5. März – 22. Mai 2016



    ERÖFFNUNG, 04. März 2016, 18.00 UHR

    Guided Tour I: Tues, 8 March 2016, 6 p.m.
    Episodes Culturels #3: Sun, 13 March, 5 p.m.
    Art for Young and Old: Sun, 20 March 2016, 2 p.m.
    Art Snack: Thurs, 7 April 2016, 12.30 p.m.
    Drawing Afternoon: Wed, 4 May 2016, 2 p.m.
    Art Lunch: Thurs, 12 May 2016, 12 noon
    Guided Tour II: Sun, 22 May 2016, 3 p.m.


    The favoured tools of Anna Witt (*1981, Wasserburg am Inn, Germany) are performance and video. The artist uses them to examine socio-political subjects and how the body, its sphere of action and its movements also always carry a message. In St. Gallen, Witt is showing two of her most recent works, amongst them the project Durch Wände gehen (Going through Walls, 2015). On the basis of two individual experiences of fleeing she looks for analogies between current and historical events that have significantly changed the lives of the protagonists – one a Syrian who fled to Saxony, and one a German who fled from the former GDR. In the video work Gemeinschaft ohne Eigenschaften (Community without Properties, 2015) the artist observes a group who has coincidentally gathered in a room and the behaviour of the participants in this enforced community over time. Especially for the exhibition at Kunst Halle Sankt Gallen, the artist produced the new video work Die Suche nach dem letzten Grund (Infinite Regress, 2016). It was realised in collaboration with the debating club of the University of St. Gallen (HSG) and examines the sensitive question:"Why not talk about the truth?"

    Davidstrasse 40
    CH-9000 St. Gallen
    Dienstag bis Freitag 12 – 18 Uhr
    Samstag und Sonntag 11 – 17 Uhr
    Montags geschlossen

      17.03 - 31.07.2016



      ERÖFFNUNG, 17. März 2016, 18.00 UHR

      Curated by Lenka Kukurová

      Exhibiting artists:
      Radovan Čerevka (SK), Pavlína Fichta Čierna (SK), Janka Duchoňová (SK), Alena Foustková (CZ), Mandy Gehrt (DE), Oto Hudec (SK), Lukáš Houdek (CZ), Mario Chromý (SK), Daniela Krajčová (SK), Kristián Németh (SK), Nová věčnost (CZ), Dan Perjovschi (RO), Tomáš Rafa (SK), Oliver Ressler (AT), Birgit Rüberg (DE), Kateřina Šedá (CZ), TOY_BOX (CZ), Ján Triaška a Olja Triaška Stefanović (SK), Eliška Vrbová (CZ), Anna Witt (AT), Tobias Zielony (DE), Artur Żmijewski (PL)

      The refugee crisis that we are facing today is the most serious since World War II. Millions of people are forced to flee their homes due to armed conflict or extreme poverty. This situation has brought to our society a lot of uncertainty and it raises many questions. The experience of contact with other cultures is new and unknown for the countries of Eastern Europe. It has not yet been enough time to get to know each other. We are only at the beginning of a mutual dialogue. The exhibition Fear Of The Unknown is trying to overcome the barrier of non-communication. Exhibited works of domestic and foreign artists deal with the topic of refugees, but also with the topic of our relationship and reaction to them.

      Nám. SNP 12, Bratislava Slovakia
      Mon: 12 pm – 7 pm Tue: closed Wed: 12 pm – 8 pm Thu - Sun: 12 pm – 7 pm

        27. NOVEMBER 2015 – 29. JÄNNER 2016

        Passion, Power, Performance


        ERÖFFNUNG, 26. NOVEMBER 2015, 18.30 UHR

        Work Hard - Play Hard (2011) Filmpräsentation und Gespräch mit Filmemacherin Carmen Losmann, 21.01.16, 18.30 Uhr

        Curated by Hemma Schmutz

        Anna Witts performative Interventionen und Videoinstallationen handeln von der Wiederholung des kulturellen Habitus‘ des Individuums und von jenen stereotypen Konstrukten und deren visuelle Repräsentationen, die von Familienwerten, Alltagspolitiken und den vorherrschenden Kommunikationsmedien der westlichen Gesellschaft determiniert sind. Die Ausstellung Passion, Power, Performance im Kunstraum Lakeside beschäftigt sich mit dem Arbeitsleben, mit Prozessen der zeitgenössischen Arbeitswelt und der Maximierung menschlicher Ressourcen. Im Verkauf oder im Management geht es nicht mehr um die reine Leistung oder das Produkt, sondern um den Verkauf von Emotionen. In Seminaren werden Emotion Work, Power Posing oder Emotional Selling angeboten, um Souveränität, die Ausstrahlung von Macht oder positives Denken zu maximieren. Das berufliche Auftreten gleicht einer Performance und die ursprüngliche Fähigkeit, Gefühle für einen privaten Zweck zu verwenden, wird zu einer kommerziellen Haltung. Sixty Minutes Smiling (2014) zeigt eine Gruppe förmlich gekleideter Personen vor neutralem Hintergrund. Die Frauen und Männer könnten der Führungsriege eines Unternehmens angehören. Statisch posierend blicken diese die gesamte Aufnahmezeit von 60 Minuten „immer lächelnd“ in die Kamera. In einem zweiten Videokanal richtet sich der Blick auf die Mimik der Protagonisten. Die im Gruppenbild kaum wahrnehmbaren Details und Gefühlsregungen werden hier sichtbar. Ergänzend dazu zeigt Anna Witt die Arbeit Gleitzeit (2010), in welcher eine Geste der historischen Arbeiterbewegung – die erhobene Hand – mit Themen der Selbstverantwortung für den Arbeitsaufwand verbunden wird. Darüber hinaus entsteht im Zuge der Ausstellung ein neues Projekt in Zusammenarbeit mit den im Lakeside Science &Technology Park ansässigen Firmen.

        Kunstraum Lakeside Lakeside Science & Technology Park Lakeside B02 9020 Klagenfurt Austria

          17 November – 10 January 2016

          Creating Common Good

          Kunst Haus Wien

          In Cooperation with VIENNA ART WEEK 2015

          With works by: Akram Al Halabi, Atelier Van Lieshout, Joseph Beuys, Bernhard Cella, Ramesch Daha, Democracia, Ines Doujak, Teresa Estapé, Peter Friedl, Leon Golub, Tamara Grcic, Gruppe Uno Wien, Markus Hiesleitner, Heidrun Holzfeind, Anna Jermolaewa, Folke Köbberling, Ernst Logar, Teresa Margolles, Adrian Melis, Lucy + Jorge Orta, Lisl Ponger, Pedro Reyes, Martha Rosler, Isa Rosenberger, Tim Sharp, Santiago Sierra and Jorge Galindo, Axel Stockburger, tat ort, Johanna Tinzl, transparadiso, Patricia K. Triki, Nasan Tur, Anna Witt, Ina Wudtke, Sislej Xhafa

          Curated by Robert Punkenhofer and Ursula Maria Probst

          According to American sociologist and economist Saskia Sassen, an unfettered international market – in the finance industry, for example – creates conditions that enable people to construct an environment that is conducive to their individual interests, but stultifies public interests. The privatization of public spaces and goods in recent years has led to a gradual shift in our understanding of what constitutes the “common good.” Given the global, sociocultural and eco-political upheaval of our time, we all find ourselves confronted with new challenges. The slogan “No man is an island” – as can be read on a poster by artist Ramesch Daha and political journalist Susanne Scholl – is a public appeal in public space. The idea of a “common good” is grounded in the sharing of resources such as air, public spaces and services, health, education, research, the Internet and cultural institutions. Common properties are fundamental to the survival of societies. While Greek philosopher Aristotle understood the common good to be the greatest possible happiness for the greatest possible number of people, neoliberalism sees the common good most strongly realized in individual freedom.

          Refugee movements, distribution crises and youth unemployment (partly triggered by systemic corruption and lobbying) signal the need for a major restructuring of political conditions, lending further urgency to the call for a new, public awareness of the common good. Massive bailouts for the financial sector have led to skyrocketing government deficits, as the state and community of states pursue targeted, superego strategies. The predominant system behind the neoliberal market economy and its focus on profit maximization have raised urgent questions about what alternatives would in fact be viable. The state of emergency threatens to become a permanent condition.

          The decision to title the exhibition “Creating Common Good” was made before we could discern the tangible impact the global political situation would have on our lives, or gauge its momentum. As we see in the level of civic involvement and the failure of politicians to effectively manage crises, words matter more than deeds here. It is therefore all the more important that the exhibition approach the question of “Creating Common Good” from various artistic perspectives, tackling a range of topics from alternative microsystems to gentrification processes and direct affectednessa with regard to refugee migration, to criticism of state budgetary cuts to education and culture. How does art contribute to the public interest? What do artist-initiated projects achieve for the common good of our society? To what degree have agendas that originally fell to the jurisdiction of the politics shifted over to the art sector, to its discourse on the current “political landscape”?

          The artists and collectives participating in this exhibition are not only calling for a greater sense of political responsibility; they are not advocating for human dignity, solidarity and justice alone. Instead, they bring in new criteria and questions pertaining to the creation and use of resources, suggest alternatives to the established order, and hold themselves to the ethical task of shaping society themselves.

          Location: KUNST HAUS WIEN. Museum Hundertwasser Untere Weissgerberstraße 13, 1030 Vienna

            bis 31. Januar 2016

            Travestie für Fortgeschrittene Teil 3: Durch Wände gehen

            Galerie für Zeitgenössische Kunst Leipzig

            mit Katrina Daschner, Yael Davids und Andre van Bergen, Heike Hennig & Company, Franz Kapfer, Latifa Laâbissi und Isabelle Launay, NAF, Anna Witt , Studierende des Fachgebietes Zeitbasierte Künste der Burg Giebichenstein Kunsthochschule Halle in Zusammenarbeit mit ihrer Professorin Michaela Schweiger

            Curated by: Julia Schäfer and Franciska Zólyom in collaboration with Julia Kurz

            Am 23. Oktober eröffnet der dritte und letzte Teil von “Travestie für Fortgeschrittene”. Nach den Projektteilen “Warte Mal!” und “training” heißt der letzte Teil “Durch Wände Gehen”. Titelgebend ist die gleichnamige Installation von Anna Witt, der aktuellen Preisträgerin des Kunstpreises „Europas Zukunft“, die zwei sehr unterschiedliche Flüchtlingsgeschichten zusammenführt. Nachdem die Auseinandersetzungen zu Themen wie Normalität, Diversität, Einbeziehung und Ausgrenzung in Teil eins und zwei ausgebreitet (Warte Mal!) und durchgespielt (training) wurden, werden in Teil drei individuelle Handlungsweisen vorgestellt und kollektive Erfahrungen generiert, die darauf abzielen, ideelle Grenzen zu überschreiten und neue Denkräume zu erschließen. Das Performative tritt in den Vordergrund und das Gebäude verwandelt sich erneut in mehrere bespielbare Bühnen.

            Im Rahmen ihrer Performancereihe Norm ist Fiktion unterbrechen NAF (Nana Hülsewig und Fender Schrade) das Alltagsgeschehen im öffentlichen Raum. Katrina Daschner inszeniert im Film Powder Placenta märchenhafte Szenen in einer idyllischen Umgebung, in der sich Identität und Zugehörigkeit fließend verändern. Yael Davids setzt sich in der Installation The Distance between W and V und dem Workshop Objects in Diaspora mit Themen der Geborgenheit und der Vertreibung auseinander und inszeniert Momente der Transformation. Michaela Schweiger baut in Sehnsucht unter Normalnull zusammen mit ihrer Klasse Zeitbasierte Künste aus Halle/Burg Giebichenstein eine modulare Bühne zum Thema Normalität. Frank Kapfer recycelt in seinen Plastiken PET-Flaschen zu märchenhaften Skulpturen, die an das üppige Ornament von Murano-Lüster anspielen, um Macht- und Männlichkeitssymbole humorvoll miteinander zu verknüpfen. Die Regisseurin Heike Hennig zeigt eine Neufassung von Optophobia und hält einen Workshop zum Thema der Verwandlung. Latifa Laâbissi stellt in ihrer Tanzperformance Écran Somnambule die Filmaufnahmen des Hexentanzes von Mary Wigman Bild für Bild nach und beschäftigt sich auch in La Part du Rite damit, wie individuelle Handlungsweisen gesellschaftliche Annahmen und Vereinbarungen verändern.

            Location: Galerie für Zeitgenössische Kunst Karl-Tauchnitz-Straße 9-11 D-04107 Leipzig

              23. Oktober 2015 bis 21. Februar 2016


              Zwischen Kraft und Krise: Mütterbilder von 1900 bis heute

              Lentos Kunstmuseum Linz

              Uli Aigner • Ed Alcock • Iris Andraschek • Robert Angerhofer • Siegfried Anzinger • Tina Barney • Max Beckmann • Charlotte Berend-Corinth • Werner Berg • Renate Bertlmann • Margret Bilger • Herbert Boeckl • Louise Bourgeois • Candice Breitz • Arthur Brusenbauch • Heinrich Campendonk • Hans Canon • Elinor Carucci • Sevda Chkoutova • Larry Clark • Lenka Clayton • Lovis Corinth • Wilhelm Dachauer • Carola Dertnig • Rineke Dijkstra • Otto Dix • Nathalie Djurberg • Béatrice Dreux • Diane Ducruet • Miriam Elia • Anton Faistauer • Lucian Freud • Fritz Fröhlich • Aldo Giannotti • Burt Glinn • Lea Grundig • Johannes Grützke • Ernst Haas • Conny Habbel • Maria Hahnenkamp • Keith Haring • Karl Hartung • Karl Hauk • Carry Hauser • Gottfried Helnwein • Hannah Höch • Axel Johannessen • Birgit Jürgenssen • Mary Kelly • Josef Kern • Franz Kimm • Gustav Klimt • Max Klinger • Kiki Kogelnik • Oskar Kokoschka • Silvia Koller • Broncia Koller-Pinell • Käthe Kollwitz • Julia Krahn • Johannes Krejci • Friedl Kubelka vom Gröller • Alfred Kubin • Maria Lassnig • Leigh Ledare • Erich Lessing • Switbert Lobisser • Baltasar Lobo • Lea Lublin • Elena Luksch-Makowsky • Karin Mack • Christian Macketanz • Hans Makart • Jeanne Mammen • Matthias May • Jonathan Meese • Georg Merkel • Larry Miller • Gabi Mitterer • Paula Modersohn-Becker • Marie-Louise von Motesiczky • Ron Mueck • Otto Mueller • Alice Neel • Shirin Neshat • Max Oppenheimer • Florentina Pakosta • Rebecca Paterno • Pablo Picasso • Margot Pilz • Hanna Putz • Gail Rebhan • Paula Rego • Rudolf Ribarz • Annerose Riedl • Frenzi Rigling • Franz Ringel • Ulrike Rosenbach • Judith Samen • Hansel Sato • Egon Schiele • Zineb Sedira • Ulrika Segerberg • Kiki Smith • Annegret Soltau • Viktoria Sorochinski • Daniel Spoerri • Sarah Sudhoff • Viktor Tischler • Paloma Varga Weisz • Borjana Ventzislavova mit Mirsolav Nicic und Mladen Penev • Nurith Wagner-Strauss • Alfons Walde • Andy Warhol • Gillian Wearing • Helene Winger-Stein • Anna Witt • Judith Zillich

              Kuratorinnen: Sabine Fellner, Elisabeth Nowak-Thaller und Stella Rollig

              Super Mom oder kinderlos? Es scheint, als gäbe es kein selbstverständliches Muttersein mehr, nur Perfektion oder Verzicht. Doch die Mutterrolle hat viele Facetten: Freude, intensive Lebenserfahrung, Liebesbeziehung, Lernen, Übermut – aber auch Frust, Erwartungsdruck und Versagensangst. Im 19. Jahrhundert wurde Mutterschaft kaum in Frage gestellt, auch wenn die Überhöhung des Mutterglücks im krassen Gegensatz zur Realität stand. Erst mit Karrieremöglichkeiten für Frauen entstanden Alternativen zur Mutterschaft als Ziel eines erfüllten Lebens.

              Schwangerschaft, Geburt, Abtreibung, das Leben mit Kindern, die Entscheidung gegen Kinder, die Auseinandersetzung der Kinder mit ihren Müttern – alle diese Themen werden von Künstlerinnen und Künstlern aufgenommen. Nicht erst die feministische Kunst der 1960er-Jahre zeichnet realistische Bilder der Mutterrolle, sondern bereits am Beginn des Jahrhunderts entstehen Darstellungen sozialer Wirklichkeit und individueller Konflikte.

              Die Ausstellung zeigt den Wandel der Mütterbilder von 1900 bis heute und die Verschiebung des Blicks der Kinder auf ihre Mütter. Sie stellt die Optimierungslogik heutiger Lebensentwürfe zur Diskussion und macht Hoffnung auf eine Wende: Immer mehr Frauen mit Kindern widersetzen sich den komplexen, oft stressigen Anforderungen des Alltags, hinterfragen ihre Lebenswelt zwischen Karriere, Kindern und Konsum.

              LENTOS Kunstmuseum Linz Ernst-Koref-Promenade 1, 4020 Linz

                untill 11.10.2015

                Travestie für Fortgeschrittene Teil 2: training

                Eine szenische Darbietung in mehreren Akten

                Galerie für Zeitgenössische Kunst Leipzig

                Participating artists: Grit Hachmeister, Heike Hennig & Company, Henrik Olesen, Anna Witt (winner of the “Future of Europe” Art Prize 2015), hoelb/hoeb, NAF, Artur Zmijewski, Clara Rueprich, Ruti Sela, works from the GfZK collection

                Curated by: Julia Schäfer and Franciska Zólyom in collaboration with Julia Kurz

                The outward appearance of things, living beings and identities changes according to who is looking at them, and from what position. For individual and social life models, the perception of common ground plays just as important a role as the construction of differences. Affiliation and delimitation are defined along the lines of similar or divergent characteristics.

                The formulation of otherness can set opposing processes into motion. Whilst these can lead to the reorganisation of social positions and unities, differentiation always infers potential for the expression of power: here, it serves as an instrument to reinforce the domination of one supposedly superior, more legitimate form of existence over another.

                training, the second part in the series Travesty for Advanced Performers, counters the suppression of diversity and equality that can result from this. Visitors enter scenarios. Installations become stages or theatre/film production sets. training issues an invitation to test one’s own boundaries and possibilities, in search of a sphere of possibility that reaches out beyond the norm.

                Travesty for Advanced Performers was devised within the context of discussions on immigration and violence against women, migrants and homosexuals. It investigates “normality” and examines the subject of majorities and minorities, with the aim of introducing a new dynamic to set patterns of social thought.

                Performances of the production Optophobia by Heike Hennig will be held on the following dates:

                18. september (open rehearsal) 19. september 20. november

                Several experts on the work of hoelb/hoeb will be available for discussion at the opening: Thomas Macho (cultural scholar, philosopher), Gerlinde Ofner (nurse, art therapist), Andreas Karl (musicologist), Nina Hömberg (inclusion researcher), Anja Quickert (dramaturg), David Jahr and Stephanie Winter (inclusion scholars), Julius Deutschbauer (artist), Katalin Erdödi (curator).

                Location: Galerie für Zeitgenössische Kunst Karl-Tauchnitz-Straße 9-11 D-04107 Leipzig

                untill 04.10.15

                Vienna Biennale 2015

                24/7: the human condition

                MAK Vienna

                Participating artists: Ben Thorp Brown (New York)/Verena Dengler (Wien)/Carola Dertnig (Wien)/Harm van den Dorpel (Berlin)/Andreas Duscha (Wien)/ Andreas Fogarasi (Wien)/ Franz Graf (Wien)/ Kathi Hofer (Wien)/ Peter Jellitsch (Wien)/ Lazar Lyutakov (Wien)/ Mahony (Wien/Berlin)/ Christian Mayer (Wien)/ Ulrich Nausner (Wien)/ Danica Phelps (New York)/ Lili Reynaud-Dewar (Paris/Grenoble)/ Valentin Ruhry (Wien)/ Seth Weiner (Los Angeles/Wien)/ Anna Witt (Wien)

                Curated by: Marlies Wirth

                “I GOT UP” the Japanese artist On Kawara stamped along with the respective time of day on a series of postcards that he sent to friends and artist colleagues every day between 1968 and 1979. His days began with this apparently natural, insignificant act, which characterizes the “conditio humana” of a person’s life both intimately and politically: 24 hours a day, seven times a week. In her magnum opus, The Human Condition (1958, published in German as Vita activa oder Vom tätigen Leben in 1960), the philosopher Hannah Arendt describes the basic conditions of human life with three terms that can be used to describe the individual’s autonomous, active participation in society: “labor, work, and action.” While Arendt’s understanding of labor and work subsumes those (individual) activities that are directly necessary for the production of (material) goods, she describes (interactive) action—language and communication—as human beings’ greatest asset. Today the human condition is marked by turmoil and restlessness. In the increasingly fast rhythm of our “non-stop society,” time is the determining factor, and time is money. The performance-driven society of the 21st century has long transcended the boundary between labor and leisure, the private and the public, and is still attempting to counteract its exhaustion by means of self-optimization. Disregarding the measures of chronobiology and the “inner clock” of human beings and nature, all activities are synchronized through the simultaneity of analog and digital experience. Humans are engaged in a constant creative exchange with their environment and by absorbing and reorganizing images and information around the clock are part of the “social factory” in which private and public performance have inextricably merged. Life and work bring the same symptoms to light: overload, lack of sleep, the pressure of responsibility, and the loss of autonomy and freedom. Between longing and the pressure to perform, identification and opposition, recognition and exhaustion, the helplessness of the working subject is becoming apparent: precariousness and the stigma of not being able to adequately ensure our own existence are a constant threat because they are marked by the struggle to maintain the balance of body and mind as well as dreams and goals. The value and assessment of (invisible) human work are at the center of mechanisms of social evaluation; our activities are measured by their speed, accuracy, and efficiency—in short, people are measured against machines. But the complex processes that constitute human decisions and thus our ability to act cannot be taken over by artificial intelligence. Our true desire is self-determination, to actively and individually shape our own life, our environment, and society. Action (political and artistic)—informed by the immateriality of communication and empathy—cannot be definitively evaluated in terms of performance and therefore attain the status of permanence. It is with this status of permanence that human beings are inscribing themselves 24/7 into the cultural narrative of the Anthropocene, the age of human activity. The group exhibition 24/7: the human condition includes existing works and newly produced works by artists of a younger generation in the context of the art scene in Vienna and beyond and features a wide range of artistic engagement with various aspects of a cultural understanding of labor, work, and action.

                Location: MAK – Austrian Museum of Applied Arts / Contemporary Art Weiskirchnerstraße 3 1010 Vienna


                BLIND SPOTS

                Independent. Contemporary. Art

                Opening day: Saturday, April 25, 2015, 8 pm

                24 April – 31 May 2015

                Supermarket Gallery, Budapest

                Participating artists: Ovidiu Anton (Vienna), Lőrinc Borsos (Székesfehérvár/ Budapest), Anna Witt (Vienna), Hannes Zebedin (Vienna)

                Curated by: Margarethe Makovec & Anton Lederer, < rotor > center for contemporary art, Graz

                The social framework of coexistence is based on an agreement that is always negotiated anew. In the beginning, there was paradise. According to the understanding of many religions there was a primeval state when all beings lived together peacefully and free from care. And, in a certain way, all human aspirations aim to re-establish this state. However, there are countless political concepts and social utopias to achieve this aim. From autocracy, where Paradise on earth is supposed to be there for only a few people, to democratic and communist forms of government, the welfare state, right down to anarchistic models. Where people live together, the power structures and/or the alternative concepts opposing them are always codified—from the representative gesture of the ruling class, down to the anarchist token. Yet, the signs are not always equally obvious for everybody. Alternatively, we should remain observant and recognise the occurences in our everyday environment in order to shed light on our individual blind spots in our search for a better world. The contributions to the exhibition BLIND SPOTS can be understood as reflections on the questions which forces within society work on, and visions of coexistence and/or positive developments.

                Opening day: Saturday, April 25, 2015, 8 pm Extended opening hours during the OFF-BIENNALE BUDAPEST opening days: Friday, 24.4, Saturday, 25.4., Sunday, 26.4.: 2 pm - 8 pm

                Duration: 24.4.–31.5.2015 Opening Hours: Tuesday–Saturday 12 am– 6 pm

                Location: Supermarket Gallery Brody Sándor 17. 1088 Budapest, Hungary * * * * * Supported by: Österreichisches Kulturforum Budapest < rotor > center for contemporary at Supermarket Gallery


                Eine Gruppenausstellung mit Videoarbeiten von Ulf Aminde, Šejla Kamerić und Anna Witt

                Eröffnung: 7. April 2015, 18 – 21 Uhr

                Ausstellung: 7. - 24. April 2015

                Galerie Tanja Wagner

                Im April zeigt die Galerie Tanja Wagner eine Auswahl an Videoarbeiten von Ulf Aminde, Šejla Kamerić und Anna Witt. Die Filme werden aufeinanderfolgend in Form einer großen Projektion gezeigt, siehe untenstehendes Programm.

                Ulf Amindes filmische Arbeiten sind ein Produkt spontaner sozialer Interaktionen mit Anderen. Von einer Grundidee ausgehend, lässt er im Verlauf der Dreharbeiten eine Eigendynamik entstehen, deren Entwicklung nicht berechenbar und deren Ende nicht absehbar ist. In diesem Spannungsfeld zwischen Konzept und Improvisation verändern sich nicht selten die Rollen der Beteiligten: der Künstler wird zum Mitspieler, die Darsteller zu Entscheidungsträgern. Anna Witts Videos halten uns und unseren kulturellen Stereotypen den Spiegel vor. Ihre stets humorvollen Interventionen im öffentlichen sowie privaten Raum bewegen sich zwischen fiktionalem reenactment und inszeniertem Dokumentarismus. Sie reflektieren die Absurditäten des Alltags und zeigen, wie problematisch die Positionierung des Subjekts zwischen politischer Identität, Individualismus und Kollektivität ist. Im Gegensatz zu der rauen, dokumentarischen Bildsprache von Aminde und Witt dirigiert Šejla Kamerić ihre Filme durch pointierte Licht- und Kameraführung, die durch ausgewählte musikalische Untermalung ergänzt wird. Ihre Protagonisten bewegen sich wie im Traum durch Straßen und Innenräume. Eine sehr langsame, von Lücken geprägte Erzählweise verstärkt diese entrückte, melancholische Atmosphäre. Kamerićs Filme sind Metaphern für mentale Zustände. Ihre eigenen, oft schwierigen Erinnerungen werden zur Kraftquelle ihrer Arbeit, indem sie den Blick auf die Gegenwart durch die Last der Vergangenheit schärft.

                Anna Witt Die Geburt, 2003, 10:44 min Push, 2006, 05:59 min Hoheitszeichen, 2012, 07:31 min Empower Me!, 2007, 38:26 min

                Šejla Kamerić Untitled/Daydreaming, 2004, 05:23 min What do I know, 2007, 16:00 min Glück, 2010, 18:50 min

                Ulf Aminde straße ist straße und keine konzeptkunst, 2007: - 21,34 (the silent piece), 21:34 min - the law (5. and it doesn`t matter who the artist is), 02:00 min - der reale rest (symptom), 03:28 min lust, 2007, 11:43 min

                In April, Galerie Tanja Wagner is showing a selection of video works by Ulf Aminde, Šejla Kamerić and Anna Witt. The films will be shown one after another as a large projection in the gallery space, see program below.

                Ulf Aminde’s films are a product of spontaneous social interaction with others. After beginning with a basic idea, he allows the situation to become a process with its own unpredictable dynamics. Between the poles of concept and improvisation the different roles are changing frequently: the artist is joining in, the protagonists become decision makers. Anna Witt’s videos are holding up a mirror to us and our cultural stereotypes. Her steadily humorous interventions in public as well as private spaces range between fictional reenactment and staged documentarism. They are reflecting the absurdity of everyday life and illustrate the complexity of a person’s positioning among identity, individualism and collectivity. Unlike Aminde’s and Witt’s rough and documentary imagery, Šejla Kamerić directs her films with trenchant light and camera setting as well as selected background music. The way her protagonists are moving through the streets and interiors seems dream-like. The slow and fragmentary narrative style underlines the abstracted and melancholic atmosphere. Her films can be seen as metaphors of inner conditions. She is using her own – often uneasy – memories as a power source by sharpening the focus of the present through the burden of the past.

                DURCH WÄNDE GEHEN

                Galerie für Zeitgenössische Kunst

                27.03.2015 – 31.01.2016

                Kunstpreis „Europas Zukunft“ 2014

                kuratiert von Julia Kurz

                Anna Witts prozessuales Projekt „Durch Wände gehen“ beschäftigt sich mit unterschiedlichen Wahrnehmungen von Flucht anhand der historischen Innerdeutschen Flucht und der aktuellen Asylthematik.

                Ziel ihrer Projektreihe ist es, Analogien zwischen der Jetztzeit und historischen Ereignissen zu suchen und auf experimentelle Weise unterschiedliche Wahrnehmungen, Blickachsen und Zuschreibungen miteinander zu konfrontieren. Eine zentrale Rolle spielen dabei Begegnungen und die gemeinsame Suche nach Fragen der Repräsentation und Identifikation. Auftakt des Projekts bildet ein Interview zwischen einer nach Sachsen geflüchteten Person und einem ehemaligen DDR Flüchtling. Eine für die GfZK entwickelte räumliche Intervention dient als Bühne einer gegenseitigen bildlichen und thematischen Annäherung und eines zeitlich wachsenden Dialogs. Das Anfangs dokumentarisch aufgebaute Projekt verwandelt sich in fortschreitenden Stadien und greift fiktionale und narrative Elemente auf und endet in der Umsetzung eines Videos. Das Projekt entsteht in enger Zusammenarbeit mit den Beteiligten.

                Anna Witt ist Preisträgerin des Kunstpreis Europas Zukunft 2014. Der Kunstpreis >Europas Zukunft< wurde 2003 von Matthias Brühl und Dietmar Schulz in Zusammenarbeit mit der GfZK aus dem Wunsch heraus ins Leben gerufen, europäische Künstler und Künstlerinnen für ihre Arbeit auszuzeichnen. Der mit 5000 Euro dotierte Preis ist inzwischen eine wichtige Auszeichnung im Bereich der gegenwärtigen Kunst. Er ist nicht an ein konkretes künstlerisches Projekt gebunden und beinhaltet nicht den Ankauf eines Werkes, sondern ist als eine Ermutigung für Künstlerinnen und Künstler gedacht, ihren Weg fortzusetzen. Dank seiner Stifter ist der Preis zu einem Beispiel für die langfristige Verbindung zwischen Kunst und privatem Engagement geworden.

                Anna Witts Projekt „Durch Wände gehen“ (AT) ist Teil der Ausstellungsreihe „Travestie für Fortgeschrittene“ der Galerie für Zeitgenössische Kunst und wird gefördert durch die Kulturstiftung des Bundes, die Kulturstiftung des Freistaates Sachsen und den Fonds Perspektive.


                    Visual Culture Research Center Kiev

                    06/03/15 - 19/03/15

                    In our society, motherhood is primarily considered as something "natural" or a kind of a "function" that a woman is obliged to fulfill. This "standard" requires that women perform many complex tasks at once, but all their burdens are never rated in same way as professional ones. On the contrary, a woman is entirely excluded into the private sphere, where she is often forced to cope with her problems alone.

                    After becoming a mother, she often has to put aside her professional work and career to care for a child. Her domesticity automatically makes her fulfill other duties at home, so she becomes involved in another unpaid work. Sometimes mothers also have to work, thus in such a situation there is a triple load. The issues related to corporality of motherhood and women's reproduction generally remain within the expertise of medical professionals and is often a taboo topic in public debates. In particular, changes that affect a woman's body are not perceived as a sign of great physical labour to produce new people, but interpreted only as a loss of female attractiveness.

                    The artists of the exhibition present an individual motherhood as a large-scale project of social significance that is fulfilled by extraordinary efforts. The female artists conceptualize motherhood as a potential opportunity for every woman, question a choice to become a mother or not, and immerse us in different aspects of direct maternal experience. Giving a feminist analysis of the role and status of mothers in different societies, the exhibition does not disregard fatherhood. It represents motherhood as a hard corporal and mental labor that makes existence of all of us possible. The dialogue with mothers is a dialogue with the history of one’s own life, which deserves to be a public issue.

                    The exhibition includes work by : Oksana Briukhovetska / Anna Fabricius / Tatiana Fiodorova / Marta Frej / Ksenia Gnylytska / Masha Godovannaya / Elzbieta Jablonska / Alina Jakubenko / Alina Kleitman / Joanna Rajkowska / Emma Thorsander / Marina Vinnik / Anna Witt

                      HOTEL CHARLEROI 2014 - a Winter School

                      14.11 – 16.11.2014, Passage de la Bourse and around

                      After the colossal Palais des Expositions in 2012 and the suburb town of Marchienne in 2013, HOTEL CHARLEROI settles in Ville Basse, an area that experiences heavy transformations since a couple of years. The present state of Ville Basse -a field of rubble- offers an ideal point of departure for new reflections about Charleroi, its challenges and possibilities.

                      From 14th till 16th November 2014, the public from Charleroi and elsewhere will be at the centre of LA FORCE DU CHANGEMENT: a dense program including performances, discussions, workshops and interventions proposed by over thirty contemporary artists and collectives for Charleroi.

                      The energy gathered during the weekend will take shape in the collective construction of a tower around the site of the future shopping mall Rive Gauche. An ephemeral sign for and from the inhabitants of Charleroi, defying the ravaged area, the city and the weather.

                      à;GRUMH // Anna Witt // Annabel Lange // Astrid Seme // [bæk’steɪdʒ] // Baptiste Elbaz // Benoit Félix // Dan Perjovschi // Emmanuel Van der Auwera // Eva Seiler // InterfacultyGROUP // Jean-Philippe De Visscher //Johanna Tinzl // Jozef Wouters // Ha Za Vu Zu // Joep Van Lieshout // Kit Hammonds // Klasse Skulptur und Raum (Hans Schabus) // Konrad Kager // Lia Perjovschi // Manfred Hubmann // The Mental Masonry Lab // Montegnet Street Quintet // Nicolas Belayew // NO FUTURE Komplex // Oberliht // Paul Hendrikse // The Public School for Architecture // Raumte (Pieter Jennes & Maxime Peeters) // Renzo Martens // Robin Vanbesien // Sandrine Verstraete & Jean de Lacoste // Serge Stephan // Simona Denicolai & Ivo Provoost // Sophie Thun & Maria Giovanna Drago // Stijn Van Dorpe with Romain Ladrière, Guillaume Theys, Filka Sekulova, Florence Scialom a.o. // Thomas Geiger & Pierre Silverberg // …

                      I am happy to announce my collaboration with Galerie Tanja Wagner, Berlin

                      RE-FORMER LE MONDE VISIBLE

                      Le 116 Centre d´art contemporain de Montreuil, FR

                      09/10/14 - 17/01/15


                      Starting from 9 october, the international group exhibition “re-forming the visible world” focusses on contemporary artistic practices embedded in teh current social, political, economic and ecological context. Art is not a parallel universe, but a decisive tool to reflect on the contemporary age.

                      The exhibition includes new work by : Art orienté objet / Ibro Hasanovic / Seulgi Lee / Paul Maheke / Jean Philipe-Renoult & Dinah Bird / Anna Witt / Heidi Wood.

                      Public opening: 8 October, from 7 p.m.

                      6. f/stop Festival für Fotografie Leipzig /// Eröffnung 06.06.2014 19 Uhr /// 07.06. bis 15.06.2014 /// Baumwollspinnerei

                      Worst fear, best fantasy

                      Stacion Center for Contemporary Art Pristina

                      29/5/2014 – 28/6/2014

                      "What is the worst thing that could happen? What is the best thing you can imagine?" are the concrete questions, reflected by different people in the streets of Prishtina. Built up in a dialog, short notes and prognosis about the future are thrown at each other, creating a double-faced perspective. Scenario thinking is a common method in strategic planning. Different scenarios are simulating chances and problems to detect weakness in a system. The worst case and the best case scenario are marking the borders of a space where everything could happen. Different scenarios are also described in international travel advice. They are a governmental service for travelers to provide safety information about other countries. Comparing the different countries official versions it turned out that they vary in the sensibility of used language, the severity of interpretation and sometimes are even contradictory. It seems that the official information are interwoven with individual interpretations and personal fears. In a text based work the collected information is used to create different stories out of the same source. Anna Witt was invited for an artist residence at AiR Stacion, the residency program developed by Stacion - Center of Contemporary Art Prishtina. The exhibition is presenting the work developed on site during the residency. Worst fear, best fantasy, the title of the exhibition is also title of the central work part of the exhibition. Worst fear, best fantasy is a 2 channel video-installation, showing two times the same persons imaging one time a worst case and one time a best case scenario of a private, social of political topic they want to talk about. Scenario planning is a strategy planning method used in the economy but also in politics to make flexible long term plans for the future. Starting from her interest in the countries international public perception created by media, rumors and official sources, Anna Witt did a research about the different countries governmental travel advice.

                      Anna Witt, born in 1981 in Germany, lives and works in Vienna. Working with performative intervention and video installation, her practice deals with the construction of cultural stereotypes and individuals positioning within social systems. Her works ambivalently sit between fictional re-enactment and documentary staging and represent the problematic of subject-formation in relation to identity politics, collectivity and citizenship rights.

                      Recently her work has been shown at Galerie Tanja Wagner, Berlin, 2014 (solo show), An I for an Eye, Austrian Cultural Forum, New York , Risc Society, MOCA Museum of Contemporary ArtTaipei, Taiwan; Fremd & Eigen, Galerie im Taxispalais, Innsbruck ; Emscherkunst 13, Triennale Ruhrgebiet (Kat.); Over the Rainbow, Kunstmuseum St. Gallen; We only dream of places and resistance, for now, Lux/ICA Biennial of Moving Images, London In 2013 she received the BC21 Art Award from Boston Consulting and Belvedere Contemporary, Vienna.

                      Anna Witt: Worst fear, best fantasy at Stacion - Center for Contemporary Art Prishtina is supported by: Austrian Ministry of Education and Culture (BMUKK), Ministry of Culture, Youth and Sports of the Republic of Kosovo, Directorate for Culture, Youth and Sports of the Municipality of Prishtina, X-print and DZG POSTS