Cut-Up
and Wolfgang Tillmans
November 23rd – December 19th, 2018

KKV-Einladung-Cut Up-181030-oberen Drittel_neu

Opening on November 22nd, 7 pm

Cut-Up is a four-week program of exhibitions, lectures, music, performance, screenings, and a magazine launch. Artists, musicians, writers, publishers and an international project space were all invited to transform the various spaces of the Kunstverein (exhibition halls, theaters, and studios) with a wide array of activities and diverse programming. Cut-Up is a method of collage imagined first by Brian Gysin and William S. Burroughs as a strategy that implements the cutting and re-arranging of text, images and sound as a means of liberating them of their (pre-)designated meanings and categories and (re-)assigning them to new systems of readings and understanding. The invited guests all have their own unique approaches to this kind of strategy. Together, this cacophony of mediums and tactics creates a unique kind of “living-structure” that privileges the dynamic over the static – one that is constantly changing, shifting and adapting according to its own conditions and needs. With this fluid structure of exhibitions and events, the Kunstverein becomes a site for a diversity of international and regional interactions that champion new avenues of engagement and collaboration.

Together with the participants:
Michael Amstad, Marie Angeletti, Bonnie Camplin, Eric D. Clark, Kerstin Cmelka, Marte Eknæs, Helene Hegemann, Karl Holmqvist, Ellen Yeon Kim, Mario Mentrup, Luzie Meyer, Johanna Odersky, Deborah Schamoni, Mark von Schlegell, Starship, Rirkrit Tiravanija, Nicolau Vergueiro, Adrian Williams

Sorry I’m Late. XOXO Echo
Upon the invitation of the Kunstverein, the formely Zurich-based exhibition space, Taylor Macklin, will organize an exhibition addressing the nature and possible interpretations of spaces and their conditions.
With: Der Alltag (Sensationen des Gewöhnlichen), Andrea Büttner, Nicolas Buzzi, Brice Dellsperger, Maya Deren, Ayasha Guerin, Eva Meyer & Eran Schaerf, Carissa Rodriguez, Ben Rosenthal & Flavio Merlo, Li Tavor, Miriam Yammad, Constantina Zavitsanos

Wolfgang Tillmans
On the occasion of his 2018 Members Edition, Wolfgang Tillmans will build a Playback-Room in the studio space of the Kunstverein, giving visitors the unique possibility to sit and listen to his music under near-perfect conditions on the original vinyl pressing. The Members Editions itself stems from his on-going interest in music and became a special limited edition LP with a specially designed cover and sleeve. The recording is a “Kehrschaufel” (Dustbin)-Concert for the A-Side with a musical collage of edited radio-recordings from the 80s and 90s and the original song, “The Future is Unwritten” from 1985 on the B-Side. Tillmans conceived of the 3-part exhibition series Playback-Room at his non-profit space Between Bridges in 2014, the same year that the space opened at its new location in Berlin after having operated in London since 2006. In 2016, Playback-Room took up residency at the Lenbachhaus in Munich, and was re-animated again as part of his solo exhibition at London’s Tate Modern in 2017.

PROGRAM
Thursday, Nov. 22nd

7pm 
Opening of the exhibition with introduction by Nikola Dietrich

Friday, Nov. 23rd
3-5 pm
 Workshop with Ayasha Guerin

7 pm 
Film screening with Rirkrit Tiravanija’s Karl’s Perfect Day, 2017, 94 min

with an Artists Talk and reading from Karl Holmqvist

Friday, Nov. 30th
7 pm
 Opening of the 2018 Member’s Edition Exhibition
9 pm 
Mark von Schlegell and Ellen Yeon Kim, MUFA (Museum of Unfinished Art) Radio Play / Performance, 40 min

Tuesday, December 4th, 2018, 7 pm
Im Trailerpark der Angreifbaren: A Sideshow-Varieté to the film Die Angreifbaren (Release Anfang 2019)
with Kerstin Cmelka & Mario Mentrup
Guests: Rainer Knepperges and Sven Heuchert

Friday, December 7th, 2018, 7 pm
Lecture and filmcreening: Helene Hegemann & Deborah Schamoni

Thursday, December 13th, 2018, 7 pm
Filmscreenings:
Marte Eknaes & Michael Amstad, A People Mover Evening
& Artist Talk with Nikola Dietrich (in English)

Sunday, December 16th, 2018, 7 pm
Magazine launch: 20 years of Starship, Berlin, 18th edition
Filmscreening and Talk with Bonnie Camplin;
Record Release Musix’ lost its colour with Eric D.Clark

Wednesday, December 19th, 2018, 7 pm
Filmscreening: Luzie Meyer, The Flute, 2018
Exhibition and Performance: Johanna Odersky,
organised by Juliane Duft

All events will be regularly announced on the website and via our newsletter.

Graphic by Karl Holmqvist, 2018

Cut-Up 11/23
Politics and Space workshop with Ayasha Guerin

Part of Sorry I’m Late. XOXO Echo, organised by Taylor Macklin

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Program of the exhibition Cut-Up

Friday 11/23, 7 pm

Workshop
Politics and Space with Ayasha Guerin
organised by Taylor Macklin , in English

Within the framework of the exhibition Cut-Up the formely Zurich-based exhibition space Taylor Macklin, will organize the exhibition Sorry I’m Late. XOXO Echo addressing the nature and possible interpretations of spaces and their conditions.

In the workshop “Politics and Space”, Ayasha Guerin will invite the participants by means of social and communicative methods and with the help of possible scenarios – ie. Shared Socioeconomic Pathway Narratives – to create collaborative spaces for interventions in our imaginary future.
Ayasha Guerin is an artist and scholar in social science based in New York. Her work explores themes of urban ecology, community and security in public and private space. She is currently a Fellow of Urban Practice at the Urban Democracy Lab at New York University.

Admission €4 / concessions €2. Free for members.

With the kind support of Gaffel

Image: from Der Alltag (Sensationen des Gewöhnlichen), Nr. 4/82, Thema: Warten!

Cut-Up 11/23
Rirkrit Tiravanija Karl’s Perfect Day & Karl Holmqvist

Filmscreening, reading and Artist Talk

KPD 1

Program of the exhibition Cut-Up

Friday 11/23, 7 pm

Film screening, reading and Artist Talk
Rirkrit Tiravanija, Karl’s Perfect Day, 2017, 94 min
Reading by Karl Holmqvist and Artist Talk with Nikola Dietrich

in English

In the film “Karl’s Perfect Day” the artist Rirkrit Tiravanija portrays the artist and poet Karl Holmqvist through his idea of a perfect day, following him from the moment he wakes up until going to sleep. Since the 1990′s Holmqvist has worked with text and its visual representation in posters, wall drawings, installations, videos and readings. He converges fragments of songs, political pamphlets, literature and single letters as the smallest entity of text to shift meanings and create ambiguities. Similar to his artistic works, the film is a collage of people, places, sounds, images and texts – a day without extravagant aspirations but with moments of contentedness and small pleasures.

Admission €4 / concessions €2. Free for members.

With the kind support of Gaffel

Image: Still from Rirkrit Tiravanija, Karl’s Perfect Day, 2017

Cut-Up 4/12
Kerstin Cmelka and
Mario Mentrup
Im Trailerpark der Angreifbaren

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Program of the exhibition
Cut-Up

Wednesday 12/4, 7 pm

Im Trailerpark der Angreifbaren
A Sideshow Variéte to the film “Die Angreifbaren”
by Kerstin Cmelka und Mario Mentrup

For their film Die Angreifbaren (The Attackables, release: beginning of 2019), the directors Kerstin Cmelka and Mario Mentrup present a CHALLENGE, a TRAILERPARK, GIFTS and a MICRODRAMA suiting the the pre-Christmas season. Bets can be made! Guests are Rainer Knepperges („Die Quereinsteigerinnen“) and Sven Heuchert („Dunkles Gesetz“). We are looking forward to your visit!
Blog to the film „Die Angreifbaren“

Please note that the event will take place in German language and will be filmed.

Admission €4 / concessions €2. Free for members.

With the kind support of Gaffel

Image: Kerstin Cmelka & Mario Mentrup, The Attackables, production photo: Eric Bell, © Kerstin Cmelka, 2018

Jahresgaben 2018
December 1 – 19 , 2018

KKV-postkarte-Quadrat-Web

Jahresgaben 2018
Dezember 1-19, 2018

Friday, November 30th, 2018
7 pm Opening of the exhibition
9 pm Mark von Schlegell und Ellen Yeon Kim, MUFA (Museum of Unfinished Art)
Radio Play / Performance, 40 min (in English)

Boris Becker, Julien Ceccaldi, Nicolas Ceccaldi, Mark Dion, Shannon Ebner, Michaela Eichwald, Morgan Fisher, Gina Folly, Morag Keil, Yuki Kimura, Klara Liden, Hilary Lloyd, Shahryar Nashat, Henrik Olesen, Martin Parr, Michael Pfrommer, Jack Pierson, Heji Shin, Amelie von Wulffen

It is with great pleasure to present the this year’s Jahresgaben exhibition with a selection of editions and original art works from international and local artists that have close ties to the Kölnischer Kunstverein. This allows our memebrs to acquire outstanding works of art, most of them especially produced for the association, at a reasonable price and be rewarded for their commitment. Furthermore the sale provides a financial support for further exhibition programming. Members of the Kunstverein support the association yearly with their contribution.

Jahresgaben 2018
Become a member

Julien Ceccaldi Solito
September 8 –
November 11, 2018

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Julien Ceccaldi Solito
September 8 – November 11 2018

Opening on Friday, September 7, 2018, 6 pm
Reading from the comic Solito by Julien Ceccaldi (in Engl.), 9 pm
followed by snacks und drinks in collaboration with Okey Dokey II

Produced on site at the Kölnischer Kunstverein over the course of two months, Julien Ceccaldi’s Solito is a large-scale exhibition in which a fairy tale unfolds around a character of the same name, a concupiscent and boyish 30-year-old virgin willing to give himself to anybody. The plot is inspired by stories such as “Beauty and the Beast“, “Bluebeard“, and “The Nutcracker and the Mouse King“, in which the female protagonists end up in love with ugly men, and sexuality manifests itself through power and violence. However, all Solito gets out of his unsightly, quickly aborted love story, is a fading souvenir of happiness.
Misery is all the more evident in the comic book published by Ceccaldi for this exhibition. In what could be interpreted as a dream of his own doing, the titular character goes so far as to make advances to death itself. He follows Oscar, a soldier from a magical land who is nothing more than “a cadaver, an empty shell [he] projects on” (J. Ceccaldi). Solito is presented as ambivalent: Desperate for partnership and security, he also acts masochistically in that he orchestrates a self-fulfilling destiny of being forever rejected. He plays with the dead like one does with dolls, and dreams of an eternal tea party with skeletons, all the while unconsciously wishing they would turn on him. Betraying their trust ultimately gets him thrown back onto the cold sidewalk of the real world – an allusion to “The Little Match Girl” by Hans-Christian Andersen, one of the most prominent fairy tale writers.
Ceccaldi took descriptions of the author’s life as a template for Solito’s character traits. Andersen never engaged in sexual relations with women nor men, indulging in intense masturbation after each encounter instead. Described as childish and love-obsessed in equal measures, he was considered an outsider and a loner within the Copenhagen elite of the 19th century, and he died alone at the end of his days. His original tales were perverse and morbid; his suffering heroines often dying a painful death. Later adaptations of his more tragic stories have been rewritten with a happy ending.
Further aesthetic and conceptual references can be found in the animation TV-series “Revolutionary Girl Utena” (1997) by Kunihiko Ikuhara, and the manga “The Rose of Versailles” (1972) and “Oniisama E” (1975) by Riyoko Ikeda, which weave together fairytale symbols, androgyny, and inescapable fates along with modern backdrops and contemporary preoccupations. The exhibition also borrows from these works the liberty to blend myths from different places across history from the Middle Ages, to 19th century Europe and our present time.
These different starting points establish the framework for the figures and setting in Solito, which are transferred onto various surfaces both inside and outside the exhibition spaces: animated video loops, sculptures, digital drawings, and paintings on plastic. The works no longer follow a consistently linear narrative as on the pages of the book. Inspired by cel art, a technique used in animation to separate backgrounds from foregrounds, images of different moods manifest themselves through overlays, off-sets, and trompe l’œil effects. They circulate around the figure of Solito, with whom visitors get closer to as they walk through the exhibition hall. Like the fragmented pieces that come together to form identity itself, repeated variations of the same figure elicit feelings of vanity and confinement, but also moments of emancipatory liberation.

Julien Ceccaldi created the comic book Solito especially for the exhibition [36 pages, edited by Nikola Dietrich, September 2018]. It can be purchased at a price of €12 (members €8).

Julien Ceccaldi was born in 1987 in Montreal, Canada and lives in New York. Solo exhibitions include Gay, Lomex, New York, NY (2017); and King and Slave, Jenny’s, Los Angeles, CA. He has recently participated in group exhibitions such as Painting Now and Forever 3, Greene Naftali, New York, NY; An Assembly of Shapes, Oakville Galleries, Ontario, Canada; and The Present in Drag, 9th Berlin Biennale for Contemporary Art, Berlin.

With kind support of
Solito_logoleiste
And further help by Gaga, Mexico City / Los Angeles & Jenny’s, Los Angeles

Program:

SEPTEMBER
Fr 9/7, 9 pm
Reading from the comic Solito
by Julien Ceccaldi (in Engl.)

Sat 9/8, 4 pm
Guided tour through the exhibition with Juliane Duft (in German)

Sun 9/9, 7 pm
Artist Talk with Julien Ceccaldi
with the presentation of Japanese Animes (in Engl.)

Thu 9/13, 5 pm
Guided tour through the exhibition with Jasmin Werner (in German)

Thu 9/20, 5 pm
Guided tour through the exhibition with Nikola Dietrich (in German)

Thu 9720, 6 pm
Screening in the cinema
Kunihiko Ikuhara, La Fillette Revolutionnaire Utena, 1999 (in the original with German subtitles)

Tue 9/25, 6 pm
Screening in the cinema
Catherine Breillat, Barbe Bleue, 2009 (in the original with Engl. subtitles)

Sun 9/30, 3 pm
Guided tour through the exhibition (in German)

OKTOBER
Thu 10/11, 5 pm
Guided tour through the exhibition with Juliane Duft (in German)

Thu 10/11, 6 pm
Screening in the cinema
Catherine Breillat: La Belle Endormie, 2011 (in the original with Engl. subtitles)

Thu 10/18, 6 pm
Screening in the cinema
Mori Masaki, The Door into Summer, 1975 (in the original with Engl. subtitles)

Sun 10/21, 3 pm
Guided tour through the exhibition (in German)

Thu 10/25, 5 pm
Guided tour through the exhibition (in German)

Thu 10/25, 6 pm
Screening in the cinema
Catherine Breillat, 36 Fillette, 1988 (in the original with Engl. subtitles)

NOVEMBER
Sat 11/3, 7 pm – 2 pm
Museumsnacht 2018
Guided tours through the exhibition and SOLITO BAR:
Anime film screenings, karaoke & Japanese snacks
with Bistro Kombu (Düsseldorf-Benrath)

Wed 11/7, 5 pm
Guided tour through the exhibition with Nikola Dietrich (in German)

Wed 11/7, 6 pm
Screening in the cinema
Chantal Akerman, Golden Eighties, 1986 (35mm, in the original with German subtitles)
with an introduction by Juliane Duft

With kind support of the Filmclub 813

Comic
Julien Ceccaldi: Solito, 2018

Solito_Comic_Cover

Julien Ceccaldi created the comic book Solito especially for his exhibition at the Kölnischer Kunstverein (edited by Nikola Dietrich).

Title: Solito
Editor: Kölnischer Kunstverein
Format: 15,2 x 23 cm
Pages: 36, stapled, b/w
Language: English
Publishing date: September 2018
Price: 8,00 Euro (members), 12,00 Euro (regular)


Order

Herewith I order bindingly the following publication.
I took note of the general terms & conditions.

Albrecht Fuchs: 31 Portraits, 2018

DSCF2746 Kopie

With 31 Portraits, the Kölnischer Kunstverein presents a new publication and exhibition by Cologne-based photographer Albrecht Fuchs. The photographs at the center of the exhibition depict artists who exhibited and performed at the Kölnischer Kunstverein between 2014 and 2018. The series of images offers a partial documentation of the institution’s various activities over the last few years on one hand while giving an impression of the people who have been responsible for the works and presentations on the other.

Title: Albrecht Fuchs – 31 Portraits
ISBN: 978-3-96098-304-0
Ed.: Kölnischer Kunstverein
Texts by: Moritz Wesseler
Format (width x height): 24 x 29 cm
Pages: 72
Amount of illustrations: 31 (colored)
Binding (Hardcover/Softcover): Softcover
Language: Deutsch / Englisch
Publisher: Koenig Books
Publication date: 27 June 2018
Price at the Kölnischer Kunstverein (signed by the artist):
20,00 Euro (members), 25,00 Euro

With the kind support of:
Logo-Stiftung-Zukunft-NRW_sw[1]

Bestellung

Hiermit bestelle ich VERBINDLICH die unten aufgeführte Publikation.
Die Bestellmodalitäten sowie die AGBs habe ich zur Kenntnis genommen.

Vorwahl & Rufnummer (z.B. 0221217021 oder 01712223333)

Zu Gast:
4. The Cologne Art Book Fair (TCABF)
6 – 8 July 2018

6 – 8 July 2018

Opening: Friday, 6 July, 7pm

Friday, 6 July: 7 – 10 pm
Saturday, 7 July: 3 – 9 pm
Sunday, 8 July: 12 am – 6 pm

From July 6–8, the 4th edition of The Cologne Art Book Fair (TCABF), the unique platform for artists’ books, zines, and artists’ magazines in the Rhineland, will be held at Kölnischer Kunstverein.
TCABF will take place in the galleries, the cinema, and the Riphahn-Hall of the Kunstverein and will invite the public to take part in a broad program of talks, book presentations, readings, and film screenings accompanying the fair on three days.
More than 60 exhibitors will take part in this year’s fair, amongst them local and regional participants as well as exhibitors from Antwerp, Basel, Barcelona, Beijing, Brussels, Paris or Venice.

Further information on exhibitors and program: www.thecologneartbookfair.com

Walter Price
Pearl Lines
04/20 – 06/17/2018

Version 2

Walter Price
Pearl Lines
20. April – 17. June 2018

Opening: Thursday, February 19th 2018, 7.00 pm

Walter Price was born in 1989 in Macon, in the US state of Georgia, and currently lives in the multicultural metropolis of New York. The artist’s predominately small-format work can be broken down into paintings and drawings in which he deals with personal experiences, social conventions, as well as historical developments. His works usually depict interiors or exteriors that are occupied by objects, creatures, signs, symbols, and forms. They contain references to limbs, figures, palm trees, huts, sofas, urinals, and cars as well as the outlines of architecture or vegetation. At the same time, these visual elements – which are sometimes more easily deciphered than others – are not always brought into a clear relationship with each other, making a form of narration palpable, yet intangible. This is supported not least by the fact that the American artist forgoes traditional patterns of order in his compositions, subverts hierarchies, and does away with perspective, all of which lends his paintings and drawings an unusual appearance that occasionally refers to the beautiful simplicity and purism of drawings by children.

Occasionally letters and writing can be made out in Price’s works, although they are mostly only visible when truncated and partially hidden and therefore seem to be more like an echo of a verbalized thought rather than designed for instant readability. Another characteristic feature of many of Price’s works is an intense, vivid use of color that can be put down to a superb handling of the pallet. In addition, a large number of works are characterized by a heightened interest in the materiality of the raw materials he uses, which can be traced to both a strongly gestural and therefore palpably tactile application of paint as well as to leaving the painting and drawing foundations visible. In doing so, a conscious confrontation with representatives of classical modernism in Europe and the last outliers of American post-war art can be seen in the strong and expressive use of color as well as the specific handling of materials, one in which the artist authoritatively formulates his own language despite any references.

This exhibition at Kölnischer Kunstverein marks the first time Price’s work will be comprehensively presented and recognized in Germany. The aim is to focus on both older and newer works, complemented by site-specific wall paintings and drawings. In addition, the work is explained in a comprehensive, bilingual catalogue that accompanies and documents the presentation in Cologne.

With the support of
WP-Logo Leiste-180413

Accompanying program
Julien Ceccaldi Solito
in September

JulienCeccaldi_SolitoComic_small

Fr 9/7, 6 pm
Opening of the exhibition
Reading from the comic Solito by Julien Ceccaldi
(in Engl.), 9 pm
followed by snacks und drinks in collaboration with Okey Dokey II

Sat 9/8., 4 pm
Guided tour through the exhibition with Juliane Duft (in German)

Sun 9/9, 7 pm
Artist Talk with Julien Ceccaldi
with the presentation of Japanese Animes (in Engl.)

Thu 9/13, 5 pm
Guided tour through the exhibition with Jasmin Werner (in German)

Thu 9/20, 5 pm
Guided tour through the exhibition with Nikola Dietrich (in German)

Thu 9/20, 6 pm
Screening in the cinema
Kunihiko Ikuhara, Revolutionary Girl Utena, 1999 (in the original with German subtitles)

Tue 9/25, 6 pm
Screening in the cinema
Catherine Breillat, Barbe Bleue, 2009 (in the original with Engl. subtitles)

Sun 9/30, 3 pm
Guided tour through the exhibition with Jasmin Werner (in German)

With kind support of the Filmclub 813
Image: Julien Ceccaldi, Solito, 2018, page 14 of the comic

Alex Da Corte
THE SUPƎRMAN
04/20 – 06/17/2018

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Alex Da Corte
THE SUPƎRMAN
20. April – 17. June 2018

Exhibition opening: Thursday, April 19th, 2018, 7pm

Alex Da Corte (*1980 Camden, New Jersey, USA) uses painting, sculpture, installation, and film to explore the conditions and intricacies of human perception and the reactions associated with it. Special attention is paid to the complexity of today’s consumer world and how it intertwines with social, cultural, and political spheres. And thus, concepts like desire, hope, and longing account for just as much of his work as the examination of terms like dependence, alienation, and a sense of being lost. The starting point for his artistic works is mostly found in objects and scenarios from his personal and more general social environment which he then transforms into works of art through modifications, changes of perspective, or contrasting juxtapositions that appeal powerfully to all the senses.

Four cinematic works come together at the center of Alex Da Corte’s presentation to form a haunting installation in the large hall of the Kölnischer Kunstverein. These works include TRUƎ LIFƎ, which was made in 2013, as well as the three-part work BAD LAND, which was created in 2017. Despite being created at different times, both pieces share a point of origin that is closely connected to a personal experience of the artist. A friend sent him a photograph a few years ago that seemed to show him in front of Leonardo da Vinci’s Mona Lisa in the Musee du Louvre in Paris, although the photograph was actually of the American rapper Eminem. This confusion was based on a certain similarity between the two and prompted Alex Da Corte to begin working with the idea of the world-famous musician, who had been repeatedly criticized in the past for glorifying violence and being hostile towards homosexuals and women, and his Slim Shady alter ego. He was interested in the question of what makes up Eminem as a person, what psychology is involved, and how he would behave in a private environment. His interest finally culminated in the work TRUƎ LIFƎ, for which he took on the role of the rapper by dyeing his hair blond, putting on the appropriate clothing, and adopting his persona. In reference to the documentary 66 Scenes from America by Danish filmmaker Jørgen Leth in which Pop Art artist Andy Warhol eats a hamburger, TRUƎ LIFƎ depicts Eminem as played by Alex Da Corte eating a North American breakfast cereal called Life. Despite a compositional sophistication that recalls the simple actions of artists like Bas Jan Ader, Gilbert & George, and Bruce Nauman, the plainness of the scene forms a contrast to the glamor and fame – not to mention the drive and drastic behavior – that the rapper embodies. Eminem is portrayed by Alex Da Corte more as a human being than as an inaccessible and invincible celebrity, whereby the casual but nevertheless noticeable placement of a package of Cinnamon Life with the image of an African American boy on it also expands on socio-political aspects.
The three Bad Land films, the title of which refers to an underprivileged district of Philadelphia where the artist’s studio is located known as the “Badlands,” were conceived by Alex Da Corte as a cohesive work and are a continuation of the ideas addressed in TRUƎ LIFƎ. The first film shows the musician in a setting divided into two areas: Its clear-cut, uniformly red and yellow tones is reminiscent of a pop version of Ellsworth Kelly or Blinky Palermo. In the almost eleven-minute sequence, the protagonist is busy untangling a chaotic bunch of old Playstation controllers and then arranging them neatly on a table-like base. For Alex Da Corte, the action functions as an allegory of fear, power, and control, whereby the banality of the scene once again breaks away from the general image of Eminem.
In contrast, the second film in the BAD LAND series makes significantly clearer reference to the practices of a rapper. Accompanied by atmospheric sounds, the film shows how the musician smokes cannabis with homemade pipes and bongs. It is surprising how perfectly, artistically, and humorously the smoking devices are made from various everyday objects, and without losing their functionality. In the course of the consumption, the smoker appears to fall into a trance-like state that is accompanied by a deep laugh and intense cough that seems to trace back to a lack of routine.
Finally, the third and last film in the BAD LAND series shows the rapper performing probably the most unusual action. Eminem, as depicted by Da Corte, stands in front of a grey background and is busy coloring his hair by rubbing yellow mustard into it while accompanied by ambiguous sounds and tones. As the film progresses, he puts on a paper crown from a fast-food restaurant, which is then repeatedly rubbed with the condiment although it already shows clear traces of the treatment. This symbol of power, which is particularly popular in hip hop culture, is thus not only associated with the excesses of consumer society, but is also questioned with palpable humor. It can hardly come as a surprise in this context that the rapper seems to increasingly lose his mind towards the end of the sequence. After all, a symbol of power like a crown is always associated with the fear of losing power, while fast-food chains often stand for seductive illusions.

The examination of psychological parameters as they are revealed both in the BAD LAND films as well as in TRUƎ LIFƎ represents a significant driving force for Alex Da Corte’s work in which the traditional boundaries between the different genres seem to dissolve. It can also be seen in the exhibition THE SUPƎRMAN, in which the films are embedded in a complex architecture that plays with the viewer’s perception and emotions with remarkable intensity. It is not just the sculptural presence of the films that becomes overwhelming, but also the picturesque installation that melts somewhere between Pop Art and Surrealism into an intoxicating gesamtkunstwerk that evokes memories of nightmares just as much as those of Disneyland.

Alex Da Corte has had solo exhibitions at the New Museum in New York (2017), the Secession in Vienna (2017), the Massachusetts Museum of Contemporary Art, North Adams (2017), the Boijmans Van Beuningen in Rotterdam (2015), and the Institute for Contemporary Art in Philadelphia (2015). He has also participated in group exhibitions at the Whitney Museum of American Art in New York (2017), the Louisiana Museum of Modern Art in Humlebæk (2016), and the Biennale in Lyon (2015).

ADC-Logo Leiste-180403

Adriano Costa
wetANDsomeOLDstuff VANDALIZEDbyTHEartist
17.02. – 25.03.2018

Vorderseite_AdrianoCosta

Adriano Costa
wetANDsomeOLDstuffVANDALIZEDbyTHEartist
21.10. – 10.12.2017

Opening: Friday, 16. February 2018, 7pm
17. February – 25. March 2018

In the space of almost ten years Adriano Costa has created a body of work that establishes a bridge between South American and European art, updates artistic movements like “Neoconcretismo” or “Arte Povera” and provides them with a new dimension. Born in 1975 this Brazilian artist makes assemblages, sculptures, paintings and films on the basis of found materials and everyday objects; in his exhibitions he combines them together into expansive installations in such a way that they result in stage-like scenes comparable with “environments”. At the same time, his works are usually the result of extensive and time-consuming research, which Costa carries out wherever he is staying at the moment. Like a curious and open-minded tourist he thus explores his various “research areas” and, in doing so, he follows not just the well-known main paths, but also and particularly those routes within urban as well as rural contexts which receive less attention or are overlooked. He is interested in ethnological, sociological and historical developments and phenomena, and he makes these the subject matter of his works, but without employing the precise practices of scholars. For Costa the different themes and lines of enquiry serve, to a certain extent, as a vehicle for his poetic and not infrequently humorous articulations, which he forms out of the found pieces, mementoes and objects from the given explorations and investigations. The boundaries between art and “non-art” are occasionally undermined within this context, testifying to his efforts to more closely intertwine art and life.

With the support of
Unbenannt

The exhibition is kindly supported by Andra Lauffs-Wegner & KAT_A

Talia Chetrit
Showcaller
17.02. – 25.03.2018

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Talia Chetrit
Showcaller
17. February – 25. March 2018

Opening: Friday, 16. February 2018, 7pm

The photographic work of Talia Chetrit (B. 1982, Washington D.C.) is characterized by a remarkable compositional sophistication and visual power, accompanied by a stringent programmatic objective. Her work includes self-portraits, portraits of family members, lovers, and friends, nudes, still lifes, and cityscapes that continuously reveal various intentional references to art history. Chetrit occasionally draws from photographs taken during her youth and re-contextualizes these images by inserting them into her current practice through a selective editing process.
Regardless of the respective subject matter or approach to the development of each image, her interest resides in researching and disclosing the basic social, conceptual, and technical conditions of the genre of photography. As a result, her work is imbued with the desire to control the physical and historical limitations of the camera, to follow its manipulative potential, and to call the relationship between the photographer and the image into question.

The exhibition Showcaller, which Chetrit conceived especially for the Kölnischer Kunstverein, comprises a group of predominately new and revisited works that give exemplary insight into her practice. The presentation includes an extensive series of pictures titled Streets, which depict lively and inhabited views of New York City. Through the use of tight cropping of grainy negatives, the city and its people become an unknowing and abstracted network of bodies over which Chetrit can command her own manipulated narratives. Taken from afar and through the windows of various buildings, the distance between Chetrit’s pervasive lens and her unwitting subjects’ anonymity is further emphasized.
In the context of the exhibition, this series of works is juxtaposed with photographs that convey an alternative perspective, and instead instill a pronounced sense of intimacy through the conspicuous disclosure of private moments. A large-format diptych, for example, depicts the artist and her partner having sex. Imaged against a blooming landscape, neither of the subjects seem aware of the camera’s austere gaze. The viewer is tethered to the scene by the twisting cord of the camera’s cable release, in such a way that we are reminded, once again, of our own position in the construction of images.

Talia Chetrit was born in Washington D.C. in 1982 and now lives in New York. She has recently participated in solo and group exhibitions at the Whitney Museum of American Art in New York (2016), Art Gallery of Ontario in Toronto (2016), LAXART in Los Angeles (2014), Palais de Tokyo in Paris (2013), Studio Voltaire in London (2013), and the SculptureCenter in New York (2012). In 2018, she will be presented to a wider public in Italy for the first time at the MAXXI Museo nazionale delle arti del XXI secolo in Rome.

With the support of
Förderer_Chetrit

The exhibition is kindly supported by Andra Lauffs-Wegner & KAT_A

Walter Price
Pearl Lines
04/20 – 06/17/2018

Version 2

Walter Price
Pearl Lines
20. April – 17. June 2018

Opening: Thursday, February 19th 2018, 7.00 pm

Walter Price was born in 1989 in Macon, in the US state of Georgia, and currently lives in the multicultural metropolis of New York. The artist’s predominately small-format work can be broken down into paintings and drawings in which he deals with personal experiences, social conventions, as well as historical developments. His works usually depict interiors or exteriors that are occupied by objects, creatures, signs, symbols, and forms. They contain references to limbs, figures, palm trees, huts, sofas, urinals, and cars as well as the outlines of architecture or vegetation. At the same time, these visual elements – which are sometimes more easily deciphered than others – are not always brought into a clear relationship with each other, making a form of narration palpable, yet intangible. This is supported not least by the fact that the American artist forgoes traditional patterns of order in his compositions, subverts hierarchies, and does away with perspective, all of which lends his paintings and drawings an unusual appearance that occasionally refers to the beautiful simplicity and purism of drawings by children.

Occasionally letters and writing can be made out in Price’s works, although they are mostly only visible when truncated and partially hidden and therefore seem to be more like an echo of a verbalized thought rather than designed for instant readability. Another characteristic feature of many of Price’s works is an intense, vivid use of color that can be put down to a superb handling of the pallet. In addition, a large number of works are characterized by a heightened interest in the materiality of the raw materials he uses, which can be traced to both a strongly gestural and therefore palpably tactile application of paint as well as to leaving the painting and drawing foundations visible. In doing so, a conscious confrontation with representatives of classical modernism in Europe and the last outliers of American post-war art can be seen in the strong and expressive use of color as well as the specific handling of materials, one in which the artist authoritatively formulates his own language despite any references.

This exhibition at Kölnischer Kunstverein marks the first time Price’s work will be comprehensively presented and recognized in Germany. The aim is to focus on both older and newer works, complemented by site-specific wall paintings and drawings. In addition, the work is explained in a comprehensive, bilingual catalogue that accompanies and documents the presentation in Cologne.

With the support of
WP-Logo Leiste-180413

Aus- & Vortragen
The Boomerang Effect
Performance by Isabella Fürnkäs

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Wednesday June 13, 2018, 7pm

The Boomerang Effect
Performance by Isabella Fürnkäs

With her art, Isabella Fürnkäs (*1988, Tokyo) attempts to build a bridge between the manifestations of the digital age and that of the supposedly old world in which physicality still plays a role. In drawings, collages, performances, video works, and installations, she exposes the present day as a confusing thicket of surfaces that can hardly be penetrated as ever more layers open up. In her delicate coffee stain watercolors, for example, skin-colored faces appear like masks behind which is something unclear – Hide & Seek. Ultimately, what’s often concealed behind all of these layers is nothingness.

In the two-part performance The Boomerang Effect (2018), which she presents as part of the series Aus- & Vortragen curated by Juliane Duft, communication sounds as if it were echoing back from the facades of words. One can sense human desire and emotional fragility behind them in the same way they are also revealed in Fürnkäs’ other works.

Performers: Nikolas Brummer, Jan Seevetal, Christiana Cott Negoesco and Isabella Fürnkäs

The performance will take place in English. Please note that the event will be filmed.
Admission €4 / concessions €2. Free for members.

With the kind support of:
Logos_A&V_3_16

Image: Isabella Fürnkäs: Hide and seek, 2010-2018.

Aus- & Vortragen
Roy & Siegfried
Performance by Gerrit Frohne-Brinkmann

Gerrit Frohne-Brinkmann_Roy
Wednesday June 20, 2018, 7pm

Roy & Siegfried
Performance by Gerrit Frohne-Brinkmann

In his works, Gerrit Frohne-Brinkmann (*1990) investigates the history of mankind through the culture of entertainment. His installations, sculptures, and performances trace attractions, shows, and popular performance formats by using their outward look, effects, and mechanisms while undermining them at the same time. His interest here lies in the immediate entertainment value that he extracts from illusion, magic, and film as well as the natural sciences and carries over into the visual arts. One of his installations, for example, borrowed mummies from a film prop house that appeared almost animated and defenseless in an art space, but also revealed their extreme artificiality upon closer inspection.

For this installment in the Aus- & Vortragen event series, Gerrit Frohne-Brinkmann has developed a performance titled Roy & Siegfried that follows the biography of the magic duo known for their tiger shows. Personal memories and public images of the two entertainers meld together in a performance that allows their self-constructed myth to be experienced on another unreliable narrative level. The magic of appearance and being – always a component of art as an imitation of reality – is multiplied as it is revealed in Frohne-Brinkmann’s performance.

The performance will take place in German. Please note that the event will be filmed.
Admission €4 / concessions €2. Free for members.

With the kind support of:
Logos_A&V_3_16

Image: Gerrit Frohne-Brinkmann, Roy & Siegfried (Detail), 2018

Aus- & Vortragen
31 Portraits
Book launch and exhibition by Albrecht Fuchs

fuchs_Gusmao_kleiner

Wednesday June 27, 2018, 7pm

31 Portraits
Book launch and exhibition by Albrecht Fuchs

With 31 Portraits, the Kölnischer Kunstverein presents a new publication and exhibition by Cologne-based photographer Albrecht Fuchs. The photographs at the center of the exhibition depict artists who exhibited and performed at the Kölnischer Kunstverein between 2014 and 2018. The series of images offers a partial documentation of the institution’s various activities over the last few years on one hand while giving an impression of the people who have been responsible for the works and presentations on the other. The project represents Moritz Wesseler’s last at the Kölnischer Kunstverein, which he has successfully led in his role as director over the past five years.

Exhibition run-time: 28 June bis 1 July 2018
Admission free

With the kind support of:
Logo-Stiftung-Zukunft-NRW_sw[1]
Logos_A&V_3_16

Image: Bild: Albrecht Fuchs, João Maria Gusmão & Pedro Paiva, Düsseldorf 2018

Aus- & Vortragen
The Flute
Performance by Luzie Meyer

The Flute Grafik Kölnischer Kunstverein

Wednesday, March 28, 2018, 7pm

The Flute

Performer: Lisa Gutscher (souffleuse), Emma LaMorte (camera person), Luzie Meyer (Narrator), Theresa Patzschke (flutist)

The performance will take place in English. Please note that the event will be filmed.

Admission €4 / concessions €2. Free for members.

With the kind support of:
Logos_A&V_3_16

Aus- & Vortragen
Are we entertainment?
A presentation by Alexey Vanushkin

image_alphabet

Wednesday May 11, 2008, 7pm

Are we entertainment?
A presentation by Alexey Vanushkin

Starting with images and texts gleaned from pop culture, advertising, and literature as well as personal materials, Alexey Vanushkin explores existential themes such as the pursuit of meaning and happiness in his film works and installations. In the work W. (2018), for example, enticing advertising images meet lines of songs by the band Joy Division. The film Alphabet (2017), in contrast, uses found visual material to illustrate a sequence of ideas and seems to catalogue the tragedy of human coexistence. The works oscillate between touching, almost kitschy moments and a dry, detached confrontation with the shallows and absurdity of life. They are, at first glance, as seductive as the media environment. Having said that, they continually return viewers to their own privileged points of view that have been shaped by societally ideal images.

Born in Russia in 1988, Vanushkin will give a general introduction to his practice based on his film works. Aus- & Vortragen is curated by Juliane Duft.

The presentation will take place in English. Please note that the event will be filmed.

Admission €4 / concessions €2. Free for members.

With the kind support of:
Logos_A&V_3_16

Image: Still from Alexey Vanushkin, Alphabet, 2017.

Aus- & Vortragen
February—March 2018

austragen-vortragen-koel-kunstverein-2018-02

WED 28.02., 5 pm Guided tour through the exhibitions with Moritz Wesseler
WED 28.02., 7 pm Performance by Eliza Douglas — cancelled —
WED 07.03., 7 pm Screening by and with Henning Fehr and Philipp Rühr
WED 21.03., 7 pm Guided tour through the exhibitions with Juliane Duft
WED 28.03., 7 pm Performance by Luzie Meyer

4,00 € / 2,00 €, for members free

Kindly supported by
Logos_A&V_3_16

Logos_A&V_3_16

Aus- & Vortragen
Studio Visit
Performative screening with Henning Fehr & Philipp Rühr

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Wednesday, March 7, 2018, 7pm

Studio Visit Performative Screening with Henning Fehr & Philipp Rühr

Henning Fehr (b. 1985, Erlangen) and Philipp Rühr (b. 1986, Brühl) work on films that appear to be documentaries in which they simultaneously act as both the observers and the protagonists. In them, they investigate the places and spheres that constitute social identities and with which utopian promises connect on the margins of our capitalist world: the art market, cultural institutions such as museums, or even techno clubs and music festivals. Engaging in the slow rhythm of the films, one perceives the nuanced complexity of the social constructs that are associated with the different phenomena. Fehr and Rühr appear to be in search of the original and the primordial in western culture. Through sculptures, paintings, and texts, their exhibitions expand their films into an interplay of different “voices” in the space.

In a performance prepared for the Kölnischer Kunstverein, the former Kölnischer Kunstverein studio scholarship recipients will present excerpts from the films Studio Visit (2016) and Empty Village (2017). An live audio commentary will accompany the moving images so that Fehr and Rühr undermine the form of a classic film presentation.
Aus- & Vortragen is curated by Juliane Duft.

The performance will take place in German and English. Please note that the event will be filmed.

Admission €4 / concessions €2. Free for members.

With the kind support of:
Logos_A&V_3_16

Image: Henning Fehr and Philipp Rühr, Studio Visit, 2017, Digital video (colour, sound), 24:41 min, Film still
Courtesy the artists

Sparda-Tag
25.03.2018

Visual_SpardaTag

Sparda-Tag at the Kölnischer Kunstverein
Sunday, 25. March 2018
11am until 6pm

A day organised together with our supporter Stiftung Kunst, Kultur, und Soziales der Sparda-Bank West on the 25th of March.

The programm:

11.00-18.00 Uhr
Free entry

11.30-13.30 Uhr
Workshop for children (recommended age 5 to 12 years)

12.00 Uhr
Guided tour with a curator

14.30-16.30 Uhr
Workshop für children (recommended age 5 to 12 years)

15.00 Uhr
Kunst-Tombola

15.15 Uhr
Guided tour with a curator

16.30 Uhr
Guided tour with a curator

Image: Adriano Costa, Dead Sea / Wien, 2013, Courtesy Adriano Costa and Sadie Coles HQ, London