The Silence of a Movement
The Silence of a Movement
June 27 – July 19, 2014
Preview
Friday, June 27 2014, 18h
(English)
The Silence of a Movement
An exhibition and catalogue conceived and realized by Nadine Blasche, Maria Heise, Birte Hensel, Alexandra Holowicki, Klara Hülskamp, Nele Kaczmarek, Cornelia Kolmer, Laura Laby, Lauren-Michelle Leyhe, Araceli Mangione, Sandra Melchien, Helene Osbahr, Sophie Ribbe, Melanie Rosal, Jasmin Rychlik, Nicolai Sakowski, Marike Schmidt, Robin Smans, Wiebke Tjarks, Ningning Zhao und Susanne Neubauer
with works and objects from Paul Darius, James Edmonds, Richard Buckminster Fuller, Manuel Haible, Swantje Hielscher, Daniel Kupferberg, Marta Leite, Liliane Lijn, David Medalla, Adam Nankervis, Harald Szeemann and Robert Wilson.
“The Silence of a Movement“ is an exhibition to conceptualize and test key aspects underlying the idea of a “total artwork” in combining the efforts of several curators and artists. The exhibition explores questions on collaborative authorship in the context of curatorial practice. Its conceptual point of departure are the works of a younger generation of artists, Swantje Hielscher, Marta Leite, Paul Darius, James Edmonds, Manuel Haible and Daniel Kupferberg, who have been closely involved into the development process of the exhibition, as well as works and concepts from curator-artists and researchers such as Liliane Lijn, Richard Buckminster Fuller, Harald Szeemann, Robert Wilson, the Philippine-born international artist David Medalla and Australian artist Adam Nankervis. The latter two have extensive collections that are closely connected to their respective artistic practices, which create situations that also deliver a “total work” situation in their artist-museum-moments.
“The Silence of a Movement“ not only seeks to form and question its own version of the formative art exhibiting phenomenon developed in the 1960s which dealt extensively with authorship issues, compared to Szeemann “tendency” (“Hang”) towards synesthetic, collaborative experiences and intermediality. At the end of the 1990s, collaborative practices as described with the term “Relational Aesthetics” have disintegrated and blurred the lines and boundaries found in areas of social interaction. Accordingly, the exhibition aims to create and advance (or even negate) such issues as a starting point to the overall theme. There is a dialogue present between the artworks, the objects and curatorial inputs, which will come to the fore pulsatingly in this project, however, the project's aim is far from wanting to provoke agitation within visitors. The guiding principle of a “silent movement” is to be aware of the possible denial of one’s individualistic actions, and to be able to come to terms with one’s own speechlessness if needed, thus allowing for a mental change of overall perspective and self-awareness.
Susanne Neubauer
Exhibition Opening:
Friday, June 27, 2014, 6pm
another vacant space
Biesentaler Str. 16, 13359 Berlin
http://anothervacantspace.org/
Contact: Adam Nankervis, adam.nankervis@gmail.com
Catalogue Presentation:
Wednesday, July 23, 2014, 6:30 – 8 pm, at the Rundgang 2014
HBK Braunschweig
Johannes-Selenka-Platz 1, 38118 Braunschweig, Building 01, 3rd Floor, Room 305
(Deutsch)
The Silence of a Movement
Eine Ausstellung und ein Katalog konzipiert und realisiert von Nadine Blasche, Maria Heise, Birte Hensel, Alexandra Holowicki, Klara Hülskamp, Nele Kaczmarek, Cornelia Kolmer, Laura Laby, Lauren-Michelle Leyhe, Araceli Mangione, Sandra Melchien, Helene Osbahr, Sophie Ribbe, Melanie Rosal, Jasmin Rychlik, Nicolai Sakowski, Marike Schmidt, Robin Smans, Wiebke Tjarks, Ningning Zhao und Susanne Neubauer
mit Werken und Objekten von Paul Darius, James Edmonds, Manuel Haible, Swantje Hielscher, Daniel Kupferberg, Marte Leite, Liliane Lijn, David Medalla, Adam Nankervis und Robert Wilson
Die Ausstellung „The Silence of a Movement“ rezipiert und testet zentrale Aspekte der Idee des „Gesamtkunstwerks“ und schließt diese mit Fragen zur kollaborativen Autorschaft explizit kuratorischer Arbeit kurz. Ausgangs und Endpunkt bilden die Werke einer jüngeren Künstlergeneration—Swantje Hielscher, Marte Leite, Paul Darius, James Edmonds, Manuel Haible und Daniel Kupferberg, die den Entwicklungsprozess der Ausstellung eng begleitet und mit geformt hat—sowie die künstlerisch-kuratorischen Konzepte Liliane Lijns, Harald Szeemanns, Robert Wilsons, des philippinisch-internationalen Künstlers David Medalla sowie des australischen Künstlers Adam Nankervis. Letztere verfügen beide über umfangreiche Sammlungen, die eng mit ihren jeweiligen künstlerischen Praxen verbunden sind und als Künstlermuseen Momente einer ganz eigenen „Gesamtkunstwerk“-Situation bilden.
„The Silence of a Movement“ ist jedoch nicht nur der Versuch einer Fassung des für die Zeit der 1960er Jahre sehr prägenden Phänomens der Hinterfragung von Autorschaft im Vergleich zum „Hang“ (Szeemann, 1983) nach synästhetischer kollaborativer Erfahrung und Intermedialität. Diese hat sich Ende der 1990er Jahre u. a. unter dem Schlagwort der „Relational Aesthetics“ in heutige die Grenzen diffundierende Tätigkeitsbereiche sozialer Interaktion aufgelöst. Die Ausstellung will diese Konzepte und Ideen lediglich als Ausgangspunkte für eine Thematik ins Feld führen – oder verneinen. Im Dialog mit den Werken, den Objekten und den kuratorischen Konzepten hat sich ein Projekt entwickelt, das zwar „pulsierend“ in Erscheinung tritt, jedoch keine Agitation der Besucherinnen und Besucher hervorrufen will. Der Leitgedanke der „stillen Bewegung“ dient als Aufforderung, sich der eigenen möglichen Verneinung von individualistisch geprägten Aktionen gewahr zu werden, um bei Bedarf zur Thematisierung der eigenen Sprachlosigkeit zu kommen, die in letzter Instanz sogar gedankliche Perspektivwechsel zulässt.
Eröffnung der Ausstellung:
Freitag, 27. Juni 2014, 18 h
another vacant space
Biesentaler Str. 16, 13359 Berlin
http://anothervacantspace.org/
Kontakt: Adam Nankervis, adam.nankervis@gmail.com
Katalogpräsentation:
Mittwoch, 23. Juli 2014, 18.30 – 20 h, zum Rundgang 2014
HBK Braunschweig
Johannes-Selenka-Platz 1, 38118 Braunschweig, Geb. 01, 3. OG, Raum 305
Susanne Neubauer
all images courtesy- Susanne Neubauer
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avs.
Images from the exhibition
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plate titles
I
David Medalla Cloud Cayons 1964/1997
II
Liiliane Lijn Liiliane Lijn at Indica 1967
Buckminster Fuller Nine Chains To The Moon 1971
Daniel Kupferberg Akvædukt 2009/2010
III
David Medalla Cloud Canyons 1964/1997
Paul Darius Untitled (Japanese Rain) 2014
Robert Wilson Deaf Man Glance 1971
Manuel Haible Smooth 2014
Susanne Neubauer Addendum: Strings 2014
IV
Robert Wilson the CIVIL warS 1983/1984
V
David Medalla Cloud Canyons 1964/1997
James Edmonds Google Earth 2009
Harald Szeemann Der Hang zum Gesamtkunstwerk 1983
VI
Marta Leite Frau Nestkopf 2010
Susanne Neubauer Addendum: Strings 2014
VII
Paul Darius Untitled (Japanese Rain) 2014
Robert Wilson Deaf Man Glance 1971
Manuel Haible Smooth 2014
VIII
James Edmonds Google Earth 2009
Harald Szeemann Der Hang zum Gesamtkunstwerk 1983
David Medalla Cloud Canyons 1964/1997
Robert Wilson the CIVIL warS 1983/1984
IX
Paul Darius Untitled (Japanese Rain) 2014
Robert Wilson Deaf Man Glance 1971
Manuel Haible Smooth 2014
Susanne Neubauer Addendum: Strings 2014
X
David Medalla Cloud Canyons 1964/1997
Adam Nankervis We Bury the Stars 1999
XI
Swantje Hieschler Sculpture (52°33'25.17''N 13°23'15.98''E 45M A.S.L.)
Addendum: Strings (for The Silence of a Movement), 2014
Susanne Neubauer
On entering another vacant space, a bolt of linear string cuts through the ceiling of space. Fine lines, hardened tenuous threads zig zag like a diagonal star map over head. Susanne Neubauer's work “Strings (for The Silence of a Movement)” tenses with exertion almost invisible as a star lights whisper. A confusion of vanishing points across the exhibition, uniting the eclectic selected works
in a seemingly unconscious vibration of a whole Gesamtkunstwerk (an all encompassing art work)adapted and practiced by Harald Szeemann in the 20th century, a term dating back to an essay by Karl Friedrich Eusebius Trahndorff from 1827 (“Ästhetik oder Lehre von Weltanschauung und Kunst”). This essay is a classic of German Romanticism, detailing the aesthetic of the environment as a composition of the reverberation of one work in symbiosis with another, creating a whole.
Neubauer has paid homage to both Harald Szeemann and his vision of Gesamtkunstwerk, but more so, Marcel Duchamp's classic twine installation of 1942, “In the First Papers of Surrealism” exhibition, which left spectators speculating as to the artist's intention. Whether a metaphysical statement or as in the case of Elsa Schiaparelli, one of the exhibition’s coordinators, the twine was something of a guide, “directing visitors to this and that painting with a definite sense of contrast.”1
This maybe Neubauers intent, and the string, like musical bars, were hung on existing nails of past exhibitions, meaning the work reaches into the past, and by orchestration of new points, very much the present.
This confusion of orchestrated vanishing points leads one to the thoughts of Marshall Mc Luhan's observations, and where Susanne Neubauer's work gains its potency. “We, who live in the world of reflected light, in visual space, may also be said to be in state of hypnosis. Ever since the collapse of the oral tradition in early Greece, before the age of Parmenides, Western civilization has been mesmerized by a picture of the universe as a limited container in which all things are arranged according to the vanishing point. In linear geometric order. The intensity of this conception is such that it actually leads to the abnormal suppression of hearing and touch in some individuals.
For hundreds of thousands of years, mankind lived without a straight line in nature. Objects in this world resonated with each other. For the caveman, the mountain Greek, the Indian hunter (indeed, even for the latter-day Manchu Chinese), the world was multicentered and reverberating. It was gyroscopic. Life was like being inside a sphere, 360 degrees without margins; swimming underwater; balancing on a bicycle.”2
“Strings (for The Silence of a Movement”) intersects the space over and under the exhibition that bubbles, rains and basses with the varying artists' works. These sonic undertones uniting decades, histories, and sublime languages into a rhythmic whole, that meet under the collision and unification of the intersections of Neubauer's work.
Adam Nankervis July 2014
1 Lewis Kachur: Displaying the Marvelous, Cambridge: MIT Press, 2001, p. 179.
2 Marshall McLuhan: “Visual and Acoustic Space.”, in: Cristopher Cox / Daniel Warner: Audio Culture. Readings in
Modern Music, New York/London: Continuum, 2004, S. 82-87.
Susanne Neubauer
Katalogpräsentation:
Mittwoch, 23. Juli 2014, 18.30 – 20 h, zum Rundgang 2014
HBK Braunschweig
Johannes-Selenka-Platz 1, 38118 Braunschweig, Geb. 01, 3. OG, Raum 305
catalogue available
https://www.epubli.de/shop/buch/The-Silence-of-a-Movement-Susanne-Neubauer-9783844298055/38558
an important disclaimer: please take note and ensuing respect would be appreciated.
This notification has come to the galleries attention, through a legal team based in Cologne, that under German and International Law
all photos remain the intellectul property of adam nankervis, or the subject and intellectual rights of the artist exhibiting in another vacant space. Berlin (c) and another vacant space. , must not be compromised in the free appropriation of these images under law.Note, also,rights and provenance over these photos and documents belonging to the institutions of which the photos have been permanently donated as gifts, or permissions lent to museum and gallery reproduction or, if they exist autonomously in permanent and public collection(s), to whom own the copyright as agreed at a point of exchange or sale(s).
the use of these images without permission may lead to an unnecasary legal breach of the law.
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