Love is Colder than Capital An Exhibition About the Value of
Transcrição
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. Page 1 | 23 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. Page 2 | 23 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. Page 3 | 23 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. Page 4 | 23 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 Page 5 | 23 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 Page 6 | 23 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 Page 7 | 23 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 Page 8 | 23 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 Page 9 | 23 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. Page 10 | 23 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 Page 11 | 23 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 Page 12 | 23 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 Page 13 | 23 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 Page 14 | 23 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 Page 15 | 23 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 Page 16 | 23 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 Page 17 | 23 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 Page 18 | 23 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 Page 19 | 23 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 Page 20 | 23 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 Page 21 | 23 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. Page 22 | 23 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] Opening hours 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. Easter holidays, March 29 to April 1, 10 a.m.—6 p.m. Page 23 | 23