Column #col2
Untill 24.09.2023
Soft Destructions
Kunstinstituut Melly
84 Steps
For 84 STEPS, Witt presents a newly commissioned site-specific installation set to become a stage for live ASMR performances. The term ASMR (Autonomous Sensory Meridian Response) refers to a physical reaction comprised of a pleasant tingling sensation which many people find soothing. It became popular in social media, eventually developing into a community phenomenon in 2010, primarily on YouTube. Mutual care and emotional closeness are the cornerstones of this community, as users share and watch videos to help relieve stress, anxiety, or sleeping disorders, most commonly. The live sound-performances will focus on the auditory and sensory effects of gentle, destructive actions towards the objects spread within the gallery, that make up the installation. The physical debris will remain and accumulate within the space, thereby constantly changing it over the course of the exhibition.
Untill 10.0.2023
Generation*. Jugend trotz(t) Krise
Kunsthalle Bremen
BOND in collaboration with Jugendforum Gröpelingen
Untill 25.06.2023
PART TIME COMMITMENT SERIES – Prologue: What does work mean at the end of the day?
Lothringer 13 Halle
Untill 20.12.202
HEAT
Art in Public Space Vienna
Untill 25.07.2021
IL CAMBIAMENTO OLTRE IL VISIBILE
Complesso Museale di Santa Maria delle Anime del Purgatorio ad Arco
Braids on Fire/Trecce in Fiamme (2 channel HD video 2021) curated by Maria Teresa Annarumma hosted by Goethe-Institut Neapel und Austrian Cultural Forum Rom
Untill 26.09.2021
And if I devoted my life to one of its feathers?
Eine gemeinsame Ausstellung der Kunsthalle Wien und der Wiener Festwochen
Untill 31.10.2021
birth culture. giving birth and being born
20 Years Frauenmuseum Hittisau Anniversary Exhibition
14.11.2020-13.02.2021
HOW TO HUMAN
10 years of Galerie Tanja Wagner, viewing room
Il cambiamento oltre il visibile
Goethe Institut Neapel, Residency
Steirischer Herbst - Paranoia TV
Until October 18th 2020
Skin Front (2020) The pandemic has turned isolation into a shared experience and this has led to a new awareness of the body in its capacity for collective isolation. The new video by Anna Witt explores this experience of physical distance and psychological proximity. It was created during the lockdown, in workshops with an intergenerational group of women from Feldbach and Graz. They convened once every two weeks in virtual meetings to exchange their knowledge on different organs and appendages. The film is a collage of moving, living bodies, capable of an almost “somatic” solidarity despite the ban on physical contact. The video is projected onto the back wall of the Feldbach Tabor, which today houses a local history museum and formerly served as a prison for witches. until end of Oktober online on Paranoia TV
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ART IN CARANTINE
Online Videotheque
February 21 - April 15, 2020
Galerie Tanja Wagner
Opening: February 21, 2020
Galerie Tanja Wagner is pleased to present the new video installation Unboxing the Future by Anna Witt for her fourth solo exhibition at the gallery. In her three-channel video Unboxing the Future, Anna Witt prompts a framework of discussion around automation, artificial intelligence and possible post-work utopian ideals with a group of workers in the Japanese city of Toyota in Aichi Prefecture, both assembly-line workers and engineers and developers. The major employer in the city is the Toyota car company. Its main manufacturing facilities are here, and 50% of its workers are robots. The dialogue revolves around personal experiences, philosophical concerns and hopes for the future, and probes at the real-life social structures and working systems and models that will be brought into question. In the video the discussions are inter- cut with the group’s assembly-line workers smoothly miming the movements they perform at work and footage of symbiotic robotic arms at work on cars. In a hierarchical inversion, the blue-collar workers teach the white-collar workers the movements to then perform in formation. These body movements are a crucial part of Witt’s working method that create a direct physical understanding of the topic. In an extension of the group’s discourse on adapting after labour, the possible realities of leisure time and new forms of creativity are explored with musical instruments and a playful exercise deconstructing and rebuilding work uniforms. Following a series of video works concerned with new forms of labour, Anna Witt’s continuous vein of participatory and per- formative concepts seek to create open spaces for alternative ways of thinking. In mining historical, contemporary and future means of labour, she draws out unhindered utopian manifestations from participants and builds a new frame of reference for viewers. Unboxing the Future was premiered at the 2019 Aichi Triennale. On February 27, 2020 at 7 pm we invite you to a discussion about Automation and the utopia of the end of work – the relationship between subject, work and society with Anna Witt and Florian Butollo, member of the Weizenbaum Institute and publisher of the book Marx and the Robots (2019) on the occasion of the exhibition Unboxing the Future, moderated by Jan Gross, creator and host of the podcast Future Histories.
Galerie Tanja Wagner
Pohlstraße 64
10785 Berlin
…
19-21 and 27-29 December 2019
TEN SLOTTE 4
Opening : Het Bos, 19 December at 20h
Ten Slotte is a six day audiovisual program at Het Bos in Antwerp. The program of this year questions the (im)moral position of artists. It focuses on works that can be perceived as transgressions and that challenge norms, rules and/or laws. Ten Slotte 4 is a collaboration between artists’ initiatives Cordon Coffee X De Imagerie, Escautville and Out of sight. www.deimagerie.be / www.escautville.org / www.out-of-sight.be :: Exhibition :: Aleksandrija Ajduković, Johanna Billing, Jos de Gruyter & Harald Thys, Moataz Nasr, Ted Oonk, Koen Theys, Anna Witt, Gernot Wieland :: Screenings and talk :: Gabriel Abrantes & Daniel Schmidt / Kathy Acker & Alan Sondheim / Sebastian Buerkner / Želimir Žilnik / Colectivo Los Ingrávidos / Greg de Cuir Jr. (talk) :: OTARKINO dinner :: All the Ten Slotte 4 events are taking place at Het Bos, Ankerrui 5–7, 2000 Antwerp. www.hetbos.be ———— Ten Slotte 4 is supported by the City of Antwerp and Austrian Cultural Forum Brussels.
Het Bos Ankerrui 5–7 2000 Antwerp …
Until 21.12.19
Anna Witt - Unboxing the future
Galerie Christine König
Die 3-Kanal-Installation "Unboxing the Future" (2019) von Anna Witt zeigt eine weitreichende Fragestellung: Wie beeinflussen künstliche Intelligenz und Automatisierung die Arbeitssituation in einer industriellen Metropole wie Toyota City und was sind ihre Auswirkungen auf das menschliche Wesen? Für diese Videoarbeit extrahierten Arbeiter Bewegungen aus ihrer täglichen Routine und transformierten sie in eine kollektive Choreographie. So entstand ein fast Zen-artiges kinetisches Ballett der Bewegungen zu zarten Koto-Klängen, das bei aller Schönheit nie vergessen lässt, dass es einer fordistischen Zurichtung und Reduktion der menschlichen Möglichkeiten abgezweckt wurde. Es geht bei beiden Künstlerinnen, wenn man es auf eine Formel bringen möchte, um das Aufzeigen des "Anteils der Anteilslosen."
Galerie Christine König Schleifmühlgasse 1A 1040 Wien …
until 22.12.19
Homesick Festival
at your home
Homesick Festival is back in Vienna! This unique festival – initiated by Michikazu Matsune and the new edition joined by Aldo Giannotti, Krööt Juurak & Alex Bailey, Marta Navaridas, Akemi Takeya, and Anna Witt – presents a series of performances that take place in private homes. Upon booking, a pair of artists visit your home to perform in person – exploring the environment of private homes as a stage for unique encounters and shared experiences. Artists present performances inspired by their own history, childhood, everyday life, wishes or dreams. Interventions vary from dancing in the living room to protesting in the kitchen to philosophizing in the bedroom among others. Homesick Festival offers opportunities to (re)connect with your own experience of home, your current location, life situation and your state of being. Book us and invite your friends, family and neighbours!
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Performance on May 11, at 4pm
Beat House Donaustadt
Wiener Festwochen
Kagran and Kaisermühlen are areas in Vienna’s 22nd district that concentrate a piece of the city’s history. Formerly a working-class neighbourhood and stronghold of council housing, it was one of the last bastions of the Socialist Party in its fight against Austrofascism. What interests Anna Witt most about this history is the vibrant utopia, the belief in the collective and in solidarity. The work of the visual artist, who was awarded the Otto Mauer Prize in 2018, is performative and participatory – this allows her to delve into questions that are important to her: How much community still exists in our society? In what way are the residents of a “Gemeindebau” connected nowadays? For Beat House Donaustadt Witt uses an ultrasound scanner to record their heartbeats. At the start of the Wiener Festwochen, the residents open their windows, letting their individual rhythms drift out and join to form a collective sound. The sound of the city.
Wiener Festwochen Alfred-Klinkan-Hof Donaustadtstraße 30 1220 Wien …
April 24 - May 26, 2019
WILD GRAMMAR - EUROPEAN MEDIA ART FESTIVAL Osnabrück
Kunsthalle Osnabrueck
Languages enable us to express, name, categorise and interpret our experiences – as well as the ideas we have that go beyond reality – facilitating communication about them. Whether sign language or programming language, visual imagery or body language, rituals or the canon of artistic forms of expression – language is a sign system that has evolved from a consensus and that simultaneously construes consensus; a sign system that is based primarily on an act of reduction and of exclusion. Aspects of our quintessential sensory experience of reality are always lost in its transformation into language. In the worst case, then, our perception of reality is reduced; in the best case, however, our different languages enable us to develop ideas and views that refer back to reality beyond their boundaries. It is a fine line requiring constant re-negotiation. Now, reality itself is by no means interested in being reduced, arranged or regimented by language. Time and again, it emerges from behind language, creating phenomena and perceptions that we are unable to express in words. Art, in particular, offers us the possibility to reflect on how we access reality through language, and to break down barriers – enabling us to visualise and experience the reality that lies hidden behind language.
European Media Art Festival Lohstraße 45a D–49074 Osnabrück …
April 9 - June 6, 2019
Body in Progress
ÖKFB - Österreichisches Kulturforum Berlin
Österreichische Künstlerinnen wie Valie Export und Maria Lassnig beschäftigten sich mit der Reflexion der weiblichen Position innerhalb der Kunstwelt und der Gesellschaft. Auch heute interessieren sich neue Künstler*innengenerationen für ähnliche Fragestellungen. Mit Werken von Catharina Bond, Malin Bülow, Christian Falsnaes, Kasia Fudakowski, Nilbar Güreş, Sophie Thun, Anna Uddenberg, Anna Witt, und Micha Wille. Kuratiert von Ala Glaser
Österreichisches Kulturforum Berlin Stauffenbergstraße 1 10785 Berlin …
April 9 - May 18, 2019
Parallax Trading
das weisse haus
Group exhibition curated by Miwa Negoro
das weisse haus Hegelgasse 14 1010 Wien …
February 22 - April 20, 2019
For Anyone but not for Everyone
Kunstpavillon Tiroler Künstlerschaft, Innsbruck
The idea of democracy is the idea of freedom as political self-determination. It is the deepest meaning of the democratic principle that the political subject wants freedom not only for itself but also for others. The I also wants freedom for the you, because it perceives the you as being the same. Thus the idea of equality must be added to freedom in order for a democratic society to come into being. Christine Eder and Philipp Haupt (Verteidigung der Demokratie), Henrike Naumann, Csaba Nemes, Mario Pfeifer, Negin Rezaie, Johanna Tinzl*, Anna Witt Curated by Ingeborg Erhart in cooperation with Maria Peters
Kunstpavillon Tiroler Künstlerschaft Rennweg 8a A-6020 Innsbruck …
February 20 - March 30, 2019
Soft objects - Real feelings
Ústí nad Labem House of Arts
Youth, emotions, desire for a better world ― the Ústí nad Labem House of Arts launches a new exhibition about the young generation facing the contemporary world’s problems. Megan Clark, Romana Drdová, David Fesl, Kristýna Fingerlandová, Anka Helfert, Kateřina Holá, Amálie Hubeňáková, Jakub Jansa a Karolína Juříková, Marie Tučková, Jiří Pitrmuc, Anna Ročňová, David Střeleček, Anna Witt The exhibition has been curated by Václav Jánoščík and Martina Johnová.
usti nad labem house of arts Klíšská 979/129 400 01 Ústí nad Labem-město Czech Republic …
January 27 - March 31, 2019
Was ist Wahr
Kunstmuseum Singen
Kunstpreis der Erzdiözese Freiburg 2019. „Mit der Wahrheit ist das so eine Sache…“ Nicht allein diese Redewendung, auch aktuelle Entwicklungen in den Bereichen Glauben, Religion, Politik oder Kunst machen deutlich, wie schillernd unsere Sicht auf die Wahrheit geworden ist. Mit dem Thema WAS IST WAHR greifen der 2019 zum vierten Mal von der Erzdiözese Freiburg ausgeschriebene Kunstpreis und das Kunstmuseum Singen ein Thema auf, das in Zeiten von Fake News, scheinbar grenzenlosem Informationsfluss, religiöser Verunsicherung und zerschredderten Bildern eine ganz eigene Brisanz entwickelt. Gibt es Wahrheit(en) – und wie stehen wir dazu? 19 Arbeiten von 19 nominierten Künstlern, Künstlerinnen bzw. Künstlerkollektiven wurden von einer Fachjury aus 914 Bewerbungen ausgewählt, die das Thema aus zahlreichen Blickwinkeln – der Religion, der empirischen Wissenschaften, der Ethik, der Gesellschaft, der Kunst usw. – reflektieren. Die Schau vereint Arbeiten aus den Gattungen Video, Installation, Objektkunst, Malerei und Zeichnung zu einem Parcours, der Seh- und gedankliche Positionen in Frage stellt. Die Suche nach Wahrheit ist ein Wahr-Zeichen des Mensch-Seins. Die Ausstellung und das umfangreiche Rahmenprogramm laden ein, sich selbst im Diskurs eigene Positionen zu erarbeiten und diese ins Verhältnis zu setzen. Teilnehmende Künstler*innen: Carola Faller-Barris (*1964 /Installation) Sabrina Fuchs (*1990 / Objekt), Andrea Hess (*1967 / Objekt), Jonas Hohnke (*1983 / Installation), Marianne Hopf (*1959 / Objekt), Agnes Märkel (*1963 / Zeichnung), Tara Mahapatra (*1970 / Handzeichnung), Hyunju Oh (*1988 / Video- und Toninstallation), Micha Payer (*1979) und Martin Gabriel (*1976 / Zeichnungen), Alexander Peterhaensel (*1978 / interaktive Medieninstallation), Chris Popovic (*1949 / Malerei), Ilka Raupach (*1976 / Objekt), Meike Redeker (*1983 / Videoprojektion), Alexander Rex (*1987 / Mixed-Media-Installation), Michael Rieken (*1953) und Stefan Demming (*1973 / Klang-Licht-Installation), Florian Schwarz (*1979 / Fotografie), Daniela Takeva (*1990 / Mixed-Media-Installation), Petra Weifenbach (*1961 / Objekt), Anna Witt (*1981 / Video)
Kunstmuseum Singen Ekkehardstraße 10 78224 Singen …
27.10.2018–27.1.2019
KLASSENVERHÄLTNISSE
KUNSTVEREIN IN HAMBURG
Die Gruppenausstellung Klassenverhältnisse – Phantoms of Perception widmet sich heutigen Narrativen von Klassenzugehörigkeit, Macht und sozialen Unterschieden, die als selten artikulierte Phantome in der öffentlichen Wahrnehmung stets präsent sind, und zeigt Künstler*innen, deren Arbeiten auffordern, die Aufmerksamkeit auf Zusammenhänge zu richten, die außerhalb des bewussten Sichtfeldes liegen, aber unsere Wahrnehmung von gesellschaftlichem Zusammenleben entscheidend bestimmen.. Teilnehmende Künstler*innen: Monica Bonvicini, Sigmar Polke, Tobias Zielony, Neïl Beloufa, Benedikte Bjerre, Jan Peter Hammer, Thomas Hirschhorn, Sven Johne, Los Capinteros, Henrike Naumann, Driss Ouadahi, Joe Scanlan, Andrzej Steinbach, Anna Witt, Ariel Reichman, Katie Holten, Harun Farocki / Antje Ehmann und Jean-Marie Straub / Danièle Huillet
Die Ausstellung wird von Bettina Steinbrügge, Benjamin Fellmann und Tobias Peper kuratiert.
KUNSTVEREIN IN HAMBURG Klosterwall 23 20095 Hamburg …
19 September 2018 to 10 February 2019
THE VALUE OF FREEDOM
Belvedere21
The concept of freedom is constantly changing. This exhibition charts its psychological, cultural, religious, political and legal evolution against the backdrop of historical developments, to arrive at a contemporary understanding of what freedom means. Works by more than fifty artists shed light on this complex issue from various angles. With its overlapping themes and cross-references, the exhibition weaves a tapestry of interdependencies and reciprocal influences between the individual and society, democracy and the economy, work and leisure, body and mind, nature and culture. Freedom is always relative to other factors and so has to be constantly renegotiated. For instance, one part of the exhibition looks at different forms of state governance that shape the community, while another area addresses the control of information as a crucial instrument of power. Some of the works highlight the fragility of freedom, while others explore identity-defining processes such as work. The public space is also the subject of some of the works. All in all, what emerges clearly is that the autonomy of the individual invariably goes hand in hand with social responsibility. With works by Zbynĕk Baladrán, Dara Birnbaum, Jordi Colomer, Carola Dertnig, Simon Dybbroe Møller, Harun Farocki, Karin Ferrari, Forensic Oceanography, John Gerrard, Johannes Gierlinger, Lola Gonzàlez, Johan Grimonprez, Igor Grubić, Eva Grubinger, Marlene Haring, Hiwa K, Leon Kahane, Šejla Kamerić, Alexander Kluge, Nina Könnemann, Laibach, Lars Laumann, Luiza Margan, Teresa Margolles, Isabella Celeste Maund, Anna Meyer, Aernout Mik, Matthias Noggler, Josip Novosel, Julian Oliver, Trevor Paglen, Christodoulos Panayiotou, Ivan Pardo, Oliver Ressler, Lili Reynaud-Dewar, Ashley Hans Scheirl, Christoph Schlingensief, Andreas Siekmann, Eva Stefani, Superflex, Pilvi Takala, Philipp Timischl, Milica Tomić, Betty Tompkins, Amalia Ulman, Kostis Velonis, Kara Walker, Stephen Willats, Anna Witt, Hannes Zebedin, Zentrum für politische Schönheit, Tobias Zielony and Artur Żmijewski.
Curated by Severin Dünser.
BELVEDERE21 Quartier Belvedere, Arsenalstraße 1, 1030 Vienna …
18.11.2018 bis 13.1.2019
WAS IST WAHR
KUNSTPREIS 2019
Morat Institut für Kunst und Kunstwissenschaft Freiburg
"Mit der Wahrheit ist das so eine Sache..." Diese Redewendung macht deutlich, wie schillernd und mit Sehnsucht verbunden unsere Sicht auf die Wahrheit ist. Gibt es sie, und wie stehen wir zu ihr? Diese Frage haben sich die 19 Künstlerinnen und Künslter gestellt, die in die engere Auswahl der Jury für den Kunstpreis der Erzdiözese Freiburg aufgenommen wurden. Sie zeigen aus der Perspektive der empirischen Wissenschaften, der Religion, der Ethik und aus aktuellen Positionen heraus, dass die Suche nach der Wahrheit ein Wahr-Zeichen des Mensch-Seins ist. Mit Arbeiten von Carola Faller-Barris, Sabrina Fuchs, Andrea Hess, Jonas Hohnke, Marianne Hopf, Tara Mahapatra, Agnes Märkel, Hyunju Oh, Micha Payer und Martin Gabriel, Alexander Peterhaensel, Chris Popovic, Staufen, Ilka Raupach, Meike Redeker, Alexander Rex, Michael Rieken, Florian Schwarz, Daniela Takeva, Petra Weifenbach, Anna Witt.
Kuratorin: Dr. Isabelle von Marschall
Morat Institut für Kunst und Kunstwissenschaft Freiburg Lörracher Straße 31 79115 Freiburg i. Br. …
14 September 2018 to 10 November 2018
ANNA WITT
DAS RADIKALE EMPATHIACHAT
Gallery Tanja Wagner Berlin
Anna Witt opening on September 14 presenting her new video work DAS RADIKALE EMPATHIACHAT. Anna Witt followed a group of teenagers in Leipzig while developing a manifest for a potential youth movement. During their conversations, they are discussing social utopias and their own feelings within the prevailing systems. By questioning and deconstructing consisting norms and values of our society, they are following their ideas of these concepts and their meanings to articulate the youth movement’s inherent purpose. Against commonly known written manifests, they are presenting their manifest in performative translations in the public space. The video has been created in collaboration with Maria Bujanov, Phillip Borchert, Anja Engelhardt, Belve Langniss, Blandia Langniss, Chiara Rauhut, Lena Schubel and the support of the GFZK Galerie für Zeitgenössische Kunst Leipzig.
GALERIE TANJA WAGNER Pohlstrasse 64 10785 Berlin …
currently: 17 August 2018 to 28 October 2018
EAGLES & DOVES
Kunsthalle Bratislava
Exhibiting artists: Ulf Aminde (DE), Hans Haacke (DE), Monika & Bohuš Kubinskí (SK), Stano Masár (SK), Jarmila Mitríková & Dávid Demjanovič (SK), Henrike Naumann (DE), Erik Sikora (SK), Ivana Šáteková (SK), Anna Tretter (DE), Nasan Tur (DE), Uli Westphal (DE), Suse Weber (DE), Anna Witt (DE)
What is the form of national identity today? What influence do various symbols exert upon it? Can we positively identify with a nation without nationalistic and xenophobic overlays? The exhibition Eagles & Doves presents works by contemporary Slovak and German artists who respond to these difficult questions with broad perspective, criticism and humour, in a playful and open manner. Contemporary art can be actually a medium of intercultural communication: the encounter, not the clash, of cultures. The exhibition project was developed in cooperation with the Goethe Institute in Bratislava on the occasion of the 25th anniversary of its foundation in Slovakia.
Kunsthalle Bratislava Nám. SNP 12 Bratislava Slovakia Opening hours during the exhibition: Mon: 12 pm – 7 pm Tue: closed Wed: 1 pm – 8 pm Thu - Sun: 12 pm – 7 pm …
currently: 28 February 2018 to 27 May 2018
ANNA WITT - HUMAN FLAG
Belvedere 21
Curated by Luisa Ziaja
Anna Witt investigates questions of subject formation: how do we become who we are? What do we do, what do we believe in and what do we fight for? And how is this social self related to political and economic conditions? She designs experimental arrangements that always give the randomly or specifically selected protagonists possibilities of individual articulation. The solo exhibition at Belvedere 21 includes three video installations that deal with different aspects of the topic "work" and interlink these in terms of form and content. Beat Body realized as a multi-part spatial installation for the first time, is intended as a performative monument to street sex workers. At the same time, it reflects on the social position that we ascribe to certain professions. In Flexitime Witt translates the raised fist as a symbol and gesture of the collectively organized labour struggle into a physical exercise, which demonstrates the personal responsibility in deregulated working time models. Finally, the installation Body in Progress is specifically conceived for the exhibition: It sheds light on the local situation of a large urban development area in terms of the imaginations of an optimized working and living environment and the ever-performing individual, creating an analogy between "work" and "workout“.
Belvedere 21 Quartier Belvedere Arsenalstraße 1 1030 Vienna, Opening hours during the exhibition: Wednesday to Sunday - 11 am to 6 pm Long Evenings: Wednesday and Friday - 11 am to 9 pm …
currently: March 10, 2018 until July 01, 2018
Gaudiopolis – Attempts at a Joyful Society
Galerie für Zeitgenössische Kunst
Gabo Camnitzer, Uta Eisenreich, Alia Farid, gruppe finger, Laura Fröhlich, Ryan Gander, Binelde Hyrcan, Bernd Krauß, Manuel Pelmuş, Michael Rakowitz, Christoph Ruckhäberle, Javier Téllez, Mona Vătămanu & Florin Tudor, Anna Vovan, Anna Witt, architecture uncomfortable workshop Curated by Franciska Zólyom
Zero hour: After World War II, a community is formed in Budapest. The children’s republic of Gaudiopolis takes in hundreds of orphans – independently of their religion, social background, or nationality. The characteristic aspects of solidarity and active participation, which Gaudiopolis and earlier children’s republics of the 20th century stand for, will be presented in the historical part of the exhibition. Questions of how to live together respectfully will be discussed through works by contemporary artists and addressed in participatory projects. In the light of current social division, Gaudiopolis exemplifies a joyful and supportive community that is aware of its internal conflicts and, nevertheless, focuses on its diversity in order to expand its possibilities.
A cooperation with OFF-Biennale Budapest and Theatre of the Young World Leipzig.
Galerie für Zeitgenössische Kunst Karl–Tauchnitz–Str. 9–11 D–04107 Leipzig Opening hours during the exhibition: Di–Fr: 14–19 h Sa–So: 12–18 h …
currently: 02 March 2018 until 13 Mai 2018
Stockholm Syndrome
Kunstverein Hamburger Bahnhof
Lisa Bergmann, Alina Schmuch, titre provisoire, Anna Witt Curator: Jennifer Smailes Exhibition Design: Carlo Siegfried
Stockholm syndrome describes a psychological condition in which victims develop an emotional attachment to their captors as a survival strategy, allying themselves or even identifying with them and, through their own behaviour, actively exercising a stabilising influence on the victim-captor relationship. The group show “Stockholm Syndrome” applies this tipping point – typically from a critical attitude or distanced participation to one of affirmation – to the structural principles of post-Fordist societies. The constraints of wage labour are increasingly concealed in these societies by demands for self-starting, intrinsic motivation and self-realisation, effectively blurring the boundaries between a private sphere and work, collective and individual identity, emotions and labour economics. The exhibition focuses upon the rules governing the seductive and manipulative mechanisms operating here and how they inscribe themselves into our everyday life in forms of work, community and architecture. The videos featured in the exhibition by Lisa Bergmann, Alina Schmuch, titre provisoire and Anna Witt all take as their starting point the inculcation of social roles at the point where the individual and the collective intersect. Furthermore, they examine the mechanisms of identification, attribution and suggestion in terms of their performative, spatial and social aspects. Which forms of seduction, which psychological processes and aspects of group dynamics and also which sorts of activation and participation are at the heart of a community that is in and of itself political? What are the aesthetic and social settings these forms use to permeate different areas of everyday life today? Carlo Siegfried’s exhibition architecture conceives the exhibition space as a stage. Based on actual office fittings and furniture, it embraces the actions and movements of the visitors as part of a situation generated collectively and extending the scope of the films. The stage will be activated as a platform for workshops, talks and performances during two Saturday events in the Track Academy series.
Kunstverein Harburger Bahnhof von 1999 e.V. im Bahnhof über Gleis 3 & 4 Hannoversche Straße 85 21079 Hamburg Opening hours during the exhibition: Wednesday – Sunday from 2 – 6 pm …
currently: 08 Feb. 2018 bis 20 Mai 2018
In die Stadt
Museum Moderner Kunst Kärnten
Curated by Christine Haupt-Stummer and Andreas Krištof, section.a and Christine Wetzlinger-Grundnig, MMKK .
Artists Ruth Anderwald + Leonhard Grond, Alfredo Barsuglia, BartolomeyBittmann, Hubert Blanz, Sabine Bitter & Helmut Weber, Catrin Bolt, Gisela Erlacher, Lionel Favre, Andreas Fogarasi, Marlene Hausegger, Heidrun Holzfeind, Sonia Leimer, Ernst Logar, Nika Oblak & Primož Novak, Stefan Oláh/Sebastian Hackenschmidt, Manuela Mark, Gerhard Maurer, Julian Palacz, Isa Rosenberger, Evelin Stermitz, Jochen Traar, Julian Turner, Kay Walkowiak, Malte Wandel, Lois Weinberger, Nicole Weniger, Anna Witt, WochenKlausur, Urban Choreography, Tobias Zielony The exhibition entitled In die Stadt, a fictional portrait of a town, explores the question of what circumstances and situations are responsible for the ambience. The exhibition is divided into several subject areas, unrelated to the conventional urban orders and categorisations. It is more a matter of associative terms such as rhythm, density, friction, surface, interstices or relation, which allow a different form of narration about urbanity and urban ambience. Urban space is not the sum of built area, but a social space, continuously developing and self-productive, dependent on changing and often divergent political, economic, social and cultural interests, and often also determined by unexpected and peripheral events. In the exhibition, this state of becoming and changing is represented from an artistic perspective, which in turn reveals the inexhaustible fund and fertile ground, that a town as motif and tableau represents for artistic production. The exhibition is accompanied by a comprehensive catalogue published in English and German by verlag für moderne kunst, with contributions by Brigitte Felderer, Sebastian Hackenschmidt, Andreas Krištof/Christine Haupt-Stummer and Christine Wetzlinger-Grundnig.
Museum Moderner Kunst Kärnten Burggasse 8 9020 Klagenfurt, Austria Opening hours: Di bis So von 10.00 bis 18.00 Uhr Do von 10.00 bis 20.00 Uhr (feiertags bis 18.00 Uhr) …
upcoming 08. Juli 2017 bis 05. November 2017
Instructions for Happiness
21er Haus Wien
Eröffnung: 07.July 2017
Curated by Severin Dünser and Olympia Tzortzi.
Instructions for Happiness is dedicated to the personal pursuit of happiness. Using behavioural guidelines, the works of participating artists invite responses to simulated situations through the use of objects or by interacting with others – or simply provoke the processes of thought. Arrangements that vary in form and content mirror the diversity of perspectives that the artists – as much as society in general – hold towards being happy. Just as with interpersonal relationships, immediate encounters or everyday situations, happiness may also hide in appreciating the beauty of the little things. The exhibition reflects art’s impact on society and seeks the boundaries of what it can do. Visitors are invited to explore ideas of happiness and to thereby also find their own answers..
21er Haus Quartier Belvedere, Arsenalstraße 1 1030 Vienna Opening hours: Wednesday: 11 am to 9 pm Thursday to Sunday: 11 am to 6 pm Public holidays: 11 am to 6 pm …
2.6.—1.7.17
Performing Knowledge
DIENSTGEBÄUDE ZÜRICH
Opening Thursday June 1, 6pm
Curated by Yasmin Afschar and Gioia Dal Molin.
Stephane Barbier Bouvet, Delphine Chapuis-Schmitz, Gilles Furtwängler, Dominique Koch, Alex Martinis Roe (Display structure in collaboration with Fotini Lazaridou-Hatzigoga, Poster in collaboration with Chiara Figone), Sally Schonfeldt, Anna Witt
DIENSTGEBÄUDE Töpferstrasse 26 8045 Zürich info@dienstgebaeude.ch 079 211 71 12 Opening hours: Friday 12am - 6pm Samstag Saturday 14 - 18 and by appointment, 079 211 71 12 …
05. Mai - 07. Oktober.2017
Künstliche Herzen
Josephinum Wien
Eröffnung: 04.Mai 2017
mit Interventionen von Judith Fegerl / Peter Garmusch Stephanie Pflaum
Samuel Schaab / Anna Witt
Kurator: Moritz Stipsicz (Kunst) & Klaus Wassermann (Wissenschaft)
Das Josephinum, 1785 von Joseph II als militär-chirurgische Akademie gegründet, hat Wesentliches zur Akademisierung des Chirurgenstandes in Österreich beigetragen: Hier wurde der wissenschaftliche Fortschritt der Chirurgie durch eine innovative Ausbildung geprägt und gefördert. Die Entwicklung des Kunstherzen am Allgemeinen Krankenhaus der Stadt Wien durch Ärzte und Techniker der Medizinischen Fakultät und der späteren Medizinischen Universität Wien wäre sicher ganz im Sinne des wissenschaftlich interessierten Reformkaisers gewesen. Das Wiener Kunstherzprogramm begann 1967 an der Zweiten Chirurgischen Universitätsklinik. Mit Unterstützung der Ludwig-Boltzmann-Gesellschaft entwickelte sich das Programm durch die Jahre zu einem der größten in Europa. Wien wurde Zentrum der Entwicklung und Erprobung von Pumpen zur Herzunterstützung. Heute werden weltweit jährlich tausende der in Wien maßgeblich mitentwickelten Rotationspumpen klinisch eingesetzt. Diese international wegweisende Forschungsleistung als „Brücke zum Überleben“ wird erstmals in einer eigenen Ausstellung im Josephinum präsentiert. Die Darstellung der großen Leistungen der Wissenschafter und die Präsentation der eindrucksvollen Kunstherzen aus dem AKH werden von medizinisch-historischen Objekten aus dem Josephinum sowie von Interventionen zeitgenössischer Künstlerinnen und Künstlern, deren Arbeiten auf unterschieldiche Weise auf das Herz Bezug nehmen, ergänzt.
21er Haus Quartier Belvedere, Arsenalstraße 1 1030 Vienna Opening hours: Wednesday: 11 am to 9 pm Thursday to Sunday: 11 am to 6 pm Public holidays: 11 am to 6 pm …
untill 18.Januar 2017
BEAT BODY
Galerie Tanja Wagner Berlin
Eröffnung: 18.November 2016 | 19 Uhr
Galerie Tanja Wagner is pleased to present new works by Anna Witt for her second solo exhibition at the gallery.
BEAT BODY is a performative monument by Anna Witt for the women working on the street of Kurfürstenstraße which is parallel to the gallery. She spent some time in the women’s environment and asked the women to record their heart beats. Everyone has an individual heartbeat. This creates a portrait which is very intimate and anonymous at the same time. The personal soundtrack of each woman was transformed into an individual choreography by professional pole dancers from a nightclub in the nearby neighbourhood. Through the strong self-determined physicality of the dancers, the video sculpture BEAT BODY becomes a tribute to the women of the street and emphazises the value of each individual human being. Anna Witt’s performances in the form of public interventions as well as her video installations scrutinize the construction of cultural stereotypes and the positioning of the individual within social systems. Her works are situated between fictional re-enactment and documentary staging, representing the problem of subject-formation in relation to political identity, collectivity and civil rights. In January, we will host a talk with the artist in dialogue with OLGA, a meeting place for women on Kurfürstenstrasse.
Galerie Tanja Wagner Pohlstraße 64 10785 Berlin Opening hours: Tuesday to Saturday 11 am – 6 pm and by appointment. …
16.Oktober 2016 bis 29.Januar 2017
ALLE ACHTUNG!Zur Ökonomie der Aufmerksamkeit
ACC Galerie Weimar
Eröffnung: 15.Oktober 2016 | 20 Uhr
Maria Anwander (AT) / Aram Bartholl (DE) / Wolfram Hahn (DE) / Christian Jankowski (DE) / Nancy Mteki (ZW) / Stefan Panhans (DE) / Pilvi Takala (FI) / Anna Witt (DE)
Nicht Ideen oder gar Talent, sondern erweckte, geschenkte und empfangene Aufmerksamkeit und Anerkennung sind das knappste Gut und begehrteste Einkommen, das ökonomische Kapital und die soziale, harte Währung in dem von rein ökonomischen Erwägungen, von Effektivität, Rentabilität und Profitabilität durchsetzten Denken unserer Gesellschaft. Die Aufmerksamkeitsökonomie konkurriert mit jener des Geldes, beide bedingen sich gegenseitig, überschneiden und stoßen sich gleichzeitig ab. In Massenmedien, Werbung (Aufmerksamkeitsindustrie) und Popkultur wird Aufmerksamkeit als Kapitalfaktor gemessen. In kürzestmöglicher Zeit auf größtmöglichem Raum eine maximale Aufmerksamkeit zu erzeugen, scheint in der von Informations- und Kommunikationstechnologien durchdrungenen postindustriellen Informationsgesellschaft wichtiger denn je. Eine Konzentration der Wahrnehmung auf und Besitzergreifung des Geistes (die Geistesgegenwart) durch selektierte Stimuli aus unserer Umwelt wird bei dem inflationär-überbordenden visuellen Wahrnehmungsangebot unserer Tage zu einer stetig wachsenden Herausforderung. In der Informationsökonomie sind offensichtlich nicht die Informationen, in denen wir ertrinken, die kostbarste Quelle, sondern die Aufmerksamkeit, die der Information einen Sinn gibt. Money may make the world go ‘round, aber es ist die Aufmerksamkeit, die wir zunehmend verkaufen, horten, um die wir ringen, wetteifern, konkurrieren, viel Aufhebens machen. Solange wir in ihren Genuss kommen, scheint uns die Auseinandersetzung mit ihr nichtig. Bekommen wir hingegen nicht genügend Aufmerksamkeit, lassen sich in der Medizin unterschiedliche Krankheitsbilder finden, angefangen bei verschiedenen Formen von Deprivation, Hospitalismus oder seiner schlimmsten Form, dem Kaspar-Hauser-Syndrom. Menschliches Handeln scheint sich vor dem Hintergrund eines Wettbewerbs um Aufmerksamkeit abzuspielen, bleibt dieser aus, verkümmern wir, wird das Leben zur Tortur. Dies geht von der philosophischen Überlegung aus, dass der Mensch eine Rolle im fremden Bewusstsein spielen möchte. Aufmerksamkeit steigert die Selbstwertschätzung des Menschen. Sozialen Interaktionen, z.B. im Kontext sozialer Netzwerkdienstleister, hingegen zu viel Aufmerksamkeit zu widmen, kann wiederum zu einer krankhaften Überbelastung durch soziale Interaktionen führen – wenn Personen von der Abarbeitung ihrer sozialen Beziehungen überwältigt sind. Facebook-Likes und Selbstinszenierungen in Blogs, Podcasts, Instagram- und Twitter-Pages, nicht mehr nur Besucherzahlen, Auflagenhöhen und Einschaltquoten sind abrechenbare Indikatoren der Aufmerksamkeit. Wir lesen nicht mehr – wir überfliegen. Zappen. Klicken uns durch. Machen schnell einen Smartphone-Schnappschuss. Die Neuheit von Nachrichten, die früher einen Tag „anhielten”, dauern nun nur noch ein paar Stunden an, weil wir schon wieder den neuesten Nachrichten Aufmerksamkeit schenken müssen. Georg Franck konstatiert in „Ökonomie der Aufmerksamkeit“: „Die Aufmerksamkeit anderer Menschen ist die unwiderstehlichste aller Drogen. Ihr Bezug sticht jedes Einkommen aus. Darum steht der Ruhm über der Macht, darum verblasst der Reichtum neben der Prominenz.“ …
21 10 2016 - 03 12 2016
TOUCH THE REALITY.
RETHINKING KEYWORDS OF POLITICAL PERFORMANCE
KUNST RAUM NIEDERÖSTERREICH
Eröffnung: DO 20 10 2016, 19.00H
Teilnehmende KünstlerInnen: Akram Al Halabi, Catrin Bolt, Tania Bruguera, Lana Čmajčanin, Miss G (a.k.a. Giorgia Conceição), Pêdra Costa, Masha Dabelka, EsRAP , Kadir Fadhel, Fidel García, Markus Hiesleitner, Elvedin Klačar, Sylvi Kretzschmar, Camila Lobos, Sandra Monterroso, Naïma Mazic & William Ruiz Morales, Leandro Nerefuh, Female Obsession, Susana Pilar Delahante Matienzo, Jianan Qu, Dudu Quintanilha, Grethell Rasúa, Dania González Sanabria, Ela Spalding, Sofia Cruz, Anna Witt
Mit „Touch the Reality. Rethinking Keywords of Political Performance“ setzt Kuratorin Ursula Maria Probst teils laute, teils aber auch subtile Interventionen in Beziehung zueinander, macht sich auf die Spurensuche nach Praktiken politischer Performance heute. Schwerpunkt ist Kunst aus Kuba von Tania Bruguera, Fidel García, Susana Pilar, Grethell Rasúa und Dania González Sanabria, aber auch Künstler_innen aus arabischen, lateinamerikanischen, asiatischen und osteuropäischen Ländern sowie Österreich sind vertreten. Darüber hinaus sind die beteiligten Künstler_innen eingeladen, vor Ort Projekte zu entwickeln. Kuratorin Ursula Maria Probst war 2015 Kuratorin der österreichischen Beiträge der Havanna-Biennale und recherchierte die Kunstszene in Kuba. …
out now
Landschaft des Eigensinns
UR_ANZENDORFERIN
in Zusammenarbeit mit dem Frauenstammtisch Anzendorf
Anzendorf/Schallaburg
A collaboration with Public Art Lower Austria and Schallaburg
- '...was haben wir dann heute? - in conjunction with the exhibition "The 70ies"
…
8th September to 9th October 2016
Anna Witt und Mykola Ridnyi
Hang zum Konflikt»
KUNSTRAUM MÜNCHEN
Private View, 7th September, 7pm
Artist Talk with Anna Witt, 10th September, 4pm.
The exhibition 'Hang zum Konflikt' at Kunstraum presents two contrasting artistic
positions from different perspectives, which offer alternative narrative forms to the
conventional writing of history. Central to the exhibition are the values, as well as the potential for conflict of a democratic social system.
For 'Hang zum Konflikt', which might translate as 'a tendency towards conflict', Vienna
based artist Anna Witt invited the Ukrainian artist Mykola Ridnyi, to juxtapose some of
his films with hers, in order to trigger a direct artistic dialogue. For both, the critical analysis of violence plays an important role, particularly in a socio-political context.
While Witt approaches the subject via the meta-level of the perception of conflicts
through the media, Ridnyi's works often deal with direct experiences of violence. From
the context of physical space, the works of the two artists are situated on the upper floor of the gallery, within an installational arrangement that sets them in relation to one another. The viewer is able to place herself between the projection screens, adopting the position of a quasi-neutral observer.
On the one side, Ridnyi's videos bear witness to the visible effects of the political
developments in a post-Soviet country, both on the individual and on society, as well as the complex socio-political machinations in connection with the realization of a
democratic social order. The video Fortress (2013-2014) is based on documentary
material filmed by Ridnyi during the public protests on Kiev's Maidan Square in the
winter of 2013. Dima (2013) is a personal portrait of a former police officer who lost his sense of idealism within a system that he regards as being corrupt and hopeless. This work was made before the outbreak of the Maidan Square protests and creates an
powerful impression of the atmosphere of resentment and the dissatisfaction of a
Ukrainian population that felt cheated of its fundamental rights by the state authorities.
Finally, Shelter (2012) shows the on-going consequences of the political propaganda
from the time of the Cold War on the education system and society as a whole. The video
Father’s Story (2012), which can be seen in the small annex room on the upper floor of
the gallery, evokes the Soviet past as a part of a family history: Ridnyi documents his
father walking through the cellar of his own parents' home where he hadn't set foot
since their deaths. Old newspapers with pictures of Lenin lie between jars of preserves
and bottles with homemade schnapps.
These narratives, formed through personal experience, stand in contrast to Witt's works, which process violence as a ubiquitous consumption of imagery and examine conflicts from a methodological perspective. In the video The Eyewitness (2011-2012) she films children giving their perceptions of fragmentary footage from news reports of current
conflicts. In Die Rechte des Gehsteigs [Sidewalk Rights](2012) she contrasts visual
imagery from the Internet of political and artistic protests, with a voice-over containing
the comments of a Viennese police spokesperson, who outlines in dry bureaucratic
language the respective legal consequences with regard to the local traffic regulations.
For her recent work, Do we need a Therapy (2016), which is being shown for the first
time in the Kunstraum exhibition, Witt worked with psychologists who analysed
people's behavioural patterns in response to watching ideologically shaped violent
videos.
The ground floor hosts Witt's extensive video installation Durch Wände gehen [Walk
through walls] from 2015, which was made in cooperation with a Syrian who fled to
Saxony in the East of Germany and a German who fled what was then the DDR. The work
reveals analogies between historical and current perspectives on the subject of
population flight by way of the individual experiences of the two protagonists.
'Hang zum Konflikt' creates a tangible tension between the direct effects of political
events as seen through a personal perspective and media perception - between empathy
and a form of sensual numbness. Questions of direct violence and the state authorities
define the dialogue between Anna Witt and Mykola Ridnyi, as does a shared view of the
fragility of freedom. The exhibition projects onto the viewer the task of creating a
discourse and of generating an opinion.
Curated by Monika Bayer-Wermuth and Sabine Weingartner.
Supported by the Gisela and Erwin Steiner Foundation, Finbridge GmbH & Co KG and
the Kulturreferat Landeshauptstadt München.
Curated by Monika Bayer-Wermuth and Sabine Weingartner.
Supported by the Gisela and Erwin Steiner Foundation, Finbridge GmbH & Co KG and
the Kulturreferat Landeshauptstadt München.
…
5. März – 22. Mai 2016
ANNA WITT
«DIE SUCHE NACH DEM LETZTEN GRUND»
KUNST HALLE SANKT GALLEN
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.
with NORA STEINER «TOTALE»
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?"
KUNST HALLE SANKT GALLEN
Davidstrasse 40
CH-9000 St. Gallen
Öffnungszeiten:
Dienstag bis Freitag 12 – 18 Uhr
Samstag und Sonntag 11 – 17 Uhr
Montags geschlossen
…
17.03 - 31.07.2016
FEAR OF THE UNKNOWN
KUNSTHALLE BRATISLAVA
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.
KUNSTHALLE
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
KUNSTRAUM LAKESIDE
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
RABENMÜTTER
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
…
OFF-BIENNALE BUDAPEST
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
…
Vidéothèque
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.
…
Motherhood
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
Hang zum Konflikt»
The exhibition 'Hang zum Konflikt' at Kunstraum presents two contrasting artistic positions from different perspectives, which offer alternative narrative forms to the conventional writing of history. Central to the exhibition are the values, as well as the potential for conflict of a democratic social system.
For 'Hang zum Konflikt', which might translate as 'a tendency towards conflict', Vienna based artist Anna Witt invited the Ukrainian artist Mykola Ridnyi, to juxtapose some of his films with hers, in order to trigger a direct artistic dialogue. For both, the critical analysis of violence plays an important role, particularly in a socio-political context. While Witt approaches the subject via the meta-level of the perception of conflicts through the media, Ridnyi's works often deal with direct experiences of violence. From the context of physical space, the works of the two artists are situated on the upper floor of the gallery, within an installational arrangement that sets them in relation to one another. The viewer is able to place herself between the projection screens, adopting the position of a quasi-neutral observer.
On the one side, Ridnyi's videos bear witness to the visible effects of the political developments in a post-Soviet country, both on the individual and on society, as well as the complex socio-political machinations in connection with the realization of a democratic social order. The video Fortress (2013-2014) is based on documentary material filmed by Ridnyi during the public protests on Kiev's Maidan Square in the winter of 2013. Dima (2013) is a personal portrait of a former police officer who lost his sense of idealism within a system that he regards as being corrupt and hopeless. This work was made before the outbreak of the Maidan Square protests and creates an powerful impression of the atmosphere of resentment and the dissatisfaction of a Ukrainian population that felt cheated of its fundamental rights by the state authorities. Finally, Shelter (2012) shows the on-going consequences of the political propaganda from the time of the Cold War on the education system and society as a whole. The video Father’s Story (2012), which can be seen in the small annex room on the upper floor of the gallery, evokes the Soviet past as a part of a family history: Ridnyi documents his father walking through the cellar of his own parents' home where he hadn't set foot since their deaths. Old newspapers with pictures of Lenin lie between jars of preserves and bottles with homemade schnapps.
These narratives, formed through personal experience, stand in contrast to Witt's works, which process violence as a ubiquitous consumption of imagery and examine conflicts from a methodological perspective. In the video The Eyewitness (2011-2012) she films children giving their perceptions of fragmentary footage from news reports of current conflicts. In Die Rechte des Gehsteigs [Sidewalk Rights](2012) she contrasts visual imagery from the Internet of political and artistic protests, with a voice-over containing the comments of a Viennese police spokesperson, who outlines in dry bureaucratic language the respective legal consequences with regard to the local traffic regulations. For her recent work, Do we need a Therapy (2016), which is being shown for the first time in the Kunstraum exhibition, Witt worked with psychologists who analysed people's behavioural patterns in response to watching ideologically shaped violent videos.
The ground floor hosts Witt's extensive video installation Durch Wände gehen [Walk through walls] from 2015, which was made in cooperation with a Syrian who fled to Saxony in the East of Germany and a German who fled what was then the DDR. The work reveals analogies between historical and current perspectives on the subject of population flight by way of the individual experiences of the two protagonists.
'Hang zum Konflikt' creates a tangible tension between the direct effects of political events as seen through a personal perspective and media perception - between empathy and a form of sensual numbness. Questions of direct violence and the state authorities define the dialogue between Anna Witt and Mykola Ridnyi, as does a shared view of the fragility of freedom. The exhibition projects onto the viewer the task of creating a discourse and of generating an opinion. Curated by Monika Bayer-Wermuth and Sabine Weingartner. Supported by the Gisela and Erwin Steiner Foundation, Finbridge GmbH & Co KG and the Kulturreferat Landeshauptstadt München. Curated by Monika Bayer-Wermuth and Sabine Weingartner. Supported by the Gisela and Erwin Steiner Foundation, Finbridge GmbH & Co KG and the Kulturreferat Landeshauptstadt München. …
5. März – 22. Mai 2016
ANNA WITT «DIE SUCHE NACH DEM LETZTEN GRUND»
KUNST HALLE SANKT GALLEN
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.
with NORA STEINER «TOTALE»
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?" KUNST HALLE SANKT GALLEN Davidstrasse 40 CH-9000 St. Gallen Öffnungszeiten: Dienstag bis Freitag 12 – 18 Uhr Samstag und Sonntag 11 – 17 Uhr Montags geschlossen …
17.03 - 31.07.2016
FEAR OF THE UNKNOWN
KUNSTHALLE BRATISLAVA
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. KUNSTHALLE 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
KUNSTRAUM LAKESIDE
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
RABENMÜTTER
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 …
OFF-BIENNALE BUDAPEST
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 …
Vidéothèque
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. …
Motherhood
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