In cooperation with Kunstverein / Kunsthalle Lingen
The painterly imagery of the graduate of the Städelschule Jagoda Bednarsky (*1988, in Goldberg, PL). deals with questions of layering and planes of localization: What is in the image? What is behind the image? What is in front of the image? She utilizes technically re- produced graphics or photographs she comes across in magazines, photobooks, on the Internet as well as in everyday and artistic visual culture using them as objets trouvés, in this way extending the images intrinsic logic. The images thus serve as her starting point in terms of both content and form. In their capacity as found objects, the image sources (which frequently reference the actual venue for the exhibition) initially relate firmly to reality. With collaging and ove rpainting found and invented material, a seemingly accidental and mystical synthesis of ambivalent realities emerges, offering multiple perspectives and mutually permeating levels of images.
Bednarsky also uses reflections, serial repetitions, duplications and cross-references as means of visual representation, such that in her search for an inherent link between information and knowledge the paintings exude a mysterious auratic mood. For the exhibition at Nassauischer Kunstverein Wiesbaden, the aspect of reflection is being transferred on the spacial structure of the exhibition.
The systematic, institutional archiving of human knowledge has long been a reference point for Jagoda Bednarsky – an endeavor which implicitly questions the inflexibility of standardized perception. This interest proceeds in the cinematic principle of using found footage to tell stories and applying information and imagery, which reveals itself in her book spine paintings: She links the book’s content, its “intrinsic knowledge”, with the painting on the cloth back. This is ultimately an advancement in three dimensions of the question described at the beginning as to how levels of images can be pinpointed on the inside and outside – between knowledge and information.
In an increasingly digitalized world the physical seems to be more and more artificial and loses its perceptibility in the real world. Especially the latest technological advancements in the field of 3D technology interweave the digital and real world. By linking the digital process of scanning with analog techniques of collage, Matt Dooley (*1991, Minneapolis) creates a “trompe l'oeil” effect, which circumscribes the gray area where perception and reality become indecipherable. Hence, his work creates a need for defining our own multidimensional existence and an awareness of the surrounding environment.
In his scans, Dooley transfers three-dimensional objects into the digital sphere and deconstructs their tangible materiality. Via Collage elements he extracts objects and materials from the two-dimensionality of the digital screen, thus creating a kind of pseudo-dimensionality. The process of alternating deconstruction and reconstruction of digital and analog material forms a tension-filled interaction that raises questions about perception, materiality and reality in the digital age.
Matt Dooley is the 2015 fellow of the “WorkART Kunstverein Internship Program”, which was founded in 2011 by the Arbeitsgemeinschaft Deutscher Kunstvereine (AKDV) in cooperation with the interdisciplinary DAAD Center for German & European Studies (CGES) of the Twin Cities (Minneapolis / St. Paul). The program provides opportunities for students with a strong interest in art and design to gather valuable work experience in the nonprofit sector at one of Germany’s over 300 community-based nonprofit art associations and galleries. WorkART offers unique insights into Germany’s art world, into exhibiting and organizing art events, and into cultural politics.
In cooperation with: RAY Fotografieprojekte Frankfurt / RheinMain 2015
In Me in Me, Ming Wong portrays three recurring archetypes of Japanese cinema culture. He himself adopts the role of the geisha in formalistic Kabuki style, as that of a traditional housewife from postwar neorealism, as well as playing a contemporary science-fiction anime character. In each of these roles, the female protagonist is searching for fulfillment and belonging in a misplaced patriarchal context, defining her ideas of self, and discovering her will to survive. In addition to the different scenes and change of roles, Wong shows us the complete set, with moments out of character and insights into the construction of the various scenes.
The foundation and transformation of identity form the central themes of Ming Wong’s work.Wong tracks down phenomena such as alienation, global imagery, and stereotypes, bringing them to the foreground through film, photography, and installations. Having grown up in exile in Singapore, this artist of Chinese descent plays the three Japanese female roles with an elegant sense of humor and self-deprecation. His physiognomy dictates that he is imitating these women, though in spite of his gender, he identifies with them; and with that, his work remains not just formally at the level of a making-of feature, but rather allows the processes of transformation, appropriation, and a true representation of reality to shine. In this way, the initial concept of RAY FOTOGRAFIEPROJEKTE IMAGINE REALITY is connected to Wongs work, going beyond mere questions of media.
Gaddoo Gaddoo / B3 Biennial of the Moving Image 2015: Expanded Senses
Indonesian Animation enjoys not only great popularity, but rather opens up an immense artistic potential in their own country. Especially influenced by the aesthetics of commercial film in Asia, every moment, frame by frame, is produced either manually or by computer. The filmmakers and artists tell their stories that move between art, social criticism, politics, world anxiety but also private myths. Parallel to the Frankfurt Book Fair with the country focus Indonesia “Gado Gado” opens an exemplary insight by a compilation of current and historic Indonesian animated films.
The selection is compiled in close cooperation with the Goethe Institute Jakarta. The exhibition is partner of the B3 Biennail of the Moving Image 2015: Expanded Senses.
„Whatever man built could be taken apart": Image / Order
Nothing characterises our presence more than the growing technologisation and medialisation. In the two-part exhibition “Whatever you built could be taken apart”: Image / Order two levels of the Kunstverein are dedicated to a specific aspect of this development featuring young artists who use the Internet and new technologies quite naturally as digital natives. The link between the two parts of the exhibition is the reconfiguration of existing source material from various contexts that characterise the methods of the artists. In the remodelling of the material - in the sense of contemporary appropriation methods - new perspectives, which illustrate societal influences, emerge.
Video has a key function in these critical reflections of our media influenced daily life, because the material often exists in the form of moving images. The exhibition considered the topic of Expanded Senses with regard to the medium video as an „Extension" of the human body, which is able to allow a different form of experience.
The level Image deals with the increased circulation and reception of pop and mass cultural image culture. The experience of pop as a social phenomenon is to a large extent due to the transfer of images into a different context. Current media texts partly consist almost exclusively of pop-cultural references. In addition to well-known strategies of appropriation, manipulation and sampling of popular imagery, the artists in the exhibition reflect the fundamental impact of media images on their lives.
On the level Order the influence of technological developments on social and political structures is highlighted. Since industrialization, technological progress has increasingly influenced mass culture significantly. With the changing media landscape, a shift in concepts of work, forms of State representation and of the financial markets can now be observed. More and more young artists are interested in these phenomena.
The Follow Fluxus – After Fluxus 2015 grant for young contemporary art called by the Hessian State Capital of Wiesbaden and the Nassauischer Kunstverein Wiesbaden / NKV goes in its eighth year to Mehreen Murtaza (born 1986, Riyadh, Saudi Arabia).
In her artistic work Mehreen Murtaza collages elements of folklore, pop culture, science fiction, religion, spirituality and technology. Her work consists of small works on paper as well as the digital media and complex space installations. With ironic absurd drama, the Pakistan-based artist explores topics of Islam and the Sufi culture. Murtazas works are based on “Factions” - a subtle blend of facts and fiction, with which she draws attention to current, cross-border and society penetrating issues, hereby she challenges the idea of progress of modern civilization and illuminates fundamental questions of human existence.
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