On Thursday, May 21, 2015, 8 p.m. Akademie Schloss Solitude opened the next series of exhibitions. Until July 5 works of current fellows in the disciplines design, video, film and new media will be shown. With the book presentation But They Are Not You by Alex Reynolds and the performance Because One Day… by Mireya Arauzo Ruiz and R. Armstrong on the night of the opening.
Precarity Pilot – Redirecting the Path of our Working Lives
Brave New Alps & Caterina Giuliani
How to make a living from the work you really want to produce? How to subvert conventional notions of success and how to activate structures of mutual support? Together with the artist Caterina Giuliani the design collective Brave New Alps presents the project Precarity Pilot, which explores issues of precarious work within creative industries. With an online resource platform and a number of workshops, the group aims at bringing designers together to collectively reorient the course of their working lives.
We Will Meet in the Blind Spot
Situated between documentary and fiction, the film We Will Meet in the Blind Spot by Maj Hasager relays the architecture of the Esposizione Universale di Roma (EUR) district in Rome. The EUR was built during the fascist rule of Mussolini to represent a »Third Rome« but wasn’t completed until the 1960’s, when it was eventually finished under very different purposes of urban planning. Through encounters with the local Filipino community centered around a church in EUR, personal accounts and stories are accounted that are often lacking within the Italien and European discussion on migration.
The exhibition shows a series of photographies as awll as the first draft of Lisa Rave’s new film In-between Matters, which deals with the ethnographic filmmaker Hermann Schlenker (*1932) and his works. Up to 1980, he completed more than 400 ethnographic films on indigenous communities around the world. The film by Lisa Rave and co-author Anna Vetter portrays Hermann Schlenker using the same techniques he himself used to create his ethnographic films. Between document and staging, the many ambiguities of ethnographic fieldwork and institutional archiving are explored.
A Proper Hidden Frenzy
A German American social club prepares to fold from financial pressure. Twice a month, abandoned suitcases are auctioned off in Baden-Wuerttemburg. A group of people from the suburbs gather regularly to laugh. How can we live an authentic life in this deracinated present, when traditions and old social structures are disintegrating? The three channel video installation A Proper Hidden Frenzy, by Lindsay Foster suggests that we are characters in our own dramas, yet aware that we are always, underneath it all, frustrated by our recognition of the role we play in manufacturing them. We are caught in an endless triangle: seek/consume, lack/loss, remake/reinvent.