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COMING SOON:

Sunday, 28.08.2011 during the closing, from 7pm – 10pm

Lan Hungh: I ’ m  H e r e  t o  H e a r ; I ’ m  T h e r e  t o  D a r e
(D u r a t i o n a l   p e r f o r m a n c e   d u r i n g   t h e   c l o s i n g)

The memories of adventure from the homeland to a foreign country. Different judgements to the same action or same judgements to different actions? Is it the destiny of the artist not to be in his own country or is this just a self-made illusion to run away from everything?

Sunday, 28.08.2011 during the closing

Márcio C arvalho: O n  N o m a d i c ,  I s s u e 3 : The corner

The corner is a durational performative work by Márcio Carvalho,  that reflects about conditions of mobility and art making.

Carvalho uses the symbol of a boxing frame to deal with the question where should I go in order to come back safely?

Carvalho plans to deal with mobility as a recent term in arts and a concept created by a capitalistic economic system by associating it to a boxing combat in which two persons are subject of a legal fist fight for monetary and power purposes.

The artist plans to work around the corner space of a boxing ring, a strategic point for the practice of this sport. It is the place where the players can rest, after the confrontation with their opponent, the place where they can be assisted when injured and the corner is responsible for stopping the fight if the fighter is in serious danger of permanent injury.

This is the last project in the trilogy of works named “On Nomadic“ where the artist started to work from outside its culture to enter deeply in his environment and  in its daily life conditions.

 

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impressions of the performance by Essi Kausalainen (pictures taken by Mikko Kuorinki) (13.08.2011)

 

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Impressions of the Vernissage 1/7/2011:

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Artists’ statements on the exhibition project and their work:

Antje Engelmann

Similar to the work of an anthropologist Antje Engelmann examines the exoticism in her own culture. But she is not only observing and documenting what she sees, she is also overexposing it for her own dramaturgy. The freedom of judgement is her advantage. The artist and the anthropologist are both using methods of observation in order to make things visible. […] Her playful, relieving methods of exaggerating and restating the setting allow for a better understanding of it and lead to a therapeutic effect on the artist´s and the anthropologist´s realm. […] It is important to say that she chooses (most of the time) a very humorous path of depicting relations – not just any relationship but her very own relationship to her personal history. Therefore it seems impossible to look at Antje Engelmann’s work without looking at her life.  (Susanne Weiß)

Bruno Jamaica

I wish to see art having a more direct role in cultivating a peaceful way of living, working to the best of our human capacities. Art helps to propel people’s emotions. The constant in life is change. The journeys, the travels, the places where we live, they all make part of our chain of memories, feelings and experiences. In my opinion it is a breaking edge time that we are experiencing. The result will be discovered in life’s philosophies of the future.

Christina Kyriazidi

The artist uses the language of poetry in order to bring in light a nomadic dream. A poetry that lacks of words, but instead places actions, sounds, fragmented songs and physical images within a claustrophobic space that evokes the unfulfilled longing of the open sea.

Christophe Ndabananiye

Memory plays a very important role in my works. In fact, it is always about memory – be it my remembering of incisive events, on which I work, or be it numerous everyday motives which I photograph to remember them. Thus, I am not only interested in my own traces, but also in the traces of others. My goal is to make these traces visible and to keep the memory upright.

Cyrill Lachauer

In 1907, Edward Curtis began working on what would become the labor of his life: the monumental photographic encyclopedia The North American Indian. Curtis hoped to preserve the stoic serenity and sense of honour he so admired in the members of these vanishing cultures. Cyrill Lachauer, for his Trickster series, covers the stony, mask-like faces of Curtis’ war-chiefs with another mask, one resembling iconic Looney Tunes rascal Wile E. Coyote. With his semitransparent addition neither beautifying nor disfiguring the original, and his own role neither fully productive nor damaging, it might, in fact, be appropriate to understand Lachauer’s own role as that of, well, a trickster.

Essi Kausalainen

I think the term and the idea of a “being” is a key to my work at the moment. The being refers always to something that is alive, a living thing. I am really interested in how we (human beings) are in this world – with this world. In what ways is our existence shaped by our bodies? How much of the being of a human is about being this kind of a body? And here it comes to the other sorts of living things: the animals, the plants, the bacteria… How do they exist?  What are the things that connect and separate us?  I feel it is very important to place human beings into this wider context of beings, to really understand something about living, of being alive.

Inês d’Orey

The everyday usage of spaces tends to make them invisible, indifferent. The more you use the space, the more you ignore it. Photography selects, focuses your attention and tells you where to look. I want to trigger the viewer’s imagination: what strange story is happening here? I like to think that the viewer will feel, more than rationalize the photograph. I always plan and think through before I photograph. I never go out with my camera waiting for something to happen. I think I could say that my work conceptually stages reality.  I’m more interested in “creating” a moment, rather than in “catching the moment”.

Joris Vanpoucke

I get inspired by everything I see. I am very attracted by industry, harbours, desolate landscapes, the beginnings of industrialization, which made the world as it functions now. It is not always a positive evolution. My realistic approach is there because I have to know what I draw, even more abstract works are still based on realistic images. I consciously choose existing images as a base for the drawings. Mostly images of archives about 50 years ago. Images of nowadays focus too much on the digital aspect. This causes a nostalgic touch to my work, but the melancholic atmosphere is inherent to my work. It is a part of me and my work. I work with graphite because I like the material very much and it often makes this desolate feeling even stronger.

Juan Duque

Juan Duque makes site-specific installations. He re-activates memories through interactions with places and explorations of its surfaces. Putting together tangible materials and leaving room to poetic abstraction, Juan Duque brings back textures and images of landscapes he lived through. Duque re-presents and re-appropriates one of those in-situ installations in the exhibition space of Nomadic Settlers – Settled Nomads.  The installation is a landscape he made out of the remains of a leftover curtain hanging in flat 636, in which he goes back to his own memories of landscapes in his home country of Colombia. This brings up the interesting question if site-specific or in-situ works are really so site-specific?

Lan Hungh

Indeed lots of people run away and it is really better for them to do art. Take me for example, I felt too different from lots of people. I needed to run away to find the people like me, to ensure that I’m not alone, that what I do makes sense and is challenging for me. It might be a self-made illusion, but maybe art creations sometimes need an illusion as a base. I act differently when I’m in different places, here or there, so I would like to choose a place, where I like what I do there.

Lars Bjerre

I am strongly interested in revealing people’s ability to transform, their need to adjust and their permanent escape into other roles by the means of a symbolic and allegoric facial coverage. Blurring and wiping their skin, donning lively, abstract or seemingly plastic masks onto their incarnate faces creates both, an uncanny as well as an inhuman effect. The act of literally masking the character’s faces similarly intends to expose (and therefore unmask) their fractured psyche, their longings and their latent hypocrisies. My works are supposed to demonstrate conspicuous emotions, such as solitude, peer pressure, or nostalgia, as well as processes of identification formation, or – so to speak – the pure fear of existence.

Márcio Carvalho

Most of the time my work is context-related. It is the context that creates my energy to create. What I can perceive from a place, its landscapes, its fluxus and its behaviours are research materials for my work to happen. The space doesn’t need to tell me the holy truth. I am more interested in what my experience are in relation to other people’s experience in the same time and space.

Michael á Grømma

I don’t work on creating a specific story I want to tell, but I only set up the perimeters and give the viewer “tools“ to challenge his or her imagination. I don’t want to tell a specific story with my paintings. If I wanted to tell people things, author would probably be a better choice of expression. I want to find the little kid inside everybody and make them use that crazy imagination that is inside all of us. I want to make people think thoughts like “whole cities can have rockets mounted and fly away“, or “ships can have engines that run on icecream instead of gasoline“, or whatever crazy thought I can put into people’s minds. Often I also have important agendas like environmental questions in my paintings, but I always try to do so in a way that the viewer can decide if that’s what he wants to see and think.

Michael Zheng

I realized that even though I have lived in the West for more than twenty years and I have, consciously or not, made constant efforts to adapt to the culture and thoughts in the West, sometimes as a deliberate self-intervention, I continue to find that the influence of the Ch’an Buddhism has been deeply rooted in both my thinking and my work. The tendency for me to approach my work from an interventionist angle has a lot to do with the need to get to the “original face” of things, as espoused in Ch’an Buddhism. Indeed, in many of my works, I set up a certain scenario that will function as a mirror that catalytically reflects and refracts the reality, in the hope that it enables an alternate path into the true nature of that reality.

Rudy Cremonini

I’m painting the same subject again and again, sometimes in the same frame, and every time it is changing – like people change when they are moving from one place to another. I’m living with this work, I’m trying to remember the face of this young man that I’m painting, but I’m not succeeding. I’m painting his face to remember him, but his face is vanishing, changing. I’m not interested in common contemporary photographs as everybody could take them. I’m looking for photos or video stills that could be considered as documents. That’s what intrigues me. The images I choose always reflect to an event or a situation that had to be documented. For this, photography has always been very helpful. And with paintings, you can give new life to this situation or this document. It is sort of a rebirth of the subject, of a memory.

Surya Gied

[…]

paint over, tape over,

compositions, architectures, concrete, converge, diverse conditions, footprint, directions,

gone, here,

between finished and not finished,

to relate oneself in a new way,

colorful, pop, decorative, fast moving,

non-specific, not modifiable,

always same, not painterly, boring,

[…]


Yasmin Alt

Maybe it is monumentality, the sublime which inspires me, as I am interested in magnificient buildings in particular. Actually the basic principles of architecture do not change, it is only the way how buildings are used which shifts. And with this something about the architectural forms does change. While for a long time the hugest edifices were churches – vast halls and high towers for spiritual ceremonies –, during the industrialization splendid buildings were constructed, even though they are often underestimated. Not only did they build monumentality, but also visual diversion.

Yingmei Duan

Communication seems to be an essential topic for many performance artists. But in Duan Yingmei’s case the issue of communication is a corner stone in her biography and thus it has a very intense and particular role in her life. Until the age of 21, she hardly and seldomly spoke. This way, she created a dream world of tales and myths for herself and developed the habit of communicating with different objects. She developed a fascination and an emotion to certain objects, like her printer, tables, chairs  and objects with a remarkable role in her daily life. According to Duan Yingmei, objects have their own life and they can communicate with one another, just in a different way as humans do.

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