KW SPRING PROGRAM 2015 Press tour: Thursday, 12.3.15, 14 h

Transcription

KW SPRING PROGRAM 2015
Press tour: Thursday, 12.3.15, 14 h
Opening: Saturday, 14.3.15, 17–22 h
PRESS KIT
Content
Channa Horwitz: COUNTING IN EIGHT, MOVING BY COLOR
15.3.–25.5.15
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Press information
Wall texts
List of works
Biography Channa Horwitz
Elín Hansdóttir: SUSPENSION OF DISBELIEF
15.3.–25.5.15
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Press information
List of works
Biography Elín Hansdóttir
SEIZING THE IVORY TOWER
15.9.14–5.1.15
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Press information
Work details SEIZING THE IVORY TOWER #1: Oo, A PREVIEW by
Viktorija Rybakova
Biography Viktorija Rybakova
Marcel Dzama: UNE DANSE DES BOUFFONS (or A JESTER'S DANCE)
21.2.–29.3.15
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Press information
Work details
Biography Marcel Dzama
Curator biographies
Event calendar
As of: 11.3.15/subject to change
Press Contact
Henriette Sölter
T +49 30 2434 59-42
[email protected]
KW Institute for Contemporary Art
Auguststr. 69
10117 Berlin
www.kw-berlin.de
www.facebook.com/KWInstituteforContemporaryArt
www.facebook.com/KWFreunde
PRESS INFORMATION
Channa Horwitz
COUNTING IN EIGHT, MOVING BY COLOR
Solo exhibition
15.3.–25.5.15
Venue: Basis
Under the title COUNTING IN EIGHT, MOVING BY COLOR, KW Institute for Contemporary
Art presents the first comprehensive solo exhibition of Californian artist Channa Horwitz
(1932–2013), funded by the Kulturstiftung des Bundes (German Federal Cultural
Foundation).
Featuring important works from all phases of the artist’s career, the survey provides an
introduction to her œuvre and insight into key series such as the LANGUAGE SERIES,
SONAKINATOGRAPHY, RHYTHMS, and STRUCTURES. In addition, a selection of
construction drawings and documentary material is made public for the first time, through
close cooperation with the trustees of the artist’s estate in Los Angeles.
In the late 1960s, Channa Horwitz developed an artistic language that attained freedom
through deliberate confinement to a few simple rules. Since then, each one of her works has
been based on the numbers one through eight, additionally often with a specific color code
assigned to each number. Orienting herself to the format of standard American graph paper,
the artist could depict time with the aid of graphic units, and movement in time as the
corresponding color schemata. In this way, she designed structures that translate spatialtemporal relations into drawings, paintings, and multimedia sculptures.
The exhibition at KW retraces the development that led Channa Horwitz from figurative
painting to conceptual abstraction. On the one hand, the increasing abstraction of figural
motifs led her to the basic forms of the circle, the square and rectangle, from which the
LANGUAGE SERIES (1964–2011) emerged, among others. On the other hand, she
developed a system of depicting movement – both of bodies and of objects in space, and of
the voice and sound over time – as notations. These early experiments with moving objects
led to the series SONAKINATOGRAPHY (1968–2012), which she continued until her death
in 2013, when it comprised of twenty-three different compositions in manifold variations.
“Sonakinatography” was her new term, combining the Greek words for “sound”, “movement”,
and “writing/recording”. Each drawing in the series could as well be presented as a
performance or a concert, or transformed into a spatial installation. For this exhibition, a
variation of each completed composition from this work complex – the artist’s most wellknown to date – are brought together for the first time, and their presentation space forms the
core of the exhibition. Since the mid-1970s, Horwitz started to explore new patterns, shapes,
and movements which led to series such as RHYTHMS and STRUCTURES,and
incorporated up to four parallel levels within one drawing.
When Channa Horwitz died in 2013 at the age of eighty, her international career had just
recently begun. From the mid-sixties until the 2000’s, the artist lived and worked in seclusion
and her work was rarely exhibited. Following a number of shows, including the solo
exhibitions VARIATIONS IN COUNTING ONE THROUGH EIGHT (2009, BKV
Brandenburgischer Kunstverein e. V., Potsdam, DE) and SEQUENCES & SYSTEMS (2010,
Solway Jones Gallery and Kunsthalle L.A., Los Angeles, US) as well as the group exhibitions
THE HUMAN STAIN (2009, CGAC Centre Galego de Arte Contemporánea, Santiago de
Compostela, ES), DOPPLEREFFEKT – BILDER IN KUNST UND WISSENSCHAFT (2010,
Kunsthalle zu Kiel, DE), SYSTEMS AND STRUCTURES (2012, Galeria Casas Riegner,
Bogotá), and ANTON VOYLS FORTGANG. HENRI CHOPIN, GUY DE COINTET, CHANNA
HORWITZ (2013, Kunsthalle Düsseldorf, DE), the presentation of her works within the
framework of MADE IN L.A. (2012, Hammer Museum, Los Angeles, US) one year before her
death was enthusiastically received by the press and the public alike. Participations in group
exhibitions such as GHOSTS IN THE MACHINE (2012, New Museum, New York, US),
MOMENTS. EINE GESCHICHTE DER PERFORMANCE IN 10 AKTEN (2013, ZKM,
Karlsruhe, DE), and LONELY AT THE TOP: MOMENTS ON MOMENTS (2013, M HKA
Museum van Hedendaagse Kunst Antwerpen, Antwerp, BE) followed. She did not live to
enjoy the international tribute paid to her work during Massimiliano Gioni’s ENCYCLOPEDIC
PALACE, at the 55th Biennale di Venezia (2013, Venice, IT).
Spector Books, Leipzig, currently works on a publication about Channa Horwitz’ oeuvre. The cultural programs of KW Institute for Contemporary Art are made possible with the
support of the Governing Mayor of Berlin – Senate Chancellery – Cultural Affairs.
Opening hours
Wed–Mon 12–19 h, Thur 12–21 h, Tue closed
Admission
6 €, reduced 4 €
Thursday evening ticket: 4 € (18–21 h, includes introduction at 18 h)
Channa Horwitz
Solo exhibition
15.3.–25.5.15
Venue: Basis WALL TEXTS
Early Work
In the early 1960s, with no connections in the art world, Channa Horwitz resolved herself to
portraying her everyday reality through art. In 1964, after her experimentations with realisticfigurative representational options left her wanting and in search of a formal language of her
own, she created a series of quasi-architectural collages of the fictional couple Mr. and Mrs.
McGillicutty’s house, which switch between its perspectives as a sectional cut, a floor plan,
and an elevation.
She consequently extracted from these images the basic geometrical forms of circle and
square. Furthermore, she deduced a sequential movement from the variable positions of the
apartment’s blinds as a notation mode for time in the medium of drawing and painting. In
these works, Horwitz was clearly not interested in a translation true to life, but was rather
after modeling this world’s structure effectively. She disregarded prevailing rules of
representation and proposed her own instead. In this way, she already laid an early
foundation for her later system of describing reality, which she could nonetheless test
playfully through its variable applications in each single work.
LANGUAGE SERIES (and related works)
The first work series Channa Horwitz developed following a system reduced to its most
simple elements is the LANGUAGE SERIES (1964–2011). Each work in her new artistic
“language” is constructed of two components: The one defines at first 6, and later 8
geometrical forms, while the other decides which rules should be applied to their
constellation. Following a predefined key, these pictograms of squares or rectangles (in a
second version combined with circles as well) can theoretically come together in 120
variations, though these were only ever partially realized.
In parallel, the artist investigated the relationship between circle and square in a series of
black-and-white or three-colored paintings (CIRCLES AND SQUARES, 1968–2005). These
works implicate the canvas’ edges in their definition of form, thus tracing the transition from
the two-dimensional painting to the three-dimensional object. Having in this way moved from
painterly to sculptural questions, the artist proceeded to draft sculptures that introduce an
additional dimension of time into them, either as movement or as sound. The SHADOW
SERIES (1964–2011) integrates the passage of time into her paintings in yet another way.
MOVEMENTS and COMPOSITIONS
In 1968, Channa Horwitz submitted her sketch for SUSPENSION OF VERTICAL BEAMS
MOVING IN SPACE to an open call for the exhibition ART & TECHNOLOGY at the Los
Angeles County Museum of Art (LACMA). Tied to her interest in sequential presentations,
she outlined a sculpture with eight illuminated beams that would move rhythmically and in
relation to each other.
From that point on, Horwitz assigned herself in her drawings to the American standard graph
paper, and arranged eight columns horizontally alongside each other, identifying them
alternatingly as energies, instruments, characters, or objects. Whenever they change their
position (through movement or sound) or their quality (through loudness, intensity, or pitch),
these changes are registered vertically. An eight-by-eight matrix at the edge of each image
serves as a key for each notation, which represents one beat, and each is assigned with a
number, a color, and at times a symbol as well.
Horwitz later developed a shortened beat of eight characters to one, in order to allow for
more complex notations (SONAKINATOGRAPHY), and abandoned the instruments in favor
of two mutually dependent, changing axes. Horwitz conceived of these works as
SONAKINATOGRAPHY, EXPANDED (1977–2003).
SONAKINATOGRAPHY
The term “Sonakinatography” was coined by Channa Horwitz herself and combines the
Greek expressions for sound, motion, and notation. For her 23 different compositions, the
term programmatically connects the picture’s surface to a movement or a sound in space,
and adds the changes in these through time as a fourth dimension. The artist expanded the
series as a direct development of MOVEMENTS and her early notations, in which each
composition is based on a matrix registered in the image itself, and is also likewise meant to
be potentially performed in any other medium. The artist worked on this series
unchronologically over the course of her complete artistic career. She designated the
individual works’ titles unsystematically, making their cataloguing today a difficult task.
While throughout the 1970’s Horwitz focused mainly on COMPOSITION III, which she
adapted for concrete realizations in dance, sound, and poetry performances, in the 1980’s
she discovered the aesthetic and graphic potential of newer, more complex primary models.
This room for the first time brings together one variation of each of the completed
compositions.
STRUCTURES, RHYTHMS and SHAPES
Beginning in 1973, Channa Horwitz turned to the visualization of a new matrix, one that no
longer records figures but instead poses the horizontal and vertical axes principally in relation
to each other. The single works in this series each carry a different title, however the artist
recurrently referred to them collectively as STRUCTURES, RHYTHMS or SHAPES. Each
drawing provides only one position, so that the variation or movement occurs between the
single pages, and a complete work comprises of either 64 or 81 drawings. She proceeded to
make the system more compact, representing multiple positions in overlapping layers on one
sheet.
From 1980 on, Horwitz simplified the matrix itself and replaced it with a chain of instructions.
Beginning from an arbitrary point on the graph paper, she defined a sequence that creates a
form through the connections between lines. Each sequence allows for eight forms, and
according to each work’s specifications they each consist of eight sequences. The drawings
were at first completed only in black and white, but here too the initial focus was followed by
compacted versions and/or by variations in color.
COLOR AND ANGLE SEQUENTIAL PROGRESSIONS
In the late 1980’s Horwitz began experimenting with optical color planes, grids, and angles.
The work series MOIRÉ (1983–84) and RHYTHM OF LINES (1987–88) are still based on a
pattern of eight figures and their appointed colors. Here too, as in the STRUCTURES,
RHYTHMS and SHAPES series, each sequence encompasses multiple sheets, so that the
single image represents merely a tiny extract of the whole system, one of either 56 or 128
possible combinations of coloring, gradient, and shifting planes. Horwitz later reintroduced
the circles and squares of her earlier work as primary motifs for the realization of works such
as the BROWN SERIES (2007).
The artist sketched comprehensive concepts for these works as well, plans which helped
structure her work process on the one hand, and allowed her to realize a complete
composition or matrix as a test on the other hand. In reality, their size and mass made
completing every single drawing’s iteration impossible; and even where it may have been
possible, it was often not conceptually necessary. By inversion, this implies that each single
work in the exhibition could also have been potentially expanded into a whole series.
Channa Horwitz
Solo exhibition
15.3.–25.5.15
Venue: Basis LIST OF WORKS
Room 1
MR. AND MRS. MCGUILICUTTY, 1964
Paper, fabric and pencil
70,2 x 101,3 cm
Courtesy: Estate Channa Horwitz and François Ghebaly Gallery, Los Angele
MR. AND MRS. MCGUILICUTTY’S HOUSE, 1964
Paper, fabric, tape, pencil and rubber stamp
70,2 cm x 101,3 cm
Courtesy: Estate Channa Horwitz and François Ghebaly Gallery, Los Angeles
MR. AND MRS. MCGUILICUTTY’S HOUSE, 1964
Pencil and acrylic on paper
57 x 78 cm
SHATTERED CIRCLE (WITH CHAIRS), 2011 (1966)
Acrylic and pencil on canvas
30 x 30 cm
WINDOW BLIND SKETCHES, 2010
Pen on paper
21,59 x 27,94 cm
WINDOW BLINDS, 2015
Window blinds and motors
Realization following a project by the artist
Dimensions variable
Room 2
DOUBLE CIRCLE, 2005
Acrylic on canvas
10 x 10 x 4 cm
DOUBLE SQUARE, 2005
Acrylic on canvas
Series of 2
Each 15,5 x 15,5 cm
LANGUAGE SERIES 5-2-6, 2004–05
Ink and Plaka color on paper board
33,5 x 41,5 cm
Courtesy: Estate Channa Horwitz and Air de Paris, Paris
LANGUAGE SERIES 4-1-3, 2004–05
33,5 x 41,5 cm
Courtesy: Estate Channa Horwitz, Los Angeles and Air de Paris, Paris
LANGUAGE SERIES 4-2-7 (4-7-2), 2004–05
33,5 x 38,7 cm
LANGUAGE SERIES #8, 2003–04
Plaka color on paper board
33,5 x 43,8 cm
LANGUAGE SERIES #17, 2003–04
Plaka on paper board
33,5 x 43,8 cm
LANGUAGE SERIES WORKING DRAWINGS – COLOR WITH ORANGE GRID, 2004–05
Colored pencil on graph paper
2-parted
21,6 x 27,9 cm
LANGUAGE SERIES, 1964
Pencil on Xerox
Series of 24
Each 12,7 x 20,32 cm
LANGUAGE SERIES I, 1964–2004
Plaka color on graph paper
162 x 208 cm
Courtesy: Collection Oehmen, Germany
LANGUAGE SERIES II, 1964–2004
Plaka color on graph paper
162 x 184 cm
CIRCLE AND SQUARE NEGATIVE – LANGUAGE SERIES, 2005
Acrylic on canvas
152,5 x 183 cm
Courtesy: Collection Museum Ritter, Waldenbuch
Room 3
INVESTIGATION OF SHADOWS FOR THE PAINTING SERIES CALLED
CIRCLES AND SQUARES (PART 1), 1967–68
2 black and white photographs
42,5 x 57,5 cm
PHOTOGRAPHIC STUDY OF A CUBE’S SHADOW, 1964–67
12 black and white photographs
60 x 55 cm
Courtesy: Sammlung Oehmen, Germany
PRE-SHADOW SERIES #1, 1964/2011
Acrylic on canvas
120 x 174,5 x 6,5 cm
CIRCLE AND SQUARE ON CUBE, STUDIES #2, 1968
Acrylic on cardboard
2-parted
29 x 49 cm
Courtesy: Matthias Galiano
BLACK AND WHITE CIRCLE AND SQUARE WITH BOX and SHADOW, 1968
Oil paint on canvas
59,5 x 60,5 x 12,5 cm
CIRCLE IN A SQUARE, 1968
(Exhibition copy, 2015)
Gloss paint on wood
29 x 29 x 29 cm
3 CIRCLES, 2011
Acrylic on wood
30 x 46 x 6 cm
CIRCLES ON A CUBE, 1968/2011
Gloss paint on wood
40 x 40 x 40 cm
Room 4
PROPOSAL FOR EXPERIMENTS IN ART AND TECHNOLOGY
TO MAURICE TUCHMAN, 1968
2-parted
Ballpoint pen on graph paper
30 x 23,8 cm
DOME INSIDE SQUARE, 1969
Wood and paint
60,6 x 60,6 x 25,4 cm
AT THE TONE THE TIME WILL BE, 1969
Photographs from a 16 mm silent movie
Dimensions variable
DANCE MOVEMENT – INSTRUCTIONS TO SHEILA ROZANN, 1969
Ink on graph paper
22 x 28,5 cm
SOUNDS and SILENCE – INSTRUCTIONS TO ELLI ZIMMERMANN, 1969
Ink on graph paper
22,5 x 26,6 cm
BREATHERS, 1968–69
Pencil on paper
23,7 x 30 cm
Courtesy: Collection Marshall Davis, Los Angeles, Estate Channa Horwitz and François
Ghebaly Gallery, Los Angeles
BREATHER, 1968/2005
(Exhibition copy, 2015)
Acrylic glass, vinyl, diverse technical elements
108 x 54,6 x 54,6 cm
INVITATION FOR ORLANDO GALLERY SOLO SHOW, 1969
Paper, print and balloon
28,5 x 36 cm
Courtesy: Collection Ellen Davis, Los Angeles
SONAKINATOGRAPHY MOVEMENT #1 SHEET C, 1969/2011
Ink on Mylar
57,5 x 39,5 cm
VARIED MOVEMENT FOR MULTI-MEDIA SCULPTURE, 1969
Ink and color felt pen on graph paper
47 x 42 cm
COMPOSITION #III – POEM OPERA FOR 8 PEOPLE, 1968
Ink on paper
74,4 x 62,3 cm
Courtesy Collection Bergmeier
DRAWING, 1968
Felt pen, ink and pencil on graph paper
47,4 x 56,2 cm
Courtesy: Collection Bergmeier
SONAKINATOGRAPHY I MOVEMENT #III FOR MULTI-MEDIA, 1969
Plaka color and ink on graph paper
52,3 x 47,5 cm
MOVEMENT #III, SHEET A, 1969
Pencil, ink and ink stamp on graph paper
48,5 x 38 cm
SONAKINATOGRAPHY I VARIED MOVEMENT FOR MULTI MEDIA, 1969
Ink and color felt pen on graph paper
50,5 x 43 cm
Room 5
ART AND TECHNOLOGY PROPOSAL – BEAMS AND INTENSITY OF LIGHTS, 1968
Ink on graph paper
30,7 x 44 cm
SCULPTURES SHOWING MOVEMENT, 1966
Ballpoint pen and felt pen on Mylar
21,6 x 27,9 cm
MOVEMENT FOR BEAMS, 1968
Pencil on graph paper
29,6 x 23,4 cm
MOVEMENT FOR BEAMS #2, 1968
Pencil and ink on graph paper
29,6 x 23,4 cm
Pencil and ink on graph paper
29,6 x 23,4 cm
29,6 x 23,4 cm
29,6 x 23,4 cm
29,6 x 23,4 cm
ELECTRO MAGNETIC TIMER FOR BEAMS, n. d.
24 x 30 cm
UNTITLED – SONAKINATOGRAPHY PROGRESSION WITH HALF CIRCLES, 1972
Pencil on paper
24 x 32,5 cm
ROUND IN THREE PARTS, 1977
Ink on paper
Each 46 x 45 cm
Series of 3
TO THE TOP LARGE TO LARGE #1 VARIATION 1, 2003
Chinese ink on Mylar
Series of 4
Each 57,6 x 62,8 cm
Hall, center
TIME STRUCTURE COMPOSITION #III, SONAKINATOGRAPHY I, 1970
Ink and plaka color on paper
27,2 x 26,5 cm
SONAKINATOGRAPHY COMPOSITION II, 2000
Plaka on Mylar
158,8 x 105,8 cm
SONAKINATOGRAPHY COMPOSITION IV, 1987/2004
Ink on Mylar
65,5 x 57,5 cm
SONAKINATOGRAPHY COMPOSITION XI VARIATION II, 2001
Ink on Mylar
158,8 x 108,2 cm
SONAKINATOGRAPHY COMPOSITION 6 + 7, 2004
Plaka color and ink on Mylar
57 x 83,2 cm
SONAKINATOGRAPHY COMPOSITION #9 – TO THE TOP DIMINISHED
Plaka color on Mylar
55,3 x 39,5 cm
SONAKINATOGRAPHY COMPOSITION NUMBER XI, 1980–2011
Ink on Mylar
63,2 x 50,5 cm
SONAKINATOGRAPHY COMPOSITION #12, 1980–2011
Ink on Mylar
82,5 x 66,5 cm
SONAKINATOGRAPHY COMPOSITION 15, 1980/2011
Ink on Mylar
58,5 x 60,5 cm
© 1980/2011, Channa Horwitz
SONAKINATOGRAPHY COMPOSITION #17, 1987–2004
64,8 x 99,3 cm
SONAKINATOGRAPHY COMPOSITION XX, 1991
Plaka color and ink on Mylar
129,4 x 81 cm
SONAKINATOGRAPHY COMPOSITION #21 and #22, 2012
68 x 32,4 cm
SONAKINATOGRAPHY COMPOSITION XXII, 2001
Ink and plaka color on Mylar
56 x 71 cm
SONAKINATOGRAPHY COMPOSITION XXII NUMBER 2, 2002
Felt pen on paper
73 x 78,5 cm
SONAKINATOGRAPHY COMPOSITION #23, 2011
50 x 72,9 cm
SONAKINATOGRAPHY COMPOSITION XVIII, 1991
135,4 x 98,2 cm
SONAKINATOGRAPHY COMPOSITION 16, 2003
Ink on Mylar
143,5 x 96,4 cm
SONAKINATOGRAPHY (Explanation), 1970
Diverse pens on various papers
47,7 x 66,5 cm
Courtesy: Private collection
Hall, outside
THE BROWN SERIES, 2007
Series of 8
Plaka color on paper
33,53 x 33,53 cm, 38,61 x 38,61 cm, 43,18 x 43,18 cm, 48,26 x 48,26 cm, 53,34 x 53,34 cm,
58,93 x 58,93 cm, 64,52 x 64,52 cm, 69,6 x 69,6 cm
8 SHAPES EXPLANATION, FOR FLOWING AND NUMBERS, 1980
Ink on Mylar
51 x 113,5 cm
SUITE 8, 1979
Lithography on paper with Plexiglas cover
56,5 x 52,7 cm
ONE TIMES EIGHT, 1978
Pencil and ink on paper
33,3 x 53 cm
ONE TIMES EIGHT, 1978
Pencil, ink and Tipp-Ex on paper
49,1 x 32,1 cm
8 EXPANDED, VARIATION II, 1981
93,4 x 124 cm
Courtesy: Collection Marshall Davis, Los Angeles
8 EXPANDED, VARIATION I, 1981
94 x 142 cm
8 EXPANDED, 1982
Pencil on paper
86,5 x 132 cm
Courtesy: No Collection Berlin
EIGHT GROWING 4 TIMES, 1980
119,5 x 215 cm
Courtesy: Collection Hundertmark and Birkholz
SEVEN, 1968
Water color and pencil on paper
41 x 52 cm
Courtesy: Collection Wolf Peter Hofmann, Berlin
ANOTHER 8, n. d.
Lithography on paper with Plexiglas cover
56,5 x 52,7 cm
Courtesy: Private Collection, Berlin
CANON 6 VARIATION II, 1982
Ink on Mylar
77 x 77 cm
PATTERNS, 1982
Series of 9
Ink on paper
Each 42 x 34 cm
LOGIC FOR VARIATION AND INVERSION ON A RHYTHM, 1976
Felt pen on paper
28,5 x 26,5 cm
Courtesy: Private Collection, Berlin
TO THE TOP COMPOSITION #2, 1999
Ink on Mylar
107,95 x 365,76 cm
NUMBER MATRIX 6, 1995
58 x 54,5 cm
Courtesy: Collection Hundertmark and Birkholz
RHYTHM OF LINES, 1987–88
Series of 8
Plaka color and 23 carat gold leaf on Mylar
Each 83,1 x 108,2 cm
MOIRÉ, 1984
65,5 x 81,8 cm
MOIRÉ, 1983
65,5 x 81,8 cm
MOIRÉ, 1984
65,5 x 81,8 cm
MOIRÉ, 1983
65,5 x 81,8 cm
COLOR ANGLE SEQUENCTIAL PROGRESSIONS, 2005–06
Ink and colored pencil on graph paper
25,5 x 30,2 cm
UNTITLED PLAY WITH 8, n. d.
Pencil and colored pencil on graph paper
33,9 x 55,8 cm
NOISY, 1998
63 x 62,6 cm
FLAG #2, 1984
85,5 x 85,5 cm
Courtesy: Collection Amrita Jhaveri
SAMPLER, n. d.
Pencil on Mylar
60 x 60,2 cm
FLOWINGS, 1980
Series of 80
Ink on Mylar
Each 38 x 53 cm
CIRCLES, 1988
Pencil and letraset on paper
60,5 x 70,5 cm
SQUARES, 1988
Pencil on paper
47 x 62,5 cm
STRUCTURE FOR WING, 1979/2011
Ink on Mylar
72,6 x 57,5 cm
UNTITLED, 2010
Plaka color on paper
52 x 55,8 cm
FLOWINGS CONDENSED, 1979
Artist’s Proof
75 x 50,9 cm
ONE (TO) EIGHT, 2015
Plaka color and pencil on wall
Realization following a project by the artist
Dimensions variable
Channa Horwitz
Solo exhibition
15.3.–25.5.15
Venue: Basis BIOGRAPHY CHANNA HORWITZ
Born 1932 in Boyle Heights, Los Angeles, US, died 2013 in Santa Monica.
Education
1972
1963
1952
California Institute of the Arts, Valencia, US, B.F.A.
California State University, Northridge, US
Art Center School of Design, Pasadena, US
Solo exhibitions (selection)
2015 COLOR FIELDS, MASSArt, Boston, US
2014 LINES, Hauser & Wirth, Zürich, CH
2013 MOMENTS. EINE GESCHICHTE DER PERFORMANCE IN 10 AKTEN, ZKM,
Karlsruhe, DE
2013 ORANGE GRID, François Ghebaly Gallery, Los Angeles, US
2012 PERFORMANCE, Pacific Standard Time, Los Angeles, US
POEM OPERA / THE DIVIDED PERSON (Performance), High Line Park, New York,
US
2011 Frieze Art Fair, Regent’s Park, London
DISPLACEMENT, Y8, Aanant & Zoo, Hamburg, DE
WHAT WOULD HAPPEN IF I, Aanant & Zoo, Berlin
2010 SEQUENCES & SYSTEMS, Solway Jones, Los Angeles, US
SEQUENCES & SYSTEMS, Kunsthalle L.A., Los Angeles, US
HELLO IS NOT LIKE I WOULD SAY GOODBYE, Aanant & Zoo, Berlin
2009 VARIATIONS IN COUNTING ONE THROUGH EIGHT, BKV Brandenburgischer
Kunstverein e. V., Potsdam, DE
SEARCHING/STRUCTURES 1965–2007, Aanant & Zoo, Berlin
2007 VARIANCES, SolwayJones, Los Angeles, US
2005 LANGUAGE SERIES, SolwayJones, Los Angeles, US
1999 STRUCTURES, University of Judaism – Platt Gallery, Los Angeles, US
1996 PAINTINGS, Los Angeles Municipal Art Gallery, Barnsdall Art Park, Los Angeles, US
1994 PERFORMANCE, UCLA Armand Hammer Museum of Art, Los Angeles, US
1990 PAINTINGS, The Drawing Room, Tucson, US
1988 PAINTINGS AND DRAWINGS, Los Angeles Municipal Art Gallery, Barnsdall Art Park,
Los Angeles, US
1983 DRAWINGS AND PRINTS, Malinda Wyatt Gallery, Venice, US
1981 DRAWINGS AND PRINTS, Malinda Wyatt Gallery, Venice, US
DRAWINGS, Union Gallery, San Jose State University, San Jose, US
1978 PERFORMANCE, International Performance Palazzo de Congressi, Bologna, IT
PERFORMANCE, Ferrara, Sala Polivalente, Ferrara, IT
PERFORMANCE, California Institute of Technology, Pasadena, US
1976 DRAWINGS AND PERFORMANCE, San Francisco Art Institute, San Francisco, US
DRAWINGS, Nevada Art Gallery, Reno, US
DRAWINGS, Salvatore Ala Gallery, Milan, IT
1974 DRAWINGS, Woman's Building, Los Angeles, US
DRAWINGS, University of California, Irvine, US
DRAWINGS AND PERFORMANCE, University of California, San Diego, US
1973 PERFORMANCE, California Institute of the Arts, Valencia, US
1969 DRAWINGS, SCULPTURES, MULTI-MEDIA PERFORMANCE, Orlando Gallery,
Encino, US
1964 PAINTINGS AND DRAWINGS, Valley Center of Art, Encino, US
1963 PAINTINGS, California State University, Northridge, US
Group exhibitions (selection)
2013 55th Biennale di Venezia 2013, THE ENCYCLOPEDIC PALACE, Venice, IT
THE THINGS WE KNOW, Henningsen Gallery, Copenhagen
ANTON VOYLS FORTGANG. HENRI CHOPIN, GUY DE COINTET, CHANNA
HORWITZ, Kunsthalle Düsseldorf, DE
LONELY AT THE TOP: MOMENTS ON MOMENTS, M HKA Museum voor
Hedendaagste Kunste, Antwerp, BE
2012 Taipei Biennial, Taipei, TW
MADE IN L.A., Los Angeles Biennial, Hammer Museum, LA><ART, Los Angeles, US
GHOSTS IN THE MACHINE, New Museum, New York, US
MOMENTS. A HISTORY OF PERFORMANCE IN 10 ACTS, ZKM Karlsruhe, DE
SYSTEMS AND STRUCTURES, Casas Riegner Gallery, Bogotá
HOW TO MAKE – IDEAS, NOTATIONS, MATERIALITIES, Kunsthaus Dresden, DE
DARBOVEN AND CHANNA HORWITZ, Galerie Crone, Berlin
2011 FALLING OFF A CLIFF, François Ghebaly Gallery, Los Angeles, US
SQUARING THE CIRCLE, IAC Berlin Gallery & GlogauAIR, Berlin
WORKS ON PAPER, CHANNA HORWITZ, CARL ANDRE, STEPHEN ANTONAKOS,
Cream Contemporary, Berlin
ART LOS ANGELES CONTEMPORARY, Los Angeles, US
2010 GROUP SHOW: CHANNA HORWITZ, EUAN MACDONALD, MICHAEL MÜLLER,
MARCUS CIVIN, François Ghebaly Gallery, Los Angeles, US
DOPPLEREFFEKT. BILDER IN KUNST UND WISSENSCHAFT, Kunsthalle zu Kiel,
DE
2009 EDITIONS, Solway Jones, Los Angeles, US
SYSTEME, M.1 Arthur Boskamp Stiftung, Hohenlockstedt, DE
THE HUMAN STAIN, CGAC, Santiago de Compostela, ES
2008 ZERO, Aanant & Zoo, Berlin
USES OF THE REAL: ORIGINALITY, CONDITIONAL OBJECTS, ACTION /
DOCUMENTATION AND CONTEMPLATION, The Nora Eccles Harrison Museum of
Art at Utah State University, Logan, US
2007 WOMEN ARTISTS OF SOUTHERN CALIFORNIA THEN AND NOW, Track 16
Gallery, Los Angeles, US
2006 STRINGS, STROKES, STRUCTURES: FOUR ARTISTS AND GENERATIVE LOGIC,
Kavli Institute for Theoretical Physics, UC Santa Barbara, Santa Barbara, US
2005 PERCUSSION MUSIC, SolwayJones, Los Angeles, US
2004 BEYOND GEOMETRY: EXPERIMENTS IN FORM, 1940s-70s, LACMA, Los Angeles,
US
ART/MUSIC, The Colburn School of Music, Los Angeles, US
BEYOND TEXT, PERFORMANCE, POEM OPERA, Beyond Baroque, Venice, US
HEROES AND HEROINES, Orange County Center for Contemporary Art, Santa Ana
Village, Santa Ana, US
2003 ART/MUSIC, The Colburn School of Music, Los Angeles, US
GROUP SHOW, Mount St. Mary’s College, Jose Drudis-Biada Art Gallery, Los
Angeles, US
WOMEN OF THE BOOK, Starr Gallery, Leventhal-Sidman Community Center,
Newton, US
THE CHAI SHOW, University of Judaism, Los Angeles, US
2002 SIX ARTISTS, Finegood Art Gallery, Bernard Milkin Jewish Community Campus, Los
Angeles, US
WOMEN OF THE BOOK, Brandstater Gallery, La Sierra University, Riverside, US
2001 WOMEN OF THE BOOK, Minnesota Center for Book Arts, Minneapolis, US
2000 WOMEN OF THE BOOK, Library at the University of Pennsylvania, Detroit, US;
University of Arizona Museum of Art, Tucson, US; Boca Raton and Florida Atlantic
University, Boca Raton, US
FINEGOOD ART GALLERY, Bernard Milken Jewish Community Campus, Los
Angeles, US
DRAWINGS, Pardo Lattuada Gallery, New York, US
1999 Kutztown University, Sharadin Art Gallery, Kutztown, US
University of Arizona, Museum of Art, Tempe, US
1998 STRUCTURES & LAYERS, Mount St. Mary’s College, José Drudis-Biada Art Gallery,
Los Angeles, US
1997 WOMEN OF THE BOOK, Finegood Art Gallery, West Hills, US
PAINTINGS, Pardo View Gallery, New York, US
1996 VISUAL RHYTHMS – GEOMETRIC ABSTRACTION IN RECENT PAINTINGS,
DRAWINGS AND COLLAGES, Occidental College, Department of Art History and the
Visual Arts, Los Angeles, US
1994 UCLA AT THE ARMAND HAMMER MUSEUM OF ART, Art Rental Gallery, Los
Angeles, US
1993 ELEGANT, IRREVERENT AND OBSESSIVE – DRAWING IN SOUTHERN
CALIFORNIA, Main Art Gallery, California State University, Fullerton, US
1992 LOS ANGELES JURIED EXPOSITION, Los Angeles Municipal Art Gallery, Barnsdall
Art Park, Los Angeles, US
DRAWING IN LOS ANGELES, Dorothy Goldeen Gallery, Santa Monica, US
1992 GROUP SHOW, Jan Turner Gallery, Los Angeles, US
1991–93
THE LEGACY OF KARL BLOSSFELDT, Jan Turner Gallery, Los Angeles, US
CROSS <+> CURRENTS: BOOKS FROM THE EDGE OF THE PACIFIC, College of
Creative Studies, University of California, Santa Barbara, US; California
State University, Hayward, US; Ringling School of Art Gallery, Sarasota, US; Oregon
School of Arts & Crafts, Portland, US
1990 OVERTURES, Irvine Medical Center Art Gallery, Irvine, US
1987 UNDERCOVER, Fresno Art Center and Museum, Fresno, US
1986 BOOKS, University Art Gallery, University of California, Riverside, US
1985 UNDERCOVER: BOOKS AS FORMAT, Northlight Gallery, Arizona State University,
Tempe, US
THREE SENSIBILITIES, Orange County Center for Contemporary Art, Santa Ana, US
1984 BOOKS, University of California, Los Angeles, US
PRINTS AND DRAWINGS, Los Angeles County Museum of Art, US
SILENT AUCTION, Pasadena Art Alliance, Pasadena, US
THE FIRST DECADE, Center for Book Arts, New York, US
1983 BOOKS, Boehm Gallery, Palomar College, San Marcos, US
1982 SILENT AUCTION, Pasadena Art Alliance, Pasadena, US
1981 THE INTIMATE OBJECT, Images and Issues Magazine, Gallery, Los Angeles, US
SYSTEM, INQUIRY, TRANSLATION, Touchstone Gallery, New York, US
1980 FORECAST OF THE SEASON, curated by Eric Siegeltuch, Touchstone Gallery, New
York, US
USA WOMEN ARTISTS 1980, Museo De Arte Contemporânea, Universidade De Sao
Paolo, BR
1979 VISUAL / MUSICAL PERMUTATIONS, University of California, Irvine, US
MUSICAL DRAWINGS, P.S.1, New York, US
VISUAL POETRY / LANGUAGE ART SHOW, California Polytechnic State University,
San Luis Obispo, US
1978 ARTWORDS & BOOKWORKS, Los Angeles Institute of Contemporary Art, Los
Angeles, US
100+ CURRENT DIRECTIONS IN SOUTHERN CALIFORNIA ART, Los Angeles
Institute of Contemporary Art, Los Angeles, US
RARE DAY EXHIBITION, St. Augustine School, Santa Monica, US
THE POETRY OF SYSTEMS, Baxter Art Gallery, California Institute of Technology,
Pasadena, US
1977 TWO ARTISTS, Contemporary Art Forums, Encino, US
1977 RARE DAY EXHIBITION, St. Augustine School, Santa Monica, US
100+ CURRENT DIRECTIONS IN SOUTHERN CALIFORNIA ART, Los Angeles
Institute of Contemporary Art, Los Angeles, US
1976 THREE DIRECTIONS, Newport Harbor Art Museum, Newport, US
VIDEO INTERVIEWS, Ronald Feldman Gallery, New York, US
VIA LOS ANGELES SIX ARTISTS, Portland Center for the Visual Arts, Portland, US
1974 GROUP SHOW, A.I.R. Gallery, New York, US
RARE DAY EXHIBITION, St. Augustine School, Santa Monica, US
1973 SMALL IMAGE SHOW, Los Angeles County Museum of Art, Los Angeles, US
GROUP SHOW, Art Rental Gallery, Los Angeles County Museum of Art, Los Angeles,
US
1970 E.A.T. SHOW AT U.S.C., University of Southern California, Los Angeles, US
1969 GROUP SHOW, Art Rental Gallery, Los Angeles County Museum of Art, Los Angeles,
US
1968 GROUP SHOW, Long Beach Museum of Art, Long Beach, US
1965 ALL CITY OUTDOOR ART FESTIVAL, Winner's Circle, Barnsdall Park, Los Angeles,
US
1964 PAINTINGS, Feigen Palmer Gallery, Los Angeles, US
GROUP SHOW, Pasadena Museum, Pasadena, US
GROUP SHOW, California Watercolor Society, Los Angeles, US
1963 GROUP SHOW, University of Oregon Art Museum, Eugene, US
GROUP SHOW, Stanford University Art Gallery, Stanford, US
GROUP SHOW, Larson Gallery, Yakima Valley College, Yakima Valley, Washington,
D.C.
1962 GROUP SHOW, Art Center of Greater Victoria, Victoria, CA
GROUP SHOW, University of Colorado, Boulder, US
GROUP SHOW, Santa Barbara Museum of Art, Santa Barbara, US
JAMES D. PHELAN AWARD SHOW, DeYoung Museum, San Francisco, US
Public collections (selection)
Hammer Museum, Los Angeles, US
Atlantic Richfield Corporation, Los Angeles, US
Getty Research Institute, Los Angeles, US
Grunwald Center for Graphic Arts, University of California, Los Angeles, US
Hartford Athenaeum, Hartford, Connecticut, US
Laguna Beach Museum of Art, Laguna Beach, US
Los Angeles County Museum of Art, Los Angeles, US
Louisiana State University Museum of Art, Baton Rouge, US
National Gallery of Art, Washington, D.C.
Neuberger Museum, State University of New York, Purchase, New York, US
Nora Eccles Harrison Museum of Art, Logan, US
Orange County Museum of Art, Newport Beach, US
Rutgers University, Zimmerlin Museum, June Wayne, Collection Prints and Drawings, New
Brunswick, US
Security Pacific National Bank, Los Angeles, US
University of Santa Barbara, University Art Museum, Santa Barbara, US
Volt Industries, Orange County, US
Elín Hansdóttir
SUSPENSION OF DISBELIEF
Solo exhibition
15.3.–25.5.15
Venue: 1+2
Walk-through with Elín Hansdóttir: Sunday, 15.3.15, 16 h
For the exhibition SUSPENSION OF DISBELIEF at KW Institute for Contemporary Art, artist
Elín Hansdóttir produces a site-specific work, which uses the architecture of the former
margarine factory as a starting point for a spatial and filmic installation.
The first floor becomes an environment, and simultaneously the setting for an experimental
film. This film is shot, edited and overlaid with a soundtrack before the show opens, and
premieres on the floor above together with the installation. While in her installation Hansdóttir
focuses on the space and its architecture by using objects and various surfaces, in the film
she superimposes various temporal layers onto the same room with the aid of early
cinematographic illusion techniques such as glass painting. Thus SUSPENSION OF
DISBELIEF interweaves the past and present, two- and three-dimensionality, and movement.
In collaboration with the choreographer Margrét Bjarnadóttir, the composer Úlfur Hansson
and the filmmaker and cameraman Frerk Lintz, Hansdóttir develops a filmic experiment
whose sound, camera, and movement are derived directly from the spatial circumstances of
the venue. The video presents alternative spatial possibilities of perception in the crossover
space between three-dimensional and film media.
The term “suspension of disbelief” was coined at the beginning of the nineteenth century by
the philosopher and poet Samuel Taylor Coleridge. It refers to the conscious willingness of
the recipient to engage with – to “believe in” – an artistic fiction, so as to derive greater
pleasure from it. Hansdóttir is particularly interested in the illusion techniques used in early
cinema, in which – in contrast to the deceptively realistic computer animations of today’s
movies – the discrepancy between “real” image and the created fiction is conspicuous, and
demands a higher degree of the viewers’ commitment to believe.
Elín Hansdóttir places the recipients in the spotlight of her cross-genre installations.
Employing acoustic and optical effects as well as architectural elements, her works explore
the potentials and limitations of spatial experience. Over the past years, her artistic practice
has shifted from sculptural concepts to dynamic spatial arrangements, which incorporate
sound and light, but also address the changes in the viewers’ perception through their own
movements as essential elements. SUSPENSION OF DISBELIEF is the first work by
Hansdóttir in which the filmic experiment plays a key role.
SUSPENSION OF DISBELIEF is Elín Hansdóttir’s first institutional solo exhibition in
Germany. Born in 1980 in Reykjavík, her works have been shown at the Marrakech Biennale
4 HIGHER ATLAS (2012, Marrakech, MA), in the exhibitions ART AGAINST
ARCHITECTURE (2008, National Gallery of Iceland, Reykjavík), LONG ARE THE DAYS,
SHORT ARE THE NIGHTS (2011, Wood Street Galleries, Pittsburgh, PA, US), TRACE
(2010, i8 Gallery, Reykjavík), PARALLAX (2009, Reykjavik Art Museum), BETWEEN TWO
DEATHS (2007, ZKM, Karlsruhe, DE), in the framework of FRIEZE PROJECTS (2007,
Frieze Art Fair, London), and at BERLIN NORTH (2004, Hamburger Bahnhof, Berlin).
Her concern with space and its experience is also reflected in her work for the performing
arts. Hansdóttir has developed stage sets for the production of Auður Ava Ólafsdóttir’s play
SVARTUR HUNDUR PRESTSINS at the National Theatre of Iceland (2011, Reykjavík) and
for the dance piece ON MISUNDERSTANDINGS by choreographer Margrét Bjarnadóttir
(including costumes; 2010, K3 – Zentrum für Choreographie/Tanzplan Hamburg, DE). In
2010 she received a one-year grant for working at Ólafur Elíasson’s Institut für
Raumexperimente (Universität der Künste, Berlin). Elín Hansdóttir lives and works in Berlin
and Reykjavík.
SUSPENSION OF DISBELIEF is funded by Medienboard Berlin Brandenburg.
With additional support from the Icelandic Visual Arts Fund, the Icelandic Art Center, the
Embassy of Iceland, and the Muggur Travel Grant.
The cultural programs of KW Institute for Contemporary Art are made possible with the
Opening hours
Admission
6 €, reduced 4 €
Thursday evening ticket: 4 € (18–21 h, includes introduction at 18 h)
Walk-through with Elín Hansdóttir (Sunday, 15.3.15, 16 h): Admission included in exhibition
ticket
Elín Hansdóttir
Solo exhibition
15.3.–25.5.15
Venue: 1+2
LIST OF WORKS
Elín Hansdóttir
SUSPENSION OF DISBELIEF, 2015
Installation
Mixed media
Dimensions variable
Courtesy Elín Hansdóttir and i8 Gallery
Consisting of:
GLASSPAINTING (APPLE), 2015
Oil painting on glass, steel trestle
50 x 70 cm
GLASSPAINTING (CARDBOARD BOX), 2015
50 x 70 cm
GLASSPAINTING (COLUMNS), 2015
70 x 90 cm
GLASSPAINTING (FEET), 2015
70 x 90 cm
GLASSPAINTING (HOLE), 2015
70 x 90 cm
GLASSPAINTING (HOUSE), 2015
70 x 90 cm
STREAM, 2015
Archival inkjet print
40 x 80 cm
SUSPENSION OF DISBELIEF, 2015
Video, color, sound
16:38 min., loop
Camera and edit: Frerk Lintz
Choreography: Margrét Bjarnadóttir
Music: Úlfur Hansson
Elín Hansdóttir
Solo exhibition
15.3.–25.5.15
Venue: 1+2
BIOGRAPHY ELÍN HANSDÓTTIR
Born 1980 in Reykjavík, lives and works in Berlin
Education
2003–2006
1999–2003
KHB Berlin-Weissensee; Magister
Iceland Academy of the Arts, Reykjavík; BA
Solo exhibitions
2010 TRACE, i8 Gallery, Reykjavík
RECIPROCAL, Biennale für Internationale Lichtkunst, Hamm, DE
2009 UNIVERSOLO, Unosolo project space, Rome
PARALLAX, Reykjavik Art Museum, Reykjavík
2008 TWO POINT FIVE (in collaboration with choreographer Margrét Bjarnadóttir),
Program, Berlin
PATH, Maribel Lopez Gallery, Berlin
2006 BOOK SPACE, public libraries in Europe
HERE ELSEWHERE, rec gallery, Berlin
2005 UNTITLED (NAFNLAUST), MATERIAL TIME/WORK TIME/LIFE TIME
(in collaboration with Neulant van Exel, Darri Lorenzen, and Anne Kockelkorn),
Reykjavik Arts Festival, Reykjavík
2004 YOU, The Arnesinga Art Museum, Hveragerdi, IS
Group shows
2014 FESTIVAL OF FUTURE NOWS, Neue Nationalgalerie – Staatliche Museen zu Berlin,
Berlin
BEYOND REACH, Den Frie Center of Contemporary Art, Copenhagen
GIVE US THE FUTURE, Neuer Berliner Kunstverein, Berlin
2013 INDICATIONS, Hafnarborg Art Center, Hafnarfjörður, IS
2012 HIGHER ATLAS, Marrakech Biennale, Marrakech, MA
2011 LONG ARE THE DAYS, SHORT ARE THE NIGHTS, Wood Street Galleries,
Pittsburgh, US
2010 THEY GO ROUND AND ROUND, 0047, Oslo
WE PICTURED YOU READING THIS, Redux Contemporary Art Center, Charleston,
US
VOICE BETWEEN LINES, Centre D’Art La Panera, Lleida, ES
2009 RETHINK THE IMPLICIT, Den Frie Udstillingsbygning, Copenhagen
SPACE REVISED – VERBLEIB UNBEKANNT, Künstlerhaus Bremen, DE
LEFT ON YOUR OWN DEVICES, Bòlit Centre d’Art Contemporani Girona, ES
2008 PLEINAIRISM, i8 galleri, Reykjavík
ART AGAINST ARCHITECTURE, National Gallery of Iceland, Reykjavik Arts Festival,
Reykjavík
2007 BERLIN NOIR, Perry Rubenstein Gallery, New York, US
FRIEZE PROJECTS, Frieze Art Fair, London
CONSEQUENCES AND PROPOSALS, Biennale of Young Artists, Tallin
BETWEEN TWO DEATHS, ZKM, Karlsruhe, DE
SEVERAL DOZEN SECONDS OF BADLY DEVELOPED FILM, Raster Gallery,
Warsaw
EXHIBITION’S RUINS/EMOTIONAL LANDSCAPES, Safn, IS
2005 NEW ICELANDIC ART II, National Gallery of Iceland, Reykjavík
PRAYING FOR SILENCE, Ludwigsburger Kunstverein, Ludwigsburg, DE
2004 BERLIN NORTH, Hamburger Bahnhof – Staatliche Museen zu Berlin, Berlin
Other projects
2011 Stage design: SVARTUR HUNDUR PRESTSINS, Icelandic National Theater,
Reykjavík, director: Auður Ava Ólafsdóttir
2010 Stage design and costumes: ON MISUNDERSTANDINGS, Tanzplan Hamburg, DE,
choreographer: Margrét Bjarnadóttir
2009 Founding of KOMPLEX, artist residency (together with Darri Lorenzen) for Alfred
Toepfer Foundation F.V.S.
Installation: NACRE, 10th Spire (Touch), Skanu Mezs, Riga, music: Hildur
Ingveldardóttir Guðnadóttir
2008 Installation: RUNWAY, Sequences Festival, Reykjavík, music: Hildur Ingveldardóttir
Guðnadóttir
Performance: HELIX (in collaboration with musician Úlfur Hansson), Sequences
Festival, Reykjavík
PRESS INFORMATION
Exhibition series
15.3.–1.11.15
#1: Viktorija Rybakova: Oo, A PREVIEW
Video installation
15.3.–12.4.15
Venue: 3 ½
The new exhibition series in the in-between level 3 ½ at KW Institute for Contemporary Art,
SEIZING THE IVORY TOWER, follows the exhibition cycle THE RETRACTION OF THINGS
and is inaugurated with artist Viktorija Rybakova’s piece Oo, A PREVIEW on March 14,
2015. Over the next few months, KW’s assistant curator Nina Mende animates this
independent space between the third and fourth floors with emerging and recent artistic
positions.
Befitting its location in the exhibition building, the series addresses the fascination with the
remote, the unnoticed or the concealed. The participating artists in SEIZING THE IVORY
TOWER present new productions, or installations developed specifically for 3 ½, which are
concerned with any aspect of life that eludes general awareness, purposely or inadvertently.
The series focuses on stories, occasions and phenomena in the marginal zones of our
personal or public lives, but also looks closely at the artistic strategies themselves used for
detecting, investigating or revealing these zones. The chosen works consciously utilize 3 ½
as a space of tension between a personal encounter and public confrontation.
In her piece Oo, A PREVIEW, Viktorija Rybakova (born 1989 in Vilnius, Lithuania)
choreographs a hypnotic trip through the mental spaces of an exhibition, and its works. The
video piece was originally produced as a “preview” for the Lithuanian Pavilion at the Venice
Biennale, 2013, and leads the viewer through an increasingly deep image world of a playfully
unfolding artist book. Rybakova reflects and conserves a concrete exhibition’s formation
process, but also lets the object of documentation stand on equal grounds as a convertible,
living thought construction. The imagination overlays images and associations, expanding
the real constrictions of the room into the endless space of the imaginary.
The following presentations of the series will open alongside an event in Chora (3rd floor),
and will vary in their running period.
Participating artists: Luisa Puschendorf and Julia Werhahn, Viktorija Rybakova, Frank
Sperling, Luca Vanello, and Franziska Wildt, among others.
Preview
SEIZING THE IVORY TOWER #2: Luca Vanello
17.4.–24.5.15
Luca Vanello (born 1986 in Trieste, Italy, lives and works in Berlin) is interested in personal
narratives as well as in the anonymous and technical qualities of objects. The artist
transforms and sorts his raw material and presents it in the exhibition space in various states
of disintegration. In his latest work, he explores the invisible power hierarchies that structure
the Italian refugee policy.
SEIZING THE IVORY TOWER #3: Frank Sperling
29.5.–28.6.15
With his MONOLOGUES FROM THE BIPOLAR REGION, blogger “Private Hermann” turns
to the anonymous audience of the Internet to talk about life, politics, faith, and repeatedly
about his mental illness. In his installation PRIVATE HERMANN (2014–15), Frank Sperling
(born in 1984 in Neustrelitz, lives and works in Berlin) examines not only Hermann’s eventful
biography, but also the possibilities and limits of representation of internal states, employing
a mixture of documentary, pseudo-therapeutic and staged photographs, and videos.
Viktorija Rybakova: Oo, A PREVIEW is supported by the Ministry of Culture of the Republic
of Lithuania.
Opening hours
Admission
Admission free
Exhibition series
15.3.–1.11.15
Video installation
15.3.–12.4.15
Venue: 3 ½
BIOGRAPHY VIKTORIJA RYBAKOVA
Born 1989 in Vilnius, Lithuania; lives and works in Mexico City
Education
2008–2012
Vilnius Art Academy, Vilnius, BA degree in architecture
Residencies/Educational Programs
2014
2013
2012–2013
AIR Berlin Alexanderplatz, Berlin
GSAPP’s Studio-X residency, New York, US
Rupert Educational Program, Vilnius
Group exhibitions
2014 PROTOTYPES Contemporary Art Center, Vilnius
WHAT THINKS ME?, Taiga, St. Petersburg, RU
PRE-HYPNOTIC COCKTAILS, Kunstverein Toronto, CA
XII Baltic Triennial, Contemporary Art Center, Vilnius
16th Tallinn Print Triennial, Kumu Kunstimuuseum, Tallinn
2013 VEERLE, Fondazione Sandretto Re Rebaudengo, One Torino-Artissima, Turin, IT
FAST FLUX: NEW ART FROM LITHUANIA, GSAPP’s Studio-X, New York, US
Collections
Kumu Kunstimuuseum, Tallinn
Vilnius University Library, Vilnius
Other projects
2014 ANOTHER VICTORY OVER THE SUN (online publication), text and illustrations
2013 55th Biennale di Venezia, Lithuanian-Cyprus pavilion, Venice, IT, video for the
website
Exhibition series
15.3.–1.11.15
Video installation
15.3.–12.4.15
Venue: 3 ½
WORK DETAILS
Viktorija Rybakova
Oo, A PREVIEW, 2015
Courtesy the artist
Consisting of:
Viktorija Rybakova
Oo, A PREVIEW, 2013
Video, color, sound
Duration: 3:30 min.
Bookbinder: Jurga Sako
Text/speaker: Marcos Lutyens
Director of photography: Egle Budvytyte
Viktorija Rybakova
Oo, A PREVIEW, 2015
Plywood, digital prints, photo by Robertas Narkus
Dimensions variable
PRESS INFORMATION
Marcel Dzama
UNE DANSE DES BOUFFONS (or A JESTER’S DANCE)
Video installation
22.2.–29.3.15
Venue: KW Projects
UNE DANSE DES BOUFFONS (or A JESTER’S DANCE), the new film by Canadian artist
Marcel Dzama (born 1974, lives and works in New York), is shown at KW Projects since
February 22, 2015. Created in 2013 for the Toronto International Film Festival as a tribute to
David Cronenberg, the nearly 35-minute film is on view for the first time in Germany.
In the film, Dzama reimagines the tragic love story between Marcel Duchamp and Maria
Martins (played by Kim Gordon and Hannelore Knuts) as a psychodrama, which renegotiates
presupposed polarities of good and evil, love and antipathy, dance and battle, lust and
violence. Accompanied by a somber soundtrack by Will Butler, Jeremy Gara and Tim
Kingsbury (members of the band Arcade Fire), the atmospheric images and surreal
characters of this silent film carry the viewers off into a fictitious fairy-tale world, full of art
historical references. In fact, many scenes are based on well-known images of real violence,
leaving us in the dark about how we should perceive and process such distorted pictures of
torture, terrorism, corruption, and power.
Since the late 1990s, Dzama has exhibited widely in international solo and group
presentations. In 2010, a major survey of the artist’s work AUX MILLE TOURS/OF MANY
TURNS was presented at the Musée d’art contemporain de Montréal, CA. Other solo
exhibitions include HOLLOW LAUGHTER (Kunstmuseum Thun, CH, 2014), WITH OR
WITHOUT REASON (Centro de Arte Contemporáneo de Málaga, ES, 2012), A TOUCH OF
EVIL (Museo de Arte de Zapopan (MAZ), Zapopan, MX, 2012), THE END GAME (World
Chess Hall of Fame and Museum, St. Louis, US, 2012), A GAME OF CHESS
(Gemeentemuseum, The Hague, NL, 2011), and THE NEVER KNOWN INTO THE
FORGOTTEN (Kunstverein Braunschweig, DE, 2011). Work by the artist is held in museum
collections worldwide.
With MARCEL DZAMA: SOWER OF DISCORD a comprehensive monograph by Abrams
appeared in 2013, produced and designed in collaboration with the artist, and with
contributions from Bradley Bailey, Dave Eggers, Spike Jonze, and Raymond Pettibon.
Kindly supported by the Embassy of Canada.
Opening hours
Admission
Admission free
Accompanying program
Monday, 23.3.15, 19 h
Live-Performance of the soundtrack with Marcel Dzama and Jeremy Gara (Arcade Fire)
Venue: Chora
Admission: 3 €
Marcel Dzama
Video installation
22.2.–29.3.15
Venue: KW Projects
BIOGRAPHY MARCEL DZAMA
Born 1974 in Winnipeg, CA, lives and works in New York, US
Education
1997 Bachelor of Fine Arts at University of Manitoba, Winnipeg, CA
Solo exhibitions (selection)
2015 MARCEL DZAMA, Sies + Höke, Düsseldorf, DE
MARCEL DZAMA, World Chess Hall of Fame, St. Louis, US
2014 UNE DANSE DES BOUFFONS (or A JESTER’S DANCE), David Zwirner, New York,
US
HOLLOW LAUGHTER, Kunstmuseum Thun, CH
2013 A TRICKSTER MADE THIS WORLD, Helga de Alvear, Madrid
TIME WAITS FOR US, Galleri Magnus Karlsson, Stockholm
UNREAL, Evergreen Cultural Centre, Coquitlam, CA
PUPPETS, PAWNS, AND PROPHETS, David Zwirner, London
2012 CON RAZÓN O SIN ELLA/WITH OR WITHOUT REASON, Centro de Arte
Contemporáneo de Málaga, Málaga, ES
DEATH DISCO DANCE, Isolation Room, St. Louis, US
THE END GAME, World Chess Hall of Fame, St. Louis, US
A GAME OF CHESS, Sies + Höke, Düsseldorf, DE
A TOUCH OF EVIL/UN TOQUE DE MALDAD, Museo de Arte de Zapopan (MAZ),
Zapopan, MX
2011 BEHIND EVERY CURTAIN, David Zwirner, New York, US
A GAME OF CHESS, Gemeentemuseum, The Hague, NL
JOCKUM NORDSTRÖM AND MARCEL DZAMA, Galleri Magnus Karlsson,
Stockholm
THE NEVER KNOWN INTO THE FORGOTTEN, Kunstverein Braunschweig, DE
2010 AUX MILLE TOURS/OF MANY TURNS, Musée d’art contemporain de Montréal, CA
DELILA’S DANCE, Galería Helga de Alvear, Madrid
2009 THE INFIDELS, Sies + Höke, Düsseldorf, DE
2008 EDITION 46 – MARCEL DZAMA, Pinakothek der Moderne, Munich, DE
EVEN THE GHOST OF THE PAST, David Zwirner, New York, US
2007 CELLULOID CEREMONY, Galleri Magnus Karlsson, Stockholm
MARCEL DZAMA, Oficina para Proyectos de Arte, Guadalajara, MX
MOVING PICTURE, Timothy Taylor Gallery, London
2006 MARCEL DZAMA, Centre for Contemporary Arts, Glasgow, GB
CONVERSATIONS 2: MARCEL DZAMA & ALICE SHAW, San Francisco Arts
Commission Gallery, San Francisco, US
2005
2004
2003
2002
2001
2000
1999
1998
1997
MARCEL DZAMA, The Richard L. Nelson Gallery & Fine Art Collection, University of
California, Davis, US
MARCEL DZAMA, Sies + Höke, Düsseldorf, DE
TREE WITH ROOTS, IKON Gallery, Birmingham, UK
WORKS ON PAPER, Greg Kucera Gallery, Seattle, US
THE COURSE OF HUMAN HISTORY PERSONIFIED, David Zwirner, New York, US
THE LOTUS EATERS, Centre d’Art Santa Mònica, Barcelona, ES
MARCEL DZAMA, Timothy Taylor Gallery, London
THE ALBATROSS NOTE, Galleri Magnus Karlsson, Stockholm
BEARS IN MY ROOM: WORKS ON PAPER BY MARCEL DZAMA, Second Street
Gallery, Charlottesville, US
MARCEL DZAMA, Christophe Daviet-Thery Livres et Editions d’Artistes, Paris
MARCEL DZAMA, Olga Korper Gallery, Toronto, CA
MARCEL DZAMA, Susan Inglett Gallery, New York, US
DAILY APOCALYPSE: ONE DRAWING BY TWO ARTISTS, Perugi,
ITArtecontemporanea, Padova, IT
DRAWINGS BY MARCEL DZAMA: FROM THE BERNARDI COLLECTION, Art
Gallery of Windsor, Windsor, CA
MARCEL DZAMA & JOCKUM NORDSTRÖM, David Zwirner, New York, US
NEW WORK, Richard Heller Gallery, Santa Monica, US
WELCOME TO WINNIPEG, Rizziero Arte, Pescara, IT
DRAWINGS FOR DANTE, Timothy Taylor Gallery, London
MARCEL DZAMA, David Zwirner Gallery, New York, US
MARCEL DZAMA, Mendel Art Gallery, Saskatoon, CA
MARCEL DZAMA, Diehl Vorderwuelbecke, Berlin
MARCEL DZAMA, Galleria No Code, Bologna, IT
MARCEL DZAMA, Greg Kucera Gallery, Seattle, US
MARCEL DZAMA, Monica De Cardenas Galleria, Milan, IT
MARCEL DZAMA, Richard Heller Gallery, Santa Monica, US
MARCEL DZAMA, Galleri Magnus Karlsson, Stockholm
MORE FAMOUS DRAWINGS, Plug In Institute of Contemporary Art, Winnipeg, CA
MARCEL DZAMA, David Zwirner Gallery, New York, US
ZEICHNUNGEN + VIDEO, Diehl Vorderwuelbecke, Berlin
MARCEL DZAMA, Espaço Produções, Rio de Janeiro, BR
MARCEL DZAMA, Greene Gallery, Genf, CH
MARCEL DZAMA, Art Forum, Berlin
MARCEL DZAMA, Artpace, San Antonio, US
MARCEL DZAMA, Casa Triângulo, São Paulo, BR
MARCEL DZAMA, David Zwirner, New York, US
MARCEL DZAMA, Espaço Purplex, Capacete Entretenimentos, Rio de Janeiro, BR
Group shows (selection)
2014 UNREAL, Kamploos Art Gallery, Kamloops, CA; Kelowna Art Gallery, Kelowna, CA
2013 COLECCIÓN HELGA DE ALVEAR: EL ARTE DE PRESENTE, CentroCentro, Palacio
de Cibeles, Madrid
THE SPECTACLE OF PLAY, Art Gallery of Hamilton, CA
DAVID CRONENBERG: TRANSFORMATION, Museum of Contemporary Canadian
Art, Toronto, CA
FOUR CORNERS OF THE WORLD, HITE Foundation, Seoul, KR
THEATRICAL FIELDS, Bildmuseet, Umeå University, Umeå, SE
PUPPETS, PAWNS, AND PROPHETS, David Zwirner, London
DIE GESTUNDETE ZEIT, Sies + Höke, Düsseldorf, DE
MARCEL DUCHAMP’S NUDE DESCENDING A STAIRCASE: AN HOMAGE, Francis
M. Naumann Fine Art, New York, US
STARGAZER, Sven-Harrys Konstmuseum, Stockholm
2012 4th Guangzhou Triennial: THE UNSEEN, Guangzhou, CN
BUILDERS: Canadian Biennial 2012, National Gallery of Canada, Ottawa
DANIEL AND FLORENCE GUERLAIN CONTEMPORARY ART FOUNDATION
DRAWING PRIZE, Salon du Dessin, Palais de la Bourse, Paris
DRAWING STORIES: NARRATION IN CONTEMPORARY GRAPHIC ART, Museum
Folkwang, Essen, DE
EXQUISITE CORPSES: DRAWING AND DISFIGURATION, The Museum of Modern
Art, New York, US
FROM OUR COLLECTIONS: MEGINARY, Glenbow Museum, Calgary, CA
OH, CANADA, Massachusetts Museum of Contemporary Art (MASS MoCA), North
Adams, US
2011 FAIRY TALES, MONSTERS AND THE GENETIC IMAGINATION, First Center for the
Visual Arts, Nashville, US
EVERYTHING MUST GO, Casey Kaplan, New York, US
FROM THE COLLECTION: UNREAL, Vancouver Art Gallery, CA
MY WINNIPEG, La Maison Rouge, Paris
OCEANOMANIA: SOUVENIRS OF MYSTERIOUS SEAS, Nouveau Musée National,
Monaco
PAINTING BETWEEN THE LINES, CCA Wattis Institute for Contemporary Arts, San
Francisco, US
A PAPER TRAIL, Cultuurcentrum de Werft, Geel, BE
A PRAIRIE SNAPSHOT, National Arts Centre, Ottawa
RADICAL DRAWING, Purdy Hicks, London
TAKING SIDES, Paddle8.com, online
2010 CUE: ARTISTS’ VIDEOS, Vancouver Art Gallery, CA
HUMAN CONDITION: EMPATHY AND EMANCIPATION IN PRECARIOUS TIMES,
Universalmuseum Joanneum/Kunsthaus, Graz, AT
KRIEG UND FRIEDEN, Ausstellungshalle zeitgenössische Kunst, Münster, DE
MONSTER, West Vancouver Museum, CA
NEW NARRATIVE, Heskin Contemporary, New York, US
THANKS FOR BEING WITH US: CONTEMPORARY ART FROM THE DOUGLAS
NIELSEN COLLECTION, Tucson Museum of Art, Arizona, US
TODAY IS YESTERDAY TOMORROW/IDAG ÄR IGÅR IMORGON, Galleri Magnus
Karlsson, Stockholm
2009 COMPASS IN HAND: SELECTIONS FROM THE JUDITH ROTHSCHILD
FOUNDATION CONTEMPORARY DRAWINGS COLLECTION, The Museum of
Modern Art, New York, US
2008
2007
2006
2005
MI VIDA. FROM HEAVEN TO HELL: LIFE EXPERIENCES IN ART FROM THE
MUSAC COLLECTION, Műcsarnok Kunsthalle, Budapest
MIND THE CRACKS! COLLAGES FROM THE MUSEUM AND FROM OTHER
COLLECTIONS, Tel Aviv Museum of Art, IL
PRIVATE UNIVERSES, Dallas Museum of Art, US
WONDERLAND: THROUGH THE LOOKING GLASS, Kunsthal, Amersfoort, NL
THE GALLERY, David Zwirner, New York, US
NEW RELEASES AND THEN SOME, Electric Works, San Francisco, US
ORDER, DESIRE, LIGHT, Irish Museum of Modern Art, Dublin
THE VOTING BOOTH PROJECT, David Zwirner, New York, US
WINTER WATER COLOR LAND, Samuel Freeman, Santa Monica, US
WUNDERKAMMER: A CENTURY OF CURIOSITIES, The Museum of Modern Art,
New York, US
COMIX, Kunsthallen Brandts, Odense, DK
EXISTENCIAS, Museo de Arte Contemporáneo de Castilla y León, León, FR
RUNNING AROUND THE POOL, Florida State University Museum of Fine Arts,
Tallahassee, US
THE STORYTELLERS, Pilar Parra & Romero, Madrid
TRAUM UND TRAUMA/DREAM AND TRAUMA: WORKS FROM THE DAKIS
JOANNOU COLLECTION, Athens, Kunsthalle Wien and Museum Moderner Kunst
Stiftung Ludwig Wien, Vienna
YÄQ, LA PLANTA, Arte Contemporáneo Omnilife, Guadalajara, MX
THE COMPULSIVE LINE: ETCHING 1900 TO NOW, The Museum of Modern Art,
New York, US
DOWN BY LAW: DAY FOR NIGHT, 2006 Whitney Biennial, Whitney Museum of
American Art, New York, US
FULL HOUSE – FACES OF A COLLECTION, Kunsthalle Mannheim, DE
INTO ME/OUT OF ME, P.S.1 Contemporary Art Center, Long Island City, US
PEER PLEASURE 1: THE ROYAL ART LODGE SPACE 1026 AND INSTANT
COFFEE, Yerba Buena Center for the Arts, San Francisco, US
SINCE 2000: PRINTMAKING NOW, The Museum of Modern Art, New York, US
FUNNY CUTS, Staatsgalerie, Stuttgart, DE
STRIPS & CHARACTERS – KUNST UNTER DEM EINFLUSS VON COMICS,
Kunstverein Wolfsburg, DE
CENTRAL STATION – THE HARALD FALCKENBERG COLLECTION, La Maison
Rouge, Paris
ALWAYS CRASHING IN THE SAME CAR, Galleri Susanne Ottesen, Copenhagen
KINDERSZENEN/CHILD’S PLAY, Rohkunstbau XII, Wasserschloss Gross Leuthen,
Spreewald, DE
MAX ERNST AND THE TRADITION OF THE MODERN, Städtische Kunsthalle,
Mannheim, DE
NEW WORK/NEW ACQUISITIONS, The Museum of Modern Art, New York, US
THE OTHER MAINSTREAM: SELECTIONS FROM THE MIKKI AND STANLEY
WEITHORN COLLECTION, Arizona State University Art Museum, Tempe, US
PENSIERI DEI SERPENTI BY THE ROYAL ART LODGE, Perugia, IT
MARCEL DZAMA, Artecontemporanea, Padova, IT
PRAGUE BIENNALE: A SECOND SIGHT, National Gallery, Prague
SECURITY CHECK: PAINTING AFTER ROMANTICISM, Arndt & Partner, Zurich, CH
TAKE TWO. WORLDS AND VIEWS: CONTEMPORARY ART FROM THE
COLLECTION, The Museum of Modern Art, New York, US
THE WONDERFUL FUND ON TOUR, Le Musée de Marrakech, MA
2004
2003
2002
2001
2000
1999
1998
WORDS: THE FORMAL PRESENCE OF TEXT IN MODERN AND
CONTEMPORARY WORKS ON PAPER, Andrea Rosen Gallery, New York, US
À FRIPON, FRIPON ET DEMI, POUR UNE ÉCOLE BUISSONNIÈRE, Collection
Lambert en Avignon, Avignon, FR
FUNNY CUTS: CARTOONS AND COMICS IN CONTEMPORARY ART,
Staatsgalerie, Stuttgart, DE
HUTS, Douglas Hyde Gallery, Dublin
IT’S A WONDERFUL LIFE: PSYCHODRAMA IN CONTEMPORARY PAINTING,
Spaces, Cleveland, US
NIEVA NEGRO AT THE PHOTO ESPAÑA 2004: HISTORIAS, Madrid
PERFIL DE UNA COLEÇÃO, Instituto Cultural Usiminas, Ipatinga, BR
THE ROYAL ART LODGE: PRIDE IN WORKMANSHIP, The Houldsworth Gallery,
London
SOBEY ART AWARD 2004, Art Gallery of Nova Scotia, Halifax, UK
STRIPS & CHARACTERS, Kunstraum München, Munich, DE
THE GREAT DRAWING SHOW 1550–2003, Michael Kohn Gallery, Los Angeles, US
MOSAICANADA: SIGN AND SOUND, Seoul Museum of Art, Seoul, KR
THE ROYAL ART LODGE: ASK THE DUST, The Drawing Center, New York, US
SWEET TOOTH, Mixture Contemporary Art, Houston, US
ZWISCHENBILANZ, Kunstforum Baloise, Basel, CH
47TH BIENNIAL EXHIBITION: FANTASY UNDERFOOT, Corcoran Gallery of Art,
Washington, D.C.
FANTASYLAND, D’Amelio Terras, New York, US
La Biennale de Montréal 2002, Montreal, CA
ONE THOUSAND WORDS, John Michael Kohler Arts Center, Sheboygan, US
THE GOOD, THE BAD AND THE UGLY: A SPAGHETTI WESTERN, Museum of
Contemporary Art, Denver, US
I ♥ NY, David Zwirner, New York, US
IN FUMO, Galleria d’Arte Moderna e Contemporanea di Bergamo, IT
PAPERVIEW, Galería Espacio Mínimo, Madrid
THE ROYAL ART LODGE, Perugi Artecontemporanea, Padova, IT
W5: FIVE WINNIPEG ARTISTS SPANNING FIVE GENERATIONS, Art Gallery of
Southwestern Manitoba, Brandon, CA
ZIVILER UNGEHORSAM: DIE SAMMLUNG FALCKENBERG, Kestner Gesellschaft,
Hannover, DE
DRAWING SHOW, Chicago Institute of Art, Chicago, US
BABYLON, Galerie Philomene Magers, Munich, DE
CANADA 3 PERSPECTIVES: DZAMA, SÉGUIN, VAREY, ARTCORE, Toronto, CA
DR. WINGS, Galerie Air de Paris, Paris
DRAWINGS 2000, Gladstone Gallery, New York, US
THE ROYAL ART LODGE DRAWINGS, Helen Pitt Gallery, Vancouver, CA
SELECTIONS FROM THE MANILOW COLLECTION, Museum of Contemporary Art,
Chicago, US
SELECTIONS FROM THE PERMANENT COLLECTION, Vancouver Art Gallery, CA
CASTELLI DI CARTE, Claudia Gian Ferrari Arte Contemporanea, Milan, IT
CONTEMPORARY AMERICAN REALIST DRAWINGS, the Jalane and Richard
Davidson Collection, The Art Institute, Chicago, US
DRAW, Ten in One Gallery, Chicago, US
GREETINGS FROM WINNIPEG, Minneapolis College of Art & Design, US
SIT(E)INGS: TRAJECTORIES FOR A FUTURE, Winnipeg Art Gallery, Winnipeg, CA
FOR THE BIRDS, Geoffrey Young Gallery, Great Barrington, US
LAUGHING, Plug In Institute of Contemporary Art, Winnipeg, CA
SELECTIONS SPRING ’98, The Drawing Center, New York, US
1997 ART FOR HEALING, Walker Theatre, Winnipeg, CA
NEW FUN VIDEO SHOW #7, Espaço Purplex, São Paulo, BR
WOOD INC., Off-Ice Gallery, University of Manitoba, Winnipeg, CA
1996 MARCEL DZAMA, Fite Gallery, Winnipeg, CA
Museum collections (selection)
Corcoran Gallery of Art, Washington, D.C.
Dallas Museum of Art, US
Musée d’art contemporain de Montréal, CA
Museum of Contemporary Art, Los Angeles, US
The Museum of Modern Art, New York, US
National Gallery of Canada, Ottawa
Solomon R. Guggenheim Museum, New York, US
Tate Gallery, London
Vancouver Art Gallery, CA
Marcel Dzama
Video installation
22.2.–29.3.15
Venue: KW Projects
WORK DETAILS
Marcel Dzama
Video, color, sound
Duration: 35:22 min.
Courtesy David Zwirner, New York/London; Sies + Höke, Düsseldorf
Commissioned by Toronto International Film Festival, 2013
Written and directed by:
Line producers:
Actors:
Music:
Choreography:
Sound editor:
Cinematography:
Film editing:
Production design:
Set decoration:
Costume design:
Makeup artist:
Requisite:
Assistant art director:
Camera:
Assistant camera:
Gaffer/grip:
Marcel Dzama
Nate Pommer, Vernon Chatman, John Lee
Kim Gordon, Hannelore Knuts, Jason Grisell, Jon Bulette,
Carin Cahn, Marissa Palley, Mike Swift
Will Butler, Jeremy Gara, Tim Kingsbury
Vanessa Walters
T. Terressa Tate
Smokey Nelson
Nate Pommer
Jason Singleton
Naomi Munro
Christiane Hultquist, Renata Morales
Blair Aycock
Michelle Marchesseault
James Vogel
Balz Biellmann
Kyle Parsons
Ryan Reynolds, Kjerstin Rossi, Aaron Smith
Kindly supported by the Embassy of Canada.
With special thanks to David Zwirner New York/London; Sies + Höke, Düsseldorf.
CURATOR BIOGRAPHIES
Ellen Blumenstein
Ellen Blumenstein is the chief curator of KW Institute for Contemporary Art since January
2013. Since then she has curated multiple exhibitions including RELAUNCH (2013), Kader
Attia: REPAIR. 5 ACTS (2013), REAL EMOTIONS: THINKING IN FILM (2014, with Franz
Rodenkirchen and Daniel Tyradellis), and Ryan Trecartin: SITE VISIT (2014, with Klaus
Biesenbach). She had already previously worked as a curator for KW Institute for
Contemporary Art between 1998 and 2005, curating among others the exhibition project
REGARDING TERROR: THE RAF EXHIBITION (with Klaus Biesenbach and Felix Ensslin,
2005).
Before beginning her current position at KW Ellen Blumenstein worked as an independent
curator. Among others, she collaborated with the Spanish artist Dora García for her talkshow KLAU MICH! at the dOCUMENTA (13) (2013) in Kassel, and curated the Icelandic
Pavilion at the Biennale di Venezia (2011), the summer academy AGULHAS NEGRAS in
São Paulo/Campos do Jordão, BR (2008) and the exhibition BETWEEN TWO DEATHS at
ZKM in Karlsruhe (with Felix Ensslin, 2007).
In 2010, Ellen Blumenstein founded the Berlin project space Salon Populaire, and in 2011
she was one of the founders of the initiative Haben und Brauchen.
Nina Mende
Nina Mende has been the assistant curator of KW Institute for Contemporary Art since
October 2014. She currently curates the exhibition spaces KW Projects, where the new film
UNE DANSE DES BOUFFONS (or A JESTER’S DANCE) by Marcel Dzama is shown, as
well as 3 ½ where she presents the exhibition series SEIZING THE IVORY TOWER.
Nina Mende studied Applied Cultural Studies, focusing on art- and visualistics theory as well
as Literature in Lüneburg and in Tartu (Estonia). During her studies she also worked as an
independent media designer and as an independent associate in the Hamburger Kunsthalle.
From 2011 to 2014, she worked as a curator at the Kunstverein Braunschweig. During her
time there, she realized among others the exhibitions KRAFT by Peter Piller (2011),
GUERNICA SYNDROME by Fernando Sánchez Castillo (2012), GRAND TOUR by Simon
Fujiwara (2013), and DEAD GUARDIAN by Maria Loboda (2014). Furthermore, she
published catalog essays, including writing on Fabian Marti, Eva Kotátková, and Sofia
Hultén.
KW EVENTS MARCH–MAY ‘15
Saturday, 14.3.15, 17–22 h
OPENING SPRING PROGRAM
Admission free
Opening of the exhibitions COUNTING IN EIGHT, MOVING BY COLOR by Channa Horwitz,
SUSPENSION OF DISBELIEF by Elín Hansdóttir, and SEIZING THE IVORY TOWER #1:
Oo, A PREVIEW by Viktorija Rybakova.
Sunday, 15.3.15, 16 h
Elín Hansdóttir
WALK-THROUGH: SUSPENSION OF DISBELIEF
Venue: 1+2, participation included in exhibition ticket, in English
Elín Hansdóttir leads a walk through her exhibition.
Thursday, 19.3.15, 19 h
Jennifer Allen
PORTRAIT OF THE CITY AS AN ARTIST. POST-INTERNET ART IN PUBLIC SPACE
Venue: Studiolo, free entrance, in English
Jennifer Allen’s lecture concludes a week-long seminar of Zürcher Hochschule der Künste
students at KW, led by artist Erik Steinbrecher. Allen is a Berlin-based critic and has written
for Artforum, Frieze, and Mousse.
Monday, 23.3.15, 19 h
Marcel Dzama and Jeremy Gara
LIVE SOUNDTRACK: UNE DANSE DES BOUFFONS (or A JESTER'S DANCE)
Venue: Chora, 3 €
Marcel Dzama and Jeremy Gara (member of the band Arcade Fire) perform the soundtrack
of Marcel Dzama’s video installation UNE DANSE DES BOUFFONS (or A JESTER’S
DANCE), which is on view until March 29, 2015 at KW Projects.
Thursday, 26.3.15, 19 h
ARCH+ FEATURES 36
PROJEKT BAUHAUS
Venue: Chora, 3 €, in German
The year 2019 will mark the centenary of the Bauhaus Foundation. In the five years leading
up to it, PROJECT BAUHAUS will take critical stock of the movement’s ideas in order to
make its utopian surplus productive today. 2015’s question: Can design change society?
Thursday, 2.4.15, 19 h
Nicoline van Harskamp
THE PERFORMATIVE MINUTE
Venue: Chora, 3 €, in English
Since 2014, Nicoline van Harskamp has been working on a series of performances and
videos considering the future of the English language, and will stage her most recent piece
A ROMANCE IN FIVE ACTS AND TWENTY-ONE ENGLISHES at KW. Van Harskamp
examines the change in spoken English and the creative potential of the different linguistic
phenomena associated with its global use.
Thursday, 16.4.15, 19 h
ARCH+ FEATURES 37
STANDARDIZATION RECONSIDERED
Venue: Chora, 3 €, in English
Standardization is linked to normalization, both expressing social – not just technological –
aims and aspirations. Both use “invisible tools” such as text and education to design
“design”, and to coordinate, or rationalize, how consumers and producers interact.
Thursday, 16.4.15, 19 h
Luca Vanello
OPENING SEIZING THE IVORY TOWER #2
Venue: 3 ½
Luca Vanello (born 1986 in Trieste, Italy, lives and works in Berlin) is interested in personal
narratives as well as in the anonymous and technical qualities of objects. The artist
transforms and sorts his raw material and presents it in the exhibition space in various states
of disintegration. In his latest work, he explores the invisible power hierarchies that structure
the Italian refugee policy.
Thursday, 23.4.15, 19 h
Soundwalk Collective, Roly Porter & MFO
FEED 042315
Venue: Chora, 10 €
Soundwalk Collective presents WHAT WE LEAVE BEHIND, a sound piece composed of
unreleased audio material from Jean-Luc Godard’s film archive, followed by a surround
audio-visual performance by Roly Porter & MFO. The evening is organized in collaboration
with Ars Acoustica and Deutschlandradio, and will be broadcasted live.
Thursday, 30.4.15, 19 h
Marthe Ramm Fortun
THE PERFORMATIVE MINUTE
Venue: Chora/Basis, 3 €, in English
Marthe Ramm Fortun’s performances stage dialog-driven experiences that compose
narrative assemblages of painting and text and often interact with given artworks and
architectures. For KW, she responds to the open-ended performance instructions Channa
Horwitz generously extended to other artists.
Friday–Sunday, 1–3.5.15
Marcus Schmickler
ACCOMPANYING PROGRAM: COUNTING IN EIGHT, MOVING BY COLOR
On the occasion of the Gallery Weekend the composer, musician and producer Marcus
Schmickler creates a sound and light installation starting from Horwitz 'series of works
SONAKINATOGRAPHY. Based on 23 different compositions of the series, the project
extends the exhibition for a period of three days to Chora, KW's event venue.
Sunday, 3.5.15, 16 h
Ellen Blumenstein
CURATOR’S TOUR
Participation included in exhibition ticket, in English unless otherwise requested
Walk through all exhibitions with Ellen Blumenstein, KW Chief Curator.
Friday, 8.5.15, symposium: 13–18 h, panel discussion: 19 h
Alice Creischer, Andreas Siekmann, among others
ELUCIDATION THROUGH VISUALIZATION
Research Training Center, University of Potsdam
Venue: Studiolo, free entrance, in German
The symposium discusses the role of power and knowledge in the diagrammatic visualization
of politics, science, and arts. With contributions by Alice Creischer and Andreas Siekmann,
among others.
Thursday, 14.5.15, 19 h
ARCH+ FEATURES 38
THE MODERN CITY
Venue: Chora, 3 €, in German
The DVD edition THE MODERN CITYcollects film essays on the new urbanity of the 1950s
and 60s by Peter Weiss, Manfred Durniok, and others. Its editors, Florian Wüst and Ralph
Eue, put the historical controversies around modern housing and city planning up for
discussion.
Thursday, 21.5.15, 19 h
Renzo Martens
ACCOMPANYING PROGRAM: THE MATTER OF CRITIQUE
In English
Artist talk with Renzo Martens on occasion of his project THE MATTER OF CRITIQUE,
which is on view at KW Projects from May 2 until June 7, 2015. For the duration of THE
MATTER OF CRITIQUE, the Institute for Human Activities (IHA) sets up a public office at
KW. Renzo Martens founded the IHA in 2010 to run a GENTRIFICATION PROGRAM on a
former Unilever plantation in the Congo. The IHA focuses on the usually unwanted
byproducts of gentrification, and uses them to make an alternative income opportunity
available to the cocoa plantation workers: art.
Thursday, 28.5.15, 19 h
Thomas Ankersmit and Florence To, special guest
FEED 052815
Venue: Chora, 10 €
FEED’s event series at KW celebrates its two-year anniversary and releases the archive of
all its events to date online. The occasion is marked with a unique audio-visual performance
by Thomas Ankersmit and Florence To, and a solo presentation by a special guest artist.
Thursday, 28.5.15, 19 h
OPENING #3: Frank Sperling
Venue: 3 ½
With his MONOLOGUES FROM THE BIPOLAR REGION, blogger “Private Hermann” turns
to the anonymous audience of the Internet to talk about life, politics, faith, and repeatedly
about his mental illness. In his installation PRIVATE HERMANN (2014–15), Frank Sperling
(born in 1984 in Neustrelitz, lives and works in Berlin) examines not only Hermann’s eventful
biography, but also the possibilities and limits of representation of internal states, employing
a mixture of documentary, pseudo-therapeutic and staged photographs, and videos.

KW SPRING PROGRAM 2015 Press tour: Thursday, 12.3.15, 14 h

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