„No man is an Island, entire of it self“. The sentential statement goes back to the british writer John Donne (1572- 1631). Since then the quote was frequently used as a title and became a known plea for solidarity in popular culture. Contemporary philosophy defines the subject as always socially and culturally constituted. Gilles Deleuze and Felix Guattari show that power is not exercised on the individual, but on diversities who populate, colonize and dwell on territories. In “A Thousand Plateaus”, the philosophers write that the territory is „an act, a practice, which affects environments and rhythms that are territorialized”. It is not only the space we live in (a house, hospital, church, university or museum), but it is a converging point of semiotic, linguistic, discursive and non-discursive components - a hard-fought space. Territories enable our existence in the first place: at the same time they represent the cage of our submission, but also the point where potential shifts can happen.
With this premises, the exhibition “No man is an Island” would like to bring together contemporary artists from Israel and Switzerland who are reflecting through their artistic practices on the present time and the history of structures and territories. The artworks take a position, occupy a point of view and approach spatial phenomena on analytical, poetical or subversive ways. The exhibition wanders through various territories and exposes their function as carriers of cultural memory. Cultural memory plays a fundamental role in the formation of national or collective identities and it has its punctual fixed points. The Germain Egyptologist, religious scholar and cultural scientist Jan Assmann defines such punctual fixations as points which represent fateful events of the past whose memories are kept alive through cultural forms (texts, rituals, monuments) and institutionalized communication (recitation, inspection, observation). Thus cultural memory is also topographically organized. In every present time it is appropriated, interpreted, preserved and altered - it is the present-day which updates memories and puts them into perspective.
The works in the exhibition “No man is an Island” show how certain territorial discourses in Switzerland as well as in Israel are connecting with subjective bodily experiences. They start from main intersections where society and territory exist in relations of tension and open up new perspectives within the sociology of space. During this process, the critical angle is defined as an imagined outside perspective which is aware of its own impossibility. Neither art is an island. Instead, we propose to consider art as a space of tension in which works and practices position themselves. Within this field, it becomes possible to examine always anew how concepts of artistic autonomy and plurality of practices act in relation to critical thought and political agency.
ARTISTS: Marina Belobrovaja, Beni Bischof, Sasha Huber, Miro Schawalder, Fatma Shanan Dery, Tamir Zadok, Ariel Reichman, Belu-Simion Fainaru, Roy Brand, Ori Scialom, Keren Yeala-Golan, Eyal Sagui Bizawe
CURATED BY Marion Oberhofer and Kathrin Oberrauch
SUPPORTED BY PROHELVETIA
„Eau & gaz à tous les étages“ is a sign frequently found on the facades of French houses. Originally, it indicated that the building was equipped with running water and gas. First appearing towards the end of the 19th century, it designated new standards of living and modern comfort. The theme of the blue enamel plates with white lettering was used as „objet trouvé“ by Marcel Duchamp. To him, the recurring motive was not just a signifier of modern convenience, but also its precondition.
The objet trouvé could be read as undermining established traditional understandings of artworks as characterised by artistic talent and skill. Today, the concept has a long-standing tradition and has lost many of its subversive traits. Nevertheless, by relating back to the notion of the readymade and reappropriating the meaning of the service slogan of „Eau & Gaz“, we would like to raise questions about the standards and conventions within contemporary art and their possible breakup or extensions.
The objet trouvé is an object borrowed from the everyday which attains new meanings in the context of art. Similarly, the artist residency could be viewed simultaneously as a commonplace and something exotic in the village. The seclusion and homogeneity of the village stand in stark contrast to the usual urban centres of cultural scenes. The residency shall become a refuge for artists. This retreat, cut off from constant external activities, offers a space of intense confrontation with one's own work.
In 2009, in the same spaces where the residency is presently installed, the exhibition "common sense" took place. Artworks and performances were shown on several levels across a space of three hundred square meters; through which the premises of cohabitation were studied. In the shop windows, the works of art were visible at any time, just as now the work of Luca Pancrazzi. The question of coexistence in the social community which emerged during the "common sense" exhibition, is to be continued and developed in the artists' residency.
ARTISTS: Saori Kuno, Cornelia Herfurtner, John MacLean, Björn Kämmerer, Asaf Elkalei, Shahar Binjamini
TEXTS BY Marion Oberhofer, Margareth Kaserer, Piotr Piskozub, Elisabeth Obermeier
CURATED BY Sarah and Kathrin Oberrauch
The notion of Ritornello (Italian; ‘little return’) was first used to describe the re-inviting passage in classical music: It is a melody which repeats itself and is played by all musicians together. The exhibition 'Ritornello' presents sound works by artists with different cultural backgrounds and unites their plurality on one stage. The heterogeneity of melodies meeting in the art space carries the idea of harmonious merging, but also generates a cacophony, providing the possibility for new and unheard motives to evolve.
This project refers to Deleuze and Guattari’s concept of the Ritornello as developed in ‘Thousand Plateaus’. Their understanding of the Ritornello is one of a positive force which operates within a certain territory, interacting with already existing forces to create a new spatial arrangement. Using this metaphor, each individual is pervaded by a multitude of Ritornellos, linking memory and experience of territory. The Ritornello consists of a certain gravity, a materiality which organizes and structures a territory temporarily. This phenomena functions musically, playfully, politically, economically, socially and in connection with desire. In a spiritual sense, it expresses the idea of a homeland. The chant of the artistic voice, like the voice in a song, is elevated from personal position to concrete function, always in relation to a certain territory. My territory, the territory which I no longer own, the territory which I try to reach again, is what composes the song.
Today, the sounds of everyday life can be read as a globalized sound vocabulary, challenging the notion of artistic creation and, with the help of critical reading, inviting moments of disturbance.
ARTISTS: Ahmed El Shaer, Douglas Henderson, Michele Spanghero, Sarah Oberrauch, Song Ming Ang, Yara Mekawi, Yasmine El-Meligy, Yiannis Pappas, Tan Pin Pin, Malik Benjelloul, Christopher Kirkley
CURATED BY Kathrin Oberrauch
The spatial structure and past usages of the Tublá da Nives itself provided the input for the topic of 'Behausung' ('housing' or 'dwelling' in english) and its significance as both a material and emotional demarcation, as well as its role in art for the creation of utopian spatial structures. After a deft renovation, the Tublá Nives may have given up its original function – that of a traditional barn shed – by becoming an impressive contemporary centre of art and culture, yet its soul has not been lost in the transformation.
The archaic exhibition title 'Behausung' describes the taboo zone of protection, shelter and privacy in its original form as an enveloping space and offers new paths and access of interpretation. With its 320 m² on two floors, the exhibition space at Wolkenstein concentrates on drawing attention to current reactions of a young generation of artists to living models and lifestyles in the course of global economical change, exploring the notion of the house as a 'third skin'.
While on the one hand we are confronted with impressive news of a chinese company able to transform construction waste into inhabitable homes for less than 4.000 euros within 24 hours with a 3D printer, on the other hand, we are shocked by numbers of recent figures stating 100 million homeless persons on the planet – statistically, every 60th earth inhabitant – with rising tendencies. These controversial developments surrounding the basic need of human existence – that of having a ‘roof over one's head‘ - lie at the core of this exhibition, resulting in questions concerning the securing of livelihood, cultural identity and emotional localization: In times of the world wide web, home-sharing and couch surfing, has the need for a fixed residence become redundant? Have we mutated to a state of postmodern nomadism by making the world a global village? How important is intimate segregation from the outside, the security of one's own four walls, in a world with increasingly dissolving privacy borders and forced mobility? Are concepts of nest-building safeness, the need for a private kind of order, or shaping microsystems and their surroundings in the sense of 'being at home‘ still valid?
These questions are are deconstructed, deepened and rescaled by eleven artists through varying artistic interventions ranging from watercolors of modern architectural ruins to conceptions of utopic life formats.
ARTISTS: Stefan Alber, Thiago Bortolozzo, Harun Farocki, Daniel Künzler, Lena Lapschina, MDMM, Philipp Messner, Planète Concrète, The Wa, Felix Tschurtschenthaler, Maria Walcher
CURATED BY Marion Oberhofer and Lisa Trockner
A collaboration of the Südtiroler Künstlerbund with the Kulturzentrum Tublá da Nives.
In history and mythology, concepts of mirrors were considered magical, often associated with the power of insights into past or future realities - mirrors representing thresholds into other worlds. The idea of a dual image or a split being is carried on in the ideas of french psychoanalyst Jaques Lacan, whose famous development of the „mirror stage“ describes the mirror as key in the constitution of subjectivity by offering the imaginary order of a coherent body-image, the Self.
Today we watch ourselves not only in mirrors, but capture those images with digital cameras and smartphones. Self-observation and self-criticism have become preoccupations reserved largely, if not entirely, for the world of social media. We shape and re-shape our Selves by altering our virtual image in the eyes of others: we have become our own avatar in a digital universe.
The exhibition ME, ME, MIRROR revolves around the question of self-(re-)presentation, issues further reflected and extended in the works of 15 selected artists. The Self is revealed as something malleable, subject to alteration from image to image, loosing its static state and absorbed in an endless process of transformation and becoming. The artists aim to connect cultural, religious, political and ideological contexts in new digitally produced images, creating a new kind of utopian human re-presentation.
ARTISTS: Song Ming Ang, Adam Curtis, Helena Dietrich, Idan Hayosh & Corina Künzli, Helmut Heiss, Talia Link, Martin Kohout, Yiannis Pappas, Christian Schwarzwald, Yes Men, Ztohoven, Adreas Zingerle, Sarah Oberrauch
CURATED BY KATHRIN OBERRAUCH
The exhibition is a sound experiment, revolving around the idea of sound and its performative aspects. Gandegg Castle provides the historical setting for the selected performances and sound installations. The architecture of the castle – with its four characteristic round towers and adjacent chapel – influences the sound of the artworks and thus plays an important part in the exhibition as a whole. We experience and represent sound in numerous forms, not only as echoing vibrations in the air, but also as the ornamental wave patterns in water and sculptural embodiments of motion. In the presented performances and installations, a number of international as well as regional artists offer conceptions of sound reaching beyond the conventional boundaries of hearing.
While Maren Strack hangs by her hair from the ceiling of the castle, her floor-length latex dress rendering sonic vibrations, the artist Idan Hayosh offers a dazzling lecture performance in the garden that draws the audience closer to the hidden mechanisms of Heavy Metal concerts and warfare. In the middle of the tower stands the spiral-shaped sound installation by American artist Douglas Henderson, bringing to mind the failed Tower of Babel. Michele Spanghero’s black sphere, sheltered by the fur tree in the garden, is both haunting and peaceful, as if ready to explode at any moment. Singaporean artist Song Ming Ang extends our familiar spectrum of sound by recording unexplored noises of old and unused instruments during their technical reconstruction. Sound as a repetitive rhythm of movement is examined in a thought-provoking video installation by Sarah Oberrauch.
Each performance and installation is a unique exploration into the multiple possibilities of sound. In the context of the present exhibition, the audience itself becomes an instrument, a resonant body which participates in the audition.
ARTISTS: Song Ming Ang, Baghdassarians & Baltschun, Hans Op de Beeck, Douglas Henderson, Klaas Hübner & Ana Bak, Kaoru Katayama, Ivan Klapez, Pe Lang, Sarah Oberrauch, Yiannis Pappas, Donato Piccolo, Michele Spanghero, Maren Strack
CURATED BY Kathrin Oberrauch
IN COLLABORATION WITH TRANSART FESTIVAL
The film screening SHIFTING FRAMES attempts to reflect on differences of visualizing or experiencing space. At the heart of aesthetic and scientific processes of Western culture lies a fundamental desire to eliminate the uncertainty of the unknown - unfamiliar phenomena are rendered intelligible through visual and rational representation.
In this paradigm of a perceiver overviewing, the subject is placed at a distance, allowing an elevated vantage point from which to survey the space as a whole, separating it from the surrounding environment and constructing the world prior to a practical engagement with it. This scopic drive, as Michel de Certeau terms it, is the basic organising principle of modernity and signals a violent attempt to dominate the external world in thought. De Certeau examines the relationships of place as a fixed position and space as a realm of practices, and their corresponding invocations of mapping and acts of traveling as two functionally different registers of experience.
SHIFTING FRAMES invites the audience into a moving space where singular journeys intersect and collide, disintegrating the hegemony of fixed positions. The selected films deconstruct traditional narrative structures and put into question the possibility of a disengaged gaze. Different stories and experiences of time, space and travel are uncovered from multicentric perspectives which challenge the viewer to submit to an experience of disorientation and indeterminacy. The aim of the specific context of the film screening is to encourage this leap – to create a mise en abyme which shatters the clear demarcation between beholder and content and offers the viewers what I hope to be a very special evening of shifting frames.
ARTISTS: Marie Reinert, Bouchra Khalili, Simon Starling, Hans Op de Beeck, Charles Lim, Marcellvs L. Monsieur Moo & Luise Drubigny, Lisl Ponger
CURATED BY Kathrin Oberrauch
Art and economy form a powerful union, full of intersections and contradictions. Introducing art in the daily working environment can create a productive concept within a company philosophy through sensual, representational and abstract means. Art has the ability to create disruptions in our day-to-day lives, opening up new experiences and temporarily suspending what is already known.
Hans Oberrauch's passion for collecting art has led to the funding of both a private and corporate art collection. For the 40th anniversary of Finstral, the company's collection was first shown to a large audience at the exhibition "Sammellust" in Kunsthaus Meran (South Tyrol). The company branch in Gochsheim (Germany) also promoted art from the beginning: before its opening in 1995, the conceptual artist Robert Barry was invited to intervene with a site-specific installation. Seventeen years later his words, drawn on the wall of the atrium, still broach the connection between artistic statement, space and time by questioning the medial, institutional and social conditions of art and economy.
The monochrome wall drawing not only conveys a message of fresh concepts, but also becomes a poetic interplay of light and color, an ambiguous shifting between surface and depth. The visualized thought-processes enable a productive adoption by the viewer, appealing to his or her imagination. Other artworks extend this idea, such as Christian Schwarzwald's installation "Vol 2. Metanoia": In a cluster of 470 individual drawings, he weaves a mesh of words, windows, thinker poses and abstract motifs. With this method of image hermeneutics, Schwarzwald reflects on the limits of subjective thinking and calls for conditions for a renewed worldview. Which "framings", concepts or patterns enable or disable change?
ARTISTS: Robert Barry, Thiago Bortolozzo, Tacita Dean, Christoph Hinterhuber, Christian Hutzinger, Michael Kienzer, Hans Knapp, Thomas Locher, Brigitte Mahlknecht, Christian Schwarzwald, Paul Thuile, Rinus Van de Velde, Emmet Williams, Peter Zimmermann
CURATED BY Kathrin Oberrauch, Marion Oberhofer and Yiannis Pappas
The exhibition "Hans hat Glück" takes place at Gandegg Castle in South Tyrol (Italy), showing part of Hans Oberrauch's private collection. The mediaval castle was mentioned for the first time in 1434, describing its light-coloured tower, while a drawing from the 15th century depicts its characteristic four round towers and its huge surrounding curtain wall. It belonged to the same noble family for five generations and was known as a summer residence as well as a place for meetings and celebrations. For twenty-five years, Castle Gandegg has been the private residence of art collector Hans Oberrauch and his family. The castle wasn't accessible to the broader public for many years – now, it returns to its traditional role and function, once again becoming a place to meet, to exchange thoughts and tell stories.
"Hans hat Glück" is both the title of the exhibition and a work by Hubert Kostner, which is shown in the first room on the ground floor of the exhibition. It refers loosely to the fairy tale "Hans im Glück" by the brothers Grimm, a story about a man who works hard for seven years, and is paid his wage - a huge gold nugget, which he loses on his journey back home due to barter trades. Nevertheless, he remains happy as his luggage becomes lighter and lighter, while collecting numerous enriching experiences on the way. For Hans Oberrauch, collecting art is a way of opening himself to the world as well as addressing current affairs and cultural changes. His primary concern is not financial, but rather the broadening of experience and sharing people’s thoughts and ideas. For the first time in his career, he has decided to show his private collection to the public. Approximately 100 artworks are selected, demonstrating the diversity and versatility of contemporary South Tyrolean and international artists, and also representing the important role of collectors in the world of art. Their committed efforts, which often take place in the background, have contributed enormously to the development of a variety of modern and contemporary art works.
CURATED BY Kathrin Oberrauch, Marion Oberhofer, Margareth Kaserer and Eugenia Lapteva
„We are less Greek than we think.“ Michel Foucault
To stroll through the unused shopping mall of St. Michael in Eppan (South Tyrol, Italy) is a disconcerting experience, almost adventurous and at the same time absolutely mundane. The historic building from the 17th century that houses the shopping mall has been reconstructed in order to prepare it for its new and as-yet unfulfilled function. The newly renovated shop windows attract our attention and lead us inside, where we encounter nothing but desolate salesrooms.
From September to October 2010 within the walls of these empty rooms we organize the exhibition commonsense. Roughly 700 square meters, spread across several floors, are filled with works of contemporary art in order to initiate an investigation into the premises of our living together within one communal space. What is the role of the individual here? What drives us and seduces us in our everyday life? Which processes of cognition and what kind of knowledge prevails in terms of building our opinions and shaping our actions? By raising these questions, art inevitably reveals itself as an ideological as well as individual and collective practice. Due to the unique set-up of the exhibition it was possible to see the art works on display in the shop windows 24 hours a day.
The art space becomes an integrated part of the daily life in the village, while at the same time remaining essentially „out of place” – a foreign body that offers and even provokes questions regarding everyday life and the social conditions of communal living. Our aim is to intensify the dialogue about the relationship between art and community, by presenting a diverse program of performances, video and film projections, installations and workshops for students.
Together with the invited local and international artists, we intend to transform the building into an art space of the globalized world and finally to focus on our own culture, which suddenly appears strange and incomprehensible enough to re-discover it again from a completely new point of view.
ARTISTS: Anna Rockwell, Atelier Van Lieshout, Brigitte Mahlknecht, Clement Laigle, Constantin Luser, Daniel Hafner, Douglas Henderson, Filthy Luker & Pedro, Estrella, Fine Art Union, Francis Alÿs, Hannes Egger, Helmuth Heiss, Hubert Kostner, Igor Eskinja, Isa Melsheimer, Jitka Hanzlova, Johannes Vogl, John MacLean, Josef Rainer, Liquid Cat, Madeleine Berkhemer, Margareth Kaserer & Rodolphe Coster, Mrova, Moataz Nasr, Nicolò Degiorgis, Panamarenko, Ria Patrizia Röder, Sarah Oberrauch, Sheri Avraham, Shilpa Gupta
CURATED BY Marion Oberhofer & Kathrin Oberrauch
PROJECT IN COOPERATION WITH Contemporary Art and Music Festival Transart
On occasion of the 40th anniversary of the Finstral company, Merano arte will for the rst time present the large collection of contemporary art compiled by this enterprise located on the Ritten.
Some of the works actually have a reference to the core message of the Finstral company, as they deal with the topic of ‘house’ and ‘housing’ on an artistic level and thus add a new language and expressiveness to it. The work La Casa (1982–84) by the sculptor Nanni Valentini, for example, occupies a central position in the collection. Symbolically, it stands for the meaning that Hans Oberrauch has attached to this topic and serves as an overriding interpretation approach to the collection.
The geographical focus of the Finstral collection is on works by South Tyrolean, Italian, and Central European artists in general, but is open to special works from all cultural areas and art movements. The Merano arte exhibition showcases a selection of 40 of the 250 works included in the collection. So far, the works in the Finstral collection have only been known through loans to national or international exhibitions.
Merano arte is now seizing the opportunity to explore Hans Oberrauch’s very personal experience of art, his direct and emotional encounter with the contemporary art of the past 50 years as a collector, and to make it accessible to the public. The exhibition itself follows this intuitive and delightful approach to the works and respects their uniqueness and history by associatively lining them up. Chronological and cultural borders tumble and give way to a fascinating open space for encountering the most diverse positions of contemporary art.
ARTISTS: Eija-Liisa Ahtila, Lois Anvidalfarei, Robert Barry, Madeleine Berkhemer, Joseph Beuys, Domenico Bianchi, Loris Cecchini, Bruno Ceccobelli, José Pedro Croft, Arnold Mario Dall’O, Tacita Dean, Ulrich Egger, Luciano Fabro, Bruno Faidutti, Peter Fellin, Thomas Florschuetz, Douglas Henderson, Birgit Jung-Schmitt, Hans Knapp, Arthur Kostner, Hubert Kostner, Brigitte Kowanz, Michael Kucera, Sol LeWitt, Charles Lim, Thomas Locher, Stefan Löffelhardt, Heinz MacK, Brigitte Mahlknecht, Luc Mattenberger, David Messner, Philipp Messner, Josef Adam Moser, Hannes Norberg, Sarah Oberrauch, Lucy + Jorge Orta, Luca Pancrazzi, Michelangelo Pistoletto, Martin Pohl, Marco Porta, Christian Reisigl, Max Rohr, Stefano Scheda, Mario Schifano, Ivo Rossi Siéf, Esther Stocker, Kenji Takahashi, Paul Thuile, Christian Tinkhauser-Thurner, Marco Tirelli, Giuseppe Uncini, Nanni Valentini, Gerald Van der Kaap, Peer Veneman, Rolf Walz, Emmet Williams, Linda Wolfsgruber, Chen Zhen, Peter Zimmermann
CURATED BY Valerio Dehò and Kathrin Oberrauch
I beg you pardon, I've never promised you a rosegarden! As many mountains have their own myth, also the Rosengarten in the Dolomites has its heroic epic. Once upon a time the jealous and somewhat devious king of the dwarfs Laurin defended his reign of magic with the help of invisible threads against all sorts of invaders and thus founded the myth of the steadfastness of the Tyroleans. Through the centuries unfortunate searchers for meaning, utopians, shelter-seekers, dreamers, nationalists and profiteers have made this myth-enlaced massif their own.
On the one hand, the exhibition Der Rosengarten wird überschätzt ("The Rose Garden is overrated") creates a reference to this mountain that stands for the world of wishes, forebodings and destinies, which are also expressed in the individual artistic positions. On the other hand, it's a reference to Josef Beuys' performance "The Silence of Marcel Duchamp is overestimated" of the year 1964. Beuys harshly criticizes Duchamps artistic attitude: despite Ready-Made, Duchamp has not been willing to free art from its museum dogma. In this exhibition young artists from Switzerland, Austria, Germany and South Tyrol are concerned with what could succinctly be called „the present“. Is Beuys' idea of making mythical experiences the source of artistic work and life itself still suitable - in spite of the pressure of individualism, market-orientated issues and global markets on one hand and an obvious cultural trend towards anxiety, insecurity and nostalgia on the other hand?
The Rose Garden is overrated shows the works of young artists who dedicate themselves to question their own present and to ask "What is to come?" Instead of getting to the one and only answer, through and with their works the artists challenge contemporary concepts of art and perception and draw a picture of modern life as frequently perforated, criss-crossed and full of thwarted promises. The exhibition is staged in spaces which are far away from the institutionalized galleries and art-places. The decision to set it up in a space off the beaten tracks should be seen as a signal, considering the enormous efforts ventured by cultural policy to catch up with the international arts scene with large-scale projects and new buildings. For a period of two weeks the former carpentry Werkform is centre and periphery, normal course of life and state of emergency, city and country. Installations, sculptures and video works are shown on three floors in addition to further highlights in the form of documentary films and performances.
ARTISTS: Michael Blättler, Paul Darius, Tomas Eller, Toro Furukata, Maria Gamper, Florian Germann, Klaas Hübner, Georg Keller, Paolina León, Dieter Lutsch, Marion Oberhofer, Kathrin Oberrauch, Klaus Pobitzer, Grit Röser, L.A. Schwazer, Sebastian Siechold, Tobias Spichtig
CURATED BY Marion Oberhofer, L.A. Schwazer, Paul Darius
SUPPORTED BY the South Tyrolean Artist Association (Südtiroler Künstlerbund)
Inspired by a chance encounter with a 19thcentury music stand, Something Old, Something New traces Ang’s attempt to replicate the ornately carved music stand as a glass sculpture, combining traditional and modern techniques of glassmaking. In using glass as material, Ang’s sculpture gains fragility, losing its functionality and becoming an aesthetic object in its own right, blurring the distinctions between sculpture, ornament, design and functional object. The „translation“ of materiality causes a shift in perception of the music stand and its usages. Ang’s installation links his interest in labour and traditional craftsmanship to his own conceptual impulses to art making. A variety of media, including a video, drawings and photography illustrate different steps in the sculpture's complex making process.
Song Ming Ang (b. 1980 Singapore) focuses on music as a subject in his art practice. His work is often processoriented, playing with overlapping perspectives of artist, fan, and amateur. For his work Backwards Bach (2013), Ang learnt and performed a Bach prelude backwards as an untrained harpsichordist. In Parts and Labour (2012), he apprenticed at a piano workshop over four months to restore a disused piano. Ang holds an MA in Aural & Visual Cultures from Goldsmiths College (London). He has presented works with Künstlerhaus Bethanien (Berlin), Museum of Contemporary Art (Sydney), Haus der Kulturen der Welt (Berlin), Witte de With (Rotterdam), and Spring Workshop (Hong Kong).
The filmic works by Ernst Rechenmacher mark the initial point of our project. Known as Ernesto Remani since 1945, Rechenmacher was born 1906 in Merano and died 1966 in Frankfurt am Main. Today, despite or perhaps because of his controversial biography, the director and producer remains largely forgotten. In the course of his career, Remani worked for different regimes such as the Nazi-Regime, the Peronism in Argentina and the GDR in East Germany. His life was accompanied by a strong interest in the genre of the entertainment film and in particular the melodrama.
In our research, the methodical work with found footage material of Remani's films which reviews social, political and economic circumstances as well as the influences of media and technological developments provides a basis for analysing the films' particular aesthetics as well as the ideological and economical handling of their production and distribution.
Special attention is paid to recurring motifs and lines of narrative that emerge, but also to gaps in the plot which reveal pressures of social context. Interviews with experts complement the analysis of artistic and commercial moments of Remani's work. While trying to close the voids in the filmmaker’s biography, we also seek to expose how fiction and documentation don't mutually exclude each other.
The aim is to highlight the potential of historical representation in television, which was and is unquestionably a dominant image-medium and thus also an evident agent of popular historical display. By focusing on the specific qualities of these images, we hope to communicate a critical and self-reflexive understanding of history, as well as providing alternatives to written discourse and linear forms of narratives.
INTERVIEWS WITH: Ralf Schenk (film publicist), Paula Felix-Didiér (director of the Museo del cine „Pablo Ducrós Hicken“, Uki Goni (historian, publicist - „The Re autonomous al Odessa“), Patricia Civelli (journalist), Maximo Barro (professor for film history on the „Faculdade Armando Alvares Penteado“)
DIRECTOR Marion Oberhofer
DIRECTOR OF IMAGE Kathrin Oberrauch
SUPPORTED BY Autonomous Region of South Tyrol and the Academy of Fine Arts Vienna
Production has almost entirely disappeared from the surface of the Western world, it has become invisible. In India, manufacturing and sales occur at the same place. The market is not only a meeting place for seller and buyers, but also a space for creative work. Working hands and feet occupy even the smallest nooks. The video "Work in progress" documents different artisanal processes in an encyclopedic manner. Artisanal work obtains a museal character through geographical delocalization.
VIDEO BY Yiannis Pappas and Kathrin Oberrauch
SUPPORTED BY Goethe Institute Bangalore, India
Law of the Market Freies Museum Berlin, Germany
Walking is a process of rhythmic alternation, which unfolds in space and time. It is closely connected to the physicality of a subject. This ï¬‚eeting, ephemeral process bears a performative aesthetic, it emerges and disappears in an instant - step by step. At best it leaves some traces. In the work «MIND THE GAPS» the camera follows a „European“ dressed person through the streets of Bangalore City. The road is marked by gaps and barriers, turning the city landscape itself into an instable and insecure motion. With this motion study Kathrin Oberrauch and Yiannis Pappas want to shed light on the double meaning of belief in economic progress.
PHOTOGRAPHIES BY Yiannis Pappas and Kathrin Oberrauch
SUPPORTED BY Goethe Institute Bangalore, India
Law of the Market Freies Museum Berlin, Germany
In summer 2009, the first edition of ArtePollino took place in the Pollino National Park, the biggest natural park in Italy. An initiative of Sensi Contemporanei, this program is supported by the Ministry of Cultural Heritage and Activities and the Venice Biennale Foundation and aims to promote and improve one of the most beautiful natural areas in Europe, involving artists such as Anish Kapoor, Carsten Höller, Daniel Buren and Giuseppe Penone. The project intends to increase the value of the environmental patrimony of Pollino National park through bio-compatible artistic interventions and to contribute to the ecological cause by introducing a new theme of contemporary art in the park.
ArtePollino's ambitious vision lies in pushing for progressive change in the area of Pollino. What makes the area attractive is not only the static beauty of its landscapes, but also the dynamic abilities of its inhabitants when it comes to use of environmental resources. Over the past decades, art - especially contemporary art - has often focused on the issue of balance between nature, culture, social and environmental development, seeking to strike the difficult balance between beauty and everyday life. Drawing from the powerful and mysterious world of symbols, art is able to point to solutions, express ideas, and offer glimpses of utopic visions. The ArtePollino project hopes to give birth to a new model which sees art as a key element for enhancing local environments.
The selected artists for ArtePollino offer works which, as Vicente Todoli puts it, "are able to interpret the spirit of the place and, at the same time, call the world's attention to this territory". With ArtePollino, the region Basilicata counts on culture and contemporary art as an engine for the territorial development and the establishing of "another south".
INTERVIEWS WITH: Anish Kapoor, Carsten Höller, Daniel Buren, Giuseppe Penone, Vicente Todoli (Tate Modern), Vito de Filippe (president of the region Basilicata), Mario Cristiani (association Arte all'Arte), Catterina Seia (UniCredit Group), Laura Barreca (Ministry of Cultural Heritage), Alberto Versace (Ministry of Economic Development)
DIRECTED BY Kathrin Oberrauch and Marion Oberhofer
PRODUCED BY Association Arte all'Arte, Tuscany (Italy)
Although it may sound contradictory, sometimes it can be an advantage not to comprehend and/or be understood. Almost everybody has at least played with the thought of pretending not to understand something or somebody in order to avoid a precarious situation. On his journey by train through Europe a young man gets into various situations - accidentally or by his own fault - which could cause him lots of trouble. Miraculously he skirts them all with a simple trick. With wide eyes and a face marked by perplexity he hums a well-known melody and enchants everybody he meets on his adventurous trip. Regardless whether they are officials or outlaws, all of them seem to be reminded of a hidden and precious memory. So he stumbles through his adventure without pronouncing one word. To be obtuse turns out to be his big advantage until a fairy appears in his cabin.
DIRECTED BY Marion Oberhofer and Kathrin Oberrauch
DIRECTOR OF PHOTOGRAPHY Jasper Granderath
ACTORS: David Zimmerschied, Anne Catherine Studer, Hannah Oberhofer Peer, Oliver Pezzi, Rudi Beikircher, Walter Heinz, Markus Prieth
MUSIC BY Opas Dirdl: Markus Prieth, Daniel Faranna, Thomas Lamprecht, Veronika Egger
TEAM: Benni Fernando, Margareth Kaserer, Nils Jendri, Andreas Arnheiter, Leander Schwazer, David Hoffmann, Alexander Feichter, Dr. Jürgen Riethmüller
PRODUCTION BY European League of Institutes of the Arts
The curatorial practice of the collective Mimikry productions aims to create the possibilities for aesthetic production and question forms of representation as well as modes of displays. It seeks for spaces – institutional and public, forgotten ones or those who play a crucial role in everyday life – in order to provide communal experiences and challenge perceptions and sensual distribution. Collaboration for us means also to seek for new accomplices and establish loose, but effective networks. Mimikry as a curatorial strategy means inventive abundance, blurring borders and possibilities of subversive resistance.
Mimkry productions was founded in 2006 giving a name to the collaborative projects of:
Kathrin Oberrauch born in 1981 in Bozen (Italy). She has been active in the art scene for several years. After earning her degree in “New Media” at merz Academy in Stuttgart, Germany, she pursued her education further, receiving a second degree in “Spatial Strategies” at the Weißensee Academy of Art in Berlin in 2013. She has worked as an independent curator and producer for various institutions including: HaRiviera (Tel Aviv), Darb1718 (Cairo), Associate Arte all’Arte (San Gimignano), Arte Continua (San Gimignano Le Moulin Beijing), Arte Pollino (Basilicata), Forum Factory (Berlin), ArtBus (New York), Goethe Institute (Bangalore), Kunsthaus (Meran), Transart Festival (South Tyrol) Freies Museum (Berlin). Since 2009 she curates the contemporary art collection Finstral. Additionally, she is cofounder of the artist in residency Eau & Gaz at St. Michael, Italy.
Marion Oberhofer born 1982 in Bozen (Italy). Bachelor of media, art and design theory at the Zürcher Hochschule der Künste (Switzerland) in 2008. Since 2010 studies at the Academy of Fine Arts Vienna (Harun Farocki). Currently working on the thesis. Realization of various exhibition- and film-projects with different accomplices. Working experiences as teacher, art-mediator (Manifesta7 and Generali Foundation) and journalist.