Exhibitions
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Sven Sachsalber, Pencil drawing on hotel stationary, 2016-2018, 210 × 297 millimeters. Archive: sven sachsalber

BUCHHANDLUNG KALTER KÖNIG
SVEN SACHSALBER
22.02.-13.04.2019

Opening 22 February, 7 pm

 

 

Curated by Emanuele Guidi

 

 

The exhibition “Buchhandlung Kalter König” by Sven Sachsalber gathers together a body of recent works that employ and engage with the format of the book in a variety of attitudes and approaches. Through writing and drawing, accumulation and appropriation, quotation and violation, Sachsalber uses the name of an ideal publishing house or personal bookshop to make public the complex constellation of figures that permeate his imagery and development. At the same time he also traces a line of continuity between the alpine landscape where he was born and his adoptive city of New York.

The titular work “Buchhandlung Kalter König” relates to a posthumously published book by Martin Kippenberger: “No Drawing No Cry.” This book reproduces the hotel writing paper that Kippenberger had previously published—with drawings—in the two famous volumes Hotel-Hotel and Hotel-Hotel-Hotel, though in this case his instructions were to publish the same stationery “cleansed” of the drawings. The result was a book of blank sheets of paper showing nothing but the letterheads and logos of the hotels where Kippenberger had stayed.
Sven Sachsalber took this gesture as an invitation to draw on the paper again. To the evident detriment of the material value of this costly edition he has kept a diary in which he undertakes a systematic process of discovery and self-analysis.

In this book Sachsalber has made 222 pencil drawings where contemporary culture, folklore, the animal kingdom and the human world encounter everyday moods and atmospheres. In reproducing pictures of alpine traditions (years of adverts printed on the back of “Artforum” magazine for the Swiss Galerie Bruno Bischofberger) he starts to weave together symbols and emblems of the alpine world, from Giacometti’s house to San Pellegrino mineral water – “bottled in the same part of the Italian Alps that Sachsalber comes from” – as his biography is at pains to point out.

Besides the pages of “Buchhandlung Kalter König”, the books A B BC (2017) and Berg (with Siggi Hofer, 2015) are also pervaded with the same constant searching, criticism and concern that Sachsalber feels for the landscape as a cultural and emotional construct. At the same time, the juxtaposition of these three art books again reveals the intention to make his biography and the exploitative strategic marketing of the alpine landscape – i.e. high and popular culture – into a caustic and grotesque short circuit.

Sachsalber looks at Martin Kippenberger to come to terms with his own development, heritage and personal ambitions. The world that emerges is tragic and absurd. And of course it’s also about the body, which is often regarded as being in a rivalry with the mountain and is inevitably exhausted by it. “Zebracabana” (2018) is a ski suit that Sachsalber has modelled on the iconic design of the German national ski team: what’s a zebra doing in the snowy mountains?

 

Sven Sachsalber (b. 1987, Silandro, lives and works in New York) studied at the Royal College of Art, London. His work has been presented at Bible, NY; Shoot the Lobster, NY; White Columns, NY; Helper, Brooklyn; Performa, NY; Fiorucci Art Trust, Stromboli; Palais de Tokio, Paris; Museion, Bolzano; Limoncello Gallery, London and elsewhere.

Save the date:
“Temporary Lovers” by the collective Parasite 2.0 opens at ar/ge kunst on 22 March; temporarily overlapping with the exhibition by Sven Sachsalber, this project will follow further reflection
As on notions like animality, landscape and community through other methodologies and ways of feeling.

 

With the kind support of
Barth – Interior, Bressanone
The Autonomous Province of South Tyrol, Department of Culture
Fondazione Cassa di Risparmio
City of Bolzano, Department of Culture

A special thanks for the material to Lasa Marmo

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Public Programme
Otobong Nkanga, O8 Black Stone, 2017 A handmade, cold process, natural soap made of butters and oils from across the Mediterranean Middle East, North and West Africa, fused together with water, lye and charcoal. Made for Carved to Flow Foundation (2017) www.carvedtoflow.com

AR/GE KUNST SAVOIR-VIVRE #1
SOAP MAKING with Evi Lachana
Friday, 25.01.2019
2pm - 4:30pm or 6pm - 8:30pm

As part of the Otobong Nkanga exhibition

Curated by Simone Mair

Workshop, savoir-vivre #1, soap making with Evi Lachana, 25.01.2019, in the framework of the exhibition “A Lapse, a Stain, a Fall” by Otobong Nkanga © ar/ge kunst. Foto: Tiberio Sorvillo

Workshop, savoir-vivre #1, soap making with Evi Lachana, 25.01.2019, in the framework of the exhibition “A Lapse, a Stain, a Fall” by Otobong Nkanga © ar/ge kunst. Foto: Tiberio Sorvillo

Workshop, savoir-vivre #1, soap making with Evi Lachana, 25.01.2019, in the framework of the exhibition “A Lapse, a Stain, a Fall” by Otobong Nkanga © ar/ge kunst. Foto: Tiberio Sorvillo

Workshop, savoir-vivre #1, soap making with Evi Lachana, 25.01.2019, in the framework of the exhibition “A Lapse, a Stain, a Fall” by Otobong Nkanga © ar/ge kunst. Foto: Tiberio Sorvillo

Workshop, savoir-vivre #1, soap making with Evi Lachana, 25.01.2019, in the framework of the exhibition “A Lapse, a Stain, a Fall” by Otobong Nkanga © ar/ge kunst. Foto: Tiberio Sorvillo

Evi Lachana is an Athenian soap and cosmetics manufacturer who worked closely with Otobong Nkanga on the production of Carved to Flow for documenta17 in Athens/Kassel. Based at Piraeus, her family business Laouta produces cold-process soaps and cosmetics from Greek olive oil and hand-picked, locally sourced ingredients.

During the workshop the exhibition space will be transformed into a temporary soap and discussion laboratory. In dialogue with Evi Lachana and a passionate local collector of herbs and botanicals, participants will be invited to manufacture their own soaps and to further explore the ritual practices that underlie the production process of the product and Otobong Nkanga’s work.

Workshop for a maximum of 20 participants
Attendance is free
language: deu/ita/engl
Registration via info@argekunst.it

 

ar/ge kunst savoir-vivre is a series of workshops conceived in parallel to exhitbion programme at ar/ge kunst. The title savoir-vivre is based on a re-reading of the terms savoir and pouvoir in the work of Gayatri Spivak, co-founder of postcolonial theory, where knowledge (savoir) is not only linked to power but also to the condition of being able to (pouvoir). This combination of verbs turns the institution into a public space of negotiation and agency where an exploration of different forms of skills and competences produces collective knowledge.

Inspired by Otobong Nkanga’s artistic practice, the focus of this year’s ar/ge kunst savoir-vivre is the production process that underlies a product. Together with invited experts, participants will question, unlearn and relearn the ritual practices that articulate the materiality or substance of the product, linking it to the artworks and practices in the exhibition.

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Public Programme
APRÈS LA LETTRE__SPEECH & EFFECT, NINA TABASSOMI e MARKUS SCHENNACH

APRÈS LA LETTRE__SPEECH & EFFECT
NINA TABASSOMI and MARKUS SCHENNACH
27 November 2018, 7 pm

(La Mia Scuola di Architettura*10)

Nina Tabassomi and Markus Schennach on a series of discursive events about the potential of non-discriminatory speech at the TAXISPALAIS Kunsthalle Tirol

What does it mean to speak in a non-discriminatory manner? And why is there no positive term for such speech-acting? This absence seems all the more astonishing in view of the widespread knowledge that we shape our reality in speaking. Generally accepted linguistic rules are the products of firmly established and unfounded hierarchies and power relationships, which we stabilize and reaffirm whenever we speak. How can we modify our everyday life by selecting and using our language more carefully? What responsibilities do we have when we speak institutionally?

At the TAXISPALAIS Kunsthalle Tirol in July and August 2018 these questions were explored from the perspectives of philosophy, political science, media studies, art, linguistics and theatre studies in a series of lectures by Amara Antilla, Matthias Dell, Nikita Dhawan, Marie-Luisa Frick, Koku G. Nonoa and Anatol Stefanowitsch. The series was conceived by Nina Tabassomi and Markus Schennach, who will summarize the previous discussions at ar/ge kunst and revisit them with the audience in Bolzano/Bozen.

 

Short Bios:
Nina Tabassomi is a curator and theatre scholar. Having worked in Berlin (KW Institute for Contemporary Art), Kassel (Fridericianum) and New York (Ludlow 38), she is now director of the TAXISPALAIS Kunsthalle Tirol, a position she has held since the beginning of 2017. Among others, Nina curated the group exhibitions “Infrastructures of Pain”, “Accentisms” and “Sex” as well as solo exhibitions of work by Maha Maamoun, Eric Baudelaire and Emeka Ogboh.

Markus Schennach is a media activist and political scientist. Having been a social worker and then managing director of the Tyrolean street magazine 20er, in 2003 he became managing director of FREIRAD, a non-commercial Innsbruck radio station. He has held various positions on the board of the Austrian Association of Non-commercial Radio Stations and was its chairman for eight years.

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Exhibitions
Otobong Nkanga, Contained Measures of Pointe Noire, CCF, Pointe Noire, 2009

A LAPSE, A STAIN, A FALL
OTOBONG NKANGA
23.11.2018 – 09.02.2019

Opening and Performance
23 November, 7 pm

©ar/ge kunst, installation view, foto Tiberio Sorvillo, 2018

©ar/ge kunst, installation view, foto Tiberio Sorvillo, 2018

©ar/ge kunst, installation view, foto Tiberio Sorvillo, 2018

©ar/ge kunst, installation view, foto Tiberio Sorvillo, 2018

©ar/ge kunst, installation view, foto Tiberio Sorvillo, 2018

©ar/ge kunst, installation view, foto Tiberio Sorvillo, 2018

©ar/ge kunst, installation view, foto Tiberio Sorvillo, 2018

©ar/ge kunst, installation view, foto Tiberio Sorvillo, 2018

©ar/ge kunst, installation view, foto Tiberio Sorvillo, 2018

©ar/ge kunst, installation view, foto Tiberio Sorvillo, 2018

©ar/ge kunst, installation view, foto Tiberio Sorvillo, 2018

©ar/ge kunst, installation view, foto Tiberio Sorvillo, 2018

©ar/ge kunst, installation view, foto Tiberio Sorvillo, 2018

©ar/ge kunst, installation view, foto Tiberio Sorvillo, 2018

©ar/ge kunst, opening performance, foto Tiberio Sorvillo, 2018

Curated by Emanuele Guidi

 

The summit of Mount Everest is marine limestone […]
Only a prejudice could make us think the earth beneath our feet was not alive.
Teju Cole

Artist Otobong Nkanga (Lagos/Antwerp) returns to ar/ge kunst for her first solo show in Italy having previously participated in the programmatic exhibition Prologue Part II – La Mia Scuola di Architettura in November 2013.

Gathering recent works, ongoing projects and two new commissioned pieces, A Lapse, a Stain, a Fall articulates a further step in Nkanga’s research about the manifold values of natural resources in the Anthropocene; a process she carries on alongside an unceasing exploration of the reciprocity between earth and language morphologies.
Employing sculpture, drawing and performance, but also writing, publishing and pedagogical formats, Nkanga looks at the notion of ‘land’ as a geological and discursive formation, often taking as her starting point the systems and procedures by which raw materials are locally dug up, technologically processed and globally circulated. From there she follows the threads that intertwine ores, material culture and the construction of desire with the redistribution of power and knowledge.

Otobong Nkanga conceived A Lapse, a Stain, a Fall as an organic display of artworks that unfolds in space following a chromatic rhythm, from black to an increasingly composite palette of colours, a progression of pieces ‘germinating’ alongside a new, central artwork that, as an artery, runs the length of the architecture from wall to wall, turning the exhibition into a living, diasporic organism where body parts hold together by their skin.

The centrality of the notion of the ‘body’ in Nkanga’s thinking resonates deeply with the title of the newly commissioned work, Veins Aligned, a 26 metre sculpture that lies on the floor of ar/ge kunst and is composed of strata of glass and marble from the Lasa quarries, both materials having been crafted in collaboration with local experts. It is a sculpture that evokes the deep feeling that Nkanga’ nurses for matter, i.e. the urge to produce a continuity between materials that can function as a support structure as well as recognizing all its layers as carriers of situated knowledge; from the skin and its desired lustre through the complex molecular structure with its geotechnological properties. It is a knowledge that deserves to be excavated while also making visible how every process of extraction runs the risk of becoming capital extraction and potentially also a violent act towards a body, be it of humans, materials, or lands.

 

Thanks to Alessandro Cuccato and Alessandra Piazza for the technical support that allowed the realization of the work Veins Aligned .

A special thanks for the material and the production to
Lasa Marmo
Gruppo Dalle Nogare

With the kind support of
Flanders, State of the Art
The Autonomous Province of South Tyrol, Department of Culture
Fondazione Cassa di Risparmio, Bolzano
City of Bolzano, Department of Culture

 

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Public Programme

OTOBONG NKANGA
21 November 2018, 6:30 pm

Unibz – Aula F0.03
Piazza Università, 1

 

Otobong Nkanga, Artist Talk at Unibz © ar/ge kunst. Foto: Tiberio Sorvillo

In collaboration with the Free University of Bolzano, Faculty of Design and Art.

The artist speaks about her artistic practice and about the exhibition A Lapse, a Stain, a Fall.

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Public Programme
Hydrocotyle vulgaris, Fort Vert, Calais. Photo: Hanna Rullmann.

LORENZO PEZZANI
“HOSTILE ENVIRONMENT”(S)
8 November, 2018, 7 pm

One Year-Long Research Project / Fourth

Lorenzo Pezzani, Talk, © ar/ge kunst. Foto: Luca Guadagnini

Lorenzo Pezzani, Talk and ar/ge kunst dinner, © ar/ge kunst. Foto: Luca Guadagnini

For the fourth edition of the One Year-Long Research Project (2018–2019) ar/ge kunst has invited researcher and architect Lorenzo Pezzani (Trento/London) to take up residency in Bolzano. In his opening talk Pezzani will discuss the notion of the “Hostile environments” as the subject of his upcoming research in the South Tyrol.

 

In May 2012, the then UK Home Secretary Theresa May announced in an interview the introduction of new legislation in the field of immigration control aiming to “create here in Britain a really hostile environment for illegal migration. […] Work is under way”, she further explained, “to deny illegal immigrants access to work, housing and services, even bank accounts”. This process of making urban space unlivable for some is mirrored, at a global scale, by the ways in which certain environments (deserts, oceans and mountain ranges, including the Alps) are being weaponised to deter and expel migrants, often at the cost of their lives.

Starting from his own work on migration across the Mediterranean, Lorenzo Pezzani will explore how this practice of border control does not operate anymore by targeting and disciplining specific subjects, but rather by intervening on the milieu they traverse or inhabit. Here the environment, understood as a political-economic effect rather than a simple “natural” background to human action, stops being simply a site of power, and becomes one of its mode of operations. It is not only that the weather itself is being weaponised, as migrants are made to die of cold or heat; but that forms of racialised violence have become, in a certain sense, as pervasive as the climate. Beyond funnelling migrants across particularly treacherous terrains and keeping them in a state of permanent abandonment within cities, this atmospheric condition of power affects multiple modes of existence (human as well as more-than-human), particularly those that are classified as alien rather than native.

Biography
Lorenzo Pezzani is an architect and researcher. He is currently Lecturer in Forensic Architecture at Goldsmiths, University of London. Since 2011, he has been working on Forensic Oceanography, a collaborative project that critically investigates the militarized border regime in the Mediterranean Sea, and has co-founded the WatchTheMed platform. Together with several NGOs, scientists, journalists, and activist groups, he has produced maps, videos, installations and human right reports that attempt to document and challenge the ongoing death of migrants at sea. His work has been used as evidence in courts of law, published across different media and academic outlets, as well as exhibited and screened internationally in various institutions and biennials.

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Public Programme
Charlemagne Palestine, © Agnès Gania

FOR INDIGENOUS YEASTS AND OTHER MICROBES (ACT II)
29.09.18, 7 pm

Public Programme in the context of the exhibition
Songs To You About You

 

Performance by Islands Songs and Charlemagne Palestine at Hof Gandberg and Castel Gandegg, Appiano

 

In collaboration with Transart Festival
Tickets

With For Indigenous Yeasts and other Microbes, Islands Songs have set the process of transforming grape juice into wine to a soundtrack consisting of three acts written for and dedicated to microorganisms active in the production of wine. The piece – both an experiment with South Tyrolian vintner Thomas Niedermayr (Hof Gandberg, Appiano) and with American artist and composer Charlemagne Palestine – refers to the ancient tradition of humans and microbial communities collaborating to produce food and beverages.

For ACT II Islands Songs invite Charlemagne Palestine for a special live performance for microbes and humans at Schloss Gandegg.

Thanks to FINSTRAL

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Public Programme

ar/ge kunst matinée with César Enrique Giraldo Herrera
Saturday, 08.09.2018 11am

Microbes and Other Shamanic Beings

After a short introduction to the exhibition by the artists Islands Songs, the Columbian anthropologist and biologist César Enrique Giraldo Herrera gives an insight into the relationship between scientific methods and shamanic practices in the perception of microorganisms.

César Enrique Giraldo Herrera is a Colombian biologist and social anthropologist. He is the current Victoria Maltby Junior Research Fellow at Somerville College and an Associate Researcher at the Institute for Science Innovation and Society (InSIS), School of Anthropology and Museum Ethnography (SAME), University of Oxford, UK.

The format ^ar/ge kunst matinée considers artistic practices of each exhibition through a dialogue with curators, artists and other experts over a casual breakfast. Croissants are generously provided by neighboring Pâtisserie Hofer, via museo 4, Bolzano.

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^ar/ge kunst matinée with Slavs and Tatars. Photo: ar/ge kunst

ar/ge kunst matinée with Slavs and Tatars
Saturday 19.05.2018 11am

Talk between Payam Sharafi (Slavs and Tatars) and are/ge kunst artistic director Emanuele Guidi around the central ideas and keywords that lead the artists’practice.

^ar/ge kunst matinée
The format of this event considers artistic practices of each exhibition through a dialogue with curators, artists and other experts over a casual breakfast. Croissants are generously provided by neighboring Pâtisserie Hofer, via museo 4, Bolzano.

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Exhibitions
Andrea Nicolò, 2018

SONGS TO YOU ABOUT YOU ISLANDS SONGS
08.09. - 10.11.2018

Opening

 

07.09.2018, 6 pm

©ar/ge kunst, Foto Tiberio Sorvillo, 2018

©ar/ge kunst, Foto Tiberio Sorvillo, 2018

©ar/ge kunst, Foto Tiberio Sorvillo, 2018

©ar/ge kunst, Foto Tiberio Sorvillo, 2018

©ar/ge kunst, Foto Tiberio Sorvillo, 2018

©ar/ge kunst, Foto Tiberio Sorvillo, 2018

©ar/ge kunst, Foto Tiberio Sorvillo, 2018

©ar/ge kunst, Foto Tiberio Sorvillo, 2018

©ar/ge kunst, Foto Tiberio Sorvillo, 2018

©ar/ge kunst, Foto Tiberio Sorvillo, 2018

©ar/ge kunst, Foto Tiberio Sorvillo, 2018

©ar/ge kunst, Foto Tiberio Sorvillo, 2018

©ar/ge kunst, Foto Tiberio Sorvillo, 2018

©ar/ge kunst, Foto Tiberio Sorvillo, 2018

©ar/ge kunst, Foto Tiberio Sorvillo, 2018

©ar/ge kunst, Foto Tiberio Sorvillo, 2018

©ar/ge kunst, Foto Tiberio Sorvillo, 2018

©ar/ge kunst, Foto Tiberio Sorvillo, 2018

Songs To You About You, a project by Berlin-based artist duo Islands Songs (Nicolas Perret & Silvia Ploner), brings western and non-western understandings of the microbial world into dialogue and celebrates the social interactions between humans and microbial communities.

The nucleus of the project is the 7.1 channel sound installation The Forest Within – Within The Forest, a collaboration with Colombian anthropologist and biologist César Enrique Giraldo Herrera. Entangling a spoken fabulation with a polyphonic speculative score, the piece investigates indigenous narratives and knowledge of the natural world as well as sound and listening as methods for exploring the ‘non-tangible’. While the fabulation, co-written by Giraldo Herrera, sounds out animist understandings of reality by adopting various perspectives, the polyphonic score is inspired by shamanic conversations with the ‘forest within’ and delves into interspecies communications in the Amazon rainforest. All sounds are drifted from field recordings made by Islands Songs during a recent field trip to Colombia, non-human and human vocalisations, VLF recordings and modular synthesis.

With For Indigenous Yeasts and other Microbes, the second work presented at ar/ge kunst, Islands Songs have set the process of transforming grape juice into wine to a soundtrack consisting of three acts written for and dedicated to microorganisms active in the production of wine. The piece – both an experiment with South Tyrolian vintner Thomas Niedermayr (Hof Gandberg, Appiano) and a soundtrack realised in collaboration with American artist and composer Charlemagne Palestine – refers to the ancient tradition of humans and microbial communities collaborating to produce food and beverages.

Songs To You About You is Islands Songs’ first solo exhibition in Italy. It is the result of a one year dialogue with ar/ge kunst that began in 2017 with a live performance and exhibition at Transart Festival 17.

PUBLIC PROGRAMME

08.09.18, 11 am
MICROBES AND OTHER SHAMANIC BEINGS
^ar/ge kunst matinée with César Enrique Giraldo Herrera

29.09.18, 7 pm
FOR INDIGENOUS YEASTS AND OTHER MICROBES (ACT II)
Performance by Islands Songs and Charlemagne Palestine
at Hof Gandberg and Castel Gandegg, Appiano
In collaboration with Transart Festival
(Tickets)

handout for more information

In co-production with
Deutschlandfunk Kultur
Transart Festival 18
Thomas Niedermayr, Hof Gandberg, Appiano

With the kind support of
The Autonomous Province of South Tyrol, Department of Culture
Fondazione Cassa di Risparmio, Bolzano
City of Bolzano, Department of Culture

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Public Programme

CRICKET CUP
15.07.2018, 10 am - 6 pm

(Ita) 100 giocatori, 8 squadre, 1 Torneo: ar/ge kunst Cricket Cup

 
Domenica 15 luglio 2018, si è svolta l’ ar/ge kunst Cricket Cup presso il campo B sui prati del Talvera di Bolzano. Quasi 100 giocatori divisi in 8 squadre provenienti da numerosi comuni della Euregio da Innsbruck, Bolzano, Vipiteno, Laives e Trento, si sono riuniti per festeggiare un incontro di arte e sport.

Sorry, this entry is only available in Italian and German.

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Public Programme
Maria Walcher, Trasite, Replicas of the Riace Bronzes (life-size), Parc on the Ilm, Kunstfest Weimar 2014. Foto: Iva Kirova

ON THE MOVE with Maria Walcher
20.06.2018, 7:00pm

La Mia Scuola di Architettura*9

What about these sculptures, washed up on our shores, are they more welcome than any human being? Through text such as this, audio and visual extracts of a selection of her often situation-specific works, the artist Maria Walcher explores aspects of collaboration, cultural translation, public space and associated artistic strategies. A dialogue between Maria Walcher and curator Simone Mair at ar/ge kunst.

Maria Walcher, (born 1984 in Brixen, Italy, lives in Innsbruck) is an artist whose work is concerned with situation-specific and socio-political issues. She studied MFA: Public Art and New Artistic Strategies at the Bauhaus University Weimar and at the University of Applied Arts Vienna. Selection of exhibitions: Charlama Depot, Sarajevo (2011), SOMA, Mexico City (2013), CITY LAB Mostar (2013), Kunstfest Weimar (2014), Quartair Contemporary Art Initiatives, Den Haag (2014), Cselley-Mühle, Oslip (2016) and Domplatz, Innsbruck (2017).

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Public Programme
Hamann from the Hood, courtesy Slavs and Tatars and Kraupa-Tuskany Zeidler, Berlin

Public Programme
Slavs and Tatars
13.06. 2018, 7:30 - 9 pm

The text reads me as much as I read the text.” Slavs and Tatars

 

A workshop with the artist Lene Morgenstern to accompany the exhibition Kirchgängerbanger at ar/ge kunst (19.05 – 28.07.2018). What is considered a text? How can we explore reading material discursively and in embodied ways? After a tour of the exhibition with curator Simone Mair, a selection of German and Italian texts by Johann Georg Hamann and Molla Nasreddin – two figures who influenced the artistic practice of Slavs and Tatars – will be deepened through a collective reading. Booking via info@argekunst.it

 

 

 

Workshop Lene Morgenstern, Foto: ar/ge kunst

Workshop Lene Morgenstern, Foto: ar/ge kunst

Workshop Lene Morgenstern, Foto: ar/ge kunst

Workshop Lene Morgenstern, Foto: ar/ge kunst

Workshop Lene Morgenstern, Foto: ar/ge kunst

Workshop Lene Morgenstern, Foto: ar/ge kunst

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Exhibitions
Bicephalic Flag, 2018. Courtesy the artist; Kraup-Tuskany Zeidler, Berlin

KIRCHGÄNGERBANGER
Slavs and Tatars
19.05 – 28.07.2018

Opening Programme

 

18.05.2018

6 pm: Lecture Performance at Free University of Bolzano/Bozen – Faculty of Design and Art, D1.01

 

7.30 pm: Exhibition opening at ar/ge kunst

 

19.05.2018

11 am: Matinée with SLAVS AND TATARS at ar/ge kunst

Slavs and Tatars, Hamann from the Hood, installation view; ©ar/ge kunst, photo by Tiberio Servillo, 2018; courtesy the artist, Kraupa-Tuskany Zeidler, Berlin

Slavs and Tatars, Hamann from the Hood, installation view; ©ar/ge kunst, photo by Tiberio Servillo, 2018; courtesy the artist, Kraupa-Tuskany Zeidler, Berlin

Slavs and Tatars, Kirchgängerbanger, exhibition view; ©ar/ge kunst, photo by Tiberio Servillo, 2018; ; courtesy the artist, Kraupa-Tuskany Zeidler, Berlin

Slavs and Tatars, Kirchgängerbanger, exhibition view; ©ar/ge kunst, photo by Tiberio Servillo, 2018; ; courtesy the artist, Kraupa-Tuskany Zeidler, Berlin

Slavs and Tatars, Kirchgängerbanger, exhibition view; ©ar/ge kunst, photo by Tiberio Servillo, 2018; ; courtesy the artist, Kraupa-Tuskany Zeidler, Berlin

Slavs and Tatars, Kirchgängerbanger, exhibition view; ©ar/ge kunst, photo by Tiberio Servillo, 2018; ; courtesy the artist, Kraupa-Tuskany Zeidler, Berlin

Slavs and Tatars, Kirchgängerbanger, exhibition view; ©ar/ge kunst, photo by Tiberio Servillo, 2018; ; courtesy the artist, Kraupa-Tuskany Zeidler, Berlin

Slavs and Tatars, Kirchgängerbanger, exhibition view; ©ar/ge kunst, photo by Tiberio Servillo, 2018; ; courtesy the artist, Kraupa-Tuskany Zeidler, Berlin

Slavs and Tatars, Kirchgängerbanger, exhibition view; ©ar/ge kunst, photo by Tiberio Servillo, 2018; ; courtesy the artist, Kraupa-Tuskany Zeidler, Berlin

Slavs and Tatars, Kirchgängerbanger, exhibition view; ©ar/ge kunst, photo by Tiberio Servillo, 2018; ; courtesy the artist, Kraupa-Tuskany Zeidler, Berlin

Slavs and Tatars, Bicephalic Flag, 2017; ©ar/ge kunst, photo by Tiberio Servillo, 2018; ; courtesy the artist, Kraupa-Tuskany Zeidler, Berlin

Slavs and Tatars, Bicephalic Flag, 2017; ©ar/ge kunst, photo by Tiberio Servillo, 2018; ; courtesy the artist, Kraupa-Tuskany Zeidler, Berlin

Slavs and Tatars, Stillbruch (Noblesse Oblige), 2018, Installation view; ©ar/ge kunst, photo by Tiberio Servillo, 2018; ; courtesy the artist, Kraupa-Tuskany Zeidler, Berlin

Slavs and Tatars, Stillbruch (Noblesse Oblige), 2018, Installation view; ©ar/ge kunst, photo by Tiberio Servillo, 2018; ; courtesy the artist, Kraupa-Tuskany Zeidler, Berlin

Slavs and Tatars, Love me Love me Not (Kaliningrad), 2018, Installation view; ©ar/ge kunst, photo by Tiberio Servillo, 2018; ; courtesy the artist, Kraupa-Tuskany Zeidler, Berlin

Slavs and Tatars, Love me Love me Not (Kaliningrad), 2018, Installation view; ©ar/ge kunst, photo by Tiberio Servillo, 2018; ; courtesy the artist, Kraupa-Tuskany Zeidler, Berlin

Slavs and Tatars, Underage Page (Extended Turquoise), 2018, Installation view; ©ar/ge kunst, photo by Tiberio Servillo, 2018; ; courtesy the artist, Kraupa-Tuskany Zeidler, Berlin

Slavs and Tatars, Underage Page (Extended Turquoise), 2018, Installation view; ©ar/ge kunst, photo by Tiberio Servillo, 2018; ; courtesy the artist, Kraupa-Tuskany Zeidler, Berlin

Slavs and Tatars, Underage Page (Extended Turquoise), 2018, Installation view; ©ar/ge kunst, photo by Tiberio Servillo, 2018; ; courtesy the artist, Kraupa-Tuskany Zeidler, Berlin

Slavs and Tatars, Underage Page (Extended Turquoise), 2018, Installation view; ©ar/ge kunst, photo by Tiberio Servillo, 2018; ; courtesy the artist, Kraupa-Tuskany Zeidler, Berlin

Slavs and Tatars, Underage Page (Extended Turquoise), 2018, Installation view; ©ar/ge kunst, photo by Tiberio Servillo, 2018; ; courtesy the artist, Kraupa-Tuskany Zeidler, Berlin

Slavs and Tatars, Underage Page (Extended Turquoise), 2018, Installation view; ©ar/ge kunst, photo by Tiberio Servillo, 2018; ; courtesy the artist, Kraupa-Tuskany Zeidler, Berlin

Slavs and Tatars, Underage Page (Extended Turquoise), 2018, Installation view; ©ar/ge kunst, photo by Tiberio Servillo, 2018; ; courtesy the artist, Kraupa-Tuskany Zeidler, Berlin

Slavs and Tatars, Underage Page (Extended Turquoise), 2018, Installation view; ©ar/ge kunst, photo by Tiberio Servillo, 2018; ; courtesy the artist, Kraupa-Tuskany Zeidler, Berlin

Slavs and Tatars, Underage Page (Extended Turquoise), 2018, Installation view; ©ar/ge kunst, photo by Tiberio Servillo, 2018; ; courtesy the artist, Kraupa-Tuskany Zeidler, Berlin

Slavs and Tatars, Underage Page (Extended Turquoise), 2018, Installation view; ©ar/ge kunst, photo by Tiberio Servillo, 2018; ; courtesy the artist, Kraupa-Tuskany Zeidler, Berlin

Slavs and Tatars, Underage Page (Extended Turquoise), 2018, Installation view; ©ar/ge kunst, photo by Tiberio Servillo, 2018; ; courtesy the artist, Kraupa-Tuskany Zeidler, Berlin

Slavs and Tatars, Underage Page (Extended Turquoise), 2018, Installation view; ©ar/ge kunst, photo by Tiberio Servillo, 2018; ; courtesy the artist, Kraupa-Tuskany Zeidler, Berlin

Slavs and Tatars, Installation view; ©ar/ge kunst, photo by Tiberio Servillo, 2018; courtesy the artist, Kraupa-Tuskany Zeidler, Berlin

Slavs and Tatars, Installation view; ©ar/ge kunst, photo by Tiberio Servillo, 2018; courtesy the artist, Kraupa-Tuskany Zeidler, Berlin

Slavs and Tatars, Installation view; ©ar/ge kunst, photo by Tiberio Servillo, 2018; courtesy the artist, Kraupa-Tuskany Zeidler, Berlin

Slavs and Tatars, Installation view; ©ar/ge kunst, photo by Tiberio Servillo, 2018; courtesy the artist, Kraupa-Tuskany Zeidler, Berlin

Slavs and Tatars, Installation view; ©ar/ge kunst, photo by Tiberio Servillo, 2018; courtesy the artist, Kraupa-Tuskany Zeidler, Berlin

Slavs and Tatars, Installation view; ©ar/ge kunst, photo by Tiberio Servillo, 2018; courtesy the artist, Kraupa-Tuskany Zeidler, Berlin

Documentation of Lecture Performance by Slavs and Tatars at UniBz – Faculty of Design and Art ©ar/ge kunst, & UniBz, Faculty of Design and Art, Photo Matteo Zoccolo, 2018

Documentation of Lecture Performance by Slavs and Tatars at UniBz – Faculty of Design and Art
©ar/ge kunst, & UniBz, Faculty of Design and Art, Photo Matteo Zoccolo, 2018

Documentation of Lecture Performance by Slavs and Tatars at UniBz – Faculty of Design and Art ©ar/ge kunst, & UniBz, Faculty of Design and Art, Photo Camilla Angolini, 2018

Documentation of Lecture Performance by Slavs and Tatars at UniBz – Faculty of Design and Art
©ar/ge kunst, & UniBz, Faculty of Design and Art, Photo Camilla Angolini, 2018

‘The purity of a language dispossess it of its wealth’ Johann Georg Hamann

For the opening of Kirchgängerbanger, the first solo exhibition in Italy by the Berlin-based collective Slavs and Tatars curated by Emanuele Guidi, ar/ge kunst organizes a two day introductory programme that unfolds around the three main activities of the artists’ practice: exhibitions, books and lecture performances. Slavs and Tatars established themselves as a ‘book club’ in 2006 and since then their research has continued to echo and expand the act of reading through a mise en circulation of histories reaching from the ‘area of east of the former Berlin wall and west of the Great Wall of China known as Eurasia’.

As true bibliophiles and storytellers, the artists draw from the territory of this broad poetic and geopolitical region and resuscitate forgotten figures, pre-modern rituals, myths and traditions, interweaving them with ‘high’ and popular culture; a gesture that challenges our current modes of thought and its perimeters of knowledge. Their syncretic attitude emerges through discourse and objects of various nature, where language always play a major role in stitching together apparently far-away ideas, stories and cultures; a sensuous and affective approach to knowledge that operates by making cracks and gaps of history visible.

With Kirchgängerbanger Slavs and Tatars carry on their latest research on Johann Georg Hamann, the German philosopher of the Counter-Enlightenment, amateur orientalist and cryptic writer who was highly esteemed by his colleagues such as Goethe, Kierkegaard and Kant for his humorous, unorthodox and radical positions. Slavs and Tatars go back to Hamann to stress the limits of secular knowledge and revamp a discourse around the role of faith, which the philosopher intertwined with sexuality (Glaube und Geschlecht).

For their exhibition at ar/ge kunst, the artists address the audience (the reader) unambiguously through new and recent productions that refer directly to Hamann’s enigmatic texts; a series of works that translates spatially his opaque writings and dedications.

In parallel with the exhibition, a series of lecture-performance by Slavs and Tatars will be presented by ar/ge kunst and Free University of Bolzano/Bozen, Faculty of Design and Art (May 18, 2018), OGR You Torino (May 22, 2018), and Liveworks/Centrale Fies (July 20, 2018).

With kind support of:
The Autonomous Province of South Tyrol, Department of Culture
Autonomous Region of Trentino-Alto Adige
Fondazione Cassa di Risparmio
City of Bolzano, Department of Culture

PUBLIC PROGRAMME

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Public Programme

IT’S JUST NOT CRICKET
17.03.2018, 3 - 6pm

Workshop

Matilde Cassani, Workshop, ©ar/ge kunst, Foto Annelie Bortolotti, 2018

Matilde Cassani, Workshop, ©ar/ge kunst, Foto Annelie Bortolotti, 2018

Matilde Cassani, Workshop, ©ar/ge kunst, Foto Annelie Bortolotti, 2018

Matilde Cassani, Workshop, ©ar/ge kunst, Foto Annelie Bortolotti, 2018

 Matilde Cassani, Workshop, ©ar/ge kunst, Foto Annelie Bortolotti, 2018

Matilde Cassani, Workshop, ©ar/ge kunst, Foto Annelie Bortolotti, 2018

Matilde Cassani, Workshop, ©ar/ge kunst, Foto Annelie Bortolotti, 2018

Matilde Cassani, Workshop, ©ar/ge kunst, Foto Annelie Bortolotti, 2018

Matilde Cassani, Workshop, ©ar/ge kunst, Foto Annelie Bortolotti, 2018

Matilde Cassani, Workshop, ©ar/ge kunst, Foto Annelie Bortolotti, 2018

Within the context of the exhibition It’s Just Not Cricket by Matilde Cassani, this workshop is a first instance of action relating to the installation, aimed at articulating some of the themes that the artist identified during her residency.

Using a meeting between cricket players from different parts of the province of Bolzano, and participants from various sectors (culture, politics, mediation, universities and journalism), the workshop will be structured as a collective exercise that will address the practical needs and desires of those who practice this sport.
The three phases of the workshop, Super-team / Association / Sports Field will examine issues related to identity, organization and access to infrastructures, respectively.

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Riccardo Previdi, Franca, 2017, installation view at museo di Arte Contemporanea Villa Croce, Genova, photo © Henrik Blomqvist

Elementi per una pratica,
incontro con Riccardo Previdi

A conversation between the artist Riccardo Previdi and Frida Carazzato – Museion’s curatorial assistant, in an attempt to create a temporary glossary that can serve as conceptual coordinates within which to design the artistic practice of Previdi, characterized by the relationship between art and design, and starting from observation and reaction to spatial contexts, languages and dynamics of the present.

The publication “What Next?” will also be presented at the meeting. This is a collection of the latest body of the artist’s works, born from both the relationship between the technological apparatuses of scientific research and the manner with which contemporary society is interpreted.

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Exhibitions
Matilde Cassani_Collezione Privata di A.S._2018, photo Tiberio Sorvillo and Luca Guadagnini © ar/ge kunst

It’s just not cricket
Matilde Cassani
23.02 - 05.05.2018

Opening: 23.02.2018, 7pm.

 

A project by ar / ge kunst, Bolzano and Künstlerhaus Büchsenhausen, Innsbruck

Matilde Cassani, Collezione Privata di A.S., 2018, photo Tiberio Sorvillo and Luca Guadagnini © ar/ge kunst

Matilde Cassani, Collezione Privata di A.S., 2018, photo Tiberio Sorvillo and Luca Guadagnini © ar/ge kunst

Matilde Cassani, Collezione Privata di A.S., 2018, photo Tiberio Sorvillo and Luca Guadagnini © ar/ge kunst

Matilde Cassani, Collezione Privata di A.S., 2018, photo Tiberio Sorvillo and Luca Guadagnini © ar/ge kunst

Matilde Cassani, Collezione Privata di A.S., 2018, photo Tiberio Sorvillo and Luca Guadagnini © ar/ge kunst

Matilde Cassani, Collezione Privata di A.S., 2018, photo Tiberio Sorvillo and Luca Guadagnini © ar/ge kunst

Matilde Cassani, It’s just not cricket, Installation view. ©ar/ge kunst, Foto Luca Guadagnini, 2018

Matilde Cassani, It’s just not cricket, Installation view. ©ar/ge kunst, Foto Luca Guadagnini, 2018

Matilde Cassani, It’s just not cricket, Installation view. ©ar/ge kunst, Foto Luca Guadagnini, 2018

Matilde Cassani, It’s just not cricket, Installation view. ©ar/ge kunst, Foto Luca Guadagnini, 2018

Matilde Cassani, It’s just not cricket, Installation view. ©ar/ge kunst, Foto Luca Guadagnini, 2018

Matilde Cassani, It’s just not cricket, Installation view. ©ar/ge kunst, Foto Luca Guadagnini, 2018

Matilde Cassani, It’s just not cricket, Installation view. ©ar/ge kunst, Foto Luca Guadagnini, 2018

Matilde Cassani, It’s just not cricket, Installation view. ©ar/ge kunst, Foto Luca Guadagnini, 2018

Matilde Cassani, It’s just not cricket, Installation view. ©ar/ge kunst, Foto Luca Guadagnini, 2018

Matilde Cassani, It’s just not cricket, Installation view. ©ar/ge kunst, Foto Luca Guadagnini, 2018

Matilde Cassani, It’s just not cricket, Installation view. ©ar/ge kunst, Foto Luca Guadagnini, 2018

Matilde Cassani, It’s just not cricket, Installation view. ©ar/ge kunst, Foto Luca Guadagnini, 2018

Matilde Cassani, It’s just not cricket, Installation view. ©ar/ge kunst, Foto Luca Guadagnini, 2018

Matilde Cassani, It’s just not cricket, Installation view. ©ar/ge kunst, Foto Luca Guadagnini, 2018

Matilde Cassani, It’s just not cricket, Installation view. ©ar/ge kunst, Foto Luca Guadagnini, 2018

Matilde Cassani, It’s just not cricket, Installation view. ©ar/ge kunst, Foto Luca Guadagnini, 2018

Matilde Cassani, It’s just not cricket, Installation view. ©ar/ge kunst, Foto Luca Guadagnini, 2018

Matilde Cassani, It’s just not cricket, Installation view. ©ar/ge kunst, Foto Luca Guadagnini, 2018

Matilde Cassani, It’s just not cricket, Installation view. ©ar/ge kunst, Foto Luca Guadagnini, 2018

Matilde Cassani, It’s just not cricket, Installation view. ©ar/ge kunst, Foto Luca Guadagnini, 2018

“It’s just not cricket” is more than a simple exposition of objects and equipment related to the sport of cricket, even if at first glance if may look like this. The idiomatic meaning of this expression, as quintessentially English as the game of cricket itself, gives rise to the idea that we are dealing with an injustice: In English linguistic jargon, this phrase is used to express indignation at a lack of fairness or an injustice that has occurred.
A colourful carpet, oversized gates, a ball and two bats, each made in North and South Tyrol from local materials: These are the components which make up the set of a seemingly interrupted game, now installed in the showroom and only awaiting the return of the players. A “display altar” features Alì Saqib’s private collection of bats from around the world, as well as balls and trophies won in countless tournaments. Alongside all this, a collection of shirts belonging to the numerous active teams in South Tyrol: Laives, Brenner, Sterzing, Auer, Bolzano – communities that have their own cricket teams and tournaments, but with little public awareness of their existence.
The encounter with young cricketers from Pakistan, Afghanistan, India and Sri Lanka, who in some cases have lived for decades on both sides of the Brenner Pass, offers respite from the usual rhetoric of identity, borders, and of north and south. The circular history of cricket, which has returned to Europe from the British colonies, spreading under very different circumstances, provides the opportunity to reflect on the values of today’s urban and rural environments, as well as challenging the categories of time, entertainment, spectacle and spectatorship.
“It’s just not cricket” marks the conclusion of Matilde Cassani’s research project, which was initiated and carried out at the joint invitation of ar/ge kunst, Bolzano and Künstlerhaus Büchsenhausen, Innsbruck. It is the result of numerous visits by the artist that have taken place since the end of 2016[1] to the macro-region between Bolzano and Innsbruck. Both the exhibition at ar/ge kunst and the final exhibition of the Fellowship Program for Art and Theory at the Künstlerhaus Büchsenhausen, that will be on show at the Kunstpavillon der Tiroler Künstlerschaft from 24 May 2018, presenting the project in North Tyrol, provide the framework for a discussion of the topics discussed above, on both sides of the Brenner. Workshops with the respective cricket communities as well as a planned game in Innsbruck at the end of June between teams selected from South and North Tyrol, should intensify public dialogue between these groups.
The opening of Matilde Cassani’s exhibition will be on February 23 at 7 pm, during the PSL (Pakistan Super League, Dubai) tournament, which will be broadcast live.
Under the Patronage of Italian Cricket Federation
With kind support from The Autonomous Province of South Tyrol, Department of Culture Autonomous Region of Trentino-Alto Adige City of Bolzano, Department of Culture Fondazione Cassa di Risparmio, Bolzano Barth – Interior, Bressanone
www.artsouthtyrol.org ______________________________ [1] Mattilde Cassani was invited by ar / ge kunst for the third episode of her residency programme: One Year Long Research Project, and by Künstlerhaus Büchsenhausen, Innsbruck, in the context of her Fellowship for Art and Theory programme (Cooperation Fellowship).

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Image Diplomacy
07.02.2018, 7 pm

On the occasion of his exhibition at ar/ge kunst – Image Diplomacy – the artist Vladislav Shapovalov will be in conversation with Elvira Vannini (historian, art critic and founder of the magazine HOT POTATOES, Art, Politics, Exhibition Conditions) and Emanuele Guidi (ar/ge kunst artistic director)

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Exhibitions
Vladislav Shapovalov. Opening of Soviet Week at the Palazzo Reale in Milan in 1967, 2017. Photo Installation. Courtesy of the artist. Courtesy of photograph: Associazione Italia Russia, Milano.

IMAGE DIPLOMACY
Vladislav Shapovalov
02.12.2017 – 10.02.2018

Opening 01.12.2017 at 7pm

 

 

Curated by Emanuele Guidi

 

 

With the first show in Italy of the Russian artist Vladislav Shapovalov, ar/ge kunst continues to present artistic practices that deal with history and the material of which it is made up; Long-term researches that are obliquely positioned in respect to official historiography, dedicating themselves to the re-composition of facts and moments considered minor, obsolete or simply forgotten; practices that above all critically investigate the media through which the story is written and communicated, and through which it continues to reverberate in the present.

Vladislav Shapovalov, Image Diplomacy, Installation View at ar/ge kunst. Photo Sorvillo, 2017 ©argekunst, Bolzano

Vladislav Shapovalov, Image Diplomacy, Installation View at ar/ge kunst. Photo Sorvillo, 2017 ©argekunst, Bolzano

Vladislav Shapovalov, Image Diplomacy, Installation View at ar/ge kunst. Photo Sorvillo, 2017 ©argekunst, Bolzano

Vladislav Shapovalov, Image Diplomacy, Installation View at ar/ge kunst. Photo Sorvillo, 2017 ©argekunst, Bolzano

Vladislav Shapovalov, Image Diplomacy, Installation View at ar/ge kunst. Photo Sorvillo, 2017 ©argekunst, Bolzano

Vladislav Shapovalov, Image Diplomacy, Installation View at ar/ge kunst. Photo Sorvillo, 2017 ©argekunst, Bolzano

Vladislav Shapovalov, Image Diplomacy, Installation View at ar/ge kunst. Photo Sorvillo, 2017 ©argekunst, Bolzano

Vladislav Shapovalov, Image Diplomacy, Installation View at ar/ge kunst. Photo Sorvillo, 2017 ©argekunst, Bolzano

Vladislav Shapovalov, Image Diplomacy, Installation View at ar/ge kunst. Photo Sorvillo, 2017 ©argekunst, Bolzano

Vladislav Shapovalov, Image Diplomacy, Installation View at ar/ge kunst. Photo Sorvillo, 2017 ©argekunst, Bolzano

Vladislav Shapovalov, Image Diplomacy, Installation View at ar/ge kunst. Photo Sorvillo, 2017 ©argekunst, Bolzano

Vladislav Shapovalov, Image Diplomacy, Installation View at ar/ge kunst. Photo Sorvillo, 2017 ©argekunst, Bolzano

Vladislav Shapovalov, Image Diplomacy, Installation View at ar/ge kunst. Photo Sorvillo, 2017 ©argekunst, Bolzano

Vladislav Shapovalov, Image Diplomacy, Installation View at ar/ge kunst. Photo Sorvillo, 2017 ©argekunst, Bolzano

Vladislav Shapovalov, Image Diplomacy, Installation View at ar/ge kunst. Photo Sorvillo, 2017 ©argekunst, Bolzano

Vladislav Shapovalov, Image Diplomacy, Installation View at ar/ge kunst. Photo Sorvillo, 2017 ©argekunst, Bolzano

Vladislav Shapovalov, Image Diplomacy, Installation View at ar/ge kunst. Photo Sorvillo, 2017 ©argekunst, Bolzano

Vladislav Shapovalov, Image Diplomacy, Installation View at ar/ge kunst. Photo Sorvillo, 2017 ©argekunst, Bolzano

Vladislav Shapovalov, Image Diplomacy, Installation View at ar/ge kunst. Photo Sorvillo, 2017 ©argekunst, Bolzano

Vladislav Shapovalov, Image Diplomacy, Installation View at ar/ge kunst. Photo Sorvillo, 2017 ©argekunst, Bolzano

Vladislav Shapovalov, Image Diplomacy, Installation View at ar/ge kunst. Photo Sorvillo, 2017 ©argekunst, Bolzano

Vladislav Shapovalov, Image Diplomacy, Installation View at ar/ge kunst. Photo Sorvillo, 2017 ©argekunst, Bolzano

In Image Diplomacy, Vladislav Shapovalov addresses the cultural and political heritage of the “Communist project” as articulated by the Soviet Union, constructing its perspective from his own biography of a young Russian who grew up in post-1989 Russia and resident for many years in Milan. It is a confrontation that is initiated by the discovery at the Italy Russia Association[1], of dozens of files containing entire photographic exhibitions and films on the most diverse aspects of life in the Soviet Union (from sport, domestic and public life, technology and work, geography and architecture, to women’s emancipation, and achievements in space exploration) in order to promote to the world the image of a modern, emancipating, internationalist and alternative project to that of American capitalism. These exhibitions were designed by the Society for Cultural Relations with Foreign Countries (VOKS)[2] and circulated through a network of friendship associations established in many countries by sympathizers for the Soviet experiment[3].
One of the central aspects of Shapovalov’s research focuses on methods of display and exhibition strategies employed for some of these expositions, which could be assembled autonomously and at low cost by simply following the instructions and technical drawings also contained in the discovered files. The idea of a modernity within anyone’s reach was proclaimed not only through the reproducibility of photography and film, but also by the display systems themselves, thus transforming the exhibition into the ideal medium for conveying and spreading this message.

Image Diplomacy thus presents a selection of photographic materials and documents that testify to the role that culture and images had on Soviet Union international relations; archival material reassembled within an installation that recalls and isolates the forms of exhibition display systems designed by VOKS, and that recount in particular the relations between the USSR and Italy (which was the country with the most deep-seated Communist Party in the West). This is accompanied by a film by the artist documenting the battle carried out in the field of “cultural diplomacy” between the two ideological blocks during the Cold War, comparing the story of exhibitions organized by the USSR and its network of friendship associations with the story of the exhibition, The Family of Man – organized by the United States at MOMA in New York in 1955 and then presented in 69 countries around the world, including Italy in 1958 and Russia in 1959[4]: On the one hand the socialist internationalism project that sought to unite Second and Third World countries, and on the other, the American universalist project.

Special thanks to:
The Italy Russia Association archive in Milan
Cineteca di Bologna
Künstlerhaus Büchsenhausen, Innsbruck
V-A-C Foundation, Moscow
Free University of Bolzano, Faculty of Design and Art

With the kind support from:
The Autonomous Province of South Tyrol, Department of Culture
Fondazione Cassa di Risparmio, Bolzano
City of Bolzano, Department of Culture

_________________________________

[1] Previously called the USSR Italy Association.
[2] Founded in the USSR in 1925, VOKS used cultural diplomacy as a tool to break what Lenin had called the “conspiracy of silence” around the country and its great social experiment (Vladislav Shapovalov, conference: Image Diplomacy – Archives that were never meant to be kept, 13th October, Garage, Moscow).
[3] In 1957, friendship associations were established with the USSR in 47 Eastern, Western and Non-Aligned countries.
[4] The exhibition has now been rebuilt at Clervaux Castle in Luxembourg, birthplace of its curator, the photographer Edward Steichen, and included in the list of Unesco’s “Memory of the World” programme.

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Exhibitions
Topography of Terror (19.12.2016), Elisa Caldana and Diego Tonus

Topography of Terror (19.12.2016)
Elisa Caldana and Diego Tonus
08.09 – 18.11.2017

Opening: 07 September 2017, 6:30 pm

 

Curated by Emanuele Guidi

 

ar/ge kunst opens the new season with parallel exhibitions at its own venue on the Via Museo and at the Civic Museum, organised to coincide with the opening of Transart Festival.

Elisa Caldana and Diego Tonus, Topography of Terror, Installation View at ar/ge kunst. Photo Guadagnini, 2017 ©argekunst, Bolzano

Elisa Caldana and Diego Tonus, Topography of Terror, Installation View at ar/ge kunst. Photo Guadagnini, 2017 ©argekunst, Bolzano

Elisa Caldana and Diego Tonus, Topography of Terror, Installation View at ar/ge kunst. Photo Guadagnini, 2017 ©argekunst, Bolzano

Elisa Caldana and Diego Tonus, Topography of Terror, Installation View at ar/ge kunst. Photo Guadagnini, 2017 ©argekunst, Bolzano

Elisa Caldana and Diego Tonus, Topography of Terror, Installation View at ar/ge kunst. Photo Guadagnini, 2017 ©argekunst, Bolzano

Elisa Caldana and Diego Tonus, Topography of Terror, Installation View at ar/ge kunst. Photo Guadagnini, 2017 ©argekunst, Bolzano

Elisa Caldana and Diego Tonus, Topography of Terror, Installation View at ar/ge kunst. Photo Guadagnini, 2017 ©argekunst, Bolzano

Elisa Caldana and Diego Tonus, Topography of Terror, Installation View at ar/ge kunst. Photo Guadagnini, 2017 ©argekunst, Bolzano

Elisa Caldana and Diego Tonus, Topography of Terror, Installation View at ar/ge kunst. Photo Guadagnini, 2017 ©argekunst, Bolzano

Elisa Caldana and Diego Tonus, Topography of Terror, Installation View at ar/ge kunst. Photo Guadagnini, 2017 ©argekunst, Bolzano

Elisa Caldana and Diego Tonus, Topography of Terror, Installation View at ar/ge kunst. Photo Guadagnini, 2017 ©argekunst, Bolzano

Elisa Caldana and Diego Tonus, Topography of Terror, Installation View at ar/ge kunst. Photo Guadagnini, 2017 ©argekunst, Bolzano

Elisa Caldana and Diego Tonus, Topography of Terror, Installation View at ar/ge kunst. Photo Guadagnini, 2017 ©argekunst, Bolzano

Elisa Caldana and Diego Tonus, Topography of Terror, Installation View at ar/ge kunst. Photo Guadagnini, 2017 ©argekunst, Bolzano

Elisa Caldana and Diego Tonus, Topography of Terror, Installation View at ar/ge kunst. Photo Guadagnini, 2017 ©argekunst, Bolzano

Elisa Caldana and Diego Tonus, Topography of Terror, Installation View at ar/ge kunst. Photo Guadagnini, 2017 ©argekunst, Bolzano

Elisa Caldana and Diego Tonus, Topography of Terror, Installation View at ar/ge kunst. Photo Guadagnini, 2017 ©argekunst, Bolzano

Elisa Caldana and Diego Tonus, Topography of Terror, Installation View at ar/ge kunst. Photo Guadagnini, 2017 ©argekunst, Bolzano

Elisa Caldana and Diego Tonus, Topography of Terror, detail of Mental Maps for Topography of Terror. Photo Guadagnini, 2017 ©argekunst, Bolzano

Elisa Caldana and Diego Tonus, Topography of Terror, detail of Mental Maps for Topography of Terror. Photo Guadagnini, 2017 ©argekunst, Bolzano

Elisa Caldana and Diego Tonus, Topography of Terror, detail of Mental Maps for Topography of Terror. Photo Guadagnini, 2017 ©argekunst, Bolzano

Elisa Caldana and Diego Tonus, Topography of Terror, detail of Mental Maps for Topography of Terror. Photo Guadagnini, 2017 ©argekunst, Bolzano

Elisa Caldana and Diego Tonus, Topography of Terror, detail of Mental Maps for Topography of Terror. Photo Guadagnini, 2017 ©argekunst, Bolzano

Elisa Caldana and Diego Tonus, Topography of Terror, detail of Mental Maps for Topography of Terror. Photo Guadagnini, 2017 ©argekunst, Bolzano

Elisa Caldana and Diego Tonus, Topography of Terror, detail of Mental Maps for Topography of Terror. Photo Guadagnini, 2017 ©argekunst, Bolzano

Elisa Caldana and Diego Tonus, Topography of Terror, detail of Mental Maps for Topography of Terror. Photo Guadagnini, 2017 ©argekunst, Bolzano

Elisa Caldana and Diego Tonus, Topography of Terror, detail of Mental Maps for Topography of Terror. Photo Guadagnini, 2017 ©argekunst, Bolzano

Elisa Caldana and Diego Tonus, Topography of Terror, detail of Mental Maps for Topography of Terror. Photo Guadagnini, 2017 ©argekunst, Bolzano

On Thursday 7 September at 6:30 pm, at its main premises on the Via Museo, ar/ge kunst will present Topography of Terror (19.12.2016) by Elisa Caldana and Diego Tonus, a two-person exhibition centred on the the film of the same name – this being its Italian première – together with a series of drawings and mental maps produced during the making of the work.

The film Topography of Terror (19.12.2016) is set in the unrealised building of the “Topographie des Terrors” in Berlin, which was initially planned by Swiss architect Peter Zumthor in 1993. Zumthor’s design won a competition for the construction of a Documentation Centre on the site where the Gestapo, the SS and the Reich Security headquarters were all located during the Nazi era, but the project was never realised due to its high costs and the architect’s radical and uncompromising attitude.

Starting from Zumthor’s original drawings and plans, Caldana and Tonus produced a CGI-rendering of the Topography of Terror building; an image of a present-day future which never came into being and therefore provides the perfect stage for a narrative that asks how forms of terror operate now and how they might operate in future.

Informed by a series of conversations with psychoanalysts and journalists from Reuters and the BBC, the film tells the story of a news agency journalist who suffers from secondary traumatic stress disorder as a result of overexposure to violent imagery in the newsroom. Through the fictive first-person account conveyed by actor and activist Khalid Abdalla’s voiceover, the work explores ways of constructing information in contemporary journalism, articulating a reflection on that role and on the value of images as tools for perpetuating terror and manipulating the perception of reality.

The empty building is resignified via the impossibility of defining a unique topography of terror, the schizophrenic nature of contemporary terrorism echoing through the non-places of the internet and the media. In these terms, Topography of Terror (19.12.2016) ‘is at once an entirely compelling reconstruction of a seminal building that never was, a profound investigation of our damaged and damaging mediation of conflict, and a striking exploration of the complex relationship between personal and public ethics’.

A series of sketches and mental maps produced by the artists during the making of the work are drawn on large-scale prints of Zumthor’s plans of the Topographie des Terrors, revealing how the ‘architecture’ of the script has been planned and at the same time entering into a conceptual dialogue with the history of ar/ge kunst, where Zumthor himself had his first solo exhibition in Italy in 1990.

Topography of Terror (19.12.2016) is supported by Hessische Kulturstiftung, Germany in collaboration with ACME Studios, London.

With kind support from:
The Autonomous Province of South Tyrol, Department of Culture
Fondazione Cassa di Risparmio, Bolzano
City of Bolzano, Department of Culture

Gallery hours
Tu – Fr 10 am – 1 pm and 3 pm – 7 pm
Sa 10 am – 1 pm
Free Entrance

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Exhibitions
research image, Islands songs

ISLANDS SONGS
Nicolas Perret & Silvia Ploner
08.09 – 27.09.2017

Opening: 07.September 2017, 8 pm
LIVE PERFORMANCE > 8:30 + 9.30 + 10.30 pm

 

In collaboration with Transart Festival

At Civic Museum, Bolzano
 Via Cassa di Risparmio 14

 

Curated by Emanuele Guidi

 

 

Every passion borders on the chaotic,
but the collector’s passion borders on the chaos of memories.
Walter Benjamin

ar/ge kunst opens the new season with parallel exhibitions at its own venue and at the Civic Museum, organised to coincide with the opening of Transart Festival.

On Thursday 7 September at 8 pm, the artist duo ISLANDS SONGS (Nicolas Perret & Silvia Ploner) are opening their first Italian exhibition in the context of a collaboration between ar/ge kunst and Transart, and as a precursor to a new project they are developing with these two institutions for 2018.

The artist duo ISLANDS SONGS (Nicolas Perret & Silvia Ploner) are opening their first Italian exhibition in the context of a collaboration between ar/ge kunst and Transart, and as a precursor to a new project by ISLANDS SONGS and these two institutions in 2018.
The exhibition develops along the lines of two distinct works, Nýey and All Depends on the Sun, which enter into a dialogue on the common theme of sound research and its potential impact on science and the human imagination. Nýey tells the story of Surtsey, a volcanic island that emerged off the coast of Iceland in 1963 and whose unique native ecosystem has made it the subject of regular scientific documentation and sound monitoring. Meanwhile, the subject of All Depends on the Sun are the attempts by scientists to describe the sounds of the Northern Lights; an often experienced phenomenon for which science is yet to produce any evidence.

ISLAND SONGS will be presenting the premiere of their performance Stellar Surf at the opening of Transart. This electro-acoustic experiment takes its cues from radio frequencies captured in the skies above Bolzano and from VLF sounds recorded for All Depends on the Sun.

With kind support from:
The Autonomous Province of South Tyrol, Department of Culture
Fondazione Cassa di Risparmio, Bolzano
City of Bolzano, Department of Culture

Opening hours
10 am – 6 pm
Closed on Mondays.
Free Entry

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Exhibitions
Natalie Czech - A critic’s bouquet by Övül O. Durmusoglu for Flowers are Documents – Arrangement I, 2017, foto GuadagninI e Sorvillo ©ar/ge kunst.

Flowers are Documents — Arrangement II
(Composition / Support / Circulation / Ritual / Storytelling / Time)
22 June — 29 July 2017

Opening 22 June 2017, 7 pm

 

 

With Milena Bonilla and Luisa Ungar; Martina della Valle in collaboration with Rie Ono
Natalie Czech; Kapwani Kiwanga

Episodes by Haris Epaminonda, Oliver Laric, Paul Thuile, Bruno Munari, Ettore Sottsass Jr.

 

 

22 June, 7:30 pm
Lecture performance by Milena Bonilla and Luisa Ungar

 

Exhibition design in collaboration with Matthias Pötz and Ada Keller

Curated by Emanuele Guidi

Paul Thuile, selection of the exhibition Serra III, curated by Paul Thuile at Gärtnerei Schullian Floricultura, installation view. Photo Guadagnini ©argekunst

Paul Thuile, selection of the exhibition Serra III, curated by Paul Thuile at Gärtnerei Schullian Floricultura, installation view. Photo Guadagnini ©argekunst

Paul Thuile, selection of the exhibition Serra III, curated by Paul Thuile at Gärtnerei Schullian Floricultura, installation view. Photo Guadagnini ©argekunst

Paul Thuile, selection of the exhibition Serra III, curated by Paul Thuile at Gärtnerei Schullian Floricultura, installation view. Photo Guadagnini ©argekunst

Paul Thuile, selection of the exhibition Serra III, curated by Paul Thuile at Gärtnerei Schullian Floricultura, courtesy Toni Psenner. Photo Guadagnini ©argekunst

Paul Thuile, selection of the exhibition Serra III, curated by Paul Thuile at Gärtnerei Schullian Floricultura, courtesy Toni Psenner. Photo Guadagnini ©argekunst

Paul Thuile, selection of the exhibition Serra III, curated by Paul Thuile at Gärtnerei Schullian Floricultura, courtesy Famiglia Ebner. Photo Guadagnini ©argekunst

Paul Thuile, selection of the exhibition Serra III, curated by Paul Thuile at Gärtnerei Schullian Floricultura, courtesy Famiglia Ebner. Photo Guadagnini ©argekunst

Paul Thuile, selection of the exhibition Serra III, curated by Paul Thuile at Gärtnerei Schullian Floricultura, Courtesy Manfred Leiner. Photo Guadagnini ©argekunst

Paul Thuile, selection of the exhibition Serra III, curated by Paul Thuile at Gärtnerei Schullian Floricultura, Courtesy Manfred Leiner. Photo Guadagnini ©argekunst

Oliver Laric, Vase, Polyurethane, 2015, courtesy of the artist. Photo Guadagnini ©argekunst

Oliver Laric, Vase, Polyurethane, 2015, courtesy of the artist. Photo Guadagnini ©argekunst

Haris Epaminonda, Untitled #21 B/H, collage, 2016. Photo Guadagnini ©argekunst

Haris Epaminonda, Untitled #21 B/H, collage, 2016. Photo Guadagnini ©argekunst

Haris Epaminonda, Untitled #21 B/H, collage, 2016. Photo Guadagnini ©argekunst

Haris Epaminonda, Untitled #21 B/H, collage, 2016. Photo Guadagnini ©argekunst

Martina della Valle in collaboration with Rie Ono, One flower one leaf #3, Serie fotografica, 2017. Photo Guadagnini ©argekunst

Martina della Valle in collaboration with Rie Ono, One flower one leaf #3, Serie fotografica, 2017. Photo Guadagnini ©argekunst

Martina della Valle in collaboration with Rie Ono, One flower one leaf #3, Photo serie, cut flowers, vase, variable dimensions, 2017. Photo Guadagnini ©argekunst

Martina della Valle in collaboration with Rie Ono, One flower one leaf #3, Photo serie, cut flowers, vase, variable dimensions, 2017. Photo Guadagnini ©argekunst

Martina della Valle in collaboration with Rie Ono, One flower one leaf #3, cut flowers, vase, variable dimensions, 2017. Photo Guadagnini ©argekunst

Martina della Valle in collaboration with Rie Ono, One flower one leaf #3, cut flowers, vase, variable dimensions, 2017. Photo Guadagnini ©argekunst

Kapwani Kiwanga, Flowers for Africa, 2014 – in progress Cut flowers. Installation view (22.06.17), photo Guadagnini ©argekunst

Kapwani Kiwanga, Flowers for Africa, 2014 – in progress
Cut flowers. Installation view (22.06.17), photo Guadagnini ©argekunst

Installation view on 22.06.2017- photo Guadagnini, ©argekunst

Installation view on 22.06.2017- photo Guadagnini, ©argekunst

Installation view on 22.06.2017- photo Guadagnini, ©argekunst

Installation view on 22.06.2017- photo Guadagnini, ©argekunst

Installation view on 22.06.2017- photo Guadagnini, ©argekunst

Installation view on 22.06.2017- photo Guadagnini, ©argekunst

Milena Bonilla and Luisa Ungar, Ladies, Parrots and Narcotics, cut flowers and vase, lecture-performance. photo Guadagnini, ©argekunst

Milena Bonilla and Luisa Ungar, Ladies, Parrots and Narcotics, cut flowers and vase, lecture-performance. photo Guadagnini, ©argekunst

Installation view on 22.06.2017- photo Guadagnini, ©argekunst

Installation view on 22.06.2017- photo Guadagnini, ©argekunst

Arrangement II, the second staging of Flowers are Documents, will place new flower compositions alongside those by Kapwani Kiwanga (Flowers for Africa) and Natalie Czech (A Critic’s Bouquet), which were originally installed on 26 May and naturally altered during the first month of the exhibition.

A new bouquet by Milean Bonilla and Luisa Ungar will be assembled during a lecture performance, and the ikebana by Martina della Valle and Rie Ono will be composed using wild local vegetation gathered over the course of a workshop. New episodes by Haris Epaminonda, Oliver Laric and Paul Thuile, respectively a vase, a collage and an exhibition, will add to the book by Bruno Munari (A flower with love, 1973) and to the photograph by Ettore Sottsass Jr (I Designed a Vase for my Fiancé, Death Valley, 1977).

The colours on the walls of the exhibition are going to be painted again by Enzo Parduzzi, the decorator who produced and painted the colours for the ceilings of Carlo Scarpa’s Villa Tabarelli near Bolzano in 1969. In Scarpa’s project these strips of colour formed a conceptual representation of the sun’s movement from morning to evening, from the greyish blue of the hours before sunrise to the pink of the sunset; here they will shed further light on the works in the exhibition.

See Flowers are Documents – Arrangement I

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Public Programme
@Ludwig Thalheimer

Tour of the exhibition
“Glashaus III – Serra III”
17 June, 11 am

Tour of the exhibition “Glashaus III –  Serra III”, at Gärtnerei Schullian Floricultura – Via Merano 75 A, Bolzano – with artist and curator Paul Thuile.

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Public Programme
©Martina della Valle

(Ita) One flower, one leaf #3
Ikebana applicata al territorio urbano
19-20 / 06 / 2017

(Ita) Martina della Valle

in collaborazione con Rie Ono

 

 

Workshop in occasione della mostra presso ar/ge kunst: “Flowers are Documents – Arrangement II”
Con il gentile sostegno di UniBz – Facoltà di Design e Arti.

 

 

n. partecipanti: 12

Chiusura iscrizione: 16 Giugno – ore 13

Dove: UniBZ, Piazza Università, 1, 39100 Bolzano BZ

Public Programme
Flowers and Apples from Sainte-Pélagie Prison (Philadelphia Museum of Art and Musée d'Orsay), image by David Horvitz

you and I may not hurry it with a thousand poems my darling but nobody will stop it With all the Policemen in The World.zip
13 June 2017

In June of 2012 I posted the printing files for a group exhibition to the file transfer website sendspace with the explanation:

This exhibition may be freely downloaded, printed, exhibited, published, copied, etc… There are no installation instructions. The recommended print sizes are listed in the works list PDF.
The zipped folder will remain available as long as the sendspace link is active. They will not be re-uploaded.

I had asked the following artists to participate in this project, and for each of them to give me the file to a printable work that somewhat related to flowers:
Anjum Asharia and Marisa Jahn, BFFA3AE, Claudia Sola, David Horvitz, Hans Aarsman, Jon Rafman, Kristina Lee Podesva, Marysia Lewandowska, Michael Mandiberg, Mishka Henner, Natalie Häusler, Vlatka Horvat

The idea was to make a bouquet for spring! Even though, at the time it was nearing the end of spring. But still, it was spring! I imagined broadcasting these flowers/files into the internet, the same way a farmer would broadcast their seeds out into the field (it’s funny how broadcast media uses the same terminologies of farming). And I imagined that long after the sendspace url has expired, that the files still existed, somewhere (maybe). And (maybe) they would be shared. Maybe they would be re-posted by someone else (asexual reproduction?). I had no way of controlling where (or when) this exhibition would end up, if anywhere (or anywhen?) at all. That is why this exhibition’s closing date was a question mark. It is ongoing for who knows how long. I also wanted to give the internet (something that existed beyond the particularities of place dictated by natural temporalities as the Earth spun around the sun) a season.

David Horvitz, Los Angeles 2017

* In the context of the exhibition Flowers are Documents, the file will remain available on ar/ge kunst website and will be re-broadcasted via newsletter on the 13 June 2017.

Download the exhibition at this link

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Exhibitions

Flowers are Documents
Arrangement I
(Composition / Support / Circulation / Ritual / Storytelling / Time)
27 May - 29 July 2017

ARRANGEMENT I

Opening: 26 May 2017, 7 pm

 

With: Natalie Czech; Kapwani Kiwanga
Episodes by: Chiara Camoni, Douglas Coupland, David Horvitz, Bruno Munari, Ettore Sottsass Jr.

David Horvitz - you and I may not hurry it with a thousand poems my darling but nobody will stop it With all the Policemen in The World.zip*, (2012 - ?). Poster und Internetfile, Foto Guadagnini e Sorvillo ©argekunst

David Horvitz – you and I may not hurry it with a thousand poems my darling but nobody will stop it With all the Policemen in The World.zip*, (2012 – ?).
Poster und Internetfile, Foto Guadagnini e Sorvillo ©argekunst

Natalie Czech - A critic’s bouquet by Övül O. Durmusoglu for Flowers are Documents – Arrangement I and II, 2017.  Schnittblumen und Vinyl (Ansicht des 26.05.17), Foto Guadagnini e Sorvillo ©argekunst

Natalie Czech – A critic’s bouquet by Övül O. Durmusoglu for Flowers are Documents – Arrangement I and II, 2017.
Schnittblumen und Vinyl (Ansicht des 26.05.17), Foto Guadagnini e Sorvillo ©argekunst

Natalie Czech - A Critic's Bouquet by Vanessa Desclaux for Marc Camille Chaimowicz, 2015. Ausstellungsansicht, Foto Guadagnini e Sorvillo ©argekunst

Natalie Czech – A Critic’s Bouquet by Vanessa Desclaux for Marc Camille Chaimowicz, 2015.
Ausstellungsansicht, Foto Guadagnini e Sorvillo ©argekunst

Ausstellungsansicht, Foto Guadagnini e Sorvillo ©argekun

Ausstellungsansicht, Foto Guadagnini e Sorvillo ©argekun

Douglas Coupland With Helios Design Labs, Toronto, Electric Ikebana, video, 2012 Ausstellungsansicht, Foto Guadagnini e Sorvillo ©argekunst

Douglas Coupland With Helios Design Labs, Toronto, Electric Ikebana, video, 2012
Ausstellungsansicht, Foto Guadagnini e Sorvillo ©argekunst

Chiara Camoni, Barricata, 2017 Verschiedene Materialien Ausstellungsansicht (Ansicht des 26.05.17), Foto Guadagnini e Sorvillo ©argekunst

Chiara Camoni, Barricata, 2017
Verschiedene Materialien
Ausstellungsansicht (Ansicht des 26.05.17), Foto Guadagnini e Sorvillo ©argekunst

Ausstellungsansicht, Foto Guadagnini e Sorvillo ©argekunst

Ausstellungsansicht, Foto Guadagnini e Sorvillo ©argekunst

Kapwani Kiwanga, Flowers for Africa, 2014 – in progress Schnittblumen.  Ausstellungsansicht (Ansicht des 26.05.17), Foto Guadagnini e Sorvillo ©argekunst

Kapwani Kiwanga, Flowers for Africa, 2014 – in progress
Schnittblumen.
Ausstellungsansicht (Ansicht des 26.05.17), Foto Guadagnini e Sorvillo ©argekunst

Bruno Munari, Un Fiore con amore, 1973 Buch, Emme Edizioni Ausstellungsansicht, Foto Guadagnini e Sorvillo ©argekunst

Bruno Munari, Un Fiore con amore, 1973
Buch, Emme Edizioni
Ausstellungsansicht, Foto Guadagnini e Sorvillo ©argekunst

Ausstellungsansicht des 01.06.2017, Foto Guadagnini e Sorvillo ©argekunst

Ausstellungsansicht des 01.06.2017, Foto Guadagnini e Sorvillo ©argekunst

Ausstellungsansicht des 01.06.2017, Foto Guadagnini e Sorvillo ©argekunst

Ausstellungsansicht des 01.06.2017, Foto Guadagnini e Sorvillo ©argekunst

Ausstellungsansicht des 01.06.2017, Foto Guadagnini e Sorvillo ©argekunst

Ausstellungsansicht des 01.06.2017, Foto Guadagnini e Sorvillo ©argekunst

Ausstellungsansicht des 01.06.2017, Foto Guadagnini e Sorvillo ©argekunst

Ausstellungsansicht des 01.06.2017, Foto Guadagnini e Sorvillo ©argekunst

ARRANGEMENT II
Opening: 22 June 2017, 7 pm

With: Milena Bonilla and Luisa Ungar, Martina della Valle in collaboration with Rie Ono
(Natalie Czech; Kapwani Kiwanga)
Episodes by: Haris Epaminonda, Oliver Laric, Paul Thuile, (Bruno Munari, Ettore Sottsass Jr).

Exhibition design in collaboration with Matthias Pötz and Ada Keller

Curated by Emanuele Guidi

Flowers are Documents — Arrangement I and II gathers and juxtaposes the positions of various artists whose ongoing interest in the subject of flower arrangement opens out into investigations of several parallel fields of research.

Drawing on this traditional ‘theme’ in painting and responding to the landscape of the South Tyrol with its rooted and blooming floricultural industry, the exhibition proposes practices that focus on and problematize notions of decoration and ornament, the ephemeral and the marginal.
Bouquets and ikebana become agents that make it possible to move alongside historical events and extreme presents so as to address issues like decolonization, legality, cultural identity and placemaking. At the same time they question what a document is by offering oblique ways of understanding both the nature of ‘the exhibit’ and the act of exhibiting itself.

As consecutive seasons, the two chapters Arrangement I and Arrangement II unfold around real flower compositions by four artists as an accumulation in space. Four new commissions are accompanied and supported by ‘episodes’ conceived by other artists, designers and writers: vases, books, videos and exhibition projects. By changing the configurations of the works, the successive arrangements intertwine the ‘event’ of blossoming with the process of ageing so as to stress the time-based nature of the ‘matter’ on display and to offer to the visitors a body of works that changes on a daily basis.

AGENDA AND PUBLIC PROGRAM

26 May, 7 pm: Opening Flowers are Documents – Arrangement I

13 Giugno: Newsletter broadcasting with I may not hurry it with a thousand poems my darling but nobody will stop it With all the Policemen in The World.zip* (2012-?), exhibition project by David Horvitz

17 June, 11 am: Tour of the exhibition Glashaus III – Serra III, at Gärtnerei Schullian Floricultura – Via Merano 75 A, Bolzano – with artist and curator Paul Thuile.

19 / 20 June: workshop Ikebana applied to Urban Territories by Martina della Valle and Rie Ono (for up to 12 people)

22 June, 7 pm: Opening Flowers are Documents – Arrangement II

Special Thanks to
Gärtnerei Schullian Floricultura, Bolzano
Mr. Enzo Parduzzi, Bolzano
Libreria delle Donne di Milan
Archivio Ettore Sottsass, Milan
Corraini Edizioni, Milan
Galerie Jérôme Poggi, Paris
Galerie Tanja Wagner, Berlin
Spazio A, Pistoia
ChertLüdde, Berlin
Rodeo Gallery, London
Capitain Petzel, Berlin
Tanya Leighton Gallery, Berlin

With the kind support by
Gärtnerei Schullian Floricultura, Bolzano
Provincia Autonoma dell’Alto Adige, Ripartizione Cultura


Regione Autonoma Trentino Alto Adige
Fondazione Cassa di Risparmio, Bolzano
Comune di Bolzano, Ripartizione Cultura

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Public Programme
research Image: Plate LXVI from Johann Jakob Scheuchzer’s Physica Sacra (1731) - Source: Wikimedia Commons

JAPANESE ALPS
Lecture by Francesco Tenaglia
19.05.2017, 5.30 pm

(La Mia Scuola di Architettura*7)

In Japanese Alps, Francesco Tenaglia draws from decades of interest for the Alps (and the panoramic mountain views of the surrounding countries) shown by Japan’s consumer culture, placing it in parallel with the idea of “nostalgia” (a neologism and sentiment about the Alps “produced” at the end of the seventeenth century). During the lecture, Tenaglia would like to illustrate – using historical research, anecdote and speculation – some forms in which philosophers and sociologists have identified a specific postmodern incarnation in this eastern country: from academics to customs, through to models of production and consumption. In an anticipation of the radical transformation of the ideas of narrative and representation that we are witnessing in an age of hyper-connectivity.

Francesco Tenaglia was born in Chieti (1974) and works in Milan at the editorial office of the contemporary art magazine and publishing house, Mousse. He works on art, music and culture, including Rolling Stone, Prismo, Vice and Rivista Letteraria.

Video editing: Marcello Tacconelli.
Poster design: Massimiliano Pace

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Public Programme
Inland, Shepherd School, ( 2004 - ongoing)

Learning From The Landscape
BAU with INLAND
09.05.2017, 7 pm

(La Mia Scuola di Scuola di Architettura*6)

In the framework of La Mia Scuola di Architettura*, a series of public presentations on the notions of landscape, community and formation at ar/ge kunst, the artistic initiative BAU is invited to introduce and discuss their take on these ideas and the specificity of their residency project in South Tyrol; a practice that implies forms of collaboration and temporary graft between guest artists and hosting communities.

In this occasion, they will talk with their current residents, the Spanish collective INLAND (represented in this occasion by Fernando Garcìa-Dory and Carlos Monleon Gendall), about the potential of contemporary artistic culture and the rural to meet and interlace and about their current project ALMA (working title). 
BAU is an initiative for artistic production located in South Tyrol, Italy, active since 2015. BAU initiates artistic residencies that establish forms of collaboration between local communities, the material culture of the territory, and its traditional activities.


INLAND is a Spanish arts collaboration platform, dedicated to agricultural, social and cultural production, and a collaborative agency. BAU has invited INLAND to develop a project in the territory of South Tyrol in 2017. Departing from the current project ALMA on a speculative future of the territory developed with local agents such as mountain farmers, academics, tourism experts and shepherds, the talk will expand on current cultural trends in European countryside.

http://inland.org
http://fernandogarciadory.com
http://www.b-a-u.it

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Public Programme

To Become Two
a lecture by Alex Martinis Roe
27 April, 7 pm

In this public event, Alex Martinis Roe will respond to questions that have been gathered from viewers over the duration of the “To Become Two” exhibition. She will structure a presentation that explores these questions in relation to her research using various techniques including storytelling, political theory and diagrams. This will then unfold into a dialogic format, engaging the audience in a meeting exploring the possible futures that open out from the “To Become Two” project and the questions asked of it.

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Exhibitions
Alex Martinis Roe, A story from Circolo della rosa, film still (detail) of an image courtesy of the Milan Women's Bookstore, 2014.

To Become Two
Alex Martinis Roe
25.02. – 06.05.2017

Opening: 24.02.2017, 7pm

 

Curated by Emanuele Guidi

 

“To Become Two” tells the story of six diverse and contiguos histories; histories of a number of feminist groups that in the period from the 1970s to the present, have built communities in Europe and Australia around a “practice of relationships”.

Alex Martinis Roe, To Become Two, installation of the exhibition at ar/ge kunst, ©ar/ge kunst, Bolzano, Foto Tiberio Sorvillo, 2017

Alex Martinis Roe, To Become Two, installation of the exhibition at ar/ge kunst, ©ar/ge kunst, Bolzano, Foto Tiberio Sorvillo, 2017

Alex Martinis Roe, To Become Two, installation of the exhibition at ar/ge kunst, ©ar/ge kunst, Bolzano, Foto Tiberio Sorvillo, 2017

Alex Martinis Roe, To Become Two, installation of the exhibition at ar/ge kunst, ©ar/ge kunst, Bolzano, Foto Tiberio Sorvillo, 2017

Alex Martinis Roe, To Become Two, installation of the exhibition at ar/ge kunst, ©ar/ge kunst, Bolzano, Foto Tiberio Sorvillo, 2017

Alex Martinis Roe, To Become Two, installation of the exhibition at ar/ge kunst, ©ar/ge kunst, Bolzano, Foto Tiberio Sorvillo, 2017

Alex Martinis Roe, To Become Two, installation of the exhibition at ar/ge kunst, ©ar/ge kunst, Bolzano, Foto Tiberio Sorvillo, 2017

Alex Martinis Roe, To Become Two, installation of the exhibition at ar/ge kunst, ©ar/ge kunst, Bolzano, Foto Tiberio Sorvillo, 2017

Alex Martinis Roe, To Become Two, installation of the exhibition at ar/ge kunst, ©ar/ge kunst, Bolzano, Foto Tiberio Sorvillo, 2017

Alex Martinis Roe, To Become Two, installation of the exhibition at ar/ge kunst, ©ar/ge kunst, Bolzano, Foto Tiberio Sorvillo, 2017

Alex Martinis Roe, To Become Two, installation of the exhibition at ar/ge kunst, ©ar/ge kunst, Bolzano, Foto Tiberio Sorvillo, 2017

Alex Martinis Roe, To Become Two, installation of the exhibition at ar/ge kunst, ©ar/ge kunst, Bolzano, Foto Tiberio Sorvillo, 2017

Alex Martinis Roe, To Become Two, installation of the exhibition at ar/ge kunst, ©ar/ge kunst, Bolzano, Foto Tiberio Sorvillo, 2017

Alex Martinis Roe, To Become Two, installation of the exhibition at ar/ge kunst, ©ar/ge kunst, Bolzano, Foto Tiberio Sorvillo, 2017

Alex Martinis Roe, To Become Two, installation of the exhibition at ar/ge kunst, ©ar/ge kunst, Bolzano, Foto Tiberio Sorvillo, 2017

Alex Martinis Roe, To Become Two, installation of the exhibition at ar/ge kunst, ©ar/ge kunst, Bolzano, Foto Tiberio Sorvillo, 2017

Alex Martinis Roe, To Become Two, installation of the exhibition at ar/ge kunst, ©ar/ge kunst, Bolzano, Foto Tiberio Sorvillo, 2017

Alex Martinis Roe, To Become Two, installation of the exhibition at ar/ge kunst, ©ar/ge kunst, Bolzano, Foto Tiberio Sorvillo, 2017

Alex Martinis Roe, To Become Two, installation of the exhibition at ar/ge kunst, ©ar/ge kunst, Bolzano, Foto Tiberio Sorvillo, 2017

Alex Martinis Roe, To Become Two, installation of the exhibition at ar/ge kunst, ©ar/ge kunst, Bolzano, Foto Tiberio Sorvillo, 2017

Alex Martinis Roe, To Become Two, installation of the exhibition at ar/ge kunst, ©ar/ge kunst, Bolzano, Foto Tiberio Sorvillo, 2017

Alex Martinis Roe, To Become Two, installation of the exhibition at ar/ge kunst, ©ar/ge kunst, Bolzano, Foto Tiberio Sorvillo, 2017

Alex Martinis Roe, To Become Two, installation of the exhibition at ar/ge kunst, ©ar/ge kunst, Bolzano, Foto Tiberio Sorvillo, 2017

Alex Martinis Roe, To Become Two, installation of the exhibition at ar/ge kunst, ©ar/ge kunst, Bolzano, Foto Tiberio Sorvillo, 2017

Alex Martinis Roe, To Become Two, installation of the exhibition at ar/ge kunst, ©ar/ge kunst, Bolzano, Foto Tiberio Sorvillo, 2017

Alex Martinis Roe, To Become Two, installation of the exhibition at ar/ge kunst, ©ar/ge kunst, Bolzano, Foto Tiberio Sorvillo, 2017

Alex Martinis Roe, To Become Two, installation of the exhibition at ar/ge kunst, ©ar/ge kunst, Bolzano, Foto Tiberio Sorvillo, 2017

Alex Martinis Roe, To Become Two, installation of the exhibition at ar/ge kunst, ©ar/ge kunst, Bolzano, Foto Tiberio Sorvillo, 2017

Alex Martinis Roe, To Become Two, installation of the exhibition at ar/ge kunst, ©ar/ge kunst, Bolzano, Foto Tiberio Sorvillo, 2017

Alex Martinis Roe, To Become Two, installation of the exhibition at ar/ge kunst, ©ar/ge kunst, Bolzano, Foto Tiberio Sorvillo, 2017

Alex Martinis Roe, To Become Two, installation of the exhibition at ar/ge kunst, ©ar/ge kunst, Bolzano, Foto Tiberio Sorvillo, 2017

Alex Martinis Roe, To Become Two, installation of the exhibition at ar/ge kunst, ©ar/ge kunst, Bolzano, Foto Tiberio Sorvillo, 2017

Alex Martinis Roe, To Become Two, installation of the exhibition at ar/ge kunst, ©ar/ge kunst, Bolzano, Foto Tiberio Sorvillo, 2017

Alex Martinis Roe, To Become Two, installation of the exhibition at ar/ge kunst, ©ar/ge kunst, Bolzano, Foto Tiberio Sorvillo, 2017

The Milan Women’s Bookstore co-operative; the current Psychanalyse et Politiquein Paris; Women’s Studies at the University of Utrecht; a network in Sydney including people involved in the Sydney Filmmakers Co-operative, Feminist Film Workers, and the Department of General Philosophy at Sydney University; and Duoda – Centro de investigación de Mujeres and Ca La Dona in Barcelona are the collectives and locations which Alex Martinis Roe has undertaken research with over the past four years.

To Become Two is made up of narratives that the artist has woven in dialogue with the protagonists of these stories, starting from their oral testimonies, attending their meetings, and thus building meaningful relationships over time, which she has then translated into five of the six films that make up the exhibition.

“How can one learn from the story of the practices of another?” is one of the central questions running through the entire exhibition. How can you translate these lived experiences into propositions and affirmations in order to collaborate in creating new political practice?

The experiences and anecdotes of the meetings that took place over time, the care for the spaces that hosted these meetings, the sharing of theory and methodology, the empathy, the mutual influence and the differences between the various groups, form the narrative of the films and make it clear that “it was an unusual way of doing politics, … there were friendships, loves, gossip, tears, flowers…” as affirmed by the title of one of the films.

They are stories that Alex Martinis Roe has shared with new interlocutors, comrades and institutions, making them a topic for study and an exercise in collective working, still in progress, and which are the subject of the sixth film in the exhibition (Our Future Network).

To Become Two is therefore an attempt to trace a genealogy of feminist ‘new materialist’ thought and theories of “sexual difference”, which traverses and unites different generations, with the will to imagine a future for them.

Exhibition design in collaboration with Fotini Lazaridou-Hatzigoga
Poster series in collaboration with Chiara Figone.
To Become Two has been produced with the support of curator Susan Gibb.

The publication To Become Two, published by Archive Books (Berlin), will be presented at the end of April to coincide with the public program.

To Become Two is co-commissioned by ar/ge kunst, Bolzano, Casco – Office for Art, Design and Theory, Utrecht, If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution, Amsterdam and The Showroom, London.

The Public Program is co-commissioned with the support of The Keir Foundation.

With kind support from:
The Autonomous Province of South Tyrol, Department of Culture
Fondazione Cassa di Risparmio, Bolzano
City of Bolzano, Department of Culture
The Keir Foundation, Australia

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Public Programme

The Variational Status
Riccardo Giacconi
10 february, 7pm

BOOK LAUNCH

 

On the occasion of the book launch “The Variational Status”, ar/ge kunst invites you to the lecture “To Resist Disappearing” by Professor Frans-Willem Korsten, followed by a conversation with artist Riccardo Giacconi and artistic director Emanuele Guidi.


Frans-Willem Korsten è titolare della cattedra in ‘Letteratura e Societá’ presso la Scuola Erasmus di Storia, Cultura e Comunicazione. È anche professore associato presso il l’Università Leiden per le Arti nella Società.

The Variational Status è co-pubblicato da Humboldt Books, ar/ge kunst Bolzano e FRAC Champagne-Ardenne.

Edito da: Riccardo Giacconi, Emanuele Guidi
Design: 
 Bianca Fabbri
Testi: 
 Andrea Cavalletti, Riccardo Giacconi, Emanuele Guidi e Antoine Marchand, Frans-Willem Korsten, Andrea Morbio.
Publisher: Humboldt Books
Inglese, Italiano, Tedesco, Francese
ISBN 978-88-99385-25-5
20 €
Frans-Willem Korsten holds the endowed chair in ‘Literature and Society’ at the Erasmus School of History, Culture and Communication. He is also associate professor at the Leiden University Centre for the Arts in Society.

The Variational Status is jointly published by Humboldt Books, ar/ge kunst Bolzano and FRAC Champagne-Ardenne.

Editors: Riccardo Giacconi, Emanuele Guidi
Design: 
 Bianca Fabbri
Texts: 
 Andrea Cavalletti, Riccardo Giacconi, Emanuele Guidi and Antoine Marchand, Frans-Willem Korsten, Andrea Morbio.
Publisher: Humboldt Books
English, Italian, German, French.
ISBN 978-88-99385-25-5
20 €

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Public Programme
Jomohomo, Ingrid Hora, cover 2016

JOMOHOMO
Ingrid Hora
14 December 2016, 7 pm

BOOK LAUNCH
Talk with the artist Ingrid Hora and the co-editor Lisa Mazza


The book documents and further develops the research presented within the exhibitions ‘You Play This Game…’ at ar/ge kunst, Bolzano (2015) and ”Freizeyt’ at DAZ – Deutsches Architektur Zentrum, Berlin (2015/2016)


Published by Dentdeleone.co.nz
Edited by Ingrid Hora and Lisa Mazza
Texts by Shumon Basar, Emanuele Guidi, Ingrid
Hora, Lisa Mazza, Giulia Palladini
Designed by Åbäke with Alyssia Lou


With the support of DAZ and Provincia Autonoma di Bolzano, Ripartizione Cultura


Followed by a Christmas reception.

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Public Programme

Matilde Cassani
2016 - 2018

One Year-Long Research Project / Third

a collaborative project with Künstlerhaus Büchsenhausen, Innsbruck

For the third edition of the One Year-Long Research Project ar/ge kunst has invited artist and architect Matilde Cassani to take up residency in Bolzano.

The residency co-commissioned with Künstlerhaus Büchsenhausen, Innsbruck, has led Cassani to develop new research in the macro-region straddling the Italo-Austrian border; a territory that the artist has explored by observing the sport of cricket, an English game exported to all Commonwealth nations during colonialism and returned to Europe through its practice by migrant communities.

 

Matilde Cassani (1980) studied Architecture at the Polytechnical College in Milan and at the TU Lisbon, followed by Architecture and Urban Culture at the Centre de Cultura Contemporània de Barcelona and the UPC (Universidade Politecnica de Catalunya) in Barcelona (postgraduate degree). In her work Matilde Cassani operates at the borders of architecture, installation and event design. Her research-based practice reflects on the spatial implications of cultural pluralism in the contemporary western context. Her works have been shown in numerous cultural institutions and exhibition venues; they have also been published in media including Architectural Review, Domus, Abitare, Arqa, Arkitecktur, and MONU magazine on urbanism. Matilde Cassani has been a resident fellow at the Akademie Schloss Solitude in Stuttgart and at the Headlands Center for the Arts in San Francisco. In 2011, Storefront for Art and Architecture in New York showed her exhibition Sacred Spaces in Profane Buildings. In addition, she designed the national pavilion of the Kingdom of Bahrain at Venice Architecture Biennial (2012) and participated in Venice Architecture Biennial in 2014 with the work Countryside Worship. This work was recently acquired by the Victoria and Albert Museum in London. Cassani currently teaches at the Politecnico di Milano and the Domus Academy.

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Exhibitions
Riccardo Giacconi El diablo en el pozo (dettaglio) in collaborazione con Herlyng Ferla 2016

The Variational Status
Riccardo Giacconi
07.12.2016 – 11.02.2017

Curated by Emanuele Guidi and Antoine Marchand

 

Opening: 07.12.2016, 7 pm

 

The exhibition “The Variational Status” at the ar/ge kunst is the first public presentation of a research project by artist Riccardo Giacconi, which in 2017 will continue with a performance at the Centrale Fies (July 2017), a second exhibition project at the FRAC Champagne-Ardenne, Reims (October 2017) and an artist’s book published by Humboldt Books (February 2017).

Riccardo Giacconi, Installation View 
©ar/ge kunst, Bozen. Photo Tiberio Sorvillo, 2016

Riccardo Giacconi, Installation View 
©ar/ge kunst, Bozen. Photo Tiberio Sorvillo, 2016

Riccardo Giacconi, Installation View 
©ar/ge kunst, Bozen. Photo Tiberio Sorvillo, 2016

Riccardo Giacconi, Installation View 
©ar/ge kunst, Bozen. Photo Tiberio Sorvillo, 2016

Riccardo Giacconi, Installation View 
©ar/ge kunst, Bozen. Photo Tiberio Sorvillo, 2016

Riccardo Giacconi, Installation View 
©ar/ge kunst, Bozen. Photo Tiberio Sorvillo, 2016

Riccardo Giacconi, Installation View 
©ar/ge kunst, Bozen. Photo Tiberio Sorvillo, 2016

Riccardo Giacconi, Installation View 
©ar/ge kunst, Bozen. Photo Tiberio Sorvillo, 2016

©ar/ge kunst, Bozen/Bolzano, Foto Tiberio Sorvillo, 2016

©ar/ge kunst, Bozen/Bolzano, Foto Tiberio Sorvillo, 2016

Riccardo Giacconi, Installation View 
©ar/ge kunst, Bozen. Photo Tiberio Sorvillo, 2016

Riccardo Giacconi, Installation View 
©ar/ge kunst, Bozen. Photo Tiberio Sorvillo, 2016

Riccardo Giacconi, Installation View 
©ar/ge kunst, Bozen. Photo Tiberio Sorvillo, 2016

Riccardo Giacconi, Installation View 
©ar/ge kunst, Bozen. Photo Tiberio Sorvillo, 2016

Riccardo Giacconi, Installation View 
©ar/ge kunst, Bozen. Photo Tiberio Sorvillo, 2016

Riccardo Giacconi, Installation View 
©ar/ge kunst, Bozen. Photo Tiberio Sorvillo, 2016


The project investigates the relationship between a range of narrative forms (puppetry, street storytellers, flyers and pamphlets) and a series of pre-political acts of revolt staged between Italy and South America. Starting out from Riccardo Giacconi’s interest in tradition as an ‘act of transmission’, The Variational Status evokes a narrative constellation between animation, suggestion, revolt and orality.

The exhibition develops around the espiritado, a Colombian puppet character, presumably inspired by the murder of a policeman during a village celebration. The espiritado is designed around the episode of the soldier Augusto Masetti, who in 1911 in Bologna shot at his commander in an act of insubordination against the Italian colonial war in Libya. The two figures share the total amnesia of their act of revolt, carried out in a trance or a state of somnambulism. While in Masetti’s case this circumstance turned him into a symbol of the anarchist movement around the world, which stepped in to take his defence, in the case of the espiritado, it became a comic element of a puppet character.

Conceived as the deconstruction of a puppet show, the installation titled The Variational Status is made up of an automatized marionette (constructed in collaboration with the historical Compagnia Marionettistica Carlo Colla & Figli), a plastic curtain that operates as a storyboard, and a series of posters of the Colombian puppet show El Diablo en el pozo printed using a 19th-century letterpress machine in Cali.

Working on archive documents, oral testimonies and theatre scripts, Riccardo Giacconi intertwines the real and fictitious vicissitudes of the two characters in order to question the status of those documents, which are not based on stable and certified supports, but rather which may exist solely in the form of variations.

The Variational Status was co-commissioned by ar/ge kunst (Bolzano), Centrale Fies (Dro, Trento) and FRAC Champagne-Ardenne (Reims), and carried out in collaboration with the sculptor Franco Citterio and the Compagnia Marionettistica Carlo Colla & Figli (Milan), Carteles La Linterna Edigraphos (Cali), Herlyng Ferla, Carolina Valencia, and Paola Villani.


Riccardo Giacconi has studied fine arts at the University IUAV of Venezia, at UWE in Bristol and at New York University. His work has been exhibited in various institutions, such as WUK Kunsthalle Exnergasse (Vienna), FRAC Champagne-Ardenne (France), FRAC Champagne-Ardenne (France), tranzitdisplay (Prague), MAXXI (Rome), Fondazione Sandretto Re Rebaudengo (Turin) and in the “Résonance” section of the Lyon Biennale. He was artist-in-residence at: Centre international d’art et du paysage (Vassivière, France), lugar a dudas (Cali, Colombia), MACRO Museum of Contemporary Art of Rome and La Box (Bourges). He presented his films at several festivals, including the New York Film Festival, theInternational Film Festival Rotterdam, the Rome Film Festival, the Torino Film Festival and the FID Marseille International Film Festival, where he won the Grand Prix of the international competition in 2015. He was the recipient of the 2016 ArteVisione award, organized by Careof and Sky Arte. In 2007 he co-founded the collective Blauer Hase, with which he curates the periodical publication ‘Paesaggio’ and the ‘Helicotrema’ festival.


A special thanks to:
Museo Civico Bolzano

With the kind support of:
The Autonomous Province of South Tyrol, Department of Culture
Fondazione Cassa di Risparmio, Bolzano
City of Bolzano, Department of Culture

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Exhibitions
Italo Zuffi

postura, posa, differita
Italo Zuffi
24.09 – 26.11.2016

Opening 23 September, 7pm

 

Performance 7 – 9 pm

 

Curated by Emanuele Guidi

@ar/ge kunst, Bozen/Bolzano, 2016, photo by aners (exhibition view)

@ar/ge kunst, Bozen/Bolzano, 2016, photo by aners (exhibition view)

@ar/ge kunst, Bozen/Bolzano, 2016, photo by aners (exhibition view)

@ar/ge kunst, Bozen/Bolzano, 2016, photo by aners (exhibition view)

@ar/ge kunst, Bozen/Bolzano, 2016, photo by aners (exhibition view)

@ar/ge kunst, Bozen/Bolzano, 2016, photo by aners (exhibition view)

@ar/ge kunst, Bozen/Bolzano, 2016, photo by aners (exhibition view)

@ar/ge kunst, Bozen/Bolzano, 2016, photo by aners (exhibition view)

@ar/ge kunst, Bozen/Bolzano, 2016, photo by aners (exhibition view)

@ar/ge kunst, Bozen/Bolzano, 2016, photo by aners (exhibition view)

@ar/ge kunst, Bozen/Bolzano, 2016, photo by aners (exhibition view)

@ar/ge kunst, Bozen/Bolzano, 2016, photo by aners (exhibition view)

@ar/ge kunst, Bozen/Bolzano, 2016, photo by aners (exhibition view)

@ar/ge kunst, Bozen/Bolzano, 2016, photo by aners (exhibition view)

@ar/ge kunst, Bozen/Bolzano, 2016, photo by aners (exhibition view)

@ar/ge kunst, Bozen/Bolzano, 2016, photo by aners (exhibition view)

@ar/ge kunst, Bozen/Bolzano, 2016, photo by Tiberio Servillo (Performance)

@ar/ge kunst, Bozen/Bolzano, 2016, photo by Tiberio Servillo (Performance)

@ar/ge kunst, Bozen/Bolzano, 2016, photo by Tiberio Servillo (Performance)

@ar/ge kunst, Bozen/Bolzano, 2016, photo by Tiberio Servillo (Performance)

The exhibition postura, posa, differita (posture, pose, deferred) by Italo Zuffi at ar/ge kunst in Bolzano, is the concluding episode of a series dedicated to the artist, that started in 2015 at the Nomas Foundation in Rome and continued to the MAN in Nuoro. It was a collaboration between institutions aimed at providing continuity to the artist’s research, with three complementary and independent exhibition projects that have allowed for further exploration of significant works and stages in his career.

postura, posa, differita is developed around a nucleus of works that articulate the complexity of Italo Zuffi’s investigations in the area of performance from the beginning of his career, with particular attention to his relationship with sculpture. Even though the works in the exhibition do not amount to an actual live performance, the presence of the body is affirmed in the form of memory, potential and record.

Sta meglio la ragazza caduta nel vuoto (the girl who fell into the void is better) (2001-2016) consists of a series of metal sheets on which the title of the work is cut out, taken from a newspaper article that the artist found many years before. The sheets are accompanied by clippings from newspapers, each of which tells a similar news story in which a female body, having previously fallen, is in the process of healing.
Similarly, in I rigidi (the stiffs) (2006-2016) Italo Zuffi departs from a previous episode, this time of one of his performances (The Reminder, 1997), to initiate a process of collecting archival images depicting bodies in a variety of stiffening positions. It is a selection in which performances of other artists and “daily” scenes taken from newspapers and magazines have been chosen for the object and sculptural nature of the depicted body.
A group of new ceramics (2006-2016) departs instead from a series of public surveys that also appeared in newspapers and magazines, on issues such as immigration, euthanasia, the brain drain, Europe and the economy, in order to confront attempts to represent a community (in this case Italian citizens). The ceramics, however omit the individual percentages of the survey data, taking only the statistical visualization in its totality in order to further abstract that which wants to be considered the form of a “public voice”.

The new productions on display are therefore united both by recourse to dilated temporality as a working tool, and by the methodology for the collection of the sources on which the works are supported conceptually. The works are in fact the result of a gestation of sometimes years from the moment in which they were actually conceived or initially produced in the form of a prototype. A choice of delaying the moment of execution allows for the accumulation of press and research material on which to form a more articulated and informed vision of the original project.

The works on show therefore narrate a personal way of reading, involving a continuous flow of news and information that progresses towards identification and empathy. They are works about time and about the need to take time in order to find a form of writing that is personal and autobiographical.

The artist will present a new performance during the opening between 7 and 9 pm.

Italo Zuffi (born in Imola in 1969, living in Milan) uses sculpture, performance and writing to create “not a total design, but an indefinite series of rooms” (Pier Luigi Tazzi, 2003). He studied at the Academy of Fine Arts in Bologna and at the Central Saint Martins College of Art & Design in London. In 2001, he was awarded the ‘Wheatley Bequest Fellowship in Fine Art’ at the Institute of Art & Design in Birmingham (UK). Recent solo exhibitions include: Potersi dire, MAN Nuoro (2015); Quello che eri, e quello che sei, Nomas Foundation, Rome (2015); Gli ignari, private apartment, Milan (2013); La penultima assenza del corpo, Pietro Rossini Foundation, Briosco (2012); Zuffi, Italo, Pinksummer, Genoa (2010). Recent collective exhibitions: Fuori uso, Ex-Tribunale, Pescara (2016); Riviera, Swiss Institute of Milan (2016); ALT, Caserma De Sonnaz, Turin (2015); Esercizi di Rivoluzione, MAXXI, Rome (2014); Le leggi dell’ospitalità, P420 Gallery, Bologna (2014); Per4m, Artissima, Turin (2014); I baffi del bambino, Lucie Fontaine, Milan (2014); To continue. Notes towards a Sculpture Cycle | Scala, Nomas Foundation, Rome (2014); La Pelle – Symphony of Destruction, MAXXX Project Space, Sierre (2014); Le statue calde, Marino Marini Museum, Florence (2014).

With thanks for support from
THUN and THUN Ceramic Residency

A special thanks to:
The Autonomous Province of South Tyrol, Department of Culture
Fondazione Cassa di Risparmio, Bolzano
City of Bolzano, Department of Culture

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News

Acting The In-Between
Summer School
10 - 16 September

Organized by the Faculty of Design and Art of the Free University of Bozen Bolzano in cooperation with ar/ge kunst.

Acting the In-between is a one-week summer school whose aim is to challenge those forms of interaction and discussion, which one experiences and practices within various institutional communication and exchange spaces. Taking the Free University of Bozen Bolzano and ar/ge kunst as an example, we will investigate their role as active and discursive spaces and imagine further, “other” spaces.
The participants will be asked to develop these “other” spaces outside of the physical boundaries and the rules of the institutions and to question their characteristics.

Is it possible to stimulate, in a non-conventional manner, the way we interact, discuss, show, see, talk and listen?
Guests from different disciplines and contexts will participate in the discussion around these issues with contributions in different formats, which can vary from workshops to walks or shared dinners.

For more information check at this link

A project by: Roberto Gigliotti, Eva Mair and Jonathan Pierini.
Guests: Alex Martinis Roe, Fotini Lazaridou-Hatzigoga, Gerhard Glüher, Andreas Müller

In 2017 Alex Martinis Roe will open her solo exhibition at ar/ge kunst To Become Two with spatial design by Fotini Lazaridou-Hatzigoga.
Two Become Two is a project co-commissioned by is co-commissioned by ar/ge Kunst, Bolzano; Casco – Office for Art, Theory and Design, Utrecht; If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution, Amsterdam; and The Showroom, London.

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Public Programme

DIRECTED TOURS & AHALI JOURNAL


Public Program in the context of

 

VFI – VIRGOLO FUTURE INSTITUTE
(Such Claims on Territory Transform Spatial Imagination Into Obscure Anticipations of Repartition) by CAN ALTAY
A project by ar/ge kunst and Lungomare

DIRECTED TOURr #1:
17.06.2016, 6 pm

Ettore Frangipane (journalist) in dialogue with the curators

DIRECTED TOUR #2:
15.07.2016, 7 pm

Michael Obrist (architect, Feld 72) in dialogue with the curators

DIRECTED TOUR #3:
21.07.2016, 7 pm

Giorgio Mezzalira (historian, Foundation Alexander Langer) in dialogue with the curators

Directed Tours is a series of three conversational guided tours that activate and mediate Can Altay’s exhibition VFI – Virgolo Future Institute at ar/ge kunst.
The title Directed Tours arises from the term Directed Gaze, defined by Altay himself as describing part of his practice and acknowledging the centrality of the encounters with other people in the process of approaching a new context.
Starting from this idea, ar/ge kunst and Lungomare propose a series of guided visits with some of the people who met with the artist during his residency and thus shaped his research and the exhibition itself.

AHALI JOURNAL NEW ISSUES

During the exhibition seven new issues of Ahali journal are being published as an extension of Altay’s project. These new issues supplement the installation and can be taken by visitors to the exhibition.
The Directed Tours mark the launch of three corresponding issues and are also being published on this occasion by the online information portal Salto.bz.
Ahali is the journal founded by Can Altay in 2007 and designed by Asli Altay, Future Anecdotes Istanbul.

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Exhibitions
credits ivo corrà

VFI – Virgolo Future Institute
(Such Claims on Territory Transform Spatial Imagination Into Obscure Anticipations of Repartition)

CAN ALTAY
14 May – 30 July 2016

Opening 13 May 2016, 7 pm

 

A collaborative project by ar/ge kunst and Lungomare

 

VFI – Virgolo Future Institute (Such Territorial Claims Transform Spatial Imagination Into Obscure Anticipations of Repartition) is the latest and final iteration of Can Altay’s one-and-half year residency in Bolzano, a collaborative project by ar/ge kunst and Lungomare (October 2014 – July 2016).

Can Altay, VFI, Virgolo Future Institute, Installation View 
©ar/ge kunst_Lungomare, Bozen. Photo aneres, 2016

Can Altay, VFI, Virgolo Future Institute, Installation View 
©ar/ge kunst_Lungomare, Bozen. Photo aneres, 2016

Can Altay, VFI, Virgolo Future Institute, Installation View 
©ar/ge kunst_Lungomare, Bozen. Photo aneres, 2016

Can Altay, VFI, Virgolo Future Institute, Installation View 
©ar/ge kunst_Lungomare, Bozen. Photo aneres, 2016

Can Altay, VFI, Virgolo Future Institute, Installation View 
©ar/ge kunst_Lungomare, Bozen. Photo aneres, 2016

Can Altay, VFI, Virgolo Future Institute, Installation View 
©ar/ge kunst_Lungomare, Bozen. Photo aneres, 2016

Can Altay, VFI, Virgolo Future Institute, Installation View 
©ar/ge kunst_Lungomare, Bozen. Photo aneres, 2016

Can Altay, VFI, Virgolo Future Institute, Installation View 
©ar/ge kunst_Lungomare, Bozen. Photo aneres, 2016

Can Altay, VFI, Virgolo Future Institute, Installation View 
©ar/ge kunst_Lungomare, Bozen. Photo aneres, 2016

Can Altay, VFI, Virgolo Future Institute, Installation View 
©ar/ge kunst_Lungomare, Bozen. Photo aneres, 2016

Can Altay, VFI, Virgolo Future Institute, Installation View 
©ar/ge kunst_Lungomare, Bozen. Photo aneres, 2016

Can Altay, VFI, Virgolo Future Institute, Installation View 
©ar/ge kunst_Lungomare, Bozen. Photo aneres, 2016

Can Altay, VFI, Virgolo Future Institute, Installation View 
©ar/ge kunst_Lungomare, Bozen. Photo aneres, 2016

Can Altay, VFI, Virgolo Future Institute, Installation View 
©ar/ge kunst_Lungomare, Bozen. Photo aneres, 2016

Can Altay, VFI, Virgolo Future Institute, Installation View 
©ar/ge kunst_Lungomare, Bozen. Photo aneres, 2016

Can Altay, VFI, Virgolo Future Institute, Installation View 
©ar/ge kunst_Lungomare, Bozen. Photo aneres, 2016

Can Altay, VFI, Virgolo Future Institute, Installation View 
©ar/ge kunst_Lungomare, Bozen. Photo aneres, 2016

Can Altay, VFI, Virgolo Future Institute, Installation View 
©ar/ge kunst_Lungomare, Bozen. Photo aneres, 2016

Can Altay, VFI, Virgolo Future Institute, Installation View 
©ar/ge kunst_Lungomare, Bozen. Photo aneres, 2016

Can Altay, VFI, Virgolo Future Institute, Installation View 
©ar/ge kunst_Lungomare, Bozen. Photo aneres, 2016

Can Altay, VFI, Virgolo Future Institute, Installation View 
©ar/ge kunst_Lungomare, Bozen. Photo Tiberio Sorvillo, 2016

Can Altay, VFI, Virgolo Future Institute, Installation View 
©ar/ge kunst_Lungomare, Bozen. Photo Tiberio Sorvillo, 2016

Can Altay, VFI, Virgolo Future Institute, Installation View 
©ar/ge kunst_Lungomare, Bozen. Photo Tiberio Sorvillo, 2016

Can Altay, VFI, Virgolo Future Institute, Installation View 
©ar/ge kunst_Lungomare, Bozen. Photo Tiberio Sorvillo, 2016

For the duration of the project Altay has been conducting a study focussed on Bolzano’s complex relationship with the Virgolo, a nearby mountain that overlooks the city and has recently been the subject of a vigorous debate concerning its potential uses and developments.

Altay is now using the premises of ar/ge kunst for a three-month exhibition that continues the development of a prior series of public interventions that have employed different temporalities, acting as both observations on and contributions to the current debate. The works so far have included a two-week exhibition and a public debate at Lungomare (Such Territorial Claims), a four-week poster campaign in the city (Transform Spatial Imagination into), a two-hour performative gathering on the Virgolo and an itinerant, ongoing eight-month intervention in public space (Obscure), with the titles and contents of these works all leading up to the current exhibition. These public moments have posed a set of questions about territorial claims, the urban imagination and the experience of boundaries, notions that re-surface in Bolzano and many places today.

For the current exhibition Altay has set one ‘setting’articulated in two moments, both of which act as display, sculpture and editorial device. The first, resembling the shapes of a tunnel and a roof, forms the central body of the VFI. Making clear reference to the little-known anecdote of dwellers inhabiting the unfinished Virgolo tunnel during and after the Second World War, the installation gathers various types of ‘fragment’ collected during the residency, composing a principle line of inquiry around the issue of ‘inhabiting infrastructures’ – a central narrative from which different lines of research depart (‘who is allowed to claim public space, who is forced to inhabit infrastructure space?’ reads one of the posters of the campaign).

The second moment unfolds around Ahali, a journal that Altay has been publishing since 2007. This journal ‘for setting a setting’ is a growing collection of works, statements and voices from artistic and spatial practices. In the context of this exhibition Ahali is used as a tool for expanding the different subject matters that emerge from the Virgolo and placing them within a wider framework of cultural references and international cases. Rather than being seen as periodical markers, new issues of the journal are treated as hovering frames for matters of concern, with those introduced in this exhibition – ‘Inhabiting Infrastructures’, ‘Landscape of Desire’, ‘Alliance of the Radically Different’, ‘Tremors from Here and Elsewhere’ and ‘Instituting Uncertain Publics’ – effectively forging a link between the project and the publication.

Can Altay’s exhibition operates both as a tool and as a fiction; by founding an imaginary institute (VFI) on the basis of unofficial, hidden, unplanned uses, he composes an archaeology of desire that is able to suggest modes of looking at and addressing the future of the mountain and, by extension, the city. These can be taken as instances of a multitude of possible ways to tackle, as Altay himself says, ‘neo-liberal politics and its counter-hegemonies’.

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Public Programme
Oliver Ressler and Zanny Begg, The Right of Passage, 2013

The Right of Passage
15 April 2016, 5pm

Screening and discussion

 

With Andrea Deaglio (film-maker ), Lorenzo Pezzani (architect), Monika Weissensteiner (anthropologist).

 

A collaboration between ar/ge kunst and Bolzano Film Festival

Foto ar/ge kunst, 2016, Luca Guadagnini

Foto ar/ge kunst, 2016, Luca Guadagnini

Foto ar/ge kunst, 2016, Luca Guadagnini

Foto ar/ge kunst, 2016, Luca Guadagnini

Foto ar/ge kunst, 2016, Luca Guadagnini

Foto ar/ge kunst, 2016, Luca Guadagnini

Foto ar/ge kunst, 2016, Luca Guadagnini

Foto ar/ge kunst, 2016, Luca Guadagnini

On the occasion of the exhibition by Austrian artist Oliver Ressler at ar/ge kunst, The Right of Passage is an evening event featuring a screening and discussion of the film of the same name by Ressler and Zanny Begg.

The Right of Passage (2013, 19 mins) is partially constructed through a series of interviews with Ariella Azoulay, Antonio Negri and Sandro Mezzadra and focusses on struggles to obtain citizenship while at the same time questioning the implicitly exclusionary nature of the concept. The film refers to the stages or “rites of passage” that mark important transitions on the path to selfhood and suggests that freedom of movement must become a right granted to every person – regardless of his or her place of birth.

Biographies

Lorenzo Pezzani is an architect based in London and Trento. His work deals with the spatial politics and visual cultures of migration, with a particular focus on the geography of the ocean. Since 2011 he has been working on Forensic Oceanography, a collaborative project that critically investigates the militarized border regime and the politics of migration in the Mediterranean Sea. He is one of the founders of WatchTheMed, an online platform that documents and maps the deaths and the violations of migrants’ rights on the maritime borders of the European Union. He is currently a post-doctoral fellow at the Kent School of Law.

Andrea Deaglio was born in Turin, where he makes documentaries, multimedia and audio-visual productions with Mu Film. His documentary films include: Show all this to the world (Italy 2015, 55 mins) programmed at Bolzano Film Festival; Storie di uomini e lupi (Italy/France 2015, 75 mins, co-directed with Alessandro Abba Legnazzi and produced by Babydoc Film); Il futuro del mondo passa da qui – City veins (Italy 2010, 63 mins), winner of the award Joris Ivens – Best International First Film at Cinèma du Réel (Parigi 2011) and first prize at Docucity (Milan 2012); Nera – not the promised land (Italy 2007, 22 mins), winner of the Premio Anello Debole.

Monika Weissensteiner is an anthropologist whose research focusses on violence, conflict, migration and health, as well as on the Common European Asylum System. She is a member of EASA (European Association of Social Anthropology) and has been working with the Foundation Alexander Langer since 2014. She also follows the initiative ‘Brenner/o Border Monitoring’, an active presence that has been monitoring the Brenner Pass from an operational centre in Bolzano since 2015.

With the kind support of:
Provincia Autonoma di Bolzano, Ripartizione Cultura
Forum Austriaco di Cultura, Milano
Comune di Bolzano, Ripartizione Cultura
Fondazione Cassa di Risparmio
Segheria Tatz Luis, Appiano

In collaboration with:
AKRAT, Cooperativa Sociale Bolzano
Bolzano Film Festival Bozen

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Exhibitions
Occupy, Resist, Produce, video stills, Oliver Ressler and Dario Azzelini, 2014-2015

Everything Under Control
Oliver Ressler
26.02.–30.04.2016

Opening and Artist’s Talk
25.02.2016, 7 pm
Oliver Ressler with Marco Scotini (curator and director at NABA – Nuova Accademia delle Belle Arti di Milano)
Click here for the video

 

Display in collaboration with Akrat, co-operative, Bolzano/Bozen.

Oliver Ressler, Everything Under Control, Installation view, photo by aneres, 2016

Oliver Ressler, Everything Under Control, Installation view, photo by aneres, 2016

Oliver Ressler, Everything Under Control, Installation view, photo by aneres, 2016

Oliver Ressler, Everything Under Control, Installation view, photo by aneres, 2016

Oliver Ressler, Everything Under Control, Installation view, photo by aneres, 2016

Oliver Ressler, Everything Under Control, Installation view, photo by aneres, 2016

Oliver Ressler, Everything Under Control, Installation view, photo by aneres, 2016

Oliver Ressler, Everything Under Control, Installation view, photo by aneres, 2016

Oliver Ressler, Everything Under Control, Installation view, photo by aneres, 2016

Oliver Ressler, Everything Under Control, Installation view, photo by aneres, 2016

Oliver Ressler, Everything Under Control, Installation view, photo by aneres, 2016

Oliver Ressler, Everything Under Control, Installation view, photo by aneres, 2016

Oliver Ressler, Everything Under Control, Installation view, photo by aneres, 2016

Oliver Ressler, Everything Under Control, Installation view, photo by aneres, 2016

Oliver Ressler, Everything Under Control, Installation view, photo by aneres, 2016

Oliver Ressler, Everything Under Control, Installation view, photo by aneres, 2016

Oliver Ressler, Everything Under Control, Installation view, photo by aneres, 2016

Oliver Ressler, Everything Under Control, Installation view, photo by aneres, 2016

ar/ge kunst is pleased to present Everything Under Control, the first solo exhibition at an Italian institution by Austrian artist Oliver Ressler.

Focusing mainly on Ressler’s practice as a filmmaker, this exhibition gathers new and recent works from various strands of research conducted over the course of his career. The display and installation, conceived as a unique path through the venue, underlines how these strands are deeply intertwined and part of Ressler’s continuous engagement with a wider idea of social justice.
Central to the exhibition is the opacity of language with which capitalism operates, communicates and tends to conceal the fact that economic, environmental and humanitarian crises in the southern hemisphere are co-dependent sides of a narrative which presents the wealth of the northern hemisphere as victimless and sustainable.

A large-scale photo-based image of the sea showing sinking vessels and container ships obscures the window of ar/ge kunst, addressing the street outside the venue and introducing the broader economic discussion within. Reading this image in relation to the title of the exhibition, Everything Under Control, might lead to the assumption that its intentions are ironic. After all, an economic system that rests on global trade but produces ecological and social catastrophes on a daily basis should really be described as ‘out of control’. However, in the context of the central work in the exhibition – a three-channel video installation entitled Occupy, Resist, Produce (2014–15) – the word ‘control’ actually implies ‘control by the workers’. This latest, on-going work, for which Ressler has been collaborating with Dario Azzellini, documents factories in Milan, Rome and Thessaloniki which, having been abandoned by their legal owners, were occupied by the workers between 2011 and 2013. Each film consists of a discussion with the workers and records their assemblies. The voices of the protagonists elucidate the complex and collective decision-making processes involved in converting these factories from sites for the production of goods into sites for the ‘production’ of new social and economic models, a process entailing the search for a language that could be shared with neighbours, locals and migrant communities whose struggles paralleled theirs.

The Visible and The Invisible (2014) and The Right of Passage (with Zanny Begg, 2013) are two films that take different approaches to dealing with movement across borders, (the denial of) access and plundering. The first looks at Switzerland’s role as a global headquarters for barely visible transnational corporations trading in raw materials usually extracted from the southern hemisphere. The Right of Passage focuses on struggles to obtain citizenship while also questioning the inherently exclusive nature of citizenship. Interviews with Sandro Mezzadra, Antonio Negri and Ariella Azoulay form the starting point for a discussion with a group of people living ‘without papers’ in Barcelona.

The exhibition display has been realized by the Akrat co-operative in dialogue with ar/ge kunst and the artist.

Everything Under Control is part of a cycle of solo exhibitions by Oliver Ressler at four European institutions: Lentos Kunstmuseum (Linz), n.b.k. – Neue Berliner Kunstverein (Berlin), CAAC – Centro Andaluz de Arte Contemporáneo (Seville) and ar/ge kunst (Bolzano), each presenting different aspects of the artist’s work. The book Cartographies of Protest is published as a collaboration of the four institutions.

Book:
Oliver Ressler, Cartographies of Protest, Verlag für Moderne Kunst, 2014.
Essays by TJ Demos, Katarzyna Kosmala, Suzana Milevska and Marco Scotini. Edited by Juan Antonio Álvarez Reyes, Marius Babias, Emanuele Guidi, Stella Rollig. In German and English, 160 pp.

With the kind support of:
Provincia Autonoma di Bolzano, Ripartizione Cultura
Forum Austriaco di Cultura, Milano
Comune di Bolzano, Ripartizione Cultura
Segheria Tatz Luis, Appiano

In collaboration with:
AKRAT, Cooperativa Sociale Bolzano
Bolzano Film Festival Bozen

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Public Programme
Nicolò Degiorgis Hidden Islam – Islamic makeshift places of worship in north – east Italy, photograph (2009-11). Courtesy of the artist

Hidden Islam / Sacred interiors in profane buildings
(La Mia Scuola di Architettura*5)
1 March 2016 7 pm

A conversation between Matilde Cassani and Nicolò Degiorgis about their respective research on the relationship between migrant communities’ practices of worship and informal processes that transform the urban landscape. Using photography as tool of investigation, Cassani and Degiorgis document the interiors of buildings (shops, warehouses, apartments, garages, etc.) whose function has been reinvented to host expressions of communal life derived from religious rites.

On the occasion of the book launch Hidden Islam by Nicolò Degiorgis and as part of the cycle La Mia Scuola di Architettura*

Click here for the video

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Public Programme
credits Ivo Corà

Such Claims on Territory Transform Spatial Imagination into Obscure
CAN ALTAY
December 2015 - May 2016

SPLIT HORIZON (Virgolo Edition)
From December 2015 to May 2016, Bolzano

LIMITED EXPERIENCE
14.11.2015, Recinto dell’Ex Club del tennis, Virgolo, ore 15.30

In the frame of: Radical Hospitality, One Year resarch project
residency project with Can Altay
a collaboration of ar/ge kunst and Lungomare

credits ivo corrà

credits ivo corrà

credits ivo corrà

credits ivo corrà

credits ivo corrà

credits ivo corrà

credits ivo corrà

credits ivo corrà

credits ivo corrà

credits ivo corrà

The Turkish artist Can Altay was invited by ar/ge kunst and Lungomare to a residency-project which started at the end of 2014 and which continues until summer 2016. Since the beginning of this project Altay has been conducting a profound study of the given situation in Bolzano being particularly interested in the close-by mountain Virgolo.
Altay is stimulating a public debate about the relationship of the city to this mountain which being vividly used in the past is practically abandoned today. Starting from a local phenomenon the artist widens the focus of his project posing questions regarding the possession and use of land and infrastructure which are of general relevance.
His artistic practice consists of designing a process which is set up of single ‘fragments’ – impressions, interpretations and comments of the present.

After analysing the Virgolo from a rather distant point of view which allowed the artist to understand its complexity, Altay decided to engage directly with the mountain from November / December 2015 onwards. He therefore developed the new episode “Such Territorial Claims Transform Spatial Imagination into Obscure (Third Fragment in Two Parts)”. While its first part is held on the mountain itself the second creates a visual connection with it from distinct points in the city.

Split Horizon (Virgolo Edition)
Intervention in public space
From December 2015 to May 2016, Bolzano

“Split Horizon (Virgolo Edition)” consists of a viewing device that moves along a trajectory. The 15 locations where the objects is positioned for a certain amount of time are of significance for Altay’s narration and connected with the Virgolo, the mountain in the outskirts of Bolzano. All spots are representative for the spatial dynamics and urban politics of Bolzano and the history of the city. The device invites the public to follow the artist’s view on the local situation and to think about global questions which are related to public claims of space and the inhabitation of infrastructure.
After transcurring its foreseen path the device will remain at disposition for the public which is invited to take it to new locations.

always 2.30-4.30 p.m., Bolzano
02.12.2015 Piazza Walther
06.12.2015 Mediaworld
13.01.2016 Eurac
27.01.2016 Piazza Tribunale
10.02.2016 Tower of the Museo Civico
24.02.2016 Funicular to Renon
09.03.2016 Private Apartment (Via Cappuccini 14, 3rd Floor)
16.03.2016 unibz Roof Terrace F6
23.03.2016 Bridge over Talvera
30.03.2016 Semirurali Park
06.04.2016 Bolzano Train Station
13.04.2016 Cappuccini Garden
20.04.2016 Walkway between via Aslago and via S. Vigilio
04.05.2016 Loreto Bridge
11.05.2016 Private Terrace (via Andreas Hofer 19, 4th Floor)

Limited Experience

Choreographed walk in public space
14.11.2015, 3.30 p.m., fence of the ex-Tennis club, Virgolo
In 2008 the property, that hosted the former Virgolo Tennis Club, was bought by a network of entrepreneurs (BBG Srl) interested in future real estate investments. Since that moment a fence impedes the access to what has been one of the recreational areas of the city of Bolzano. With “Limited Experience” Can Altay invites twelve people to move along the boundary between private property and public space, to share and challenge the experience of limitation.
This exercise tests the limits of a boundary imposed by the current town planning regulations.

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Exhibitions

Many Maids Make Much Noise
Olivia Plender
05 December 2015 – 13 February 2016

Opening
with Philipp Achammer council member

04 dicembre, 7 pm

 

Many men make money
Merry maidens dance in May
Mining means moving mounds
Militant miners means more money
Many maids make much noise

Olivia Plender, Many Maids Make Much Noise, Exhibition view at ar/ge kunst Bolzano, Foto aneres,2015

Olivia Plender, Many Maids Make Much Noise, Exhibition view at ar/ge kunst Bolzano, Foto aneres,2015

Olivia Plender, Many Maids Make Much Noise, Exhibition view at ar/ge kunst Bolzano, Foto aneres,2015

Olivia Plender, Many Maids Make Much Noise, Exhibition view at ar/ge kunst Bolzano, Foto aneres,2015

Olivia Plender, Many Maids Make Much Noise, Exhibition view at ar/ge kunst Bolzano, Foto aneres,2015

Olivia Plender, Many Maids Make Much Noise, Exhibition view at ar/ge kunst Bolzano, Foto aneres,2015

Olivia Plender, Many Maids Make Much Noise, Exhibition view at ar/ge kunst Bolzano, Foto aneres,2015

Olivia Plender, Many Maids Make Much Noise, Exhibition view at ar/ge kunst Bolzano, Foto aneres,2015

Olivia Plender, Many Maids Make Much Noise, Exhibition view at ar/ge kunst Bolzano, Foto aneres,2015

Olivia Plender, Many Maids Make Much Noise, Exhibition view at ar/ge kunst Bolzano, Foto aneres,2015

Olivia Plender, Many Maids Make Much Noise, Exhibition view at ar/ge kunst Bolzano, Foto aneres,2015

Olivia Plender, Many Maids Make Much Noise, Exhibition view at ar/ge kunst Bolzano, Foto aneres,2015

Olivia Plender, Many Maids Make Much Noise, Exhibition view at ar/ge kunst Bolzano, Foto aneres,2015

Olivia Plender, Many Maids Make Much Noise, Exhibition view at ar/ge kunst Bolzano, Foto aneres,2015

Olivia Plender, Many Maids Make Much Noise, Exhibition view at ar/ge kunst Bolzano, Foto aneres,2015

Olivia Plender, Many Maids Make Much Noise, Exhibition view at ar/ge kunst Bolzano, Foto aneres,2015

Olivia Plender, Many Maids Make Much Noise, Exhibition view at ar/ge kunst Bolzano, Foto aneres,2015

Olivia Plender, Many Maids Make Much Noise, Exhibition view at ar/ge kunst Bolzano, Foto aneres,2015

Olivia Plender, Many Maids Make Much Noise, Exhibition view at ar/ge kunst Bolzano, Foto aneres,2015

Olivia Plender, Many Maids Make Much Noise, Exhibition view at ar/ge kunst Bolzano, Foto aneres,2015

Olivia Plender, Many Maids Make Much Noise, Exhibition view at ar/ge kunst Bolzano, Foto aneres,2015

Olivia Plender, Many Maids Make Much Noise, Exhibition view at ar/ge kunst Bolzano, Foto aneres,2015

Olivia Plender, Many Maids Make Much Noise, Exhibition view at ar/ge kunst Bolzano, Foto aneres,2015

Olivia Plender, Many Maids Make Much Noise, Exhibition view at ar/ge kunst Bolzano, Foto aneres,2015

Olivia Plender, Many Maids Make Much Noise, Exhibition view at ar/ge kunst Bolzano, Foto aneres,2015

Olivia Plender, Many Maids Make Much Noise, Exhibition view at ar/ge kunst Bolzano, Foto aneres,2015

Olivia Plender, Many Maids Make Much Noise, Exhibition view at ar/ge kunst Bolzano, Foto aneres,2015

Olivia Plender, Many Maids Make Much Noise, Exhibition view at ar/ge kunst Bolzano, Foto aneres,2015

Olivia Plender, Many Maids Make Much Noise, Exhibition view at ar/ge kunst Bolzano, Foto aneres,2015

Olivia Plender, Many Maids Make Much Noise, Exhibition view at ar/ge kunst Bolzano, Foto aneres,2015

Olivia Plender, Many Maids Make Much Noise, Exhibition view at ar/ge kunst Bolzano, Foto aneres,2015

Olivia Plender, Many Maids Make Much Noise, Exhibition view at ar/ge kunst Bolzano, Foto aneres,2015

Olivia Plender, Many Maids Make Much Noise, Exhibition view at ar/ge kunst Bolzano, Foto aneres,2015

Olivia Plender, Many Maids Make Much Noise, Exhibition view at ar/ge kunst Bolzano, Foto aneres,2015

Olivia Plender, Many Maids Make Much Noise, Exhibition view at ar/ge kunst Bolzano, Foto aneres,2015

Olivia Plender, Many Maids Make Much Noise, Exhibition view at ar/ge kunst Bolzano, Foto aneres,2015

Olivia Plender, Many Maids Make Much Noise, Exhibition view at ar/ge kunst Bolzano, Foto aneres,2015

Olivia Plender, Many Maids Make Much Noise, Exhibition view at ar/ge kunst Bolzano, Foto aneres,2015

Olivia Plender, Many Maids Make Much Noise, Exhibition view at ar/ge kunst Bolzano, Foto aneres,2015

Olivia Plender, Many Maids Make Much Noise, Exhibition view at ar/ge kunst Bolzano, Foto aneres,2015

With the first Italian solo exhibition by British artist Olivia Plender (b. 1977), ar/ge kunst concludes its 2015 programme reflecting on thirty years’ activity as Bolzano/Bozen’s Kunstverein and on the meaning of its own name (ar/ge kunst as Arbeitsgemeinschaft or working group).

Plender is interested in the voice as material and an instrument to investigate how forms of authority and power relations can be established. In particular, she is interested in what the act of speaking in public itself means, who exactly feels the legitimacy to do it, who does not and how this affects the construction and the narration of history.

In Many Maids Make Much Noise, Plender carries on her recent research into the history of the Women’s Social and Political Union (WSPU) – the militant wing of the British Suffragette movement, which, at the beginning of the twentieth century, fought for women’s right to vote – allowing aspects to emerge that official historiography considers minor but that are central in the genealogy of the struggle for civil rights.

Specifically, the exhibition at ar/ge kunst is themed around Urania, a journal founded in 1915 by several suffragettes and active until 1940. It was the first British magazine to produce a cultural and political discourse on gender issues and the demands of lesbian and gay individuals and communities. The name Urania refers to a specific idea of Utopia, as a place where the categories of ‘male’ and ‘female’ do not exist. In the early twentieth century those people who did not neatly conform to social and sexual norms, constructed around ideas of ‘male’ and ‘female’ behaviour, often referred to themselves as Uranians. Subsequently, the journal Urania was a kind of catalogue of incidents of gender troubling and feminist struggles; a collection of articles clipped from newspapers from around the world, republished with very little editorial and analytical commentary and distributed privately to a wide network of friends and supporters. Any commentary was often unsigned or published under a pseudonym used collectively by several writers, which made Urania into an ‘institution’ that constituted itself through the voice of a collective subjectivity.

In a series of posters, banners and a sound piece in which she works with her voice, Plender re-edits fragments, articles, statements and the Index of Urania (Star Dust Index) to construct a textual space that invites the audience to a ‘public’ reading. The title of the show is drawn from a series of voice exercises that the artist practiced for the re-education of her own voice and which reappear in the sound piece where she rehearses them with a voice coach. Plender originally came across these exercises having lost her ability to speak following an illness in 2013 and repeated them daily over the course of her year-long rehabilitation. During that period she began to speculate about the anonymous author of these words and phrases; a care worker employed by the hospital where she received treatment, whose messages are clandestinely distributed through the bodies of individuals attempting to find a voice. Hidden amongst absurd ‘nonsense’ sounds are exercises which seem to refer to recent history, such as the British miners strike of the 1980s, and address militancy and the act of speaking itself ¬– what it means to collectively ‘make noise’ in order to be heard in public.

In the exhibition Plender reflects on the relationship between ideology and institutions, as well as on the modes by which they affect the body as a place where the personal and the political coexist. In this polyphonic exhibition, through which many voices can be heard, Plender remains loyal to the educative, formative and emancipatory dimension of the actions of those ’many maids’ who came together to ’make much noise’.

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Public Programme
Image: Daniel Salomon, The Politics of Fermentation, 2015

Spaces of Anticipation
A symposium
20 - 21 November 2015

KEYNOTE LECTURES

Roberto Poli (UNESCO Chair in Anticipatory Systems, University of Trento)
Stephen Wright (writer and researcher, Collège International de Philosophie, Paris).

 

 

ROUNDTABLE

Bar Project (organization, Barcelona); Roberto Gigliotti, Professor UNIBZ (Bolzano); Emanuele Guidi, artistic director ar/ge kunst; Krüger & Pardeller, artists (Vienna); Lorenzo Sandoval, artist and curator (Berlin); Manuel Segade, curator (Rotterdam).

 

 

PERFORMANCE

The Politics of Fermentation
Daniel Salomon, artist (Berlin)

 

Curated by Emanuele Guidi and Lorenzo Sandoval

Anticipation
from past participle stem of anticipare: ante ‘before’ + capere
‘to take (care of) ahead of time’

Anticipate
‘1 Regard as probable; expect or predict.
1.1 Guess or be aware of (what will happen) and take action in order to be prepared.
1.2 Look forward to.
2 Act as a forerunner or precursor of.
2.1 Come or take place before (an event or process expected or scheduled for a later time’

‘…If the last forty years have been marked by ‘posts’ (post-war, post-colonialism, postmodernism, post-communism), then today, at least, we seem to be in a period of anticipation – an era that museums of contemporary art can help us collectively to sense and understand.’

The forthcoming symposium at ar/ge kunst is the third iteration of the research project Spaces of Anticipation by Lorenzo Sandoval and Emanuele Guidi. The project began in May 2014 with an initial symposium at the EACC in Castellón and was followed by the research exhibition Making Room – Spaces of Anticipation at ar/ge kunst from June to July 2014.
Anticipation, both as ‘looking ahead’ and ‘looking forward’, evokes an idea of expectation and excitement towards what and who is yet to come. It also suggests the idea of taking action in the present to get prepared for potential encounters.

Anticipation is becoming a field of study in itself, a field that continuously analyses present conditions to respond to upcoming events, developments and trends.

Starting from these considerations and implications, the project Spaces of Anticipation looks at this manifold notion in relation to artistic and cultural institutions. It proposes various strands of research that might help to define the fields of action in which institutions work and communicate with their communities. In these terms, the word anticipation is proposed as a conceptual and linguistic prop, a support from which the research unfolds and around which various positions are gathered in discussing institutional models, practices and attitudes.

The symposium brings together various contributors: artists, curators and researchers who, in their own practices and investigations, expand the grammar of exhibition making by intertwining it with other formats of (collective) knowledge production and distribution. Accordingly, their attention to forms of orality and ‘narratorship’, to the practices of care and hospitality and to the politics of time and display are essential when discussing modes of relations and exchange that can be established through and within the institution.

The Politics of Fermentation
Performance by Daniel Salomon

Daniel Salomon’s contribution to the symposium is a hands-on sauerkraut participative performance. He states: ‘Fermentation preserves food, is healthy, saves energy and tastes delicious. But besides all these benefits, the reason why I am so fond of fermentation is because I see it as an endless source of metaphors opening up for new ways of engaging with the world. On a microscopic scale bacteria and fungi interact, coevolve, exchange DNA, compete, die, feed on the organic rest of each other and so on, all that according to a complex environment. Fermenting food is thus more a collaboration with other species (bacteria and fungi) rather than a process we have complete control on. Applied to the idea of anticipation, I would like to propose sauerkraut making as a relevant paradigm for a pragmatic and humble approach to how we could influence our environment’.

The symposium takes place within the context of Ingrid Hora`s exhibition “der Grillentöter/ L’ammazzagrilli’ and coincides with its finissage.

The Symposium is kindly supported by Acción Cultural Española (AC/E)

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News

Oliver Laric awarded with Paul Flora Price 2015


ar/ge kunst is happy to announce that artist Oliver Laric has been awarded with the Paul Flora Preis 2015 by the Bundesland Tirol and the Autonomous Province of Bozen/ Bolzano, Südtirol.

ar/ge kunst presented the first solo exhibition of Oliver Laric in Italy between the 28 November 2014 and 24 January 2015. The exhibition has been co-produced in collaboration with the New Museum of New York.

More information at this link http://www.provinz.bz.it/kulturabteilung/kultur/3903.asp

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News

“Die Umbequeme Wissenschaft / The Uncomfortable Science” travels to Museum BPS22, Charleroi


We are happy to announce the presentation of the project Die Unbequeme Wissenschaft / The Uncomfortable Science by Gareth Kennedy at Museum BPS22 in Charleroi, as part of the exhibition The World Upside Down.

Die Unbequeme Wissenschaft / The Uncomfortable Science has been produced by ar/ge kunst and presented in 2014 in Bolzano
Stube design by Harry Thaler
in collaboration with Kofler Deplau

The World Upside Down
opening: 25.09.2015
26.09.2015 – 31.01.2016

More information at this link http://www.bps22.be/en/Exhibitions/The-Worlds-Turned-Upside-Down

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Exhibitions
grillentöter cicrcle

You play this game, which is said to hail from China.
And I tell you that what Paris needs right now is to welcome that which comes from far away.
(Der Grillentöter / L’Ammazzagrilli)
11 September – 21 November 2015

INGRID HORA

 

Choreography by Claudia Tomasi

 

OPENING
11 September, 7 pm

 

Performance starts at 7 pm sharp

 

Curated by Emanuele Guidi

Ingrid Hora, Der Grillentöter, exhibition view, 2015, photo by aneres

Ingrid Hora, Der Grillentöter, exhibition view, 2015, photo by aneres

Ingrid Hora, Der Grillentöter, exhibition view, 2015, photo by aneres

Ingrid Hora, Der Grillentöter, exhibition view, 2015, photo by aneres

Ingrid Hora, Der Grillentöter, documentation of the performance, 2015, photo by Tiberio Sorvillo - visualite

Ingrid Hora, Der Grillentöter, documentation of the performance, 2015, photo by Tiberio Sorvillo – visualite

Ingrid Hora, Der Grillentöter, documentation of the performance, 2015, photo by Tiberio Sorvillo - visualite

Ingrid Hora, Der Grillentöter, documentation of the performance, 2015, photo by Tiberio Sorvillo – visualite

Ingrid Hora, Der Grillentöter, documentation of the performance, 2015, photo by Tiberio Sorvillo - visualite

Ingrid Hora, Der Grillentöter, documentation of the performance, 2015, photo by Tiberio Sorvillo – visualite

Ingrid Hora, Der Grillentöter, documentation of the performance, 2015, photo by Tiberio Sorvillo - visualite

Ingrid Hora, Der Grillentöter, documentation of the performance, 2015, photo by Tiberio Sorvillo – visualite

Ingrid Hora, Der Grillentöter, documentation of the performance, 2015, photo by Tiberio Sorvillo - visualite

Ingrid Hora, Der Grillentöter, documentation of the performance, 2015, photo by Tiberio Sorvillo – visualite

Ingrid Hora, Der Grillentöter, documentation of the performance, 2015, photo by Tiberio Sorvillo - visualite

Ingrid Hora, Der Grillentöter, documentation of the performance, 2015, photo by Tiberio Sorvillo – visualite

Ingrid Hora, Der Grillentöter, documentation of the performance, 2015, photo by Tiberio Sorvillo - visualite

Ingrid Hora, Der Grillentöter, documentation of the performance, 2015, photo by Tiberio Sorvillo – visualite

Ingrid Hora, Der Grillentöter, documentation of the performance, 2015, photo by Tiberio Sorvillo - visualite

Ingrid Hora, Der Grillentöter, documentation of the performance, 2015, photo by Tiberio Sorvillo – visualite

Ingrid Hora, Der Grillentöter, documentation of the performance, 2015, photo by Tiberio Sorvillo - visualite

Ingrid Hora, Der Grillentöter, documentation of the performance, 2015, photo by Tiberio Sorvillo – visualite

Ingrid Hora, Der Grillentöter, documentation of the performance, 2015, photo by Tiberio Sorvillo - visualite

Ingrid Hora, Der Grillentöter, documentation of the performance, 2015, photo by Tiberio Sorvillo – visualite

Ingrid Hora, Der Grillentöter, documentation of the performance, 2015, photo by Tiberio Sorvillo - visualite

Ingrid Hora, Der Grillentöter, documentation of the performance, 2015, photo by Tiberio Sorvillo – visualite

With this exhibition project by Ingrid Hora, ar/ge kunst continues to reflect on its thirty years of activity as Bolzano/Bozen’s Kunstverein and on the meaning of its own name (ar/ge kunst as Arbeitsgemeinschaft or working group). You play this game, which is said to hail from China. And I tell you that what Paris needs right now is to welcome that which comes from far away. (Der Grillentöter / L’Ammazzagrilli) is the first phase of a body of research that Hora is carrying out under the title freizeyt, or ‘leisure time’. Her research considers leisure time as a key concept through which to observe and investigate the forms of collaboration and organization that operate in and regulate society.

Against the backdrop of the progressive disappearance of the border between leisure time and labour time under semio-capitalism, in this exhibition Hora traces a series of historical references that make explicit how the management of leisure time in ‘productive’ terms is a preoccupation that emerges with modernity. She looks at the institutions and associative forms that began to proliferate in Europe at the beginning of the nineteenth century (mainly in central Europe) and the way the modern state made it possible for people to meet outside working hours. Three focal points of her research are the Vereine (the root of the word Kunstverein), Schrebergärten and Turnplätze [1] – all of which imply the possibility of combining cultural and recreational activities with the educational, the civic and the political.

At the same time, Hora is also interested in another minor phenomenon that occured in Europe around the same period: the spread of Tangram, a sort of puzzle or pastime imported from China. The game begins with seven elements arranged in a square and then proceeds with the composition of thousands of possible abstract or figurative forms. The title of the exhibition quotes a vignette from the box of a Tangram set from that era and conveys the need to welcome different perspectives on how to ‘pass time’. In answer to this appeal, Hora makes all these apparently disparate elements converge, constructing a personal grammar that facilitates the migration of forms and perspectives.

The time and space of the exhibition are articulated by seven sculptures – translations of sports equipment and the Tangram set itself – which produce a sort of potentially performable and functional gymnasium where two videos and one performance are also presented. These videos and the performance were realized in collaboration with choreographer Claudia Tomasi and the male voice choir of Völs am Schlern, an association from the South Tirol.

If on the one hand this setting appears to favour collective forms of exercise, on the other it implies that ‘logic of competition’ which, to paraphrase the German sociologist Hartmut Rosa’s Alienation and Acceleration, is intrinsic to both sport and economics.

After its first stop at ar/ge kunst, the exhibition will travel to DAZ – Deutsches Architektur Zentrum in Berlin (01.12.2015 – 14.02.2016)

Ingrid Hora’s research project Freizeyt is a collaboration between ar/ge kunst and DAZ

With the kind support of:
Autonome Provinz Südtirol
Abteilung Kultur
 Autonome Region Trentino Südtirol
Stadtgemeinde Bozen
Stiftung Südtiroler Sparkasse

Barth – building interior architecture.

A special thanks go to:
Male voice choir of Völs am Schlern
Ivo Barth

————————-
[1] A Verein is an association or society; Schrebergärten, or allotments, are urban gardens for families gathered in small colonies – their emergence is attributed to the research of German pedagogue Daniel Gottlieb Moritz Schreber (1808–1861); a Turnplatz is an open air gymnasium, the first of which was founded by Friedrich Ludwig Jahn at the Hasenheide park in Berlin.

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News
Bassin ouvert, Clémence Seilles, Installation view, photo by aneres

summer break


ar/ge kunst will be closed from 4 August to 11 September 2015.
We wish you a great Summer.
See you in September with:
Ingrid Hora
Ligna
Can Altay

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Public Programme

The Great Refusal
Ligna
23 September 2015, 8:30 pm

Performance
In collaboration with Festival Transart

 

at
Ex- Electronia
Schlachthofstr. 38
39100 Bozen

booking compulsory
info@transart.it & 0471 673070

The collective Ligna, based in Germany and founded in 1997 by the performing artists and radio activists Ole Frahm, Michael Hueners and Torsten Michaelson bring on stage a vision, a possible European History that never happened.

In August 1914, a congress of the Second Socialist International was supposed to take place in Vienna with the aim of reacting to the potential beginning of the Great War with a general strike, which should have desirably brought to collapse the infrastructures of involved countries and thus prevented the conflict burst. The congress and the strike never took place. The participants’ speeches and interventions were already written, the permit requests had been transmitted, but the war anticipated them and blocked its actualization.

In the year of the hundredth anniversary of WWI, Il grande rifiuto (original title “Die große Verweigerung”) investigates the individual and collective possibilities to refuse by re-enacting a story that never happened and whose end is unknown. The audience is invited to partake to a historical fiction: the congress of the Socialist International will take place in Santarcangelo, opening up a parallel universe, where the war as ineluctable destiny is called into question. Every one will deal with a series of “resistance exercises”, a training of individual and collective refusal poses and gestures.

Die große Verweigerung is the result of a series of artistic research residencies in Bolzano, Bologna, Genova and Reggio Emilia, that took place in April 2015.

In German and Italian


artistic coordination and production:
Elena Basteri; Emanuele Guidi; Elisa Ricci
administration:
Verena Rastner (ar/ge kunst, Bolzano/Bozen)
translation: Elena Basteri, Elisa Ricci

co-production: ar/ge kunst Bolzano / Bozen, Festival Transart Bolzano / Bozen, Santarcangelo 2015 Festival Internazionale del Teatro in Piazza; On Bologna; Fondazione Luzzati – Teatro della Tosse; Terni Festival Internazionale della creazione contemporanea (t.b.c.)
supported by: Goethe – Institut Genua; Goethe – Institut Mailand, Nationales Performance Netz (NPN) International Guest Performance Fund for Dance.

Residency program supported by Goethe – Institut e.V. Ligna
thanks to: Franco Berardi Bifo; Max Herold; Hans Heiss; Marco Marzi; Sandro Mezzadra; Cecilia Muraro; Hannes Obermair; Matteo Pasquinelli; Mirko Saltori; Sebastiano Tringali; Cecilia Troiano; Oswald Überegger.

Tour:

Festival Santarcangelo dei Teatri, 10 July 2015 (National Premiere)

Festival Transart and ar/ge kunst, 23 September 2015

Terni Festival Internazionale della creazione contemporanea, 20 September 2015

Teatro della Tosse, Genova, 26/27 November 2015

http://ligna.blogspot.it/

Loghi Ligna

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Public Programme
Studio Practice: On the Act of Reading / Valentina Desideri

Studio Practice:
On the Act of Reading

Valentina Desideri
2-3-4 July 2015, from 2 to 8 pm

in collaboration with philosopher DENISE FERREIRA DA SILVA and choreographers JENNIFER LACEY, CRISTINA RIZZO and MARA CASSIANI

Dear reader,

You are invited to join us for Studio Practice: On the Act of Reading. The studio will be open from 2 to 8 pm on 2, 3 and 4 July 2015. You can stay for as much or as little time as you like.

Valentina, Denise, Jennifer, Cristina and Mara will gather in study and in the studio to take a close look at the act of reading.

Together we share several practices, among which are dance, healing practices (both fake and real), philosophy, astrology, writing and teaching. We consider each of these practices a kind of reading. But also, reading is going on all the time. We all constantly read text, images, situations, expressions, bodies and space, and a lot of our understanding is built upon these instantaneous readings.
Any reading is an imaging, already a composition and a representation of what is read. This view of reading as imaging draws on Walter Benjamin’s writings on reading and imaging as modes of expression that privilege intuition over a view of knowing and existing that relies on reflection, understanding and recognition.
We invite you to enter this study through a loose methodology we call Studio Practice, which refers to both the practice of being in the studio and the practice of studying.
If we consider study as something we do with others – modes of learning that produce other ways of living together, and vice versa – then the studio is not just
a place in which to study but also a place that makes study possible by virtue of its specific conditions.
The specific type of studio we are borrowing from is the dance studio, where multiple proposals, spoken or simply enacted, follow one another and travel through bodies and dimensions (physical, intellectual, emotional, spiritual). In the studio we enter into sequences of actions, silences, discussions, attempts, banalities, conflicts, excitements. In other words: we engage in the specific mode of ‘ensembling’ that is study.
Assuming none of us knows what study might come
to mean to us, we invite you to join us in the studio,
to spend time reading, moving, talking, watching, listening, meeting, getting bored or interested or activated, gathering material around reading and following all possible lines of inquiry that might emerge.

Feel free to bring ‘things’ you would like to read; a book, a letter, an object, a movement, your hands…
We hope to see you there,

Valentina, Denise, Jennifer, Cristina and Mara


Studio Practice: On the Act of Reading
is a three-day event organised by Valentina Desideri in collaboration with Denise Ferreira de Silva, Jennifer Lacey,
Cristina Rizzo and Mara Cassiani.

Studio Practice: On the Act of Reading takes place within and activates the exhibition Bassin ouvert by French designer and artist Clémence Seilles
(until 1 August 2015).

Co-produced by Bolzano Danza | Tanz Bozen.

Thanks to Museion for the participation of Cristina Rizzo.

Studio Practice: On the Act of Reading and Bassin ouvert are part of PIANO, Prepared Platform for Contemporary Art, France–Italy 2014–2016, initiated by d.c.a. \ French association for the development of centres d’art, in partnership with the Institut français in Italy, the French Embassy in Italy, the French Ministry of Foreign Affairs and International Development, the French Ministry of Culture and Communication and the Fondazione Nuovi Mecenati.

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Public Programme
engaged anthropology

Engaged Anthropology
24 june 2015, 6pm

Organized by EVAA – Anthropological Association of the South Tyrol, in the context of the exhibition Bassin ouvert by Clémence Seilles.

The event will discuss the practical and political implications of applied anthropology.

With: Dorothy Zinn – professor at the FUB (Freie Universität Bozen), Elisabeth Tauber, researcher at FUB and Monika Weissensteiner, refugee monitoring volunteer

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Public Programme
Can Altay_Poster_2015

RADICAL HOSPITALITY
CAN ALTAY
26 May - 14 June 2015

A collaborative project by ar/ge kunst & Lungomare

The Turkish artist Can Altay, is returning to Bolzano for a third encounter in the frame of his long-term residency. Altay is dedicating himself to questions about the city and particularly the Virgolo. In the frame of his stay we realize a range of public activities and interventions.

poster campaign
SOLCH TERRITORIALE ANSPRÜCHE VERWANDELN DAS RÄUMLICHE VORSTELLUNGSVERMÖGEN IN (STUDIO VIRGOLO SECOND FRAGMENTS)

Time: 26 May – 14 June 2015
Location: Bozen / Bolzano

Can Altay’s project continues with what he defines as a second series of fragments of the Studio Virgolo project. The 1948 newspaper article about the “mole people” that – shortly after the WWII – lived in the tunnel that runs through the mountain and was not yet opened to the traffic keeps stimulating the artist’s imagination.
“who is allowed to claim public space, who is forced to inhabit infrastructure space? TUNNEL DWELLERS OF THE 1940S. FUNICULAR STOPS RUNNING. PARTIES AT THE FORMER SOCIAL CLUB. SHOPPING MALLS AND THEME PARKS. ESCAPE ROUTES AND REFUGE SITES.”
Altay occupies the commercial communication surfaces of Bolzano with a series of posters that focus on neglected desires and unfulfilled promises: like advertisements for an imaginary tourism, they function as a campaign on the issues that will be publicly discussed in Lungomare during the conversation of the 12th of June.
The reason that moves the artist to focus the attention on the Virgolo mountain comes also from the global references that such a specific place can engender.

reading group

Time: 9 June 2015, 6 – 8 pm
Location: Park in front of the train station, Bolzano
(in case of rain: Bar Jona)

In the third chapter of Rebel Cities the Marxist geographer David Harvey reads the urban commons as the product of social relations: people living in the city produce urban commons all the time. Gentrification is the process which capitalizes this vitality continuously produced by the city, a process that often is named with the euphemism of “regeneration”. Harvey reads gentrification as a privatization – for the profit of a few – of the vitality produced by a city and its inhabitants, a privatization often instigated by public institutions.
This text can help us exiting the rhetoric of the opposition between “regeneration” and “degradation”: the so-called social disadvantage (disagio sociale) is in fact provoked by the very process of regeneration. The reading of this text will allow us to read the current selling off of public goods and land in Bolzano not as a specifically local but as a global monstrosity.
How to describe the complexity of top-down urban transformations in Bolzano and what are the possibilities of reclaiming as commons those forms of life that as inhabitants of the city we continuously produce?

(The text can be requested at Lungomare.)

panel discussion
CONFLICT OVER SPATIAL IMAGINATION (DEVELOP VIRGOLO?)

Time: 12 June 2015, 7 pm
Location: Lungomare Rafensteinweg 12, Bozen/Bolzano

With: Stefano Novello, Michael Obrist, Huib Haye van der Werf

Sites such as the Virgolo, a mountain in the direct surrounding of Bolzano, bring with them a set of questions in relation to envisioning the future of our cities. The challenge in imagining the future of such places lies in the ways in which (or whether) we can overcome attitudes of conservation as much as neo-liberal commodification of such urban and semi-urban landscapes. These are the two fronts that the battlefield seems to be divided into currently.
This panel seeks to address the spatial imagination over the Virgolo, by scrutinizing the current models and proposals (both the neo-liberal policies and imaginaries over such pieces of land as ‘to be developed’; and its counter-hegemony of a more preservative tone). While choosing to avoid these two positions, the panel will search for possibilites that do not by-pass this conflict over spatial imagination and foresight, but rather look for ways in which the city can allow its inhabitation otherwise, in face of the current constipation over urban future.
Particularities of the Virgolo, its relationship to infrastructural development (tunnels) and the range of spaces and activities that surround it will be given special notice in the search for further possibilities.
The speakers Stefano Novello (Architect, Bolzano), Michael Obrist/Feld72 (Architect, Vienna) und Huib Haye van der Werf (Head of Artistic Program Multiform Institute for Fine Art, Design and Reflection, Maastricht) will shortly present different viewpoints and imaginaries over the Virgolo before the panel will be opened to the audience in a discussion moderated by Can Altay and the curatorial-team.

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Exhibitions

Bassin ouvert
Clémence Seilles
16 May – 1 August 2015

Opening
15 May 2015, 7 pm

 

curated by Emanuele Guidi

Bassin ouvert, Clémence Seilles, Installation view, photo by aneres

Bassin ouvert, Clémence Seilles, Installation view, photo by aneres

Bassin ouvert, Clémence Seilles, Installation view, photo by aneres

Bassin ouvert, Clémence Seilles, Installation view, photo by aneres

Clemence Seilles - argekunst web 05

Bassin ouvert, Clémence Seilles, Installation view, photo by aneres

Bassin ouvert, Clémence Seilles, Installation view, photo by aneres

Bassin ouvert, Clémence Seilles, Installation view, photo by aneres

Bassin ouvert, Clémence Seilles, Installation view, photo by aneres

Bassin ouvert, Clémence Seilles, Installation view, photo by aneres

Bassin ouvert, Clémence Seilles, Installation view, photo by aneres

Bassin ouvert, Clémence Seilles, Installation view, photo by aneres


Bassin ouvert, Clémence Seilles, Installation view, photo by aneres

Bassin ouvert, Clémence Seilles, Installation view, photo by aneres

Bassin ouvert, Clémence Seilles, Installation view, photo by aneres

Bassin ouvert, Clémence Seilles, Installation view, photo by aneres

ar/ge kunst is pleased to announce the first Italian solo exhibition by French artist and designer Clémence Seilles (1984, lives and works in Paris and Amsterdam). This project continues a series of presentations by artists who have been invited to mark the thirtieth anniversary of ar/ge kunst with reflections on the associative institutional model of the Kunstverein and the collective dimension its name suggests (ar/ge is an abbreviation of Arbeitsgemeinschaft, i.e. working group).

Building on a background in product design, Seilles’ artistic practice explores the tools, materials and ‘expositive mechanisms’ that constitute the dispostif of the art exhibition as a space of presentation, communication and legitimation. Having previously worked on the sculptural aspects of plinths and seats as elements of support, Seilles’ current work focuses on the construction of scenarios that facilitate collective, productive and performative situations. From the planning of salons decked out with furniture and accessories to the construction of recording studios for independent musicians complete with musical instruments designed by Seilles herself, these scenarios are a means of reflecting on the social rituals of the encounter and the event.

Bassin ouvert, Seilles’ intervention in the spaces of ar/ge kunst, expands the scope of her current research. A bassin in the proper sense is an artificial pond generally found in public and private courtyards and gardens, mainly in the Mediterranean countries. In this case, as the title suggests, it is an ‘open’ architectural element; it can function as a pure ornament, a fountain, a water source, or a sort of health spa and wellness centre. But its ultimate aim is achieved through the presence of water, creating an associative, hybrid, (re)generative milieu. This ‘object’ proposes functions and modes of operation that differ from those of the institution. Moving from scenography to a fluid form of support over the course of the exhibition, the bassin will actively foster and adapt itself to various forms of encounter as its possible uses are redefined from time to time by the artists, musicians, students and choreographers who gather here.

Bassin ouvert sees the contribution by artists Deborah Bowman, Laure Jaffuel, Theo Demans.

Clemence Seilles has invited artists Estrid Lutz, Emile Mold and Theo Demans to perform An Extra Collision during the opening (15 May, 8 pm).

SAVE THE DATE

On the 2, 3 and 4 July and as part of the current exhibition, artist and choreographer Valentina Desideri will present the project Studio Practice: On the Act of Reading in collaboration with the philosopher Denise Ferreira da Silva and the choreographers Jennifer Lacey, Cristina Rizzo and Mara Cassiani.



The project Bassin ouvert is part of PIANO, Prepared Platform for Contemporary Art, France–Italy 2014–2016, initiated by d.c.a / French association for the development of centres d’art, in partnership with the Institut français in Italy, the French Embassy in Italy and the Institut français, with the support of the French Ministry of Foreign Affairs and International Development, the French Ministry of Culture and Communication and Fondazione Nuovi Mecenati.

Studio Practice: On the Act of Reading, is a co-production with Festival Bolzano – Danza.

With the kind support of:
Provincia Autonoma del Sudtirolo, Ripartizione Cultura
Comune di Bolzano, Ripartizione Cultura

Fondazione Cassa di Risparmio, Bolzano
Nuovi Menenati, nouveaux mécènes – Fondazione franco-italiana di sostegno alla creazione contemporanea.
Bolzano Danza | Tanz Bozen

Special thanks to: Triangle, Marseilles

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Public Programme

ETHNO CAFÉ
FERTILITY RITES, YOUTH AND IDENTITY IN THE SOUTH TYROL: The case-study of Stilfs in the Vinschgau
29 April 2015, 6 pm

Ethno Café organised by EVAA – Anthropological Association of the South Tyrol, as part of the series La Mia Scuola di Architettura*

Professor Marta Villa, lecturer in cultural anthropology at the university in Trent, will present her study on identity, rites and agriculture.

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Public Programme
Spatial Dispositions, Cover, 2015

Book Launch: Spatial Dispositions by Aldo Giannotti
28 April 2015, 7 pm

ar/ge kunst is pleased to announce the launch of Aldo Giannotti’s Spatial Dispositions, published by the Verlag für Moderne Kunst. An artist’s book produced to paralled the exhibition of the same name, Spatial Dispositions is the result of Giannotti’s research on ar/ge kunst.

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Public Programme
Can Altay, Such Claims on Territory, Installation view photo by Lungomare Bolzano/Bozen

Reading Group
27. April 2015, 6 - 8 pm

Location: Kapuzinergarten Bozen
Within the framework of

RADICAL HOSPITALITY: SUCH CLAIMS ON TERRITORY,

Can Altay

 

A collaborative project by ar/ge kunst & Lungomare

 

Starting from some reflections we made together with Can Altay, the current artist in residence at ar/ge kunst and Lungomare, we would like to invite you to the first in a series of public readings and discussions that will happen in different places in the city, on topics like: “minor territorial claims and gestures; inhabiting infrastructure space; conflict over spatial imagination; neoliberal urban politics and its counter-hegemonies; times (past, present, future) indivisive from each other and from space”.

At the first meeting we’ll read “The Rhizome” by Deleuze and Guattari, available here.

We’ll start with a challenging text: the aim is not so much to analyse its meaning but rather to use it as a tool to read the urban context away from binary and “arborescent” logics, to attempt a “rhizomatic approach”, open to a complexity beyond pre-existing categories.

With this scope, we invite you to bring to the meeting one or more objects that you will use to share something that you feel like an urgency regarding the life in the city of Bolzano.

The text is dense and long, we recommend you to read especially pages 12 to 14, which talk of the difference between mapping and tracing. This distinction will be useful for us to re-read the city, and especially the areas around the train station, making use of the objects gathered and through possible drifts.

The meeting will take place next Monday the 27th of April at the Cappuccini Garden, from 6pm to 8pm (“we should start always from the middle” say Deleuze and Guattari).
In case of rain we will gather in front of the theatre and move to another location.

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Public Programme
Collective Curating from the Spatial Dispositions Series, Aldo Giannotti, ar/ge kunst, Bozen/Bolzano 2015

Collective Curating
from the series Spatial Dispositions
Aldo Giannotti
26 March 2015

Event hours:
11am-1 pm / 3-7pm

Things the audience would like to present in the exhibition space are drawn by the artist’ is a statement that accompanies the drawing Collective Curating. This drawing is just one of numerous projects that make up Aldo Giannotti’s exhibition, Spatial Dispositions, in which each project is activated at a different time.

On 26 March the artist will be at ar/ge kunst all day to meet anyone who – as the text suggests – want to present a ‘thing’ in the exhibition space. In activating this project Giannotti will be exploring the idea of the exhibition itself as a ‘theatre of things’ progressively accumulated in space by the act of narration.

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Exhibitions
Aldo Giannotti, Spatial Dispositions, 2014

Spatial Dispositions
Aldo Giannotti
07 February - 30 April 2015

Opening: 7 February, 7 pm

 

“disposition: 1) a person’s inherent qualities of mind and character; an inclination or tendency to  behave in a particular way; 2) the way in which something is placed or arranged; […].”

A Space Containing Itself,  from the Spatial Dispositions Series, Aldo Giannotti, ar/ge kunst, Bozen/Bolzano 2015 photo aneres

A Space Containing Itself, from the Spatial Dispositions Series, Aldo Giannotti, ar/ge kunst, Bozen/Bolzano 2015
photo aneres


A Space Containing Itself,  from the Spatial Dispositions Series, Installation View, Aldo Giannotti, ar/ge kunst, Bozen/Bolzano 2015 photo aneres

A Space Containing Itself, from the Spatial Dispositions Series, Installation View, Aldo Giannotti, ar/ge kunst, Bozen/Bolzano 2015
photo aneres

Spatial Dispositions, Aldo Giannotti, Installation View, ar/ge kunst, Bozen/Bolzano 2015 photo aneres

Spatial Dispositions, Aldo Giannotti, Installation View, ar/ge kunst, Bozen/Bolzano 2015
photo aneres

Tracing Categories,  from the Spatial Dispositions Series, Aldo Giannotti, ar/ge kunst, Bozen/Bolzano 2015 photo aneres

Tracing Categories, from the Spatial Dispositions Series, Aldo Giannotti, ar/ge kunst, Bozen/Bolzano 2015
photo aneres

Tracing Categories from the Spatial Dispositions Series, Aldo Giannotti, ar/ge kunst, Bozen/Bolzano 2015 photo aneres

Tracing Categories from the Spatial Dispositions Series, Aldo Giannotti, ar/ge kunst, Bozen/Bolzano 2015
photo aneres

Tracing Categories from the Spatial Dispositions Series, Aldo Giannotti, ar/ge kunst, Bozen/Bolzano 2015 photo Aldo Giannotti

Tracing Categories from the Spatial Dispositions Series, Aldo Giannotti, ar/ge kunst, Bozen/Bolzano 2015
photo Aldo Giannotti

Arbeitsgemeinschaft - The Changing Space,  from the Spatial Dispositions Series, Aldo Giannotti, ar/ge kunst, Bozen/Bolzano 2015 photo aneres

Arbeitsgemeinschaft – The Changing Space, from the Spatial Dispositions Series, Aldo Giannotti, ar/ge kunst, Bozen/Bolzano 2015
photo aneres

Promotion Loop,  from the Spatial Dispositions Series, Aldo Giannotti, ar/ge kunst, Bozen/Bolzano 2015 photo aneres

Promotion Loop, from the Spatial Dispositions Series, Aldo Giannotti, ar/ge kunst, Bozen/Bolzano 2015
photo aneres

Collective Curating from the Spatial Dispositions Series, Aldo Giannotti, ar/ge kunst, Bozen/Bolzano 2015

Collective Curating from the Spatial Dispositions Series, Aldo Giannotti, ar/ge kunst, Bozen/Bolzano 2015

The History of Management,  from the Spatial Dispositions Series, Aldo Giannotti, ar/ge kunst, Bozen/Bolzano 2015 photo aneres

The History of Management, from the Spatial Dispositions Series, Aldo Giannotti, ar/ge kunst, Bozen/Bolzano 2015
photo aneres

The Budget,  from the Spatial Dispositions Series, Aldo Giannotti, ar/ge kunst, Bozen/Bolzano 2015 photo aneres

The Budget, from the Spatial Dispositions Series, Aldo Giannotti, ar/ge kunst, Bozen/Bolzano 2015
photo aneres


Spatial Dispositions, Installation View, Aldo Giannotti, ar/ge kunst, Bozen/Bolzano 2015 photo aneres

Spatial Dispositions, Installation View, Aldo Giannotti, ar/ge kunst, Bozen/Bolzano 2015
photo aneres

Spatial Dispositions, Installation View, Aldo Giannotti, ar/ge kunst, Bozen/Bolzano 2015 photo aneres

Spatial Dispositions, Installation View, Aldo Giannotti, ar/ge kunst, Bozen/Bolzano 2015
photo aneres

In 2015 ar/ge kunst celebrates thirty years since its foundation in 1985. To mark this anniversary the entire annual programme will serve as a critical reflection on the history of ar/ge kunst and on the Kunstverein as the institutional model that has characterized it since the beginning.

Through the various practices of the participating artists, this process of self-examination will centre on the exhibition as a mode of research, production, collaboration and restitution; a space and time conceived to facilitate reciprocity and mutual influence between the exhibitions and the accompanying program of public discussions, workshops and performances.

The first exhibition project of 2015 is entitled Spatial Dispositions and has been devised by Italian artist Aldo Giannotti (b. 1977, lives and works in Vienna). As a progressive examination of ar/ge kunst itself, Spatial Dispositions will operate as the introduction to the anniversary program. Beginning with a series of spatial observations on the planimetry and architecture of ar/ge kunst, Giannotti’s research expands into the broad field of relations that have defined and continue to shape it as an institutional space. The history and economics of ar/ge kunst, its mission statement and ambitions, its responsibilities towards members and visitors, its relationship to its cultural and political context are here translated into projects for potential installations and performances.

Presented as a ‘programmatic’ series of ideas or concept drawings, the outcome of Giannotti’s intervention is a kind of cartography that evolves in line with the research and dialogue of all the visitors, members, staff and artists who are and have been involved in making ar/ge kunst what it is today. Drawing, as a planning tool, has always been integral to Giannotti’s artistic practice. He uses it as an occasion or medium for liberating an imaginative, anticipatory practice that gathers up countless interventions and possible ‘exhibitions’ in one and the same space. His ideas function as a commentary, critique and contribution, perpetually reconfiguring the representation of the space. As such, Spatial Dispositions provides an approach to the institution as a system that can be read and altered according to both senses of the word disposition: as a pre-existing quality, tendency or behavioural pattern on the part of the subject, and as the possible organisation, distribution and arrangement of things in space.

In these terms, Giannotti shifts what might be called the ‘affordances’ of the institution (properties inherent in the form or design of an environment and capable of conveying the possibility of its use) beyond immediate perception; ar/ge kunst becomes an object/subject that strives to perform a multiplicity of roles and functions in response to the actual or potential contexts it chooses to engage.

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Public Programme
Andreas Pichler, My 3 Peaks, video still, 2005

Like First Love
Andreas Pichler
(Ita) 27 Genniao, ore 19

La Mia Scuola di Architettura*

Ar/ge kunst will be opening its program for 2015 with a presentation by Andreas Pichler (1967, Bolzano/Bozen). Pichler presents an introduction to his practice, which lays particular emphasis on the landscape, especially that of the South Tyrol. Through a combination of film material and narration, Pichler reflects on the relationship between place, community and narrative in his work.

Andreas Pichler is a writer and director of documentaries. He has worked in Italy, Germany, Austria and France, co-producing films with broadcasters and production companies such as ARTE, RAI Cinema, ZDF and ORF. Recent productions include Europe for Sale (2014), Die Akte Pasolini (2013) and The Venice Syndrome (2012), which won prizes for best documentary film at the London Open City Festival and Cinemaambiente Turin.

* La Mia Scuola di Architettura is an ad-hoc series of public presentations on the notion of landscape. It takes its name from a series of photographs by artist and ‘anarchitect’ Gianni Pettena – photographs depicting the landscape of the Dolomites around Bolzano/Bozen. La Mia Scuola di Architettura considers the idea of landscape, its influence upon the development of the individual as artist and citizen, and its wider implications for the overall shape of the community. The series stimulates reflection on how knowledge is produced and transmitted, extending this idea to encompass education and schooling.

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Exhibitions
Oliver Laric, “Untitled”, video 4k, 2014

Oliver Laric
28 November 2014 - 24 January 2015

Opening
28 November 2014, 7pm

 

With a written contribution by Rosi Braidotti

 

Metamorphic Others and Nomadic Subjects

 

Curated by Emanuele Guidi

Oliver Laric, Installation view, photo by aneres, 2014

Oliver Laric, Installation view, photo by aneres, 2014

Oliver Laric, Installation view, photo by aneres, 2014

Oliver Laric, Installation view, photo by aneres, 2014

Oliver Laric, Installation view, photo by aneres, 2014

Oliver Laric, Installation view, photo by aneres, 2014

Oliver Laric, The Hunter and his Dog, 2014, Installation view, photo by aneres, 2014

Oliver Laric, The Hunter and his Dog, 2014, Installation view, photo by aneres, 2014

Oliver Laric, The Hunter and his Dog, 2014, Installation view, photo by aneres, 2014

Oliver Laric, The Hunter and his Dog, 2014, Installation view, photo by aneres, 2014

Oliver Laric, The Hunter and his Dog, 2014, Installation view, photo by aneres, 2014

Oliver Laric, The Hunter and his Dog, 2014, Installation view, photo by aneres, 2014

Oliver Laric, 2014, Installation view, photo by aneres, 2014

Oliver Laric, 2014, Installation view, photo by aneres, 2014

Oliver Laric, 2014, Installation view, photo by aneres, 2014

Oliver Laric, 2014, Installation view, photo by aneres, 2014

Oliver Laric  2014  4K video, colour, sound  5 min 20 sec  Edition of 5 + 2 AP

Oliver Laric
2014
4K video, colour, sound
5 min 20 sec
Edition of 5 + 2 AP

Oliver Laric  2014  4K video, colour, sound  5 min 20 sec  Edition of 5 + 2 AP

Oliver Laric
2014
4K video, colour, sound
5 min 20 sec
Edition of 5 + 2 AP

Oliver Laric  2014  4K video, colour, sound  5 min 20 sec  Edition of 5 + 2 AP

Oliver Laric
2014
4K video, colour, sound
5 min 20 sec
Edition of 5 + 2 AP

Oliver Laric, Installation view, photo by aneres, 2014

Oliver Laric, Installation view, photo by aneres, 2014

ar/ge kunst Galerie Museum is pleased to announce the opening of the first solo exhibition in Italy by artist Oliver Laric (Innsbruck, 1981).

Laric’s research has always moved in the expanded field of visual culture and its complex relationship to the internet, a research he does by investigating the effects of distribution over the field of production.
Working mainly in the media of sculpture and video, his practice addresses questions concerning how images are appropriated, interpreted, translated and re-circulated in a number of possible versions or iterations.
His interest in iconic images, which he extracts from contemporary culture and mythology alike, derives from an attentiveness to the creation and fluctuation of their value and power; a value no longer determined by any uniqueness or truth in the images themselves, but by the collective and often anonymous dynamics that, through distribution, transform them into icons.

In this exhibition at ar/ge kunst Laric’s research develops in two complementary directions. These consider anthropomorphism, shape-shifting and forms of hybridization as ways of exploring the relationship of reciprocity and continuity between the human figure and other agents, be they animals or objects; a subject spanning religion, science, folklore, popular and sub-cultures.

A new version of the Hunter and His Dog (2014) is presented as a series of bas-reliefs: three copies of the same sculpture by John Gibson (1838), 3D-scanned and hand-cast by Laric himself. The choice of this particular subject, an everyday scene in which Gibson portrayed a boy holding his dog by its collar, derives meaning from its mode of representation, which sets the human figure in a dualistic relationship with the dog. While Laric takes the white marble of Gibson’s detailed neoclassical sculpture as his starting point, he employs a different technique and a different material so as to transform the relationship between the two figures. The man’s former control over the dog becomes a continuity between two bodies, two subjectivities.

In his new video Laric further questions this dualistic system of categories (human–animal, human–object, man–woman…), exploring the notion of metamorphosis through a selection of scenes from illustrations and animations from the nineteenth century to the present. As with the sculpture, he chose not to work with the original material and instead commissioned three illustrators to redraw fragments and imagery from Russia, America, Japan and other countries known for their animated films. This act of redrawing isolates, from the original context, the process of shape-shifting so as to visualise the intermediate state of a character’s transformation from one recognisable form to another, a state existing somewhere in-between classifiable states. Laric actively perpetuates this continuous state of ‘becoming’ as a desirable condition that produces a whole range of hybrid subjects freely moving across gender and identities.

In Coproduction with
New Museum Triennial, New York
Tanya Leighton, Berlin

With the kind support of
Provincia Autonoma del Sudtirolo, Ripartizione Cultura
Comune di Bolzano, Ripartizione Cultura

Fondazione Cassa di Risparmio, Bolzano
IFA – Institut für Auslandsbeziehungen e.V
Land Tirol – Abteilung Kultur
Bundesministerium für Bildung und Frauen, Vienna
Austrian Cultural Forum in Milano

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Public Programme
Gareth Kennedy, Die Unbequeme Wissenschaft (The Uncomfortable Science) Installation design by Harry Thaler, Produced by Kofler and Deplau, San Felice / Val di Non © ar/ge kunst, Aneres 2014

Ethnocafé
Die Unbequeme Wissenschaft
29 October, 7 pm

In Collaboration with
Associazione Antropologica Alto Adige (EVAA)

The description of the event is available just in Italian and German.

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Public Programme
bir ihtimal with works by Nils Norman, Ceren Oykut, Sinek Sekiz, and the Park Collective. 2010. Photo: Laleper Aytek

RADICAL HOSPITALITY

CAN ALTAY
ARTIST TALK

A PROJECT BY
AR/GE KUNST AND LUNGOMARE
3 October, 7 pm

at Lungomare
Rafensteinweg 12
39100 Bolzano

 

Can Altay

Can Altay

ar/ge kunst and Lungomare invite Turkish artist Can Altay to Bolzano for a long term residency project from 2014 through 2016. The residency is dedicated to “Radical Hospitality” and invites the resident to approach and interpret radically questions linked to hospitality as a relational and social space, as a temporary condition and as a relationship that defines power dynamics.

Can Altay is an artist living in Istanbul. He investigates the functions, meaning, organisation and reconfigurations of public space. His ‘settings’ provide critical reflection on urban phenomena and artistic activity. His work traverses sculpture, photography and installation, and is staged and manifested through the spaces, exhibitions and publications he produces. Solo exhibitions at Arcade, London (2012), Casco, Utrecht (2011), The Showroom, London (2010). His work has been included in Biennials of Istanbul, Havana, Busan, Gwangju, Marrakech, Taipei; and in museums and galleries such as the Walker Art Center (Minneapolis), VanAbbe Museum (Eindhoven), ZKM (Karlsruhe), Artists Space (New York), and SALT (Istanbul)

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Public Programme
Gareth Kennedy, Die Unbequeme Wissenschaft (The Uncomfortable Science), Stuben-Forum Installation design di Harry Thaler, produced by Tischlerei & Möbelhaus Kofler, photo argekunt ,2014

STUBEN-FORUM
DIE UNBEQUEME WISSENSCHAFT
(THE UNCOMFORTABLE SCIENCE)
Saturday, 20 September, 3 - 5 pm

Gareth Kennedy

 

Installation design by Harry Thaler
Production by Josef Rainer and Verena Rastner

Curated by Emanuele Guidi

 

 

(in German language)

 

Invited speakers:

Georg Grote (University College Dublin)
Franz Haller, Visual Anthropologist (Meran)
Thomas Nußbaumer (University of Innsbruck)
Hannes Obermair (Bozen Stadtarchiv)
Ina Tartler (Vereinigte Bühnen Bozen)
Elizabeth Thaler (Vereinigte Bühnen Bozen)

Moderated by Hans Karl Peterlini (journalist and author, Bolzano/Bozen)

Programme

15:00 Welcome
Emanuele Guidi (artistic director ar/ge kunst)

15:10 Prologue
Hans Karl Peterlini

15:25 Mask Introduction
Thomas Nussbaumer introduces Richard Wolfram and Alfred Quellmalz, members of the SS Ahnenerbe Kulturkommission to the Sudtirol (1939 – 1942)
Franz Haller introduces Arthur Scheler, photographer from Meran.
Hannes Obermair introduces Bronislaw Malinowski, world famous anthropologist who used to vacation in Oberbozen

16:05 First Panel
Framing History
With Georg Grote and Hannes Obermair

16.35 Second Panel
Folk Culture (Uses & Abuses)
With Thomas Nussbaumer, Georg Grote, Franz Haller

17.05 Third Panel
Performing the Unstageable
With Ina Tartler and Elizabeth Thaler

17.35 Epilogue and Public questions discussion

18.00 End of the Stuben-Forum

Biographies

Georg Grote is a lecturer in Western European History and Head of School at University College Dublin. His research interests cover historical nationalism and modern regionalism; in particular, he has published case studies on Germany, Ireland and the South Tyrol. Georg Grote has been a regular visitor to the South Tyrol over the past 35 years and has thus experienced at first hand the great changes this region has undergone. While the local and regional histories of the South Tyrol are extremely interesting in their own right, its history within the broader context of twentieth and twenty-first-century European developments is particularly fascinating. With a wealth of teaching experience from across Europe and his home university in Dublin, Georg Grote seeks to relate his international research background to events in the South Tyrol and to present them in an engaging way.

Franz J. Haller was born in Meran (South Tyrol) in 1948. He studied ethnology at Vienna University and visual anthropology at Göttingen University, with field research in northern and central Africa and the Amazonian lowlands. He co-founded the Landwirtschafts-Museum Brunnenburg in Dorf Tirol in 1974. From 1976 to 1979 he was a research professor at OAS (Organization of American States) at the University of Quito, Ecuador. Haller has produced over 150 documentary films on the ethnography and recent history of the South Tyrol for television, schools and museums. He founded the internet portal www.tiroler.tv in 2012.

Thomas Nußbaumer was born in Hall in the Tyrol (Austria). He studied musicology and German at the Universität Innsbruck, obtaining a doctorate in 1998. His dissertation was published in 2001 as Alfred Quellmalz und seine Südtiroler Feldforschungen (1940–42): Eine Studie zur musikalischen Volkskunde unter dem Nationalsozialismus (Alfred Quellmalz and his field research in the South Tyrol (1940–42): A study on music folklore under National Socialism). In 2011 Nussbaumer completed a postdoctoral thesis on folk music at the Universität für Musik und darstellende Kunst in Vienna. He has taught at the Innsbruck campus of the Universität Mozarteum Salzburg since 1995, becoming a lecturer in 2011. He is head of the departmental area for music ethnology within the department of musicology. His research and publications focus on music and custom, carnival, folk music and Nazism, Alpine folk music traditions (western Austria and the South Tyrol in particular), and the music of the Old Order Amish.

Hannes Obermair was born in Bolzano in 1961. Research areas relating to the history of the region include comparative urban history and the early written word in the central Alps. In particular, his work focuses on transitional phenomena, forms of acculturation and the ‘grey areas’ that accompany and define the development of the Tyrol and Trento regions in the Middle Ages and the Early Modern Era. Much of his more recent work has considered questions of contemporary history and historiography in the context of fascism and the Nazi era.

Hans Karl Peterlini was born in Bolzano in 1961. He originally worked as a journalist covering contemporary politics and recent history, where his main focus was the sometimes violent political conflict over South Tyrolean autonomy, its long (and as yet incomplete) development from antagonism to peaceful coexistence. After a period in pedagogical and educational studies, he has since moved into a new professional field with similar interests and questions: How can people and groups cultivate their identities? How can individuals and collectives learn for the present and the future? What factors help and hinder open attitudes toward interaction? Hans Karl Peterlini is Professor of Pedagogy and Transcultural Education at the Universität Klagenfurt for the academic year 2014–15.

Ina Tartler was born in Rumania in 1966 and emigrated to Germany in 1988. She studied German literature, theatre studies and psychology at Ludwig-Maximilians-Universität in Munich. She was chief artistic advisor to the Schauspielhaus in Salzburg from 2002 to 2008, and has been chief artistic advisor at the Vereinigten Bühnen Bozen since 2008.

Elisabeth Thaler was born in Bolzano in 1981. She studied comparative literature and German at the Universität Innsbruck. She was student artistic advisor in residence at the Tiroler Landestheater in 2006, then assistant artistic advisor at the Vereinigten Bühnen Bozen from 2007 to 2012, where she is now an artistic advisor. She has worked with Bettina Bruinier, Agnese Cornelio, Philipp Jescheck, Alexander Kratzer, Carina Riedl, Georg Schmiedleitner Katharina Schwarz.

With the kind support of:
Autonome Provinz Südtirol, Abteilung Kultur
Autonome Region Trentino Südtirol
Stadtgemeinde Bozen, Abteilung Kultur
Culture Ireland / Cultúr Éireann
Stiftung Südtiroler Sparkasse
Kofler Tischlerei & Möbelhaus, St. Felix/Nonsberg
Rothoblaas, Kurtatsch
Wolfstuben, Tscherms
Deplau, St. Felix/Nonsberg
Österreichische Mediathek, Wien
pur SÜDTIROL
Dr. Schär, Burgstall
Lichtstudio Eisenkeil

A special thanks go to:
Egetmann Verein Tramin
Südtiroler Landesmuseum für Volkskunde in Dietenheim
Ofas Architekten, Bozen
Referat Volksmusik, Fotoarchiv Quellmalz (Bereich Deutsche und Ladinische Musikschulen

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Exhibitions
Gareth Kennedy, Die Unbequeme Wissenschaft (The Uncomfortable Science), Installation design di Harry Thaler, produced by Tischlerei & Möbelhaus Kofler, photo aneres, 2014

Die unbequeme Wissenschaft
(The Uncomfortable Science)

Gareth Kennedy
20 September - 15 November 2014

Opening: 19.09.2014, 7 pm

 

‘Stuben-Forum’: 20.09.2014, 3 – 6 pm

 

Installation design by Harry Thaler

Production by Josef Rainer and Verena Rastner

 

Curated by Emanuele Guidi

Gareth Kennedy, Die Unbequeme Wissenschaft (The Uncomfortable Science) Installation design by Harry Thaler, Produced by Kofler and Deplau, San Felice / Val di Non © ar/ge kunst, Aneres 2014

Gareth Kennedy, Die Unbequeme Wissenschaft (The Uncomfortable Science)
Installation design by Harry Thaler, Produced by Kofler and Deplau, San Felice / Val di Non
© ar/ge kunst, Aneres 2014

Gareth Kennedy, Die Unbequeme Wissenschaft (The Uncomfortable Science) Installation design by Harry Thaler, Produced by Kofler and Deplau, San Felice / Val di Non © ar/ge kunst, Aneres 2014

Gareth Kennedy, Die Unbequeme Wissenschaft (The Uncomfortable Science)
Installation design by Harry Thaler, Produced by Kofler and Deplau, San Felice / Val di Non
© ar/ge kunst, Aneres 2014

Gareth Kennedy, Die Unbequeme Wissenschaft (The Uncomfortable Science) Installation design by Harry Thaler, Produced by Kofler and Deplau, San Felice / Val di Non © ar/ge kunst, Aneres 2014

Gareth Kennedy, Die Unbequeme Wissenschaft (The Uncomfortable Science)
Installation design by Harry Thaler, Produced by Kofler and Deplau, San Felice / Val di Non
© ar/ge kunst, Aneres 2014

Gareth Kennedy, Die Unbequeme Wissenschaft (The Uncomfortable Science) Masken, © ar/ge kunst, ANERES 2014

Gareth Kennedy, Die Unbequeme Wissenschaft (The Uncomfortable Science)
Masken, © ar/ge kunst, ANERES 2014

Gareth Kennedy, Die Unbequeme Wissenschaft (The Uncomfortable Science) Installation view   © ar/ge kunst, ANERES 2014

Gareth Kennedy, Die Unbequeme Wissenschaft (The Uncomfortable Science)
Installation view
© ar/ge kunst, ANERES 2014

Gareth Kennedy, Die Unbequeme Wissenschaft (The Uncomfortable Science) Installation view (Film from the Austrian Mediatech)  © ar/ge kunst, ANERES 2014

Gareth Kennedy, Die Unbequeme Wissenschaft (The Uncomfortable Science)
Installation view (Film from the Austrian Mediatech)
© ar/ge kunst, ANERES 2014

Gareth Kennedy, Die Unbequeme Wissenschaft (The Uncomfortable Science) Installation view © ar/ge kunst, ANERES 2014

Gareth Kennedy, Die Unbequeme Wissenschaft (The Uncomfortable Science)
Installation view
© ar/ge kunst, ANERES 2014

The Uncomfortable Science is the culmination of research conducted by Irish artist Gareth Kennedy as part of the first year-long research project at ar/ge kunst. Invited for his work on expressions of ‘folk’ culture, Kennedy has undertaken an investigation of the troubled history of folklore and visual anthropology in the South Tyrol.

As a German-speaking region annexed by Italy after WWI, the South Tyrol has a fractious history with regard to the ideologically compromised scientific disciplines that were deployed in the region – Italian geographers and Austrian ethnographers both created myths of the ‘true origins’ of this people and place.

Developed during five residencies in 2013 and 2014, Kennedy’s research led him to the SS Ahnenerbe Kulturkommission, which was active in the South Tyrol from 1939 to 1942. In the words of Wolfram Sievers, head of the Ahnenerbe, its primary assignment was ‘the investigation and processing of the entire material and intellectual goods of… ethnic Germans.’ This folk expedition was undertaken during the systematic division of the population between fascist Italy and the Third Reich. Die Option, a 1939 agreement between the Axis powers, planned the relocation of the German speaking population. In a break with Nationalist Socialist ideology, the cultural and ethnic German population was given a choice between Blut oder Boden (blood or soil), i.e. a choice between relocating within the Third Reich and retaining their Germanic culture and identity, or becoming entirely Italianised.

Arguably the largest folklore/linguistic field investigation in history, the Kulturkommission exhaustively documented the material, linguistic, folk and music customs of this Alpine people. Their culture was to be preserved and made available to them after relocation to the newly occupied territories of Tatra Mountains, Burgundy or the Crimea – this was ‘salvage ethnography’ by political diktat.

Having visited research archives and museums in Bolzano, Innsbruck and Vienna, Kennedy has assembled a cast of five characters relating to this uncomfortable episode of anthropology in the South Tyrol. Five Maskenschnitzer (mask carvers) from across the region have each been commissioned to carve one character. These include Richard Wolfram, head of the Kulturkommission; the ethnomusicologist Alfred Quellmalz; photographer Arthur Scheler; and anthropologist Bronislaw Malinowski, who used to vacation in the South Tyrol and was sharply critical of Europeans conducting anthropological studies on other Europeans, something he saw as ideologically contaminated. Also included in this ensemble is Ettore Tolomei, the Italian fascist geographer and irredentist.

In the context of the history of South Tyrolean theatre, Kennedy is interested in what is performable and what still remains taboo within specific cultural contexts. Thus far none of his selected characters have been staged in the South Tyrol. At ar/ge kunst, a 16mm film of the Maskenschnitzer at work will be screened alongside the masks themselves. Additionally, a carefully curated series of photographic and film material from the Kulturkommission will be presented, much of it for the first time in the South Tyrol.

Exhibited alongside the film and archival material, the masks will become props in a public discussion to be held with invited guests.
In collaboration with designer Harry Thaler, the exhibition space will be converted into a ‘Stube’ (the centre of Tyrolean domestic life and a locus for folk theatre) to host this public moment.
This ‘Stuben-Forum’ will explore issues around the invention of tradition, instrumentalisation of folk cultures, identity, territory and performance.

Speakers include Thomas Nussbaumer (University of Innsbruck); Georg Grote (University College Dublin); Franz Haller, visual anthropologist; Ina Tartler and Elizabeth Thaler (Vereinigte Bühnen Bozen); and Hannes Obermair (Bozen Stadtarchiv). The Forum will be chaired by Hans Karl Peterlini, journalist and author.

Gareth Kennedy is an artist from Ireland. His practice includes public art commissions, exhibitions and collaborations. He co-represented Ireland at the 2009 Venice Biennale with Sarah Browne and their collaborative entitiy, Kennedy Browne.

Harry Thaler is a designer from Merano (I), based in London since 2008. Thaler graduated from Royal College of Art in Product Design and was praised with the Conran Award 2010 for Pressed Chair.

(1) An institution for archaeology and cultural history in the Third Reich.
(2) James R. Dow and Olaf Bockhorn, The Study of European Ethnology in Austria. Aldershot: Ashgate, 2004.

www.gkennedy.info
www.harrythaler.it
www.kennedybrowne.com

With the kind support of:
Provincia Autonoma dell’Alto Adige, Ripartizione Cultura
Regione Autonoma del Trentino Alto Adige,
Comune di Bolzano, Ripartizione Cultura
Culture Ireland / Cultúr Éireann
Fondazione Cassa di Risparmio, Bolzano
Kofler Falegnameria & Interior Design, S. Felice / Val di Non
Rothoblaas, Cortaccia
Deplau, S. Felice / Val di Non
Wolfstuben, Cermes
Österreichische Mediathek, Vienna
pur SÜDTIROL
Lichtstudio Eisenkeil
Dr. Schär, Postal

A special thanks go to:
Egetmann Verein Tramin
Südtiroler Landesmuseum für Volkskunde in Dietenheim
Ofas Architekten, Bozen
Referat Volksmusik, Fotoarchiv Quellmalz (Bereich Deutsche und Ladinische Musikschulen

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Exhibitions

Making Room – Spaces of Anticipation
14 June – 02 August 2014

Brave New Alps & Paolo Plotegher,
Janette Laverrière in collaboration with
Nairy Baghramian, Alex Martinis Roe,
Marinella Senatore in collaboration with Assemble,
Mierle Laderman Ukeles.

 

Opening: 13 June 2014, 7 pm

 

Curated by Emanuele Guidi and Lorenzo Sandoval

 

Making Room - Installation view, photo by aneres, 2014

Making Room – Installation view, photo by aneres, 2014

Janette Laverrière, Chapeau chinois, 2011. Courtesy of the artist and Silberkuppe Berlin, photo by aneres

Janette Laverrière, Chapeau chinois, 2011. Courtesy of the artist and Silberkuppe Berlin, photo by aneres

Janette Laverrière, Chapeau chinois, 2011. Courtesy of the artist and Silberkuppe Berlin, photo by aneres

Janette Laverrière, Chapeau chinois, 2011. Courtesy of the artist and Silberkuppe Berlin, photo by aneres

Janette Laverrière, Chapeau chinois, 2011. Courtesy of the artist and Silberkuppe Berlin, photo by aneres

Janette Laverrière, Chapeau chinois, 2011. Courtesy of the artist and Silberkuppe Berlin, photo by aneres

Making Room - Installation view, photo by aneres, 2014

Making Room – Installation view, photo by aneres, 2014

Brave New Alps & Paolo Plotegher, What It Means to Win, 2014. Courtesy of the artist, photo by aneres

Brave New Alps & Paolo Plotegher, What It Means to Win, 2014. Courtesy of the artist, photo by aneres

Brave New Alps & Paolo Plotegher, What It Means to Win, 2014. Courtesy of the artist, photo by snares 2014

Brave New Alps & Paolo Plotegher, What It Means to Win, 2014. Courtesy of the artist, photo by snares 2014

Making-Room-18

Janette Laverrière in collaboration with Nairy Baghramian, installation view, 2014. Courtesy of the artists and Silberkuppe Berlin, photo by aneres

Janette Laverrière in collaboration with Nairy Baghramian, installation view, 2014. Courtesy of the artists and Silberkuppe Berlin, photo by aneres

Janette Laverrière, Bibliotheque vertical, 2008. Courtesy of the artist and Silberkuppe Berlin, photo by aneres

Janette Laverrière, Bibliotheque vertical, 2008. Courtesy of the artist and Silberkuppe Berlin, photo by aneres

Janette Laverrière in collaboration with Nairy Baghramian, installation view, 2014. Courtesy of the artists and Silberkuppe Berlin, photo by aneres

Janette Laverrière in collaboration with Nairy Baghramian, installation view, 2014. Courtesy of the artists and Silberkuppe Berlin, photo by aneres

Janette Laverrière, La Commune, homage à Louise Michel (2001) from Evocation series. Courtesy of the artist and Silberkuppe Berlin, photo by aneres

Janette Laverrière, La Commune, homage à Louise Michel (2001) from Evocation series. Courtesy of the artist and Silberkuppe Berlin, photo by aneres

Marinella Senatore in collaboration with Assemble, The School of Narrative Dance. Courtesy MOTInternational, London & Brussels and the artist, photo by aneres

Marinella Senatore in collaboration with Assemble, The School of Narrative Dance. Courtesy MOTInternational, London & Brussels and the artist, photo by aneres

Marinella Senatore in collaboration with Assemble, The School of Narrative Dance. Courtesy MOTInternational, London & Brussels and the artist, photo by aneres

Marinella Senatore in collaboration with Assemble, The School of Narrative Dance. Courtesy MOTInternational, London & Brussels and the artist, photo by aneres

Marinella Senatore in collaboration with Assemble, The School of Narrative Dance. Courtesy MOTInternational, London & Brussels and the artist, photo by aneres

Marinella Senatore in collaboration with Assemble, The School of Narrative Dance. Courtesy MOTInternational, London & Brussels and the artist, photo by aneres

Mierle Laderman Ukeles Manifesto for Maintenance Art, Proposal for an Exhibition Care, 1969, text pages (2) 19 x 13 inch mounted text panels. Courtesy of the artist and Ronald Feldman Fine Arts, New York, photo by aneres

Mierle Laderman Ukeles Manifesto for Maintenance Art, Proposal for an Exhibition Care, 1969, text pages (2) 19 x 13 inch mounted text panels. Courtesy of the artist and Ronald Feldman Fine Arts, New York, photo by aneres

Mierle Laderman Ukeles, Private Performances of Personal Maintenance as Art, 1970-1973, black and white photographs, (1) 8 x 10 inch photo (4) 10 x 8 inch photo. Courtesy of the artist and Ronald Feldman Fine Arts, New York, photo by aneres

Mierle Laderman Ukeles, Private Performances of Personal Maintenance as Art, 1970-1973, black and white photographs, (1) 8 x 10 inch photo (4) 10 x 8 inch photo. Courtesy of the artist and Ronald Feldman Fine Arts, New York, photo by aneres

Mierle Laderman Ukeles Manifesto for Maintenance Art, Proposal for an Exhibition Care, 1969, text pages (2) 19 x 13 inch mounted text panels. Courtesy of the artist and Ronald Feldman Fine Arts, New York, photo by aneres

Mierle Laderman Ukeles Manifesto for Maintenance Art, Proposal for an Exhibition Care, 1969, text pages (2) 19 x 13 inch mounted text panels. Courtesy of the artist and Ronald Feldman Fine Arts, New York, photo by aneres

Making Room is an exhibition exploring the idea of space in relation to the artistic, cultural and curatorial practices that produce it. Accordingly, it brings together works and collaborations by artists, architects and designers from different generations and geographies, each of them stressing the mutual correspondence and influence between social practices and the environments that play host to them.

In all the projects presented, the act of proposing spatial settings and configurations unfolds in line with the desire to establish a bond between past and ongoing experiences – through collaboration, storytelling or simply by posing questions. Hence a domestic environment, a salon or a school, a display system, a cultural association or an art institution can all still be considered as models for facilitating possible encounter and common usership. In this context, the notion of ‘care’ is central to rethinking the way these ‘places’ can be designed, experienced and (collectively) maintained.

‘Making room’ in this sense becomes a gesture that welcomes other practices and knowledge as generative forms of transformation – a way of ‘giving space’ and ‘dedicating time’ to both alliances and conflicts, be that with partners, fellow colleagues, audience members.

In this context, the Manifesto For Maintenance Art 1969! Proposal for an Exhibition ‘CARE’ by American artist Mierle Laderman Ukeles (born 1939, Denver, Colorado) stresses the importance of the unseen activities and periods of time necessary for the ‘maintenance’ and support of a ‘place’. Written after the birth of Ukeles’ first child, the Manifesto reveals the complex set of relations that regulate the life of the artist (woman and mother), both in the private sphere (the house) and the public sphere (the exhibition space and the art institution). In the following years her research continued with The Maintenance Art Questionnaire (1973–1976), a survey that asked the audience how much time they spend on such maintenance tasks. This Questionnaire has to be understood as an affirmative gesture, one that instigates a public sharing of these preoccupations, reflections and responsibilities.

A similar notion of care also resonates in A story from Circolo della Rosa by Alex Martinis Roe (1982, Australia, lives and works in Berlin), part of the artist’s work on feminist genealogies. The film relates the encounter between two women – both active members of the Milan Women’s Bookstore Collective – and their work on feminist pedagogical experiments in the late 1980s. Narrated in the form of a fictional correspondence between the artists themselves, the story describes the reciprocal nature of a relationship built on affidamento or ‘entrustment’: a social-symbolic practice exercised and theorized by the Milan Women’s Bookstore Collective.

Alex Martinis Roe, ‘A Story from Circolo della Rosa’, 2014 from ar/ge Kunst on Vimeo.

The need to accommodate and follow up alternative histories is also central to the collaboration between the Swiss, naturalised French designer Janette Laverrière (1909–2011) and the artist Nairy Baghramian (1971, Iran, lives and works in Berlin), who met and began collaborating in 2008. Laverrière’s drawings, furniture and objects are presented in a display system conceived by Baghramian. This includes a vitrine system for sketches, and walls painted in a watery green that recalls Laverrière’s private living room. The care invested in this arrangement gives eloquent expression to the intergenerational friendship between the two women (Laverrière said they were ‘sisters in spirit’), but it also highlights the interweaving of Laverrière’s professional, private and political life. Alongside her work as a designer, Laverrière was among the founders of the National Front for Decorators and the Decorators Trade Union (both in 1944), and in the latter part of her career she designed ‘useless’ objects in which the need to tell a story prevails over function. A significant example of this is the mirror from her Evocations series: La Commune, homage à Louise Michel (2001), which evokes the French anarchist Louise Michel and her contribution to the foundation of the Paris Commune.

The School of Narrative Dance is a project that was initiated in 2013 by Marinella Senatore (1977, lives and works in Berlin and London): a model for a multidisciplinary, nomadic, free school, which, through verbal and non-verbal storytelling, centres the educational process on the emancipation, inclusion and self-cultivation of the student. For Making Room, Senatore and the architectural practice Assemble (London) have proposed a display that assembles a number of related documents and preparatory drawings. These visual and conceptual references, presented on a sort of working table, underline the process of translation that was involved in giving the school its first actual architectonic and spatial dimension on the occasion of the Premio Maxxi in Roma.

Working with and on behalf of ar/ge kunst, Brave New Alps & Paolo Plotegher have started a research project that considers all these practices and explores the potential of models of art institutions such as the Kunstverein. Taking the story of the ‘The Troubadour of Knowledge’ by Michel Serres as their starting point, they have produced a visitors’ questionnaire in order to collect experiences that will then form the basis for a forthcoming workshop.

Making Room is the research phase of the project Spaces of Anticipation, developed in collaboration with the EACC – Espai d’art contemporani de Castelló in Castellón de la Plana.

Special Thanks to
Silberkuppe (Berlin) e Ronald Feldman Gallery (New York)

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Exhibitions
Invernomuto, I-Ration, installation view 1, 2014 photo Ivo Corrà

I-RATION
05 April – 31 May 2014

Invernomuto
Opening: 4 April 2014, 7 pm

 

Curated by Emanuele Guidi

Invernomuto, I-Ration, installation view 2, 2014 photo Ivo Corrà

Invernomuto, I-Ration, installation view 2, 2014 photo Ivo Corrà

ar/ge kunst Gallery Museum is pleased to present the exhibition I-Ration by Invernomuto (Simone Bertuzzi and Simone Trabucchi), a new phase of the project Negus, which was initiated in 2011.

The title I-Ration is an English-Jamaican word meaning ‘creation’ and is associated with an ecstatic state on the part of the subject experiencing such a moment.

Zion, Paesaggio, detail, 2014

Zion, Paesaggio, detail, 2014

Starting from the appropriation of this key Rastafarian expression and almost embracing and validating the fact that ‘Rastas reserve their right to think, know, name, reinterpret, and define their “essence and existence”, in non-traditional categories,’ Invernomuto continue to write their own narrative in which overlaps and slippages of portions of history connect Ethiopia, Jamaica and Italy. This narrative unfolds around the figure of the Ethiopian king Haile Selassie I, the Italian colonial past, and related personalities such as Lee ‘Scratch’ Perry (a seminal musician in the reggae and dub tradition).

Invernomuto, I-Ration, installation view 3, 2014 photo Ivo Corrà

Invernomuto, I-Ration, installation view 3, 2014 photo Ivo Corrà

The exhibition consists of a series of new productions with past interventions reconfigured for this occasion. The result is a discourse that spans the multiple phases of the Negus project and suggests possible directions for future development.
Invernomuto’s interest in memory and processes of hybridization is central to Zion, Paesaggio (2014): a reproduction of a staircase-shaped monument erected by the Italian army outside the imperial residency in Addis Ababa (the present University) during the fascist colonial campaign. After the defeat of the invaders, the fourteen stepladders, which symbolized the lifespan of the regime, were ‘reduced’ to the function of a plinth for Ethiopia’s iconic symbol, the Lion of Judah. Invernomuto underline this gesture of reappropriation by producing a landscape where memory and the perception of the exotic are determined by the dimension of time.
MEDO SET (2014) is a banner inscribed with a cut out text by Lee Perry. The text was conceived for a ritual/performance staged by Invernomuto in Vernasca (2013) and was performed by Lee Perry himself.

The apotropaic potential of ritual and the symbolic value of the monument converge in a unique immersive environment where documents, documentaries and sculptural presences are choreographed asynchronously (Negus, 2011; I-Ration, 2014; Negus – Lion of Judah (excerpt), 2014).

Invernomuto, “Negus – Lion of Judah (excerpt)”, 2014 from ar/ge Kunst on Vimeo.

Invernomuto, I-Ration, Installation view 4, 2014 photo Ivo Corrà

Invernomuto, I-Ration, Installation view 4, 2014 photo Ivo Corrà

Invernomuto, I-Ration, installation view 5, 2014 photo Ivo Corrà

Invernomuto, I-Ration, installation view 5, 2014 photo Ivo Corrà

I-Ration, detail, 2014

I-Ration, detail, 2014

Babylon, Monumenti, 2014

Babylon, Monumenti, 2014

Symbols from the visual landscape of Ethiopian history – symbols that acquired new meaning within the social, political and religious context of the Rastafari movement – appear in all the works in the exhibition and are combined with mementos and materials taken from personal archives. In this way, old National Geographic covers and foulards from airline companies and tourist clubs enter the same semantic field of relics that tell the story of the Italian colonial campaign in Ethiopia in the 1930s (when the Rastafari movement began); of the trident star (emblem of Haile Selassie I and of the automobile manufacturer Mercedes Benz); and of the Lion of Judah (symbol of Ethiopia and the Rastafarian people). This semantic field expands and resonates in public space through symbols that once glorified fascist colonial policy and still exist even now in the city of Bolzano.

Invernomuto, Movimenti Versus l'Altro, 2014 photo: Ivo Corrà

Invernomuto, Movimenti Versus l’Altro, 2014 photo: Ivo Corrà

Negus – Lion of Judah (video still), 2013

Negus – Lion of Judah (video still), 2013

Negus – Lion of Judah (video still), 2013

Negus – Lion of Judah (video still), 2013

According to the scholar Carole Yawney, a Rastafari is a ‘constellation of ambiguous symbols which today has the power to focalize and even mediate certain socio-cultural tensions that have developed on a global scale.’ Invernomuto take on this definition and adopt it as a possible perspective: a mode for going back to confront colonial rhetoric and reposition it within a complex grid of movements which criss-cross temporalities and geographies that are perhaps not as distant as they seem.

SAVE THE DATE
The project by Invernomuto will continue in September at Museion – in collaboration with ar/ge kunst – in the context of the Media façade series Il corpo sottile, curated by Frida Carazzato (from 4 September).

BIOGRAPHY
Invernomuto was founded in 2003 by Simone Bertuzzi and Simone Trabucchi. Emphasizing the collapse and subsequent mixture of languages, Invernomuto produce works without a set format, such as the editorial project ffwd_mg. Their research ranges from the production of single-channel video and the design of live-media performances to the curating of events and special projects.
Recent solo exhibitions include: B.O.B. (Galleria Patricia Armocida, Milan, 2010), Dungeons and Dregs (Grimmuseum, Berlin, 2010) and Simone (Padiglione d’Arte Contemporanea, Ferrara, 2011), Marselleria (forthcoming, 2014). Recent group exhibitions and festivals include: Ars artists’ residence show (Fondazione Pomodoro, Milan, 2010); Terre Vulnerabili (Hangar Bicocca, Milan, 2010/2011); Nettie Horn Gallery (London), Italian Institute of Addis Ababa, Milan Film Festival (2013).
In 2013 Invernomuto were finalists for the Furla Award (Bologna) and won the MERU ART*SCIENCE Award for their production of The Celestial Path, presented at GAMeC, Bergamo.
Simone Bertuzzi and Simone Trabucchi also pursue individual practices in the field of music, performing under the names Palm Wine and Dracula Lewis respectively. They live and work in Milan.

www.invernomuto.info

In collaboration with
MUSEION

A special thanks to
Marsèll

With the kind support of:
Provincia Autonoma di Bolzano, Alto Adige, Deutsche Kultur
Fondazione Cassa di Risparmio, Alto Adige
Città di Bolzano, Ufficio Cultura

Gallery hours
Tu-Fr 10 – 13, 15 – 19 / Sa 10 – 13
Free Entrance

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Public Programme
Photo: Annelie Bortolotti

body-at-publish
22 February 2014

Curandi Katz

Workshop Performance

 

A hands-on workshop performance of the body-at-publish by the duo Curandi Katz at Ar/ge kunst focused on the idea of self-publishing as an intimate gesture. The intention is to activate the objectual element of a book, its function and uses, in the realm of its relationship with the individual and between individuals. Considering its private, possibly affective, predominantly tactile experience in a resistant condition to the idea of a mass reproducibility; Exploring the ways it gets disseminated and shared and how these define its storyline; Reflecting upon the gestures of gratuity and care this idea implies and the organisms it involves in the narrative. The process of publishing is intended as a performative form of exteriorization – transmission – care.
The workshop will be structured around the creation of a self publication using alternative, DIY publishing strategies; Experiencing the steps of appropriation and assemblage using low tech tools, and manually operated jigs. At the disposal of participants will be the selection of books brought by Archive Books on the occasion of the exhibition Constellations of one and many, Curandi Katz’s collection of dissident pamphlets and digital platforms for text-sharing.

A point of departure and historical reference comes from the artists’ on-going research on the late Hungarian-Israeli anarcho-pacifist activist Toma Sik and his multi-faceted use of publishing and knowledge circulation. In Sik’s case they are flyers and surveys that he would hand out during protests in public space in order to reach the other and talk about issues like vegetarianism, nonviolence, human-rights. The activist methodology of reaching the other through the printed word casually handed out, was progressively internalized and transformed by Toma Sik into a personal search for individuals with whom to share intentional living.

With the kind support of:
Provincia Autonoma di Bolzano, Alto Adige, Deutsche Kultur
Città di Bolzano, Ufficio Cultura
Fondazione Cassa di Risparmio, Alto Adige
Mondriaan Stichting, Amsterdam
Institut für Auslandsbeziehungen, Stuttgart

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Exhibitions
Constellations of One and Many, Installation view, photo Ivo Corrà, 2014

CONSTELLATIONS OF ONE AND MANY
24 January - 22 March 2014

Falke Pisano in collaboration with Archive Books

 

24.01. – The man of the crowd
14.02. – Here to there, there to here
07.03. – Flesh made numbers made flesh again

 

Curated by Emanuele Guidi

 

Constellations of One and Many, Installation view, photo Ivo Corrà, 2014

Constellations of One and Many, Installation view, photo Ivo Corrà, 2014

Constellations of One and Many, Installation view, photo Ivo Corrà, 2014

Constellations of One and Many, Installation view, photo Ivo Corrà, 2014

Constellations of One and Many, Installation view, photo Ivo Corrà, 2014

Constellations of One and Many, Installation view, photo Ivo Corrà, 2014

Constellations of One and Many, Installation view, photo Ivo Corrà, 2014

Constellations of One and Many, Installation view, photo Ivo Corrà, 2014

Constellations of One and Many, Installation view, photo Ivo Corrà, 2014

Constellations of One and Many, Installation view, photo Ivo Corrà, 2014

Mutant Matters in Constellations of One and Many, Installation view, photo Ivo Corrà, 2014

Mutant Matters in Constellations of One and Many, Installation view, photo Ivo Corrà, 2014

After its opening series, Prologue Part One and Part Two, ar/ge kunst presents the first Italian solo exhibition by Falke Pisano in collaboration with Paolo Caffoni from the editorial collective, Archive Books. Pisano’s artistic practice focuses on the relationship between opposing and complementary poles such as language and body. In these terms, the two principal series of works by the artist (Figure of Speech, 2006–2010, and Body in Crisis, 2011– on-going) are reflections on the disjunction, reproducibility and reconstruction of the act of speech and the corporeal realm. Archive Books has been developing editorial research on the notions of the ‘visible’ and the cinematic image, with all their socio-political implications, since 2009. This research corresponds to a reflection on both the meanings and the practices of ‘exhibiting’ – of exposing oneself publicly (part of the practice of ‘publishing’ itself); an activity that has to be understood as a moment that enacts and transforms productive processes. The outcome of this artist–publisher collaboration at ar/ge kunst is a shared investigation entitled Constellations of One and Many. It focuses on the relationships of power and affect that exist betweensubject and collectivity. It takes its cues from a series of sources and case studies in the fields of literature, philosophy and political science. This research is directly reflected in the sculptural display that Pisano and Archive Books have conceived for the exhibition: a specific format of presentation with its own spatial and temporal coordinates. The actual function of the display is to bring together otherwise diffuse, disparate elements into an arrangement or constellation. It could also be read as a diagram where the individual–collective, object–architecture relationship finds form that remains open to possibility. This ‘openness’ is mirrored in the temporal organisation of the display, which is articulated in three distinct parts covering the duration of the exhibition. Both contents and publics are arranged (or choreographed) into three different, and, by definition, incomplete configurations. The first configuration, titled The Man of the Crowd, is a direct reference to the novel of the same name written in 1840 by American writer Edgar Allan Poe. In this story, the visual engagement between the two main characters is used as a paradigm to describe the urban crowd pictured in the historical moment of its emergence; during the development of extensive metropolitan areas and all the new social, productive and perceptive relationships these entail. The first display of the exhibition moves from these considerations to actualize a (hypothetical) individual point of view within the crowd itself; a method that serves as way of exploring the affective interpersonal relationships that result from physical contact, the awareness of individual subjectivity and its negation through the loss of identity in the group.

Constellations of One and Many - Part II, Installation view, photo Ivo Corrà, 2014

Constellations of One and Many – Part II, Installation view, photo Ivo Corrà, 2014

Constellations of One and Many - Part II, Installation view, photo Ivo Corrà, 2014

Constellations of One and Many – Part II, Installation view, photo Ivo Corrà, 2014

Constellations of One and Many - Part II, Installation view, photo Ivo Corrà, 2014

Constellations of One and Many – Part II, Installation view, photo Ivo Corrà, 2014

Constellations of One and Many - Part II, Installation view, photo Ivo Corrà, 2014

Constellations of One and Many – Part II, Installation view, photo Ivo Corrà, 2014

Mutant Matters in Constellations of One and Many - Part II, Installation view, photo Ivo Corrà, 2014

Mutant Matters in Constellations of One and Many – Part II, Installation view, photo Ivo Corrà, 2014

In the second configuration [from 14 February], Here to There, There to Here, the point of view is shifted to observe the image of the crowd from its exterior. Beginning with the Arab Spring and Occupy Movements, recent years have seen a proliferation of visual imagery representing crowds – a process that follows on from earlier waves for instance in the 1960s and 1970s. Pisano and Archive Books take this observation and derive a set of questions from it: What are the implications of the mediatisation of subjectivities for the relationship of proximity and distance? What modes of attention pertain to the image of a crowd? And what kind of role does this image play in a recognized rhetoric of the representation of social change?

Constellations of One and Many - Part III, Installation view, photo Ivo Corrà, 2014

Constellations of One and Many – Part III, Installation view, photo Ivo Corrà, 2014

Constellations of One and Many - Part III, Installation view, photo Ivo Corrà, 2014

Constellations of One and Many – Part III, Installation view, photo Ivo Corrà, 2014

Constellations of One and Many - Part III, Installation view, photo Ivo Corrà, 2014

Constellations of One and Many – Part III, Installation view, photo Ivo Corrà, 2014

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Constellations of One and Many - Part III, Installation view, photo Ivo Corrà, 2014

Constellations of One and Many – Part III, Installation view, photo Ivo Corrà, 2014

Body at Publish editorial station by Curandi Katz in Constellations of One and Many - Part III, Installation view, photo Ivo Corrà, 2014

Body at Publish editorial station by Curandi Katz in Constellations of One and Many – Part III, Installation view, photo Ivo Corrà, 2014