KOW A contemporary art gallery in Berlin
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Betreff: CANDICE BREITZ / SAARLANDMUSEUM– see englisch text below –Die seit drei Jahren für 2024 geplante Ausstellung vo...
30/11/2023

Betreff: CANDICE BREITZ / SAARLANDMUSEUM
– see englisch text below –

Die seit drei Jahren für 2024 geplante Ausstellung von Candice Breitz im Saarlandmuseum wurde von der Stiftung Saarländischer Kulturbesitz wegen vermeintlicher Äußerungen der jüdischen Künstlerin zum aktuellen Geschehen in Israel und Palästina und „in Anbetracht der medialen Berichterstattungen über die Künstlerin“ annulliert. Dazu möchte KOW Stellung nehmen.

Gerade die viel beachteten öffentlichen Äußerungen von Candice Breitz waren in den vergangenen Wochen beispielhaft für den Versuch einer ebenso engagierten wie ausgewogenen und nachvollziehbaren Argumentation, die – aus jüdischer Sicht – einerseits den Terror der Hamas verurteilt, andererseits vor Gewaltexzessen der israelischen Regierung warnt und dabei die Gefahren für die Zivilbevölkerung auf allen Seiten unterstreicht. Breitz Aussagen standen dabei stets im Einklang mit Erklärungen der UNO und zahlreicher anerkannter jüdischer wie nichtjüdischer Organisationen weltweit.

Ohne vorab mit der Künstlerin zu sprechen und ihr die Gelegenheit zu einer Stellungnahme zu geben, verlautbarte die Stiftung Saarländischer Kulturbesitz die Zensur der Ausstellung, weil Breitz sich „nicht ausreichend gegen den Terror der Hamas positioniert“ habe. Zahlreiche Fakten widerlegen diese Behauptung. Gleichwohl begründet auch die Saarländische Kulturministerin, Christine Streichert-Clivot, die dem Saarlandmuseum gegenüber eine Kontrollfunktion ausübt, die Ausladung der jüdischen Künstlerin mit dem Auftrag, Antisemitismus zu bekämpfen (sic). Sie schloss sich der Auffassung des Stiftungsvorstands an, Breitz habe „den Terror der Hamas nicht als Zivilisationsbruch“ anerkannt. Dass die Künstlerin, über die sie spricht, selbst Jüdin ist, erwähnte die Ministerin bei diesen Äußerungen nicht.

Das Verhalten der Stiftung Saarländischer Kulturbesitz untergräbt nicht nur die Meinungsfreiheit der Künstlerin und schränkt die Kunstfreiheit auf illegitime Weise ein. Es beschädigt auch den demokratischen Auftrag öffentlich finanzierter Institutionen und stellt eine Bedrohung für alle dar, die kritische, aus Sicht von Staat und Medien nonkonforme Standpunkte vertreten. Neben dem Bruch zuvor aufgebauten Vertrauens schädigt die SSK auch öffentlich den Ruf und die wirtschaftliche Existenz der von ihr eingeladenen Künstlerin. Auch der Ruf des Saarlandmuseums dürfte nun substanziell beschädigt sein.

KOW stellt sich die Frage, wo die Grenzen dieses staatlichen und institutionellen Handelns liegen, das Schlüsselprinzipien demokratischer Kultur, Auseinandersetzung und Zusammenarbeit verlässt und – oft aufgrund von medialer Berichterstattung, deren Wahrheitsgehalt nicht überprüft wird – Personen und Projekte moralisch denunziert, delegitimiert, und finanziell beeinträchtigt. Diese neue Qualität von direkter oder indirekter Zensur von freier Rede und Kritik, Nachdenklichkeit und Besorgnis, ist beängstigend.

KOW

– ENGLISH –

The exhibition of Candice Breitz’s work at the Saarlandmuseum scheduled for 2024, planning for which began three years ago, was canceled by Stiftung Saarländischer Kulturbesitz because of remarks allegedly made by the Jewish artist concerning the current events in Israel and Palestine and “in light of media reports about the artist.” KOW would like to respond to this development.

Candice Breitz’s widely noted public comments in recent weeks have been an outstanding example of the earnest effort to discuss the events in a principled, balanced, and fair-minded manner. Speaking from her own Jewish perspective, she has condemned Hamas’s terror while also warning against excessive violence from the Israeli authorities and highlighting the dangers to civilians on all sides. Breitz’s comments have always been consonant with statements issued by the UN and numerous respected Jewish as well as non-Jewish organizations all over the world.

Without speaking to the artist or offering her the opportunity to clarify her views, Stiftung Saarländischer Kulturbesitz announced its decision to censor the exhibition because Breitz “did not take a clear enough stance against Hamas’s terror.” This allegation is refuted by ample evidence. Nonetheless, Saarland Minister of Education and Culture Christine Streichert-Clivot, who supervises the Saarlandmuseum, has likewise defended the decision to uninvite the Jewish artist with reference to the duty to combat anti-Semitism (sic). She concurred with the assertion of the foundation’s chairwoman that Breitz “failed to acknowledge that Hamas’s terror constituted a rupture of civilization.” The minister never mentioned that the artist in question is Jewish herself.

Stiftung Saarländischer Kulturbesitz’s actions not only undermine the artist’s freedom of expression and illegitimately curtail the freedom of art. They also undercut the democratic mission of publicly funded institutions and represent a threat to anyone who takes critical views regarded as nonconforming by the government and media. In addition to betraying the trust the artist had placed in it by taking up its invitation to show her work, the foundation has publicly injured her reputation and jeopardized her economic existence. The Saarlandmuseum’s own reputation, too, has likely suffered substantial damage.

At KOW, we wonder what the limits of such governmental and institutional measures are, which abandon key principles of democratic culture, debate, and cooperation and—often on the basis of media reports whose accuracy is never verified—defame individuals and projects, compromising their moral standing and legitimacy and inflicting financial damage on them. This new quality of direct or indirect censorship of free speech and criticism, thoughtfulness and concern, is frightening.

KOW

IN CONVERSATION:CANDICE BREITZ & COCO FUSCOKOW BERLIN DEC 6, 7pm  „Artists Candice Breitz and Coco Fusco hail from diffe...
21/11/2023

IN CONVERSATION:
CANDICE BREITZ & COCO FUSCO

KOW BERLIN

DEC 6, 7pm




„Artists Candice Breitz and Coco Fusco hail from different parts of the world, but they share an interest in using performative strategies to explore cultural myths and the deeply embedded power dynamics and social disparities that these perpetuate. Both artists make use of humour, parody and impersonation to unsettle entrenched notions of identity and difference, including via the staging of satirical autoethnographies. On 6 December, Breitz and Fusco will engage in a conversation about the challenges of engaging with volatile subject matter, as well as the strategic benefits of art practices that create space for reflection on urgent social issues.

Coco Fusco is an interdisciplinary artist and writer. ‘Tomorrow I Will Become an Island,’ a solo retrospective of Fusco’s works, is currently on view at Berlin’s KW Institute of Contemporary Art. She is the author of four books and a professor of art at Cooper Union.

Candice Breitz is a Berlin-based artist, activist and public intellectual. Her exhibition, ‘Candice Breitz: Whiteface,’ remains on view at Fotografiska Berlin until 4 December 2023. She has held a professorship at the HBK Braunschweig since 2007.“

Attendance is free, no ticket or registration necessary.

currently on viewTOBIAS ZIELONY IMAGE ECOLOGY group show C/O BERLINSEP 16 - JAN 18, 2024Curated by Boaz Levin and Dr. Ka...
14/11/2023

currently on view
TOBIAS ZIELONY
IMAGE ECOLOGY

group show

C/O BERLIN

SEP 16 - JAN 18, 2024

Curated by Boaz Levin and Dr. Kathrin Schönegg.






Credit: Tobias Zielony, Electricity/Afterimages, 2023, Installation view, Image Ecology at C/O Berlin, 2023 © C/O Berlin Foundation, David von Becker

FRANZ ERHARD WALTHERCREATION NEEDS ACTION PERFORMA BIENNIAL 2023 JUDD FOUNDATION, NYNOV 16 - NOV 19 “For more than sixty...
10/11/2023

FRANZ ERHARD WALTHER
CREATION NEEDS ACTION

PERFORMA BIENNIAL 2023

JUDD FOUNDATION, NY

NOV 16 - NOV 19

“For more than sixty years (…) Franz Erhard Walther has been radically reimagining the relationship between space, objects, and bodies. His installations are often comprised of sculptures made of canvas and other fabrics that can hang on the wall, lay on the floor or be worn by the artist as well as audience members. Users are invited by Walther to manipulate his sculptures and explore the tensions amongst them.” (…)

Curated by Charles Aubin.






Credit: Sehkanal (1. Werksatz, Element #46) (Channel of Sight (First Work Set, element #46)), 1968/2012, ”Determinations of Proportion“ at Estancia FEMSA - Casa Luis Barragán (Terrace), 2018
Photo: Enrique Macías

IN THE CONTEXT OF THE COLLECTION: CLEMENS VON WEDEMEYER KUNSTMUSEUM LIECHTENSTEINSEP 01 - FEB 24, 2024“Clemens von Wedem...
09/11/2023

IN THE CONTEXT OF THE COLLECTION: CLEMENS VON WEDEMEYER

KUNSTMUSEUM LIECHTENSTEIN

SEP 01 - FEB 24, 2024

“Clemens von Wedemeyer features in the Kunstmuseum’s collection with three video installations and two sculptural works. The solo show combines a section of these with recent works. (…) Von Wedemeyer, who’s films and spatial installations operate in the realm between real situations and speculative retellings, explores structural principles in social and historical contexts - and in the film medium itself. His work often incorporate the circumstances in which they are created.
One focus of the exhibition is the relationship between film and sculpture and it’s implicit historiography. The show illustrates how sculptures can seemingly be brought to life and how the immaterial can assume form.”

Curated by Christiane Meyer-Stoll

Credit: Installation view “In the Context of the Collection: Clemems von Wedemeyer“ (2023-24), Kunstmuseum Liechtenstein, Photo: Alicia Olmos Ochoa





KOW at Artissima 2023 - featuring works by Chto Delat, Alice Creischer, Anna Ehrenstein, Barbara Hammer, Hudinilson Jr, ...
04/11/2023

KOW at Artissima 2023 - featuring works by Chto Delat, Alice Creischer, Anna Ehrenstein, Barbara Hammer, Hudinilson Jr, Mario Pfeifer and Michael E. Smith.

CATPC in the „Disegni“ section of Artissima 2023 with drawings by CATPC members Leba Maboki, Matthieu Kasiama and Maô Ki...
02/11/2023

CATPC in the „Disegni“ section of Artissima 2023 with drawings by CATPC members Leba Maboki, Matthieu Kasiama and Maô Kingunza.

The drawings by CATPC members express a deep sense of collectivity. They emerge from a common effort to transform the spiritual and material landscape of the Lusanga plantation in the Democratic Republic of Congo (DRC). In the past 10 years, the Lusanga community has managed to free itself from industrial plantation labor and poverty. They were able to regain their sovereignty through the revival of artistic practices that were suppressed or banned for more than a century under plantation rulership. This new generation of Congolese artistic voices is not coming from the cultural capitals but from the economic and cultural periphery. It has provided astonishing insights into a symbolic world that is reorientating itself between lived local experience and globalization, postcolonial critique and reconciliation, ecological and economic sustainability, and common property.
Their work has been shown internationally in institutions such as The Sculpture Center (New York City), WIELS (Brussels), SCCA (Tamale) and the Mori Museum (Tokyo). In 2024 they will represent the Netherlands at the Venice Biennial together with Renzo Martens.

LAST WEEK TO SEE PETER FRIEDL —TEATRO POPULAR until November 4th
31/10/2023

LAST WEEK TO SEE

PETER FRIEDL —
TEATRO POPULAR

until November 4th

Zelle 5 - Eine Rekonstruktion gewinnt den Hessischen Filmpreis 2023 in der Kategorie*Bester Kurzfilm*Jurybegründung:"ZEL...
28/10/2023

Zelle 5 - Eine Rekonstruktion gewinnt den Hessischen Filmpreis 2023 in der Kategorie
*Bester Kurzfilm*

Jurybegründung:

"ZELLE 5 erzählt meisterhaft eine erschütternde Abfolge von Ereignissen, die die Zuschauerinnen und Zuschauer tief in die Umstände eines Todesfalls in den Räumen einer Polizeistation hineinzieht. Durch die Anwendung einer forensischen Rekonstruktion nimmt ZELLE 5 das Publikum gekonnt mit auf Spurensuche innerhalb dieser alptraumhaften Geschehnisse, Moment für Moment.

Die akribische Darstellung erzeugt bei den Zuschauenden eine intensive Verbindung zu der sich entfaltenden Tragödie. ZELLE 5 nimmt eine unvoreingenommene Haltung ein und präsentiert die Ereignisse ohne moralische Vorurteile.

Dieser Ansatz ermöglicht es, dass der Nachhall des Schocks weit über die unmittelbare Handlung hinausgeht und Aufmerksamkeit auf das Gespenst des strukturellen Rassismus wirft, der seine Wurzeln tief in der Gesellschaft hat. Auf faszinierende Weise geht ZELLE 5 tief in die Problematik hinein und zwingt Zuschauerinnen und Zuschauer, sich mit unbequemen Wahrheiten auseinanderzusetzen, über die sonst oft geschwiegen wird.

Während sich die aufwühlende Geschichte von ZELLE 5 entfaltet, tauchen wir nicht nur in die Intrige eines möglichen Verbrechens selbst ein, sondern auch in das breitere Spektrum menschlicher Voreingenommenheit und ihrer weitreichenden Konsequenzen. In einer Welt, in der die Schatten der Ungerechtigkeit noch immer groß sind, fordert ZELLE 5 uns auf, zu Akteurinnen und Akteuren der Veränderung zu werden."

Vielen herzlichen Dank an die Jury, an Patrycia Ziolkowska für die bewegende Laudatio und der für einen so besonderen Abend zum Nachdenken und Feiern von Film und Kino.
Bravo an alle Preisträger*innen.

Gewidmet ist die Auszeichung der Initiative in Gedenken an e.V. Oury Jalloh e.V. und allen Schwesterorganisationen, die sich seit Jahrzehnten für Gerechtigkeit und den Kampf gegen institutionellen Rassismus unermüdlich einsetzen.

Wir danken allen Förderern, Partnern, Cast und Crew, dass dieses Projekt mit eurer Unterstützung realisiert werden konnte.

Zelle 5 – Eine Rekonstruktion is für den Hessischen Filmpreis 2023 nominiert Jurybegründung: “,Zelle 5' erzählt eine ers...
20/10/2023

Zelle 5 – Eine Rekonstruktion is für den Hessischen Filmpreis 2023 nominiert
Jurybegründung: “,Zelle 5' erzählt eine erschütternde Abfolge von Ereignissen, die die Zuschauerinnen und Zuschauer tief in die Umstände eines Todesfalls in den Räumen einer Polizeistation hineinzieht.

Durch die Anwendung einer forensischen Rekonstruktion nimmt ,Zelle 5' das Publikum gekonnt mit auf Spurensuche innerhalb dieser alptraumhaften Geschehnisse, Moment für Moment. ,Zelle 5' nimmt eine unvoreingenommene Haltung ein und präsentiert die Ereignisse ohne moralische Vorurteile. Dieser Ansatz ermöglicht es, dass der Nachhall des Schocks weit über die unmittelbare Handlung hinausgeht und Aufmerksamkeit auf das Gespenst des strukturellen Rassismus wirft, der seine Wurzeln tief in der Gesellschaft hat."

Wir danken der Jury für diese besondere Anerkennung, unseren Förderern, dem Team und allen Unterstützer*innen. Wir freuen auf ungemein auf die Gala und Preisverleihung in der Alten Oper Frankfurt am Main am 20.10.2023.

🤞🏼 Fingers crossed

KOW AT PARIS INTERNATIONALE 2023 October 18-22 Central téléphonique Le Coeur 3rd floor With works by Clegg & GuttmannSop...
18/10/2023

KOW AT PARIS INTERNATIONALE 2023

October 18-22

Central téléphonique Le Coeur
3rd floor

With works by
Clegg & Guttmann
Sophie Gogl
Santiago Sierra





KOW proudly announces Anna Boghiguian as winner of the 30th Wolfgang-Hahn-Prize in 2024. Since the early 1970s, the Egyp...
13/10/2023

KOW proudly announces Anna Boghiguian as winner of the 30th Wolfgang-Hahn-Prize in 2024.

Since the early 1970s, the Egyptian artists work has emerged from various movements around the globe, translating a nomadic experience and gaze into painting and installation, collages and books. As a traveling artist, she tells of how people and ideas, relationships and goods vary and evolve, sometimes bright and fluid, sometimes bound in inequality and oppression. Boghiguian's broad insight into literature and worlds of thought makes her art a profound source of contemplation.
The Wolfgang-Hahn-Prize is awarded annually by the Society for Modern Art at the Museum Ludwig in Cologne. Its purpose is to honor artists who have made a name for themselves in the professional world but are not very well known within the German public yet.
Curator Carolyn Christov-Bakargiev chose Anna Boghiguian because "she is entirely contemporary in her themes and in the connections she draws, through her readings, travels and Internet research, between historical stories and political and aesthetic discussions of our contemporary world".
The awarding ceremony is scheduled to take place during Art Cologne in November 2024 and will be followed by a solo exhibition and publication at Museum Ludwig, Cologne.

Portrait of Anna Boghiguian. Photo by Daria Sposobna. Courtesy The Power Plant Contemporary Art Gallery.

The Silk Road, 2021, exhibition view at KOW 2022, photo by Ladislav Zajac, courtesy the artist and KOW, Berlin.

The Chess Game, 2022, Installation View at KUB in Venice, Scuola di San Pasquale, 2022 Foto: Fulvio Orsenigo, courtesy Anna Boghiguian, Kunsthaus Bregenz.

Back to the Roots, 2019, installation view Spark Vienna 2021, photo: Markus Woergoetter, courtesy the artist and KOW, Berlin.

The Uprising 2022, installation view Kunsthaus Bregenz, foto: Markus Tretter, courtesy the artist and KOW Berlin.

From the series Time of Change, 2022, courtesy the artist and KOW Berlin.




KOW proudly announces Anna Boghiguian as winner of the 30th Wolfgang-Hahn-Prize in 2024. Since the early 1970s, the Egyp...
13/10/2023

KOW proudly announces Anna Boghiguian as winner of the 30th Wolfgang-Hahn-Prize in 2024.

Since the early 1970s, the Egyptian artists work has emerged from various movements around the globe, translating a nomadic experience and gaze into painting and installation, collages and books. As a traveling artist, she tells of how people and ideas, relationships and goods vary and evolve, sometimes bright and fluid, sometimes bound in inequality and oppression. Boghiguian's broad insight into literature and worlds of thought makes her art a profound source of contemplation.
The Wolfgang-Hahn-Prize is awarded annually by the Society for Modern Art at the Museum Ludwig in Cologne. Its purpose is to honor artists who have made a name for themselves in the professional world but are not very well known within the German public yet.
Curator Carolyn Christov-Bakargiev chose Anna Boghiguian because "she is entirely contemporary in her themes and in the connections she draws, through her readings, travels and Internet research, between historical stories and political and aesthetic discussions of our contemporary world".
The awarding ceremony is scheduled to take place during Art Cologne in November 2024 and will be followed by a solo exhibition and publication at Museum Ludwig, Cologne.

Portrait of Anna Boghiguian. Photo by Daria Sposobna. Courtesy The Power Plant Contemporary Art Gallery.

The Silk Road, 2021, exhibition view at KOW 2022, photo by Ladislav Zajac, courtesy the artist and KOW, Berlin.

The Chess Game, 2022, Installation View at KUB in Venice, Scuola di San Pasquale, 2022 Foto: Fulvio Orsenigo, courtesy Anna Boghiguian, Kunsthaus Bregenz.

Back to the Roots, 2019, installation view Spark Vienna 2021, photo: Markus Woergoetter, courtesy the artist and KOW, Berlin.

The Uprising 2022, installation view Kunsthaus Bregenz, foto: Markus Tretter, courtesy the artist and KOW Berlin.

From the series Time of Change, 2022, courtesy the artist and KOW Berlin.




PETER FRIEDLTEATRO POPULARKOWSEP 16 – NOV 04OPENING SEP 15. 6 PMOn the occasion of the 2023 Berlin Art Week, we present ...
12/09/2023

PETER FRIEDL
TEATRO POPULAR
KOW
SEP 16 – NOV 04
OPENING SEP 15. 6 PM

On the occasion of the 2023 Berlin Art Week, we present our first solo exhibition with Peter Friedl. The three-time documenta participant’s presentation focuses on sculptural works of the past several years, including a new project, and illustrates why this challenging artist has been so important to contemporary art and thinking for over three decades.

There are pirates and generals, queens and bankers, slaves and missionaries, clowns and musicians - and Ingrid Bergman and Stalin. Peter Friedl's exhibition calls upon figures who had their role in historical events that shaped our world across continents and centuries. In sculptural settings, they come together as marionettes, hand puppets, and costumes, as if in a collaborative play, a piece of world narrative, was about to begin. But there is no play. No plot, no story.

Peter Friedl shows how indissolubly complex history is, how rich and sometimes intertwined its personnel is, which has always been involved in the great struggles of the ages. Instead of telling (their) stories, Peter Friedl sets them up before us and releases them into our perception - and thus also into the imagination of possible, as yet untold narratives.

FOTO: Peter Friedl, Teatro Popular, 2016–17


ANNA EHRENSTEIN & PETER FRIEDL
GALLERY WEEKEND FESTIVAL
STUDIO MONDIAL BERLIN
SEP 16 – SEP 17

Die Galerien des Gallery ...
11/09/2023

ANNA EHRENSTEIN & PETER FRIEDL
GALLERY WEEKEND FESTIVAL
STUDIO MONDIAL BERLIN
SEP 16 – SEP 17

Die Galerien des Gallery Weekend Berlin präsentieren an zwei Tagen das GALLERY WEEKEND FESTIVAL. Kuratiert von Sandra Teitge, bietet das umfangreiche Programm Lesungen, Performances, Sounds, Screenings und Installationen. 

Im Zentrum West-Berlins, in direkter Nähe zu den Charlottenburger Galerien, öffnet das Festival den Möglichkeitsraum für künstlerische Interventionen und Präsentationen. Das GALLERY WEEKEND FESTIVAL ist Gast im Studio Mondial, dem ehemaligen Hotel Mondial am Kurfürstendamm 47. 1981 als eines der ersten barrierefreien Hotels in Europa errichtet, musste der Betrieb im letzten Jahr schließen. Studio Mondial leistet nun einen wichtigen Beitrag zur Aneignung und kulturellen Revitalisierung von Orten, die unsere Stadtgesellschaft so dringend braucht.

Opening hours:
Saturday, 16 September 2023, 12 - 9 pm
Sunday, 17 September 2023, 12 - 7 pm

Foto: Anna Ehrenstein, Zen for Hoejabi, 2019


teitge

SIMON LEHNERWHERE ARE WE NOWWILHELM HALLEN  #4SEP 09 – SEP 17Curated by Harald F. Theiss, the exhibition WHERE ARE WE NO...
07/09/2023

SIMON LEHNER
WHERE ARE WE NOW
WILHELM HALLEN #4
SEP 09 – SEP 17

Curated by Harald F. Theiss, the exhibition WHERE ARE WE NOW, or the Search for the After, offers an artistic-curatorial perspective for a collaborative society. The exhibition parallel to Berlin Art Week 2023, organized by Art'Us Collectors' Collective in Berlin's Wilhelm Hallen, is dedicated to the future prospects and ideas of a society in transition. It reflects on the search for authenticity through art and encourages reflection on utopias and concepts.

The exhibition invites us to reflect on perspectives and change in societies and to translate the familiar into other visual languages. It provides relevant impulses for a future in which authenticity, utopia and collective visions play an increasingly important role. By stimulating thoughts about the possible and making it possible to experience a universal mood, it contributes to developing a new aesthetic conception of existence in search of the after.

Foto: Simon Lehner, Safe Crash, 2023


_theiss

SANTIAGO SIERRAWILHELM HALLEN  #4SEP 08 – SEP 17As part of the "No Angels“ exhibition,curated by  and  with works by Mer...
06/09/2023

SANTIAGO SIERRA
WILHELM HALLEN #4
SEP 08 – SEP 17

As part of the "No Angels“ exhibition,
curated by and with works by Meriem Bennani, Anna-Sophie Berger, Anna Viktoria Dzinic, Miles Greenberg, Karl Holmavist, Shuang Li, Martin Margiela, Moreno Schweikle, Santiago Sierra, Kandis Williams, Nana Wolke at
September 9 - 17
Opening September 8, 7pm

Foto: Santiago Sierra, House of Mud, 2005

CANDICE BREITZWHITEFACEFOTOGRAFISKA BERLINSEP 14 – DEC 04&CANDICE BREITZSOME OF MY BEST FRIENDS ARE WHITEARTIST TALK at ...
05/09/2023

CANDICE BREITZ
WHITEFACE
FOTOGRAFISKA BERLIN
SEP 14 – DEC 04

&

CANDICE BREITZ
SOME OF MY BEST FRIENDS ARE WHITE
ARTIST TALK at FOTOGRAFISKA BERLIN
SEP 16 at 4pm

Whiteface interweaves a variety of found-footage fragments that document how white people talk about race. Breitz draws on an extensive archive that includes voices of prominent political figures, news anchors, or talk show hosts, as well as those of lesser-known or anonymous YouTubers. Thus, the artwork covers white perspectives ranging from neo-Nazi ideologies and far-right propaganda to everyday racism and appearances as "good white guys."
Dressed only in a white shirt and wearing zombie contact lenses in her eyes, Breitz changes through a series of cheap blonde wigs throughout the work, including her own shock of platinum blonde hair. The artist's appearance without a wig among the protagonists within the work, highlights her own location inside whiteness.
Although Breitz and many of the disembodied voices she lip-syncs are recognizable in Whiteface, it is not primarily specifically individual whites who are targeted by this biting satire. Rather, it is the condition of whiteness that Breitz wants to shine a light on.

Foto: Candice Breitz, Whiteface, 2022

.berlin

SUMMER BREAK AT KOWBeginnt am 23.06. - 14.07. UPCOMINGPeter Friedl,Teatro Populär, 2016-2017,Kunsthalle Wien, 2019Photo:...
27/07/2023

SUMMER BREAK AT KOW
Beginnt am 23.06. - 14.07.

UPCOMING
Peter Friedl,
Teatro Populär, 2016-2017,
Kunsthalle Wien, 2019
Photo: Jorit Aust
OPENING 15.09.
Stay tuned

LAST CHANCE TO SEE HIWA K AT KOW LIKE A GOOD, GOOD, GOOD BOYON VIEW UNTIL 22 JULYPhotos: Ladislav Zajac
19/07/2023

LAST CHANCE TO SEE HIWA K AT KOW
LIKE A GOOD, GOOD, GOOD BOY
ON VIEW UNTIL 22 JULY
Photos: Ladislav Zajac

WHITEFACE by CANDICE BREITZOPENS AT .berlin SEPTEMBER 14, 2023"Over recent years, Breitz has collected and archived a wi...
17/07/2023

WHITEFACE by CANDICE BREITZ
OPENS AT .berlin
SEPTEMBER 14, 2023

"Over recent years, Breitz has collected and archived a wide range of found footage fragments that document ‘white people talking about race.’ Her archive includes the voices of prominent political figures, news anchors and talk show hosts, as well as those of lesser known and anonymous YouTube bloggers, covering white perspectives that run the gamut from neo-Nazi ideology and far right propaganda to everyday racism and the posturing of ‘good white people.’ Specifically, the archive observes the rising anxiety of white people as long-standing calls to dismantle white supremacy proliferate and intensify across the globe. As such, it offers insight into the ongoing backlash against anti-racist movements, as white people struggle to come to terms with public discourse that highlights phenomena such as ‘white privilege,’ ‘white fragility,’ ‘white rage’ and ‘white guilt.’

   

Sophie Gogl in the exhibition „Über das Neue“ at Belvedere 21, Vienna.
13/07/2023

Sophie Gogl in the exhibition „Über das Neue“ at Belvedere 21, Vienna.

KOW AT ART BASEL 2023CATPCANNA BOGHIGUIANMARCO A. CASTILLOCANDICE BREITZSANTIAGO SIERRABARBARA HAMMER HIWA KSOPHIE GOGLF...
14/06/2023

KOW AT ART BASEL 2023

CATPC
ANNA BOGHIGUIAN
MARCO A. CASTILLO
CANDICE BREITZ
SANTIAGO SIERRA
BARBARA HAMMER
HIWA K
SOPHIE GOGL
FRANZ ERHARD WALTHER
ANNA EHRENSTEIN
MICHAEL E. SMITH
PETER FRIEDL
SIMON LEHNER
TOBIAS ZIELONY

.a.castillo

MARIO PFEIFER OPENING AT KUNSTHALLE WINTERTHURtonight, 6 May 2022 from 5 to 9 pm5.30 pm Premiere of 'Cell 5 - A Reconstr...
06/05/2023

MARIO PFEIFER OPENING AT KUNSTHALLE WINTERTHUR

tonight, 6 May 2022 from 5 to 9 pm
5.30 pm Premiere of 'Cell 5 - A Reconstruction' (45 min),
followed by a welcome speech by Oliver Kielmayer, Director Kunsthalle Winterthur. Drinks, food, and more. Check out www.kunsthallewinterthur.ch for more information and upcoming events.

The exhibition will be on view from May 7th till the 25th of 2023

Kunsthalle Winterthur
Marktgasse 25
8400 Winterthur




pfeifer

LIKE A GOOD, GOOD, GOOD BOY– HIWA KIn his exhibition at KOW for the 2023 Gallery Weekend, the Kurdish-Iraqi artist prese...
29/04/2023

LIKE A GOOD, GOOD, GOOD BOY
– HIWA K

In his exhibition at KOW for the 2023 Gallery Weekend, the Kurdish-Iraqi artist presents an ensemble of works, including a new video installation in which he returns to his native city Sulaymaniyah. The three-part work Like a Good, Good, Good Boy (2023) interconnects three places that loomed large in Hiwa K’s childhood and youth: his family’s modest home, now a ruin; the old school; and the notorious Amna Suraka prison, where, between 1979 and 1991, Saddam Hussein’s henchmen tortured, r***d, and murdered countless men, women, and children.

Text by Alexander Koch
Translation by Gerrit Jackson
Photos by Ladislav Zajac

The exhibition is realised with the kind support of FLUENTUM.

Ein sehr guter Artikel über Hiwa Ks Ausstellung bei KOW im  Tagesspiegel vom 27.4.
29/04/2023

Ein sehr guter Artikel über Hiwa Ks Ausstellung bei KOW im Tagesspiegel vom 27.4.

Hiwa K: Like a Good, Good, Good Boy (Opening tonight at KOW)The three-part work Like a Good, Good, Good Boy (2023) inter...
28/04/2023

Hiwa K: Like a Good, Good, Good Boy (Opening tonight at KOW)

The three-part work Like a Good, Good, Good Boy (2023) interconnects three places that loomed large in Hiwa K’s childhood and youth: his family’s modest home, now a ruin; the old school; and the notorious Amna Suraka prison, where, between 1979 and 1991, Saddam Hussein’s henchmen tortured, r***d, and murdered countless men, women, and children.

In the central video projection, a camera drone pans along a thick rope that, stretched across rooftops and streets, literally ties the three buildings and institutions together. With a total length of 1500 meters, the rope also intertwines the stories and histories of the sites. A second video shadows Hiwa K as he walks through his school. He recalls the hellish routines of studying under the teachers, some of whom also worked as torturers at the prison, as well as the dangers posed by friends and even one’s own family and early gestures of futile resistance.

In a third video, Hiwa K and former classmates gather on the rooftop of the school, which they had never been allowed to go up to, and share their experiences under the regime, revisiting, now “from above” and from a distance, the pain and anguish they suffered. They follow the rope, first into the classrooms, then into the prison’s interior. The ensuing conversation makes clear that Saddam Hussein’s system deformed generations of citizens, bending people and breaking them—initially with support from the U.S. After Hussein, the ideology of free markets prevailed, bringing the unforgiving demands of a global Anglocentric labor market for which young people were to be prepared, always at the expense of their Kurdish culture, whose systematic repression is evident everywhere.

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