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18/6/2015

Three Exhibitions

Contemporary Art Centre - CAC, Vilnius

Nina Beier

In her solo exhibition at the Contemporary Art Centre the Danish artist Nina Beier presents a recent sculpture. It is a horizontal structure titled Tileables, which is especially adapted to the CAC premises and occupies inner courtyard of the building interfering with an existing milieu. The artwork was first presented on the occasion of the solo show by Nina Beier, curated by Vincent Honoré at the DRAF (David Roberts Art Foundation), London in 2014.

Tileables (2014) is a 125 m2 mosaic of ceramic tiles, which were individually printed with texture patterns originally designed for 3D modelling software to imitate concrete, marble, mud and other surfaces, takes the relationship between the digital and physical namesake to its absurd conclusion.

Beier’s practice negotiates social and political questions of representation and exchange, inhabiting moments of conflict and correlation. She traces the convoluted relationships between objects and images, as mediation mutates information from things to representations and back again and images subsume or discard their referents to become distinct objects in their own right. Her works reveal stark contradictions between what they are and how they are used.


Nina Beier (b. 1975, Aarhus, Denmark; lives in London) graduated from the Royal College of Art, London (2004). She has recently exhibited her work in solo exhibitions at Kunstverein in Hamburg, 2015, DRAF, London (2014), Mostyn, Llandudno (2014); Nottingham Contemporary (2014); as well as in group exhibitions at Kunsthalle Wien, Vienna (2014); Centre Pompidou, Paris (2013); Museum of Contemporary Art Detroit (2013); MuseionBozen, Bolzano (2012); The Artist’s Institute, New York (2012); KW Institute For Contemporary Art, Berlin (2012); and Tate Modern, London (2012).

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//////////fur//// exhibition 'no pain no game'

The exhibition of Köln artist duo //////////fur//// (Volker Morawe and Tilman Reiff) presents nine selected works that in various ways invite interaction.

A computer game that punishes mistakes with real pain. The world’s smallest social network. Balls activated – as if by some ghostly hand – via singing. Volker Morawe and Tilman Reiff’s multisensory artifacts form a counter-proposition to the massively advancing isolation of electronic input-output device users.

The artist duo //////////fur//// prefers to make art physically tangible – and that, on the far side of the viewer’s comfort zone. Mere observation will not suffice to comprehend the exhibition fully. Only visitors, who are able to summon up enough courage will be able to reach a certain built-in humor. Only for them interfaces appearing familiar at first glance will behave completely differently than expected.

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Grazed Images

Curator: Inesa Brašiškė

Participants: Hito Steyerl, Harun Farocki, Pierre Huyghe, Dominique Gonzalez-Foerster, Factum Arte, Gintaras Didžiapetris, Seth Price

In this digitally driven world, we are surrounded by images. An illusion prevails that we can get rid of them as soon as we switch off our computers and smartphones. However, images live long after we go offline: they transgress the realm of television and computer screens and enter our everyday world, albeit slightly grazed. The digital image is a tricky inhabitant of our screens and streets, it possesses two major qualities: elasticity (it can be shrunk, enlarged, zipped, cut, pasted, etc.) and profusion (it can be in multiple places simultaneously). It is both strong and weak, visible (visualisation) and invisible (pure data) and in this respect, as described by Boris Groys, the digital image ‘is functioning as a Byzantine icon – as a visible copy of invisible God.’

The artworks in this exhibition are by an international group of artists who are concerned with the very power of the image today. The real task for them is to filter the images, to recognise the systems that images operate within, to follow their paths of circulation in the contemporary (art) world, to predict their abilities and the sociopolitical, aesthetic and ethical dimensions images acquire as they traverse different realms of reality. How does visual circulation mediate the world and how does it reformulate ideas such as political power, culture, and subject? What is the role of a computer-generated image in the anaesthetisation of the real? What are the possibilities and limits of image circulation in a digitally-aware contemporary art world and how does it affect the notions of originality, authenticity and value? Image is not a theme nor is it (only) a motif; one should imagine the image on this occasion as more of a conceptual tool to help us think about the events and phenomena happening in the world today, in which image is entangled in one way or another.

A special evening dedicated to Harun Farocki with the participation of author, curator and video artist Antje Ehmann will take place at CAC Cinema on Saturday, 20th June.

Exhibition coordinator: Edgaras Gerasimovičius
Exhibition designer: Viktorija Rybakova

Exhibition is supported by: the Lithuanian Ministry of Culture, Lithuanian Council for Culture
Partners: Goethe-Institut, Embajada de España en Lituania, UAB Cinevera

Thank you to: Andrew Kreps Gallery, New York, Harun Farocki GbR, Berlin, Galerie Isabella Bortolozzi, Berlin, Van Abbemuseum, Eindhoven, Electronic Arts Intermix, New York, Justina Zubaitė, Vsevolod Kovalevskij, The New School, New York, BBC.

Image: Nina Beier

Press, public relations and excursion
Renata Dubinskaitė: +370 5 2121954, mob.: +370 687 85713; renata@cac.lt

Opening: Friday 19 June, 6pm

Contemporary Art Centre (CAC)
Vokiečių 2 LT–01130 Vilnius, Lithuania
Tuesday - Sunday: 12:00 - 20:00

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