5 cm (229,5 x 160,5 cm framed)
Goetz Collection
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3rd floor
Keith Haring
Untitled, 1983
Acrylic on canvas
230 x 600 cm
Lia Rumma Collection, Italy
Untitled, 1988
Ink on terracotta
Height 41 cm
Diameter 29,5 cm
Signed »K. Haring,« dated »9.27.88,« and dedicated »For
Gil 9.27.88« on the inside
Courtesy Galerie Jérôme de Noirmont
Untitled, 1988
Sumi ink and acrylic on paper
73 x 102, 2 cm
Frame 77, 3 x 106 cm
Courtesy Galerie Jérôme de Noirmont
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Untitled, 1989
Painted terracotta
34 x 40 x 40 cm
A.P. 1|5
Signed, dated and numbered underneath
From an edition of 25 numbered 1|25 to 25|25 and 5 artist’s proofs numbered A.P. 1|5 to A.P. 5|5
Published by Monique Nellens and Gallery 121, Belgium
Courtesy Galerie Jérôme de Noirmont
Untitled, 1989
Painted terracotta
24,1 x 72,4 x 72,4 cm
Edition 10|25
Signed, dated and numbered underneath.
From an edition of 25 numbered 1|25 to 25|25 and 5 artist’s proofs numbered A.P. 1|5 to A.P. 5|5
Courtesy Galerie Jérôme de Noirmont
Untitled, 1981
Sumi ink and acrylic on paper
127 x 96,5 cm
Signed and dated »June 14, 1981 K. Haring, NYC« on the
reverse
Courtesy Galerie Jérôme de Noirmont
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Untitled (Space ships) Subway Drawing, ca. 1984
White chalk on paper mounted on canvas
213 x 108 cm (227 x 122 cm)
Courtesy Galerie Jérôme de Noirmont
Untitled, 1988
Acrylic and marking pen on terracotta
42,5 x 47,5 x 47,5 cm
Signed, dated, and dedicated »For Sam 88, K. Haring« underneath
Courtesy Galerie Jérôme de Noirmont
Untitled, ca. 1988
Marking pen on terracotta
35,8 x 44 x 44 cm
Signed and dedicated »For Sam, K. Haring« underneath
Courtesy Galerie Jérôme de Noirmont
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Hans Haacke
Broadness and Diversity of the Ludwig Brigade, 1984
Oil on canvas
225 x 170 cm
Billboard on poster wall
267 x 317 cm
Wall 405 cm
Deichtorhallen Hamburg, Falckenberg Collection
Neil Beloufa
Les Manques Contenus, 2011|2013
Installation, video, sound, transparent plexiglass, metal
3 x 2,5 x 2,1 m
Balice Hertling, Paris
Cindy Sherman
Untitled #465, 2008
Color photograph, chromogenic color print
162 x 145 cm (178 x 161,4 cm framed)
Goetz Collection
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Partners and Sponsors
The Kunsthaus Bregenz would like to thank its partners
for their generous financial support and
the cultural commitment that goes along with it.
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Venue | Organizer
Kunsthaus Bregenz
Director
Yilmaz Dziewior
Curator of the exhibition Love is Colder than Capital
Chief Executive
Werner Döring
Curator
Rudolf Sagmeister
Curator of the KUB Arena
Eva Birkenstock
Communications
Birgit Albers | ext. -413
[email protected]
Press photos to download
www.kunsthaus-bregenz.at
Art Education
Kirsten Helfrich | ext. -417
[email protected]
Publications | editions
Katrin Wiethege | ext. -411
[email protected]
Sales Editions
Caroline Schneider | ext. -444
[email protected]
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Tuesday to Sunday 10 a.m.—6 p.m.
Thursday 10 a.m.—9 p.m.
Mardi Gras, February 12, 10 a.m. —2 p.m.
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