Nina Beier’s first institutional solo exhibition in Germany, Cash for Gold, at Kunstverein in Hamburg, consolidates the artist’s negotiation of the space between representation and value. Persistently tracking the status of images in our contemporary reality, Beier develops a transmutable lexicon of her own. Suggesting the acuity of authorless domains, anything from the commercial, traditional and natural fields of production enters her vocabulary. She extracts material such as nicotine chewing gum, Hermès ties, human hair wigs and artificial sweat from their circumscribed settings. By subjecting her material to a flattening of both pictorial and socio-political hierarchies, she exposes the potency of the surface as a container of the convoluted layers of cultural and historical information always present in the image. In times of mass-produced and homeless images the body becomes the carrier of impossible promises. Beier’s work pinpoints moments of confusion between the image and what it depicts to show complex affiliations in which meaning is never stable.
Nina Beier (*1975, Århus, Denmark) has recently had solo exhibitions at Metro Pictures, New York; Objectif Exhibitions, Antwerp; DRAF, London; Kunsthaus Glarus, Switzerland; Mostyn, Llandudno, UK; Proyectos Monclova, Mexico; Croy Nielsen, Berlin; Standard (Oslo), Oslo; Kunsthal Charlottenborg, Copenhagen. Her work has been included in group shows at Centre Pompidou, Paris; Tate Modern, London; CCA Wattis, San Francisco; Musée d’Art Moderne, Paris; KW Institute for Contemporary Art, Berlin; The Artist’s Institute, New York; Fondazione Sandretto Re Rebaudengo, Turin, and the Power Station, Shanghai. Beier is the 2014 recipient of Germany’s Kunstpreis der Böttcherstraße.
A catalog will be published by Kunstverein in Hamburg, Kunsthaus Glarus and Mousse Publishing in fall 2015. The exhibition is supported by the Ministry of Culture of the Free and Hanseatic City of Hamburg, the Danish Arts Council, Vitra GmbH and Zavak GmbH.
Peggy Buth, Charlotte Dualé, Harun Farocki, Abrie Fourie, Anne Hardy, Inga Kerber, Philipp König, Susanne Kriemann, Michael Part, Josephine Pryde, Clunie Reid, Max Schaffer, Dirk Stewen, Una Szeemann u. Bohdan Stehlik, Toilet Paper Magazine, Tris Vonna-Michell, Lidwien van de Ven
The Kunstverein in Hamburg raises six questions about the future of photography, which focus on the relevance of this medium within contemporary visual discourses. To think about the actuality and future of photography means to understand it as a subjunctive, in which within the framework of the exhibition and publication various artistic practices are discussed. Different generations of artists explore the photographic and its manifestations. In six exhibition chapters these processes are shown: the chapters are intended to provide spaces of potentiality to check and reformulate one’s own thoughts about photography.