Eröffnung: Donnerstag, 10. März 2016, 18 bis 21 Uhr
Eröffnungsrede: Florian Steininger, des. Direktor der Kunsthalle Krems, 18.30 Uhr
Ausstellungsdauer: 11. März bis 23. April 2016
projektraum viktor bucher
a 1020 vienna, praterstrasse 13/1/2
t/f +43 (0) 1 212 693 0
m +43 (0) 676 561 988 0
projektraum@sil.at www.projektraum.at
The title of this exhibition-project suggests the invitation to a common dancing. The question which arouses is: are the artists invited to the Gallery´s dance floor or is the audience invited to dance with the Art? And: what is such a dance able to achieve?
Inspired was the title of the exhibition by the Bulgarian #ДÐÐСwithme- antigovernment protest – movement, which started on June 14, 2013 until now. Dance With Us origins in the acoustic overlapping of the short-phrase for “Governmental Service for National Security†– ДÐÐС – and the english expression for „dancing“. What caused the so called „protest movement“ was the controversal election of an even more controversal minister for National Security. From the first day on „common dancing“ was the gesture for a positive alteration of the status-quo. „The Dance“ still is going on and in its persistance origins its power and elegance and even its utopic character. This exhibition is also about corruption and nepotism. Cause: Only together we can set examples and change things.
The list of artists was based on the principle: every invited elected another one…
Opening on May 14th 18:00 – 22:00Â
exhibition ends May 25th
Questioning the relation between individuals and masses, between single deliberate acts and daily entropy, between the dual need of acting and hiding. Generate allusions on the effects of a potential disappearance, playing with the balance between the will of being present and the urge to annihilate oneself. Â Is disappearance a deliberate conscious subjective choice or an externally imposed consequence? Is negating oneself considered as a form of anti-social behavior or violent act? A stronger form of presence, a memory, a political statement, are these the unspoken attempts of dropping someone out of sight?
Kunstwerke zeitgenössischer Künstlerinnen und Künstler werden in Schaufenstern entlang der Gumpendorfer Straße ausgestellt – während der VIENNA ART WEEK und als Sonderprojekt bei der VIENNAFAIR Kunstmesse – und stehen unter dem Motto „Mehr zahlen weniger!“ als spezielle MULTImART-Editionen zum Verkauf.
Aldo Giannotti, Markus Hofer, Roman Pfeffer
Die Ausstellung “Objected Tables” vereint drei Videos der Künstler Aldo Giannotti, Markus Hofer und Roman Pfeffer, wobei jeweils jeder mit jedem ein Video realisiert hat. Markus Hofer drehte mit Aldo Giannotti “Coffee Bolognese” (2008), Aldo Giannotti mit Roman Pfeffer “Last Supper” (2010) und Roman Pfeffer mit Markus Hofer “The Restricted Conference” (2011).
Jedes Video beinhaltet einen Tisch als zentrales Motiv, ein in unserer alltäglichen Realität sehr wichtiges und bedeutungsvolles Möbel. Das Befragen der Anwendungen und Ausformungen dieses Objekts und seiner gesellschaftlichen Bedingungen wird mittels des Mediums Video zum bestimmenden Thema der Ausstellung.
Die Videos sind von 28.9. bis 21.10.2012 jeweils von Dienstag bis Sonntag von 10.00 bis 18.00 Uhr zu sehen. Der Eintritt ist frei!
Hofmobiliendepot – Möbel Museum Wien
Andreasgasse 7, 1070 Wien
Tel.: 524 33 57
Mail: info@hofmobiliendepot.at
Can Altay, Kevin van Braak, Aldo Giannotti, Shaun Gladwell, Maurizio Mochetti
Bologna
from: 22 september 2012 to: 12 january 2013
Artists: Can Altay, Kevin van Braak, Aldo Giannotti, Shaun Gladwell, Maurizio Mochetti
Curated by Emanuele Guidi
Opening Saturday 22th September, 7 pm
from 23rd September 2012 to 12th January 2013
Between Form and Movement is the title of a collective exhibition that present the work of international artists who investigate the production of space – in its social, political as well as architectural connotations – in order to explore its performative potential.
Specifically conceived or re-invented for this project, the artworks define space – be it a building or a portion of it, a monument, a fictional architectural element or an entire city – through the tensions emerging between the powers that plan it and the social relationship who inhabit it.
The body – of the performer, spectator or dweller – is understood in direct relationship with the constructed space as a cultural and political expression, through which “ideologies†carry their message.
The affordances – those formal features of an object or an environment which suggest a use, an action or more generally a movement – become, in the artist’s practice, a tool to reveal the mechanisms that govern a given space and “in-form†the behavior of those who moves in it.
At the same time, forms of appropriation and “para-functions†that emerge beyond the original plan or purpose turn into an expedient to then act on the experience of place and engender a critique of the space itself as “institution.â€
Moving along the line of this negotiation, the artists research and combine the rules of spatial relationships, the economies and history of certain places, in order to pose questions about the future and destiny of architecture, of public space and of the different ideological visions that, each time, inspire its planning.
