Kunsthalle am Hamburger Platz, Gustav Adolf Str. 140, 13088 Berlin
1. until 22. February 2013
Artist: Radoš Antonijević, Erik Alalooga, Marc Haselbach, Aleksandar Jestrović Jamesdin, Silvia Lorenz, Marina Marković, Tanel Saar, Darko Stojkov, Selman Trtovac, M.I. Kamenoff, Ana Zejak, Veljko Zejak and guests.
Links: Hybrid object Web site
Brings you events:
4.2. 19-22 h “RAKIA connecting people. Bio – Happening”
12.2.2013 , 19 h Opening of the exhibition
8.2. 16-19 h “Eastern Promises – Pecha Kucha Event” Discussion
Author of the project, sculptor Veljko Zejak, initiated this project as a self-organization of artists in collaboration with various cultural institutions and curators aiming to create a kind of creative art network. This way, we try to realize the project in the different cultural and production conditions using the same thematic issues. The realization of this project in the form of a residency and exhibition events was held in 2010 in Belgrade (SKC Gallery, the French Cultural Centre, Pavilion Cvijeta Zuzoric) in 2010 and 2011 at the Museum of Too Modern Art, Slovenia and 2011, the Galerie La Vitrine in Paris. Leading idea that is present from the very beginning of this project is the usage of subjects/ abandoned objects that contain information about their usage and in the same time are subjects of personal memory.
Along with the host artists from Berlin, a group of artists from Eastern Europe will participate in the project: Serbia, Slovenia and Estonia. There are going to be thematic lectures organised at the faculty Kunsthochschule Berlin Weissensee as well. Artists will present their work, project and discuss about the art scene and the specific conditions for production and development of contemporary art practices in the countries of their origins. One of the specifics that is developing increasingly and globally, but in the area of Eastern Europe has its own uniqueness, is the self-organization and the collaboration of artists on the principles of agricultural cooperatives from the era of socialism. In this sense, the project will present artists from art associations Third Belgrade; MOBA Banatska Dubica; Inex film, Belgrade; Container Art Gallery, Tallinn and guest from Berlin – Milchhof Pavilion. Those principles of association arises Utopia, decentralization and relocation of art from the traditionally mainstream defined framework. This is an art that is being developed in the city suburbs , factory complexes or in rural areas at the eastern edges of Europe.
Proposla for the exhibition “We live on a star” at Henie Onstad Art Centre, Oslo
Inside a cube, where each wall measure 4 by 3 meters, the same size as Ryggen’s work “We live on a star”, the atmosphere will change from one strong extremity to the other. Calm, meditative and peaceful ambiance shift to unsafe, disturbing surroundings, by the changing use of sound and light. The fact that Hannah Ryggen’s peaceful tapestry “We live on a star” ‐ that was also political, as she wanted to remind politicians passing the tapestry every day about humanity and love ‐ ended up damaged by a right wing extremist, is in an almost scary way linking back to Ryggen’s strong political works fighting fascism Nazism and extremism.
The walls of the cube are made of aluminium sheets. Like the tapestry, the walls are wounded. Their wounds come from gun shots. As such, references to the tapestry and to the shooting include both the attack on the Government building and the attack at Utøya. The gun shot holes are visually beautiful, but with disturbing connotations. From the outside, light will be streaming in through the holes, to the darker inside. Associations could go to stars on the sky, enhanced by sound with warm tones. Then the atmosphere will change ‐ more disturbing, cold sounds, where the music itself is shooting towards the audience, the light will be more focused in sharp lines, using small amount of smoke to make the light lines visible. Then the smoke will disappear through the holes, the sound will calm, and the loop starts again.
Entering the cube, the visitors should take of their shoes. The reason for this is not only providing a feeling of vulnerability, it is also due to the textile on the floor; a needle felt made of human hair. The Serbian artist Zoran Todorovic made this felt for the Venezia Biennale 2009, by gathering hair from 250.000 persons.