ReMap 3, Kerameikou 28, Athens,: 12 September - 30 October 2011
Room 1 | All around zero - a small celebration of loss | an exhibition put together by Stefan Burger with works and contributions by Thomas Adank, Arbeitsgemeinschaft Retrograde Strategien (Adi Hoesle/Georg Winter), Rosemary Brown, Stefan Burger, Simon Dybbroe Moeller, Ohio, Agnieszka Polska, David Renggli, Yorgos Sapountzis and Roman Signer
press release "All around zero - a small celebration of loss" (EN)
site specific installations by Marc Bauer | Virginia Overton | Tanja Roscic | Loredana Sperini |
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Entrance: |
The exhibition ‘All around zero - a small celebration of loss’ is situated in an environment between an incessantly swelling global art production and a drastic shrinking process of the Keramikos district. The exhibition project assembles current artistic methods as well as some curiosities who all try to name a vague or precise condition between existence and non-existence. Different approaches of volatility and of dissolution as a phenomenological event are being pursued. The approaches reach from a romantic attribution of disappearance, to coincidental moments of erosion and dematerialization, to the use of emptiness motivated by institutional critique. |
All around zero - a small celebration of loss |
Roman Signer Sprengkiste (blasting box) 1984 Mixed Media 47 x 31 x 30.5 cm Courtesy of the artist and private collection The red blasting box with tools like signal flags, a knife, a signal horn, a pliers for the blasting capsules etc. has accompanied Roman Signer during numerous actions and blast operations over the years. The blasting box as a still object makes it possible for us today to subtract all past blastings, which the box has accompanied, as ephemeral occurrences. Nevertheless, thinking of all potential occurrences in the future relating to all other art pieces in the exhibition (and all other exhibitions at this platform), one can also understand the box as a threat. Signer’s tools are already here and he will then follow shortly. |
Stefan Burger Spider hiding behind Seth Price’s “How to disappear in America” I-VI 2011 Lambda print, framed 24.4 x 32.1 cm Seth Price and several other artists have appropriated the anonymously written manifesto ‘Vanishing Point: How to disappear in America without a Trace’ which is circulating in the internet. It is written as a guidebook and promises help if you’d like to completely disappear from the life inside the society of the United States. After the well prepared leaving, the guidebook stays behind and offers some limited possibilities for a spider to hide from being used as a model in conceptual photography. |
All around zero - a small celebration of loss Installation view |
Arbeitsgemeinschaft Retrograde Strategien (Adi Hoesle/Georg Winter) Verlustmodell (Model of loss) 2007 Loup, platinum brad, LED lamp 18 x 15 x 5 cm The monumental sculpture ‘Model of loss’ by AG Retrograde Strategien is a reconstruction and a re-materialisation of the measurable weight loss of the prototype kilogram at the Bureau International des Ponds et Mesures (BIPM) in Sèvres, Paris. The weight loss of 0,000056g occurs due to an unexpected dematerialization which remains unexplained till this day. Hypothetically it can be conveyed to all weighings of the world and hence becomes a global monumental loss. |
Simon Dybbroe Moeller Pantomima della stella gigante 2007 dvd, 10:03min., colour, sound, loop After art thieves had removed Henry Moore’s 2.1 tons heavy ‘Reclining Figure’ from the property of the Henry Moore Foundation and had melted it down for the purpose of hawking the metal, it became imaginable how one could proceed with profound and heavy art after its disappearance: pantomimically. In Simon Dybbroe Moeller’s video piece ‘Pantomima della stella gigante’ four pantomimes execute such an exercise as defined by the reception of action within art history. They show how they handle an absent Frank Stella object. |
Inner courtyard: Tanja Roscic untitled 2011 Acrylic on cloth 550 x 220 cm ( 216,5 x 86,6 inch ) |
Room 2: |
Room 2: Loredana Sperini: Untitled 2011 Porcelain, paint, metal, wood, mirror 210 x 210 x 80 cm ( 82,7 x 82,7 x 31,5 inch ) Tanja Roscic: Untitled (Cat pain series 8, 19, 21, 34) 2011 Collages oil, acrylic, pen, pencil, ball pen on paper on mirror 20,7 x 29,5 cm ( 8,1 x 11,6 inch ) , each |
Room 2: Loredana Sperini: Untitled 2011 Porcelain, paint, metal, wood, mirror 210 x 210 x 80 cm ( 82,7 x 82,7 x 31,5 inch ) |
Room 2: Loredana Sperini: Untitled 2011 Porcelain, paint, metal, wood, mirror 210 x 210 x 80 cm ( 82,7 x 82,7 x 31,5 inch ) |
Room 3: Marc Bauer History of masculinity III, the great expectation of M. H. 2006- 2011 Dickheads, digital print on paper variabel size, 2006 ed 3/3 + 2 AP Martin Heidegger, pencil and lithographic pen on paper, 30cm x 30cm, framed, 2006 Rabbit 1-7, pencil and lithographic pen on paper, 32cm x 45cm, 2006 Rabbit hunters, pencil and lithographic pen on paper, 60cm x 80cm, 2006 Trophy, pencil and lithographic pen on paper, 40cm x 59cm, 2006 pencil drawing directly on the wall 2 sentences painted directly on the wall: WE ARE NOT RABBITS WE ARE FUCKED UP SWISS HUNTERS I LOVE TO DECORATE FEMALE FACES |
Room 3: Marc Bauer History of masculinity III, the great expectation of M. H. 2006- 2011 This installation of drawings visualizes the over-affirmation of a macho male identity. The works show the archetypal Matterhorn, Jungfrau, Eiger and Mönch as well as a series of stereotypical inhabitants (farmers and hunters) of a supposed idyllic life, where men pose with their trophies. |
Room 3: |
Room 3: Marc Bauer History of masculinity III, the great expectation of M. H. 2006- 2011 |
Room 3: Marc Bauer History of masculinity III, the great expectation of M. H. 2006- 2011 |
Room 3: Marc Bauer History of masculinity III, the great expectation of M. H. 2006- 2011 |
Room 4: Marc Bauer Panorama, Todtnauberg 2008 24 drawings: litho crayon on paper 32 x 45 cm each |
Panorama, Todtnauberg From Byron to Friedrich, Rousseau to Heidegger, the saturation of the Romantic image pervades the European consciousness and the rural idyll. But then as is well known a lie becomes a truth when it fabricates a myth. Panorama, Todtnauberg challenges the relationship between myth and meaning, as if myth becomes a deterministic necessity when assimilating the past. By using Elfriede Jelinek’s Todtnauberg as a satirical take on Heidegger’s village hut at Todtnauberg in the Black Forest, Bauer deconstructs and exposes not only the simulated introspective poses of rural life that Heidegger pursued, but also suggests how the philosopher moulded the later realities of his life to accord with his existential ideas of the Dasein. The philosopher’s major contribution to twentieth century philosophy was that he fused together being and existence into a shared immanence of ‘being-in-the-world’. I am pleased with my existence (Ich bin mit meinem Dasein zufrieden). ©Mark Gisbourne |
Entrance: Virginia Overton Mudflap Girl (Athens) 2011 Banner Print on Vinyl 200 x 200 cm ( 78,7 x 78,7 inch ) |