EVENTS CALENDAR

    CHAPTER #3: VARIATIONS ON TIME

    Fri 27.04 18:00 // OPENING // ACUD GALERIE
    CHAPTER #3: VARIATIONS ON TIME

    Karma Ltd. Extended presents VARIATIONS ON TIME, the third chapter of the curatorial collective @ Acud Galerie.
     
    OPENING: 27.04.2018 @ACUD GALERIE – 18:00 with Kapwani Kiwanga and Susanne M. Winterling.
    SUNDAY MATINEE ABOUT VARIATIONS ON TIME: 06.05.2018 @ ACUD STUDIO 11:00-14:00
    Artist talk: Susanne M. Winterling
    Screening: “The Sun Ra Repatriation Project” by Kapwani Kiwanga
    Performance: Emilija Skarnulyte
    Free entrance
     
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    The dominant model of time in contemporary Western societies is known as a linear, goal-oriented time: a ‘mechanical’ time that can be measured, owned, used, bought and sold by humans. Thinkers such as the geologist James Hutton, the author of the Deep Time theory, have described that the age of the Earth has been determined to be around 4.55 billion years. Humans have been around for an extremely short period on this geological timeline. In the third chapter Variations on Time, Karma Ltd. Extended presents the work of artists who deal with non-anthropocentric, organic tenses and question the traditional time patterns. By providing access to forms of knowledge and understandings that the dominant linear and anthropocentric time culture suppresses, they invite us to imagine different ways of interspecies co-existence and counter-narratives.
     
    Working with sound, film, performance, and objects, Kapwani Kiwanga (born in Canada, based in Paris) relies on extensive research to transform raw information into investigations of historical narratives and their impact on political, social, and community formation. Her work focuses on sites specific to Africa and the African diaspora, examining how certain events expand and unfold into popular and folk narratives, and revealing how these stories take shape in objects and oral histories. Trained as an anthropologist, Kiwanga performs this role in her artistic practice, using historical information to construct narratives about groups of people. Kiwanga is not only invested in the past but also the future, creating speculative dossiers from future civilizations to reflect on the impact of historical events.
     
    In the series Subduction Studies (2015-2017), Kiwanga observes the space between Earths continents, specifically Africa and Europe. The speculation of Pangaea Ultima suggests a supercontinent occurring again, which will see Europe slipping underneath Africa. This theory inspired Kiwanga to take photographs at the National Museum of Natural History in Paris of rock specimens from the Northern coast of Africa and Spain. By folding the photographs together, she not only demonstrates a new form but also a new geopolitical perspective, where two continents and their migrants would be geographically connected.
     
    Kiwanga is the winner of the 2018 Frieze Artist Award. Her work has been shown at the Hammer Museum (Los Angeles, 2018), Tate Liverpool (2017) and Portikus (Frankfurt, 2017), among others. Kiwanga’s performances have been presented at Documenta 14 (Athens, 2017), Momentum 9 (Oslo, 2017); Tate Modern (London, 2014) and Centre Pompidou (Paris, 2014), among others.
     
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    Susanne M. Winterling (born and living in Rehau and Berlin, Germany) works across a range of 
media to explore the sentient economy, digital cultures and the social life of materials in the environment. Winterling’s practice reflects upon political as well as aesthetic entanglements and power structures among human/animal/matter.Forms and materials narrate about the relationship between species and elements in today’s challenging geopolitical context. Working across a variety of media and with a constant challenging and questioning of artistic media in society, Winterling is known for her time-based installations that critically engage the representation of reality. Prevailing modernistic concepts, power structures, and hierarchical historiographies are captured and investigated in her work in the form of spatial constellations. Her practice emphasizes what pure information and form leaves out – including a sensual approach to media and material as well as body flows. Winterling undertakes affective and material-based research that highlights the subjective interaction between producers, viewers, materials, and species in our ecology.
     
    Susanne Winterling ’s recent research has centered around microscopic and satelitte image captured marine organisms called dinoflagellates. These protagonists are bioluminescent: when mechanically activated—by the movement of swimmers or boats—populations of dinoflagellates cause a blue glow in the water. Physicist-cum-philosopher Karen Barad cites “dinos” as one instance of “queer” nature: they “are neither plant nor animal, but can act as both.” Winterling calls the bioluminescent dinoflagellates and the ecosystems in which they are embedded an “affective, haptic system.” The teeny organisms react to touch in a way the artist compares to a living touchscreen. In this, she deliberately blurs the lines between the human hand, technology, and plankton. The viewer is put at eye level with the suspended and enlarged organism, albeit one that doesn’t have eyes or a central nervous system. While being a perfect example of embodiment the sentient species are an alarmsystem for changes now heavily announced on the planet. In so doing they suggest an alternative way to imagine communication and community while some awaken by melting ice have turned toxic and remind us of a future with transformations to come.
     
    Her recent works and projects have been shown at the tba 21 Vienna (2017) MIT List Visual Arts Center (2017), Contour Biennale 8 (2017), Kunstverein Lagenhagen (2016), e-flux in New York (2015) and at the Fridericianum Kassel (2014).
     
    Curated by Pauline Doutreluingne, Jana J.Haeckel, and Petra Poelzl
     
    Assistant Curator: Camila Palomino
    Gallery Management: Silvia Prolunghi
    Press: Marianne Jacquet
    Curatorial Intern: Hazal Kaygusuz and Diane Esnault
     
     
    SAVE THE DATE:
    Sunday Matinee about Variations on Time @ ACUD STUDIO
    6.05.2018: 11h – 14h
    Free entrance
     
    Artist talk: Susanne M. Winterling with Pauline Doutreluingne
    Screening: “The Sun Ra Repatriation Project” by Kapwani Kiwanga
    Performance: Cloud Chamber by Emilija Skarnulyte
     
    Cloud Chamber explores questions of the beginning of the universe in relation to the geological ungrounding processes, invisible structures, geo-traumas and deep time. It is a fictional visual meditation about contemporary science and a cross sections of the larger systems of power and the politics of desire.The relations between humans and nonhumans become transfigured and weaved equally into the new forms of life.
     
    Funded by the Berlin Senate Department for Culture and Europe.
     
    karma-partners-logos-senat
     
    Supported by Tanja Wagner
     
    Address:
    Acud Galerie, Veteranenstraße 21, 10119 Berlin
    Opening hours: Fri-Sat-Sun 13h-19h
    For press inquiries: karmapress@acudmachtneu.com

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    FRACTO EXPERIMENTAL FILM ENCOUNTER

    Thu 24.05 19:00 // WORKSHOP, SCREENING, TALK // ACUD STUDIO
    FRACTO EXPERIMENTAL FILM ENCOUNTER

    FRACTO is an annual Experimental Film Encounter inviting artists and filmmakers to present works that explore today’s perceptual landscape and interrogate its technological configurations.
     
    The second edition will be held at ACUD Cinema & Studio in Berlin from the 24th to the 27th of May 2018: four days of screenings, artist talks and workshops.
     
    The main selection will be presented in a series of curated programs dedicated to recent artist films and videos, including several world and German premières. The selected titles will be announced in the beginning of May.
     
    Cristina Baldacci, Federico Rossin and the Re-framing home movies project (Karianne Fiorini and Gianmarco Torri), are the guest curators for this edition with two special programs and a workshop.
     
    ICI Berlin fellow Cristina Baldacci invites artists Maria Iorio and Raphaël Cuomo to discuss their practice and present their film APPUNTI DEL PASSAGGIO (2014-16). Reconstructing forgotten episodes related to migration from Italy to Switzerland in the 1960s, the film introduces a minor perspective into the ways in which the historical phenomenon of migration from southern to northern Europe is represented today.
     
    Federico Rossin selects titles from Paris distributor Lightcone for the program DISSOLUTION(S): disintegrations and repetitions in search of a possible incarnation of the cinematic (glorious) body. A program of four films as a ritual sacrifice of the photochemical matter and a cupio dissolvi of the digital palette.
     
    Karianne Fiorini and Gianmarco Torri present RE-FRAMIN THE HOME MOVIE, a free workshop that will introduce the audience to home movies and amateur films as specific archival materials in the field of film heritage and as a creative source for filmmakers and artists. It will examine their peculiar characteristics (in terms of history, film formats, aesthetics) and address specific issues related to their preservation and their use in new works of art.
     
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    Info
    https://fractofilm.com
    http://acudmachtneu.de
     
    Maria Iorio / Raphaël Cuomo
    http://www.parallelhistories.org
     
    Lightcone Distribution
    https://lightcone.org/
     
    Re-framing the home movie (Free Workshop)
    https://bit.ly/2KNXM2y
     
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    DO 24.5 – SA 27.5 // 10-25€
    ACUD STUDIO + KINO // SCREENINGS + TALKS + WORKSHOP
    FRACTO EXPERIMENTAL FILM ENCOUNTER
    an annual encounter inviting artists and filmmakers to present and discuss their work, exploring today’s perceptual landscape and interrogating its technological configuration
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