Monthly overview on #viennacontemporaryMag of the most interesting exhibitions across Eastern Europe, handpicked by Tina Kaplar, editor in chief of Art Guide East. Чутливість / Sensitivity I Central House of Artists, Kiev
artists: Nampei Akaki (Japan), Stepan Handzha (Ukraine), Jura Kanevski (Ukraine), Weronika Ławniczak (Poland), Stanislaw Legus (Poland), Igor Okuniev (Ukraine), Volodymyr Pavlov (Ukraine), Kristina Podobed (Ukraine), Bao Ting (China), Dima Tolkachov (Ukraine), Vova Vorotniov (Ukraine), Johann M. Winkelmann (Germany), Dmytrij Wulffius (Ukraine), and Janek Zamoyski (Poland)
The independent project, organized by Czułość gallery (Warsaw), focuses on a specific photographic language, presenting a multitude of ways it can be developed, applied and routed. Without any prescriptions in content and form, it explores photography as reading tool and a marking tool.
The joint exhibition of these artists is justified by their common relation to street background, self-publishing, self-organized cultural processes, and independence from institutions. Presented works make reality an object of careful observations, and an artist’s role here is to image its broad aesthetic spectrum, equally affected by the light, dimension, and cultural interpretations — but also by physical characteristics of the work itself. A camera is a robot, a machine that reproduces reality objectively, freeing an author from pretentiousness of subjective interpretations. Yet an author chooses actual factors that constitute contemporary visual codes.
ENDRI DANI | HELIDON GJERGJI | ALBAN HAJDINAJ | EDI HILA | ARDIAN ISUFI | ILIR KASO | OLSON LAMAJ | ARMANDO LULAJ | VIOLANA MURATAJ | MATILDA ODOBASHI | ADRIAN PACI | REMIJON PRONJA | ANRI SALA | GENTIAN SHKURTI | FANI ZGURO
JAKUP FERRI | FLAKA HALITI | HAVEIT | MAJLINDA HOXHA | GENC KADRIU | KOJA | DREN MALIQI | ALBAN MUJA | DRITON SELMANI| SISLEJ XHAFA
curators: dr. FABÉNYI Julia , Assistant curator: KÁLMÁN Borbála
Focusing on the art practices of the last 10-15 years in the two areas, the exhibition juxtaposes the freshest voices from the two countries. For long, the art scenes of Albania and Kosovo were evolving separately, their cultural heritage, however, overlaps in several respects; such is the common language spoken by the majority in both states, as well as the traditions deeply pervading both societies. Albania and Kosovo took fundamentally different courses in the second half of the 20th century; the former suffering from Enver Hoxha’s despotic regime for decades, the latter as part of Yugoslavia. In spite of this, such phenomena as dictatorship, war, or economic and social crises have had considerable impact on the recent past of both areas. With the collective presentation of the art fields of Albania and Kosovo, the exhibition explores the relation of the two scenes to each other and to international tendencies in the new millennium.
artists: Azorro, Ewa Axelrad, Tymek Borowski, Rafał Dominik, Maurycy Gomulicki, Nicolas Grospierre, Łukasz Jastrubczak, Monika Kmita, Luxus, Mister D. i Krzysztof Skonieczny/głębokiOFF, Tomasz Mróz, Witek Orski, Zbigniew Rogalski, Gregor Różański, Jadwiga Sawicka, Janek Simon, Konrad Smoleński, Radek Szlaga, Paweł Śliwiński, Maria Toboła, Piotr Uklański
curators: Katarzyna Kołodziej, Magdalena Komornicka
The exhibition comprises many parallel stories and anecdotes: from historical references and recontextualisations of stereotypes and symbols, through analyses of the Polish fantasies and notions of wealth, to a critique of the market and personal narratives. Transformation-era clichés or experiences of the 2007 economic crisis mingle here with the manifestation of the joy of possession, fascination with luxury or the beauty of expensive items, as well as reflections on the real and symbolic value of works of art (which have invariably been considered as luxury goods).
A special feature of the exhibition is the video Proposition by the Azorro collective – a ‘proposition to participate in a prestigious no-budget project’. Dating from 2002, the piece, topical as ever, became an inspiration for an exhibition meant to lighten up an otherwise difficult and serious subject.
curator: Branka Benčić
Politics of life (from the archive of Kveta Fulierova) unfolds as as form of presentation and interpretation of private photographic archive of Kveta Fulierova, wife of the acclaimed artist Julius Koller, exhibiting scenes of their daily life. In this way “The private domestic space becomes a political one; and those everyday moments become historical”, suggests Petra Feriancova. Her intervention follows precise visual language and economics of expression, by procedures of re-arranging, repetition, re-organization, creating new interrelationships between the appropriated images.
Shaped as a site-specific installation, Survivals relics, souvenirs occupy the shelves and cabinets of Apoteka’s first room, engaging with it’s existing furniture of a former pharmacy. Displaying a range of objects from nature, such as stones and shells, the installation is turning the space in a department of a Museum of Natural History. The artist engages with protocols of repetition, indexing, groping and rearranging objects, in order to make a temporary collection of selected artifacts.Appropriation of objects or images from the past unfolds different methodologies, exploring unknown or marginalized narratives. Different practices such as “artist as historian,” or “archival artist” trying to make historical information, often lost or displaced, physically present creating new meanings and new relationships
The exhibition features new graphic works along with several foam plastic bas-reliefs from series “Foreign LandsAccording to Kirill Chelushkin. “A Happy Man” is “a discourse about the brief instances in life when a person experiences happiness in spite of the circumstances. This feeling manifests itself at the most unexpected times. It isn’t affected by external and sometimes dismal everyday or emotional circumstances. A person can have these happy moments even during tragic or fateful turns of events. The mind inexplicably fragments reality, so happiness is interpreted as a side effect of something else you are doing or a certain event. It is based on a recipe with unpredictable ingredients, diverse and difficult to analyze, but each variation has to be catalogued. This exhibition proclaims a mock-macabre positive view of hardship described in the language of catastrophic realism – the art of finding everything positive in the absurdities and troubles of life.”
artists: Daniel Spoerri, Samy Briss, Olga Stefan/Miklos Klaus Rozsa/Gabi Basalici, Elianna Renner, Myriam Lefkowitz, David Schwartz/ Katia Pascariu/ Ioana Florea/ Alice Marinescu, Romulus Balazs, Simcha Jacobovici, Dan Paul Ionescu, Adrian Cioflanca
curator: Olga Stefan
Through personal narratives and biographical material, the multi-site and multi-media contemporary art exhibition explores the impact on the destinies of future generations of survivors of the events of June 27-June 30, 1941 in Iasi, when about 13,000 Jews were killed by the Romanian authorities at the behest of Marshal Ion Antonescu, Romania’s leader, in the largest pogrom in Europe.
artists: Bazinato, Siarhiej Belavoki, Ales’ Halota, Maria Garnak (Lithuania), Ihar Korzun, Tamara Sakalova, Lena Tankačova (Belarus,Lithuania), Tsolak Topchyan (Armenia), Viktorya Kharytonava.
curators: Valiancina Kisialiova, Hanna Chystasierdava, Safija Sadoŭskaja
Environmentalists Lana Semenas and Irina Sukhiy told about noise pollution and the sound samples (patterns) in nature, which are destroyed by the anthropogenic load. Sound samples are a peculiar language of nature. They repeat at different levels of organization of the matter and with their help one can explore the nature and a human. Ornithologist Volha Lukšyc showed bats at night and helped to hear their sounds, and the next morning she led the participants through the sparkling and singing forest. Singers and researchers of the Belarusian folklore Rusya and Julia Hibkoŭskaja directed the participants towards the search of their distinctive sound and taught to find a common sound that blurs the boundaries of the personal. Musicians of the Opera and Ballet Theatre said what sound meant for them, its volume, height, width, and showed that Telemann on the veranda of a village house sounds better than in any high-tech concert hall.
artists: Maxime Boidy + Pierre Paulin + Tan Lin; Kasper Bosmans + Marthe Ramm Fortun, Jan Brož + Barbora Kleinhamplová, Elaine Cameron-Weir + Carlos Reyes + Ben Schumacher, Andrew Dorsey, Sonja Engelhardt + Thom Kubli, Jason Hendrik Hansma + Vivian Sky Rehberg, Huang Xiaoli + Li Jinghu + Li Yueyang + Yang Zi + Zhang Xiyuan, K.r.m. Mooney, Parallel Practice; Augustas Serapinas; Allison Somers, Nicholas Aung Sung
curator: Jo-ey Tang
More Than Lovers, More Than Friends envelopes newly formed convolutions, as opposed to collaboration. Convolution as in the mathematical operation in which the combination of two sets of numbers produce a third dimensionality. As in music programming, in which the spectral profile of one sound can be put in the amplitude envelope of another. Two disparate forms produce a third intertextual entity. Those who have accepted this proposition must be willing to receive and produce knowledge for themselves, and sublimate the possibility of transmission from the experience. To project into the future, at the risk of making the past completely unknown or changed, where the future could shape the past and its reception.
Petra Sibinović exhibition entitled Reality immense – through sculptures and for his basic theme has potential in finding the plastic sculptural material, as well as defining specific themes or narratives that can bind to these conditions. In fact it can be said that the artist often focuses its attention on the changing state of the material and the possible transformation positions and taking control over the shape and hence are in the hands of the artist often materials that could be called sculptural unusual because not allow easy manipulation, but under certain conditions can specifically reformatted. So explore the potential of moving from molded plastic materials research, but always associated with possible meanings. Crossing this double road leads to a happy compound that experimenting with materials produced in skill formation, created a form of the language.
Head to Art Guide East for more info about exhibitions in CEE
1. Igor Okuniev: Чутливість, Jura Kanevski: Чутливість, courtesy: Czułość Gallery
2. The Whale That Was a Submarine. Contemporary Positions From Albania and Kosovo, exhibition interior, photo: Dániel Végel, courtesy: Ludwig Museum 3. Kirill Chelushkin, courtesy: Marina Gisich Gallery
4. Petra Feriancova, photo courtesy: Apoteka photo courtesy: transit.ro
5. photo courtesy: transit.ro
6. photo courtesy: Y Gallery
7. Jan Brož + Barbora Kleinhamplová, exhibition view, courtesy: FUTURA
9. Exhibition view, courtesy: U10
10. exhibitions view, courtesy: MG+MSUM