past exhibitions

CHAPTER #3: VARIATIONS ON TIME

Fri 27.04 to Sun 27.05 // 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



KARMA LTD EXTENDED: MINE – THE FILM WILL ALWAYS BE YOU

Sat 14.04 to Sat 14.04 // SCREENING // ACUD GALERIE
KARMA LTD EXTENDED: MINE – THE FILM WILL ALWAYS BE YOU

MINE – “The Film Will Always Be You”
A film program series curated by artist Abrie Fourie that seeks to explore the myriad ways in which we identify and position our selves.
 
MINE is a selection of films of mainly South African artists and the diaspora, as well as artists from other parts of the world living in South Africa. MINE was first shown at Iwalewahaus, University of Bayreuth in 2011. Since then, various iterations of MINE have been shown at DUCTAC Dubai (United Arab Emirates), University of Johannesburg, and University of the Free State (Bloemfontein, South Africa). In 2013 MINE was hosted by MC2a & Novart (Bordeaux) and by Khiasma Paris (France). The Tate Modern London staged a revised version of MINE, titled The Film Will Always Be You: South African Artists On Screen, as part of SA-UK Seasons 2014-2015 in collaboration with Tate curator Zoe Whitley. In 2017 MINE was shown as an exhibition at the Latrobe Regional Gallery (Australia). MINE is an associated project of Modern Art Projects South Africa.
 
Artists:
Bridget Baker, Dineo Bopape, Jacques Coetzer, Barend de Wet, Teboho Edkins, Neville Gabie, Simon Gush, William Kentridge, Donna Kukama, Michael MacGarry, Nandipha Mntambo, Mohau Modisakeng, Tabita Rezaire, Robin Rhode, Athi-patra Ruga, Berni Searle, Lerato Shadi, Penny Siopis, Gregg Smith, Johan Thom, Minnette Vári
 
The films opened an enormous door because they gave me a sense that it was possible to work without a program in advance, without first having written a script – a sense that if you work conscientiously and hard, and there is something inside you that is of interest, you yourself will be the film and the film will always be you. – William Kentridge
 
Part of Transcultural Transience, the second chapter of the curatorial program Karma Ltd Extended @ Acud Macht Neu.
 
Please make your reservation to karma@acudmachtneu.de
 
Funded by
karma-partners-logos-senat
 
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SA 14.4 // 21H15 // 7€
ACUD KINO // SCREENING
KARMA LTD. EXTENDED
MINE – THE FILM WILL ALWAYS BE YOU
a film program series curated by artist abrie fourie that seeks to explore the myriad ways in which we identify and position our selves
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CHAPTER #2: TRANSCULTURAL TRANSIENCE

Fri 16.03 to Sun 15.04 // EXHIBITION // ACUD GALERIE
CHAPTER #2: TRANSCULTURAL TRANSIENCE

The second Chapter of the curatorial collective Karma Ltd. Extended.
 
16.03. – 15.04.2018 TRANSCULTURAL TRANSIENCE @ ACUD GALERIE
Featuring newly commissioned works by Isaac Chong Wai and Rachel Monosov.
Opening Hours: Saturday, Sunday: 16:00 – 19:00
FB Event
 
16.03.2018 OPENING PARTY @ ACUD CLUB, 23:00 – 04:00
Black Cracker
D.R.E.E.A.
Rui Ho
FB Event
 
31.03.2018 @ ACUD STUDIO, 19:30
Al-Isnad or Chains We Can Believe In (Lecture Performance) by Slavs and Tatars
FB Event
 
14.04.2018 @ ACUD KINO, 21:15
MINE – The Film Will Always Be You: A film program series curated by artist Abrie Fourie.
FB Event
 
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We cannot act without supports, and yet we must struggle for the supports that allow us to act. (Judith Butler in: Notes Toward a Performative Theory of Assembly)
 
Transcultural Transience, the second chapter of the curatorial collaboration Karma Ltd. Extended, is approaching political aspects of history, while investigating notions of ephemerality, knowledge-production, and transmission. During five weekends, the gallery hosts a site-specific and process-oriented performance series, a lecture, and a screening program.
 
The newly commissioned durational works by Isaac Chong Wai and Rachel Monosov question how embodied collective memory can be reconsidered and dealt with through performance. By looking at large-scale gatherings, such as demonstrations and the Olympic Games, the artists are investigating the role of the individual within those assemblages. What is the function of the bystander, who unexpectedly becomes part of a public demonstration? And what can we make of human bodies, marked by weakness and perfection, which become symbols for a national or political struggle? These are examples of questions that arise, more frequently so within our societies becoming rapidly digital— as human activity becomes increasingly virtual, and the line between physical and virtual spaces our bodies inhabit become blurred.
 
This performance series took its beginning from politically charged images that surround and accompany the immediateness of our online personalities every day. These images are a trace of a political past, which continue reiterating themselves into the future. What if we try to slow down the speed of distribution of images on the world wide web? How can we understand, translate, capture, edit, and seek to archive these images that flicker on our screens? And yet they slip away in the invisible archives of the multinational corporations and we, once again turn into passive bystanders within a large-scale global process. Being connected to the Internet is simultaneously a transience and transcultural act, as one can momentarily extend political borders and spaces. What if we try to leave those virtual ephemeral platforms and assemblies behind and start to perform again outside of the laptop screen?
 
Slavs and Tatars are aiming for a visualization of transcultural transience in the history of the human being. They refer to themselves as archaeologists of the everyday as they draw upon deeper layers of meaning exemplified by tradition, custom, performance, language, anthropology and politics. By breathing life back into vast, misunderstood and often forgotten regions, the artist collective aims to resuscitate Eurasia.
 
Abrie Fourie, a Berlin-based photographer and artist from South-Africa, shares his knowledge and perspective on documented performance works by South African artists and the diaspora. His curated film series MINE – The Film Will Always Be You offers a rare and in depth look on performance ephemerality captured on film, which seeks to explore the myriad ways in which we identify and position ourselves.
 
GALERIE
The newly commissioned durational works by Isaac Chong Wai and Rachel Monosov are going to start separated from each other. While Isaac Chong Wai will be working with his performers in the gallery space for the first two weekends of the exhibition (March 16/17/18/24/25), Rachel Monosov and her performers will find their way into the gallery on the third and fourth weekend (March 31 and April 1/7/8). On the fifth and last weekend (April 14/15), the two works will collide in the exhibition space. A journey with an unknown outcome.
 
ISAAC CHONG WAI, REHEARSAL OF THE FUTURES: IS THE WORLD YOUR FRIEND?
Performance Dates: March 16/17/18/24/25 and April 14/15 from 16:00 – 19:00 @ ACUD Galerie.
Dancers: Katherine Leung, Manuel Lindner, Imola Nagy, Nobutaka Shomura.
 
Isaac Chong Wai is a Berlin based artist from Hong Kong, who works with diverse media such as performance, site-specific installation, public art, video and photography. He engages with themes of collectivism and individualism, politics of time and space, borders, migration, war, militarism, racism, identity politics, public sphere and human rights. In Rehearsal of the Futures: Is the world your friend? the artist combines existing works with a series of newly developed durational performances in which he imagines how future generations might look at the current and former ideological consensus of certain body postures, gestures and movements. Isaac Chong Wai deals with these so-called ideological movements or ideological postures in order to look for and propose possible futures. Rehearsal has always been made for the future: a rehearsal for a theater play before the curtain is opened, a rehearsal of a song before the concert starts, a rehearsal for a speech before it goes public. Rehearsing is then made for reaching the idealistic and perfect form of what one expects to show in the future, while we are not able to find a perfect form from the future to rehearse: the time has not yet come. The artist uses the word the futures, which are the possible fragments proposed in regard to the rupture of time between the past and the future as a form of reconciliation. Meanwhile, the reconciliation is enacted through performance so as to deal with the repetitive history and offers a new body movement that reconciles between body and time. 
 
The work of Isaac Chong Wai was featured at the Bauhaus Museum (Weimar), Haus der Kulturen der Welt (Berlin) and the Moscow Biennale for Young Art.
 
RACHEL MONOSOV, OLYMPIA
Performance Dates: March 31 and April 1/7/8/14/15 from 16:00 – 19:00 @ ACUD Galerie.
Dancers: Stephanie Amurao, Katrina Bastian, Rachell Clark, Victor Dumon, Kinga Jaczewska, and Susie Yugler.
Music: INRA (Philipp Rhensius & Adam Ben-Nun
Live Visuals: Lisa Lapierre
Produced in collaboration with Catinca Tabacaru Gallery, NY
 
Rachel Monosov is a Russian-born and Berlin based artist, who in her work delves into cultural notions of alienation, territorial belonging, gender, and identity. Her newly developed work Olympia takes Leni Riefenstahl’s film Olympia (1936) as a point of departure and investigates the bodily moments before the action and after: the seconds between motionlessness and getting into shape. The artist scrapes out this sculptural moment of transition and works with the image of perfect bodies, standing united on the starting blocks and finishing line. Monosov asks: We know what took place outside the walls of the stadium in 1936, but do we know or care what is taking nowadays place outside the walls of this room? Through the re-enactment and reproduction of the body movements and film aesthetics of Olympia in slow motion, the artist glares painstakingly at the human traces and moments of doubt in this nationalistic historical insignia, a questioning of the celebration of Olympic perfection.
 
Rachel Monosov’s previous work Transcultural Protocol, a collaboration with Admire Kamudzengerere, was presented at the Zimbabwe Pavilion at the Venice Biennale in 2017. She made museum presentations at the National Gallery of Zimbabwe (2016), and at Museum Dhondt-Dhaenens (Belgium, 2017). Monosov is a co-founder of the CTG Collective.
 
Curated by Pauline Doutreluingne and Petra Poelzl (Karma Ltd. Extended)
Gallery Management: Silvia Prolunghi
Assistant Curator: Camila Palomino
Press: Marianne Jacquet
Intern: Hazal Kaygusuz
 
Exhibition Design: Torsten Oetken
Graphic Design: Julie Gayard
Logo Design: Norman Palm (Fertig Design)
 
Funded by
karma-partners-logos-senat
 
ACUD GALERIE
Sa/Su 16:00 -19:00

Kunsthaus ACUD / ACUD MACHT NEU
Veteranenstrasse 21, Berlin



KARMA LTD. EXTENDED CHAPTER #1: IMAGINATION

Fri 02.02 to Sun 04.03 // EXHIBITION // ACUD GALERIE
KARMA LTD. EXTENDED CHAPTER #1: IMAGINATION

02.02.2018 – 04.03.2018
 
The discovery of the Chauvet-Pont-d’Arc Caves in the French Ardèche in 1994, is considered one of the most significant prehistoric art sites in the history of the human species. Studies have shown that the anthropomorphic and animal motifs of exceptional aesthetic quality on the cave’s walls were made more than 30,000 years ago, making them some of the oldest known artworks on the planet. They demonstrate a range of techniques including the skillful use of shading, combinations of paint and engraving, anatomical precision, as well as three-dimensionality and movement. Interestingly, human beings are almost absent from these pictures, indicating a sublime lack of self-awareness in this prehistoric artistry. Were these paintings made in a secular artistic spirit – or were they part of a religious ritual? Or are both these “artistic” and “religious” aspects subservient to something else —some third dimension that has been effaced by time and is beyond our imagination today?
 
Humans and their innovations are in constant evolution. The stories we imagine carve future developments. The futuristic visions in the science fiction films from the past did indeed manifest. Technologies merge with our genes and the arrival of more advanced and intelligent beings is expected. While many classic tales might be seen as superstitious or surreal to our present day selves, these so called ‘tales’ were as real as our current set of ideologies, may it be religion, miracles, cyborgs, aliens, nations, and beliefs such like ‘free democracies’. Storytelling and imagination remain a crucial drive for the future of our society. Stories that have been passed on time and time again have evolved into the mortar that bonds cultures. These stories build a collective body of belief systems, customs, stereotypes, values and codes. Changes in the social and political fabric inspire new narratives drawn in the collective mind. From the beginning of belief systems, from Hinduism to Plato, it has been suggested that the world is an imaginary world of illusion, and some argue that the modern human already lives in an imaginary world or simulation.
 
In an age where political and social imagination runs dry, the presented works in the exhibition ‘Karma Ltd. Extended’, puts the human gift of imagination in its centrefold, looking at alternative narratives about being in the now and near future of possibility. This exhibition delves into the work of selected artists who through the media of film, sculpture, sound, text and performance, mould new imaginations and invite viewers minds to travel to unseen destinations.
 
Anouk De Clercq, a Belgian artist based in Berlin, is known for her mesmerizing black and white films that travel through space and time. Her work Thing (video, b/w, 16:9, stereo, BE/IT/FR, 2013, 18:00) takes you into the gaze of a fictional architect and his imaginary city. It is an architectural universe that ceaselessly reveals its own virtuality for it exists only as a nebula of points wherein the point of view wanders.  The sound artist Scanner created the soundtrack for this work. Thing is about the dot, or more accurately, about the scale interplay between the dot and its multiplication and organization in the digital image and space. The technology used in Thing is made of 3D lunar scans of urban spaces. A tension is generated between the mechanical register of space and its embodied perception created from two sensing interfaces: the scanner and the body. Thing, is a film that is built from a text that progressively describes, creates, or builds a space. The dot and the word become thereby, parallel compositional elements.
 
The dark and digital tension from Anouk Declercqs work shares a spatial poetry with Farkhondeh Shahroudi’s work, although Shahroudi’s work stands in contrast through its tactile and handcrafted nature. Shahroudi works with materials such as carpets, fabrics, hair, embroidery, and poetry to create anthropomorphic elements that come together to form creature-like sculptures. Her work expresses a sense of wonder into a parallel universum, which reveals the creative process of the imagination and the overturning of contents and established symbolism. For Shahroudi, her “space” par excellence is the carpet, deriving from the ancient symbolism of the oriental garden depicted in Persian carpets as a reflection of paradise. They have always been present in her work, from her first hybridizations with painting in the ‘90s. In the successive decades they have become “mobile gardens”_heterotopic spaces, able to challenge or neutralize all other spaces because they are endowed with another spatiality. Shahroudi crafted a new in-situ installation of existing and new works for this exhibition Karma Ltd. Extended at ACUD Galerie.
 
In the courtyard of the ACUD Kunsthaus, Pedro Oliveira created an in-situ sound installation. Born in São Paulo, Pedro Oliveira is a researcher and artist in sound studies. Border Vocalities: ‘das hätte nicht passieren dürfen’ is a sound piece for a trio of immigrant voices, composed as an act of insolence towards speech and accent recognition technologies and their deployment within the migration industry. The work invites the audience to take part in the slow, ritualistic building of a speech corpus of performative translations: the fourteen-minute long composition is thought as a dialogue between denunciation and enunciation. The trio “talks back” to the machine first by repeating in opaque ways selected “elicitation cues” taken from official statements of the German Office for Migration and Refugees (BAMF); in a second moment, they read excerpts from anti- and decolonial poetry (in this piece by May Ayim, Mahmoud Darwish, and Frantz Fanon) which the audience is invited to decipher by reading the scores. The refrain “das hätte nicht passieren dürfen” is taken from the official statement of the BAMF regarding the disastrous case of neo-nazi German soldier Franco A., who managed to successfully infiltrate Germany’s asylum-granting system. His case was later used by the German government to push for accent recognition technologies to tighten control over European borders.
 
PERFORMANCES IN THE COURSE OF THE OPENING NIGHT BY
ISABEL LEWIS, NOTFOUNDYET, VIVIANA DRUGA @ ACUD HOUSE

 
@ACUD BACKSTAGE from 18:00 onwards
Viviana Druga (Transylvania/Berlin) is interested in feminine aesthetics and occult and ritual practices. In her work, she questions techniques of representation and plays with the different variations of performance art. For this exhibition, Druga has produced an installation entitled in absentia in which she plays with the presence and absence of the artist herself by inviting her alter-ego.
 
@ Studio from 19:30 onwards
Isabel Lewis offers an immersive experience. It’s hard to know what to call installations that you cannot only see, but also hear, feel, taste — even smell. The artist and choreographer Isabel Lewis — born in the Dominican Republic and now based in Berlin — calls them “occasions.” For the exhibition at ACUD, Lewis focuses specifically on two modalities of live composition: dance-making and music-making.
 
@ Roof: notfoundyet from 19:30 onwards
notfoundyet is a Vienna based artist group founded in 2007, a collaboration between Laia Fabre & Thomas Kasebacher. Notfoundyet creates work that links audience members together and unifies them as part of a live event, building a temporary community. The artist duo explores the depths of human nature, while playing with the codes and language established by society. They present a new work entitled TROUBLE, that they have developed during their ACUD Artist Residency. This work explores the idea of “getting into trouble” as a positive opportunity. During the opening night on the 2nd of February, the visitors get the chance to know more about their artistic work and processes.
 
Studio visits by appointment at 20:00, 21:00 and 22:00h
 
Finissage: March 3th 2018 7pm
Lecture by Liam Young, City Everywhere. // More Info
Liam Young is an architect who operates in the spaces between design, fiction and futures. He is founder of the urban futures think tank Tomorrows Thoughts Today, a group whose work explores the possibilities of fantastic, perverse and imaginary urbanisms. Liam’s projects develop fictional speculations as critical instruments to survey the consequences of emerging environmental and technological futures.
 
Tomorrows Thoughts Today www.tomorrowsthoughtstoday.com
Unknown Fields Division www.unknownfieldsdivision.com
 
Curators Karma Ltd. Extended: Pauline Doutreluingne, Jana Haeckel and Petra Poelzl
Press: Marianne Jacquet
Assistant Curator: Camila Palomino
Production Assistant: Silvia Prolunghi
Logo Design: Norman Palm / fertig design
 
Infos:
@ AcudMachtNeu, Veteranenstrasse, Berlin
Opening Hours: Friday — Sunday 13 — 19h
 
Funded by
Supported by
karma-partners-logos-eng-2
 
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Karma Ltd. Extended
Chapter #1: Vorstellungskraft

 
02.02.2018 – 04.03.2018
 
Die 1994 entdeckten Chauvet-Höhlen gehören zu den weltweit bedeutendsten archäologischen Fundorten prähistorischer Kunst. Laut Studien sind die anthropomorphen Holzkohlezeichnungen und Tiermotive, welche die Wände der Höhle bedecken, über 30.000 Jahre alt. Sie zählen zu den ältesten künstlerischen Zeugnissen seit Entstehung der Menschheitsgeschichte und offenbaren eine unermessliche Bandbreite künstlerischer Techniken und Stilmittel, wie die Kombination verschiedener Malfarben, Eingravierungen, anatomische Präzision, Dreidimensionalität und Bewegung. Bemerkenswerterweise enthalten die Malereien so gut wie keine menschlichen Protagonisten, was aus heutiger Perspektive äußerst ungewöhnlich scheint. Kann man sie als weltliche Kunstwerke im Sinne eines künstlerischen Selbstverständnisses deuten? Waren sie Teil eines heidnisch-religiösen Rituals? Oder verweisen sie eventuell auf einen anderen Ursprung, eine dritte Ebene, die jenseits unseres epochengebundenen Vorstellungsvermögens liegt?
 
Der Mensch und seine Innovationen befinden sich in ständigem Wandel. Die Geschichten, die wir uns heute ausmalen, beeinflussen die Erzählungen der Zukunft. So haben sich etwa die futuristisch-absurden Visionen manch alter Science-Fiction-Filme als wahr herausgestellt – die Grenze von Technologie und Genen verschmelzen und die Existenz einer neuen, künstlichen Intelligenz scheint greifbar nah. Auch wenn uns heute viele klassische Erzählungen surreal oder abergläubisch erscheinen, müssen sie als genauso real wie unsere gegenwärtig existierenden Wertesysteme betrachtet werden – ganz gleich ob sie sich auf dem Glauben an Religionen, Wunder, Cyborgs, Nationen oder eine “freie Demokratie” gründen. Das Erzählen und Imaginieren von Geschichten ist bis heute eine der treibenden Kräfte in unserer Gesellschaft. Geschichten, die über Generationen hinweg erzählt und weitergereicht wurden, sind das Elixier, das die Gesellschaften zusammenhält. Diese Erzählungen bilden einen kollektiven Körper aus Glaubenssystemen, Bräuchen, Stereotypen, Werten und Codes. Sozialer und politischer Wandel inspiriert die neuen Narrative, die sich in das kollektive Gedächtnis einschreiben. Bemerkenswerterweise wird die Welt seit dem Entstehen erster Glaubenssysteme, wie dem Hinduismus oder der Ideenlehre Platons, als eine auf Vorstellungen beruhende Welt der Illusion beschrieben.
 
In einer Gegenwart, in der das menschliche Vorstellungsvermögen an seine Grenzen stößt, stellt das erste Kapitel von Karma Ltd. Extended unter dem Titel “Vorstellungskraft” die Kraft der Imagination ins Zentrum, um nach alternativen Erzählungen in der Gegenwart und nahen Zukunft zu suchen. Im Fokus der Auseinandersetzung stehen Arbeiten von Künstlerinnen und Künstlern, welche die Medien Film, Sound, Skulptur, Text und Performance nutzten, um neue Vorstellungswelten zu imaginieren und die Besucher in noch unerforschte Bereiche zu entführen.
 
Anouk De Clercq ist eine belgische Künstlerin, die in Berlin lebt und für ihre bestechenden schwarz-weiß Filme bekannt ist. Ihre Arbeit Thing (Video, s/w, 16:9, stereo, BE/IT/FR, 2013, 18:00) nimmt die Perspektive eines Architekten und seiner selbst entworfenen, imaginierten Stadt ein. Der Sound-Künstler Scanner hat den Soundtrack für diese Arbeit entworfen. Der Film entwickelt ein architektonisches Universum, das seine eigene Virtualität unablässig offenlegt und aus einem einzigen nebulösen Rastersystem besteht. Die Technologie, welche in Thing verwendet wird, beruht auf einem 3D-Lunar Scan des urbanen Raums. Im Verlauf des Films entsteht eine Spannung zwischen dem mechanischen Register des Raums und seiner verkörperlichten Wahrnehmung, die sich aus der Überlappung zwischen zwei sensorischen Interfaces ergibt: dem Scanner und dem Körper. Thing basiert auf einem progressiven Text, der beschreibt, kreiert, Raum entwirft. Der Rasterpunkt im Bild und das Wort bekommen dabei parallele Kompositionselemente.
 
Die düstere, digital generierte Spannung der Filme von Anouk De Clercq, teilt ihren poetischen Umgang mit dem Raum mit Farkhondeh Shahroudi – auch wenn Shahroudis Installation durch ihre taktile und organische Struktur zunächst gegensätzlich scheint. Shahroudi arbeitet mit unterschiedlichen traditionsreichen Materialien sowie Medien, wie Teppichen, Haaren, Stickereien und Gedichten, die sie in amorphe Wesen und fantastische Objekte verwandelt, die einer stetigen anatomischen Transformation unterliegen. Ihre Installationen und Skulpturen entspringen einem grundlegenden Interesse an einer Art Paralleluniversum und sind vom kreativen Prozess der Vorstellungskraft und dem Verweben von Inhalt mit etabliertem Symbolismus geprägt. Der Ausgangspunkt von Farkhondeh Shahroudis künstlerischer Arbeit ist der Perserteppich, welcher dem altertümlichen Symbolismus orientalischer Gärten entspringt und das Paradies abbildet. Seit ihren ersten hybriden Malereiarbeiten, ist der Teppich in ihrem Werk präsent. In den vergangenen Dekaden sind die Werke zu “mobilen Gärten” geworden, welche andere Raumdimensionen sukzessive zu unterwandern und neutralisieren vermögen, da sie einem anderen Raumverständnis entspringen. In der Acud Galerie zeigt Shahroudi eine speziell für den Raum entwickelte Installation aus alten und neuen Arbeiten.
 
Im Innenhof des Acud Kunsthauses präsentiert Pedro Oliveira (Brasilien/Berlin) seine ortsspezifische Soundinstallation Border Vocalities: das hätte nicht passieren dürfen: eine Soundarbeit, die für ein Stimmtrio von Immigranten entwickelt wurde und eine Entgegnung auf den Einsatz von Stimmbiometrie und Akzenterkennungstechnologien in der Flüchtlingsindustrie ist. Die Besucher werden sukzessive in einen sich langsam entfaltenden, 14-minütigen Textkorpus eingebunden. Die Komposition ist als Dialog zwischen Denunziation und gleichzeitiger Kundgebung angelegt, bei der das Stimmtrio die Äußerungen des Bundesamts für Migration und Flüchtlinge (BAMF) wiederholt. An späterer Stelle werden Auszüge aus Texten von Kolonialisierungsgegnern, wie May Ayim, Mahmoud Darwish und Frantz Fanon, verlesen, die auf den Notationen entziffert werden können. Der Refrain das hätte nicht passieren dürfen ist dem desaströsen Fall des rechtsextremen Bundeswehrsoldaten Franco A. entnommen, der sich unter falscher Identität selbst als Asylsuchender registrieren ließ und einer rechten Terrorzelle angehört. Der Vorfall wurde später von der Deutschen Regierung genutzt, um Akzenterkennungstechnologien an den europäischen Grenzen voran zu treiben. Oliveira ist ein in Berlin lebender Wissenschaftler und Sound-Künstler aus São Paolo und Teil der Künstlerkollektive A Parede (http://a-pare.de) und Decolonising Design (www.decolonisingdesign.com).
 
PERFORMANCES IM ZUGE DER ERÖFFNUNGSNACHT AM 2. FEBRUAR 2018
ISABEL LEWIS, NOTFOUNDYET, VIVIANA DRUGA @ ACUD HOUSE
 
@ ACUD Backstage ab 18h
Viviana Drugas Arbeiten nutzen die Medien Performance, Fotografie und Installation. Ihr besonderes künstlerisches Interesse gilt der Wiederbelebung weiblicher Ästhetik und alten Wissensformen wie okkulten und rituellen Praktiken, die auf heidnischen Bräuchen beruhen. In ihren Arbeiten erkundet sie Techniken der Repräsentation und spielt mit verschiedenen Variationen von Performance-Kunst. Für die Karma Ltd. Extended-Ausstellung entschloss sich Druga die Installation in absentia zu entwerfen, welche mit dem Präsenz-Absenzmoment der Künstlerin spielt und ihr skulpturales Alter-Ego einsetzt.
 
@ Studio ab 19:30h
Isabel Lewis entwickelt immersive, auf die Sinne fokussierende Installationen, welche die Grenzen zwischen Choreografie, Performancekunst und Ausstellungsarchitektur verschwimmen lassen. Die in der Dominikanischen Republik geborene und in Berlin lebende Lewis, nennt diese selbst “Occasions”. Für ihre Arbeit im ACUD konzentriert sich Lewis auf die besondere Verbindung zweier verschiedener Elemente von Live-Komposition – der des Tanzens und der des Musikmachens.
 
@ Dachgeschoss: notfoundyet ab 19:30h
Notfoundyet ist eine 2007 in Wien gegründetes Künstlerkollektiv, bestehend aus Laia Fabre und Thomas Kasebacher. In ihren Arbeiten vereint das Künstler-Duo das Publikum in komplexen Live-Events und schafft so ein gemeinschaftliches Erlebnis. Das Duo befindet welches sich seit einigen Monaten im Residency-Programm des ACUD Hauses, um dort an ihrem neuen Projekt Trouble zu arbeiten. Ihre Arbeiten können vor allem im skulpturellen und performativen Bereich verortet werden, wobei die inhaltliche Ausrichtung der Werke sich stark mit philosophischen Konzepten, als auch tagespolitischen Thematiken auseinandersetz. Im Zuge der Kollaboration zwischen den Künstlerkuratoren und dem kuratorischen Kollektiv Karma Ltd. Extended werden am Eröffnungsabend, dem 2. Februar 2018 –  Studio Visits angeboten, in welchen die Besucher die Möglichkeit haben, mehr über die künstlerischen Strategien und Prozesse der beiden Wiener zu erfahren.
 
Studio Visits werden nach vorheriger Anmeldung um 20:00, 21:00 und 22:00 Uhr angeboten.
 
FINISSAGE, 3. März 2018
18:00 Uhr @ ACUD STUDIO
“City Everywhere” – Lecture performance von Liam Young // Mehr Infos
Liam Young ist ein Architekt, der sich in den Feldern spekulatives Design, Fiktion und Zukunftsforschung bewegt. Er ist Begründer des Think Tanks Tomorrows Thoughts Today: eine Gruppe aus Wissenschaftlern, Zukunftsforschern, Technikern und Science-Fiction Autoren, welche die Möglichkeiten fantastischer, gescheiterter und imaginärer Urbanismen untersucht. Youngs urbane Zukunftsforschung fragt nach den Konsequenzen ökologischen Raubbaus und technologischer Entwicklung.
 
Kuratorinnen Karma Ltd. Extended
Pauline Doutreluingne, Jana J. Haeckel und Petra Poelzl
Presse: Marianne Jacquet
Kuratorische Assistenz: Camila Palomino
Produktionsassistenz: Silvia Prolunghi
Logo Design: Norman Palm / fertig design
 
Infos:
ACUD MACHT NEU, Veteranenstrasse 21, Berlin
Öffnungszeiten: Freitag — Sonntag 13 — 19h
 
Gefördert von
Unterstützt von
karma-partners-logos-de-2



KARMA LTD. EXTENDED

Fri 02.02 to Fri 02.02 // EXHIBITION // ACUD GALERIE
KARMA LTD. EXTENDED

♦ 18:00 ANOUK DE CLERCQ, FARKHONDEH SHAHROUDI, PEDRO OLIVEIRA @ ACUD GALERIE 
♦ 19:30 ISABEL LEWIS, NOTFOUNDYET, VIVIANA DRUGA @ ACUD HOUSE 
♦ 23:00 KARMA SHE, LES SALTIMBANQUES @ ACUD CLUB

 

ACUD MACHT NEU präsentiert Karma Ltd. Extended eine kuratorische Kollaboration, dessen gleichnamiges CHAPTER ONE am 2. Februar, 2018 um 18:00 Uhr eröffnet wird.

 

Das kuratorische Kollektiv Karma Ltd. Extended befragt in sieben Ausstellungskapiteln das Potenzial der menschlichen Vorstellungskraft in einer von limitierten Ressourcen und digitalem Wandel geprägten Gegenwart. Im Zentrum der Auseinandersetzung stehen Arbeiten von Künstlerinnen und Künstlern, die mit stereotypen Darstellungen und historischen Fehlinterpretationen brechen und neue Wertvorstellungen imaginieren. Das erste Kapitel widmet sich künstlerischen Erzählungen, welche alternative Möglichkeiten des Zusammenlebens in der Gegenwart und nahen Zukunft entwerfen. Die Ausstellung erstreckt sich über sämtliche Räumlichkeiten des ACUD Kunsthauses und nutzt die Medien Film, Sound, Skulptur, Text, Architektur und Performance.

 

Die Programmreihe ist politisch, poetisch, performativ, intersektional feministisch sowie experimentell und wird von Pauline Doutreluingne, Jana J. Haeckel und Petra Poelzl kuratiert.

 

ERÖFFNUNG, 2. Februar

 

18:00 ANOUK DE CLERCQ, FARKHONDEH SHAHROUDI, PEDRO OLIVEIRA @ ACUD GALERIE

Anouk De Clercq (Gent/Berlin) entwirft in ihrem hypnotisierenden schwarz-weiß Film „Thing“ eine fiktive, digitale Architektur, welche sich zwischen Raum und Zeit bewegt. Ihre Arbeiten wurden unter anderem in der Tate Modern, im Centre Pompidou und beim International Film Festival Rotterdam gezeigt. // Website

 

Farkhondeh Shahroudis (Teheran/Berlin) textile Körperskulpturen gleichen amorphen Wesen und fantastischen Objekten, die einer stetigen anatomischen Transformation unterliegen. Ihre Installationen und Skulpturen wurden u.a. in der Villa Romana (Florenz), der Lottozero Kunsthalle (Prato) und dem British Museum (London) gezeigt. // Website

 

Pedro Oliveira (Brasilien/Berlin) Olivera präsentiert eine ortsspezifische Soundinstallation im Innenhof des ACUD Hauses. In seiner künsterischen Praxis untersucht er die akustischen Spuren und Verstrickungen rassistischer Gewalt und visioniert eine dekolonialisierte Hörpraxis. //  Website 1 – Website 2 

 

19:30 ISABEL LEWIS, NOTFOUNDYET, VIVIANA DRUGA @ ACUD HOUSE

Isabel Lewis (New York/Berlin) entwickelt immersive, auf die Sinne fokussierende Occasions, welche die Grenzen zwischen Choreografie, Performancekunst und Ausstellungsarchitektur verschwimmen lassen. Ihre situationsgebundenen Aktionen wurden unter anderem in der Kunsthalle Basel, der Dia Art Foundation und auf der Frieze London umgesetzt. //  Youtube

 

Notfoundyet (Wien) ist eine künstlerische Kollaboration zwischen Laia Fabre & Thomas Kasebacher. In ihren Arbeiten vereint das Künstler-Duo das Publikum in komplexen Live-Events und schafft so ein gemeinschaftliches Erlebnis. Notfoundyet erkunden in ihren Aktionen die Tiefen der menschlichen Psyche, indem sie die gängigen Codes und Konventionen der Gesellschaft in Frage stellen. // Homepage

 

Viviana Druga (Transsilvanien/Berlin) Drugas Arbeiten nutzen die Medien Performance, Fotografie und Installation. Ihr besonderes künstlerisches Interesse gilt der Wiederbelebung weiblicher Ästhetik und okkulten, rituellen Praktiken. // Website 

 

23:00 KARMA SHE, LES SALTIMBANQUES @ ACUD CLUB

KARMA SHE (Israel/Berlin) Die Musikerin Karma She beschreibt sich selbst als “orientalische Hexe”. In ihren eigenwilligen Performances verbindet sie Schamanismus, Exotik, Feminismus und Spiritualität mit postdigitaler Ästhetik. // Youtube 

 

FINISSAGE, 3. März 2018

18:00 Uhr @ ACUD STUDIO

“City Everywhere” – Lecture performance von Liam Young

Liam Young (Australia/ London) beschreibt sich selbst als spekulativen Architekten, Urbanisten und Designer. Er ist Begründer des Think Tanks Tomorrows Thoughts Today: eine Gruppe aus Wissenschaftlern, Zukunftsforschern, Technikern und Sciene-Fiction Autoren, welche die Möglichkeiten fantastischer, gescheiterter und imaginärer Urbanismen untersucht. Youngs urbane Zukunftsforschung fragt nach den Konsequenzen ökologischen Raubbaus und technologischer Entwicklung. Website1Website2

 

Gefördert durch
Unterstützt durch

karma-partners-logos-de-2

 

Acud Galerie, Veteranenstraße 21, 10119 Berlin
Eröffnung: 02.02.2018, 6pm
Pressenachfragen an: karmapress@acudmachtneu.com
Öffnungszeiten: Fr-Sa-So 13:00-19:00 Uhr

 

_______________________________________________

 

ACUD MACHT NEU presents Karma Ltd. Extended: a one year collaborative curatorial program starting February 2nd, 2018 with CHAPTER ONE opening at 18:00.

 

Divided into seven exhibition chapters, Karma Ltd. Extended interrogates the possibility to create imaginative abundance with limited resources. Expanding the field of reflection to all media and spaces, Karma Ltd. Extended will activate the ACUD Galerie with artistic positions that envision new values by questioning and breaking up stereotypical imagery and historical misinterpretations.

 

In the first chapter, Karma Ltd. Extended puts the human gift of imagination centrefold, looking at alternative narratives about being in the now and near future of possibility. The exhibition resonates in all the creative spaces of the ACUD house and delves into the work of artists who mould new imaginations using film, sculpture, sound, text, architecture, performance and invite viewers to conceptualize future landscapes.

 

Karma Ltd. Extended is political, poetic, performative, intersectional-feminist, experimental and much more. The series is curated by Pauline Doutreluingne, Jana J. Haeckel and Petra Poelzl.

 

OPENING February 2nd, 2018 

18:00 ANOUK DE CLERCQ, FARKHONDEH SHAHROUDI, PEDRO OLIVEIRA @ ACUD GALERIE

ANOUK DE CLERCQ (Ghent/Berlin) will carve an imaginative architecture with her mesmerizing black and white film “Thing“ that travels through space and time. Her works have been shown in places such as Tate Modern, Centre Pompidou and the International Film Festival Rotterdam. // Website 

 

FARKHONDEH SHAHROUDI (Tehran/Berlin) creates sculptures that are anthropomorphic creatures, in which anatomical anomalies become the support of a dynamic trajectory. Her installations and sculptures were last shown in the Villa Romana (Florence), at Lottozero Kunsthalle (Prato) and British Museum (London). // Website 

 

PEDRO OLIVEIRA (Brasil/Berlin) will create an in-situ sound installation for the courtyard of ACUD. The researcher and sound artist, was born in São Paulo 21 years after a Coup d’Etat in Brazil, and 31 years before another one. His work investigates and intervenes the sonic unraveling of racialized violence, often fabulating ways to decolonize listening practices. He is 1/2 of A Parede and 1/8 of Decolonising Design. // Website 1

Website 2 

 

19:30 ISABEL LEWIS, NOTFOUNDYET, VIVIANA DRUGA @ ACUD HOUSE

ISABEL LEWIS (New York/ Berlin) offers immersive and sensorial experiences. Her “occasions” draw a fine line between choreography, performance and situationism. She has presented them in places such as Kunsthalle Basel, Dia Art Foundation and Frieze London. // Youtube

 

NOTFOUNDYET (Vienna) is a collaboration between Laia Fabre & Thomas Kasebacher. Their work links the audiences together and unifies them as part of a live event, building a temporary community. The artist duo explores the depths of human nature, while playing with the codes and language established by society. // Website

 

VIVIANA DRUGA (Transylvania/Berlin) uses performance, photography and installation-based work as her main forms of expression. Druga shares an interest in the resurgence of feminine aesthetic and knowledge forms through occult and ritual practices connected to nature sourced by her rural upbringings suffused with pagan culture. // Website 

 

23:00 KARMA SHE, LES SALTAIMBANQUES @ ACUD CLUB

KARMA SHE (Israel/Berlin) describes her role as an oriental witch, staging an interdisciplinary intoxication of the senses set somewhere between rap, futurepop, and dancehall. By merging shamanism, exoticism, feminism, and spirituality with a post-digital aesthetic she creates a powerful magic potion, turning all clichés of Orient and Occident upside down. // Youtube

 

Finissage March 3rd 2018, 18:00 @ ACUD STUDIO
“City Everywhere” – Lecture performance by Liam Young

Liam Young is an architect who operates in the spaces between design, fiction and futures. He is founder of the urban futures think tank Tomorrows Thoughts Today, a group whose work explores the possibilities of fantastic, perverse and imaginary urbanisms. Liam’s projects develop fictional speculations as critical instruments to survey the consequences of emerging environmental and technological futures. // Website1Website2

 

Funded by
Supported by

karma-partners-logos-eng-2

 

 

 

 

 

 

Acud Galerie, Veteranenstraße 21, 10119 Berlin
Opening: 02.02.2018, 18:00
For press inquiries: karmapress@acudmachtneu.com
Opening Hours: Fr-Sa-So 13:00-19:00 Uhr