Ryan Trecartin presents a new multi-channel film and an expansive site-specific installation designed in collaboration with Lizzie Fitch. In her show Kate Cooper is looking at the position the female body has occupied in the history of digital image technology. Ilit Azoulay presents the photographed objects in a site-specific installation. The project of Lukas Topfer "consisted of works that dealt with a seemingly (sadly) unsolvable problem of a circle of Marxist modernists who stopped doing public shows..."
Curated by Ellen Blumenstein and Klaus Biesenbach
KW Institute for Contemporary Art is delighted to present the first institutional solo exhibition of Ryan Trecartin in Germany. It presents a new multi-channel film and an expansive site-specific installation designed in collaboration with Lizzie Fitch, Trecartin's longtime creative partner. The work will broaden the artist's use of sound, and challenge conventional modes of audiences' engagement with different media.
Trecartin's densely layered narratives are propelled by a cast of complexly drawn yet stylized characters, who are at once familiar and foreign. In both form and content Trecartin's movies refer to the aesthetics and social codes prevalent in various realms of pop culture. The frenetic pacing, intricately crafted edits, the fluid and ever-evolving identities of the protagonists from reality TV, gaming, and internet media are adapted and extended. Heralded by the American magazine The New Yorker "the most consequential artist to have emerged since the 1980s", Trecartin's visionary understanding of the profound shifts in culture and social interaction define our current – and future – moment.
A multi-channel film and sound installation form the centerpiece of this new project for KW. The exhibition explores sound's dual function: as a "soundtrack" comprised of dialogue and music, and at the same time as an independent component that can be experienced three-dimensionally. Starting as a spatial soundscape, the work unfolds over a number of rooms on the ground floor. The viewer experiences the work sonically prior to the visually, as the show evolves into a complex installation in the exhibition hall. There, Trecartin presents his newest movie, a video work that situates various projection screens throughout the exhibition space in a way that mirrors the movie's own 5.1 surround sound, engaging with the visual, sonic, and physical fields as a combined object.
Lizzie Fitch/Ryan Trecartin
3D animations made with Rhett LaRue
RYAN TRECARTIN is funded by the Capital Cultural Fund, Berlin.
Kindly supported by Sprüth Magers Berlin London. Additional support from Regen Projects, Los Angeles, and Andrea Rosen Gallery, New York. Special thanks to the Maurice and Paul Marciano Art Foundation.
In the framework of the 2014 Berlin Art Week
Sunday, 14.9.14, 16 h:
Artist talk with Ryan Trecartin and Klaus Biesenbach, Director of MoMA PS1 and Chief Curator at Large at the Museum of Modern Art, New York, curator with Ellen Blumenstein of the exhibition SITE VISIT; with an introduction by Ellen Blumenstein, Chief Curator of KW Institute for Contemporary Art.
Schering Stiftung Art Award
Curated by Ellen Blumenstein
For Kate Cooper's first institutional exhibition RIGGED, this year's winner of the Schering Stiftung Art Award has produced a new work comprising of video and photographic production specifically for KW INSTITUTE FOR CONTEMPORARY ART.
Through an extensive use of CGI techniques commercial photography and post-production, the show RIGGED highlights the labor inherent in the creation of images, looking at the position the female body has occupied in the history of digital image technology. Through the creation and re-rendering of images of the body, Cooper asks how these digital figures might perform in our place made real as downloadable, ultra-realized bodies.
Cooper is interested in the fictional spaces of universally understood advertising images, tests our experience of them and relationship to them and thus openly questions our conceptions of gender and labor they collectively generate. RIGGED explores new possible connections between bodies and images, and presents tensions between presence and invisibility. As digital images become our body doubles – expensive yet unpaid figures performing on our behalf – the labor inherent in these modes of production becomes re-focused in an economy of withdrawal. Our own bodies use a strategy of refusal; and camouflage as a technique of survival.
As Cooper states: "In our post-representational world – where images are dislocated and free-floating across networks – how can we renegotiate an agency to images, imbue them with power, make them work for us?"
RIGGED displays the human being itself as a commercial good, the billboard-sized figures, installed throughout the space, focus on the body as a place for communicating ideas; re-coding and re-configuring new meanings. As the rendered images become disturbingly realistic, Cooper's doppelgangers surround the observer in their muted formations, and narrate their own illusionary potential, which is more permanent than flesh.
The exhibition Kate Cooper: RIGGED. Schering Stiftung Art Award is a collaboration between the Ernst Schering Foundation and KW Institute for Contemporary Art.
Saturday, 20.9.14, 16 h:
Artist talk with Kate Cooper and Fatima Hellberg, Curator at Cubitt, London, and next Artistic Director, Künstlerhaus Stuttgart, with an introduction by Ellen Blumenstein, Chief Curator of KW.
SHIFTING DEGREES OF CERTAINTY
In early 2013, The Shpilman foundation (Tel Aviv), in collaboration with KW Institute for Contemporary Art and the Schir Foundation (Berlin) announced the award of their first joint photography residency. Ilit Azoulay (*1972 in Israel) moved into her studio at KW in June, 2013, and used her five-month residency to develop her interest in the archeology of cities. During her travels throughout Germany, she collected and photographed objects and architectural fragments in Berlin, Weimar, Kulmain, Regensburg, Dessau, Bamberg, Brandenburg, Xanten, Potsdam and Halle, as well as in the KW building itself.
In some cases, Azoulay singled out sites undergoing preservation, while in others she examined buildings that were reconstructed precisely, brick for brick, in accordance with Germany's restoration laws. Each of the 93 objects she collected was photographed using a technique similar to scanning. This technique is characteristic of Azoulay's practice and allows the juxtaposition of multiple points of view into a single, digitally composed image.
Following her stay in Berlin, the artist undertook the collection of all possible information that verifies the origin of each and every one of these objects. This meticulous gathering of information became central to the project and includes correspondence with monasteries, squat residents, taxidermy experts, plant researchers, building constructors and lawyers. In addition, a collection of recorded sounds emerged in relation to the photographed objects.
For her exhibition at KW, Azoulay presents the photographed objects in a site-specific installation. The accompanying data will be accessible through an audio guide, which allows the viewer insight into the artist's research process and the historical, personal and idiosyncratic details it uncovered, and leads them to explore each object's textuality.
Kindly supported by the Israeli Embassy
Tuesday, 21.10.14, 19 h: Book launch of Ilit Azoulay's first comprehensive artist publication and artist talk with Ilit Azoulay and Aya Lurie, Director and Chief Curator of Herzliya Museum of Contemporary Art.
THE UNHAPPY ELITE
3 ½ is a room in the middle storey between the third and fourth floor of KW dedicated – for the next few months – to a series of exhibitions entitled THE RETRACTION OF THINGS.
The series begins with THE UNHAPPY ELITE, a small exhibition about another exhibition, that consists of a public installation and 31 private dialogs with one visitor at a time. The conversations take place from Sept. 14 - Oct. 14, last approx. 40-60 minutes and begin at 7.30 pm, as soon as the other shows at KW are closed. The dates are assigned in advance via e-mail. Please contact email@example.com.
THE UNHAPPY ELITE surrounds the following curious incident: "A few years back, an exclusive exhibition took place at a former apartment of Roman Malinovsky, a prominent Bolshevik politician and companion of Lenin (who secretly worked as an undercover agent for the falling Russian Empire's Department for Protecting the Public Security and Order). The exhibition consisted of works that dealt with a seemingly (sadly) unsolvable problem of a circle of Marxist modernists who – gradually but determinately – stopped doing public shows..."
Image: Kate Cooper, RIGGED, 2014. Courtesy Kate Cooper
Henriette Sölter T +49 30 2434 59-42 firstname.lastname@example.org
Press conference: Thursday, 11.9.14, 17 h
Opening: Saturday, 13.9.14, 17– 22 h
KW Institute for Contemporary Art - KUNST-WERKE BERLIN e.V.
Auguststraße 69 D-10117 Berlin
Wed – Mo 12 – 19 h; Do 12 –21 h
6 € / reduced 4 €
Thursday-evening-ticket 19 –21 h: 4 €, including guided tour at 19 h
Groups of 10 or more:
per person 5 €, reduced 3 €