Kunstwerke zeitgenÃ¶ssischer KuÌˆnstlerinnen und KuÌˆnstler werden in Schaufenstern entlang der Gumpendorfer StraÃŸe ausgestellt â€“ wÃ¤hrend der VIENNA ART WEEK und als Sonderprojekt bei der VIENNAFAIR Kunstmesse â€“ und stehen unter dem Motto â€žMehr zahlen weniger!â€œ als spezielle MULTImART-Editionen zum Verkauf.
Aldo Giannotti,Â Markus Hofer,Â Roman Pfeffer
Die Ausstellung “Objected Tables” vereint drei Videos der KÃ¼nstler Aldo Giannotti, Markus Hofer und Roman Pfeffer, wobei jeweils jeder mit jedem einÂ Video realisiert hat. Markus Hofer drehte mit Aldo Giannotti “Coffee Bolognese” (2008), Aldo Giannotti mit Roman Pfeffer “Last Supper” (2010) und Roman Pfeffer mitÂ Markus Hofer “The Restricted Conference” (2011).â€¨Jedes Video beinhaltet einen Tisch als zentrales Motiv, ein in unserer alltÃ¤glichen RealitÃ¤t sehr wichtiges und bedeutungsvolles MÃ¶bel. Das Befragen derÂ Anwendungen und Ausformungen dieses Objekts und seiner gesellschaftlichen Bedingungen wird mittels des Mediums Video zum bestimmenden Thema derÂ 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 â€“ MÃ¶bel Museum Wien
Andreasgasse 7, 1070 Wien
Tel.: 524 33 57
Can Altay, Kevin van Braak, Aldo Giannotti, Shaun Gladwell, Maurizio Mochetti
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 â€“ 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 â€“ be it a building or a portion of it, a monument, a fictional architectural element or an entire city â€“ through the tensions emerging between the powers that plan it and the social relationship who inhabit it.
The body â€“ of the performer, spectator or dweller â€“ is understood in direct relationship with the constructed space as a cultural and political expression, through which â€œideologiesâ€ carry their message.
TheÂ affordancesÂ â€“ those formal features of an object or an environment which suggest a use, an action or more generally a movement â€“ become, in the artistâ€™s practice, a tool to reveal the mechanisms that govern a given space and â€œin-formâ€ the behavior of those who moves in it.
At the same time, forms of appropriation and â€œpara-functionsâ€ 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 â€œinstitution.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.
ErÃ¶ffnung: Samstag, den 28.04.2012. ab 19 Uhr
Ausstellungsdauer: 29.5. â€“ 30.5.2012 Ausstellungsort: Freies Museum Berlin, Potsdamer StraÃŸe 91, 10785 Berlin
Performances: Yuki Higashino, Aldo Giannotti u.a.
Heimo Zobernig, Hannes Zebedin, Franz West, Christoph Weber, Alexander Wolff, Herwig Weiser,
Adrien Tirtiaux,Nadim Vardag, Jannis Varelas, Johannes Vogl, Peter Sandbichler, Fabian Seiz,
Malin Schoenberg, Christian Mayer, Christoph Meier, Ute MÃ¼ller, Angelika Loderer, Sonia Leimer,
Barbara Kapusta, Stephan Lugbauer, Anna Jermolaewa,Marlene Haring, Yuki Higashino, Julia Haller,
Benjamin Hirte, Julia Hohenwarter, Philip Hohenwarter, Axel Huber,Manuel Gorkiewicz, Aldo Giannotti,
Alessa Esteban, Ricarda Denzer, Patrick BaumÃ¼ller, Catrin Bolt, Nicola Brunnhuber,Michael Aschauer
This exhibition presents works that take the classical concept of the meaning of “familyâ€œ as a starting point to observe and expand its layers and implications.Â
Through different media and with a common conceptual approach, the artists investigate forms of relationships that are personally, genetically and culturally produced and that affect our everyday life.Â
The idea ofÂ family as a social space is explored, tested and subverted by raising topics such as bounds between people, hierarchies, care or dependency.
The installation Explosions in the Sky, exhibited at the Photon Gallery, combines two videos and an actual object â€” two hand grenades carved from marble. The video entitled Ciclo Continuo presents an artistic action in a public space as the artistâ€™s revolt against the social and political situation in which the individual is driven to the point where â€” totally helpless â€” they can do nothing but â€œscreamâ€. Giannotti placed a hand-cranked siren on the balcony of the Palazzo Ducale in Massa (Italy) and invited local inhabitants to vent their feelings and anger through operating the alarm. A symbol of authority and political power, the offices of the Province and Prefecture â€˜fallâ€™ in the hands of the populous who are thus able to alert their fellow citizens to the danger of authority (an allusion to the current political situation in Italy).
In the second part of the installation â€” the video entitled Masclet a crowd of people observe an event. Their initial enthusiasm and fascination transform to apathy due to sounds which become ever more alarming. These noises might well be the sound of explosion and war, though they are actually merely those of a public spectacle â€” fireworks. The situation resembles the reaction of people while watching the television news, blindly gazing at images which no longer move them to any feeling of a pain, but rather the opposite â€” media images have become mere images of spectacle. The crowd and their facial expressions make us ask ourselves how the individual can possibly exert any influence on the political and social system in this era of increasing apathy, which is itself symptomatic of the social disease of the modern world. War, suffering and social turmoil happen far away, and we pretend they have nothing to do with us. Through a minimal gesture the artist thus creates an effective sense of ambivalence, and simultaneously leaves to us the possibility of various interpretations of his work. Such an approach is also one of the principal features of Giannottiâ€™s artistic endeavours. (Metka ZupaniÄ)