|virtual tour of the exhibition on view via Google Maps here|
Opening Friday Oct. 26th 2012, 19:00
Oct. 27th - Dec. 3rd, 2012
Guided Tours Nov. 8./15./22./29.
Book launch Monday Dec. 3rd 2012, 19:00
Phil. - Theol. Hochschule Sankt Georgen
|Christoph Westermeier||Rebecca Ann Tess|
|publication available on purchase 7€ - order|
Bcc 9: DAS EI OHNE SCHALE
At OSLO10 Bcc present for the first time an exhibition that will run for a month. For the show, the curators themselves are in charge of the production of the exhibited materials, sourced from digital files sent by the invited artists. This time the artists have been asked for files that are directly related to one of their existing work. These documents depict the different stages within the process of creation – including the artist's researches, influences, and ultimately the execution of the work. They belong to the core of the art work and frame its further development. Most often unknown to viewers, these essential working components will be displayed to provide new perspectives on the work they refer to. The presentation of such documents raises the question of how they impact our approach of an art work.
Opening hours of the exhibition:
|Harm van den Dorpel|
|Calla Henkel and Max Pitegoff|
BCC 8: You Will Recognize Them By Their Fruits
Control Room, Los Angeles
Opening: March 17, 2012
BCC—an evolving exhibition series instigated by Aurélia Defrance, Julie Grosche, and Aude Pariset—proposes that a curator invite a group of artists to respond to a prompt with a digital file of any kind and from those submissions materialize an installation. In short, BCC is an exhibition series finding potential through the act of translation (curator to artist to curator, digital to material, etc.). Adding a complicating layer, for the 8th iteration and the first in Los Angeles, Control Room directors Evelena Ruether and William Kaminski invited Zachary Kaplan to invite seven artists to respond to a prompt of Kaplan's design. Responses by A.E. Benenson, Jarett Kobek, Irena Knezevic, Sean Raspet, Paul Salveson, Martine Syms, and Brendan Threadgill were then collected by Kaplan and presented with minimal instruction to Ruether and Kaminski to be realized in exhibitionary form.
Taking its title from the Gospel of Matthew, BCC 8 addresses paranoid thought from the domestic political fringe--it is an election year in the United States, after all. The participants responded to an elemental form of politicized writing, a key conduit for informal knowledge production, the blind carbon copied chain letter. Circulated in Christianist circles the week before the 2008 presidential election, “A Letter from 2012 in Obama’s America” anticipated the discourse on the Republican right under the conditions of Obamaism. More than explicating fever dreams at the political margins, however, the letter, the prompt, the artists' responses, and the installation entangle futurism and the epistle as literary modes, junctures of the apocalyptic and fantasy, projections of agency, and the nature of desire.
|A.E Benenson||Brendan Threadgill|
|Brendan Threadgill||Sean Raspet||Sean Raspet (de|
|Irena Knezevic, Night of the World||Paul Salveson|
|STADIUM is pleased to announce Bcc#7, a one-night exhibition curated by David Harper and Karen Archey, taking place Friday, March 9, 2012 from 6-8pm. The documentation and remnants of the event will be viewable through Saturday, March 17.
“Bcc,” an acronym for “blind carbon copy,” is an exhibition format originated in April 2011 in Berlin by Aurélia Defrance, Julie Grosche and Aude Pariset, in which all materials exhibited must be digitally transferred and received. As there have been recent, major shifts in how we exchange information, oft using abbreviated modes of communication, Bcc seeks to reflect this sentiment in medium and message.
For this iteration of Bcc coinciding with the 2012 Armory Show, the curators have paired six European and six New York-based artists to utilize the format and structures of social networking and microblogging as the means of transmitting instructions for the creation of six new, collaborative artworks. Each European artist’s instructions have been transmitted through the social media of their choice, limited by its predetermined parameters, and will be completed by their American counterpart. While these limitations may present a challenge to some, others will find freedom through the reduction of dictation to its smallest character count. Ultimately, and of the utmost importance, Bcc#7 seeks to foster conversations between artists working in various international locales.
Participating artists include Europeans Juliette Bonneviot (Berlin), Tiril Hasselknippe (Malmö), Lars Holdhus (Amsterdam), Bitsy Knox(Brussels), Eilis McDonald (Dublin), and Ben Vickers (London); and New York based artists Leah Dixon, Ann Hirsch, Anna Lord, Erica Magrey, Kate Steciw, and Artie Vierkant.
|From right to left: Kate Steciw/Juliette Bonneviot painting collaboration; box of tissues used in Ann Hirsch's performance||Anna Lord, printed pdf of Facebook messages and profiles; Artie Vierkant, IKEA Barricade (Possible Object), various IKEA spare parts|
|Erica Magrey with Eilis McDonald, Numinous Objects Interface, interactive web project|
|Erica Magrey/Eilis McDonald and Leah Dixon/Tiril Hasselknippe|
|Ann Hirsch, Just some girl crying in a corner, performance responding to Forth From Where His Hand by Bitsy Knox|
|One of Anna Lord's messages sent on Facebook using Ben Vickers'account|
Seth Adelsberger/American based in Baltimore
Guillaume Alimoussa / French based in Berlin
Iain Ball / English based in London
Leah Beeferman/American based in New York
Georgina Criddle/ Australian based in Berlin
Constant Dullaart/ Dutch based in Berlin
Ryan Fabel/ American based in Los Angeles
Alan Fertil/ French based in Brussels
Wesley Friedrich/ American based in Chicago
Lucie Geffray/ French based in Vienna
Aaron Graham/ American based In New York
Benjamin Jurgensen/ American based in Qatar
Tibi Tibi Neuspiel/ Canadian based in Toronto
David Pinter/ French based in Vienna
Mikhel Proulx/ Canadian based in Montreal
Jesse Robinson/ American based in Los Angeles
Ben Schumacher/Canadian based In New York
Timur Si-Qin/ German based in Berlin
Travess Smalley/ American based in New York
Florian Sumi/ French based in Paris
Kate Steciw/ American based in New York
*the crossed-out names are participating artists that due to logistics problems could not deliver their piece.
Julie Grosche and Reference Gallery
Opening: Friday 21th, from 7-10pm
216 E Main st
Richmond, VA 23219
Bcc is an ongoing nomadic exhibition series based on repurposing digital files submitted by invited artists. The process has consisted of a guest curator providing a ‘prompt’ to a group of artists to interpret. The curators are then charged with the materialization of the digital files in exhibition form.
Post Truth, the sixth iteration of Bcc, attempts to reverse the process by asking the artists to submit physical material. Artists from around the world were invited to send postcards to Reference Gallery in Richmond, VA.
After receiving the material, the "postcards" were digitalized and transformed during a performative week where the curators re-process the received elements culminating in a one-night exhibition.
|Tail gatting/ part1 contribution from Wesley Friedrich|
|Just on time/ contribution from Ryan Fabel|
|Bjorn Lewitt/ contribution from Tibi Tibi Neuspiel and Lucie Geffray||
|Rareearth2aautolevels.png/ contribution from Jesse Robinson,Piotr Lakomy and Seth Adelsberg|
|This space for writing/ contribution from Florian Sumi|
|HILUX/ contribution from Benjamin Jurgensen|
|I was two in 1976/ contribution from David Pinter and Mikhel Proulx|
|Murph Dawg and CJ/ contribution fromTravess Smalley|
|Apollo/ contribution from Timur Si-qin|
|Off camera/ contribution from Guillaume Alimoussa||Tribute to Antoine Renard/ contribution from Ben Schumacher|
|Rareearth2aautolevels.png/ contribution from Iain Ball, Jesse Robinson, Piotr Lakomy and Seth Adelsberg|
|Dr Carter? / contribution from Kate Steciw|
|Youtube everything postcard/ contribution from Constant Dullaart|
|Tail gatting/part2 contribution from Wesley Friedrich|
|Everlasting Time/ contribution from Georgina Criddle and Leah Beeferman (mixtape)|
Bcc #5: A RETROSPECTIVE OF REMIXED DREAMS
A proposition by Martha Kirszenbaum
October, 21st 2011 at 8 pm
Conceived in the framework of the one-day events hosted by Berlin-based collective Bcc, during which a curator is invited to materialize digital files sent by artists, A Retrospective of Remixed Dreams is a night of projections and performances articulated around ideas of presence and absence. Playing out with digital ubiquity and physical absence that determine our social relations dictated by Internet communication, four artists are invited to present their performative works, while questioning the representation of the body in virtual reality.
Matthew Lutz-Kinoy's (USA/Germany, b. 1984) contribution is a projection of his video work Grape Face, depicting him and collaborator Chelsea Culp lying on a couch and sending text messages. The artist intervenes via Internet on his video, adding to the projected image a live soundtrack. The duo of Berlin-based artists Prinz Gholam(Germany, b. 1963 and 1969), which recent works stand for an allegoric embodiment of danced pictures, present a lived performance projected via Skype challenging the real and virtual presence of the body. The series of videos Snakes and New Video by Leidy Churchman (USA/The Netherlands, b. 1979) implies the artist's body as it emphasizes its absence. Filmed from above, Leidy Churchman spreads paint on the floor, using diverse tools (a hook, a wooden snake) as an extension of a body invisible on screen. Finally, A Retrospective of Remixed Dreams hosts a gestural and textual re-interpretation of a video performance by Ryan Trecartin (USA, b. 1981). Conceived as an echo to the artists' exhibition at Musée d'Art Moderne de la Ville de Paris, this remix is performed by Paris-based actors on the basis of the literal translation of the original English text. It therefore interrogates the possible re-interpretation of a performance, and the question of the translation of web language and its authenticity outside of cultural codes.
The title of the event is inspired by Random Exhibition Title Generator, a project created by MIT's Department of Art Theory students offering a database of random exhibition titles generated by a software.
Martha Kirszenbaum is an independent curator based in Paris.
-1 is an artist-run space located in a renovated garage at 71 Boulevard Richard Lenoir, Paris 11e. Every three months -1 invites a curator to transform the studio into an exhibition space. www.moinsun.com. Photos: Anais Barelli
|Matthew Lutz-Kinoy sound performance via Skype with Chelsea Culp and John Patrick Walsh, on his own video, Grape Face, 2010 (video excerpt)|
|Leidy Churchman, New Video (still) 2011|
|Prinz Gholam performance via Skype (video excerpt)|
|Ryan Trecartin K-CoreaINC.K (section a) french translation, performed by Julie Rodrigue, Thibault Duval and Dominique Dani (video excerpt)|
ART IS NOT A PRIZE FIGHT
Sunday 28 August 2011, 5 pm
@ Wannsee, Berlin
curated by Deltakame.com (Alex Freedman & Robert O. Fitzpatrick)
Marlous Borm (& Antek Walczak)
Dora Budor (& Maja Cule)
Skye Chamberlain (& Billy Rennekamp)
Anne de Vries/Katja Noviskova (& Matthew Lutz-Kinoy)
Felisa Funes (& Leilah Weinraub)
Kinga Kielczynska (& Joanna Zielinska)
Mirak Jamal (& Tore Wallert)
Darri Lorenzen (& Joel Holmberg)
Joseph Redwood-Martinez (& Anonymous )
Martin Kohout (& Honza Zamojski)
Mark Soo (& Jen Weih)
Blow blow blow your boat. Gently down the stream. Merrily merrily merrily merrily, art is a but a game.
Art should be in charge. I second that emotion. Of course prizes are at the center of this issue. Let's not forget that by the end of the 60s, in the midst of global unrest and the war in Vietnam, the idea of prizes came under fire and many were suspended. Imagine being given a medal for best pavilion in a time of war. How could you possibly accept? But today these awards are back in favor, and others have been newly minted. Rewards are in place precisely for those in control to maintain their power and influence, as well as to alienate artists from one another… The idea of a prize is beyond anachronistic. Ancient, a thing of the past. Art is not a prize fight, or a science fair in high school. There are even little statutes for them now, as if a prize for an artist was like an Academy Award for an actor. The Academy Award is generally considered to be a glorified popularity contest linked directly to the box office, to how much money the movie made. Maybe prizes in art should be based on auction results. Give the artists a little statuette, let them make a little speech, and applaud politely.
-Robert Nickas, "To be Read (Once Every Two Years)"
DeltaKame* is pleased to present BCC #4: Art is not a Prize Fight, a regimented competition featuring twelve artists, decked-out model boats, and a set of precise instructions. The participating artists' creative liberties have been materially slimmed down by curatorial dictate: artists must use a readymade boat designed for children as their platform, and all additional flourishes must be inspired from an emailed file, sent by another artist at the invitation of each competing artist. With their artistic prowess bound, success before their peers is dependent upon the strength of their lungs - and the ability to blow it.
*Curatorial initiative of Alex Freedman and Robert O. Fitzpatrick
Please join us this Sunday, 28 August at Haupthahnhof's rear entrance at 4pm. From there we will proceed to (S-bahn Wannsee (S7)). The competition will begin promptly at 5pm.
If you arrive late to Hauptbahnhof, please follow these instructions to get to where the competition will be held:
Exit S-bahn Wannsee station, cross the road, then take a left and walk down along the street until you reach the entrance to the park on your right (overlooking the Wannsee). Walk down the stairs, and walk straight. The competition will be held on a grassy landing in the park by the lake.
|Tore Wallert||Joel Holmberg|
|Jen Weih_attention universe 9a.doc||Honza Zamojski_25.mp4|
|via Maja Cule||Billy Rennekamp|
May 25th 2011, PMgalerie, Berlin
Stéphane Barbier-Bouvet, Martin Born, Gaël Charbau, Code 2.0, Alice Dusapin, Entrisme, Francesca Gavin, Bahbak Hashemi-Nezad, Anne Horel, Haw-lin, Florian Ludwig, Niklas Maak, Frank Michels, Motto Distribution, ohyescoolgreat, Daniel Otero-Torres, pleaseplay.net, Oliver Rohe, Vanessa Safavi, Clemence Seilles.
curated by Rebecca Lamarche-Vadel and Raoul Zöllner
in collaboration with
Hard Copy is a a propaganda project constituted around futuristic forms of disastrous mistranslation, tremendous cultish mannerism and friendly speculation on pre-fabricated life in post-industrial contexts - produced by the pleasure of having a rich family. The one-off exhibition as image-based on-site production-performance will be hosted by PMgalerie on 25th may.
contributions & making-of
May 22nd 2011, Bäckerei Ladevig, Berlin
and a text by
curated by Marco Bruzzone
Derek Maria Francesco Di Fabio
April 13 th 2011, PMgalerie, Berlin
contributions by Vittorio Brodmann and Mathis Altmann
curated by Aurélia Defrance, Julie Grosche and Aude Pariset
--A4, c-print on cotton fabric
-the Network Effect
38 png screenshots from http://twitter.com/testretweets,
each between 1,4 Mb and 1,8 Mb
--A4, b&w inkjet prints
--30x45 cm, c-print on metallic photo paper and mounted on mdf
--converted in .mov and displayed on TV monitors
both edited and transfered in .mov
-Dinosaur Coloring Page, Colored by Julie, 2011
----A3, print on fine art paper
-- A3, laser c-print on glossy paper
|Dinosaur Coloring Page, Colored by Aurélia, 2011
----A3, print on fine art paper
--A3, laser c-print-
|- Dinosaur Coloring Page, Colored by Aude, 2011
--A3, print on fine art paper
431_l.jpg from http://www.archicentral.com/
--A3 laser c-print