MEMPHISMEMPHIS
MEMPHIS - Artspace
Next: â đŁđźđżđđ˛đđżđ đ˛đ đŁđ˛đśđťđđđżđ˛đâ , đĂŠđŽđđżđśđ°đ˛ đđŽđšđ°đźđ MEMPHIS ist eine als Kunstverein agierende unabhängige Plattform.
Im Rahmen ihrer Tätigkeit bietet diese innerhalb verschiedener Ausstellungs-, Veranstaltungs- und Projektformate jungen und internationalen Kßnstler*innen, Kurator*innen und dem Publikum ein Forum zur Vermittlung und kritischen Auseinandersetzung von Fragen an den Schnittstellen von Kunst, Wissenschaft, Politik und Aktivismus. Sowohl das Programm in den eigenen Ausstellungsräumlichkeiten, als auch
đ đ˛đşđ˝đľđśđ đđąđśđđśđźđťđ˛đť đŽđŹđŽđŻâ
â
đđŽ.đđŽ.đŽđŹđŽđŻ - đŽđľ.đđŽ.đŽđŹđŽđŻâ
đ˘đ˝đ˛đťđśđťđ´ đđŽ.đđŽ.đŽđŹđŽđŻ đŻ đ˝đşâ
â
Georg Pinteritschâ
đđŽ đđ˘đłđľđŚđŻ, 2023â
Risograph Zine,â
13 Ă 9 cmâ
Edition of 27 + 7 APâ
â
EUR 111â
â
In the risograph zine đđŽ đđ˘đłđľđŚđŻ, Georg Pinteritsch translates a collection of pencil drawings created in sketchbooks on the subject of the pleasure garden into a booklet with monochrome risographs and practical illustrations.
đ đ˛đşđ˝đľđśđ đđąđśđđśđźđťđ˛đť đŽđŹđŽđŻâ
â
đđŽ.đđŽ.đŽđŹđŽđŻ - đŽđľ.đđŽ.đŽđŹđŽđŻâ
đ˘đ˝đ˛đťđśđťđ´ đđŽ.đđŽ.đŽđŹđŽđŻ đŻ đ˝đşâ
â
Edgar Lessig
đđŚđ¤đ°đŻđĽ đŠđ˘đŻđĽ đąđŠđ°đŻđŚ đ¸đŞđľđŠ đľđŠđłđŚđŚ đŽđśđ´đŞđ¤
đłđŚđ¤đ°đłđĽđŞđŻđ¨đ´ đ˘đŻđĽ đ°đŻđŚ đđŞđĽđĽđ đŽđ°đśđ´đŚ, 2023
Cell phone, charger, charging cable, transparent passport photo cover, cut Diddl sheet, 3 digital music recordings
Dimensions variable
â
Edition of 8
Unique character
EUR 250
â
With đđŚđ¤đ°đŻđĽ đŠđ˘đŻđĽ đąđŠđ°đŻđŚ đ¸đŞđľđŠ đľđŠđłđŚđŚ đŽđśđ´đŞđ¤
đłđŚđ¤đ°đłđĽđŞđŻđ¨đ´ đ˘đŻđĽ đ°đŻđŚ đđŞđĽđĽđ đŽđ°đśđ´đŚ, Edgar Lessig evokes memories of the past, refers to the obsolescence of objects and the change in trends and invites us to reflect on speculative mechanisms through individualised revaluation of mass products.
đ đ˛đşđ˝đľđśđ đđąđśđđśđźđťđ˛đť đŽđŹđŽđŻâ
â
đđŽ.đđŽ.đŽđŹđŽđŻ - đŽđľ.đđŽ.đŽđŹđŽđŻâ
đ˘đ˝đ˛đťđśđťđ´ đđŽ.đđŽ.đŽđŹđŽđŻ đŻ đ˝đşâ
â
Vana Kostayolaâ
đđ°đĽđş-đđľ-đđŞđ´đŹ đđ˘đŽđŚ, 2023â
Card gameâ
36 playing cards, box, signed instructionsâ
approx. 8 Ă 13 x 4 cmâ
Edition of 35 + 5 APâ
â
EUR 125â
â
Body-At-Risk Game is a game in a literal sense: in the unique role-playing experience developed by Vana Kostayola from the setting of her exhibition Democratic Excercises - Body at Risk, unpleasant situations are created with "victims and aggressors" who fight each other.
đ đ˛đşđ˝đľđśđ đđąđśđđśđźđťđ˛đť đŽđŹđŽđŻâ
â
đđŽ.đđŽ.đŽđŹđŽđŻ - đŽđľ.đđŽ.đŽđŹđŽđŻâ
đ˘đ˝đ˛đťđśđťđ´ đđŽ.đđŽ.đŽđŹđŽđŻ đŻ đ˝đşâ
â
Sophie DvoĹĂĄkâ
đđŠđŚ đđ˘đśđđľ đđĽđŞđľđŞđ°đŻ, 2023â
Plaster, Ink, Spraypaintâ
15 x 10 x 2,5 cmâ
Edition von 10â
Unikatcharakterâ
â
EUR 390â
â
In The Fault Edition, a series of model-like topographies in small format, Sophie DvoĹĂĄk thematises the fluid state of constant change and the interplay between landscape and map, fact and fiction.
đ đ˛đşđ˝đľđśđ đđąđśđđśđźđťđ˛đť đŽđŹđŽđŻâ
â
đđŽ.đđŽ.đŽđŹđŽđŻ - đŽđľ.đđŽ.đŽđŹđŽđŻâ
đ˘đ˝đ˛đťđśđťđ´ đđŽ.đđŽ.đŽđŹđŽđŻ đŻ đ˝đşâ
â
Nikos Arvanitisâ
đľđ˘đą đľđ˘đą đľđ˘đą đľĂŚđą đľđ˘đą đŹđłđ˘đŹ, 2023â
Pencil on Fabriano Rosaspina White220 gr, 60% cotton, hot pressed â
20Ă50 cmâ
Edition of 8 + 2 AP Unikatcharakterâ
â
EUR 310 unframedâ
EUR 430 framedâ
â
Nikos Arvanitis' pencil drawing tap tap tap tÌp tap krak is based on a work of the same name for the light box on the façade of Kunstraum Memphis, which uses phonetic notation to depict the sounds caused by raindrops and breaking or falling branches.
đ đ˛đşđ˝đľđśđ đđąđśđđśđźđťđ˛đť đŽđŹđŽđŻ
đđŽ.đđŽ.đŽđŹđŽđŻ - đŽđľ.đđŽ.đŽđŹđŽđŻ
đ˘đ˝đ˛đťđśđťđ´ đđŽ.đđŽ.đŽđŹđŽđŻ đŻ đ˝đş
We are very delighted to announce this year's versatile Memphis Editions by Nikos Arvanitis, Sophie DvoĹĂĄk, Vana Kostayola, Edgar Lessig and Georg Pinteritsch and to celebrate the presentation on 12 December 2023 between 3 and 8 pm with you.�� By purchasing Christmas presents this year, we would like to encourage you to directly support young artists and the activities of Kunstraum Memphis. The limited editions are now available via e-mail or in our website, with the proceeds benefiting the artists and Kunstraum Memphis in equal parts.
!
đĂŠđŽđđżđśđ°đ˛ đđŽđšđ°đźđâ
đŁđźđżđđ˛đđżđ đ˛đ đŁđ˛đśđťđđđżđ˛đâ
đđśđđľ đŽ đđ˛đ
đ đŻđ đđšđŽđđ đŚđ˝đ˛đśđąđ˛đšâ
đđ
đľđśđŻđśđđśđźđťâ đđśđ˛đđâ
đđ
đľđśđŻđśđđśđźđť â
đ´.đđ. â đą.đđŽ.đŽđŹđŽđŻâ
1. exhibition view
2. exhibition view
3. Recent Painting #13 (Claude Rutault dĂŠfinitions / mĂŠthodes, edited by Intelligence Service Productions, Paris, 1981, p. 27), 2023
Black ink, rainwater, tea, China ink, graphite pencil, methyl cellulose paste and 100% Kozo Japanese paper on coated wove paper
29,3 x 21cm
4. & 8. Porteur #14 (Untitled, Laura Lamiel, early work), 2020
Slate powder, glass
ø 3,6 cm x 30 cm
5. Recent Painting #3 (Agnes Martin,
dir. Lynne Cooke, edited by Yale University Press, 2012,
p. 35), 2023
Colored inks, rainwater, dust, watercolor, wheat starch paste and 100% Kozo Japanese paper on coated wove paper
25,3 x 18,9 cm
6. Porteur #19 (Untitled, France Valliccioni), 2020
Synthetic material, glass
ø 3.6 cm h. 30cm
7. Porteur #10 (16th century PietĂ , Germany), 2020
Polychromed linden wood, glass
ø 3,6 cm x 30 cm
9. exhibition view
đĂŠđŽđđżđśđ°đ˛ đđŽđšđ°đźđâ
đŁđźđżđđ˛đđżđ đ˛đ đŁđ˛đśđťđđđżđ˛đâ
đđśđđľ đŽ đđ˛đ
đ đŻđ đđšđŽđđ đŚđ˝đ˛đśđąđ˛đšâ
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BĂŠatrice Balcou (*1976, France) lives and works in Brussels. In performances, sculptures and installations, she creates situations offering innovative exhibition rituals that invite us to contemplate our understanding of time and how we look at things â in particular works of art. Homing in on attentiveness to the materiality of the artwork and the behaviour of the viewer, she investigates the perceived value of art and the role assigned to it by our contemporary lifestyles.
đĂŠđŽđđżđśđ°đ˛ đđŽđšđ°đźđâ
đŁđźđżđđ˛đđżđ đ˛đ đŁđ˛đśđťđđđżđ˛đâ
đđśđđľ đŽ đđ˛đ
đ đŻđ đđšđŽđđ đŚđ˝đ˛đśđąđ˛đšâ
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đ˘đ˝đ˛đťđśđťđ´â
đł.đđ.đŽđŹđŽđŻ,đđľ:đŹđŹâ
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đľđśđŻđśđđśđźđť â
đ´.đđ. â đą.đđŽ.đŽđŹđŽđŻâ
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BĂŠatrice Balcou (*1976, France) lives and works in Brussels. In performances, sculptures and installations, she creates situations offering innovative exhibition rituals that invite us to contemplate our understanding of time and how we look at things â in particular works of art. Homing in on attentiveness to the materiality of the artwork and the behaviour of the viewer, she investigates the perceived value of art and the role assigned to it by our contemporary lifestyles.
.is Editions at Outside In exhibition BestOFF Kunstuniversität Linz
đđ˛đźđżđ´ đŁđśđťđđ˛đżđśđđđ°đľâ
đđđ đđđđąđśđ˛đżđ˛đť đłĂźđż'đť đŠđŽđđ˛đżâ
đđśđđľ đŽ đđ˛đ
đ đŻđ đđšđ˛đ
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đľđśđŻđśđđśđźđť â
đ˛.đľ. â đ˛.đđŹ.đŽđŹđŽđŻâ
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In terms of content, Georg Pinteritsch plays with symbolic motifs and existentialist questions, taking into account social and technological developments and the associated changes in forms of perception. The starting point for the exhibition âJus studieren fĂźrân Vaterâ was the confrontation with social demands and norms and the resulting feeling of being constantly overwhelmed in the course of self-optimisation processes in order to be able to live up to them.â
â
1. coverâ
â
2. đ.đ., 2022â
Ceramics, wood, metalâ â
154x2,5x15 cm eachâ
â
đđşđ¤đŠđŚ, 2021â
Ink, marker, colouredâ pencil on paper on woodâ
22x27 cmâ
â
đđđđđđ 5 (đđłđŚđŻđŹđ¸đ˘đđĽđŚđł),â 2023â
Ink, marker, colouredâ pencil on paper on woodâ
20x20,5 cmâ
â
đđđđđđđđ, 2023â
Woodâ
104x114x13 cmâ
â
3. đđşđ¤đŠđŚ, 2021â
Ink, marker, colouredâ pencil on paper on woodâ
22x27 cmâ
â
4. đ.đ., 2022â
Ceramics, wood, metalâ
154x2,5x15 cm eachâ
details â
â
5. đđđđđđ 5 (đđłđŚđŻđŹđ¸đ˘đđĽđŚđł)â , 2023â
Ink, marker, colouredâ pencil on paper on woodâ
20x20,5 cmâ
â
6. đ.đ., 2022â
Pencil on paper + frameâ
15x10 cmâ
â
7. đ.đ., 2022â
Pencil on paper + frameâ
15x10 cmâ
â
8. đđ˘đľđŚđłđ˘ đŽđŞđľ đđđđđđđđâ , 2023â
Ceramics, wood, vinylâ acetate copolymer dispersionâ
67x21x23 cmâ
â
đđŻđŞđŚđŁđ˘đŻđŹ, 2023â
Linen fabric, wood, foamâ
326x34x18 cmâ
â
9. đđ˘đľđŚđłđ˘ đŽđŞđľ đđđđđđđđâ , 2023â
Ceramics, wood, vinylâ acetate copolymer dispersionâ
67x21x23 cmâ
â
10. đđđ (đŚđŽđąđľđş), đˇđŞđŻđŚđ¨đ˘đł,â đ´đ˘đđľ (đŚđŽđąđľđş), 2023â
Ink, marker, colouredâ pencil on paper on woodâ
19x22,5 cm
đđ˛đźđżđ´ đŁđśđťđđ˛đżđśđđđ°đľâ
đđđ đđđđąđśđ˛đżđ˛đť đłĂźđż'đť đŠđŽđđ˛đżâ
đđśđđľ đŽ đđ˛đ
đ đŻđ đđšđ˛đ
đŽđťđąđ˛đż đŞĂśđżđŽđťâ
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đ˘đ˝đ˛đťđśđťđ´â
đą.đľ.đŽđŹđŽđŻ,đđľ:đŹđŹâ
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đđ
đľđśđŻđśđđśđźđť â
đ˛.đľ. â đ˛.đđŹ.đŽđŹđŽđŻâ
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âđđŻ đ¤đŚđłđľđ˘đŞđŻ đ´đŞđľđśđ˘đľđŞđ°đŻđ´, đ°đśđľ đ°đ§ đ˘ đ¤đŚđłđľđ˘đŞđŻ đśđŻđŚđ˘đ´đŞđŻđŚđ´đ´, đ đŹđŻđŚđŚđĽ đľđ°đ¨đŚđľđŠđŚđł đ§đłđ˘đ¨đŽđŚđŻđľđ´, đ´đ¤đśđ§đ§đŚđĽ đ§đłđ°đŽ đľđŞđ¤đŹđŚđľđ´ đ°đł đŁđŞđđđ´. đđŠđŚđş đ˘đłđŚ đŞđŻ đŽđş đąđ°đ¤đŹđŚđľđ´ đ˘đŻđĽ đ đ¸đ˘đłđą đľđŠđŚđŽ đŞđŻ đ˘ đ¸đ˘đş, đľđŠđ˘đľ đľđŠđŚ đąđ˘đłđľđŞđ¤đđŚđ´ đľđ˘đŹđŚ đŻđŚđ¸ đ§đ°đłđŽđ´. đđŞđŻđ˘đđđş đ đłđ°đđ đľđŠđŚđŽ đŞđŻđľđ° đ´đŽđ˘đđ đŁđ˘đđđ´ đ˘đŻđĽ đ´đľđ˘đłđľ đ°đˇđŚđł đ˘đ¨đ˘đŞđŻ. đđˇđŚđłđşđľđŠđŞđŻđ¨ đŠđ˘đąđąđŚđŻđ´ đśđŻđ¤đ°đŻđ´đ¤đŞđ°đśđ´đđş, đĽđŚđľđ˘đ¤đŠđŚđĽ đ§đłđ°đŽ đ˘đŻđş đŤđśđĽđ¨đŚđŽđŚđŻđľ. đđŠđŚđŻ đ đŁđŚđ¤đ°đŽđŚ đ˘đ¸đ˘đłđŚ đ°đ§ đľđŠđŞđ´ đ˘đ¤đľđŞđˇđŞđľđş, đ đ°đ§đľđŚđŻ đŚđšđ˘đŽđŞđŻđŚ đľđŠđŚ đ°đŁđŤđŚđ¤đľđ´ đľđŠđ˘đľ đ¸đŚđłđŚ đąđłđ°đĽđśđ¤đŚđĽ. đđ°đ´đľđđş đľđŠđŚđş đ˘đłđŚ đ˘đŻđŻđ°đşđŞđŻđ¨ đ´đ˘đśđ´đ˘đ¨đŚđ´ đľđŠđ˘đľ đ đľđŠđłđ°đ¸ đ´đ°đŽđŚđ¸đŠđŚđłđŚ. đ'đŽ đŞđŻđľđŚđłđŚđ´đľđŚđĽ đŞđŻ đľđŠđŞđ´ đśđŻđ¤đ°đŻđ´đ¤đŞđ°đśđ´ đ¤đłđŚđ˘đľđŞđˇđŚ đ˘đ´đąđŚđ¤đľ, đ¸đŠđŞđ¤đŠ đ đ¤đ°đŻđ´đľđ˘đŻđľđđş đľđłđş đľđ° đŚđŽđśđđ˘đľđŚ đŞđŻ đľđŠđŚ đąđłđ°đ¤đŚđ´đ´ đ°đ§ đĽđłđ˘đ¸đŞđŻđ¨. đ đ´đľđ˘đş đŁđŚđŠđŞđŻđĽ đ˘đŻđĽ đ§đ°đ¤đśđ´ đ°đŻ đĽđŚđľđ˘đŞđđ´. đđŚđľđ˘đŞđđ´ đľđŠđ˘đľ đ˘đłđŚ đąđśđľ đľđ°đ¨đŚđľđŠđŚđł đľđ° đ˘ đ¸đŠđ°đđŚ đľđŠđłđ°đśđ¨đŠ đŽđş đŞđŻđľđŚđłđˇđŚđŻđľđŞđ°đŻ."â
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1. Militärkunst mit Blumenrahmen, marker, coloured pencils, ink on paper, on wood, 2021â
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2. Maennerportal, wood, ceramics, lacquer, 2020â
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3. H**e Babylon, markers, coloured pencils, ink on paper, on wood, rubber frame, 2021â
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4. LOVERS2, markers, coloured pencils on paper, 2021â
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5. Maria, metal, wood, plastic, satin, 2022 â
â
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Georg Pinteritschâ
*1986â
2008 â 2015 Art University of Linz: fine arts / painting and graphicsâ
works in Vienna Austriaâ
www.georgpinteritsch.comâ of.plow
đđ˛đźđżđ´ đŁđśđťđđ˛đżđśđđđ°đľâ
đđđ đđđđąđśđ˛đżđ˛đť đłĂźđż'đť đŠđŽđđ˛đżâ
đđśđđľ đŽ đđ˛đ
đ đŻđ đđšđ˛đ
đŽđťđąđ˛đż đŞĂśđżđŽđťâ
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đ˘đ˝đ˛đťđśđťđ´â
đą.đľ.đŽđŹđŽđŻ,đđľ:đŹđŹâ
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đ˛.đľ. â đ˛.đđŹ.đŽđŹđŽđŻâ
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âđđŻđ¤đŚ đŚđšđąđđ˘đŻđ˘đľđŞđ°đŻđ´ đ˘đŻđĽ đŞđŻđ´đľđłđśđ¤đľđŞđ°đŻđ´ đŠđ˘đˇđŚ đŁđŚđŚđŻ đ¨đŞđˇđŚđŻ, đ°đŻđ¤đŚ đľđŠđŚ đłđŞđ¨đŠđľ đŞđŻđ´đŞđ¨đŠđľ đŠđ˘đ´ đŁđŚđŚđŻ đŞđŽđąđ˘đłđľđŚđĽ, đ§đŞđłđ´đľ đ¤đ°đŽđŚ đłđŚđŽđŞđŻđĽđŚđłđ´, đľđŠđŚđŻ đąđśđŻđŞđ´đŠđŽđŚđŻđľđ´, đ˘đŻđĽ đŚđˇđŚđŻ đľđŠđŚđ´đŚ đ´đŠđ°đśđđĽ đŁđŚđ¨đŞđŻ đ¸đŞđľđŠ đľđŠđŚ đŽđŞđđĽđŚđł đ°đŻđŚđ´. đđŻđŚ đĽđ°đŚđ´ đŻđ°đľ đŞđŽđŽđŚđĽđŞđ˘đľđŚđđş đľđ˘đŹđŚ đľđŠđłđŚđŚ đŽđ°đłđąđŠđŞđŻđŚ đąđ°đ¸đĽđŚđłđ´, đŁđśđľ đŁđŚđ¨đŞđŻđ´ đ¸đŞđľđŠ đ°đŻđŚ, đ˘đŻđĽ đŞđ§ đľđŠđŞđ´ đĽđ°đŚđ´ đŻđ°đľ đŠđŚđđą, đ°đŻđŚ đĽđ°đŚđ´ đŻđ°đľ đľđ˘đŹđŚ đľđŠđłđŚđŚ, đŁđśđľ đ§đŞđłđ´đľ đľđ¸đ°.ââ
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Oppel Karl: Das Buch der Eltern, 1877â
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The examination of emptiness is a central topic in the works of Georg Pinteritsch. He deals with the tense relationship in which abstracted bodies, passages and loose objects enter into a distorted environment and barren landscape. Pinteritsch combines aesthetics and the symbolic gesture of the medieval woodcut with strictly geometric lines. The works tell of strange rituals and unnamed places, in which an invisible order is inherent and which are held together by a network of line and form constructions.â
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In terms of content, Georg Pinteritsch plays with symbolic motifs and existentialist questions, taking into account social and technological developments and the associated changes in forms of perception. The starting point for the exhibition "Jus studieren fĂźr'n Vater" was the confrontation with social demands and norms and the resulting feeling of being constantly overwhelmed in the course of self-optimisation processes in order to be able to live up to them.â
â
In the short prose text "Kleine, scheinheilige Welt", published to accompany the exhibition, the author and essayist Alexander WĂśran explores the questions arising in this context about various forms of hypocrisy, the constitution of punishment in general and the exploration of the balance between punishment and fe**sh.
đđšđźđżđŽ đđ đđŽđđťđŽ, â
đĄđśđ¸đźđ đđżđđŽđťđśđđśđâ , â
đđśđđľ đŽ đđ˛đ
đ đŻđ đđšđ˛đťđś đ đśđ°đľđŽđ˛đšđśđąđś & đđđś đĄđŽđ¸đźđâ
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đľđśđŻđśđđśđźđťâ đđśđ˛đđâ
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đľđśđŻđśđđśđźđť: đŽđ´.đ°. â đŽđŻ.đą.đŽđŹđŽđŻâ
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Îs there still time, within the midst of the sixth extinction, to reweigh our anthropocentric view of the natural world?â
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Nikos Arvanitis sets out a series of symbolic gestures and unexpected reversals to accent the inscriptions of nature in the multiple manifestations of anthropogenic invasiveness. A jungle of concrete devours the forest, the landscape becomes a billboard, the natural soundscape is synthesized by memory-based human imitation performance. Î watchtower resembling those in Hymettos mountain, one of the last forest reserves of Athens, is rescaled and reconstructed as a hybrid listening and viewing device - a subtle reminder that our positions are determined through constraints, our conceptions are fixed. Arvanitis amplifies the anthropocentric view to question it and invites the viewer/listener to participate in an open meaning-making process. Will their individual perception be challenged or attested?â
ââ
Nikos Arvanitis (*1979, Athens/Greece) studied at the Academy of Fine Arts, Vienna/Austria at the Athens School of Fine Arts, Athens/Greece (Erasmus scholarship) and at the MFA course "Public Art and new artistic Strategies" at the Bauhaus University of Weimar/Germany with scholarships from the DAAD (German Academic Exchange Service) and the A. S. Onassis Public Benefit Foundation. His artistic and research work focuses on themes, which consider the structures and possibilities of public space indwelling, the aesthetic perception in contemporary society, the construction of collective identities and the concept of the globalized, spectacular, but also institutional mass culture. His work has been exhibited in international contexts, including the 2nd Les Ateliers de Rennes - Biennial d'Art Contemporain/Rennes, the 2nd Athens Biennial/Athens, Locust Projects/Miami, Townhouse Gallery of Contemporary Art/Cairo, BWA Wroclawâ
â
đđđ°đłđ˘ đˇđ´ đđ˘đśđŻđ˘, đđŞđŹđ°đ´ đđłđˇđ˘đŻđŞđľđŞđ´, 2023
đđšđźđżđŽ đđ đđŽđđťđŽ, â
đĄđśđ¸đźđ đđżđđŽđťđśđđśđâ , â
đđśđđľ đŽ đđ˛đ
đ đŻđ đđšđ˛đťđś đ đśđ°đľđŽđ˛đšđśđąđś & đđđś đĄđŽđ¸đźđâ
â
đ˘đ˝đ˛đťđśđťđ´ đŽđł.đ°.đŽđŹđŽđŻ, đđľ:đŹđŹ â
đđ
đľđśđŻđśđđśđźđť: đŽđ´.đ°. â đŽđŻ.đą.đŽđŹđŽđŻâ
" Is there still time, within the midst of the sixth extinction, to reweigh our anthropocentric view of the natural world? Nikos Arvanitis .arvanitis.35 sets out a series of symbolic gestures and unexpected reversals to accent the inscriptions of nature in the multiple manifestations of anthropogenic invasiveness.â ,, (by Eleni Michaelidi & Evi Nakou)â
â
Evi Nakou is a musician, sound artist and project facilitator with a particular focus on experimental music, improvisation, and transdisciplinary arts practices. She has worked as a tutor and academic mentor for the Guildhall School of Music and Drama (UK), as Head of Learning and Participation Department of the Greek National Opera (GR), the Junge Deutsche Oper Berlin (DE), as well as an artistic consultant for Athens Epidaurus Festival (GR). evi is a co-founder of the music ensemble Breakfast Club quartet. She is currently based in Kypseli, Athens. â
â
Eleni Michaelidi is an art historian and curator. Her practice follows a transdisciplinary approach, with a strong focus on the concept of urgency in political theory and contemporary art. She has previously collaborated with the DESTE Foundation, the Bergen Assembly, the Athens School of Fine Arts and the Academy of Fine Arts Leipzig. Eleni was 2018 Curator in Residence at the Salzburger Kunstverein and currently holds a curatorial fellowship at the Museum of Contemporary Art Leipzig. She lives and works in between Athens and Berlin.
đđ˛đşđźđ°đżđŽđđśđ° đđ
đ˛đżđ°đśđ°đ˛đ â đđźđąđ đŽđ đĽđśđđ¸
đśđť đ°đźđšđšđŽđŻđźđżđŽđđśđźđť đđśđđľ đŠđŽđťđŽ đđźđđđŽđđźđšđŽ
đŽđ đ˝đŽđżđ đźđł đđľđ˛ đ˛đ
đľđśđŻđśđđśđźđť
đ˘đť đđľđ˛ đĄđ˛đ. đŠđśđ˛đťđťđ˛đđ˛ đŚđ°đ˛đťđ˛đ đŽđťđą đđ˛đđźđťđą
đŽđ đđ˛đšđđ˛đąđ˛đżđ˛ đŽđ, đŠđśđ˛đťđťđŽ
đđśđđľ
đđŽđđ¸đŽđżđŽđť đđťđŽđťđą, đŚđśđşđźđťđŽ đđ˛đżđżđŽđż, đ§đľđźđşđŽđ đđżđŽđťđ¸,
đđľđżđśđđđźđ˝đľ đĽđźđđľđ˛đťđŻđđ°đľđťđ˛đż, đŁđŽđđ°đŽđš đ§đľđśđşđźđđľđ˛đ˛
đđ
đľđśđŻđśđđśđźđť
đł.đ°. â đŽđ.đą.đŽđŹđŽđŻ
The project Democratic Exercises â Body at Risk explores different identities and notions such as âpermissibilityâ, âtoleranceâ and âprohibitionâ, identification with victims/aggressors, and âthe otherâ as something that destabilizes our identity. The Democratic Exercises grow with more participants and interactions, moving from Linz to Vienna, on to Geneva and Athens.
Our slogan âBe a Warrior. Expand.â offers space for personal and collective projections. Who is fighting? Which fight is worth fighting? The truth is not to be found, but to be reinvented.
As part of the exhibition About the New. Viennese Scenes and Beyond in Belvedere 21 video documentations of the two performative workshops presented in Linz and Vienna are on view.
1) ĂđŁđŚđł đĽđ˘đ´ đđŚđśđŚ- đđŞđŚđŻđŚđł đđťđŚđŻđŚđŻ đśđŻđĽ đĽđ˘đłĂźđŁđŚđł đŠđŞđŻđ˘đśđ´ â đđŚđŞđ 1, đ°đąđŚđŻđŞđŻđ¨, đąđŠđ°đľđ° đŁđş đđ˘đŹđ°đŁ đđŞđŚđľđłđŞđ¤đŠ
2) ĂđŁđŚđł đĽđ˘đ´ đđŚđśđŚ- đđŞđŚđŻđŚđł đđťđŚđŻđŚđŻ đśđŻđĽ đĽđ˘đłĂźđŁđŚđł đŠđŞđŻđ˘đśđ´ â đđŚđŞđ 1, đ°đąđŚđŻđŞđŻđ¨, đąđŠđ°đľđ° đŁđş đđ˘đŹđ°đŁ đđŞđŚđľđłđŞđ¤đŠ
3) ĂđŁđŚđł đĽđ˘đ´ đđŚđśđŚ- đđŞđŚđŻđŚđł đđťđŚđŻđŚđŻ đśđŻđĽ đĽđ˘đłĂźđŁđŚđł đŠđŞđŻđ˘đśđ´ â đđŚđŞđ 1, đ°đąđŚđŻđŞđŻđ¨, đąđŠđ°đľđ° đŁđş đŚđđŚđ.đ˘đľ - đđ°đłđŚđŻđť đđŚđŞđĽđđŚđł
4) ĂđŁđŚđł đĽđ˘đ´ đđŚđśđŚ- đđŞđŚđŻđŚđł đđťđŚđŻđŚđŻ đśđŻđĽ đĽđ˘đłĂźđŁđŚđł đŠđŞđŻđ˘đśđ´ â đđŚđŞđ 1, đ°đąđŚđŻđŞđŻđ¨, đąđŠđ°đľđ° đŁđş đŚđđŚđ.đ˘đľ - đđ°đłđŚđŻđť đđŚđŞđĽđđŚđł
5) ĂđŁđŚđł đĽđ˘đ´ đđŚđśđŚ- đđŞđŚđŻđŚđł đđťđŚđŻđŚđŻ đśđŻđĽ đĽđ˘đłĂźđŁđŚđł đŠđŞđŻđ˘đśđ´ â đđŚđŞđ 1, đ°đąđŚđŻđŞđŻđ¨, đąđŠđ°đľđ° đŁđş đŚđđŚđ.đ˘đľ - đđ°đłđŚđŻđť đđŚđŞđĽđđŚđł
đđšđźđżđŽ đđ đđŽđđťđŽ, đđśđđľ đŽ đđ˛đ
đ đŻđ đđšđ˛đťđś đ đśđ°đľđŽđ˛đšđśđąđś & đđđś đĄđŽđ¸đźđ
đ˘đ˝đ˛đťđśđťđ´ đŽđł.đ°.đŽđŹđŽđŻ, đđľ:đŹđŹ
đđ
đľđśđŻđśđđśđźđť: đŽđ´.đ°. â đŽđŻ.đą.đŽđŹđŽđŻ
1. đđ¸đŚđđˇđŚ đđ°đśđłđ´ / đđľđ˘đľđŚđŽđŚđŻđľđ´ (đ,đđ,đđđ,đđ), đ¸đ˘đľđŚđł đŁđ˘đ´đŚđĽ đŚđŻđ˘đŽđŚđ đąđ˘đŞđŻđľ đ°đŻ đ¸đ°đ°đĽ, 2019 (đąđŠđ°đľđ°: đđđŞđŻđ˘ đđŚđ§đ˘)
2. đđ¸đŚđđˇđŚ đđ°đśđłđ´ / đđˇđŞđĽđŚđŻđ¤đŚđ´, đ´đŞđđŞđ¤đ°đŻ, đ¤đ°đđ°đśđł đąđŞđ¨đŽđŚđŻđľđ´, đ´đľđşđłđ°đ§đ°đ˘đŽ, đ¸đ°đ°đĽ, đŞđłđ°đŻ, đľđŚđšđľđŞđđŚ, đ¸đ˘đľđŚđł đŁđ˘đ´đŚđĽ đŚđŻđ˘đŽđŚđ đąđ˘đŞđŻđľ, đĽđŞđŽđŚđŻđ´đŞđ°đŻđ´ đˇđ˘đłđŞđ˘đŁđđŚ, 2019 (đąđŠđ°đľđ°: đđđŞđŻđ˘ đđŚđ§đ˘)
3. đđ¸đŚđđˇđŚ đđ°đśđłđ´ / đđśđĽđŞđľđ°đłđŞđśđŽ, đŞđłđ°đŻ, đ¸đ°đ°đĽ, đ¸đ˘đľđŚđł đŁđ˘đ´đŚđĽ đŚđŻđ˘đŽđŚđ đąđ˘đŞđŻđľ, đĽđŞđŽđŚđŻđ´đŞđ°đŻđ´ đˇđ˘đłđŞđ˘đŁđđŚ, 2019 (đąđŠđ°đľđ°: đđđŞđŻđ˘ đđŚđ§đ˘)
4. đđ˘đąđąđş đđŻđ¤đ°đśđŻđľđŚđł, đ˘đśđĽđŞđ° đąđđ˘đş, đĽđśđłđ˘đľđŞđ°đŻ: 22â 53ââ đ˘đŻđĽ 3đĽ đąđłđŞđŻđľđŚđĽ đ´đ¤đśđđąđľđśđłđ˘đ đ°đŁđŤđŚđ¤đľ, đąđđ˘, đ¸đ°đ°đĽ, đŚđŻđ˘đŽđŚđ đąđ˘đŞđŻđľ, 2018
5. đđŠđŚ đłđŚđ´đŞđĽđśđŚ đľđŠđ˘đľ đłđŚđŽđ˘đŞđŻđ´ đ˘đ´ đ˘ đŽđŚđŽđ°đłđş đ°đ§ đ¤đ°đŻđľđ˘đ¤đľ, 16 đ¸đ˘đľđŚđłđ¤đ°đđ°đśđłđ´, 9 đłđ˘đĽđŞđ° đľđłđ˘đŻđ´đŽđŞđ´đ´đŞđ°đŻđ´, đđśđŁđđŞđ¤đ˘đľđŞđ°đŻ / đđ˘đŻđśđ˘đ. đđŚđľđ˘đŞđ, đąđŚđŻđ¤đŞđ đ˘đŻđĽ đ¸đ˘đľđŚđłđ¤đ°đđ°đśđłđ´ đ°đŻ đąđ˘đąđŚđł, 2017
6. đđŠđ˘đľ đđ˘đąđąđŚđŻđŚđĽ đđ´ đ đđŚđŻđľ đ˘đŻđĽ đđŠđŚđłđŚ đ đđŚđŻđľ, đđ°đśđŻđĽ đđŻđ´đľđ˘đđđ˘đľđŞđ°đŻ đ˘đŻđĽ đđŚđŻđ¤đŠ, đ¸đ°đ°đĽ, đŞđłđ°đŻ, đđ˘đŻđľđŚđŚđŻ đ°đ§ đľđŠđŚ đđŞđłđ´đľ đđŚđŽđŚđľđ˘đłđş đ°đ§ đľđŠđŚ đđŞđľđş đ°đ§ đđľđŠđŚđŻđ´, 2016 (đąđŠđ°đľđ°: đđđŞđŻđ˘ đđŚđ§đ˘)
Nikos Arvanitis (*1979, Athens/Greece) studied at the Academy of Fine Arts, Vienna/Austria at the Athens School of Fine Arts, Athens/Greece (Erasmus scholarship) and at the MFA course "Public Art and new artistic Strategies" at the Bauhaus University of Weimar/Germany with scholarships from the DAAD (German Academic Exchange Service) and the A. S. Onassis Public Benefit Foundation. His artistic and research work focuses on themes, which consider the structures and possibilities of public space indwelling, the aesthetic perception in contemporary society, the construction of collective identities and the concept of the globalized, spectacular, but also institutional mass culture. His work has been exhibited in international contexts, including the 2nd Les Ateliers de Rennes - Biennial d'Art Contemporain/Rennes, the 2nd Athens Biennial/Athens, Locust Projects/Miami, Townhouse Gallery of Contemporary Art/Cairo, BWA Wroclaw Galeria Awangarda/Wroclaw, Bâtiment d'Art Contemporain Le Commun/Geneva.
đđšđźđżđŽ đđ đđŽđđťđŽ,
đĄđśđ¸đźđ đđżđđŽđťđśđđśđ,
đđśđđľ đŽ đđ˛đ
đ đŻđ đđšđ˛đťđś đ đśđ°đľđŽđ˛đšđśđąđś & đđđś đĄđŽđ¸đźđ
đ˘đ˝đ˛đťđśđťđ´ đŽđł.đ°.đŽđŹđŽđŻ, đđľ:đŹđŹ
đđ
đľđśđŻđśđđśđźđť: đŽđ´.đ°. â đŽđŻ.đą.đŽđŹđŽđŻ
Is there still time, within the midst of the sixth extinction, to reweigh our anthropocentric view of the natural world? Nikos Arvanitis sets out a series of symbolic gestures and unexpected reversals to accent the inscriptions of nature in the multiple manifestations of anthropogenic invasiveness. A jungle of concrete devours the forest, the landscape becomes a billboard, the natural soundscape is synthesized by memory-based human imitation performance. Î watchtower resembling those in Hymettos mountain, one of the last forest reserves of Athens, is rescaled and reconstructed as a hybrid listening and viewing device - a subtle reminder that our positions are determined through constraints, our conceptions are fixed. Arvanitis amplifies the anthropocentric view to question it and invites the viewer/listener to participate in an open meaning-making process. Will their anthropocentric perception be challenged or attested?
1) đđđ°đłđ˘ đˇđ´ đđ˘đśđŻđ˘, đđŞđŹđ°đ´ đđłđˇđ˘đŻđŞđľđŞđ´, đĽđŚđľđ˘đŞđ, 2023
Nikos Arvanitis (b. 1979, Athens, GR) studied at the Academy of Fine Arts, Vienna, A and at the MFA course "Public Art and new artistic Strategies" at the Bauhaus University of Weimar, DE with scholarships from the DAAD and the A. S. Onassis Public Benefit Foundation. He received the first prize on the "ZeitGenosse Schiller" competition for public art, Weimar, DE, 2005, was nominated for the â5th DESTE Prizeâ of the DESTE Foundation, Athens, GR, 2007, and received the 2nd Prize of the Spyropoulos Foundation Award, Athens, GR, 2009.
đżđ˛đąđ˛đ˛đş عدŮŮ
đŽđ đ đ˛đşđ˝đľđśđâ
â
đđ˛đŽđđđżđ˛đą đđżđđśđđ: đđźđżđ˛ đ đŚđ˛đšđđ
â
đ˘đ˝đ˛đťđśđťđ´ đŽđ´.đŻ.đŽđŹđŽđŻ, đđľ:đŹđŹâ
đđ
đľđśđŻđśđđśđźđť: đŽđľ.đŻ. â đŽđŽ.đ°.đŽđŹđŽđŻâ
â
đđ˛đśđťđŽ đđŽđťđťđŽâ
đđŽđşđŽđŽđš đđš đ đŽđšđŽđŽđ¸â
đ đđđŽđżđŽđąđśđş â đđ˛đšđśđ
đđšđŽĂđ˛đť & đŚđśđđ¸đŽâ
đđżđŽđťđđśđđ¸đŽ đŁđśđ˛đżđđźđđâ
đđźđżđ˛ đ đŚđ˛đšđđâ
đŚđ˛đđŽđżđ˛đľ đŚđľđŽđľđŻđŽđđśâ
đŹđŽđšđąđŽ đŹđźđđťđ˛đâ
& đźđđľđ˛đżđâ
1) đđ˘đľđŚđłđŽđŚđđ°đŻ đđŞđŽđŚ, đ¸đŞđľđŠ đđ°đŁđŚđłđľđ˘ đđŞđ¨đ˘đŻđľđŚ, with Roberta Gigante, 2012 This multi formatted photography series reflects on the history of the watermelon fruit in Palestine and its forced transformation into a symbol of resistance.
2) đđ°đłđľđŞđŚđ´, 2014, video, photographed fragments of artworks are read by a group of people revolving around an exhibition; Atlas, Suites. A polyphonic body of words serves as a subtext and partition that is then transduced into related or seemilingly disconnected spaces, institutions or neighborhoods. Sorties is an anagram of Stories. Comissioned by Arno Gisinger, Georges Didi-Huberman and Beirut Art Center.
3) đđđ â đ´đ°đ§đľ đ¸đŚđ˘đł, 2022, sourcing from the Swiss Art Awards data base and designers - SAA is a simili-brand that imagines a booth in which the digital content of the participating artists to the award since its inception is digested into a ghostly identity.
4) đđ¸đŚđ˘đľ đđ°đŚđŽđ´, 2020, a series of A4 poems written during the pandemic and in the sauna.
5) đđŠđş đĽđŞđĽ đşđ°đś đľđ˘đŹđŚ đŽđş đ¸đ˘đľđ¤đŠ 2013, borrowing its title from Tarkovskiâs Stalker first uttered sentence, this multi-media installation describes, in both a nostalgic and prophetic gaze, the city of Brussels and its outskirts through the dismantling of advertisement imageries and machineries.
Working under different spells, spellings and formations, Lore D Selys is an artist, researcher and educator working collaboratively with words, lenses, multi-definitions of space, their users and inhabitants. She currently teaches a seminar on language and collaborative practices at the Royal Art Academy in Brussels.
đżđ˛đąđ˛đ˛đş عدŮŮ
đŽđ đ đ˛đşđ˝đľđśđâ
â
đđ˛đŽđđđżđ˛đą đđżđđśđđ: đđżđŽđťđđśđđ¸đŽ đŁđśđ˛đżđđźđđ
â
đ˘đ˝đ˛đťđśđťđ´ đŽđ´.đŻ.đŽđŹđŽđŻ, đđľ:đŹđŹâ
đđ
đľđśđŻđśđđśđźđť: đŽđľ.đŻ. â đŽđŽ.đ°.đŽđŹđŽđŻâ
â
đđ˛đśđťđŽ đđŽđťđťđŽâ
đđŽđşđŽđŽđš đđš đ đŽđšđŽđŽđ¸â
đ đđđŽđżđŽđąđśđş â đđ˛đšđśđ
đđšđŽĂđ˛đť & đŚđśđđ¸đŽâ
đđżđŽđťđđśđđ¸đŽ đŁđśđ˛đżđđźđđâ
đđźđżđ˛ đ đŚđ˛đšđđâ
đŚđ˛đđŽđżđ˛đľ đŚđľđŽđľđŻđŽđđśâ
đŹđŽđšđąđŽ đŹđźđđťđ˛đâ
& đźđđľđ˛đżđâ
1) đđŻ đ¤đśđŚđŻđľđ° đĽđŚ đđ˘đ´đśđłđ˘, dinner Performance with Sandra Teitge
MUAC, Mexico City, 2017, Photo: Wiley Hoard
2) đđŽ đđŞđŚđĽđđŚđłđľđ˘đ - đđ° đˇđ˘đđŚ đĽđŚ đđ°đđ°đŻđ°, Mixed media, LED Panel
commissioned for A casa Ê sua, Paço Imperial Rio de Janeiro
Foto: Rafael AdorjĂĄn (120)
3) đ đľđ˘đđŚ đ°đ§ đľđłđ˘đ´đŠ đđ°đśđŻđľđ˘đŞđŻđ´, đ¨đ˘đłđŁđ˘đ¨đŚ đłđŞđˇđŚđłđ´ đ˘đŻđĽ đŽđŞđ¨đłđ˘đľđ°đłđş đŁđŞđłđĽđ´
đĽđŞđŻđŻđŚđł, Performance with Sandra Teitge, commissioned by Sharjah Biennial 13, Beirut, 2017, Photos: Marwan Tahtah
4) đ đľđ˘đđŚ đ°đ§ đľđłđ˘đ´đŠ đđ°đśđŻđľđ˘đŞđŻđ´, đ¨đ˘đłđŁđ˘đ¨đŚ đłđŞđˇđŚđłđ´ đ˘đŻđĽ đŽđŞđ¨đłđ˘đľđ°đłđş đŁđŞđłđĽđ´
đĽđŞđŻđŻđŚđł, Performance with Sandra Teitge, commissioned by Sharjah, Biennial 13, Beirut, 2017, Photos: Marwan Tahtah
5) đ đľđ˘đđŚ đ°đ§ đľđłđ˘đ´đŠ đđ°đśđŻđľđ˘đŞđŻđ´, đ¨đ˘đłđŁđ˘đ¨đŚ đłđŞđˇđŚđłđ´ đ˘đŻđĽ đŽđŞđ¨đłđ˘đľđ°đłđş đŁđŞđłđĽđ´
đĽđŞđŻđŻđŚđł,Performance with Sandra Teitge, commissioned by Sharjah, Biennial 13, Beirut, 2017, Photos: Marwan Tahtah
Franziska Pierwoss lives and works in Berlin as an artist in the fields of performance and installation. In her work, she stages site-specific installations and prompts unexpected encounters in which radical forms of dialogue occur between actors with different standpoints and backgrounds. She studied at the Hochschule fĂźr Grafik und Buchkunst Leipzig and at the Lebanese University Beirut.
Her work has been shown at Sharjah Biennial 13, Fast Forward Festival Athens, Jameel Arts Centre and Halle 14 Leipzig. For many years she has been collaborating with Sandra Teitge in performances on waste management and has been developing tools to support ecologically sustainable working methods in arts & culture.
đżđ˛đąđ˛đ˛đş عدŮŮ
đŽđ đ đ˛đşđ˝đľđśđâ
đđ˛đŽđđđżđ˛đą đđżđđśđđ: đŹđŽđšđąđŽ đŹđźđđťđ˛đ
â
đ˘đ˝đ˛đťđśđťđ´ đŽđ´.đŻ.đŽđŹđŽđŻ, đđľ:đŹđŹâ
đđ
đľđśđŻđśđđśđźđť: đŽđľ.đŻ. â đŽđŽ.đ°.đŽđŹđŽđŻâ
â
đđ˛đśđťđŽ đđŽđťđťđŽâ
đđŽđşđŽđŽđš đđš đ đŽđšđŽđŽđ¸â
đ đđđŽđżđŽđąđśđş â đđ˛đšđśđ
đđšđŽĂđ˛đť & đŚđśđđ¸đŽâ
đđżđŽđťđđśđđ¸đŽ đŁđśđ˛đżđđźđđâ
đđźđżđ˛ đ đŚđ˛đšđđâ
đŚđ˛đđŽđżđ˛đľ đŚđľđŽđľđŻđŽđđśâ
đŹđŽđšđąđŽ đŹđźđđťđ˛đâ
& đźđđľđ˛đżđâ
1) đđŠđ˘đłđą đđ°đĽđŞđŚđ´ đđđśđŻđľ đđŞđŻđĽđ´, 2021, conversation with Setareh Shahbazi
2) đđ°đ¸đŻ đđş đľđŠđŚ đđŞđľ đ°đ§ đľđŠđŚ đđŠđłđ°đ˘đľ, 2022, sonic testimonial
3) đ đđŻđŞđˇđŚđłđ´đŚ đđ°đľ đđ˘đĽđŚ đ§đ°đł đđ´, 2019, performance with Khyam Allami (photo credit: Johanne Issa)
4) đđ˘đłđ˘đĽđ°đšđŞđ¤đ˘đ đđ°đˇđŚđŽđŚđŻđľ, 2022-ongoing, research
5)1978-2021 open-ended, choreography
Born in Beirut in 1978, Yalda Younes came to dance by chance, to yoga by injuries, and to sound by way of breath. She trained in flamenco with Israel Galvan in Seville, in electronic arts at ESEC in Paris, and in yoga philosophy and therapy at the Krishnamacharya Yoga Mandiram in Chennai. Currently residing in Berlin, she experiments with self-taught, intuitive methods across different mediums, with visceral listening remaining the anchor point of her creative relationships with the world.
đżđ˛đąđ˛đ˛đş عدŮŮ
đŽđ đ đ˛đşđ˝đľđśđ
đđ˛đŽđđđżđ˛đą đđżđđśđđ: đđŽđşđŽđš đđš đ đŽđšđŽđŽđ¸
đ˘đ˝đ˛đťđśđťđ´ đŽđ´.đŻ.đŽđŹđŽđŻ, đđľ:đŹđŹ
đđ
đľđśđŻđśđđśđźđť: đŽđľ.đŻ. â đŽđŽ.đ°.đŽđŹđŽđŻ
đđ˛đśđťđŽ đđŽđťđťđŽ
đđŽđşđŽđŽđš đđš đ đŽđšđŽđŽđ¸
đ đđđŽđżđŽđąđśđş â đđ˛đšđśđ
đđšđŽĂđ˛đť & đŚđśđđ¸đŽ
đđżđŽđťđđśđđ¸đŽ đŁđśđ˛đżđđźđđ
đđźđżđ˛ đ đŚđ˛đšđđ
đŚđ˛đđŽđżđ˛đľ đŚđľđŽđľđŻđŽđđś
đŹđŽđšđąđŽ đŹđźđđťđ˛đ
& đźđđľđ˛đżđ
1) đđŠđŚ đłđ°đ°đ§, 2022, Lidar sketch by Aya Abdallah
2) đđŚđ˘đłđ´-đđśđŁđŚđ´-đđđ˘đ´đ´, 2016, Sculptural and photographical experiments with Jamaal El Malaak affects and infrastructural properties
3) đđŠđŚ đŁđśđŞđđĽđŞđŻđ¨ đĽđŞđ˘đ¨đłđ˘đŽđ´, 2023, Diagrams for the Jamaal Al Malaak workshops designed by Aya Abdallah
4) đđŠđŚ đ´đŚđľ, đ¸đ˘đđđ´, đ¸đŞđŻđĽđ°đ¸đ´ & đ§đđ°đ°đłđ´, 2021, The collapse of imageries and perceptions into one. Video montage by Aya Abdallah
5) đđŞđ˘đ¨đłđ˘đŽ 3, 2023, An abstracted diagram of desires and fluids being flushed all at once by Nadim Choufi
Jamal Al Malaak is an entity that took the shape of a building in the late 60's in Mar Mikhael, Beirut. Their interest revolves around questions of locality and virtuality, collective story-telling, infra and para space-making, taking it self as a point of view and departure for historical and speculative endeavours. It is currently sensed through, and deveveloped by Aya Abdallah, Lore D Selys, Monica Basbous, Nadim Choufi and Junior Sfeir amongst many others.
đżđ˛đąđ˛đ˛đş عدŮŮ
đŽđ đ đ˛đşđ˝đľđśđ
đđ˛đŽđđđżđ˛đą đđżđđśđđ(đ): đ đđđŽđżđŽđąđśđş â đđ˛đšđśđ
đđšđŽĂđ˛đť & đŚđśđđ¸đŽâ
đ˘đ˝đ˛đťđśđťđ´ đŽđ´.đŻ.đŽđŹđŽđŻ, đđľ:đŹđŹ
đđ
đľđśđŻđśđđśđźđť: đŽđľ.đŻ. â đŽđŽ.đ°.đŽđŹđŽđŻ
đđ˛đśđťđŽ đđŽđťđťđŽ
đđŽđşđŽđŽđš đđš đ đŽđšđŽđŽđ¸
đ đđđŽđżđŽđąđśđş â đđ˛đšđśđ
đđšđŽĂđ˛đť & đŚđśđđ¸đŽ
đđżđŽđťđđśđđ¸đŽ đŁđśđ˛đżđđźđđ
đđźđżđ˛ đ đŚđ˛đšđđ
đŚđ˛đđŽđżđ˛đľ đŚđľđŽđľđŻđŽđđś
đŹđŽđšđąđŽ đŹđźđđťđ˛đ
& đźđđľđ˛đżđ
1) Mutaradim Ů
تعدŮŮ
, Beirut never dies بŮŘąŮŘŞ Ů
ا بتŮ
ŮŘŞ, vinyl album front cover, 2023â
â
2) Mutaradim Ů
تعدŮŮ
, vinyl album back cover & disk side A, 2023â
â
3) Mutaradim Ů
تعدŮŮ
, vinyl album cover, disk side B, 2023â
Siska was born in Beirut, Lebanon, and currently lives and works in Berlin. He holds a Master's degree in Film and Audiovisual Arts from the Lebanese Academy of Fine Arts in Beirut. Siska's work explores personal and collective memories of social and political narratives. Additionally, Siska has produced and performed music as part of the Lebanese hip-hop group Kitaa Beirut Ůءاؚ بŮŘąŮŘŞ.
Felix is a musician, producer and artistic educator from Berlin. He is part of the Duo Lonski & Classen that has released several albums and extensively toured across Europe and Japan. Since almost 20 years Felix is an active voice in the independent music scene of Berlin, curating events that combined different artistic approaches and disciplines as well as running a record label and studio named OSTHAFEN.
During the past years, Felix ClaĂen and Siska have collaborated on a variety of artistic and cultural educational projects. They have conducted the pirate radio project Piraten Radio in different schools in Berlin and abroad. Together they released an album called Mutaradim Ů
ŮŘŞŮŘąŮŘŻŮŮŮ
Ů in 2022, the first joint release by Siska-K6 & Felix ClaĂen that explores the tension between experimental electronic club music and Arabic-language rap. Through the four recorded pieces, they evoke repressed memories, link historical background noise, and negotiate content from their independent artistic projects and curatorial practices.
#
đżđ˛đąđ˛đ˛đş عدŮŮ
đŽđ đ đ˛đşđ˝đľđśđâ
â
đđ˛đŽđđđżđ˛đą đđżđđśđđ: đđ˛đśđťđŽ đđŽđťđťđŽâ
â
đ˘đ˝đ˛đťđśđťđ´ đŽđ´.đŻ.đŽđŹđŽđŻ, đđľ:đŹđŹâ
đđ
đľđśđŻđśđđśđźđť: đŽđľ.đŻ. â đŽđŽ.đ°.đŽđŹđŽđŻâ
â
đđ˛đśđťđŽ đđŽđťđťđŽâ
đđŽđşđŽđŽđš đđš đ đŽđšđŽđŽđ¸â
đ đđđŽđżđŽđąđśđş â đđ˛đšđśđ
đđšđŽĂđ˛đť & đŚđśđđ¸đŽâ
đđżđŽđťđđśđđ¸đŽ đŁđśđ˛đżđđźđđâ
đđźđżđ˛ đ đŚđ˛đšđđâ
đŚđ˛đđŽđżđ˛đľ đŚđľđŽđľđŻđŽđđśâ
đŹđŽđšđąđŽ đŹđźđđťđ˛đâ
& đźđđľđ˛đżđâ
â
â
1) đđŚđˇđŚđł đđŞđˇđŚ đľđ¸đŞđ¤đŚ , 2013, Video performance installation, Zeina Hanna with Emmanuelle Santos and CĂŠline Larrère, Berlin, lmpulstanz Vienna, Linien, Kunsthaus Dresden, Tanztage Sophiensaele Berlin, Antistatic Festival, Red House Sofia,â Picture by Sven Hagolaniâ
â
2) đđŻđĽđŚđł_đđ°đˇđŚđł, 2019, Performance, Zeina Hanna with Julia RodrĂguez, Miriam Jakob & Darko DragiÄevic, Montag Modus Klimata #4, Flutgraben e.V Berlinâ , Picture by Zeina Hannaâ
â
3) đđ°đŽđŚđľđŞđŽđŚđ´ đľđŠđŚđş đđ°đ°đŹđŚđĽ đđŞđŹđŚ đąđŚđ°đąđđŚ, đ´đ°đŽđŚđľđŞđŽđŚđ´ đđŞđŹđŚ đŁđśđŞđđĽđŞđŻđ¨đ´, 2022, Performance, Zeina Hanna with Tatiana eldahdah and Vera Pulido supported by Senate department for culture and Europe & Partners in Craft, Practicing Futures While Grieving in Eight Movements, Klosterruine Berlinâ
â
Zeina Hanna is a Lebanese artist living in Berlin since 2010. Her work focuses on artistic researchâ in the field of performing arts and on the way poetics and policies intertwine in the context ofâ making art today. Zeina leans toward collaborative works and the use of different media. She usesâ choreography as a tool for making and observing the intrinsic relations between form and content,â
playing with dynamics between guided and generated attention.
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MEMPHIS
MEMPHIS ist der Ausstellungsraum des Kunstvereins nomadenetappe - Kunst & Theorie. Als unabhängige Institution und Forum fßr Kßnstler*innen, Filmemacher*innen, Theoretiker*innen und Autor*innen bietet MEMPHIS im Rahmen verschiedener Ausstellungs-, Veranstaltungs- und Projektformate Raum zur kritischen und reflexiven Betrachtung zeitgenÜssischer Kultur im Spannungsfeld zwischen Kunst und Wissenschaft und versteht sich als Ort der offenen Kommunikation und Diskussion.
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