Naama Arad’s ‘Har Hazofim’ quotes the view from the window of the fictional Frank Lloyd Wright creation from Alfred Hitchcock’s classic ‘North by Northwest.’ A peach-toned silken curtain intervenes between our gaze and the Xerox copies pasted to the opposite wall on which landscapes can be seen. The paternalistic presidential visages of Mount Rushmore and the modernist architecture both see their material and ideological texture inverted in the most tender of feminist veilings. The title of the work refers to the mountain of the same name, and Israeli enclave in East Jerusalem that houses the Bezalel Academy of Art founded in 1906.
Timothy Archer Shrinking Daddy’s Head
Timothy Archer describes his father’s energy as a foundational impulse of his own creativity. In ‘Shrinking Daddy’s Head’ we see one of his portraits rendered on golden cardboard. The trajectory of shrinking reduction in the image is two-fold: gesturing simultaneously towards the corporeal decay of the subject of the portrait, sick with cancer, and towards the controlled binding of impulse and creative force to a sheet of paper. Both partake in a similar fetishistic recourse to the energy of the father, and to the force of expressive painting.
Lothar Baumgarten Ursprung der Nacht
Lily Benson / Cassandra Guan The Filmballad of Mamadada
17/04/2016, 8 pm, film screening
neue Gesellschaft für bildende Kunst
Veranstaltungsraum 1. OG
D 10999 Berlin
Sean Crossley Fatherings
Sean Crossley’s paintings stand in the space as figures containing complex, immersive abstract systems. His reflections upon being an IVF child inform this work, an experience of both excess and lack of fathers. Embracing this multiplicity, the works resist the representation of any singular narrative or structure of fathering, but rather aim to generate productive, performative spaces where ideas such as growth, influence, extension or becoming can be put to play outside of any genealogical structure.
Sergio Cusmir Dracula / Eternal Daddy
Hand carved dildo, size h=17cm Circumference 12cm Custom orders can be made with your photograph.
It is a wonderful gift for your sweetheart.
It can be functional but use cautiously!
Painting can not withstand an intense game. Only use mild soap and water to clean the dildo and please NEVER use any solvents or alcohol.
Rotimi Fani-Kayode Under the Surplice / Nothing to Lose IV + X / Bronze Head
‘My reality is not the same as that which is often presented to us in western photographs. As an African working in a western medium, I try to bring out the spiritual dimension in my pictures so that concepts of reality become ambiguous and are opened to reinterpretation. This requires what Yoruba priests and artists call a technique of ecstasy.’ R. F.-K.
In his photographs, Rotimi Fani-Kayode takes up ritual and visual traditions of the Nigerian Diaspora. But his homoerotic representations are consciously not traditionalist. They originate from contemporary debates of the 1980s around body art and staged photography. These sexualized appropriations of Yoruba motifs also evoke the fetishization of Nigerian masks by the canonized fathers of modern art. These used their own primitivist projections of looted African art at the beginning of the 20th century as a source of inspiration.
Heike-Karin Föll Kafka’s Gymnastics
In the series Kafka’s Gymnastics Heike-Karin Föll uses scotch tape to form plants collected from the urban space into mannerism-stylized monastic scripts on paper. Deploying the conjunctions ‘and’ and ‘or’ she connects real father figures like the queer theorist/activist Douglas Crimp and the well-known groupie/artist Anita Pallenberg to fictive personas like ‘Miss Nietzsche’ forging new constellations. Föll thereby unfurls imaginaries of belonging and elective kinship in dysfunctional gymnastic poses.
Juliana Huxtable Sympathy for the Martyr / Lil’ Marvel
In her iconic self-portraits, Juliana Huxtable stages herself both in the poses of kitschy Christian posters akin to those on offer in Harlem bodegas, and as figures from anime and pop culture. Huxtable’s models are for the most part masculine figures, to whom adolescents look up. That they move fluidly among genders, and between analog and digital image production, does more than evoke these childish fantasies – it implies the possibility of their realization.
Lukas-Julius Keijser Daddy’s Little Princess
Lukas-Julius Keijser grants insight into the history of Dutch gay culture by shuttering the gaze with a curtain. Until today it is unusual to draw the curtains over windows that are facing the street in the Netherlands. To do so would be considered a sign that the inhabitants have something to hide. Gay bars constitute the exception, what draw the curtain to provide of a community unmolested by the outside gaze. The lettering applied to the curtain with bleach ‘Daddy’s Little Princess’ can simultaneously be read as a quotation of pop culture and as queer self-representation.
Michaela Meise Mare Nostrum
A group of eight people set forth from Palestine to cross the Mediterranean and land in Camargue. These are the first Christians that settled in Europe: Mary Magdalene, Maria Salome, Maria Jacobé, Sara-la-Kali, Martha, Cedonius, Lazarus, and Maximinus. In ‘Mare Nostrum’ (eng. Our Sea) – named after the Italian Coast Guard’s operation to save shipwrecked refugees – Michael Meise focuses on a migration movement that has been largely forgotten, and models the sojourners as patron saints of a church in Kassel. Instead of instrumentalizing Christian values as alibis for EU boundary-making, she reminds us of a foundational migration movement of a diverse community. In this exhibition Martha and Cedonius are on view.
Aleksandra Mir Astronauts (#09_054)
Paper collage on board with gold leaf frame, 30 × 25cm, 2009, courtesy: the artist.
A group of Christian saints in golden garb is collaged into a photo of four American astronauts in silver space-suits. The groups resemble each other through their shining metallic appearance, as well as through the circular borders around their heads provided by space-helmets and halos. Mir’s artistic work reveals analogies in the iconography of science and religion. Both produce paternal figures of identification, both have claims to power over human life and the Earth. At the same time, both saints and astronauts stand for the hope of something beyond earthly existence.
Konrad Mühe Fragen an meinen Vater
In ‘Fragen an meinen Vater’ (eng. Questions to My Father) Konrad Mühe interviews the actor Ulrich Mühe, who passed away in 2007. In the delicately edited arrangement of mediated representations of his father, Konrad Mühe educes answers and apologies from his father without uttering the questions. In an impulse of self-empowerment he has Mühe speak for both himself and for the observer in words written by other people.
Mysti DA DA DADDY HASSELHOFF
My problem is that we in a room contemplating parental pains and conflicts of cannon have a very separate threshold for suffering… so let us suspend our belief that gravity affects us the same… make folly of the struggle to flatten… pervert or whatever… And see a different destiny, one in which the object of the idea… the document the ephemera or the pseudo-social contract decompose when we together lose our shit. Lose our shit because we might not be worthy of being Art Princesses and Conceptual Priests, that maybe the world we want to create doesn’t have room for those personalities… Maybe it’s not an art critique, but call to lose control, or your delusion of controlling legacy, which is relatively limited in capacity anyway.
Full transcript of the lecture performance:
Egle Otto Botticelli, Giotto, Grünewald, da Vinci, Mantegna, Rosetti, Ensor, Parmigianino, Lippi, Raffael, van der Weyden, Ingres, Ernst
Egle Otto’s painting is at once an homage and an appropriation of painterly role models. The front of the canvas shows halos that the artist has taken from the pictures of her male predecessors. She completes these to full circle and transforms them into an independent, abstract composition. Otto grapples with the authenticity, authority, and artistic ego of the artists she quotes on two levels: on the one hand by literally copying their handwriting she places all twelve signatures of the painters on the back of the picture. On the other, the completed painting is redolent of a further potential father figure: the painter Hilma af Klint.
Antje Prust D.I.L.F.
The installation consisting of a mattress and a laptop evokes at first glance a setting for the consumption of pornography. But instead of quickly dispatching with a drive, the work invites us to explore possibilities for intimacy and belonging beyond reproduction and heteronormative conceptions of masculinity and femininity.
Przemek Pyszczek’s works reference the contemporary aesthetic of socialist apartment blocks in Poland and their transformation at the hand of their inhabitants. The ‘Facade Paintings’ refer to the particular facades that were embellished with motifs of progress and growth such as planets and plants in the wake of the collapse of the caretaking and planning ‘Father State,’ and which were further furnished with individual barred windows. Like the dysfunctional distorted climbing cages of the ‘Playground Structures’ they cross over into the visual cosmos of abstract compositions or constructivist statuaries of the modernist Avant-Garde. At the same time they criticize the aesthetic-forging efforts at reform, which merely concern themselves with the facades and not the architectonic or political conditions of life within.
Aykan Safoğlu Untitled (Gülsen and Hüseyin)
Videoinstallation, 2015, 13.10min, loop
Screening am 17.04.2016, 17 – 19 Uhr
Der Film wird auf türkisch mit englischen Untertiteln gezeigt.
Die Vorführung findet im 1. OG der nGbK statt.
Ronald M. Schernikau Fünf Zeichnungen auf Zeitungspapier
On public view for the first time are five illustrations done by the gay communist author Ronald M. Schernikau on newspaper. They are taken from his artistic estate, which is now housed in the Akademie der Künste (Academy of Arts). The reworking of the picture’s caption by simply striking them through obscures the motifs and allows a homoerotic reading of the men presented.
Sarah Schönfeld / Oskar Curter Things That Are Not There
From an i.v. bag, Halperidol, the neuroleptic used to fight a patient’s disconnection from reality, is dripping on the floor. A projector set in the puddle casts a video with blurring contours at the wall. It shows Oskar Curter, the father of Sarah Ancelle Schönfeld, as he plays the flute in his apartment. In weekly meetings, during which they most often structure their encounters by playing chess, a series of watercolors arose along with the concept of this multimedia installation.
Timo Seber Big Daddy, Techies #1 #5
A t-shirt of stiff leather is imprinted with the digital interface of a videogame. ‘Big Daddy’ takes its title from the self-selected user name of the 22 year-old star of Dota 2, which with over 11 million players is at present the biggest online strategy game. The imprint of a screenshot on an animal skin, which takes on the form of armor for online players, breaks through the barrier between the digital sphere and the physical body of the player. The cohesion of the online community of Big Daddy and his millions of fans feeds on the repeated rehearsal of their identities as digital fighters and athletes. Emphatically, Timo Seber is commenting, with his fictional armor and the possibilities of fitness he presents, on the disembodiment of digital sport.
Bodo Schlack Working Class Hero
On this monumental photograph secreted on an MDF-Plate we see an enlarged, dripping, latex glove like the ones deployed to protect the hands from chemicals in a photo-lab. The title situates the work in the tradition of labor photography as well as within the discourses of visual cultural studies and their critique of identity. The photograph projects the iconic quality of the worker’s raised fist onto the glove itself, which separates what is to be protected from any given body. At the same time, ‘Working Class Hero’ is no less combative, and does not fall back on the rhetoric of exclusive masculinity.
Lea St. Domestic Wish Machine
On bistro tables Lea St. presents us the wishes of her ‘Domestic Wish Machine’ embossed in salt-dough, baked, and sometimes charred. The cheapness of the materials and the household scale of the plastics evoke speculation about the social locus of the source of wishes as well as mourning for a generalized fatherly inclination. ‘Domestic Wish Machine’ can be read as an artistic appropriation of the structure of domestic activity and stereotypes: these crumble, just like the salt-dough, towards their decomposition.
Danh Vo 02.02.1861
Ink on A4 paper, writing by Phung Vo 29.6 × 21cm, 2009.
Last letter of St. Jean Théophane Vénard to his father before he was decapitated, copied by Danh Vo’s father, Phung Vo.
Each handwritten text arrives in an envelope mailed by the artist’s father directly to the buyer.