Wo DAS GRAS GRÜNER IST ENGLISH. The Grass is Always Greener on the Other Side - PDF

Wo DAS ENGLISH GRAS GRÜNER IST The Grass is Always Greener on the Other Side A Kunstmuseum Liechtenstein exhibition curated by Kunstverein Schichtwechsel The Grass is Always Greener on

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Wo DAS ENGLISH GRAS GRÜNER IST The Grass is Always Greener on the Other Side A Kunstmuseum Liechtenstein exhibition curated by Kunstverein Schichtwechsel The Grass is Always Greener on the Other Side A Kunstmuseum Liechtenstein exhibition curated by Kunstverein Schichtwechsel The world is on the move, driven by the idea that things are better elsewhere. Some people leave their homes in search of education, work or a better life. Others travel out of interest, a thirst for adventure or to do their bit for a better world. At the exhibition The Grass is Always Greener on the Other Side, 37 artists aged between 25 and 45 inquire how a small state presents itself, whether it can play a model role, and what effects migration and tourism have. The aim of the show is to draw a critical comparison between the small states and, at the same time, to try to find inspiring unique features. As of 29 August, the artworks will be joined by the kuska exhibition on development cooperation. To improve the conditions of life in developing countries, people, money and goods move around the globe. But how does development cooperation function? What happens with donations? Have we really reduced global poverty when every eighth person is still starving today? Transit exercise on borders 2015 dance Transit exercise on borders, originally produced by bücking&kröger and reinterpreted by Florian Bücking and Susana Beiro, discusses the geographical and sociological background of two individuals and how homelands and foreign lands are subjectively understood. Whereas the protagonists share a common perception, they nevertheless view things from two different pairs of eyes. They manage to see themselves only as complementary to the other. Without the other, there is no I. There is no external limit which does not equally pose an internal limit. Homelands cannot exist without foreign lands. The native land is symbolized by the own body and stands in direct relation to what is foreign. That which is foreign absorbs the body or native land, limits it, but also expands it. That which is native and that which is foreign cannot inhabit the same place at the same time. The choreographed performance does not reduce the individual bodies solely to what is native or foreign though. Rather, the two bodies are to be seen as a couple which create an ambivalent whole. Susana Beiro born 1980 in Liechtenstein lives in Berlin, Germany Florian Bücking born 1976 in Germany lives in Berlin, Germany Susana Beiro completed her dance education in Zurich and Amsterdam, whereupon she worked with Jacqueline Beck, Susana Duarte, Leine&Roebanna, Rike Plafki, BUCKELS & CLE MENS and Brendan Shelper. She has been a freelance member of Groupe F, France since 2008 and tours the world with them. She has collaborated with the company battleroyal on many different things over the past eight years, and it was during this joint work with them that Susana pursued further education as an Aerial dancer. Florian Bücking completed his education in contemporary dance in Berlin. Since leaving his permanent engagement at the state theatre Oldenburg, he has worked as a freelance dancer since 2006 with MS Schrittmacher, Zen in the Basement, wee dance company, Unterwegstheater Heidelberg, Melanie Lane and Maya Caroll amongst others. He showcases his own work at the Tanztage (dance days) Berlin. Together with Emmanuel Obeya, he choreographs The Ring next Generation at the German Opera in Berlin. He has been a member of the Unterwegstheater (on-the-way theater) goes Africa team since 2011. UT/FL AG 2015 fabric, cm UT/Royalties 2015 fabric, cm Small subtle changes of the flags are meant to attribute new meaning to everyday objects. Certain elements of Liechtenstein s country flag and the town flag of Vaduz are replaced to confront viewers with a familiar and yet foreign entity. The act of blending elements of the artist s country and hometown with the flags of Liechtenstein is not so much a political or critical statement, but rather a combination of identities that are vital to the artist s heritage. Alex Braubach born 1977 in the USA, raised in Liechtenstein lives in Las Vegas, Nevada, USA After spending his youth in the Principality of Liechtenstein, Alex Braubach emigrated to the United States in 1999 to pursue a liberal arts education. Braubach graduated from the San Francisco Art Institute in 2006 and launched the experimental art space KLIMM gallery ( ), as well as the Ever Gold gallery (2009 present). His work has been exhibited across the United States and in Germany. The Impulse to Dominate 2015 paper, fabric, plywood, ribbons The language that is used to depict meaning, history and the symbolisation of power is surprisingly similar across different countries and cultures. Symbolic acts, such as planting trees or cutting through bands, are performed by politicians around the globe. Even modern democracies use rituals as propaganda. The mythologizing use of ritualized measures and debates, which are often for appearance only, let one think something is being done, whilst all the real problems remain unsolved. Beate Frommelt born 1973 in Liechtenstein lives and works in Zurich, Switzerland Karin Ospelt born 1989 in Liechtenstein lives in Basel, Switzerland Beate Frommelt completed a Master of Fine Arts degree at the Byam Shaw College, Central Saint Martins, University of the Arts in London, studied painting at the school Ecole des Beaux-Arts in Paris under Prof. Jean Zuber, and earned a Bachelor of Arts degree in Visual Communication at the Lucerne University of Art and Design. Beate Frommelt has had several exhibitions in Liechtenstein and abroad and teaches at the art school Kunstschule Liechtenstein. Karin Ospelt studied music and media art at the Bern University of Arts. She subsequently studied Jazz singing at the School of Music in Basel and at the Music Conservatory G.B Martini in Bologna. She has received the Fritz Gerber Foundation grant for young talents since Karin Ospelt regularly gives concerts and takes part in exhibitions saw her tour with SOFIA. She also composes and teaches singing, works in her atelier and produces experimental audio pieces and short movies. In search of the promised land 2015 pencil on paper Hermine Kindle, who s artist name is Medea de Novara, left Triesen in 1925 to immigrate to the USA, as did many of her compatriots at the time. Hermine Kindle s first goal was to become a Hollywood starlet, which she managed to do. Despite her successful venture to reinvent herself in a new location, she remained a wanderer between worlds her entire life. Anna Hilti born 1980 in Liechtenstein lives in Zurich, Switzerland Anna Hilti studied Art and Illustration in Lucerne, Rotterdam and Berlin and currently does freelance work in this field. Her work comprises drawing, performance and in stallation art and is often done in cooperation with establishments such as the Art Collective Salon Liz. She has exhibited her work at the Casino Luxembourg, the exhibition spaces Kunstraum Engländerbau Vaduz and Das Weisse Haus Wien, the Museum for Contemporary Art Genua and at the MAMA Rotterdam showroom amongst others. She was awarded the Prix Mobilière in 2014, and currently teaches at the University of Liechtenstein and Liechtenstein s art school. weg 2015 performance, journey, installation text: Franz Kafka The Departure, voice: Pan Aurel Bucher The piece weg describes a journey that discusses the principle of the ever-returning impulse to depart. They choose two domesticated, freedom-loving horses as their companions. As animals of flight, horses only stop to graze where the grass is greenest. The project takes its exhibition name literally, and resides in the metaphorical plain of the expression away. The piece is interpreted linguistically and continually changed and shaped. The artists collect a piece of earth wherever the horses stop to graze, and transport it back to the museum in a mobile greenhouse. The museum s installation is further complemented by Kafka s text The Departure and by video recordings of the horizon. Simon Kindle born 1983 in Liechtenstein lives in Lucerne, Switzerland Amayi Wittmer born 1985 in Switzerland lives in Lucerne, Switzerland Simon Kindle has worked as a freelance artist since earning a Master of Fine Arts degree in 2012 after studying in Zurich, Berlin and Lucerne. His projects are often location and context-specific, and include installation, performance and object art. Allina Amayi Wittmer earned a Master of Fine Arts from Lucerne s Art & Design college in She has collaborated with Annina Nora Burkhalter under the label a&a since 2008 and founded the artists guild La Bohème. So far, this constellation has brought about more than 90 projects in Liechtenstein and abroad. These were accompanied by projects with the artist s own horses and performances by the family collective SPAMAM.Wittmer s artistic interests lie in presenting the everyday in artistic contexts and conversely in presenting the artistic in everyday surroundings. Standard measure 2015 screenprints This piece discusses the question of size and identity, and explores these ideas alongside the constructs of the nation state versus the construct of the individual. Meikel Mathias born 1985 in Liechtenstein lives in Berlin, Germany Meikel Mathias, a freelance illustrator and animator, published his first graphic novel Inshallah Short Stories from Morocco in the year He studied Visual Communication in Lucerne and Berlin and won the 2011 promo tional award for Young Culture Liechtenstein. He is currently working on a comprehensive book which gives accounts from the life of a failed writer. Afterimages for Alfred Kubin 2015 drawings in MDF boxes, photocopied booklets, reading nook Afterimages for Alfred Kubin is an installation that revolves around the novel The Other Side (1909) by Alfred Kubin. These fictional memoirs draw the portrait of an artist who moves from a big city to a micro state the Dream Land that would soon after collapse apocalyptically. As an expatriate artist from Liechtenstein living in Berlin I made a choice similar to that of Kubin s protagonist, but in the reverse direction and with a different outcome. In the process, as is the case with the novel s protagonist, my identity has become defined by the other side. Yet at the same time I know that the other side is a fiction (an interpretation, a perspective), just as the future the other side of the present is necessarily a fiction, a fiction that we can project onto, but we cannot go there other than by means of imagination. Once we re there, things are different. Manfred Naescher born 1973 in Liechtenstein lives in Berlin, Germany Manfred Naescher has studied at the Emily Carr University of Art and Design in Vancouver, Canada, and at the Rhode Island School of Design in Providence, USA. Exhibitions include a Carte Blanche at the Kunstmuseum Liechtenstein in 2014 and numerous group exhibitions, among others at Art in General Gallery, New York (2010); at the Museum of Contemporary Art, Leipzig (2010); at Shibaura House, Tokyo (2012); at Hamburger Kunstverein, Hamburg (2010). He has published artist books that are distributed internationally, most recently Still at Distance Over Time, Berlin (2014). The Great Escape 2015 ink on neon paper, cm, the artist s result of an hypnotic state It s Time to Move on Said the Fish and Grew Lungs 2015 video, 15:50 min, documentation of the artist being hypnotized in a public park Here you are. Ready to be guided on a journey. And you will listen carefully. You have undergone metamorphosis. You have changed. Your skeleton has adapted for walking. You have even developed something similar to a beginning of a neck. You want to return to the ocean, from where you came. But this is not possible. Arnar Ásgeirsson born 1982 in Iceland lives in Reykjavik, Iceland, Amsterdam, Netherlands and Berlin, Germany Arnar Ásgeirsson graduated with an MFA from Sandberg Institute in His practice involves video works, drawings, installations and sculptures with performative aspects. Exhibitions and screenings include: The Island, Art Dubai, Dubai UAE (2015); S7 Suðurgata Árbær (not in service), Living Art Museum, Reykjavík (2014); A Farmer and his Dog, Lost & Found: Muziekgebouw aan t IJ, Amsterdam & Nordic House, Reykjavik (2014); Disappointing Sculpture, Kunstschlager, Reykjavik (2013); Icelandic Pavilion, White Squat, Zürich (2013); Beneficial Genetics For The Right Time, RongWrong / Fons Welters, Amsterdam (2012). You take a deep breath of air. Through your nose. Into your newly developed lungs. Metamorphosis has already happened. You are completely transformed into a terrestrial being. Stranded. Surrounded by a destructive flock. On an exhausted island. That has become your prison. While the sea, has become your freedom. You want to wake up. You need to return to the sea. You need to focus all your energy on transforming yourself one last time. To escape your surroundings and get away from this Island. Now you will open your eyes, and it will all be clear. You will see the solution. And you will be in the ocean. Swimming comfortably in the water. Once again. E/e (1-5) 2015 mixed media on paper, cm The work is from a series of drawings / sketches for an unrealized Sedan. This remnants of the early days of elevation may look laughable to our post-industrial selves, accustomed to living vertical miles apart. These first steps were, however, doubtless the most significant: A minor elevation for a man, a major elevation for mankind, the first inch of lift is a qualitative alteration of a body s state, whereof any feet or miles of added height are mere repetition. The rudimentary technology involved, the sedan s ultimately modest multiplication of forces, requires the elevated (E) to remain in physical proximity to her elevator (e). However infantilised the elevated, and proletarianised the carriers, during elevation, neither party underwent any durable subjectivisation of their roles. Both identities, E and e, proved unsustainable in the absence of the mediating object, i.e. the carriage. Ásmundur Ásmundsson born 1971 in Iceland lives in Reykjavík, Iceland Ásmundur Ásmundsson has held twenty-one solo exhibitions since 1993, has participated in over fifty group exhibitions and executed five dozen performances and art interventions. He is actively engaged in the public debate and has written numerous articles for magazines and newspapers and written and executed programs for Icelandic National Radio Broadcasting Service, radio and television. Ásmundur Ásmundsson works with various mediums and has a wide-ranging arena and subject matters. Public performances, interventions and outdoor sculptures are a major part of his work and work processes, as well as installations, writings, collages and drawings. He was nominated for the Icelandic Visual Arts Award in 2012 for the exhibition Hole at the Reykjavík Art Museum. Quota Queen 2015 Performing Slapstick Capitalist Sorcery Fish by-products from the Quota Kingdom of Iceland cooked for 24 hours, glycerin, zinc oxide, sorbitol, plaster, vaseline In a performance of sorcery, alluding to the eradication of witchcraft during the rise of capitalism, the Quota Queen will conceive a new aggregated material from the by-products of fish in the form of a sticky hand. The Quota Queen is here presented as a subaltern of the Quota kingdom in Iceland, which has reigned over the natural resources of the island since the privatization of fish quota in the 1980 s. The kingdom has expanded its nautical territory in recent years by plundering fish stocks in North-Africa while consistently receiving tax lenience from the Icelandic state. The Quota Queen performs a slapstick version of capi talism s aid-lending hand as well as a neo-colonialist small state s hand, that grasps, slaps, spanks and plunders. BryndÍs björnsdóttir born 1983 in Iceland lives in Berlin, Germany Bryndís Björnsdóttir is an artist and critic. She works by means of interventions, performances and publications. Sie holds a BA degree in Art Theory from the University of Iceland and Fine Arts from The Iceland Academy of the Arts. She is currently enrolled in Raumstrategien at Weissensee Kunsthochschule Berlin. Bryndís Björnsdóttir co-managed an artist bookstore, publishing house and project space in Iceland called Útúrdúr She has since 2010 been involved with a research project at the former NATO base on Reykjanes Peninsula in Iceland focusing on how histories of cold war, militarized landscapes, social crisis and concepts such as ecology, creative labour, and alternative economies unfold. Inner Life of a Hay bale 2015 animation, 15 min Hay is food, hay is hope, hay is a memory of green pastures and warmth. It s complex texture reminds us of life s diversity. Here the hay has been captured in a plastic bale for conservation. Husbandry of Nature par excellence and at the same time a metaphor for the human mind. Our minds are diverse and our thoughts often untamable. We grow all kinds of emotions in our minds and like the grass they swing in all directions, good or bad. Inferiority complexes and envy are two of those so called bad seeds that grow in the human mind. Inner Life of a Hay Bale is an animated journey that seeks to imitate this. artwork: Gabríela Friðriksdóttir director Animation: Pierre-Alain Giraud soundtrack: Valdimar Jóhannsson & Gabríela Friðriksdóttir voice over: Erna Ómarsdóttir & Jón Símon Markússon saxophone: Yoann Durant GabrÍela friðriksdóttir born 1971 in Iceland lives in Reykjavík, Iceland Gabriela Fridriksdottir s art is diverse. Drawings, sculptures, paintings, installations, performances, video and films are among her various concerns. She studied at the Iceland Academy of the Arts. In 2005 she represented Iceland at the Venice Biennale. Declaration 2015 Readers: Berthile Brunhart, Hedwig Frick, Silvia Gstöhl, Berthi Ritter, Nelly Stamm, Maria Vogt based on a text by Kristín Ómarsdóttir installation, mixed media, wood and silicon, 7 min Women aged between 65 and 95 years have been asked to do a reading based on the poem Declaration by Icelandic author Kristín Ómarsdóttir to a sculpture of a human head. The sculpture functions as a microphone, recording with binaural technique mimicking human hearing. As they read for the sculpture s ears, the readers move around it in the space, capturing the acoustics of the surroundings as well as the poetry reading, declaring personal statements of what is not. Viewers are invited to sit in-between two speakers engaging the aural senses while listening to the escalating statements in the poetry, inducing their own thoughts of what is, what is not and what might be. gunnhildur hauksdóttir born 1972 in Iceland lives in Reykjavík, Iceland and Berlin, Germany Gunnhildur Hauksdóttir received an MA from the Sandberg Institute in 2005 after receiving BA from the Iceland Academy of the Arts. Gunnhildur works on a multi-dimensional level with sculpture, audio, video and performance, often mixing those. Her recent solo shows include The Binaural, Iceland (2015), The Census, Iceland (2014), Der Abstand, Austria (2014), The Assembly of the Holy, Island (2014) and Stars, Niederlande (2013). She war the director of the Living Art Museum in Reykjavík from 2011 to 2014 and a member of the board from 2009 to She is involved in publications, lectures and research and writing on artist initiatives and holds a visiting artists position at the Iceland Academy of the Arts. Misty rain blue 2015 video work on site, poems, 1 min 38 s diamonds on the wall, answer to your daydreams 2015 video work on site, poems, 1 min 38 s l seek out for the now, seek out to be happy and free to explore, to follow daydreams, to experience the moment and the now... ÁsdÍs sif gunnarsdóttir born 1976 in USA lives in Reyk
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