mumok \u2013 Museum moderner Kunst,\u00a0Stiftung Ludwig Wien<\/p>\n
Museumsplatz 1 | 1070 Wien<\/p>\n
mumok cinema,\u00a0Tickets: \u20ac 6,\u2013 \/ reduced \u20ac 4,50<\/p>\n
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In the opening paragraph of his fantastically crazed modernist masterpiece At SwimTwo-Birds, Irish writer Flann O\u2019Brien wrote: \u201cOne beginning and one ending for a\u00a0book was a thing I did not agree with. A good book may have three openings entirely\u00a0dissimilar and inter-related only in the prescience of the author, or for that matter\u00a0one hundred times as many endings.\u201d<\/p>\n
Following this logic, one may say that a good curation can have as many concepts\u00a0entirely dissimilar and inter-related only in the prescience of the curator. This\u00a0program of four evenings for mumok cinema will therefore have four themes, each of\u00a0which will be satisfyingly rich in its own right. Each evening will be divided into two\u00a0parts. The first will be a collection of works by various artists related to the theme of\u00a0the evening, and the second will focus on the practice of the guest of the evening,\u00a0the featured artist, if you like.<\/p>\n
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Stranded at Schwimmen-zwei-V\u00f6gel (1)<\/p>\n
Each Aspect of Life Is a Thing of Triad<\/p>\n
October 5, 2016, 7pm<\/strong><\/p>\n <\/p>\n Stranded at Schwimmen-zwei-V\u00f6gel (2)<\/p>\n They Call It Verse-Speaking<\/p>\n November 16, 2016, 7pm<\/strong><\/p>\n <\/p>\n Stranded at Schwimmen-zwei-V\u00f6gel (3)<\/p>\n Outwardly a Rectangular Plain Building,<\/p>\n Inside Is Composed of Large Black and<\/p>\n White Squares<\/p>\n December 14, 2016, 7pm<\/strong><\/p>\n <\/p>\n Stranded at Schwimmen-zwei-V\u00f6gel (4)<\/p>\n A Curious Offspring Azoic in Nature<\/p>\n January 18, 2017, 7pm<\/strong><\/p>\n <\/p>\n In fact, the structure was the first thing that came into focus in this program. It began\u00a0as an empty shell, an open architecture, to be filled in with contents. This process\u00a0was fueled by my desire to address the figure of artist-as-curator, and negotiate the\u00a0protocols for performing this role. Or, put another way, I wanted to know whether it\u00a0is possible to disregard the commonly agreed steps in curating, consisting of: decide\u00a0the concept > select the artists\/works > structure the presentation; and still arrive at\u00a0a good program.\u00a0This desire was triggered in part by the nature of the invitation I received from\u00a0mumok. Aside from the few basic practicalities (location and time), I was pretty much\u00a0given carte blanche in putting together this program, with a decent budget\u2014including a fee for everyone involved, not to be taken lightly these days\u2014and the\u00a0organizational support of a large institution. If you are an artist at the stage in her\u00a0career where I am now, it is a rare luxury not to have to define your concept and map\u00a0out the expected outcome of a project, say for an exhibition proposal or a funding\u00a0application, well before any preparation has begun. In a sense, I am exploiting this\u00a0luxury to its limit by indefinitely delaying the formulation of a unifying concept for the\u00a0program. As I already mentioned, the structure of the program came first. Then, I\u00a0selected the works that piqued my interest, or I believe to be important, or I simply\u00a0love. And finally, I separated them into four groups in order to determine what the\u00a0works in each group have in common with one another. These groups are not united\u00a0under the rubric of a singular curatorial voice, and instead, I believe, act as\u00a0independent unit co-inhabiting the structure that is the program.\u00a0The demand for a clearly defined concept often resembles economic or academic\u00a0performance evaluation today. Clear communication is good for marketing and\u00a0funding, but does not always benefit an artwork, an exhibition, or a cinema program.\u00a0Nuance and weirdness should have their place too. I wanted to put together a\u00a0program which I cannot easily explain what it is about. (Yuki Higashino)<\/p>\n Yuki Higashino lives in Vienna. He has recently exhibited at Le BBB centre d\u2019art,\u00a0Toulouse, Schneiderei, Vienna (2016), Mount Analogue, Stockholm, and Sk\u00e5nes\u00a0konstf\u00f6rening, Malm\u00f6 (2014, both with Elisabeth Kihlstr\u00f6m). In November 2016 he\u00a0will present a joint exhibition with Elisabeth Kihlstr\u00f6m at Gallery G99, House of Arts,\u00a0Brno.<\/p>\n Wednesday, October 5, 2016, 7pm<\/strong><\/p>\n Each Aspect of Life Is a Thing of Triad<\/p>\n Politics and economy govern our lives, and art always reflects their systems and\u00a0structures either directly, as in the portraits of patrons in religious paintings, or\u00a0indirectly, as in historical conceptualism\u2019s adoption of a white-collar labor aesthetic.\u00a0Artists may use the system they are compelled to work within to their advantage,\u00a0deploying it to construct their own logic of production that can perform an intelligent\u00a0rebuke of political and economic circumstances. This can use both contemporary\u00a0material, as in Martha Rosler\u2019s dissection of an issue of Vogue, and historical\u00a0problems, as in comedian Stewart Lee\u2019s demolition of Thatcherite economic policy,\u00a0in order to offer an insightful worldview, to devise a coping strategy, or simply to make something\u2014art\u2014out of the sorry mess society often finds itself in.\u00a0The two works by Michael Stevenson presented this evening resemble tapestry\u00a0weaving, where threads in wildly different colors are put together through a complex\u00a0procedure to form a cohesive picture. The common motif is the consequences,\u00a0sometimes improbable, world politics and economy have on lives, and Stevenson\u00a0shows that the manifestations of this can be found in the most diverse places, while\u00a0critically considering the role of an artist in narrating such stories. In Introducci\u00f3n a la\u00a0teor\u00eda de la probabilidad, for instance, the story of a chance gathering of the deposed\u00a0Shah of Iran and his family, together with Manuel Antonio Noriega and Patricia\u00a0Hearst in a small island near Panama City in 1979, with the geopolitics of the USA\u00a0and Panama in the background, is told through the prism of mathematics. In On How\u00a0Things Behave Stevenson draws parallels between the destruction of the\u00a0environment and works by hermit-like land artist Manfred Gn\u00e4dinger, linking an oil\u00a0tanker spill off the coast of Spain in 2002 with the South Sea Bubble, the\u00a0eighteenth-century financial crisis caused by speculation. These intricate\u00a0associations of people, places, and events are woven together with astonishing\u00a0precision.<\/p>\n Presented by Yuki Higashino, guest: Michael Stevenson<\/p>\n Michael Stevenson lives in Berlin. Exhibitions (selection): VIEWING ROOM, Sculpture<\/p>\n Center, New York (2015); Signs & Wonders, Kunsthal Charlottenborg, Copenhagen<\/p>\n (2015); Liverpool Biennial (2014); A Life of Crudity, Vulgarity, and Blindness, Portikus,<\/p>\n Frankfurt\/M (2012).<\/p>\n <\/p>\n Wednesday, November 16, 2016, 7pm<\/strong><\/p>\n They Call It Verse-Speaking<\/p>\n Language has music and music is a language. This simple dictum has given\u00a0inexhaustible material to poets and composers, but also to artists, particularly since\u00a0temporality was introduced to art through film, performance, and text. Artists stretch\u00a0words to their limit, challenge the structure of speech, write songs, and tell stories.\u00a0And when language became the field for artists to frolic in, their bodies also became\u00a0important as the medium of their works. Either as tender singing or daring poetry,\u00a0words have turned the figure of the artist into a valuable carrier and conveyer of\u00a0possibilities. Leslie Thornton\u2019s work, for example, presents a collision between the\u00a0asceticism of structuralist filmmaking and the intimacy of language, while Cecelia\u00a0Condit\u2019s absurd sing-along is a macabre assessment of consumerism.\u00a0I first came across the name of Sue Tompkins as the singer of Glaswegian band Life\u00a0Without Buildings. I was struck by her percussive style, at once cheerful and forceful,\u00a0that rhythmically treated words so that the lyrics became ingrained in the beats and\u00a0codes of catchy rock tunes. And it is remarkable how seamless her transition from\u00a0fronting a band to performances in galleries feels. It reveals the consistent practice\u00a0of an artist rather than a break from one discipline and an entry into another. While\u00a0her performances are founded on her deep understanding of the relationship\u00a0between language and art throughout modernity, her delivery of lines, with its unique\u00a0tempo, idiosyncratic syntax, concisely deployed repetitions, and characteristic\u00a0inflection, shows that Tompkins\u2019s approach to art and poetry is profoundly musical.<\/p>\n Presented by Yuki Higashino, guest: Sue Tompkins<\/p>\n Sue Tompkins lives in Glasgow. Exhibitions (selection): The Gallery of Modern Art,<\/p>\n Glasgow at Glasgow International (2014); Its chiming in Normaltown, Midway<\/p>\n Contemporary Art, Minneapolis (2012). Performances (selection): LETHERIN<\/p>\n THROUGH THE GRILLE, White Columns, New York (2014); Scottish Pavilion, Venice<\/p>\n Biennale (2005).<\/p>\n <\/p>\n Wednesday, December 14, 2016, 7pm<\/strong><\/p>\n Outwardly a Rectangular Plain Building, Inside Is Composed of Large Black and<\/p>\n White Squares<\/p>\n <\/p>\n With its ability to envelop our lives, to record time, to become image, and with its\u00a0ambition to synthesize disciplines, architecture has always fascinated and\u00a0confounded artists. In the piece by Judith Hopf, architecture is the site of utter\u00a0despair, while Aglaia Konrad lovingly and calmly records a building. The history,\u00a0theory, and language of architecture, and the notes of its frozen music, are both\u00a0fertile sources and useful models for art making. What concerns architecture beyond\u00a0individual building also concerns artists: landscape, cityscape, and soundscape,\u00a0synchronicity and diachroneity, lifestyle and Stilfragen, fl\u00e2neur-ing and permanence.\u00a0The practice of Tris Vonna-Michell encompasses many disciplines, including\u00a0experimental poetry, art history, and photography, and it allows an observer to shift\u00a0her focus from one aspect to another, as though one is strolling through a varied\u00a0landscape. For this occasion, the focus is on the artist\u2019s relationship with\u00a0architecture. It is often said that Vonna-Michell is a storyteller in the Benjaminian\u00a0mold. Naturally, if one inhabits a city in the sense of Benjamin, one must engage with\u00a0the surrounding cityscape. This is what Vonna-Michell does in his digital video piece\u00a0Postscript III-V (Berlin), which is as much a portrait of Berlin as his own\u00a0autobiographical reflection. Meanwhile, the synchronized slide work A Watermark:\u00a0Capitol Complex is a more in-depth examination, through fictional narrative, of a\u00a0particular architectural project, namely Le Corbusier\u2019s building group from\u00a0Chandigarh.<\/p>\n Presented by Yuki Higashino, guest: Tris Vonna-Michell<\/p>\n Tris Vonna-Michell lives in Stockholm. Exhibitions (selection): Presentation House<\/p>\n Gallery, Vancouver (2015); A story within a story, 8th G\u00f6teborg International Biennial<\/p>\n for Contemporary Art (2015); VOX, Centre de l\u2019image contemporaine, Montreal<\/p>\n (2014); Turner Prize 2014, Tate Britain, London (2014).<\/p>\n <\/p>\n Wednesday, January 18, 2017, 7pm<\/strong><\/p>\n A Curious Offspring Azoic in Nature<\/p>\n <\/p>\n If the success of a philosophical idea is to be measured by the extent of its infiltration\u00a0and the depth of its anchoring into popular consciousness, Marx\u2019s concept of\u00a0commodity fetishism surely is a strong contender for the top position. The idea that\u00a0goods can behave as though they have a life of their own, or that they can compel us\u00a0to behave as though they do, is so entrenched in our minds that it has almost\u00a0become a commonplace. It explains so many aspects of our lives and culture, from\u00a0vintage car collecting, HAL 9000, to the uncanny valley of cutting-edge robots and\u00a0digital animation. In works by Michael Eddy or Elizabeth Price, symbols of capitalism\u00a0such as credit cards (Eddy) or luxury cars (Price) are presented with their souls. What\u00a0if an economic system, and the exchange of goods and capital, came to resemble an\u00a0eco-system? For artists, this means the line between reflection on life and imitation\u00a0of artificial systems has become blurred.\u00a0In Ann Lislegaard\u2019s works, digital creatures seem to have already moved into their\u00a0own universe, the space composed of a networked group of various fictional realms\u00a0of science fiction, leaving our world, the world that constructed them behind. In\u00a0Oracles, Owls \u2026 Some Animals Never Sleep, the robotic owl from Blade Runner gives\u00a0disjointed prophesies derived from I-Ching. The owl in the film was an exclusive\u00a0luxury good manufactured by a mega corporation. This is an artificially fabricated\u00a0creature, initially an imaginary luxury item, gaining independence and imparting its\u00a0prediction for the future, thereby guiding us; is that the ultimate form of reification?\u00a0And in Spinning and Weaving Ada, the sentient and apparently literate spider pays its\u00a0homage to Ada Lovelace as though it were embracing an alternative history of\u00a0computing in which women can freely pursue their scientific calling. The spider is\u00a0capable of rewriting not only our past, but also our present and future.<\/p>\n Presented by Yuki Higashino, guest: Ann Lislegaard<\/p>\n Ann Lislegaard lives in New York and Copenhagen. Exhibitions (selection):<\/p>\n Paraspace, Tel Aviv Museum (2015); What if, MOCAD \u2013 Museum of Contemporary Art<\/p>\n Detroit (2009); Science Fiction and Other Worlds, Astrup Fearnely Museum of<\/p>\n Modern Art, Oslo (2007); Danish Pavillion, 51st Venice Biennale (2005).<\/p>\n \n","protected":false},"excerpt":{"rendered":" mumok \u2013 Museum moderner Kunst,\u00a0Stiftung Ludwig Wien Museumsplatz 1 | 1070 Wien mumok cinema,\u00a0Tickets: \u20ac 6,\u2013 \/ reduced \u20ac 4,50 In the opening paragraph of his fantastically crazed modernist masterpiece At SwimTwo-Birds, Irish writer Flann O\u2019Brien wrote: \u201cOne beginning and one ending for a\u00a0book was a thing I did not agree with. A good […]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[32],"tags":[],"class_list":["post-36508","post","type-post","status-publish","format-standard","hentry","category-redaktion-en"],"acf":[],"yoast_head":"\n