tag:blogger.com,1999:blog-37802635640504923452024-03-19T02:56:05.126-07:00TheArtSpaceKunstraum für bewegte Ideen
Fürstenplatz 1, 40215 DüsseldorfAnonymoushttp://www.blogger.com/profile/11794168196064940638noreply@blogger.comBlogger1125tag:blogger.com,1999:blog-3780263564050492345.post-31861032437987646112012-12-06T14:15:00.001-08:002016-06-09T09:07:57.980-07:00<div dir="ltr" style="text-align: left;" trbidi="on">
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Paulo Nazareth</h2>
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„Mining Histories“ Zeichnungen, Foto- und Videoarbeiten</div>
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Ausstellungseröffnung im Rahmen von Projeto Brasil</div>
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Sa 11.06. 15:00 – 18:00 Ausstellungseröffnung</div>
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Paulo Nazareth ist Performer, Filmer mit Hang zum Philosophischen, Intellektueller und Barfuß-Wanderer. Seine reduzierten und dennoch hoch wirkungsvollen künstlerischen Konzepte und visuellen Werke thematisieren auf eindringliche Weise Fragen von Ethnizität und Identität. Er macht den Kampf um die Entmythologisierung kolonialer Praktiken des Westens und damit dessen Versagen sicht- und spürbar. </div>
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Ort: TheArtSpace, Fürstenplatz 1, 40215 Düsseldorf<br style="box-sizing: border-box;" /><br style="box-sizing: border-box;" />Ausstellungsdauer: Sa 11.06. – Sa 25.06. (Öffnungszeiten Do, Fr, Sa jew. 15:30 – 18:00)</div>
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<img alt="Paulo Nazareth" src="http://tanzhaus-nrw.de/files/media_images/images/7852_original.jpg?1461063588" style="border: 0px; box-sizing: border-box; display: block; max-width: 100%; width: 620px;" title="Paulo Nazareth" /></div>
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Kuratiert durch Cis Bierinckx. Mit freundlicher Unterstützung des tanzhaus nrw, der Galerie Meyer-Riegger Berlin, Mendes Wood DM São Paulo sowie Paulo Nazareth selbst. Fotos: Paulo Nazareth. PROJETO BRASIL ist ein gemeinsames Projekt von HAU Hebbel am Ufer Berlin, HELLERAU – Europäisches Zentrum der Künste Dresden, Kampnagel Hamburg, Künstlerhaus Mousonturm Frankfurt/M. und tanzhaus nrw, gefördert von der Kulturstiftung des Bundes, mit Unterstützung des Goethe-Institut, in Kooperation mit dem Serviço Social do Comércio de Sao Paulo. </div>
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<b><span style="font-family: "courier new";"><span style="font-size: medium;">MEHDI-GEORGES LAHLOU</span></span></b><span style="font-family: "courier new";"><span style="font-size: medium;"> (F/MAR)</span></span></div>
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<i><span style="font-family: "courier new";"><span style="font-size: medium;">DANS MES RÊVES, MES CENDRES</span></span></i><i><span style="font-family: "courier new";"></span></i></div>
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<i><span style="font-family: "courier new";">IN MEINEN TRÄUMEN, MEINE ASCHE</span></i></div>
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<span style="font-family: "courier new";">02.4 – 30.4.2016</span></div>
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<span style="font-family: "courier new";"><b>Eröffnung der Ausstellung am <u>2. April 2016 von 15 bis 18 Uhr</u></b></span></div>
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<span style="font-family: "courier new";">Geöffnet Donnerstag, Freitag, Samstag van 15.30 bis 18 Uhr</span></div>
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<span style="font-family: "courier new"; font-size: xx-small;">Kurator: Cis Bierinckx</span></div>
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<span style="font-family: "courier new";">Der Französisch-Marokkanische Künstler <b>Mehdi-Georges Lahlou</b>, Kind eines Muslimischen Vaters und einer katholischen Mutter, überschreitet in seinen Arbeiten mit Subtilität die Grenzen unserer multikulturellen Gesellschaften. In seinen Fotografien, Performances, Skulpturen oder Installationen hinterfragt er die Symbole des Islam, und ebenso Themen wie religiöse, kulturelle oder sexuelle Identität.</span></div>
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<span style="font-family: "courier new";">In seiner Arbeit stört er konsequent Klischees und spielt mit den mehrdeutigen Facetten bekannter Bilder und Symbole. In mehreren Arbeiten ist sein Körper als Darsteller des Künstlers, der sich gleichzeitig versteckt und offenbart, gegenwärtig.</span></div>
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<span style="font-family: "courier new";">Die Ausstellung “Dans mes rêves, mes cendres” (In meinen Träumen, meine Asche)ist eine weitere Etappe in Mehdi-Georges Lahlou’s künstlerischer Forschung. Mit neuen kulturellen Formen und einer neuinterpretierten Ästhetik versucht er Begriffe wie Archive, von persönlichen Dokumenten bis zu legendären Ikonographie oder Fantasien zu befragen um so eine eigene erfundene archäologische Phantasmagorie zu entwerfen. Mit Mehrdeutigkeit und Humor rekonstruiert Mehdi-Georges Lahlou in seinen Arbeit Formen und Reliquien und </span><span style="font-family: "courier new";">dekonstruiert ihren tatsächlichen historischen Kontext. Der Besucher wird zum Komplizen des Künstlers in seinem Schachspiel von Fiktion versus Realität, Unruhe versus Fantasie, Faszination versus Hypnose. Mehdi-Georges Lahlou befragt, klagt an und verwirrt mit einer eigensinnigen Ästhetik.</span></div>
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<span style="font-family: "courier new";"><span style="font-size: xx-small;">mit freundliche Unterstützung von Galerie Transit, Mechelen und Galerie Dix9, Paris</span></span></div>
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<span lang="EN-US" style="font-family: "courier new"; font-size: 18pt;">23. Januar – 20. Februar, 2016<o:p></o:p></span></div>
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<b><span lang="EN-US" style="font-family: "courier new";">Eröffnung 23. Januar 2016 von 15 bis 18 Uhr.<o:p></o:p></span></b></div>
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<b><span lang="EN-US" style="font-family: "courier new"; font-size: 10pt;">Einführung: Philip Van Cauteren, Direktor S.M.A.K. Gent (Belgien</span></b><span lang="EN-US" style="font-family: "courier new"; font-size: 10pt;">)<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "courier new";">Geöffnet: Donnerstag, Freitag, Samstag 15:30-18:00 Uhr<o:p></o:p></span></div>
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<b><span lang="EN-US" style="font-family: "courier new"; font-size: 18pt;">AKAM SHEX HADI (IQ) – Photoarbeiten<o:p></o:p></span></b></div>
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<span lang="EN-US" style="font-family: "courier new";"><i style="font-family: 'trebuchet ms', sans-serif; text-align: justify;"><span style="font-family: "courier new";">Untitled 2014-2015,</span></i><span style="text-align: justify;"> Adam Shex Hadi</span><span style="text-align: justify;">©</span></span></div>
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<span lang="EN-US" style="font-family: "courier new";">Der Düsseldorfer TheArtSpace widmet den irakischen Künstlern Akam Shex Hadi und Salam Atta Sabri eine Ausstellung. Beide Künstler waren Teil der Gruppenausstellung “Invisble Beauty” des irakischen Pavillons während der Venedig Biennale 2015.<o:p></o:p></span></div>
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<b><span lang="EN-US" style="font-family: "courier new";">Salam Atta Sabri</span></b><span lang="EN-US" style="font-family: "courier new";"> studierte in den 70 Jahren in Baghdad und Los Angeles und schuf bis 2005 vor allem Keramiken. Bei seiner Rückkehr nach Baghdad fand er das Land verändert, extrem gewalttätig und politisch totalitär. Durch das Fehlen der notwendigen Materialien für seine Keramiken, began er wie besessen intime und ganz persönliche kleine Zeichnungen zu realisieren. <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "courier new";">Seine auf mittlerweile mehr als 100 angewachsenen Zeichnungen (wovon eine Auswahl in Düsseldorf zu sehen sein wird) können interpretiert werden als ein Tagebuch, oder eine persönliche Biografie. Die Zeichnungen sind Innenansichten eines Künstlers in denen die tragische Situation seines Landes auf sein persönliches Drama trifft, die Notwendigkeit der Kunst zu bekräftigen. Seine Arbeiten sind voll von Formen, Signalen, Bewegungen, Referenzen zu Städten und seinem eigenen kunsthistorischen Gedächtnis. Sie sind, jede für sich, winzige, zerbrechliche Äusserungen seiner künstlerischen Vision. <o:p></o:p></span></div>
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<b><span lang="EN-US" style="font-family: "courier new";">Akam Shex Hadi’s </span></b><span lang="EN-US" style="font-family: "courier new";">Photoarbeiten sind berührend durch ihre Gradheit und humanistische Perspektive. Er fixiert einzelne Menschen auf respektvolle Weise als schweigende Antwort auf die Sensationssucht der Medien. <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "courier new";">In seinen Bildern porträtiert er zerbrechliche Menschen, die in der Nähe von Gewalt, Radikalismus und gefährlichen Ideologien leben. Diese zeigt er im Gegensatz dazu in einer harmlosen Umgebung, mit Dringlichkeit und einem Ruf nach Humanität. <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "courier new";">Bildlich verbindet er seine Protagonisten von Photo zu Photo mit einem langen, dicken, schwarzen Stoff zu einer Gemeinschaft. Einer Gemeinschaft, die seit langer Zeit und aktuell Gewalt und Agression in sich trägt. Hinter der Faszination von Akam Shex Hadi’s Bildern steckt Unruhe, er offenbart Gewalttätigkeit ohne sie buchstäblich zu zeigen. Seine Bilder sind metaphorische Ermahnungen einer globalen kollektiven Verantwortung. </span><span lang="EN-US" style="font-family: "courier new"; font-size: 10pt;"><o:p></o:p></span></div>
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<b><span lang="EN-US" style="font-family: "courier new"; font-size: 8pt;">Mit freundlicher Unterstützung der Ruya Foundation und dem Städtischen Museum für Aktuelle Kunst S.M.A.K. Gent<o:p></o:p></span></b><br />
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<span lang="DE-AT" style="font-family: "courier new";">21. November bis 19. Dezember 2015</span></div>
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<span lang="DE-AT" style="font-family: "courier new";"><b>Eröffnung: 21. November 15:00 bis 18:00</b></span></div>
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<span style="font-family: "verdana" , sans-serif;">Geöffnet am Donnerstag, Freitag und Samstag 15 - 18 Uhr</span><u></u><u></u></div>
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<span lang="DE-AT" style="font-family: "courier new"; mso-bidi-font-family: "Courier New";">Isabella Hollauf und Josef Dabernig haben
sich in den Siebziger Jahren während des Kunststudiums kennen gelernt. Dennoch
gibt es mit dem Film „Aquarena“ bislang nur eine explizite Zusammenarbeit des
Paares. Zum gemeinsamen 50. Geburtstag entstanden, geht es darin nicht zuletzt
um eine strukturelle Annäherung an Zweisamkeit – wenn auch mehr im Sinne von
Gabriel García Márquez „Hundert Jahre Einsamkeit“.<o:p></o:p></span></div>
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<span lang="DE-AT" style="font-family: "courier new"; mso-bidi-font-family: "Courier New";">Dabernig und Hollauf sind viel zusammen auf
Reisen, insbesondere zählt die Transformation von Erholungsräumen und
Sportanlagen zu ihren Leidenschaften. 2001 fotografierten beide mit
verschiedenen Kameras die in Süditalien zum Synonym für gescheiterten Städtebau
stigmatisierten „Vele di Scampia“ am Stadtrand von Neapel. Die kargen Resultate
der jäh abgebrochenen Fotosession scheinen sich in der Formalisierung von
sozialen Inhalten zu erschöpfen und es mag durchaus überraschen, wie sehr sich
zwei verschiedene Blicke gleichen können.<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span lang="DE-AT" style="font-family: "courier new"; font-size: 10.0pt;">Raum 1<o:p></o:p></span></u></b></div>
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<b style="mso-bidi-font-weight: normal;"><u><span lang="EN-US" style="color: black; font-family: "courier new"; font-size: 9.0pt;">Aquarena<o:p></o:p></span></u></b></div>
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<span lang="EN-US" style="color: black; font-family: "courier new"; font-size: 9.0pt;">A 2007,<span style="mso-spacerun: yes;"> </span>Digital von 35mm Original (Aufnahmeformat
Super 16), Farbe, 19 min<o:p></o:p></span></div>
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<span lang="EN-US" style="color: black; font-family: "courier new"; font-size: 9.0pt;">Regie, Buch und Schnitt
: Josef Dabernig, Isabella Hollauf<o:p></o:p></span></div>
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<i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="color: black; font-family: "courier new"; font-size: 9.0pt;">Um eine archetypische Vorstellung wachzurufen,
genügt oft schon der Ausschnitt eines Bildes: der Eimer von St. Florian zum
Beispiel, den der Heilige über ein brennendes Hausdach leert. Von diesem Detail
einer Lüftelmalerei schwenkt die Kamera auf eine Feuerwehrgarage – im
Hintergrund dezentes Tröpfeln – und schon ist sie da, die urtümliche Idee des
Wassers, das tauft und nährt und wachsen lässt und schützt.<br />
Nicht ohne Zuneigung nähert sich Josef Dabernigs und Isabella Hollaufs Aquarena
– eine Zusammenziehung von Aqua und Arena – der Verbindung von Wasser und
(öffentlichem) Raum. Die Kamera streift Betongefäße und verrostete
Rohrleitungen, Trinkbrunnen und Tanks. Sie zeigt Wasser als ein umhegtes,
dienstbar gemachtes und letztlich verbindendes Element. Doch der Beton hat
bereits Risse. Eine Alge macht sich breit. Straßen und Plätze sind verlassen,
bis auf zwei Schwimmer, die Regisseurin und den Regisseur, die blau gestrichene
Wasserbecken mit ihren Körpern durchmessen. Dabei ist auch die Struktur des
Films, wie der Reflex an der Oberfläche des Wassers, als Spiegelung arrangiert:
Im ersten Teil gleitet die Frau schwimmend von rechts nach links, nach einem
Schwarzbild dann der Mann von links nach rechts. Im Grunde müssten sie sich
treffen, an einer gedachten Achse im Zentrum des Films.<br />
Auf der Tonspur vereinen sich Violoncello, Wassertropfen und die Leipziger
Gewässerordnung von 1974 zur Komposition: „Die Verschwendung von Wasser steht
im Widerspruch zum sozialistischen Prinzip der strengen Sparsamkeit.“ Der
Brunnen vor dem Tore ist ein Mythos der Romantik. Wo Gemeinschaft ist, da wird
verwaltet und gestutzt. Und trotzdem wird auch heute jede Poolwand blau
gefärbt, wie auf der Zeichnung eines Kindes. Die Idee des Wassers ist der des
Himmels verwandt, den man, wie Dabernig auf dem Rücken treibend, erst so
richtig entdeckt.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></i></div>
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<span lang="EN-US" style="color: black; font-family: "courier new"; font-size: 9.0pt;">Maya
McKechneay <o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span lang="DE-AT" style="font-family: "courier new"; font-size: 10.0pt;">Raum 2<o:p></o:p></span></u></b></div>
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<b style="mso-bidi-font-weight: normal;"><u><span lang="DE-AT" style="font-family: "courier new"; font-size: 10.0pt;">Vele
di Scampia<o:p></o:p></span></u></b></div>
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<span lang="EN-US" style="background: white; color: black; font-family: "courier new"; font-size: 9.0pt;">Der ambitionierte Architekt Franz di Salvo hat Ende
der 1970er Jahren diesen komplexen Plattenbau fast wie eine – allerdings
vertikal angeordnete – dörfliche Gemeinschaft entworfen. Freilich ohne
Infrastruktur. Ein frei schwebender Gang verbindet die Etagen und Wohnungen
zwischen den Innenfassaden zweier Wohnblöcke und legt damit jede Bewegung
multiperspektivisch frei.</span><span lang="EN-US" style="color: #252525; font-family: "courier new"; font-size: 9.0pt;"> Im
Gebäude sollte eine Vielzahl von Funktionen vorhanden sein, die den Bewohnern
ein Leben als Wohngemeinschaft ermöglicht. Heutzutage sind die Gebäude in einem
äußerst schlechten Zustand. Zwar werden Sie teilweise noch bewohnt.<o:p></o:p></span></div>
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<span lang="IT" style="font-family: "courier new"; font-size: 9.0pt;">Josef Dabernig, Vele
di Scampia 1, 2001, Color print, 45 x 30 cm<o:p></o:p></span></div>
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<span lang="IT" style="font-family: "courier new"; font-size: 9.0pt;">Isabella Hollauf, Vele
di Scampia 1, 2001, Color print, 30 x 45 cm<o:p></o:p></span></div>
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<span lang="IT" style="font-family: "courier new"; font-size: 9.0pt;">Josef Dabernig, Vele
di Scampia 2, 2001, Color print, 30 x 45 cm<o:p></o:p></span></div>
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<span lang="IT" style="font-family: "courier new"; font-size: 9.0pt;">Isabella Hollauf, Vele
di Scampia 2, 2001, Color print, 30 x 45 cm<o:p></o:p></span></div>
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<span lang="IT" style="font-family: "courier new"; font-size: 9.0pt;">Isabella Hollauf, Vele
di Scampia 3, 2001, Color print, 45 x 30 cm<o:p></o:p></span></div>
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<span lang="IT" style="font-family: "courier new"; font-size: 9.0pt;">Josef Dabernig, Vele
di Scampia 3, 2001, Color print, 45 x 30 cm<o:p></o:p></span></div>
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<span lang="IT" style="font-family: "courier new"; font-size: 9.0pt;">Isabella Hollauf, Vele
di Scampia 4, 2001, Color print, 30 x 45 cm<o:p></o:p></span></div>
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<span lang="IT" style="font-family: "courier new"; font-size: 9.0pt;">Josef Dabernig, Vele
di Scampia 4, 2001, Color print, 30 x 45 cm<o:p></o:p></span></div>
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<span lang="IT" style="font-family: "courier new"; font-size: 9.0pt;">Isabella Hollauf, Vele
di Scampia 5, 2001, Color print, 45 x 30 cm<o:p></o:p></span></div>
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<span lang="IT" style="font-family: "courier new"; font-size: 9.0pt;">Josef Dabernig, Vele
di Scampia 5, 2001, Color print, 45 x 30 cm<o:p></o:p></span></div>
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<span lang="IT" style="font-family: "courier new"; font-size: 9.0pt;">Isabella Hollauf, Vele
di Scampia 6, 2001, Color print, 30 x 45 cm<o:p></o:p></span></div>
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<span lang="IT" style="font-family: "courier new"; font-size: 9.0pt;">Josef Dabernig, Vele
di Scampia 6, 2001, Color print, 45 x 30 cm<o:p></o:p></span></div>
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<span lang="IT" style="font-family: "courier new"; font-size: 9.0pt;">Josef Dabernig, Vele
di Scampia 7, 2001, Color print, 30 x 45 cm<o:p></o:p></span></div>
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<span lang="IT" style="font-family: "courier new"; font-size: 9.0pt;">Isabella Hollauf, Vele
di Scampia 7, 2001, Color print, 45 x 30 cm<o:p></o:p></span></div>
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<span lang="IT" style="font-family: "courier new"; font-size: 9.0pt;">Isabella Hollauf, Vele
di Scampia 8, 2001, Color print, 30 x 45 cm<o:p></o:p></span></div>
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<span lang="IT" style="font-family: "courier new"; font-size: 9.0pt;">Josef Dabernig, Vele
di Scampia 8, 2001, Color print, 45 x 30 cm<o:p></o:p></span></div>
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<span lang="IT" style="font-family: "courier new"; font-size: 9.0pt;">Isabella Hollauf, Vele
di Scampia 9, 2001, Color print, 30 x 45 cm<o:p></o:p></span></div>
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<span lang="IT" style="font-family: "courier new"; font-size: 9.0pt;">Josef Dabernig, Vele
di Scampia 9, 2001, Color print, 45 x 30 cm<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="DE-AT" style="font-family: "courier new"; font-size: 8.0pt;">Dank an Olaf Möller, Tanzhaus NRW und die
Künstler.<o:p></o:p></span></i></b></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="DE-AT" style="font-family: "courier new"; font-size: 8.0pt;">Mit freundlicher Unterstützung des
Österreichischen Kulturforums Berlin<o:p></o:p></span></i></b></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: justify;">
<b><u><span lang="DE-AT" style="font-family: "courier new"; font-size: 9.0pt; line-height: 115%;">Josef Dabernig</span></u></b><span lang="DE-AT" style="font-family: "courier new"; font-size: 9.0pt; line-height: 115%;">, geboren 1956 in Kötschach-Mauthen (Österreich)
löste seine Disposition in der Bildhauerei sukzessive in den Medien Fotografie,
Text, Film und Fragen des Display auf. Beteiligungen an der Manifesta 3 in
Ljubljana (2000), den 49. und 50. Venedig Biennalen (2001, 2003) der 9. Gwangju
Biennale (2012) und der Manifesta 10 in St. Petersburg (2014). Festivalteilnahmen
u.a. in Locarno, Mar del Plata, Melbourne, Oberhausen, Rotterdam, Toronto und
den Internationalen Filmfestspielen Venedig, in dessen Rahmen Hypercrisis 2011
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<span lang="DE-AT" style="font-family: "courier new"; font-size: 9.0pt; line-height: 115%;">Publikationen bei Verlag der
Buchhandlung Walther König (2014), MOCAK publications, Krakau (2013) und Kerber
PhotoArt (2013).<o:p></o:p></span></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: justify;">
<b><u><span lang="DE-AT" style="font-family: "courier new"; font-size: 9.0pt; line-height: 115%;">Isabella Hollauf</span></u></b><span lang="DE-AT" style="font-family: "courier new"; font-size: 9.0pt; line-height: 115%;">, geboren 1956 in St.Georgen/Lav.
(Österreich), studierte an der Akademie der bildenden Künste in Wien. Bis Mitte
der Neunziger Jahre arbeitete sie experimentell mit Schmuck als erweiterte
skulpturale Form. Seit 2000 Fotografie zur Transformation von Freizeit- und
Erholungsanlagen</span><span lang="DE-AT" style="font-family: "courier new"; mso-bidi-font-family: "Courier New"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: DE-AT;">. </span><span lang="DE-AT" style="font-family: "courier new"; font-size: 9.0pt; line-height: 115%;">Hollauf hatte
Einzelausstellungen u.a. in der Galerie für Zeitgenössische Kunst in Leipzig (2008),
Institute of Contemporary Art, Dunaújváros (2009), Bunkier Sztuki, Krakau
(2009) und Museo Laboratorio di Arte Contemporanea in Rom (2009).</span><span lang="DE-AT" style="font-family: "courier new"; mso-bidi-font-family: "Courier New"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: DE-AT;"><o:p></o:p></span></div>
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<span lang="DE-AT" style="font-family: "courier new"; font-size: 9.0pt; line-height: 115%;">2011 erschien im Jovis Verlag,Berlin
das von Barbara Steiner herausgegebene Buch, Erholungsräume‘<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<u><span lang="DE-AT" style="font-family: "courier new"; font-size: 9.0pt;">Nächste Ausstellung</span></u><span lang="DE-AT" style="font-family: "courier new"; font-size: 9.0pt;"> Januar/Februar
2016 : <b style="mso-bidi-font-weight: normal;">Akam Shex Hady</b> und <b style="mso-bidi-font-weight: normal;">Salam Atta Sabri</b> (Iran), in
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<span style="font-family: "arial" , sans-serif;"><b><span style="font-family: "verdana" , sans-serif;">Eröffnung am Samstag, 26. September 2015, 15 - 18 Uhr</span></b><u></u><u></u></span></div>
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<span style="font-family: "arial" , sans-serif;"><span style="font-family: "verdana" , sans-serif;">Ausstellungsdauer: 26. September - 24. Oktober</span><u></u><u></u></span></div>
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<span style="font-family: "arial" , sans-serif;"><span style="font-family: "verdana" , sans-serif;">Geöffnet am Donnerstag, Freitag und Samstag 15 - 18 Uhr</span><u></u><u></u></span></div>
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<span style="font-family: "verdana" , sans-serif;">Mit d<span style="color: #1f497d;">er</span> Austellung <b>I'm a boy, Te-Te </b>ruft <b>Soya</b></span></div>
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<span style="font-family: "verdana" , sans-serif;"><b>Arakawa </b>spontan <span style="color: #1f497d;">V</span>erwunderung <span style="color: #1f497d;">h<wbr></wbr>ervor</span><b>. </b>Mit Zeichnungen, Photos und Maquette<span style="color: #1f497d;">n</span> schafft er <span style="color: #1f497d;">die</span> Illusion <span style="color: #1f497d;">einer</span> <span style="color: #1f497d;">rä</span>umlich<wbr></wbr>e<span style="color: #1f497d;">n </span>Installation. Er nimmt die Zuschauer <span style="color: #1f497d;">mit </span>in ein<span style="color: #1f497d;">e</span> Welt <span style="color: #1f497d;">der</span> 'appropriation' / visuelle<span style="color: #1f497d;">n </span>Manipulation und jongliert mit <span style="color: #1f497d;">m</span>inimalistische<span style="color: #1f497d;">r</span> <wbr></wbr>Subtilität mit <span style="color: #1f497d;">den</span> Begriffen <span style="color: #1f497d;">von </span>Innen und Au<span style="color: #1f497d;">ß</span>en. D<span style="color: #1f497d;">er</span> Kinderreim im Titel <span style="color: #1f497d;">bezieht sich auf</span> <span style="color: #1f497d;">eine Kindheit in der sich Traum und Phantasie entfalten konnten.</span></span><u></u><u></u></div>
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<b><span style="font-family: "verdana" , sans-serif;">Soya Arakawa </span></b><span style="font-family: "verdana" , sans-serif;">hat bei Rita McBride an der Kunstakademie Düsseldorf studiert. Seine Arbeiten und Performances <span style="color: #1f497d;">wurden präsentiert</span> in Ghent, Paris, Taipei, Tokyo, Kanazawa und <span style="color: #1f497d;">in</span> <span style="color: #1f497d;">v</span>erschieden<span style="color: #1f497d;">en</span> R<span style="color: #1f497d;">ä</span>umen und Kunstmuseen in Deutschland.</span></div>
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We are pleased to announce the upcoming screening masterful animation film</div>
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<span style="color: #141823; font-family: "helvetica" , "arial" , sans-serif; font-size: 14px; line-height: 19.3199996948242px;"><b>SOME ACTIONS WHICH HAVEN'T BEEN DEFINED YET IN THE REVOLUTION</b> </span></div>
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<span style="color: #141823; font-family: "helvetica" , "arial" , sans-serif; font-size: 14px; line-height: 19.3199996948242px;">realised by the intenationally acclaimed Chinese visual artist <b>SUN XUN</b>.</span></div>
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<span style="color: #141823; font-family: "helvetica" , "arial" , sans-serif; font-size: 14px; line-height: 19.3199996948242px;">The film will be shown in loop in the frame of <b>KUNSTPUNKTE 201</b>5 at our venue.</span></div>
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<span style="color: #141823; font-family: "helvetica" , "arial" , sans-serif; font-size: 14px; line-height: 19.3199996948242px;"><u><span class="aBn" data-term="goog_262993436" style="border-bottom-color: rgb(204, 204, 204); border-bottom-style: dashed; border-bottom-width: 1px; position: relative; top: -2px; z-index: 0;" tabindex="0"><span class="aQJ" style="position: relative; top: 2px; z-index: -1;">FRIDAY AUGUST 14</span></span> between <span class="aBn" data-term="goog_262993437" style="border-bottom-color: rgb(204, 204, 204); border-bottom-style: dashed; border-bottom-width: 1px; position: relative; top: -2px; z-index: 0;" tabindex="0"><span class="aQJ" style="position: relative; top: 2px; z-index: -1;">19:00-22:00</span></span></u>. </span></div>
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<span style="color: #141823; font-family: "helvetica" , "arial" , sans-serif; font-size: 14px; line-height: 19.3199996948242px;">Chinese woodblock printing – a technique that was in early use on both paper and cloth – was an important tool of the Cultural Revolution. This printing technique was used as an important means of communication to quickly convey information. It transported the revolutionary spirit and remains its legacy today. Some actions at the time and even later were not defined by the revolution. This is when the film begins. A strange day. A strange place. Fundamental ideological tenets meet surreal politics. A place, set apart and yet familiar to everyone, is revealed to the viewer. A space in which time and surface become one; where crows and cats alternate and give way to a view of classrooms and burning clouds, the image of a teacher and an ordeal in a hospital … The events are not at all specific and could take place anywhere in the world. And yet the memory of the historical event, repeated in the present, is made visible by these images.</span></div>
<span style="color: #141823; font-family: "helvetica" , "arial" , sans-serif; font-size: 14px; line-height: 19.3199996948242px;">Director Sun Xun: “We exist within such controlling rules. How to find ourselves? Will time allow us to use our own behaviour clearly in this historical process?</span><br />
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