NOWs: A Handful of Dust

04 - 27 September 2020 / Nows

Lösch Mir Die Augen Aus (Anne Duk Hee Jordan, Viron Erol Vert, 2020), 3D Simulation

A HANDFUL OF DUST

Ehrenhalle Lilienthalstrasse Neukölln

Lilienthalstraße Cemetery, Lilienthalstraße 7, 10965 Berlin

CURATED BY
Pauline Doutreluingne & Petra Poelzl

ARTISTS
Anne Duk Hee Jordan & Viron Erol Vert

CONTRIBUTIONS BY
Mika Hayashi Ebbesen, Sara Neidorf, Mmakgosi Kgabi, Nathalie Mba Bikoro, Ariel Efraim Ashbel, Cymin Samawatie, Korhan Erel, Ralf Schwarz, Lena Ditte Nissen, Sandra Franz and Dr. Anna Zakrisson

www.ahandfulofdust.com

Departing from the so-called “Ehrenhalle” (Hall of Honour), built between 1938 and 1941 as a “Temple of the Fatherland” at the site of the Lilienthalstraße cemetery in Berlin-Neukölln, A Handful of Dust deals with the topic of fear within historical socio-political contexts. The generation of social fear has always been a reliable tool in the process of gaining power and occupies the core of the National Socialist structures and colonial history. Recently, the creation of the concept of the enemy is used to fuel fear, which serves to build up and expand political and social power structures. For instead of a constructive and strategic approach to issues such as climate change, migration and technological upheaval, populism and emotionalization are fanning the flames of insecurity in broad sections of society and thus nurturing the ground for fear to ripen and flourish.

A Handful of Dust understands itself as a questioning of black-and-white juxtapositions and seeks ways of thinking and acting outside of these extremes in order to make visible the complexity of historiography. The project aims to counter the advancing polarization and social division through a collective search for nuance, variation and lyricism.

Together with the artists Anne Duk Hee Jordan and Viron Erol Vert, the curators Pauline Doutreluingne and Petra Poelzl have developed an artistic, performative and discursive space of experience, searching for strategies for deconstructing hegemonic systems of thought and making multiform, norm-converting imaginations and narratives visible, audible, and tangible.

In addition to a collaboratively developed artistic installation by Anne Duk Hee Jordan and Viron Erol Vert in the Ehrenhalle in the center of the cemetery site, the area surrounding the hall will also be used for four weekends (04.09.2020 – 27.09.2020) through sound, discursive and performative formats. The curators, artists, performers, scientists and musicians will consciously enter this “foreign body”, a historically occupied non-art space, and aim to open up pluralistic spaces of thought through a reflective examination on the embodiment of fear.

PROGRAM

DURATION OF THE EXHIBITION | 04.09. – 27.09.2020
OPENING HOURS EXHIBITION | Fri, Sat, Sun | 1 – 7 pm
Location Lilienthalstraße Cemetery
Lilienthalstraße 7 | 10965 Berlin

FRIDAY | 04.09.2020 | 3 – 9 pm
OPENING & SONIC MANIFESTATION
7 pm | Mika Hayashi Ebbesen and Sara Neidorf

SATURDAY | 05.09.2020
PERFORMANCE
1 – 8 pm | Durational Performance by Nathalie Mba Bikoro

SATURDAY | 12.09.2020
PERFORMATIVE WALK
5 pm | Performative Walk | Lena Ditte Nissen & Sandra Franz

SATURDAY | 26.09.2020
LECTURE
5 pm | Lecture | Dr. Anna Zakrisson

SUNDAY, 27.09.2020
SOUND IMPROVISATION | FINISSAGE
5 pm | Concert
Cymin Samawatie, Korhan Erel & Ralf Schwarz

NOWs: Floating Utopias

05 September - 15 November 2020 / Nows ⟶

Floating Utopiasgroup exhibition Lunds Konsthall Mårtenstorget 3 223 51 Lund Press preview on 4 September at noon Ant Farm, Anetta Mona Chisa & Lucia Tkácová, Elise Eeraerts, Eventstructure Research Group, Anna Hoetjes, Franco Mazzucchelli, Dawn Ng, Ahmet Öğüt, Tomás Saraceno, Graham Stevens, SUPERFLEX, Tools for Action, UFO, Artúr van Balen, The Yes Men Floating Utopias presents various inflatable media at Lunds konsthall, accompanied by an intervention in urban space. The exhibition juxtaposes historical and contemporary works and shows how inflatables may be used in artistic and activist practices: formless bundles of material are instantly transformed into voluminous spatial presence. The exhibited works invite us to be playful and to claim space. They demonstrate a potential to forge communities and prompt participation. Floating Utopias indicates that inflatables could and should be used to critique the present order and create better futures. The exhibition navigates the broad cultural history of inflatables in art, activism and architecture, their impact on our collective imagination. The first manned balloon flight in the late eighteenth century shifted the general understanding of the possible, suggested new worlds and encouraged visionary utopianism. The history of inflatables is closely intertwined with industrial development. In the 1930s, the car tire industry found a new market in giant inflatable rubber puppets. Soon these figures hovered above socialist and capitalist parades, used for propaganda and advertisement in cities across the Soviet Union and the United States. In the late 1960s, a time of global political turmoil and the promise of space travel, plastic became widely available as an affordable material and was used in pneumatic experiments. Artists, activists and architects tested new forms of performance, protest and alternative living. Recent artistic practices show how inflatables can be used as tools in activism, as an artistic material to challenge monumental spaces and political symbols, and as vehicles for rethinking our dependency on fossil fuels. Floating Utopias foregrounds contemporary inflatable artworks, reflecting a world defined by technological advances, climate change and increasing political polarisation and offering new approaches to social engagement. Southern Sweden and the Copenhagen Area have a tradition of urban activism, including utopian art projects and happenings with inflatable objects. This legacy is also part of the exhibition history of Lunds konsthall. Futures-oriented exhibitions such as Superlund and New Babylon in the 1960s imagined new roles and habitats for humankind in relation to nature and the city, and Floating Utopias continues this progressive tradition. During the exhibition’s opening weekend, the helium balloon Castle of Vooruit by Kurdish artist Ahmet Öğüt will float over Lund. It will take off from Stortorget Friday 4 September, as soon as wind conditions allow it. Floating Utopias was first shown at nGbK neue Gesellschaft für bildende Kunst in Berlin in 2018 and then at ArtScience Museum Singapore in 2019. Now the exhibition lands for the third time at Lunds konsthall. It is organised by the three curators Artúr van Balen, Fabiola Bierhoff and Anna Hoetjes. The exhibition design was created in collaboration with Agustina Pascotto and Jazmin Schenone. Floating Utopiasgroup exhibition Lunds Konsthall Mårtenstorget 3 223 51 Lund Press preview on 4 September at noon Ant Farm, Anetta Mona Chisa & Lucia Tkácová, Elise Eeraerts, Eventstructure Research Group, Anna Hoetjes, Franco Mazzucchelli, Dawn Ng, Ahmet Öğüt, Tomás Saraceno, Graham Stevens, SUPERFLEX, Tools for Action, UFO, Artúr van Balen, The Yes Men Floating Utopias presents various inflatable media at Lunds konsthall, accompanied by an intervention in urban space. The exhibition juxtaposes historical and contemporary works and shows how inflatables may be used in artistic and activist practices: formless bundles of material are instantly transformed into voluminous spatial presence. The exhibited works invite us to be playful and to claim space. They demonstrate a potential to forge communities and prompt participation. Floating Utopias indicates that inflatables could and should be used to critique the present order and create better futures. The exhibition navigates the broad cultural history of inflatables in art, activism and architecture, their impact on our collective imagination. The first manned balloon flight in the late eighteenth century shifted the general understanding of the possible, suggested new worlds and encouraged visionary utopianism. The history of inflatables is closely intertwined with industrial development. In the 1930s, the car tire industry found a new market in giant inflatable rubber puppets. Soon these figures hovered above socialist and capitalist parades, used for propaganda and advertisement in cities across the Soviet Union and the United States. In the late 1960s, a time of global political turmoil and the promise of space travel, plastic became widely available as an affordable material and was used in pneumatic experiments. Artists, activists and architects tested new forms of performance, protest and alternative living. Recent artistic practices show how inflatables can be used as tools in activism, as an artistic material to challenge monumental spaces and political symbols, and as vehicles for rethinking our dependency on fossil fuels. Floating Utopias foregrounds contemporary inflatable artworks, reflecting a world defined by technological advances, climate change and increasing political polarisation and offering new approaches to social engagement. Southern Sweden and the Copenhagen Area have a tradition of urban activism, including utopian art projects and happenings with inflatable objects. This legacy is also part of the exhibition history of Lunds konsthall. Futures-oriented exhibitions such as Superlund and New Babylon in the 1960s imagined new roles and habitats for humankind in relation to nature and the city, and Floating Utopias continues this progressive tradition. During the exhibition’s opening weekend, the helium balloon Castle of Vooruit by Kurdish artist Ahmet Öğüt will float over Lund. It will take off from Stortorget Friday 4 September, as soon as wind conditions allow it. Floating Utopias was first shown at nGbK neue Gesellschaft für bildende Kunst in Berlin in 2018 and then at ArtScience Museum Singapore in 2019. Now the exhibition lands for the third time at Lunds konsthall. It is organised by the three curators Artúr van Balen, Fabiola Bierhoff and Anna Hoetjes. The exhibition design was created in collaboration with Agustina Pascotto and Jazmin Schenone.

NOWs: Unmuted

04 - 06 September 2020 / Nows ⟶

unmuted with Nina Schuiki et al.group exhibition Ausstellung im Rahmen von The Frankfurt Art Experience LSTNR-Space Große Eschenheimer Str. 16 60313 Frankfurt a. M. Öffnungszeiten der Ausstellung: Eröffnung: 3. September Freitag, 4. September, 11–18 Uhr Samstag, 5. September, 11–20 Uhr Sonntag, 6. September, 11–16 Uhr www.mananabold.de www.frankfurtexperience.art/ mit Julia Hainz, Hanne Lippard, Ann Lislegaard, Nina Schuiki, Adrian Williams Artist Talk mit Julia Mihály unmuted widmet sich der Stimme als einem Medium der Bewegung in der Zeit, eines sprachlichen Voraus- und Zurückschauens. Welche Rolle spielt der Klang des Gesprochenen in Zeiten, in denen eingefroren scheint, was kommen könnte, was erwartet, gefürchtet und erhofft wird? Wie viel Utopie und Dystopie vermag Stimme zu beschwören? Eine Stimme ist meist an eine Subjektposition geknüpft. Sie kann jedoch variiert, verstellt und unterschiedlich intoniert – ebenso wie programmiert – werden. Eine Stimme verleiht einer Aussage Dynamik, Nachdruck und Emotion. Je nach Situation, in der sie sich Gehör verschafft, bewegt sie sich anders im Raum: Sie stolpert über sich selbst, nimmt mehrfach Anlauf, kehrt zurück, läuft voraus und überholt das Gesprochene. Nina Schuiki: any other where, 2018; ©Foto: Tobias Wootton, Kunstverein Wilhelmshöhe, 2018 unmuted mit Nina Schuiki et. al.Gruppenausstellung Ausstellung im Rahmen von The Frankfurt Art Experience LSTNR-Space Große Eschenheimer Str. 16 60313 Frankfurt a. M. Öffnungszeiten der Ausstellung: Eröffnung: 3. September Freitag, 4. September, 11–18 Uhr Samstag, 5. September, 11–20 Uhr Sonntag, 6. September, 11–16 Uhr www.mananabold.de www.frankfurtexperience.art/ mit Julia Hainz, Hanne Lippard, Ann Lislegaard, Nina Schuiki, Adrian Williams Artist Talk mit Julia Mihály unmuted widmet sich der Stimme als einem Medium der Bewegung in der Zeit, eines sprachlichen Voraus- und Zurückschauens. Welche Rolle spielt der Klang des Gesprochenen in Zeiten, in denen eingefroren scheint, was kommen könnte, was erwartet, gefürchtet und erhofft wird? Wie viel Utopie und Dystopie vermag Stimme zu beschwören? Eine Stimme ist meist an eine Subjektposition geknüpft. Sie kann jedoch variiert, verstellt und unterschiedlich intoniert – ebenso wie programmiert – werden. Eine Stimme verleiht einer Aussage Dynamik, Nachdruck und Emotion. Je nach Situation, in der sie sich Gehör verschafft, bewegt sie sich anders im Raum: Sie stolpert über sich selbst, nimmt mehrfach Anlauf, kehrt zurück, läuft voraus und überholt das Gesprochene. Nina Schuiki: any other where, 2018; ©Foto: Tobias Wootton, Kunstverein Wilhelmshöhe, 2018

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NOWs: A Handful of Dust

A HANDFUL OF DUST

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