November 29th, 2019 - February 2nd, 2020
curated by Enrico Lunghi
Kunsthalle Osnabrück presents CELEBRATION FACTORY, an evolving exhibition and performance project by FILIP MARKIEWICZ which started in 2016 at NN Contemporary Art Northampton and which was continued at Casino Luxembourg (2018) and at CCA Derry-Londonderry (early 2019).
While Europe and the world are entangled in their own contradictions in still celebrating economic growth and technical progress as the salvation horizon of humanity, Markiewicz invites to dive in an universe of signs and images which perform the emptiness of our current discourses. His exhibition is partly a stage on which individuals can act as spectators of the decline of their own civilisation, where the myth of automobile ends in desolate cemeteries of rusted engines and isolated, useless tyres, where giant bank notes vehicle the deceptive, obscene spectacle of politics and media (self-)representation, and where all revolutionary and emancipatory pulses sink in the slump of the illusion promoted by endless consumption and by the art world itself. As the artist stated in his theatre performance Fake Fiction (Theater Basel, 2017): “Today, we all have become a little Bela Lugosi1: the dance of the vampires of the European image can begin. It's time to put on our masks and drink the digital blood until our hard drive is formatted for eternity.”
Through a combination of various modes of expression including visual arts, performance, music, debate and celebration, and in cooperation with dancers, actors and musicians, Markiewicz explores the possibilities of an artistic language that encourages individual awareness and personal resistance to the reign of fear, giving no lessons nor providing vain hope. Such a language may be understood as an utopic quest to escape from the servile and mephitic attitude of “business as usual”, and may recall the spirit of the young La Boetie, who magnificently stated, already in 1576: “resolve to serve no more, and you are at once freed”.
Two significant loans from the Bühnen Archiv Oskar Schlemmer enrich the exhibition: the original "Bauhaus Signet" (1923/1996) and the "Grosse Maske Riesenmarionette" (1927/2016) will be on display throughout the exhibition.
The exhibition at Kunsthalle is organized in collaboration with NN Contemporary Art Northampton, Casino Luxembourg - Forum d'Art Contemporain and CCA Derry~Londonderry, is funded by Niedersächsisches Ministerium für Wissenschaft und Kultur and supported by the Association of Freunde der Kunsthalle Osnabrück e.V., Ableton, the FOCUNA Fonds Culturel National Luxembourg and Bühnen Archiv Oskar Schlemmer.
 Bela Lugosi is the first actor who has personified Dracula. The British post-punk band Bauhaus, which uses the logo of the Bauhaus School created by Oskar Schlemmer, announced in 1979 ”Dracula is dead and returns to his tomb”.
with special thanks for the generous support of Ultraplastik Celebration Night to the Association of Friends of the Kunsthalle Osnabrück e.V.
We are looking forward to celebrating the start of 2020 animating Filip Markiewicz's current exhibition Celebration Factory. We cordially invite you to a special, manifold program of "Ultraplastik Celebration Night" with international guests:
6 p.m. | new director's welcome
The New Year brings a big change for the Kunsthalle Osnabrück. Anna Jehle and Juliane Schickedanz have taken over the management of our exhibition house as a duo since the beginning of the year. The two will kick off the Ultraplastik Celebration Night with a greeting and look forward to meeting you at this party.
subsequently | panel discussion
with Filip Markiewicz, Enrico Lunghi & C. Raman Schlemmer
Various people involved in the project come together for the Ultraplastik Celebration Night as part of Celebration Factory. Introductory, we hear background information of this exhibition project directly from artist Filip Markiewicz and curator of the exhibition, Enrico Lunghi. Celebration Factory has migrated from Northampton, Luxembourg and Derry ~ Londonderry to Osnabrück and has changed and developed depending on the location. The discussion will also handle about the contextualization of the project and its individual stations or "chapters". C. Raman Schlemmer will complete the panel and talk about the collaboration with Filip Markiewicz at the Basel Theater and the exhibition cycle and what relevance it can have in an exhibition of contemporary art, to include art historical quotes from writings and works by Oskar Schlemmer (1888 - 1943).
Filip Markiewicz is a Luxembourgish artist of Polish origin, whose work, consisting of different disciplines, creates a coherent entity of drawings, videos and installations. Markiewicz represented the Grand Duchy of Luxembourg at the Venice Biennale in 2015 with his project "Paradiso Lussemburgo".
Enrico Lunghi is a Luxembourg art historian, curator and author of Italian origin. From 1996 to 2008 he was artistic director of Casino Luxembourg and 2009 to 2016 director of Mudam Luxembourg - Musée d'Art Moderne Grand-Duc Jean. Afterwards he became a member of the Service de Coordination de la Recherche et de l'Innovation pédagogiques et technologiques (SCRIPT) of the Ministry of Education.
C. Raman Schlemmer has been committed to making the oeuvre of his grandfather, who died prematurely, the artist and master at the Bauhaus, Oskar Schlemmer, internationally known since his studies. As curator of exhibitions and choreographer of interpretations of Oskar Schlemmer's dances, he revives the work of the Bauhaus master and one of the pioneers of performance art.
8 p.m. | performance
German premiere of Oskar Schlemmer's Triadic Ballet as a performative reinterpretation as part of the Celebration Factory exhibition by Filip Markiewicz
The triads travel around the world. Almost 100 years after their creation by Oskar Schlemmer, they travel to new shores in the New World. That was the wish of the artist and Bauhaus master when he sent them from Nazi Germany in 1937/1938 as messengers in large overseas suitcases to New York - but then he and his family could never follow them.
C. Raman Schlemmer, with three dancers, rehearsed the "Bauhaus dances" by Oskar Schlemmer in costumes and masks based on the originals, on the dance notations and on the music composed by Oskar Schlemmer, performed and recorded from Vincenzo Pasquariello.
The Schlemmer Triaden will make their debut in Germany in the installation of Celebration Factory by Filip Markiewicz in the Kunsthalle Osnabrück. The dance performance curated and designed by C. Raman Schlemmer was premiered in this form on October 2, 2019 as part of Frieze London. Co-production with Galerie Thaddaeus Ropac, London - Paris - Salzburg.
For the German premiere, the Kunsthalle Osnabrück has invited the three internationally renowned dance performers Matthew James Bell, Elisa Ingrassia and Kennedy Junior Muntanga from London. The dance performance is a collaboration between the Kunsthalle Osnabrück and the Bühnen Archiv Oskar Schlemmer and a unique opportunity to experience this Schlemmer performance live and with originals at the Ultraplastik Celebration Night in Osnabrück. Join the Celebration!
Matthew James Bell is a contemporary performer who currently lives in London. He also studied at the Rambert School for ballet and contemporary dance. Bell recently graduated from the London Contemporary Dance School with a postgraduate degree.
Elisa Ingrassia is an Italian dancer who lives in London. She studied at the Trinity Laban Conservatoire of Music and Dance in London. In 2018, she worked with fellow students as incognito dance company with Shechter and the up-coming choreographer James Finnemore for the event East Wall.
Kennedy Junior Muntanga, born in Ndola, Zambia, is a movement artist and dancer of the internationally renowned Akram Khan Company. The dancer studied ballet and contemporary dance at the Rambert School of Ballet and Contemporary Dance.
8.30 p.m. | Ultrasocial Pop | Bourse Bert-Theis #1 Osnabrück
live performance by Filip Markiewicz
Filip Markiewicz presents an experimental performance between electronic live sound elements, a video projection, lyrics and songwriting. Filip Markiewicz combines his musical solo project Raftside with his visual art in the form of an installation performance. The Ultrasocial Pop project will develop like a work in progress in 2020, inspired by the events of our world, and will continue in other cities. At the end of the year an edition of a vinyl record with a series of drawings will be presented. We are pleased that the first stop of Ultrasocial Pop is taking place during our New Year celebration in the Kunsthalle Osnabrück. The project is funded by Bourse Bert-Theis.
After the discussion, we offer a small snack and drinks in the foyer. Bilad Al-Sham - Arabic sweets and specialties will again serve up their Syrian delicacies. Drinks are available at the bar throughout the evening.
Due to the event, the Kunsthalle Osnabrück will open at 3 p.m. on January 25, 2020. Admission is free on this day.
If you want to know more...
... feel free to take part in our Sunday tour the next day. Our exhibition tours are guided tours to which we invite art lovers to visit the current exhibition and discuss it together. It always starts on Sundays during the exhibition times at 4 p.m. The tours cost only € 2 surcharge for entry and the duration is approximately 90 minutes.
The exhibition Celebration Factory at Kunsthalle Osnabrück is organized in collaboration with NN Contemporary Art Northampton, Casino Luxembourg - Forum d'Art Contemporain and CCA Derry~Londonderry, is funded by Niedersächsisches Ministerium für Wissenschaft und Kultur and supported by the Association of Freunde der Kunsthalle Osnabrück e.V., Ableton, the FOCUNA Fonds Culturel National Luxembourg and Bühnen Archiv Oskar Schlemmer.
Opening: August 24, 7 pm
Exhibition: August 24 - November 3rd, 2019
curated by Christian Oxenius and Jan Tichy
with the handprint of Bauhaus artist László Moholy-Nagy
and works of
Heba Y. Amin, Jakob Gautel, Olaf Holzapfel, Reuven Israel, Kostis Velonis and Jan Tichy
On the occasion of the 100th anniversary of the founding of the Bauhaus School in Weimar Kunsthalle Osnabrück will present Crossing Lines, an exhibition developed by artist and educator Jan Tichy and curator Christian Oxenius.
The concept for the exhibition, opening August 24, takes its initial inspiration from an unusual find in László Moholy-Nagy’s estate: a series of life-size print of his hand, as well as of other „Bauhäusler“, taken in May 1926 by the great Hungarian artist and leading figure of the Bauhaus. While probably the result of Moholy-Nagy’s interest in palmistry and spiritual practices, not at all uncommon within the Bauhaus, we cannot be certain about the precise reason that lead a group of thirteen individuals (among which Kandinsky, Breuer, Brandt and Moholy-Nagy himself) to produce these documents never exhibited before collectively. The handprints in this context contain a future prediction, told at a time in which modernism, as product of the Positivism of the 19th century, was both at its peak and yet was already showing signs of the fundamental flaws that led to its crisis, visible to this day. Their aura of mystery and mysticism, as well as the sense of community they express, makes the setting of the Kunsthalle Osnabrück, as former monastery, an ideal space in which to unfold a series of questions present in the many histories of the Bauhaus but too often missing from its public image.
These documents served as inspiring elements for a dialogue between Tichy and Oxenius leading to a selection of contemporary artists that with their practice and through the narratives they develop crossed the lines separating the complexity of the Bauhaus as a place for “experimentation (line of the introduction)” with its common narrative as a site of production of rationalist modernism. The contribution of Heba Y. Amin, Jakob Gautel, Olaf Holzapfel, Reuven Israel, Kostis Velonis and Tichy himself although developed independently entail a form of collective thinking and action, reflected in the spatial arrangements taken in the Kunsthalle and in the conceptual underpinning of the works.
The title Crossing Lines suggests this interplay between positions and narratives in the works presented in Osnabrück but serves also as an opening to the collaboration with the Institute of Design at the Illinois Institute of Chicago. The renown Chicago based institution, founded by Moholy-Nagy in 1937, will show a parallel exhibition to Crossing Lines held in the Carr Chapel designed by "Bauhäusler" Ludwig Mies van der Rohe in the United States, and opening in September as an extension and expansion of the dialogue with the hand-prints as well as a publication, the first occasion in which these objects are extensively discussed in literature.
The works on display will include both previously exhibited artworks as well as new productions designed specifically for the occasion.
Heba Y. Amin (* 1980, Cairo) confronts the authorship of historical narratives from a non-western standpoint, raising questions over colonial influences as well as pointing to the role of women (or absence thereof) within them. Her work "The Earth is an Imperfect Ellipsoid" challenges this by overlaying the writing of the Arab-Andalusian geographer Al-Bakri to current geo-political borders.
Jakob Gautel (* 1965, Karlsruhe) by displaying a series of photographs, drawings and archival documents explores his very personal relation to the Bauhaus, as both his grandparents were students there. This brings him to question the relation between memory, history, transmission, decay and transformation through a mixed media installation.
Olaf Holzapfel (* 1967, Dresden) presents a series of three of his hay pictures within a purposely designed wooden support structure (2018-19) and a digital print (2008) through which he questions a mechanic element in architecture juxtaposing to it a naturally present code within the material itself. This position places his work only at first glance in antithesis with the rational principles of Bauhaus architecture actually reconnecting with the experimental elements the school was exploring.
Reuven Israel (* 1978, Jerusalem) presents three sculptures from the series "As Above, So Below" (2016-17) in which the spiritual element is developed through the delicate balance in the composition of objects that relay to the viewer a sense of connection between heavens and earth also through the use of symbolically charged shapes. The forth work, “Untitled Folding Object 27A” is a shapeshifting object which directly engages with the linear suggested by the title of the exhibition.
Kostis Velonis (* 1968, lives and works in Athens) uses the work of Bauhaus artist Alma Buscher to develop a new work specifically for the spaces of the Kunsthalle in which the iconic geometrical shapes and colours of the Bauhaus are modified reflecting on the potentiality implied in its form.
Jan Tichy (* 1974 in Prague, lives and works in Chicago) displays three sets of historical Bauhaus palmprints, one created during workshops in Chicago, Modena and Hradec Kralove with local art students and faculty. The site-specific installation includes a sand drawing based on a horoscope chart found together with the prints in Moholy-Nagy archives and responding to the architecture of the former Dominican Church and monastery.
The exhibition was developed in cooperation with the Moholy-Nagy Foundation, Inc., Hattula Moholy-Nagy and Institute of Design at the Illinois Institute of Technology and is funded by the Lower Saxony Ministry of Science and Culture and supported by the Friends of the Kunsthalle Osnabrück, which are funded by the Foundation of Sparkasse Osnabrück.
>>>> The exhibition handout with a text by the curator Christian Oxenius. Just click to open.
A participatory group performance on August 25 in the Friedenssaal of Osnabrück's Town Hall
The Kunsthalle Osnabrück invites together with city stages to the "Friedenssaal" (Hall of Peace) of Osnabrück's Town Hall on August 25. In the context of Lab Europe the European Heritage project, that will bring young people from all over Europe to the city in August 2018, Ernesto Pujol will create a group performance: "The Listeners" are people aged 18 to 80, who practiced quiet and attentive listening with Pujol. During the cultural night on August 25, from sunrise to midnight, they will lend their ears to everyone who wants to "get rid of" something, tell a story or arrange his or her thoughts by speaking them out loudly. Therefore, the Hall of Peace is an important place to remember that listening is one of the most important skills in resolving conflicts.
With Revolution & Architecture Christoph Faulhaber (*1972 in Osnabrueck, lives in Hamburg) conceives, builds, designs and opens a whole series of very different rooms in the Kunsthalle Osnabrueck. In order to discover the revolutionary aspect of these "architectures," one has to look at the social implications of interior design and urban planning in general. In order to guide the visitor in that direction, Faulhaber leads him through a clever sequencing of various spaces. In the foyer of Kunsthalle Osnabrück visitors are welcomed into a plant landscape with loans from Osnabrück living rooms titled Curia. The ambience of a thoroughly eerie amusement park titled #1 Paradise is created in the nave of the former Dominican church, which is the largest exhibition space of Kunsthalle Osnabrueck. The artist displays 80 plastic balloons with a diameter of three meters each. The hallways are papered with collages of selected newspapers, objects and also architectural models from the archive of the action and performance artist; in the Reconstruction of the Amber Room you can look only from the outside. The courtyard hosts a 12 meter high scaffolding representing the façade of Rote Flora in Hamburg. In the forum the visitor then enters Faulhaber's cinematic autobiography Every Picture is an Empty Picture as in the eye of the cyclone: the work is split into 15 individual films and surrounds the visitor in a circle.
Faulhaber plays with the image expectations of the audience and acts with visible pleasure in deception, irritation and provocation. For example, he nourishes the pictorial memory of the Osnabrueck public, which is trained in concrete art, with well-known shapes and colors, but may be upset with the material he chooses: his oversized inflatable balls, like almost all the products of contemporary events, were made in China and are indestructible—with all the ecological consequences.
The same cannot be said of the green plant landscape in the entrance area, bathed in the yellow light of sodium vapor lamps. On behalf of the artist, Kunsthalle Osnabrueck conducts a highly sensitive lending business here. In the absence of extensive art collecting in the so called City of Peace, citizens were called upon to raise their houseplants to art status. The curators are now responsible for the careful care of sensitive objects, whose finiteness is always present in the awareness of lenders and borrower.
The Osnabrueck solo exhibition by Christoph Faulhaber shows, in addition to the two in-house productions for the foyer and the former nave, which with an exhibition space of about one thousand square meters and a height of 21 meters is certainly among the most demanding production locations in Germany, also a kind of retrospective of the artist "in nuce": 16 projects will be presented as videos and in the archive presentation specially created for the exhibition one can study the context and the working method of the artist with 15 examples. In addition, the Reconstruction of the Amber Room is reconstructed and there are numerous smaller individual works to see.
The two site-specific productions seamlessly follow Osnabrueck's history and everyday culture. Friedrich Vordemberge –Gildewert, co-founder of the Concrete Art movement, is a celebrated son of the city and already in 2015 the Kunsthalle Osnabrück was following in its footsteps in the exhibition "Concretely more space" with geometric design formats in art and architecture. Since then, the permanent installation of the Gildewart Line by Pedro Cabrita Reis has been part of the exterior façade of the Kunsthalle Osnabrueck and visualizes the examination of the Osnabrueck-born graphic artist, painter and sculptor Friedrich Vordemberge-Gildewart (1988-1962).
Curia, the plant landscape in the foyer also opens up against the ecological background of Osnabrück: the city is the seat of the German Federal Foundation for the Environment and the largest city in Germany to be entirely surrounded by a nature reserve.
Faulhaber now puts to the test both forms of self-understanding, the heritage of Concrete Art as well as the environmental awareness of his hometown. In 2010, the artist finished an interview with the art critic Oliver Zybok with the following words:
"Those who cannot stand the fact that art is capable of destroying a world in order to build a new one have not taken a close look at the Conditio Humana and the evolution of the history of ideas." (Kunstforum International, Vol. 205).
Language widens and defines boundaries. It creates our image of the world, and shapes our interaction with the world and with each other. Time and again, artistic languages in particular have worked against the simplification and entrenchment of our image of reality: they have deliberately produced non-sense, cultivated contradictions, upturned hierarchies, and devised new codes that let us see and experience the world in a different way: “wild grammar” as a counter declaration and an attempt to make a clean break.
With 32nd European Media Art Festival Osnabrueck will once again become a forum for exciting media art discourse. Featuring the theme of Wild Grammar, this year’s festival offers a whole host of works from Germany and abroad that are devoted to the question of the transformative power of language.
The programmers and curators have selected a multitude of high-calibre works from the 2,200 or more entries. This year, EMAF presents more than 130 short and feature-length films, as well as round about 40 installations and performances.
During talks at the Kunsthalle Osnabrueck, we will discuss the topic of language, using language. Several locations will showcase a wide range of pieces by young artists from various higher education institutions. Showcasing audiovisual works, exhibition performances, installations, sound performances and animations, INIT Experience provides the opportunity for lively exchange based on all kinds of artistic forms of expression at the Haus der Jugend and Haus Heger Straße 29/30.
Opening: April 24th | 7.30 pm
Festival: April 24th to 28th
More information: https://www.emaf.de/en/index.html
Catalog and program: https://www.emaf.de/en/Downloads.html
February 10 to April 7, 2019
Katharina Hohmann spent more than a year gradually laying bare the historical layers of the former Dominican monastery, which today is the home of the Kunsthalle Osnabruck. The diverse historical changes of the place serve the artist as a source of inspiration for her artistic approach via different media to create the solo show “Inventur”.
For the duration of the exhibition, Katharina Hohmann fundamentally transforms the Kunsthalle Osnabruck. It begins with the relocation of the entrance of the building to that ancient door, which probably was the original portal of the monastery. From the outside this new entrance is almost hidden by scaffolding, a fact that might cause irritation: Is the building in process of renovation? Is it closed due to inventory? Stepping through the scaffolding and crossing the threshold into the exhibition space is worthwhile: standing directly in the nave of the former church and confronted with the astonishing dimensions of the space, Katharina Hohmann's installations unfold in front of the visitor - a "fictitious construction site" filled with history and stories.
Visitors are invited to borrow a portable media player with headphones in order to walk through the exhibition, accompanied by various voices telling different stories, and embark on a voyage of discovery through time and space with a selection of documents, lists and stories from the Dominican monastery. These stories create what we call history and they often seem to be highly effective: There is the story about a persecuted man, who finds refuge in the monastery and whose restitution is demanded by the urban judiciary. The story about the abuse of a woman, the one about food supplies and their distribution, stories about deaths and births or the rights of use of land.
Katharina Hohmann examines both the religious functions of the Dominican monastery and the associated church as well as the developments after its dissolution by Napoleonic troops in 1803. The multiple uses as a military hospital, not only at the time of the French takeover but also in the 12th century, the use as granary, as a warehouse, as a magazine are in the center of the artist’s research.
All in all, the exhibition is as complex and rich in detail as the history that this place has seen. It invites the visitors to linger, to listen, to look closely and to discover and marvel - from February 10 to April 7, 2019 in the Kunsthalle Osnabruck.
Katharina Hohmann was born in Switzerland and grew up in Italy. After graduating in Fine Arts at the UDK Berlin she taught at various German and European art schools. She was involved in founding two international Master of Fine Arts programs: public art and new artistic strategies (Bauhaus University Weimar, 2001) and Work.Master (HEAD-Geneve, 2008). She now lives in Berlin and Geneva, where she has been teaching sculpture "Art et Espaces" at the Haute école d'art et design HEAD - Genève since 2007. Her works have been exhibited nationally and internationally in museums, galleries, art institutions and in public spaces.
„Katharina Hohmann: Inventur“ was organized in cooperation with the Freunde der Kunsthalle Osnabrück e. V., the Diözesanmuseum und Domschatzkammer Osnabrück and the Niedersächsisches Landesarchiv – Standort Osnabrück. It is funded by the FROMM Stiftung - Institut für kulturelle Leitformen, Niedersächsische Ministerium für Wissenschaft und Kultur and Pro Helvetia, Swiss Arts Council.
Opening: November 4th 2018, 11.30 am
Exhibition: November 4th 2018 - January 20th 2019
William Engelen (*1964 in Weert, The Netherlands) is a conceptual artist and composer whose diverse work ranges between sound installation, visual art, happening, performance and music.
The production procedure
Anyone who has followed the program of the Kunsthalle Osnabrück attentively could wittness the artist's production process in recent weeks. Visitors to the concerts "Gebrauchsspuren” (“Traces of Use”), which took place September 22nd on the square in front of the Lortzinghaus in Osnabrück or the premiere "Today, the Organ Has Played Beautifully Again" in St. Matthäus in Melle (October 14th ) may be curious, because they are part of the recorded footage and thus part of the composition. The purpose of the art project, which will open on November 4th, is to "translocate" the Klausing organ into the nave of Kunsthalle Osnabrück, which is located in a former Dominican monastery.
Premiere of "Gebrauchsspuren” (“Traces of Use”), (September 22nd)
The score "Traces of Use" was interpreted by the Canadian pianist Benoît Gagnon. As instruction he received an audio recording. The concert venue was the square in front of the St. Katharinenkirche in Osnabrück, on which 20 chairs were set up. Passers-by took a seat or stopped to listen to the sounds without them seeing who was playing. Gagnon showed himself to the audience only shortly after the last set at the window. His acoustic presence transformed the public space into a sensual event, with the sounds of the square mingling with the sounds that came out of a window.
Die Klausing-organ and the premiere in Melle
The Klausing organ of the St. Matthäus in Melle was originally located in the church of the Dominican order in Osnabrück, where today the Kunsthalle Osnabrück is located. After secularization during the Napoleonic Wars in 1803, the organ was transferred to the parish in Melle in 1819. At the premiere of the work composed especially for the organ "Today, the Organ Has Played Beautifully Again" William Engelen has taken over the role of the blower of the organ. It gave the artist the opportunity to shape the volumes of the notes themselves and to wrest new tonal formations and intonations from the instrument in order to prepare it for the synesthetic transmission process. The twelve-part composition "Today, the Organ Has Played Beautifully Again" (October 14th, St. Matthäus, Melle) followed a special sequence of instructions: "The Profane", "The Song of the Angels", "Evocation of Evil Spirits", "A Phenomenon with Delay "And" The Boisterous Blower of the Organ", interrupted by six intonations. The composition was played by Stephan Lutermann on the Klausing organ.
The concept of the exhibition
With the title of the exhibition "Today, the Organ Has Played Beautifully Again", William Engelen plays with the expectations and perceptions of the visitors, as well as with the invisibility of the instrument and the musician. Engelen's art can be understood as a reenactment or staging of spaces. The media dominated living environment has gradually changed the horizon of expectation of the audience. It seems as if it is no longer the material, but the medially condensed, is considered to be the “real thing”. What does this mean for the power of art in society? Is Engelen's minimalism an attempt to oppose overpowering strategies? Can art even sensually reconvert volatilities and dematerialization? Can art make the oscillation between visibility and invisibility tangible? Or does the artist merely offer cautionary insights into what can be lost in translocations through the disclosure of the production processes?
The show „Heute hat die Orgel wieder schön gespielt“ by William Engelen is a cooperation with the Freunde der Kunsthalle Osnabrück e. V. and is supported by the Niedersächsische Ministerium für Wissenschaft und Kultur.
February 11 - April 2, 2018
From February 11, 2018, visitors of the Kunsthalle Osnabrück will find a 28 meters long frieze of more than 400 drawings on objects, books and records produced on site for the nave of the Kunsthalle. Mastrovito creates a timeline of the 21st century with this assemblage of drawings and objects which runs from 9/11 until today. Another highlight of the exhibition consists of an 18 meter long colored window-wall for the Forum of Kunsthalle Osnabrück. Inspired by the imagery and the topics of Albrecht Dürer, whose entire series of prints is part of the collection of the municipality of Osnabrück, Mastrovito tells the story of the “Melancholy of the Invisible Man”.
Visitors can experience Andrea Mastrovito's production "Symphony of a Century" as an artistic contribution to the archeology of fear: How does fear arise? Which forms does it take and who spreads it? How have we dealt with it over the centuries? How, why and where are we encountering “Angst” today? These are the questions that led the Italian artist to spend three years working on the production of "NYsferatu".
The animated film, which consists of 35,000 drawings, goes back to Fritz Murnau's "Nosferatu" from 1922. Murnau had borrowed the plot of the film from the novel "Dracula" published by Irish author Bram Stoker in 1897. While Murnau moved the story of the fearsome stranger from the East from the British Kingdom to inter-war Germany, Mastrovito transfers his story to the time of the 45th President of the USA. With his animated film, Mastrovito provides a modern history of migration and makes a statement about the horror of the unknown and the inspiring search for freedom. For producing the piece, Mastrovito was assisted by 12 draftsmen and received by “More Art”, a New York based non-profit organization that promotes collaboration between professional artists and communities.
In Osnabrück the film receives not only its German premiere, but is also shown as an installation for the first time. Andrea Mastrovito projects the film in the “nave ” of Kunsthalle Osnabrück, which is situated in a former Dominican cloister on a wall, which consists of approximately 5,000 books. The books derive from the holdings of the city library Osnabrück. Readers were called upon to select book titles on scary subjects from the library holdings and to give their recommendations for the book wall.
Andrea Mastrovito has lived in New York since 2014. "NYsferatu" was first shown in August 2017 at the Queens Museum New York and in October 2017 as part of the Rome Film Fest.
For information on New York's NYsferatu project: www.nysferatu.org
The curatorial concept of the Kunsthalle Osnabrück is to create metaphors of temporary community formation. The current installation, designed by Felice Varini for the market square in Osnabrück and for the Kunsthalle, fits into the series of projects in which artists perform together with the audience new community experiences.
It began in 2014/15 with Michael Beutler, who transformed the Kunsthalle into a space for community experiences by installing a circulating seat with 150 barrel lengths in the former church room. The curatorial concept was continued with performative and time-based exhibition projects by IRWIN, Maria José Arjona, Ernesto Pujol and Jan Tichy in the years 2015/2016.
Varini applied adhesive tape to the façades of the houses located on the market square, a simple yet very complex geometric figure. The project is being developed in cooperation with the municipal department of culture, the municipalities of the Evangelical Church of St. Mary and Osnabrück St. Peter's Cathedral.
The installation on the historic market square, the Christian center of the Friedensstadt, will be opened together with the double installation in the Kunsthalle on Tuesday, June 6th - in the opening week of the Skulpturprojekte Münster and the documenta 14 in Kassel. Dr. Julia Draganović and Valérie Schwindt-Kleveman curate the project in the city center together.
Felice Varini has created a double composition for the Kunsthalle Osnabrück, which raises questions about community education in the former monastic assembly room. However, possible answers are not postulated but reflected. The changing position of the viewer plays an important role in this geometric composition: What does "central perspective" mean? Are geometrical forms capable of shifting social meanings? How does "common sense" work? Jan Tichy had shaped the concept of "social formalism" in December, thus bringing the curatorial concept of Julia Draganovic to the point. Varini continues this legacy of "Concrete Discourse" in Osnabrück.
Felice Varini was born in Locarno, Switzerland, in 1952 and lives and works in Paris. He has produced several interventions in public spaces and numerous installations at museums in Europe and the USA. In 2016 the MAMO presented a large single exhibition of his works in the building designed by Le Corbusier.
More information about the artist:
Hüseyin Bahri Alptekin (TR), Halil Altindere (TR), Zehra Arslan (DE / TR / IL), Jakob und Manila Bartnik (PH/PL), Cana Bilir-Meier (AUT / TR), Burçak Bingöl, (TR), Hera Büyüktasçiyan (TR), Aissa Deebi, Ahmet Elhan (TR), Köken Ergun,(TR), Petra Fiebig (DE), Jeanno Gaussi (AFN / DE), Jakob Gautel (DE), Aikaterini Gegisian (GR), Ghazel (IRN / FR), JR (FR), Jun-Ichiro Ishii (JP), Pravdoliub Ivanov (BG), Birgit Johnsen and Hanne Nielsen (DK), Ahmet Kavas (TR), Katerina Kuznetcowa (RU) und Alexander Edisherov (GEO), Reysi Kamhi (TR/IL) Stefan Tchernboc (DE), Kalliopi Lemos (GR), Ali Mirhabi (TR), Boris Mikhailov (UA), Eleni Mylonas (GR / USA), Felix Nussbaum (DE), Maria Otte (DE), Julie Roch-Cuerrier (CA), Margit Rusert und Christine Vennemann (DE), Hiltrud Schäfer (DE), Joanna Schulte (DE), Soheila Sokhanvari (IRN / UK), Veit Stratmann (FR /DE), Panos Tsagaris (GR), Stefanos Tsivopoulos (GR), Viron Erol Vert (DE / TR), Roberto Voorbij (NL)
Curated by Christian Oxenius
in cooperation with CABININ - Çanakkale Biennial Initiative
40 Artists, 4 venues, 17 countries in dialogue over the theme "Homeland". Originally conceived as a parallel event to the 5th Çanakkale Biennial, the city of Osnabrück invites to the two-monthly "Çanakkale Art Walk 2017: Homeland". The groupshow, curated by Christian Oxenius in cooperation with CABININ - Çanakkale Biennale Initiative. Four contemporary art institutions will come together for the common opening of the exhibition: Kunsthalle Osnabrück, the Museumsquartier (Felix-Nussbaum-Haus/ Kulturgeschichtliches Museum), the Bund Bildender Künstler Osnabrück (BBK) and the Gesellschaft für zeitgenössische Kunst e.V.The opening of Çanakkale Art Walk 2017: Homeland will be held officially on June 6th at the Kunsthalle Osnabrück, Hasemauer 1, at 6 pm from which guests will be guided to the other venues.
Icaro Zorbar: Verweile doch (ein Abgesang)Kunsthalle Osnabrück„Verweile doch (ein Abgesang)“ [engl. „Stay a while (a swansong)“] will be the first institutional solo exhibition by the Colombian artist Icaro Zorbar in Europe. It will take place at Kunsthalle Osnabrück (Januar 29th – April 2nd, 2017) and is the first exhibition of the co-operation project "Danse Macabre". Involved in this project are the Theatre Osnabrück, the Felix-Nussbaum-House and the Diözesanmuseum, who will present their productions and exhibitions from February to May 2017.
More information: www.dansemacabre-osnabrueck.de
Colombian artist Icaro Zorbar transforms old record players, overhead projectors, music boxes, fans and other technical relics into transformative deconstructions and minimalist cosmologies. The visitor, who has just experienced the light-metaphysics of Jan Tichy’s “Installation No. 29, Neues Rathaus” and the sound performance "I hear light" by Ayumi Paul, may be surprised by the complete alteration of the main exhibition space of Kunsthalle Osnabrück.
Performance by Ayumi Paul
November, 20th 2016, 10 a.m. – 6 p.m.
January, 8th, 2017, 10 a.m. – 6 p.m.
The violinist Ayumi Paul has been collecting sound at the Kunsthalle since her performance in June 2015. During her 2 full-day performances on November 20th and January 8th, these sounds will be activated as a site specific soundscape, using raw mp3 modules and simple speakers placed along the bench by Michael Beutler. Each sound module becomes a singular object containing one specific sound, interweaving between the live performance, the space and the visitors. The simultaneity of those nonsimultaneous sound events enlarges the perception of time and unfolds relationships between everything, embedded in an infinite process of change.
The work was conceived in close dialogue with Jan Tichy during his preparation of "Installation No.29 (Neues Rathaus)" and both works will be influencing each other in a continuous cycle of new perceptions created by their interplay during the performance.
The artist thanks Ivo Wessel for his technical advice and support in realizing this project.
The exhibition „Neues Rathaus“ (18.11.2016 – 8.1.2017) is Jan Tichy`s first institutional solo exhibition in Germany. Installation no.29, Neues Rathaus (2016) animates the 50 meters long, darkened nave of the former Dominican church with a, four channel synchronized light projection, changing the perception of the gothic space. Curated by Julia Draganovic and Barbara Kaesbohrer, the exhibition presents five bodies of works of the Chicago-based artist. A series of screen-prints “On Decomposition of a Plane (2015)” combined with video works from the “Changing Series (2012-2016)” will be presented in the cloister of the Kunsthalle Osnabrück.
The title of “Installation Nr. 29 (Neues Rathaus)” refers to the one of the stories of Schilda citizens. After having forgotten to build windows in the new town hall, they tried to carry in the sunlight with bags and buckets into the building. The artist inverts the story and asks the “light carriers” to collect the light in the interior space of the former church which is usually illuminated by daylight. During the summer months of 2016 Kunsthalle Osnabrück was inviting visitors to take photos in the sun lit interior of the former church and share them as “#lichttraeger” on social media. The photographic material of the collected light has been edited and projected on the glass entrance doors of the Kunsthalle.
During the time of the exhibition, Osnabrück curator and initiator of „Lichte Momente“ Valérie Schwindt-Kleveman (experimental film workshop e. V., EMAF) has initiated the project “Changing Osnabrück” (2016) based on the concept of “expanded moment” formulated by Tichy. Young filmmakers are invited to capture and share a two-minute single shot video without moving the camera, resulting in a time based portrait of Osnabrück created by its residents. “Changing Osnabrück”, a premiere of the project in Germany, is a follow up on “Changing Chicago” produced with Museum of Contemporary Photography Chicago and “Expanded Moment” by PBS. The videos of “Changing Osnabrück” will be projected on the exterior facade of Felix-Nussbaum-Haus within the framework of “Lichte Momente”. “Changing Osnabrück” has been coordinated by Monika Witte.
The work “German Nature” (2016) has been produced in collaboration with Galerie Kornfeld, Berlin. The neon sculpture corresponds with light to the online, live signal of sound created as a music-playlist by refugees currently living in Osnabrück and suggesting a presence of new languages in the German space. The installation will be presented in Berlin within the framework of the exhibition “Weight of Glass” organized by the gallery and following a three months residency. Jan Tichy dealt with the work and educational heritage of László Moholy-Nagy in number of works, including the video “Things To Come 1936-2012” that has been recently presented in the accompanying programing of the László Moholy-Nagy retrospective in the Guggenheim Museum in New York. Galerie Kornfeld invited Tichy to consider the Berlin perspective during 2016 residency. “Weight of Glass” draws a line between the Bauhausers leaving in the 1930’s and the newcomers of the last years.
Born in Prague in 1974, Jan Tichy studied art in Israel and received his Master of Fine Arts from the School of the Art Institute of Chicago where he is currently Assistant Professor at the Departments of Photography and Art Technology Studies.
Important solo exhibitions: MCA Chicago, Santa Barbara Museum of Art, Wadsworth Atheneum Museum of Art, Museum of Contemporary Photography in Chicago, Chicago Cultural Center, Tel Aviv Museum of Art, CCA Tel Aviv.
Works of Jan Tichy are represented in renowned museum collections, including Museum of Modern Art, New York; Israel Museum, Jerusalem, Magasin Stockholm Konsthall, Indianapolis Museum of Art. The artist is involved in number of public projects in the USA, one of them being “Expanded Moment” which provides the basis for the concept of “Changing Osnabrück”.
Sponsors (Kunsthalle Osnabrück): The annual program of the Kunsthalle is realised in cooperation with Freunde der Kunsthalle Osnabrück e. V. and sponsored by the Ministerium für Wissenschaft und Kultur des Landes Niedersachsen. The exhibition of Jan Tichy has received funding from the Artis Grant Program (www.artiscontemporary.org). For this project Freunde der Kunsthalle e.V. received a financial support from COLLEGIUM Vermögensverwaltungs AG.
Performance: June 4-5th 2016
Exhibition and Workshops: June 7-19th 2016
The New York based performance artist Ernesto Pujol has developed a new, site-specific, community-centered performance for the Kunsthalle Osnabrück: “Systems of Weight”. Through the communal experience of silent walking, this social choreographer attempts to make the lightness and heaviness of both the past and things passed more immediate and experienceable. Pujol disposes of international experience in collaborative, artistic practices and works with experts from a wide variety of disciplines. After four years of living as a silent monk, Pujol left the church and worked as a social worker while simultaneously attending art school.
Two swings float through the former nave of the Kunsthalle. A nest of cotton, shadowplay of a corkscrew hazel, bird calls and a performance artist in plumage who is drawing with tobacco: the exhibition “You are Splendid!” is the outcome of a research project lasting more than two years that the Columbian artist Maria José Arjona has dedicated to the world of birds in her Latin American home and that will keep changing until the end of the exhibition in March.
Arjona’s observations of migratory birds began in New York, the most northerly point of the hemisphere in which the artist from the equatorial region has ever lived.
Osnabrück is devoting the first ever solo museum exhibition in Europe to the performance Artist!
IRWIN, Dreams and Conflicts, 2003. Foto: Igor Andjelič.Oops, an error occurred! Code: 20200221092523a1466872