Monthly overview on #viennacontemporaryMag of the most interesting exhibitions across Eastern Europe, handpicked by Tina Kaplar, editor in chief of Art Guide East.
Trafó Galéria is hosting the first Hungarian solo show of one of the most non-conform artists of the Slovakian young art scene, Radovan Čerevka (1980). Čerevka’s career is entangled with his hometown Košice, where he is teaching now, and where he founded the artist collective Kassa Boys in 2006 with Peter Vrábel’ and Tomáś Makara. Their activity has usually been surrounded by scandals which is due to the fact that they work with the taboos of the Slovakian politics, using overidentification as part of their critical methodology.
Čerevka’s solo exhibition is dealing with the images of islamophobia and it also gives an overlook of the artist’s recent installation practice in which the language of games merges with that of different media.
artists: Tamás Kaszás and Anikó Lóránt
curator: Joanna Sokołowska
The exhibition designed by Tamás Kaszás resembles presentations of ethnographic collections. Exercises in Autonomy includes individual works of the artist, as well as works produced with Anikó Loránt (ex-artists’ collective) since the beginning of the 21st century, and work prepared especially for the Muzeum Sztuki in Łódź. The exhibition consists of two parts, titled Archeology of the Future and Auto-anthropology. In the first section, works of art are displayed as archeological findings, speculative traces of a (future) community, which managed to survive the destruction of modern civilization. The recycled remains of the past exist among objects produced as a result of new architectural, technological, and farming practices, which have developed in the wake of the disappearance of mass industrial production, consumption and modern public infrastructure. Auto-anthropology touches upon these issues on a smaller social scale: by displaying exercises in the autonomy of living and ecology of art through building a familial artistic collective (ex-artists’ collective). The collective’s working methods include the use of easily accessible materials and technologies, as well as learning self-sufficiency. The expected result is an integration of the formal, productional and theoretical aspects of their work.
In our cultural imagination Cosmos functions as a code word for the danger of the final extinction of all life on Earth, and at the same time for the most radical Utopian aspiration of universal harmony.
In the time of globalisation we have learned that we are dependent on everything that happens around the globe – politically, economically, ecologically. But the Earth is not isolated in the cosmos. It depends on the processes that take place in cosmic space – on black matter, waves and particles, stellar explosions and galactic collapses. And the fate of mankind also depends on these cosmic processes, because all these cosmic waves and particles go through the human body. Mankind’s dependence on cosmic events that are uncontrollable, even unknown, is the source of a specifically modern anxiety – one could say cosmic anxiety. The anxiety of being a part of the cosmos – and being unable to control it. It’s no accident that today’s mass culture is so obsessed with visions of asteroids coming out of the black cosmic space and destroying the Earth; or of aliens emerging out of the cosmic blackness with the goal of destroying the human race.
In the mid 1990s, Joseph Grigely started to show what he called his Conversations with the Hearing, whose material is directly germane to his deafness. These works consist of scraps of paper (metro cards, invitations, stationary, tablecloths, napkins, business cards, etc.) that were written upon by people who do not know sign language. All these Conversations produce a singular aesthetic, a refined economy of information. Like the conversation notebooks used by Beethoven’s speakers after the composer lost his hearing, they offer the possibility for an archeology of discussions while providing a fiction narrative of daily life.
This unique survey of his dialogic oeuvre features works from the 1990s to the present day, from installation to photography including publications and videos. The exhibition reveals the wide range of his creativity that extends far beyond deafness to explore the limits of language as well as questioning the representations of language in the history of art.
Georgi Rouzhev: Pantheon I ICA, Sophia
Georgi Rouzhev is having a one-artist show which makes a point about the use of the visual means of expression – a complex mosaic of photographs, digital collage, installations, striped proofing, video and sound. The display is showcasing his multiple reincarnations, interests, messages, quotations from both high and pop-media cultures, both old and new. The works in the show are from various years and some were recreated especially for this event. The exhibition is author-centric; it’s titled Pantheon by the artist himself. In the statement especially written for this event Georgi Rouzhev makes clear his attitude to this notion, or – institution, if you wish.
curator: Jiří Ptáček
At the exhibition, called by the logical principle of allowing only two true statements, she draws the attention to “exclude” the third option. She focuses on the names that indicate redundancy, failure, a mistake, otherness, etc. She focuses on the deeply rooted binary schedule of human thought, within which case it is only considered to be “complete” and flawless. The author’s intentions are yet political, at least as a discussion with the thought schemes, for which the deviation is considered a disadvantage without examination of its potential benefits. Exactly for this reason a part of the exhibition became a video in which the mime artist Petr Biel improvises movement of creations on three legs. It causes laughter or contempt within the audience. The question, however, is whether these two immediate emotional reactions are only two ways of rejecting that potential before it slowly starts to root.
Upside Down: Hosting the Critique I Belgrade City Museum, Belgrade
artists: Azra Akšamija, Luchezar Boyadjiev, Yane Calovski & Hristina Ivanoska, Vlasta Delimar, Goran Đorđević, Miklós Erhardt, Stano Filko, Fokus Grupa, Liljana Gjuzelova & Sašo Stanojkoviќ, Jusuf Hadžifejzović, IRWIN, Sanja Iveković, Dalibor Martinis, Mladen Miljanović, Alex Mlynárčik, Ivan Moudov, Ilona Németh, Elif Öner, Dan Perjovschi, Lia Perjovschi, Tadej Pogačar, Zoran Popović, Vladan Radovanović, Tamás St. Auby, Škart, Apolonija Šušteršič & Bojana Kunst, Raša Todosijević, Goran Trbuljak, Nomeda & Gediminas Urbonas and GVS group, Martin Zet.
Curatorial-research team: Zoran Erić, Alenka Gregorič, Vit Havránek, Suzana Milevska, Vladimir Vidmar and Raluca Voinea.
The exhibition Upside Down: Hosting the Critique is built on the long-term curatorial and research project Inside Out which was initiated by Alenka Gregorič and Suzana Milevska in 2014 who co-curated the first exhibition entitled Inside Out – Not So White Cube held in the City Art Gallery Ljubljana/MGML in 2015.
After the realization of the first exhibition, publication and the conference in Ljubljana, the decision was made to form a joint curatorial-research team comprising six curators and researchers (Zoran Erić, Alenka Gregorič, Vit Havránek, Suzana Milevska, Vladimir Vidmar and Raluca Voinea), who were offered an equal role in the adaptation of the exhibition to the context of Belgrade. The exhibition Upside Down: Hosting the Critique was thus reconfigured for a new contextual and institutional framework. The primary focus of the curatorial-research team was placed on the position of museums which is one of the dominant subjects of this exhibition.
Upside Down: Hosting the Critique is a co-curatorial cross-disciplinary exhibition which focuses on the transformation of the role(s) of museums, galleries and other public institutions in the production, presentation and collection of contemporary art in periods of transition and the part played by artists and independent artist-run spaces in these activitie
Artists: Luminița Apostu, Maria Baroncea & Allison Peacock, Lucian Bran, Larisa David, Ivana Mladenovic, Ioana Păun
Selected by Nedko Solakov
The works produced for this exhibition combine a multiplicity of media and interdisciplinary approaches: performance, film, video, installation, objects. The common denominator is the oscillation between pessimism and hope, between acknowledgement of limits and failures and the need to imagine new horizons of the possible. For Luminița Apostu, her need to break away from the art system and the pressure and difficulties of being an artist today has been transferred to a new artistic gesture. The pressure of success also appears in the work by Larisa David, who carries out a study of the ceremonies and gestures that accompany the celebration of victory in national sport. In the case of Ivana Mladenovic, sport becomes a pretext for exploration of situations in which human interaction is primordial, and reality is re-sized beyond the social through the addition of a poetic register. Maria Baroncea and Allison Peacock bring to attention space in itself, which has its own dynamic, and the shared experience of all those caught up in an exhibition context. Ioana Păun gathers together elements of her personal past, from the period in which she had contact with a different reality, the Iraq of the 1990s, transforming these elements into a complex installation that also includes performance. Lucian Bran speculates on the limit between reality and fiction in a research that focuses on the nature to be found in places used as backdrops for film productions whose action is set in different times and spaces.
The conceptual basis for the exhibition is shaped by a look back at the origins of the world. Myths inform us that the universe emerged from chaos, darkness, emptiness. In turn, scientists inform us that man developed from water-based bacteria or primates, while according to religion, it was created by God, Allah or the Buddha.
Each artist invited to take part in the exhibition tells her own story, touching upon scenarios for the emergence of physical reality, as well as the course it took and its consequences. Personal quests for answers can be found in various media solutions in their works, which allude to the role of man in the story of the world and his relations with its order.
Head to Art Guide East for more info about exhibitions in CEE
2. EARLY WORKS Ferhat Özgür Gallery On The Move in collaboration with DocuTIFF
3. Tamás Kaszás: Ornament and Crime, 2015, installation: plaster, plasterboard, steel profiles Photo: Alex Martin
4. Exhibition view, courtesy: MG+ MSUM
6. image courtesy: Georgi Rouzhev and ICA Sophia
8. image courtesy:Dalibor Martinis courtesy:
9. exhibition flyer: courtesy:Salonul de propecte
10. exhibition view: courtesy: ALMA Gallery, photo: Vents Aboltiņš