NOWs: I don’t know if there is time by Nina Schuiki

13 September 2019 / Nows

book release (Nina Schuiki) and performance (Rike Scheffler)

Reception
13 September 2019, 7 pm
with a guest reading by Rike Scheffler

Berlin-based artist Nina Schuiki (b. 1983, Graz) focuses upon an engagement with spatial structures, temporal phenomena and historical context. Taking the form of installation, sculpture and mixed media work, her investigations open the parameters of perception, making visible the traces of hidden occurrence and that which is already inscribed but escapes attention.

As her first monograph, I don’t know if there is time presents the multiple layers of Schuiki’s artistic approach by opening dialogues between her work and a series of newly-written text contributions ranging from the theoretical to philosophical and poetic. In addition to conceptually underpinning her manner of working, the publication also includes a comprehensive documentation of her body of work.

The catalogue includes texts by Stefan Vicedom, Julia Katharina Thiemann, Rike Scheffler, Elaine W. Ho, Nico Anklam, Boat Zhang, zweintopf and Marion Meyer.

Design by Studio Daniel Rother, Berlin

I don’t know if there is time
Nina Schuiki

published by Forum Stadtpark, Graz
English, German
132 pages, 27.3 x 21.5 cm
softcover, envelope
ISBN: 9783901109591

Available at Forum Stadtpark, Graz, Motto, Berlin, Art and Culture Outreach, Hong Kong, and online

NOWs: Talking to Thunder by Julius von Bismarck

14 September 2019 / Nows ⟶

Talking to Thunderbook release In a historical moment gripped by environmental catastrophes of our own making, Julius von Bismarck confronts the forces of nature at their unruly extremes. Deploying sculpture, photography, video and technological devices designed to harness the elements, Bismarck stills water droplets and fragments of exploding stone, shaping them into slow-motion disasters calibrated to the rate of human perception. Through performative encounters with lightning, wildfires, hurricanes and ocean waves, the artist stages a timely reckoning with the fate of age-old ideas of nature. Following a forward by museum director Susanne Pfleger, Talking to Thunder explores the implications of Bismarck’s latest work through essays by philosopher Dehlia Hannah and curator Nadim Samman, interviews with Wiwa shaman Taita, Jurgen Trittin of the German Green Party, and fire historian Stephen Pyne, and excerpts from Gaston Bachelard and Max Frisch. Julius von Bismarck (*1983) grew up in Riad, Saudi Arabia, and Freiburg, Germany. He studied visual communications at the Berlin University of the Arts and at Hunter College in New York, and finished his graduate studies under Olafur Eliasson in 2013. Julius von Bismarck Talking to ThunderEd. Susanne Pfleger, Dehlia Hannah, graphic design by Karsten Heller, text(s) by Dehlia Hannah, Nadim Samman, contributions by Julius von Bismarck, Jürgen Trittin English 2019. 176 pp., 80 ills. softcover with a swiss binding 22.50 x 27.50 cm Talking to Thunderbook release In einem historischen Augenblick, der von vom Menschen ausgelösten Umweltkatastrophen geprägt ist, tritt Julius von Bismarck den Naturgewalten in ihren extremsten Formen entgegen. Er setzt Skulptur, Fotografie, Video und technische Hilfsmittel ein, um sich die Elemente zunutze zu machen und schafft Momentaufnahmen von Wassertropfen und Fragmenten explodierenden Gesteins, womit er sie zu Katastrophen in Zeitlupe formt, die der menschlichen Wahrnehmung angepasst sind. Durch performative Begegnungen mit Blitzen, Lauffeuern, Hurrikans und Meereswellen inszeniert der Künstler eine zeitgemäße Abrechnung mit dem Schicksal uralter Naturvorstellungen. Eingeleitet von einem Vorwort der Museumsdirektorin Susanne Pfleger erkundet Talking to Thunder mittels Essays von Philosophin Dehlia Hannah und Kurator Nadim Samman, Interviews mit Wiwa shaman Taita, dem deutschen Grünen-Politiker Jürgen Trittin, dem Feuerhistoriker Stephen Pyne und Auszügen aus dem Werk von Gaston Bachelard und Max Frisch die Auswirkungen von Bismarcks jüngsten Arbeiten. Julius von Bismarck (*1983) wuchs in Riad (Saudi-Arabien) und Freiburg auf und studierte an der Universität der Künste Berlin und am Hunter College New York Visuelle Kommunikation. 2013 absolvierte er die Meisterklasse von Olafur Eliasson. Julius von Bismarck Talking to Thunder Hrsg. Susanne Pfleger, Dehlia Hannah, Gestaltung von Karsten Heller, Text(e) von Dehlia Hannah, Nadim Samman, Beiträge von Julius von Bismarck, Jürgen Trittin Englisch 2019. 176 Seiten, 80 Abb. Schweizer Broschur 22,50 x 27,50 cm

NOWs: Tribute Pallet

12 - 29 September 2019 / Nows ⟶

Tribute Palletmulti-media installation by Analisa Teachworth Opening 11 SEP 2019, 7 – 10 pm FRAGILE Leipzigerstraße 63 10117 Berlin FRAGILE is pleased to announce Tribute Pallet, a multi-media installation by Analisa Teachworth. The artwork invites the audience into a shack-like scaffolding construction. The architectural qualities refer to structures built in rapidly changing circumstances with found materials typically determined by purpose, necessity, scarcity, and economic interdependencies. The work’s characteristics also tribute to earthier dwellings primarily emitted by society, yet occupying such a large part of our modern world. In seduce and repulse, the made artefact explores aesthetic qualities of sculpture that triumph and deconstruct the spectrum from shelter to contemporary urbanism erected in both opposition and sympathy to the utilitarian. A table of glass jars holding sugar proposes the commodity in reference to what had been historically the highest traded product for roughly 350 years. Symbolically the sugarcane notes to the transatlantic slave trade at the peak of colonialism, while also illustrating a ceremony on how the global economy came to blossom. Even today sugars ritual to pleasure is unrivaled, holding novelties of memory, production, demand, and revealing an unawareness in the active individual participation within unavoidable global markets. Abstractly the elements in this conversation express a mastery of economic process, a hunger to consume, a fetish for the exotic, a force of power, the exodus and decimation of millions of lives, and an uncountable amount of labor Projections of hybrid siren creatures surround the inner space while a sound piece of language and hymn plays. The score speaks to the complexity of inert cultural systems while offering perspectives on progress, sorrow, and transformation. The renderings allegorically intertwine a narrative between current aesthetics, being products of digital labor, and space they exist within. Their anthropomorphised bodies celebrate and expose the gesture of collective hardship and sacrifice via choreography. A perceived collapse of the systems we rely upon entirely is not a faraway apocalyptic future for many who remain anonymous. Analisa Teachworth (b.1985 Detroit, Michigan) is a New York City—based interdisciplinary artist whose practice includes video, sculpture, sound, and performance. Teachworth’s work has been exhibited at institutions such as The Shed, MoMA PS1, Hamburger Bahnhof Staatliche Museen Berlin, Kunst-Werke Institute for Contemporary Art Berlin, and The New Museum. www.analisateachworth.net About FRAGILE FRAGILE fosters a program of conversation, antagonism, renegotiation, and celebration. FRAGILE is a non-profit project for contemporary artistic practices located in Berlin. It encompasses an exhibition and a residency space. FRAGILE is guided by curations etymology, the practice of caring and was founded on the warmest summerday of 2018 by Maurin Dietrich and Jonas Wendelin. Tribute PalletMultimedia-Installation von Analisa Teachworth Eröffnung 11. September 2019, 19 – 22 h FRAGILE Leipzigerstraße 63 10117 Berlin FRAGILE is pleased to announce Tribute Pallet, a multi-media installation by Analisa Teachworth. The artwork invites the audience into a shack-like scaffolding construction. The architectural qualities refer to structures built in rapidly changing circumstances with found materials typically determined by purpose, necessity, scarcity, and economic interdependencies. The work’s characteristics also tribute to earthier dwellings primarily emitted by society, yet occupying such a large part of our modern world. In seduce and repulse, the made artefact explores aesthetic qualities of sculpture that triumph and deconstruct the spectrum from shelter to contemporary urbanism erected in both opposition and sympathy to the utilitarian. A table of glass jars holding sugar proposes the commodity in reference to what had been historically the highest traded product for roughly 350 years. Symbolically the sugarcane notes to the transatlantic slave trade at the peak of colonialism, while also illustrating a ceremony on how the global economy came to blossom. Even today sugars ritual to pleasure is unrivaled, holding novelties of memory, production, demand, and revealing an unawareness in the active individual participation within unavoidable global markets. Abstractly the elements in this conversation express a mastery of economic process, a hunger to consume, a fetish for the exotic, a force of power, the exodus and decimation of millions of lives, and an uncountable amount of labor Projections of hybrid siren creatures surround the inner space while a sound piece of language and hymn plays. The score speaks to the complexity of inert cultural systems while offering perspectives on progress, sorrow, and transformation. The renderings allegorically intertwine a narrative between current aesthetics, being products of digital labor, and space they exist within. Their anthropomorphised bodies celebrate and expose the gesture of collective hardship and sacrifice via choreography. A perceived collapse of the systems we rely upon entirely is not a faraway apocalyptic future for many who remain anonymous. Analisa Teachworth (b.1985 Detroit, Michigan) is a New York City—based interdisciplinary artist whose practice includes video, sculpture, sound, and performance. Teachworth’s work has been exhibited at institutions such as The Shed, MoMA PS1, Hamburger Bahnhof Staatliche Museen Berlin, Kunst-Werke Institute for Contemporary Art Berlin, and The New Museum. www.analisateachworth.net About FRAGILE FRAGILE fosters a program of conversation, antagonism, renegotiation, and celebration. FRAGILE is a non-profit project for contemporary artistic practices located in Berlin. It encompasses an exhibition and a residency space. FRAGILE is guided by curations etymology, the practice of caring and was founded on the warmest summerday of 2018 by Maurin Dietrich and Jonas Wendelin.

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NOWs: I don’t know if there is time by Nina Schuiki

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