In conjunction with the event series »Chronicles of Work III: What’s Work Worth?« the contributions for the exhibition »What’s Work Worth« focus on the process of art production as well as on its methods and strategies. The different ways of how fellows perceive their own work, will be presented in performances, sound installations, videos and paintings. On view are contributions, commodities and materials which identify possible ways of artistic practice and deal with the manifold forms of artistic expression.
Sivan Cohen Elias
Creation of LeftOvers: A video-audio-and-live-objects installation
The machine »LeftOvers« is the result of a cooperation between the Israeli composer and performer Sivan Cohen Elias and the South-African engineer Teddy Mudge. It is part of Cohen Elias installation and will be presented during »Der Sommer in Stuttgart ’13« on June 22,2013 at Theaterhaus Stuttgart by the Ensemble ascolta. The installation also includes various videos, objects, and drawings which document the process of creation and the discussions between the composer and the engineer.
Kontekst Collectiv (Vida Knežević & Marko Miletić)
»A Sketch for the Possibility of Art against Neoliberal Capitalism«
The artist-duo Kontext Collectiv documents a performance which was part of the project »Oktobar XXX: Exhibition–Symposium–Performance« 2012 in Pančevo (Serbia). Primarily designed as »re-enactment« it refers to the experimental exhibition »Oktobar 75« from 1975 in Belgrade which presented numerous critical comments from galerists, artists and critics of the Serbian art scene on the »self-management of the artist«. Kontekst Collectiv’s performance is the outcome of the two-year project »Kontekst, struggle for autonomous space« which documents the work of the artist Mirko Kujačić in 1932 and picks up the political context of that time as a reference for the creation of alternative concepts to our contemporary capitalist mode of production.
Reynard Hulme & Anne Kawala & Marc Perrin
With their text installation, the jurist Reynard Hulme, and writers Anne Kawala and Marc Perrin document the private spaces of artistic production. Text fragments and fictions from the fellows’ daily E-mail exchange (like invitations and daily announcements) are reordered and thus create a completely new image of the correspondence and a truly complex image of the fellows working rhythm.
1 Kanal Video (HD-1080i), 1 Kanal Audio, 2:30 min.
The installation »One’s Vocabulary« consists of two interviews with two artists and a chess player who talk about their work and their general view on life and things in their respective mother tongue. Basir Mahmood mixes the recordings with film material that is not directly related to the content of the interviews. The installation brings the two, seemingly rather different sides together and creates very personal portraits which invite the viewer to freely associate the single elements.
With the classic means of painting, the artist Ndikhumbule Ngqinambi focuses on the mechanisms of power in South-African society. He positions himself through his paintings and wonders which attributes and signs are used to establish power and which oppression strategies are usually implied.
Therefore, he also reflects the power of painting and its ability to deal with political questions by using paint, brushes, canvas and paper.
»After the Solitude of Cotton Fields (Elastic Edition 3)«
The theatre of 80’s playwright Bernard Marie Koltès is a series of apocalyptic urban scenes where the commercial deal is the form of all human interactions and affects everything from language to architecture and design. For his video contribution, Thomas Pausz has invited collaborators from various disciplines to revisit Koltès’ plays in 2013: Can we extract some urban design lessons from these dark visions of the city in the 1980’s? The work of Koltès is interpreted and transformed through participatory workshops, collective readings and visual research.
Hand-cut projection screen, spotlight, 2009–2013
For over a hundred years, Da-Lite has been the world leader in the manufacture and export of projection screens. In the 1955 Silver-Lite model presented here, geometric shapes have been meticulously cut into the reflective surface.
Hovering on the edge of shadow, between reinvention and potential collapse, the screen may be an alluring object in itself, but in relation to the mass of discarded shapes beneath, a dialectic emerges, where the multitude takes over the spotlight.
Studio umschichten (Lukasz Lendzinski & Peter Weigand) & Thomas Gantner
»SaunaDiscoImbiss – Fragments of the Process«
Together with the architect Thomas Gantner, the architect studio umschichten will install a »SaunaDiscoImbiss« in the castle’s courtyard, just one week before the opening. They aim to create a particular and different working atmosphere among all involved protagonists while transforming the already existing transport container (currently used as sauna) into something different.
Zeichnungen, Texte, Skizzen und Partituren – Drawings, Texts, Sketches and Scores
The heart of the exhibition consists of numerous pages with drawings, texts, sketches and scores which represent the work process of artists but usually don’t leave the artists’ studios. To contemplate something, to quickly sketch an idea, to take note of a causal chain or a quick thought, an expression: What artists, writers, composers or scientists produce is mostly first put on a piece of paper, even nowadays in the computer-age. For this part of the exhibition, the Solitude fellows have handed in an amazing amount aof cryptic documents, all provided with a short comment.
Artistic direction, texts and scenography: Olivia Franke, Thomas Gantner and Marlène Perronet
Technical coordination: Stephan Pohl
PERFORMANCE DURING THE OPENING AT 9 PM:
»Oil Pressure Vibrator«
Geumhyung Jeong tells us of the pursuit of the subject of her desire in the form of an extremely unique lecture that becomes a meta-performance of her existing work. While explaining her love affair with an excavator, she talks about her past, and things become ambiguous whether the artist is introducing her piece or if we are hearing the confessions of the character inside the story. A fuzzy, puzzling and interesting performance unfolds on stage.
On view: Friday, June 14 to Sunday, July 28, 2013
Opening Hours: Tue–Fri 10–12 am & 2–4 pm, Sat–Sun 12–5 pm