„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 reinviting 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 background and unites the plurality on one stage. The heterogeneity of melodies meeting in the art space carries the idea of harmoniously, but also generate a cacophony, which may provide the possibility for new and unheard motives to evolve.
This project refer to Deleuze and Guattari’s concept of the Ritornello, as developed in ‘Tausend 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. The phenomena functions musically, playfully, politically, economically, socially and in connection with desire. In a spiritual sense, it expresses the idea of a home land. 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 a an engagement with the topic of 'Behausung' ('housing' or 'dwelling' in english) and its significance of implications between identity and fate. 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 it hasn't lost its soul through the transformation.
The archaic exhibition title 'Behausung' which describes the taboo zone of protection, shelter and privacy in its original form as an enveloping space offers impartial access and opens new paths of interpretation. Artists have always focused on space as both material and emotional demarcation, and created utopian spatial structures as well as extending sculptures and exploring the notion of the house as a ‘third skin‘. Due to the finality of the exhibition space at Wolkenstein, with its 320 m² on two floors, the exhibition concentrates on drawing attention to current reactions of a young generation of artists to the subject of living models and lifestyles in the course of global economical change.
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 by using a 3D printer, on the other hand, we are shocked by numbers of recent figures constating 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 over the securing of livelihood, cultural identity and dealing with emotional localization: In times of the world wide web, home-sharing and couchsurfing, 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.
„Magic mirror in my hand, who is the fairest in the land?“, asks the Queen in the classic fairy tale Snow White. Gazing into the beguiling mirror, she awaits her answer with excitement. In cultural history the mirror represents vanity, lust and narcissism, but also recognition, awareness and truth.
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 self by altering our virtual image in the eyes of others. We‘ve become our own virtual avatar in a digital universe.
The exhibition ME, ME, MIRROR revolves around the question of the self (re) presentation and the works of 15 selected artists expand and exceed the issue. The Self is becoming something malleable, it can alter from image to image, it looses it‘s static state and is 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 and thus creating a sort of new 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. 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 of the exhibition as a whole. The exhibition revolves around the idea of sound and its performative aspects. We experience 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, sound is perceived and conceived beyond the conventional boundaries of hearing.
A number of international as well as regional artists are presented upon the castle premises. While Maren Strack hangs by her hair from the ceiling of the castle, bringing her floor length latex dress into 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 sounds by recording the 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 is 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
I would like to introduce the following film screening SHIFTING FRAMES by invoking some of the thoughts of Michel de Certeau, Gilles Deleuze and Felix Guattari. These thinkers have provided important insights which fuelled my research and influenced the particular form of this project. At the heart of the cultural and scientific processes of Western civilization lies a fundamental desire to eliminate the uncertainty of the unknown. Through visual and rational representation, unfamiliar phenomena are rendered intelligible.
The human being is placed at a secure distance, allowing an elevated vantage point from which to survey the space as a whole. This scopic drive, as Certeau terms it, is the basic organising principle of modernity and signals a violent attempt to dominate the external world in thought. According Deleuze and Guattari, the notion of a stable and totalising viewpoint belongs to a type of space which is ‘striated’. Striated space is homogenous and characteristic of State space, whereas the space inhabited by seafaring people, for instance, is heterogeneous and ‘smooth’. The sea is an undefined and fluid space which exists in constant flux and thus defies absolute categorisation. In other words, while striated space is static and panoptic, smooth space is nomadic and haptic.
My wish with SHIFTING FRAMES is to invite the audience into a moving space where singular journeys intersect and collide, exploding the hegemony of fixed positions. The selected films, each in their unique ways, deconstruct the traditional narrative structure 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 demand from the viewer a willingness to submit to an experience of disorientation and indeterminacy. We leave the security of the stable ground in order to step inside the boat and enter into relation with the audiovisual works. 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 subject matter 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 a disruption of our daily lives by suspending what we already know, and open up to something new.
Hans Oberrauchs passion for collecting art has led to the funding of both a private and a corporate art collection. On the occasion of the 40th anniversary of Finstral, the company's collection was shown for the first time to a large audience at the exhibition "Sammellust" in Kunsthaus Meran (South Tyrol). Also in the company branch in Gochsheim (Germany), art was promoted 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 statement, space and time, by questioning the medial, institutional and social conditions of art and economy.
The monochrome wall-drawing does not just refer to fresh concepts, but also becomes a poetic play between light and color. In this word-space Robert Barry balances spacial experience and dimension. The formulated thought-processes can be accepted by the viewer and made productive according to their own imaginations. Focusing on this concept, also other artworks are shown, for example the drawing installation by Christian Schwarzwald "Vol 2. Metanoia", which extends the idea. He proposes in 470 individual drawings a mesh of words, window screens, thinkers' poses, and abstract motifs. With this image-hermeneutic technique, Schwarzwald reflects on the limits of one's own thinking and demands the conditions for the renewal of a worldview. Which "framings" (concepts, 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 the castle Gandegg in South Tyrol (Italy) and shows a part of the private collection of Hans Oberrauch. The mediaval castle was mentioned for the first time in 1434, describing its light tower, while a drawing from the 15th century depicts its characteristic four round towers and its huge surrounding curtain wall. Over five generations it was belonging to the same noble family and it was known as a summer residence and a place for rendezvous and celebrations. Since a quarter of a century Castle Gandegg is the private residence of collector Hans Oberrauch and his family. For many years the castle wasn't accessible to the broader public, but 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 7 years, and after being paid his wage, a huge gold nugget, he looses it on his journey back home due to barter trades. Nevertheless he remains happy about his light luggage and the enriching experiences he gained. For Hans Oberrauch, collecting art is a way of opening himself to the world as well as addressing current affairs and cultural changes. The financial aspect is not the primary concern, rather it is the enrichment of experience and the sharing of people’s thoughts and ideas. For the first time in his career he's showing his private collection to the public. Approximately 100 artworks are uniquley selected, showing 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 arts.
ARTISTS: Eija-Liisa Ahtila, Atelier Van Lieshout, Madeleine Berkhemer, Domenico Bianchi, Julia Bornefeld, James Brown, Maria Brunner, Bruno Ceccobelli, Anton Corbijn, Jose D'Apice, Naia Del Castillo, Willie Doherty, Gilad Efrat, Ulrich Egger, Ayşe Erkmen, Valie Export, Sebastian Feichter, Gloria Friedman, Robert Gligorov, Anthony Gormley, Renato Grome, Alfred Haberpointer, Douglas Henderson, Diango Hernándes, Zhang Hui, Florin Kompatscher, Brigitte Kowanz, Arthur Kostner, Huber Kostner, Silvia Levenson, Lorenza Lucchiasili, Jori Marcello, Franz Messner, Kim Minjung, Margherita Morgantin, Carmen Müller, Emil Müller, Moataz Nasr, Sarah Oberrauch, Donato Piccolo, Hans Op de Beeck, Mimmo Paladino, Panamarenco, Luca Pancrazzi, Yiannis Pappas, Bruno Peinado, Lucia Pescador, Chloe Piene, Christian Reisigl, Bernardi Roig, Hubert Scheibe, Mario Schifano, Norbert Schwontkowski, Peter Senoner, Serse, Meg Stuart, Kinki Texas, B. Toguo, Peer Veneman, Torbjörn Vejvi, Sophie Whettnall, Linda Wolfsgruber, Andreas Zingerle
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 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 appear less sturdy and more fragile, losing its functionality and becoming an aesthetic object in its own right. Ang’s installation connects 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, illustrated different parts of the lengthy process in realising the glas sculpture.
Song Ming Ang states: In September 2014, I spent a month at Hospitalfield House (Arbroath, Scotland) for an artist residency. There, I saw a music stand from the 19th century, ornately carved out of wood, and featuring intricate floral patterns. Using this music stand as the starting point, I thought about making a glass replica. Something Old, Something New focuses on material and technique, attempting a difficult task of translating an ornate wooden music stand into glass from. My motivation for attempting this “translation” is to create a music stand with a material that would change its function and the way we look at it. Music stands are typically created as sturdy, functional objects a supporting structure that ironically disappears from view as music scores as placed on it. Originally made from wood, they are now mostly manufactured in steel and aluminium variants for lightness, flexibility and transportability.
Song Ming Ang (b. 1980 Singapore) focuses on music as a subject in his art practice. His work is often processoriented, and made from the overlappingperspectives of an 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. Rechenmacher was born 1906 in Merano and died 1966 in Frankfurt on the Main; since 1945 he has been known as Ernesto Remani. Today, despite or perhaps because of his problematic biography, the director and producer has sunk into almost complete oblivion. In the course of his career, Remani worked for different regimes such as the Nazism-Regime, the Peronism in Argentina and the East Germany (GDR). During all his life he had a strong interest in the entertainment film and in particular the melodrama.
In a methodic way we work with the found footage film material and recognize the practice as research. We observe and review social, political and economic circumstances, as well as the developments in technology through the lens of his films. The historical contextualization is used for clarifying the conditions between the relative film aesthetics, the ideological and economical handling of production and distribution, as well as the technological development contribution.
Special attention is paid to recurring motifs and narrations that emerge in Remanis films, but also to the gaps in the plot which render noticeable the influence of the social context. This film analysis follows a visual logic and questions the traditional history, the ways in which its images and documents are set. Interviews with experts are complementing the analysis about the artistic and commercial moments of Remanis work. We are trying to close the gaps in the filmmaker’s biography and also to expose how fiction and documentation don't mutually exclude each other.
The aim is to highlight the potential of historical representation on television, which is undoubtedly a dominant image medium and thus also an evident agent of popular historical display. By doing so we hope to communicate a critical and self-reflexive understanding of history. The work with and on images is also an alternative way to written discourse and the linear history telling.
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. It is an initiative of Sensi Contemporanei, a program 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. Artists like Anish Kapoor, Carsten Höller, Daniel Buren and Giuseppe Penone have been invited to realize permanent environmental artworks in the park. The project intends to increase the value of the environmental patrimony of Pollino National park through the actual realization of bio-compatible artistic interventions and to enforce the ecological cause by introducing the new theme of contemporary art in the park.
ArtePollino project starts with an ambitious and hardly feasible vision: trying to change progressively the area of Pollino during the years through clear, concrete and qualified actions into a unique, precious place, an attractive area not only because of the static beauty of its landscapes, but also for the dynamic abilities of its inhabitants to qualify and carefully use environmental resources; a place based on existing human and environmental values, where a new and more effective balance between nature, culture, social and economic development can be found. Art, especially contemporary art, has often focused the attention on these themes during the last decades, looking for a difficult balance between beauty and everyday life. Drawing from the powerful and mysterious world of symbols, art is able to point to some solutions, to express some considerations, to let us glimpse the leftovers of this new utopia. The hope is that ArtePollino project could give birth to a new model that conceives art as a decisive element to qualify the environment.
The selected artists for ArtePollino have been invited to realize works - as Vicente Todoli says - "that are able to interpret the spirit of the place and, at the same time, to call the world attention on this territory". With ArtePollino, the region Basilicata bets on culture and particularly on contemporary art as an engine for the territorial development and an occasion for building up "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.