Archive (selection)

Archive (selection)

2022
  • Vermittlung, Guided Tour: Guided tour through the exhibitions of Loretta Fahrenholz and Dala Nasser, 22.6.2022
    Loretta Fahrenholz: Gap Years, 2021/2022. Installation view Kölnischer Kunstverein, 2022. Courtesy: the artist and Galerie Buchholz. Photo: Mareike Tocha.
    Wed Jun 22, 2022, 5 pm – 6 pm
    Guided tour through the exhibitions of Loretta Fahrenholz and Dala Nasser with Miriam Bettin, Assistant Curator
  • Guided Tour: Guided tour through the exhibitions of Loretta Fahrenholz and Dala Nasser, 1.6.2022
    Loretta Fahrenholz: Gap Years, 2021/2022. Installation view Kölnischer Kunstverein, 2022. Courtesy: the artist and Galerie Buchholz. Photo: Mareike Tocha.
    Wed Jun 1, 2022, 5 pm – 6 pm
    Guided tour through the exhibitions of Loretta Fahrenholz and Dala Nasser with Nikola Dietrich, Director
  • Workshop for Kids, Vermittlung: Children's workshop: Traces of purple , 21.5.2022
    Dala Nasser: The Dead Shall be Raised, 2021. Video still
    Sat May 21, 2022, 2 pm – 4 pm
    Children’s workshop Traces of Purple in the context of the exhibitions of Loretta Fahrenholz and Dala Nasser with artist Ani Schulze from 6 years (optional in presence of parents), max. 10 children, participation fee 10 EUR In the children’s workshop with artist Ani Schulze, we explore the current exhibitions at the Kunstverein and make large collage paintings with many different materials, such as fabrics, chalk, adhesive tapes, paper, and silver foils. In the process, we explore what traces and patterns different things (stones, leaves, everyday objects) can leave behind.  
  • Workshop for Kids, Vermittlung: Children's workshop: Traces of purple , 21.5.2022
    Dala Nasser: The Dead Shall be Raised, 2021. Video still
    Sat May 21, 2022, 2 pm – 4 pm
    Children’s workshop Traces of Purple in the context of the exhibitions of Loretta Fahrenholz and Dala Nasser with artist Ani Schulze from 6 years (optional in presence of parents), max. 10 children, participation fee 10 EUR In the children’s workshop with artist Ani Schulze, we explore the current exhibitions at the Kunstverein and make large collage paintings with many different materials, such as fabrics, chalk, adhesive tapes, paper, and silver foils. In the process, we explore what traces and patterns different things (stones, leaves, everyday objects) can leave behind.  
  • Vermittlung, Guided Tour: International Museum Day: Guided tour through the exhibitions of Loretta Fahrenholz and Dala Nasser, 15.5.2022
    Loretta Fahrenholz: documenta Dream, 2021. Installation view Kölnischer Kunstverein, 2022. Courtesy: the artist and Galerie Buchholz. Photo: Mareike Tocha.
    Sun May 15, 2022, 3 pm – 4 pm
    Guided tour through the exhibitions of Loretta Fahrenholz and Dala Nasser on international museum day with Ani Schulze, Artist
  • Solo Exhibition: Dala Nasser – Red in Tooth, 14.5. – 26.6.2022
    Dala Nasser: Red in Tooth, 2022. Design: Leen Charafeddine.

    Opening: Friday, 13.5.2022, 7 pm

    Kölnischer Kunstverein is pleased to present Dala Nasser’s first institutional solo exhibition Red in Tooth, featuring her multi-media installation of the same title. Comprising a video work, patchwork paintings, and a commissioned sound installation in collaboration with sound artist Mhamad Safa, Red in Tooth is the point of origination for her ongoing examination of decolonial ecologies and human and non-human entanglement. It’s a grounding proposal of how to listen, smell, see and sense what has been tuned down/out and made invisible by the ongoing practices of extraction and protracted colonial erasure.

    Building on her practice as a material and process-based artist, through abstraction and alternative forms of image making, she cultivates a necessary discomfort through a renewed trust in the land, its rivers, and its more-than-human inhabitants. The works trace the Al Wazzani River, which flows through southern Lebanon into Occupied Palestine. Along this splintered journey, Nasser is forced to abandon state road infrastructures that are built to keep us in their lanes, and follow the soil and its color and smell, the burble of water, and other inhabitants of these lands; the animals; through vast wild ‘virgin’ terrains of southern Lebanon leading us to the border defying Wazzani. This frontier, which breeds life in its natural resources and wildlife is only partially accessible to a few families who live in the immediate area – and under difficult conditions. The trial to bear witness to ongoing slow violence, dispossession, and other colonial practices under constantly shifting, changing, and morphing conditions is (nearly) impossible. Nasser’s insistence to be guided by other environmental signifiers in her ongoing exercise to consider other possible social and political imaginaries, begs the question of how we listen to more-than-human ecological knowledges around us. How do we re-calibrate our relationship to the land and its wildlife and other beings, to find a way to listen to their unuttered testimonies? How can we learn from them to navigate the cracks of rigid colonial structures; both material and those of collective memory(s), history(s), and archives?

    Reverting to a seemingly ritualistic intuition, the paintings have been dug into the earth around the Wazzani, washed with collected rainwater and/or boiled in salt water, they smell of the wretched soil and carry accumulated matter within it. They are imprinted with an-other memory, reality, and futurity; years of erosion, degradation, loss of water, pollution, and increased salinity imbued with a history of natural life, extraction, death, blood, violence, and land grabs. It’s an attempt to listen to the soil, its ailments and hopes, through that which has truly witnessed and continues to survive there. The large patchwork piece has been reassembled for the lecture hall (Riphahnsaal), the paintings are suspended and cascaded down from the stage to the center where they disharmoniously meet the accompanying site-specific sound installation. The sound work, a collaboration with sound artist and architect Mhamad Safa, manipulates the temporality of the environment through time-based effects. It brings our attention to the crackles of the field recordings from the river and its surrounding area, the birds, the crickets, the wind. The result is an immersive abstracted visual, sonic, and olfactory conditioning that urges us towards a slower, more focused reading and sensing.

    In the second space, the video work negotiates and reveals other possibilities of being and relating through learning from the intricate nuances and complexities of the genuinely decolonial species, terrain, and wildlife of the area. Narrated by the wildlife as witnesses whose testimonies have no words, the film transitions between moving shots of a road most traveled, human produced waste, constructed borders, political signage, existing topographical markers animated as imaginary lines, the inhabitant’s voices, dead and living animals, and long, beautiful, desolate imagery of landscapes of southern Lebanon and northern Occupied Palestine. Through a studied use of imagery and sound, Nasser, at times, paints an impressionist-like painting that transports us to and from an-other possible way of life and lived reality.

    The exhibition demands a multisensorial presence and engagement as colonial practices and landscape are abstracted within the spaces on a material, olfactory, sonic, and visual level. Red in Tooth is a reminder that we have made the wrong decisions, we have trusted the wrong materials, we have been listening to the testimonies of those who have not witnessed for too long. It reveals to us an entrapped power dynamic between colonial structures, people, animals, plants, the river, and the soil, and invites us through Nasser’s subtle but radical language of abstraction to consider different forms of mobility and relationship to the land.

    Text: Reem Shadid

    Dala Nasser (*1990 in Tyre, lives in Beirut, Lebanon) recently had solo exhibitions at VO Curations in London and Deborah Schamoni in Munich (2022, and 2021). She participated in a number of group exhibitions, including Centre Pompidou in Paris (2022), Villa Emplain in Brussels (2021), Beirut Art Center (2019); Bétonsalon – Centre d’art et de recherche in Paris (2019); Victoria Miro in London (2018); François Ghebaly Gallery in Los Angeles (2018); and ACT2 of the Sharjah Biennial 13 (2017).

    Dala Nasser: Red in Tooth, 2022. Design: Leen Charafeddine.


  • Symposium: reboot: Asynchronicity, hosted by Cally Spooner, 7. – 8.5.2022
    Sat May 7, 2022 – Sun May 8, 2022

    Asynchronicity. A symposium-like gathering, hosted by Cally Spooner. 

    With Paul Abbott & Will Holder, Alex Baczynski-Jenkins, Taina Bucher, Elizabeth Freeman, Hendrik Folkerts, Irena Haiduk, Dana Luciano, Martina Roß-Nickoll, Cally Spooner with Sanna Blennow and Melody Giron, Mark von Schlegell, Jesper List Thomsen, Jackie Wang and films by Pierre Bal-Blanc and Frances Scholz. 

    Saturday, May 7, 2022, 8.59 am 6.50 pm 
    Kölnischer Kunstverein, Cologne
    Free Admission, no registration required

    Sunday, May 8, 2022, 11 am 8 pm
    Ludwig Forum, Aachen
    Free Admission, no registration required

    All contributions are in English. In Aachen, simultaneous translation into German is provided.

    Asynchronicity is a symposium-like gathering of choreographies, lectures, sounds, screenings, and discussions assembled by artist Cally Spooner with reboot: responsiveness at Kölnischer Kunstverein, Cologne and Ludwig Forum, Aachen.

    Asynchronicity takes as its backdrop the neoliberal paradigm of an always measurable performance. In this climate performance manifests at once as a regime of disciplinary power and a condition of everyday life, in which subjects constantly quantify, manage and stratify themselves until the social imagination and desire is deadened. Asynchronicity probes how such draining quests can be subverted by collectively fostering a resistance towards chrononormativity. Coined in 2010 by queer studies scholar Elizabeth Freeman (one of the gathering’s contributors), the term chrononormativity describes the prevalent use of time to organize human bodies toward maximum productivity.

    Asynchronicity responds by unravelling the resistant potentials of becoming or remaining asynchronous. Over the course of two days, collaborators – artists, performers, musicians, theoreticians, dancers, curators and designers – are invited to unfold a diverse set of propositions for alternative, fugitive temporalities, affects and bodily practices that bend and subvert familiarity and which deliberately, or naturally, remain out of sync. Jointly introducing the notion of asynchronicity as an alternative, non-sequential mode of time, texts, movements, encounters and thoughts will collide across the partnering institutions in Aachen and Cologne.

    Asynchronicity is part of Cally Spooners longterm research project Deadtime (since 2018) in which she finds and handles temporal structures beyond the Clock-Time standardizations that force labour, bodies, nervous systems, and digital technologies into a completely metric-orientated future. Conceived as the first of five assemblies hosted by the artist, that challenge the chrononormative order and the performance imperative implied.

    While you may enter the symposium-like gathering in your own time – any moment or time span of preference – we suggest you experience its choreography in its entirety and in both cities, if possible.


    Saturday, May 7, 2022, 8.59 am 6.50 pm
    Doors open from 8.30 am

    Kölnischer Kunstverein
    Hahnenstraße 6, 50667 Cologne

    I GOT UP AT 8:59 AM OCT. 19 2021 by Pierre Bal-Blanc, adapted from I GOT UP AT 8:59 AM OCT. 19 1968 by On Kawara addressed to Dan Graham, is screened. Rosmarie Waldrop’s Lawn of Excluded Middle is read by Will Holder (vocals) and Paul Abbott (drums). Each reading comprises three fifteen-minute readings of three verses, to a maximum of six people. Deadtime, an opera in progress, is presented by Cally Spooner (lecture), Sanna Blennow (dance) and Melody Giron (cello) . Elizabeth Freeman introduces the audience to the concept of chrononormativity, with a historical frame. Mark von Schlegell reflects on his science fiction experiences with time travel. Taina Bucher engages in conversation on techno-dystopias, and ‘right time newsfeeds’. Jackie Wang examines how time is used as a technology of punishment inside prisons, then ends with a meditation on Black Quantum Futurism’s use of Afro-futurist sci-fi to create new political openings. Dana Luciano presents James McCune Smith, the 19th century physician, activist, who positioned geology as a site for the production of pleasure. Jesper List Thomsen reads FREEEee, a part lecture part folk song on dismantling representation. We conclude with Introduction To Feelings, Studio Feelings where Irena Haiduk casts from the year 2135 for 32 mins.

    Timetable
    08.59 am
    I GOT UP AT 8:59 AM OCT. 19 2021, Pierre Bal-Blanc
    10.00 am Dead Time, Cally Spooner, Melody Giron, Sanna Blennow and Jesper List Thomsen
    11.00 am On Chrononormativity: Histories and Possibilities, Elizabeth Freeman
    12.00 pm Carceral Temporalities and the Politics of Dreaming, Jackie Wang
    1.00 pm Rosmarie Waldrop: “Lawn of Excluded Middle”, Will Holder and Paul Abbott
    —  Lunch Break
    2.00 pm Algorithmic “right time” and Deadtime, Taina Bucher and Cally Spooner
    2.30 pm Choromonautics, Then and now, Mark von Schlegell
    3.30 pm FREEEee, Jesper List Thomsen
    —  Break
    4.15 pm Freedom’s Ammonite: Blackness, Geomorphology, Worldmaking, Dana Luciano
    5.00 pm Introduction To Feelings, Studio Feelings, Irena Haiduk
    5.30 pm (A rehearsal for) Unending love, or love dies, on repeat like it’s endless, Alex Baczynski-Jenkins
    6.00 pm Rosmarie Waldrop: “Lawn of Excluded Middle”, Will Holder and Paul Abbott
    6.50 pm End


    Sunday, May 8, 2022, 11 am – 8 pm
    Ludwig Forum, Aachen
    Jülicher Straße 97-109, 52070 Aachen

    Rosmarie Waldrop’s Lawn of Excluded Middle is read by Will Holder (vocals) and Paul Abbott (drums). Each reading comprises three fifteen-minute readings of three verses, to a maximum of six people. Mark von Schlegell screens Frances Scholz’s YEAR OF THE WRITER, a time-capsule/fragmentary portrait of a sci-fi writer and the musical environment surrounding, in Los Angeles, 2004. Hendrik Folkerts presents the prologue to a symposium-like gathering on Duration in the spring of 2023, and an asynchronous lapse in this gathering. Jackie Wang analyzes the relationship between listening and power by examining the history of voice surveillance and voice printing technology. Elizabeth Freeman talks about chrononormativity and the asynchrony of personhood and collectivity during illness in the present day—COVID, and her own. Dana Luciano introduces Ellen Gallagher’s alignment with oceanic time, via ecologies formed from the corpses of whales—that might help us to imagine life anew. Biologist Martina Roß-Nickoll explains biodiversity and the temporality of meadows (lecture in German, simultaneous translation into English will be provided.) Irena Haiduk asks things to teach us how to live. Alex Baczynski-Jenkins presents a processual choreography that reflects on the relations of desire, dance, fragmentation, love (as communality) and time.

    Timetable
    11.00 am
    DURATION symposium in the spring of 2023; an asynchronous lapse, Hendrik Folkerts
    12.00 pm Crip Asynchronies: COVID, Cancer, Climate, Elizabeth Freeman
    1.00 pm Captured Voices: Prisoner Voiceprints and the Carceral Laboratory, Jackie Wang
    2.00 pm Rosmarie Waldrop: “Lawn of Excluded Middle”, Will Holder and Paul Abbott
    Lunch break
    3.00 pm Oceanic Time and Black Feminist Futures, Dana Luciano
    4.00 pm A conversation on Meadows, Prof. Martina Roß-Nickoll
    4.00 pm Rosmarie Waldrop: “Lawn of Excluded Middle”, Will Holder and Paul Abbott
    4.30 pm Introduction to YEAR OF THE WRITER, by Frances Scholz, 2004, Mark von Schlegell
    Drink break
    5.10 pm Prop Positions, Irena Haiduk
    6.00 pm (A rehearsal for) Unending love, or love dies, on repeat like it’s endless, Alex Baczynski-Jenkins
    8.00 pm End


    reboot: responsiveness is the first cycle of reboot: – a collaborative, multi-cycle, anti-racist and queer-feminist dialogue encompassing performance and research based practices, jointly presented by Kölnischer Kunstverein, Cologne and Ludwig Forum für internationale Kunst, Aachen.

    reboot:
    Conceived by Eva Birkenstock, Nikola Dietrich, and Viktor Neumann
    Core Collective: Alex Baczynski-Jenkins, Gürsoy Doğtaş, Klara Lidén, Ewa Majewska, Rory Pilgrim, Cally Spooner, and Mariana Valencia
    Graphic design by Sean Yendrys


    reboot: responsiveness is a cooperation of:



    reboot: responsiveness is supported by:

  • Vermittlung, Guided Tour: Guided tour through the exhibition of Loretta Fahrenholz, 1.5.2022
    Loretta Fahrenholz: Happy Birthday, 2022. Installation view Kölnischer Kunstverein, 2022. Courtesy: the artist and Galerie Buchholz. Photo: Mareike Tocha.
    Sun May 1, 2022, 3 pm – 4 pm
    Guided tour through the exhibition of Loretta Fahrenholz with Ani Schulze, Artist
  • Filmvorführung, Artist Talk: Film screening and artist talk with Loretta Fahrenholz, 29.4.2022
    Loretta Fahrenholz: Two A.M., 2019. Film still. Courtesy: the artist and Galerie Buchholz.
    Fri Apr 29, 2022, 7 pm – 9 pm
    Film screening Loretta Fahrenholz Two A.M., 2019, 79 min (original English version) and a conversation with the artist (in German) Two A.M. Color, 79 min, 2019 With: Theadora Davies, Emile Clarke, Jim Fletcher, Sophie Fives, Annika Glass, Andrew Kerton, Paula Knüpling, Ilya Lipkin, Mira, Partecke, Emily Sundblad, Yuko Torihara, Helga Wretman and Michael Bornhütter, Klaus Kamptner, Leonie Kossi, Gerda Martin, Liv Moritz, Liana Saito, Julian Wadsworth, Jürgen Wolf, Min Yoon, Tate Zirner, et al. Cinematography: Till Megerle, Loretta Fahrenholz, Jan Mammey; Editing: Michael Fandel, Loretta Fahrenholz; Sound Design: Steffen Martin, Anders Ehlin; Assistant Directors: Angela Stiegler, Yulia Lokshina; Script: Jegg Nagy, Loretta Fahrenholz; Production Management: Sarah Schipschack; Producer: Loretta Fahrenholz; Executive Producer: Sarah Schipschack & Leif Magne Tangen, vitakuben; Sound: Simon Konrad; Costumes, Make-up: Marianna Serwa; Stunt Choreography: Michael Bornhütter; Colorist: Jorge Piquer Rodríguez; Music: Steffen Martin, Christian Naujoks, Anders Ehlin, Stephan Gschwendtner, Ivan Sobolew, Timo Ellis, Christoph Reiserer; Titles: HIT Two A.M. (2019) is a hallucinatory tale of coercion, control, and peer-to-peer surveillance on the fringes of present-day Berlin. Fahrenholz draws on Irmgard Keun’s 1937 novel, After Midnight, for her protagonist, Sanna. Where Keun’s young narrator turned a septic eye on the rise of the Nazis in prewar Germany, Fahrenholz’s Sanna is pitted against her own overbearing family of mind-reading ‘Watchers’, who use their powers to monitor the thoughts and feelings of their human counterparts. As a police state tightens its grip in the face of increasing social unrest, Sanna goes on the run from her volatile Watcher aunt and reconnects with her sister Algin, a blacklisted pop star. But when an escape from her claustrophobic past seems just within reach, events conspire against Sanna and her allies, in an unpredictable fever dream of desire, voyeurism, and political chaos.
  • Guided Tour: Guided tour through the exhibition of Loretta Fahrenholz, 6.4.2022
    Loretta Fahrenholz: Gap Years, 2022. Installation view Kölnischer Kunstverein, 2022. Courtesy: the artist and Galerie Buchholz. Photo: Mareike Tocha.
    Wed Apr 6, 2022, 5 pm – 6 pm
    Guided tour through the exhibition of Loretta Fahrenholz with Miriam Bettin, Assistant Curator
  • Guest Event: Kammerkonzerte im Kunstverein – 2. Konzert: Morgenstern Trio, 2.4.2022
    Morgenstern Trio
    Sat Apr 2, 2022, 6 pm
    Schubert, Fauré & Blomenkamp Dekoriert mit den höchsten Preisen und Auszeichnungen (Wien, Melbourne, ARD, KLRITA) ist das Mor­genstern Trio auf den wichtigsten Podien der Welt zu Hause. Dazu zählen: Carnegie Hall New York, Kennedy Center Washington DC, Musikverein und Konzerthaus Wien, Kölner Philharmonie, Berliner Philharmonie, Concertgebouw Amsterdam und andere. Publikum und Presse feiern das Morgenstern Trio für höchsten kammermusikalischen und technischen Anspruch: Seine lange gereiften Interpretationen faszinieren in der Ausarbeitung feinster Nuancen. Bei den Kammerkonzerten im Kunstverein kann das Morgenstern Trio ganz seine kammermusikalischen Fähigkeiten ausspielen und präsentiert ein besonderes und abwechselungsreiches Programm. Neben Klaviertrios von Franz Schubert und Gabriel Fauré wird eine 2019 erstmalig uraufgeführte Suite von Thomas Blomenkamp zu hören sein. Besetzung: Catherine Klipfel, Klavier Stefan Hempel, Violine Emanuel Wehse, Violoncello Programm: Gabriel Fauré: Klaviertrio d-Moll, op. 120 Thomas Blomenkamp: Preludio, Prestissimo, Pavane und Precipitato für Klaviertrio (2019) #RepertoireNRW Franz Schubert: Trio B-Dur, D 898 Ausführliche Informationen zum Ensemble: www.morgensterntrio.com Preise: 19,50 Euro inkl. VVK Gebühr, ermäßigt (Schüler, Studenten, KölnPass-Inhaber) 12,- Euro inkl. VVK Gebühr, Kinder bis 14 Jahre haben freien Eintritt. Der Vorverkauf startet zur Zeit jeweils drei Wochen vor den jeweiligen Konzertterminen. Karten sind auf KölnTicket erhältlich: www.koelnticket.de Aktuelle Infos & Link zum VVK unter: www.koelner-klassik-ensemble.de Über die Konzertreihe: Die Musikmetropole am Rhein ist Heimatort zahlreicher international anerkannter Musikerinnen und Musiker. Mit ihrer Vielfalt und Qualität hat sich dabei die freie Kölner Kammermusikszene weltweit höchstes Ansehen erspielt. Die Kammerkonzerte im Kunstverein geben diesen Spitzenensembles aus Köln und NRW nun ein festes Schaufenster in ihrer Heimatstadt. Ab 2020 finden jährlich sechs Konzerte, jeweils Samstag Abends um 18 Uhr, im Riphahnsaal des Kölnischen Kunstvereins statt. Zentral am Neumarkt bietet der Riphahnsaal mit seiner offenen, schönen Architektur eine hervorragende Akustik für Kammermusik der internationalen Spitzenklasse. Die Verbindung von zeitgenössischer, bildender Kunst und der epochenübergreifenden Kammermusik setzt ein Symbol für die Einheit von Kunst, ihrer Vielfältigkeit und Aktualität und verspricht ein einzigartiges Ambiente.
  • Filmvorführung, Artist Talk: reboot: Mariana Valencia – Tulum, New York (Online Event), 30.3.2022
    Graphic design: Sean Yendrys.
    Wed Mar 30, 2022, 6 pm – 8 pm
    Mariana Valencia Tulum, New York Video presentation and conversation with Mariana Valencia Wednesday, March 30, 2022 Online Zoom, 6 – 8pm CET (in English) Participation link: https://us06web.zoom.us/j/83878297992 Meeting ID: 838 7829 7992 reboot: responsiveness is pleased to premiere New York-based artist and choreographer Mariana Valencia’s latest video work Tulum, New York in its newly conceived multi-language versions in English, German, and Spanish. On March 30, 2022, Kölnischer Kunstverein, Cologne and Ludwig Forum Aachen invite to a screening of the videos and a subsequent zoom-conversation with Mariana Valencia to contextualize her practice in dialogue with Viktor Neumann, one of the three curators of reboot. All three versions of Tulum, New York will be on view at Kölnischer Kunstverein and Ludwig Forum Aachen on site afterwards. “Exploring the ‘pandemic screen’, Tulum, New York makes use of the video-chat function that’s been imposed onto us as a means to connect and transport during pandemic times. Here, Mariana Valencia retells her recurring dreams that feature her psychotherapist, during the beginning of the first Covid-19 lockdown. Her face fills the frame and moves in slow-motion, out of rhythm to the speaking and in a surreal incantation. Tulum, New York sits between the tropical and urban, wakefulness and dreams, loss and attachment.” Choreographer and performer Mariana Valencia works in the New York experimental field of dance and performance. Her commissions include Baryshnikov Arts Center, The Chocolate Factory Theater, Danspace Project, The Whitney Museum, The Shed and Performance Space New York. Valencia’s work has toured in Korea, England, Norway, Macedonia and Serbia; her residencies include AUNTS, Chez Bushwick, New York Live Arts, ISSUE Project Room, Brooklyn Arts Exchange, Gibney Dance Center, Movement Research, and the Portland Institute for Contemporary Art (OR). Valencia is an LMCC Extended Life grantee, a Whitney Biennial artist, a Bessie Award recipient for Outstanding Breakout Choreographer, a Bessie Award nominee for Best Production, a Foundation for Contemporary Arts Award to Artists grant recipient, a Jerome Travel and Study Grant fellow, and a Movement Research GPS/Global Practice Sharing artist. Valencia is a founding member of the No Total reading group and she has been the co-editor of Movement Research’s Critical Correspondence. She’s worked with artists AK Burns, Elizabeth Orr, Em Rooney, Fia Backstrom, Geo Wyeth, Guadalupe Rosales, Jazmin Romero, Juliana May, Jules Gimbrone, Kim Brandt, Lauren Bakst, Lydia Okrent, Morgan Bassichis, MPA, and robbinschilds. Valencia has published two books of performance texts, “Album” (Wendy’s Subway) and “Mariana Valencia’s Bouquet” (3 Hole Press). She holds a BA from Hampshire College in Amherst, MA with a concentration in dance and ethnography. reboot: responsiveness Kölnischer Kunstverein, Cologne and Ludwig Forum Aachen jointly announce the launch of reboot: – a collaborative, multi-cycle, anti-racist, and queer-feminist dialogue encompassing performance and research based practices. reboot: Conceived by Eva Birkenstock, Nikola Dietrich, and Viktor Neumann Core Collective: Alex Baczynski-Jenkins, Gürsoy Doğtaş, Klara Lidén, Ewa Majewska, Rory Pilgrim, Cally Spooner, and Mariana Valencia Graphic design by Sean Yendrys reboot: responsiveness is a cooperation of: reboot: responsiveness is supported by:
  • Solo Exhibition: Loretta Fahrenholz - Gap Years, 19.3. – 26.6.2022
    Loretta Fahrenholz, 2022. Courtesy: die Künstlerin und Galerie Buchholz.


    Opening of the exhibition: Friday, 18.03.2022, 7 pm

    Gap year: a reprieve from work and responsibility, time off before time starts again – or a chunk of time that lands in your lap when society unexpectedly stops.

    A vast and relatively unregulated space, Berlin’s Tempelhofer Feld is built on ruptures reflected in its various historical incarnations, among other functions Germany’s first football training ground, a 19th century Sunday destination, NS parade site, a concentration camp, and, of course, Berlin’s airport during the Cold War Airlift. Fahrenholz’ photo series Gap Years depicts the flourishing of leisure activities and new hobbies during the pandemic, when the Feld became everyone’s cafe, gym, bar, club, pick-up spot and music venue. Recorded with strobe-like time-lapse photography that registers movement like in a frozen jelly, the works in the series show people in self-defence classes, playing ping-pong, roller-skating, or engaging in impromptu raves and remote-controlled car driving, open-air bondage and snacking. There is also a blurry close-up of tahini poured on one of the unpopular e-scooters (we are among irritable Berliners all right).

    The contemporaneity of the activities cannot hide the belle-époque quaintness of the motif of leisure, or what Fahrenholz identifies as its ‘kitsch’ aspect. We have no illusions about leisure activities. As carefully measured breaks in the regime of work they can be the next best thing to being stuck in a rut. And in an urban context the display of street skill and everyday virtuosity is already inscribed in a layered visual economy: Fahrenholz’ photos trail instagrammable styles of social-media self-consumption but also the heroics of sports photography. Still, the social collapse of the pandemic provided an opportunity for other rhythms, for social reorganization on a micro-level, thus creating a space in which it was possible to get in touch with both dystopia and utopia.

    The film Happy Birthday (2022) emulates the perspective of a first-person shooter video game through a sole protagonist who wanders aimlessly across the Tempelhofer Feld. Little windows appear with snippets of mobile-phone-recorded birthday greetings. As the film progresses, darkness falls on the lonely social choreography, a non-celebration with long-distance missives from friends and family who should have been present. The birthday boy’s blank expression and the absence of action build up emotional pressure and expectation, as the air around him is perforated with songs, encouragements or scolding, shared memories, saucy messages, and existential musings.

    What is left, where are we now? Where do we go from here? – These questions emerge from the darkness surrounding the figures in Fahrenholz’ two works. To Henri Lefebvre, the ‘rhythmanalyst’ is someone who studies rhythms as a structure for the experience of space and time – someone who listens to “all sorts of already known practices” but first of all “to his body; he learns rhythm from it, in order consequently to appreciate external rhythms. His body serves him as a metronome.” What would Lefebvre’s rhythmanalyst make of a pandemic time out of whack? Lefebvre’s notion of the body as a metronome takes on other signification, both when held against the digitally scripted movements of the Happy Birthday protagonist and Gjon Mili’s photographic experiments from the mid-20th century that inspired Fahrenholz for her Gap Years series. New strobe technology enabled Mili to capture movement by arresting the human body in sequences in a single photographic image: Picasso making a drawing with light, a ballet dancer’s stride across the stage. Mili’s is a kind of portraiture in which psychology is reduced, or even effaced, in favour of speed.

    In 1960s counterculture the spasmodic gestation of the strobe was employed to chop up time and dissolve the body. Tom Wolfe describes the dance floor of a 1960s ‘acid test’:

    Ecstatic dancers – their hands flew off their arms, frozen in the air – a gleaming ellipse of teeth here, a pair of buffered highlit cheekbones there – all flacking and fragmenting into images as in an old flicker movie – a man in slices! – all of history pinned up on a butterfly board; the experience, of course.

    The psychedelic sensibility for the non-human side of technology inspired the filmmaker Jonas Mekas to say that “since there is nothing but the white light in [the strobe], it represents…the point of death, or nothingness.” But it is not only visual shrapnel; there is a theoretical bent in the strobe, too, a crystalline ur-cinematic logic: “One could even say that it dramatizes the light itself.” On the thin line between emancipation and control, stimulus and trauma, the strobe summarizes the modern onslaught on the nervous system with instantly changing signals. In the 1950s, flicker technologies were used for electroencephalographic research documenting how changes in the electrical rhythms of the brain have diagnostic value. In the nerve-brain click-regime of our digital era such stimuli have plenty of exchange value, too.

    “Writing in strobe” can invent “crazy speeds…where different themes connect up, and words form various figures according to the precipitous speeds of reading and association,” as Gilles Deleuze said about Hélène Cixous’ way of writing her way out of patriarchal regimes. In Fahrenholz, the icy strobe is no less of a poetics, a suitable aesthetic for our dreamless time. Departing from acceleration and Cixous’ call for “more body”, Fahrenholz instead presents meditations on the dissolution of normality and on caesuras in social time and space. Known rhythms of life begin to limp and falter as we are served up a new diet of (dis)embodiment, separation and togetherness, in the affective interstices between bodies and technologies. Maybe somewhere here, in a big blank space-time like the Tempelhofer Feld during the pandemic, we can find a way to acknowledge what happens – or what does not happen – as an event to be handed over to the future, so time can branch out into something new.

    Lars Bang Larsen

    Loretta Fahrenholz, 2021/22. Courtesy: the artist and Galerie Buchholz.

  • Performance: Live performances at the end of the exhibition of Pure Fiction, 6.3.2022
    Pure Fiction: Shifting Theatre: Sibyl's Mouths, 2022. Image: Aislinn McNamara.
    Sun Mar 6, 2022, 2 pm – 5 pm
    Pure Fiction Shifting Theatre: Sibyl’s Mouths Performance program starts at 2.30 pm with Mark von Schlegell (feat. Arjan Stockhausen), Luzie Meyer and Erika Landström with Dana Munro In Shifting Theatre: Sibyl’s Mouths, members of the writing and performance group Pure Fiction—Rosa Aiello, Ellen Yeon Kim, Erika Landström, Luzie Meyer, and Mark von Schlegell—respond to the unpredictable cultural landscape of today by staging this strikingly relevant novel’s motifs in a shifting theatre of sound, installation, lecture, film and puppetry. Voices animate and prophesize; make presence out of absent figures and forces; translate from symbol to action and back. In a time when coming together physically as a group seems near impossible; coming apart together is newly significant. Like the fragmentary prophecies of the eponymous Sibylline cave, works made specifically for the exhibition come to life at various stages, and in accordance with their own internal script and time-line. Through a careful interrogation to the where and who, their individual unfoldings seem to ask in discordant chorus: what is performance? The 2G rule applies. No registration required. The event takes place in the context of Show & Tell and is supported by:  
  • Exhibition: Pure Fiction - Shifting Theatre: Sibyl’s Mouths, 12.2. – 6.3.2022
    Shifting Theatre: Sibyl's Mouths, 2022. Image by Aislinn McNamara.

    Pure Fiction: Rosa Aiello (in collaboration with Dylan Aiello), Ellen Yeon Kim, Erika Landström, Luzie Meyer, Mark von Schlegell
    Shifting Theatre: Sibyl’s Mouths

    An Exhibition at the End of Performance

    Opening: Friday, February 11, 2022, 5 – 9 pm

    Performances from 7 pm

    Closing: Sunday, March 6, 2022, 11 am – 6 pm
    Performances from 2 pm

    The 2G rule applies. No registration required.


    In the Sibylline cave near today’s Naples, the narrator of Mary Shelley’s 1826 novel The Last Man finds a collection of prophecies scribbled on scattered oak leaves. These fragments conjure the story of an epidemic that ravages the globe in the 2100’s, forever altering human history. Arguably the first science-fiction apocalypse, The Last Man touches on themes such as solitude, new forms of intimacy, repetition, and life on the edge of an epoch.

    In Shifting Theatre: Sibyl’s Mouths, members of the writing and performance group Pure Fiction—Rosa Aiello, Ellen Yeon Kim, Erika Landström, Luzie Meyer, and Mark von Schlegell—respond to the unpredictable cultural landscape of today by staging this strikingly relevant novel’s motifs in a shifting theatre of sound, installation, lecture, film and puppetry. Voices animate and prophesize; make presence out of absent figures and forces; translate from symbol to action and back.

    In a time when coming together physically as a group seems near impossible; coming apart together is newly significant. Like the fragmentary prophecies of the Sibylline cave, works made specifically for the exhibition come to life at various stages, and in accordance with their own internal script and time-line. Through a careful interrogation to the where and who, their individual unfoldings seem to ask in discordant chorus: what is performance?

    On the Kölnischer Kunstverein’s ground floor, a sound installation by Ellen Yeon Kim repeats while physically sprawling across the premises. Luzie Meyer’s new video work is accompanied by marionettes of the current Pure Fiction members, and in REAL BOOKS—a temporary book store of no set time or space—Mark von Schlegell offers the written word as time machine, for a price.

    In the adjacent cinema, Rosa Aiello (in collaboration with Dylan Aiello) entangles herself in sibling ribaldry and the libidinal potentials of performance (on and off screen). Meanwhile, in the former broadcasting room on the second floor, Erika Landström stages a dream machine of cognitive labour and space exploration.

    With live performances on opening night and closing day.


    Rosa Aiello (*1987, Canada) is an artist, writer, and filmmaker. Her works have been shown at various institutions and galleries, including Schirn Kunsthalle, Frankfurt am Main; Cell Project Space, London; Bureau des Réalités, Brussels; and Stadtgalerie Bern, among others. She has had recent solo exhibitions at DREI, Cologne; Arcadia Missa, London; Lodos, Mexico City, and Southern Alberta Art Gallery, Lethbridge. Her writing has been published in Triple Canopy, Starship, CanadianArt, Art Papers, Public Journal, and F. R. David.

    Ellen Yeon Kim (*1985, South Korea) studied at the Städelschule in Frankfurt am Main in the class of Peter Fischli and Simon Starling, and graduated from Slade School of Art, UCL. Her aesthetically complex work unveils the absurdity of the multiple irreconcilable expectations which are placed on individuals by society and its institutions. It reveals ways in which trauma is passed on and perpetuated by individuals themselves. Kim’s practice involves various media, including theatre, stand-up comedy, installations and drawings. She was awarded The Peter Mertes Stipendium in 2021 and has been part of the studio program at the Kölnischer Kunstverein since 2019. 

    Erika Landström (*1984, Sweden) is an artist working in sculpture, installation and performance. She is a graduate from the Städelschule in Frankfurt am Main, and the Whitney Museum of American Art’s Independent Study Program in New York. Her most recent performance Holders premiered at the Emily Harvey Foundation in New York, 2020. She has been published by Sternberg Press and Texte Zur Kunst, among others, and her writing ranges from poetry to art criticism. Her work has been shown in solo and group exhibitions internationally.

    Luzie Meyer (*1990, Germany) is an artist, poet, musician, and translator based in Berlin. She studied Philosophy at Goethe University Frankfurt and graduated in Fine Arts from Städelschule in Frankfurt am Main in 2016. Her work has been shown in solo and group exhibitions internationally. She was awarded the studio residency of the Hessische Kulturstiftung at the Cité internationale des arts, Paris in 2018. She has received a pre-doctoral fellowship of the DiGiTal fund Berlin in 2020, as well as a research grant from the Berlin senate in 2021 for her research project “Unthinking Metatheatre”. 

    Mark von Schlegell (*1967, USA) is a novelist, critic and artist, Cologne-based since 2005. His first novel Venusia (2005) was honor’s listed for the Otherwise Prize in science fiction. In English he is published by Semiotext(e) and Sternberg Press; in German by Matthes und Seitz and Merve Verlag. His visual art has been shown in the US (New York), South Korea (Seoul), Denmark, and throughout Germany. A founding member of the Pure Fiction collective since 2011, he has taught art and literature at CalArts in Valencia, the San Francisco Art Institute, and Städelschule in Frankfurt am Main.

    Shifting Theatre: Sibyl’s Mouths, 2022. Image by Aislinn McNamara.

    Supported by:

    Dieses Bild hat ein leeres Alt-Attribut. Der Dateiname ist KKV_PF_Logoleiste_Web_220120-1024x384.png
  • Workshop: reboot: responsiveness - Rory Pilgrim: Is there a story that has helped you to recover?, 23.1.2022
    Sun Jan 23, 2022, 7 pm – 8 pm
    Rory Pilgrim Is there a story that has helped you to recover? Informal public presentation of a two-day workshop, organized by the Kölnischer Kunstverein and Kunstverein für die Rheinlande und Westfalen, Düsseldorf Sunday, January 23, 2022, 7 – 8 pm Venue: Salon des Amateurs Grabbeplatz 4, 40213 Düsseldorf Free Admission. Please note that this is a 2G+ event. For admission, a negative daily (not older than 24 hours) rapid test result is required in addition to proof of vaccination or recovery. A booster vaccination replaces the test result. Please register at info@reboot-responsiveness.com. Can we recover, if the systems around us do not change? By storytelling, how might we recover those systems? Over the course of a two-day long workshop, artist Rory Pilgrim has invited people from Cologne and Düsseldorf to reflect through different forms of storytelling on what ‘recovery’ might mean today. This workshop results in this informal public event, giving the opportunity for participants to share stories developed in the workshop in whatever way comfortable for them. With recovery implying a return to a previous state of health, or even the retrieval of something stolen, can we instead rethink recovery as a way to imagine something completely anew with possibilities? Inspired by the novelist Ursula K. Le Guin, who described the story as a ‘medicine bundle’, we will explore how we use storytelling to share what recovery might mean to us in our own lives. This might be personal or born out of wider political concerns. Reflecting on how we might share our own stories or the stories of others, we will work with different forms of storytelling that feels intuitive to each person and as a group, such as through speech, writing, recordings and nonverbal forms such as tableau making and movement. Through this, we will together explore how experiences of recovery become entangled with wider systems of care, bureaucracy and law. By sharing stories, we will find ways to reimagine what recovery might be and as a way to shape the narratives and change we hope to implement for ourselves, local communities and the wider world. Rory Pilgrim (UK/NL) is an artist and facilitator working across many different mediums including film, music, drawing, and live performance. Centred on emancipatory concerns, Pilgrim aims to challenge the nature of how we come together, speak, listen, and strive for social change through sharing and voicing personal experience. Working with others through different methods of dialogue, workshops, and collaboration, Rory is interested in how we form community locally and globally from both beyond and behind our screens. If you would like to register as a participant for the entire two-day workshop, feel free to get in touch! Hermann Mueller info@reboot-responsiveness.com reboot: responsiveness Kölnischer Kunstverein, Cologne and Kunstverein für die Rheinlande und Westfalen, Düsseldorf jointly announce the launch of reboot: – a collaborative, multi-cycle, anti-racist, and queer-feminist dialogue encompassing performance and research based practices. reboot: Conceived by Eva Birkenstock, Nikola Dietrich, and Viktor Neumann Core Collective: Alex Baczynski-Jenkins, Gürsoy Doğtaş, Klara Lidén, Ewa Majewska, Rory Pilgrim, Cally Spooner, and Mariana Valencia Graphic design by Sean Yendrys
  • Guided Tour: Guided tour through the exhibition of Daniela Ortiz, 22.1.2022
    Daniela Ortiz: Samuel and Naseb, a resistance story in seven pranks, 2021. Installation view Kölnischer Kunstverein, 2021. Courtesy: the artist and àngels barcelona. Photo: Mareike Tocha.
    Sat Jan 22, 2022, 5 pm – 6 pm
    with Nikola Dietrich, Director Kölnischer Kunstverein
2021
  • Exhibition: Exhibition closed, 24.12.2021 – 3.1.2022
    Daniela Ortiz: The children are not of the wolf, 2021. Installation view Kölnischer Kunstverein, 2021. Courtesy: the artist and àngels, barcelona. Photo: Mareike Tocha.

    The exhibition Daniela Ortiz – Nurtured by the defeat of the colonizers our seeds will raise will be closed from 24 December 2021 to 03 January 2022.

    We look forward to welcoming you back on 4 January 2022.

    For your visit to the exhibition, please also refer to the current information.

  • Exhibition: Ausstellung geschlossen, 24.12.2021 – 3.1.2022
    Daniela Ortiz: The children are not of the wolf, 2021. Installation view Kölnischer Kunstverein, 2021. Courtesy: the artist and àngels, barcelona. Photo: Mareike Tocha.

    Die Ausstellung Daniela Ortiz – Nurtured by the the defeat of the colonizers our seeds will raise bleibt vom 24. Dezember 2021 bis zum 03. Januar 2022 geschlossen.

    Wir freuen uns, Sie ab dem 4. Januar 2022 wieder bei uns begrüßen zu können.

    Bitte beachten Sie für Ihren Ausstellungsbesuch auch die aktuellen Informationen.

  • Event: Exhibiton of the latest Jahresgaben, 9.12.2021
    Jahresgaben 2021, Kölnischer Kunstverein.
    Thu Dec 9, 2021, 5 pm – 6 pm
    We are pleased to present our latest Jahresgaben on December 8, 2021 and would like to invite you to a tour of the Jahresgaben exhibition on December 9, 2021. Our director Nikola Dietrich will guide you through the exhibition. For your visit the vac­ci­nat­ed-re­cov­ered-rule (“2G-Regel”) ap­plies at the Kölnischer Kunstverein. Please have proof of vacci­na­tion or past ill­ness and a valid iden­ti­fi­ca­tion doc­u­ment ready. The vac­ci­nat­ed-re­cov­ered-test­ed-rule (“3G-Regel”) ap­plies to chil­dren and teens un­der 18. Chil­dren up to the age of school en­try do not re­quire proof. Stu­dents un­der the age of 16 are con­sid­ered test­ed. Stu­dents 16 years of age and old­er are asked to pro­vide school cer­ti­fi­ca­tion. Adults who can­not be vac­ci­nat­ed for med­i­cal rea­sons must pre­sent a neg­a­tive rapid test (max. 24 hours old) in ad­di­tion to a med­i­cal cer­ti­fi­cate.
  • Guided Tour: Exhibiton of the latest Jahresgaben, 9.12.2021
    Jahresgaben 2021, Kölnischer Kunstverein.
    Thu Dec 9, 2021, 5 pm – 6 pm
    We are pleased to present our latest Jahresgaben on December 8, 2021 and would like to invite you to a tour of the Jahresgaben exhibition on December 9, 2021. Our director Nikola Dietrich will guide you through the exhibition. For your visit the vac­ci­nat­ed-re­cov­ered-rule (“2G-Regel”) ap­plies at the Kölnischer Kunstverein. Please have proof of vacci­na­tion or past ill­ness and a valid iden­ti­fi­ca­tion doc­u­ment ready. The vac­ci­nat­ed-re­cov­ered-test­ed-rule (“3G-Regel”) ap­plies to chil­dren and teens un­der 18. Chil­dren up to the age of school en­try do not re­quire proof. Stu­dents un­der the age of 16 are con­sid­ered test­ed. Stu­dents 16 years of age and old­er are asked to pro­vide school cer­ti­fi­ca­tion. Adults who can­not be vac­ci­nat­ed for med­i­cal rea­sons must pre­sent a neg­a­tive rapid test (max. 24 hours old) in ad­di­tion to a med­i­cal cer­ti­fi­cate.
  • Exhibition: Exhibition of the Jahresgaben 2021, 8. – 19.12.2021
    Jahresgaben 2021, Kölnischer Kunstverein.

    Artists:
    Naama Arad, Inessa Emmer, Sabrina Fritsch, Stefani Glauber, Selma Gültoprak, Melike Kara, Ellen Yeon Kim, Rory Pilgrim, Nora Schultz, Cally Spooner, Katja Tönnissen, Mark von Schlegell

    We are pleased to present to you this year’s Jahresgaben at the Kölnischer Kunstverein from December 8 to 19, 2021 during the regular opening hours and cordially invite you to a tour with the director Nikola Dietrich on Thursday, December 9 at 5 pm. Registration and presentation of a 2G certificate are required. Please note our information regarding your visit to our exhibitions and events.

    Some of the young and established regional and international artists who are supporting the Kölnischer Kunstverein this year with an edition were represented in the 2021 annual program, are current studio fellows, or are connected to the Kunstverein in some other way.

    Please find information about the artists and the available works under Latest Jahresgaben

    Orders for the Jahresgaben 2021 can be submitted in written from that date up to and including December 19. If more orders are received than there are copies available, the decision will be made by lot. The lottery will take place on December 20, 2021. After the draw, all interested parties will be notified in writing of the result. All remaining Jahresgaben are still for sale after the lottery and can be purchased at any time. Purchase only by members.

  • Artist Talk, Lecture: Cally Spooner: Dead Time (Lecture and Conversation), 19.11.2021
    Fri Nov 19, 2021, 6 pm – 8 pm
    Cally Spooner’s “A Lecture on Stagnation” read by Will Holder …for single mothers; followed by a conversation on Dead Time, between Cally Spooner and Hendrik Folkerts. Friday, November 19, 2021, 6 pm Kölnischer Kunstverein, Cologne Since 2007 Will Holder has orally published work authored by those who do not share all or any aspects of his white, male, heterosexual speaking body. The presence of these discrepancies are intended to highlight what our bodies DO have in common, and collectively undergo, rather than only speak of that which normatively divides us. Central to this series of publications is Alice Notley’s Doctor Williams’ Heiresses, (1980) and the poet’s expressed desire to synthesise a female, speaking voice within male poetic meters. Will attempts something comparable, with respect to a sense of Notley’s poetry, while reading Cally Spooner’s “Lecture on Stagnation”. Will’s reading is a way to lead into Cally Spooner’s ongoing project Dead Time. Over the coming three years, Dead Time will be periodically published with Will Holder, to test a thesis —- ‘dead time’ is an event that is chrononormatively-inactive and therefore holds the potential to restitute life. Dead Time (2018) is a 63 page performance score. It was composed by artist and writer Cally Spooner, in response to what she has coined to be ‘a global techno-temporal-performance culture’; a crime scene in which it is increasingly difficult to tell the difference between what is alive and what is dead. Since 2018 Spooner has been incrementally translating Dead Time into a number of works that can coexist under various conditions, and which will culminate in an Opera in the future. For now, at the Kölnischer Kunstverein, Spooner and curator Hendrik Folkerts discuss the present-tense condition of Dead Time, avoiding future-orientated speculation and chronological reminiscence. They will be accompanied by Melody Giron on cello. She will join the conversation from New York, to present Dead Time’s current work in progress. Typographer Will Holder makes books, and publishes the work of others, orally and in print. He likes to draw attention to an ongoing, shared authorship of meaning, co-produced in the gaps between bodies, their speech and the printed page. Since 2007, Holder edits F.R.DAVID, a journal concerned with reading & writing and typography: the organisation and reproduction of language, published by uh books, Brussels. Hendrik Folkerts has curated numerous solo and international group exhibitions as well as collection presentations, new commissions, and public programs, anchored in the expanded field of performance and building on feminist, queer, and anti-colonial histories of art. He is a curator of Moderna Museet Stockholm. He previously held positions as Dittmer Curator of Modern and Contemporary Art at the Art Institute of Chicago (2017–2021); as Curator at documenta 14, Kassel/Athens (2014–2017); as Curator of Performance, Film, and Discursive Programs at the Stedelijk Museum, Amsterdam (2010–2015); and as the Coordinator of the Curatorial Program at De Appel arts centre, Amsterdam (2009–2011). He frequently writes for art journals and magazines, as well as exhibition catalogues and artists’ monographs. Rooted firmly in her training in philosophy, Cally Spooner’s practice is generated through writing, unfolds as performance, then lands as film, sound, sculpture, drawings or scores. Her performances incorporate duration and rehearsal as acts of resistance to techno, temporal and performative climates in which it is hard to tell the difference between what is alive and what is dead. Dead Time is co-produced with reboot:responsiveness; O-Overgaden, Copenhagen; Le Centre Pompidou, Paris. Deadtime is fully supported… Organisationally and practically, by Rhea Dall of O-Overgaden, Copenhagen. Academically, by the Royal Danish Academy of Fine Arts; and the University of Copenhagen, Copenhagen. Financially, by Novo Nordisk Foundation, Hellerup. reboot: responsiveness Kölnischer Kunstverein, Cologne and Kunstverein für die Rheinlande und Westfalen, Düsseldorf jointly announce the launch of reboot: – a collaborative, multi-cycle, anti-racist, and queer-feminist dialogue encompassing performance and research based practices. The first cycle, reboot: responsiveness, departs from desires, anxieties and hopes amplified by the current pandemic. Hosted in two different yet aligned sites that mutually interact with one another as much as they support, complement and challenge each other, reboot: responsiveness provides infrastructures for provisional stagings, rehearsals, processual choreographies, and encounters around notions of presence, intimacy, care, and responsibility. reboot: responsivenessdevelops activities together with a core collective comprised of Alex Baczynski-Jenkins, Gürsoy Doğtaş, Klara Lidén, Ewa Majewska, Rory Pilgrim, Cally Spooner, and Mariana Valencia. Embracing diverse formats, and working together with further invited guests and audiences in Cologne and Düsseldorf, these artists and thinkers will explore ways to dedicate time to one another and to perform in time, to develop alternative vocabularies, archives, gestures, movements, and translations, to share and transmit resources and ideas, and to find modes of resistance and togetherness in response to the current situation we are living in. reboot: Conceived by Eva Birkenstock, Nikola Dietrich, and Viktor Neumann Core Collective: Alex Baczynski-Jenkins, Gürsoy Doğtaş, Klara Lidén, Ewa Majewska, Rory Pilgrim, Cally Spooner, and Mariana Valencia Graphic design by Sean Yendrys http://reboot-responsiveness.com/   
  • Artist Talk, Lecture, Vortrag: Cally Spooner: Dead Time (Vortrag und Gespräch), 19.11.2021
    Fri Nov 19, 2021, 6 pm – 8 pm
    Cally Spooners „Lecture on Stagnation“, gelesen von Will Holder …für alleinerziehende Mütter, 2021 gefolgt von einem Gespräch zu Dead Time zwischen Cally Spooner und Hendrik Folkerts. Freitag, 19.11.2021, 18 Uhr Kölnischer Kunstverein, Köln Seit 2007 veröffentlicht Will Holder mündlich Werke, die von Personen verfasst wurden, die nicht alle oder keine Aspekte seines weißen, männlichen, heterosexuell sprechenden Körpers teilen. Die Präsenz dieser Diskrepanzen soll DAS hervorheben, was unsere Körper gemeinsam haben und kollektiv durchmachen, anstatt nur über das zu sprechen, was uns normativ trennt. Im Mittelpunkt dieser Reihe von Veröffentlichungen steht Alice Notleys Doctor Williams Heiresses (1980) und der ausdrückliche Wunsch der Dichterin, eine weibliche Sprechstimme innerhalb männlicher Versmaße herzustellen. Etwas mit diesem Bewusstsein in Notleys Lyrik Vergleichbares versucht Will Holder in seiner Lesung von Cally Spooners Lecture on Stagnation. Die Lesung leitet über zu Cally Spooners fortlaufendem Projekt Dead Time. In den kommenden drei Jahren wird Dead Time in regelmäßigen Abständen von Will Holder veröffentlicht werden, um die Hypothese zu testen, „tote Zeit sei ein Ereignis, das chrononormativ-inaktiv ist und daher das Potenzial hat, Leben wiederherzustellen. Dead Time (2018) ist eine 63-seitige Performance-Partitur. Sie wurde von Cally Spooner in einem techno-temporalen Performance-Klima komponiert, einem Tatort, an dem es immer schwieriger wird, zu unterscheiden, was lebendig und was tot ist. Seit 2018 übersetzt Spooner Dead Time schrittweise in eine Reihe von Werken, die unter verschiedenen Bedingungen koexistieren können und in eine Oper integriert werden könnten. Im Kölnischen Kunstverein diskutieren Folkerts und Spooner den gegenwärtigen Zustand von Dead Time und vermeiden zukunftsorientierte Spekulationen und chronologische Reminiszenzen. Begleitet werden sie von Melody Giron am Cello. Sie wird sich dem Gespräch aus New York anschließen, um das aktuelle Werk von Dead Time vorzustellen. Der Typograf Will Holder stellt Bücher her und veröffentlicht die Arbeiten anderer sowohl in mündlicher als auch in gedruckter Form. Er möchte die Aufmerksamkeit auf eine fortlaufende, geteilte Autorenschaft von Bedeutung lenken, die in den Lücken zwischen Körpern, ihrer Sprache und der gedruckten Seite entsteht. Seit 2007 ist Holder Herausgeber von F.R.DAVID, einer Zeitschrift, die sich mit Lesen, Schreiben und Typografie beschäftigt: mit der Organisation und Reproduktion von Sprache, herausgegeben von uh books, Brüssel. Hendrik Folkerts kuratierte zahlreiche Einzel- und internationale Gruppenausstellungen sowie Sammlungspräsentationen, neue Auftragsarbeiten und öffentliche Programme, die im erweiterten Feld von Performance verankert sind und auf feministischen, queeren und anti-kolonialen Kunstgeschichten basieren. Er ist Kurator am Moderna Museet Stockholm. Zuvor war er als Dittmer Curator of Modern and Contemporary Art am Art Institute of Chicago (seit 2017-2021), Kurator der documenta 14, Kassel/Athen (2014-2017), Kurator für Performance, Film und diskursive Programme am Stedelijk Museum, Amsterdam (2010-2015) und als Koordinator des kuratorischen Programms am Kunstzentrum De Appel, Amsterdam (2009-2011) tätig. Er schreibt für Kunstzeitschriften und -magazine sowie für Ausstellungskataloge und Künstlermonografien. Cally Spooners künstlerische Praxis, die stark auf ihrer philosophischen Ausbildung fußt, entsteht durch Schreiben, entfaltet sich als Performance und wird schließlich zu Film, Sound, Skulptur, Zeichnung oder Partitur. Ihre Performances nutzen Konzepte wie Dauer und Probe als Akte des Widerstands gegen technologische, zeitliche und performative Klimata, in denen es schwer ist, zwischen Lebendigem und Totem zu unterscheiden. Dead Time ist eine Koproduktion von reboot:responsiveness; O-Overgaden, Kopenhagen; Le Centre Pompidou, Paris. Deadtime wird unterstützt… … Organisatorisch und praktisch von Rhea Dall von O-Overgaden, Kopenhagen. Wissenschaftlich von der Königlich Dänischen Kunstakademie und der Universität Kopenhagen. Finanziell von der Novo Nordisk Foundation, Hellerup. reboot: responsiveness Der Kölnische Kunstverein und der Kunstverein für die Rheinlande und Westfalen, Düsseldorf präsentieren gemeinsam reboot: – ein kollaborativer, zyklischer, antirassistischer und queer-feministischer Dialog zwischen performativen und forschungsbasierten Praktiken. Der erste Zyklus, reboot: responsiveness, geht von den Sehnsüchten, Ängsten und Hoffnungen aus, die durch die aktuelle Pandemie verstärkt werden. An zwei unterschiedlichen, jedoch miteinander verbundenen Orten, die sich gegenseitig unterstützen, ergänzen und herausfordern, bietet reboot: responsiveness Infrastrukturen für provisorische Inszenierungen, Proben, prozesshafte Choreografien und Begegnungen rund um Themen wie Präsenz, Intimität, Fürsorge und Verantwortung. reboot: responsiveness entwickelt Aktivitäten gemeinsam mit einem Kernkollektiv bestehend aus Alex Baczynski-Jenkins, Gürsoy Doğtaş, Klara Lidén, Ewa Majewska, Rory Pilgrim, Cally Spooner und Mariana Valencia. Mittels verschiedener Formate und gemeinsam mit weiteren eingeladenen Gästen und dem Publikum in Köln und Düsseldorf werden diese Künstler:innen und Denker:innen Wege ergründen, einander Zeit zu widmen und zeitgemäß mit Zeit zu performen, alternative Vokabulare, Archive, Gesten, Bewegungen und Übersetzungen zu entwickeln, Ressourcen und Ideen zu teilen und weiterzugeben, und Modi des Widerstands und des Miteinanders als Antwort auf die aktuelle Situation, in der wir leben, zu finden. reboot: Konzipiert von Eva Birkenstock, Nikola Dietrich und Viktor Neumann Kernkollektiv: Alex Baczynski-Jenkins, Gürsoy Doğtaş, Klara Lidén, Ewa Majewska, Rory Pilgrim, Cally Spooner und Mariana Valencia Graphikdesign von Sean Yendrys http://reboot-responsiveness.com/de/ 
  • Book presentation: Book presentation Melike Kara WHERE WE MEET, 2021, 18.11.2021
    Melike Kara: where we meet, 2021. Installation view Kölnischer Kunstverein, 2021. Courtesy: the artist and Jan Kaps, Cologne. Photo: Mareike Tocha.
    Thu Nov 18, 2021, 6 pm – 9 pm
    In conjunction with the exhibition of Melike Kara Nothing Is Yours, Everything Is You, a presentation of the publication WHERE WE MEET, 2021 (ed. Fabian Schöneich, graphics: Anne Stock, 83 pages) with film screenings, an installation, and an introduction by Fabian Schöneich will take place on Thursday, November 18, 2021 at 6 pm. Sponsored by: Dieses Bild hat ein leeres Alt-Attribut. Der Dateiname ist KKV_MK_Logoleiste_Web_211015-1024x227.png
  • Solo Exhibition: Melike Kara – Nothing is Yours, Everything Is You, 13.11. – 5.12.2021
    Melike Kara, Kölnischer Kunstverein, 2021.

    Opening of the exhibition: Friday, 12.11.2021, 5 – 9 pm

    Under the title Nothing is Yours, Everything Is You, Melike Kara presents new paintings in a site-specific installation made of photographs from her personal archive, which gathers family pictures as well as other sources. It serves as an unofficial historical documentation of the Kurdish diaspora that has neither the means nor the resources to preserve their own history. The bleach-treated and faded wallpaper in the Kölnischer Kunstverein’s studio captures rituals and traditions, memories and narratives passed down from generation to generation, resisting oblivion. 

    Her paintings, on view as a triptych outdoors, are gestural-abstract compositions of hybrid forms and figures and borrow from the formal language of textile products of Kurdish tribes, including a special carpet-knotting technique. Kara interweaves the history of Western painting with influences from indigenous cultures and overcomes the outdated strict categorization of art and craft.

    In conjunction with the exhibition, a presentation of the publication WHERE WE MEET, 2021 (Exhibit. Cat. Jan Kaps, Wiels Brussels, ed. Fabian Schöneich, graphics: Anne Stock, 83 pages) with film screenings, installation, and an introduction by Fabian Schöneich will take place on Thursday, November 18, 2021 at 6 pm.

    Melike Kara (*1985 in Bensberg, lives in Cologne) has had solo exhibitions at LC Queisser in Tbilisi (2021), Jan Kaps in Cologne (2020), Arcadia Missa in London, Witte de With Center for Contemporary Art in Rotterdam (both 2019), Yuz Museum in Shanghai (2018), and group exhibitions at Ludwig Forum in Aachen, Belgrade Biennale (both 2021), Wiels in Brussels, and blank projects in Cape Town (both 2020), among others.

    Supported by:

  • Solo Exhibition: Daniela Ortiz - Nurtured by the defeat of the colonizers our seeds will raise, 13.11.2021 – 30.1.2022
    Daniela Ortiz, Kölnischer Kunstverein, 2021.

    Opening of the exhibition: Friday, 12.11.2021, 5 – 9 pm

    In paintings, textile works, children’s books and installations, Daniela Ortiz develops anti-racist and anti-colonial narratives as counterpart to colonialisms that persist to this day. She confronts those players and power holders responsible for the institutional and structural racism that manifests itself, among other things, in the abusive and human rights-violating control of immigration and borders. The focus on craft media in Ortiz’s artistic practice stems from her increasing interest in shifting away from the aesthetics of Eurocentric conceptual art.

    The presentation at Kölnischer Kunstverein is the first institutional solo exhibition of Daniela Ortiz in Germany and, under the title Nurtured by the defeat of the colonizers our seeds will raise, shows new, context-specific series of works together with existing works. The exhibition is accompanied by the artist book The Rebellion of the Roots, 2021 (ed. Kölnischer Kunstverein, graphics: Ronnie Fueglister with Yves Graber, 80 pages), which is available for the opening of the exhibition.

    Daniela Ortiz’ (*1985 in Cusco, lives in Urubamba, Perú) works have been shown internationally in solo exhibitions including La Virreina. Centre de la Imatge in Barcelona (2019), Las Ataranzas in Valencia, Middlesbrough Institute of Modern Art in Middlesbrough (both 2017), Van Abbemuseum in Eindhoven (2016), àngels barcelona in Barcelona (2014), as well as in group exhibitions at LUM – Lugar de la Memoria in Lima, KADIST art foundation in Paris, neue Gesellschaft für bildende Kunst (nGbK) in Berlin, Kunsthalle Wien in Vienna (all 2021), and Kunstverein Hamburg (2020).


    Supported by:


  • Performance: Unfortunately cancelled: reboot: responsiveness - Cally Spooner: DEAD TIME (Maggie’s Solo), 6.11.2021
    Sat Nov 6, 2021, 4 pm – 5 pm
    Cally Spooner: DEAD TIME (Maggie’s Solo) Performance Thursday, November 4, 2021, 11 am – 6 pm Venue: Kunstverein für die Rheinlande und Westfalen, Düsseldorf Please note: Due to illness, tomorrow’s performance on November 6 at the Kölnischer Kunstverein unfortunately has to be cancelled without substitution. Saturday, November 6, 2021, 4 – 5 pm Venue: Kölnischer Kunstverein, Cologne Free admission. Please note, that a proof whether you have been vaccinated, tested negative or recovered from a past COVID-19 infection is required. In DEAD TIME (Maggie’s Solo), 2021, a dancer is shifting across a spectrum of heightened activity and waiting. Effectively an anatomy study for the 21st-century, the dance examines a technical and temporal performance climate in which the human body is imaged, both vital and corpse like. Equally it asks how this same, imaged body might evade capture, circulation and compression, by recasting itself as a preparatory and durational reality. In Düsseldorf DEAD TIME (Maggie’s Solo) is shown sporadically throughout the day as a durational installation-performance. In Cologne the piece is performed to a captive audience for the first time. In this new capacity, DEAD TIME (Maggie’s Solo) is joined by an additional work from Spooner’s DEAD TIME oeuvre: DEAD TIME (Narrator’s Script). In both locations the performance will be presented alongside Spooner’s work from 2018, Still Life. DEAD TIME is an ongoing project by Cally Spooner and a 63 page performance score she composed in 2018. Spooner has been incrementally translating it since, into a number of works that can coexist under various conditions, and which will, over time, integrate into an Opera. DEAD TIME (Narrator’s Script) first appeared in Spooner’s solo show, DEAD TIME, at the Art Institute Chicago in 2019. It was subsequently produced as a sound work for Common Guild, Glasgow, using a recording made at Camden Art Centre in 2020, organised and commissioned by Parrhesiades, London. The piano is Neil Luck, the Narrator is Jesper List Thomsen. DEAD TIME (Maggie’s Solo) is choreographed by Cally Spooner with Magdalyn Segale Scenography and dramaturgy developed by Cally Spooner with Hendrik Folkerts Danced by Magdalyn Segale Commissioned by Walker Art Center, Minneapolis Special thanks to Charles Billot for helping to make DEAD TIME (Maggie’s Solo) remotely. reboot: responsiveness is a cooperation of: reboot: responsiveness is supported by:
  • Seminar: Coronaseminar #5. Reboot solidarity together. von Dr. Ewa Majewska, 20.10.2021
    Wed Oct 20, 2021, 6 pm – 8 pm
    Ewa Majewska Coronaseminar #5. Reboot solidarity together October 20, 2021 Online-Zoom, 6 – 8 pm CET (in English) Participation link: https://us02web.zoom.us/j/85942240996?pwd=TyswL2I5UHlCZXFPbzJjaTNkNUsvQT09  Meeting ID: 859 4224 0996 ID Code: 581273 While the Covid-19 pandemic has changed our lives to various degrees, it has also built a sense of global community, of embodied shared experience of being exposed to a virus that knows no borders. Paradoxically, a deathly disease re-established a sense of shared world and shared response-abilities. Now, as large parts of our lives get “back to normal”, we need to think about how to be together in the world, which can bring such global cataclysms, where the climate crisis knocks on our door, where the precarity, instability and economic inequalities shape our daily experience. The sense of being in this together will persist, although right now we are perhaps most focused on how to liberate ourselves from constraints, on how to be free in a world of so many obligations. Therefore, I believe it is a good moment to discuss the texts of Butler and Bifo – both interested in how we stay together in the trouble, yet with the autonomy and potency to transform the status quo. Please feel welcome to participate in the discussion, and to make some plans for the future. Co-hosts: Eva Birkenstock, Nikola Dietrich, Viktor Neumann Texts: Judith Butler, „Creating an Inhabitable World for Humans Means Dismantling Rigid Forms of Individuality”, April 2021: https://news.yahoo.com/judith-butler-creating-inhabitable-world-110002078.html Franco Berardi „Bifo”, Freedom and Potency, in: e-flux, March 2021: https://www.e-flux.com/journal/116/378694/freedom-and-potency/ reboot: responsiveness Kölnischer Kunstverein, Cologne and Kunstverein für die Rheinlande und Westfalen, Düsseldorf jointly announce the launch of reboot: – a collaborative, multi-cycle, anti-racist, and queer-feminist dialogue encompassing performance and research based practices. The first cycle, reboot: responsiveness, departs from desires, anxieties and hopes amplified by the current pandemic. Hosted in two different yet aligned sites that mutually interact with one another as much as they support, complement and challenge each other, reboot: responsiveness provides infrastructures for provisional stagings, rehearsals, processual choreographies, and encounters around notions of presence, intimacy, care, and responsibility. reboot: responsiveness develops activities together with a core collective comprised of Alex Baczynski-Jenkins, Gürsoy Doğtaş, Klara Lidén, Ewa Majewska, Rory Pilgrim, Cally Spooner, and Mariana Valencia. Embracing diverse formats, and working together with further invited guests and audiences in Cologne and Düsseldorf, these artists and thinkers will explore ways to dedicate time to one another and to perform in time, to develop alternative vocabularies, archives, gestures, movements, and translations, to share and transmit resources and ideas, and to find modes of resistance and togetherness in response to the current situation we are living in. reboot: Conceived by Eva Birkenstock, Nikola Dietrich, and Viktor Neumann Core Collective: Alex Baczynski-Jenkins, Gürsoy Doğtaş, Klara Lidén, Ewa Majewska, Rory Pilgrim, Cally Spooner, and Mariana Valencia Graphic design by Sean Yendrys http://reboot-responsiveness.com/ reboot: responsiveness is a cooperation of: reboot: responsiveness is supported by:
  • Artist Talk: Guilty Curtain Artist Talk, 17.10.2021
    Oren Pinhassi: One in the mouth and one in the heart, 2018. Installation view Kölnischer Kunstverein, 2021. Courtesy: the artist and Edel Assanti, London. Photo: Mareike Tocha.
    Sun Oct 17, 2021, 4 pm – 6 pm
    With Naama Arad, Noa Glazer und Oren Pinhassi
  • Symposium: Equality, Diversity, and Solidarity in the Art World, 7. – 8.10.2021
    Thu Oct 7, 2021 – Fri Oct 8, 2021
    Equality, Diversity, and Solidarity in the Art World Lectures and dialogues by and with Michael Annoff, Maximiliane Baumgartner, Madeleine Bernstorff, Gürsoy Doğtaş, Pary El-Qalqili, Ewa Majewska, Stephanie Marchal, Chus Martínez, Nadine Oberste-Hetbleck, Bahareh Sharifi and Brigitte Sölch Thursday, 7.10.2021, 6 – 9 pm Venue: Kunstverein für die Rheinlande und Westfalen, Düsseldorf Friday, 8.10.2021, 10 am – 5 pm Venue: Kölnischer Kunstverein, Cologne >> You can download the complete program at the following link. Free admission, no pre-registration required Proof of a negative corona test or proof of vaccination or recovery is required for participation.  A cooperation between the Department for Art History and the Marie Jahoda Center For International Gender Studies (MaJaC), Ruhr-University Bochum and reboot: responsiveness, Kölnischer Kunstverein and Kunstverein für die Rheinlande und Westfalen, Düsseldorf Organized by Eva Birkenstock, Nikola Dietrich, Viktor Neumann and Änne Söll It has been 100 years since women were admitted to state art academies, thus marking a milestone within the long struggle for professionalization of female artists in Germany. Femininity continues to function as one of many, often intersecting, hierarchizing and exclusionary categories that have always been established and constructed in transnational art institutions. While a continuous increase in the presence of women at German art academies can be noted from the 1950s onward, their discrimination in the art world persisted. In response, part of the 1970s women’s movement—along with its allies from other freedom movements—dedicated itself both theoretically and artistically to combating institutionalized gender inequality; from the beginning, Black women along with women of color underscored the intersectionality of structural mechanisms of exclusion. While studies show minimal changes in parity within the field of contemporary art since the 1990s, inequalities remain ubiquitous. To what extent the women’s or gender-equality officers intended in all German states can transform the art system remains an open-ended question. The persisting patriarchal, anti-social, and racist structures and resulting power imbalances only reluctantly destabilize the myth of the—white, heterosexual, cisgender, and ‘capable’—male genius in all areas of the field.The symposium will analyze causes of intersecting power structures and mechanisms of exclusion and discuss proposals to overcome them. How can the art world achieve an equality that considers factors such as migration and educational background, sexual orientation, and physical and neural difference from the very beginning? The event will kick off on October 7, 2021, at the Kunstverein für die Rheinlande und Westfalen, Düsseldorf. The temporal and thematic framework of the symposium will be introduced by a screening of the suffragette movement at the beginning of the 20th century, compiled and commented by Madeleine Bernstorff, as well as a keynote lecture by the feminist philosopher and author Ewa Majewska. Based on the Guerilla Girls’ actions for equality in art institutions, Majewska will present current strategies of resistance as tested and practiced by art institutions in Poland. She proposes to avoid simplistic conceptions of parity in favor of urgent intersectional and decolonial perspectives. The second part of the symposium will take place on October 8, 2021, at the Kölnischer Kunstverein, Cologne and will bring together lectures and dialogues between thinkers, artists, and cultural practitioners. The first block will be devoted to historical excursions on the processes, problems, and potentials of equality in the art world: Brigitte Sölch (University of Heidelberg) will shed light on the situation of female art historians around 1900 and present the DFG network “Women Art Historians before 1970.” Nadine Oberste-Hetbleck (University of Cologne) will provide insight into the holdings of the Central Archive of the International Art Trade. The artist Maximiliane Baumgartner will talk about exclusions from the canon and trans-temporal solidarizations. In a second block, Stephanie Marchal (Ruhr-Universität Bochum) uses the example of art criticism, while Chus Martínez (FHNW Basel) examines institutionalized inequalities based on artistic training, to consider art historical revisions and structural transformations. In a concluding block moderated by Gürsoy Doğtaş (University of Applied Arts Vienna), curator Michael Annoff, director Pary El-Qalqili, and Diversity Arts Culture program director Bahareh Sharifi describe how discrimination is interconnected, critically question the art system’s notion of diversity, and discuss the need for an institutional code of conduct and further structural changes. reboot: responsiveness Kölnischer Kunstverein, Cologne and Kunstverein für die Rheinlande und Westfalen, Düsseldorf jointly announce the launch of reboot: – a collaborative, multi-cycle, anti-racist, and queer-feminist dialogue encompassing performance and research based practices. The first cycle, reboot: responsiveness, departs from desires, anxieties and hopes amplified by the current pandemic. Hosted in two different yet aligned sites that mutually interact with one another as much as they support, complement and challenge each other, reboot: responsiveness provides infrastructures for provisional stagings, rehearsals, processual choreographies, and encounters around notions of presence, intimacy, care, and responsibility. reboot: responsiveness develops activities together with a core collective comprised of Alex Baczynski-Jenkins, Gürsoy Doğtaş, Klara Lidén, Ewa Majewska, Rory Pilgrim, Cally Spooner, and Mariana Valencia. Embracing diverse formats, and working together with further invited guests and audiences in Cologne and Düsseldorf, these artists and thinkers will explore ways to dedicate time to one another and to perform in time, to develop alternative vocabularies, archives, gestures, movements, and translations, to share and transmit resources and ideas, and to find modes of resistance and togetherness in response to the current situation we are living in. reboot: Conceived by Eva Birkenstock, Nikola Dietrich, and Viktor Neumann Core Collective: Alex Baczynski-Jenkins, Gürsoy Doğtaş, Klara Lidén, Ewa Majewska, Rory Pilgrim, Cally Spooner, and Mariana Valencia Graphic design by Sean Yendrys http://reboot-responsiveness.com/   reboot: responsiveness is a cooperation of: reboot: responsiveness is supported by:
  • Vermittlung, Guided Tour: Guided Tour through the exhibition Guilty Curtain, 6.10.2021
    Guilty Curtain, 2021. Installation view Kölnischer Kunstverein, 2021. Courtesy: the artists, Stiftung Kunstfonds and Becker-Biberstein Collection, Tel Aviv. Photo: Mareike Tocha.
    Wed Oct 6, 2021, 5 pm – 6 pm
    with Nikola Dietrich, Director Kölnischer Kunstverein
  • Seminar: Ewa Majewska - Coronaseminar 4. How do we stay with the trouble?, 29.9.2021
    Wed Sep 29, 2021, 6 pm – 8 pm

    Ewa Majewska
    Coronaseminar 4. How do we stay with the trouble?
    Online-Zoom (in English)
    with David Liver, artist

    Participation link: https://us02web.zoom.us/j/86307280916?pwd=RG9hUTdDbmYvUzhPY3E2M2RPWFpaZz09
    Meeting ID: 863 0728 0916
    ID Code: 940123

    In the current state of political and ecological dystopia, how do we avoid what Donna Haraway aptly called melancholia and techno-fixes? How do we stay with the trouble? How do we work our way through the darkness? Artists are known for their ability to be trouble; thus, we will interview one of them, David Liver, about the trouble and his own ways to stay with it. We plan to discuss the strategies of staying with the trouble together, and then we will move towards Haraway’s more specific takes on troubles of the Chthulucene. We will end this Coronaseminar session with another discussion – now concerning the role of art and art institutions in these troublesome times, when the pandemic is one of many troubles we need to stay with.

    David Liver is known for his dematerialized art, and for his obscure imagery where he employs satire, gonzo-style autobiography, and black humor. Voice Over is his latest work, an online artist-run review published by the Council of Europe and KANAL – CENTRE POMPIDOU in Brussels. Liver is writing, producing, and directing with Urubu Films. His current film project is “Tuli Tuli Tuli, 1001 ways of being joyfully revolted,” a doc film about Beat hero and Fug Tuli Kupferberg, directed in collaboration with Canadian director Thomas Burstyn. http://www.the-david-liver.com

    Text:
    Donna Haraway, a Conversation about the book „Staying with the Trouble”, in: Artforum, 2016, https://www.artforum.com/interviews/donna-j-haraway-speaks-about-her-latest-book-63147


    reboot: responsiveness
    Kölnischer Kunstverein, Cologne and Kunstverein für die Rheinlande und Westfalen, Düsseldorf jointly announce the launch of reboot: – a collaborative, multi-cycle, anti-racist, and queer-feminist dialogue encompassing performance and research based practices.

    reboot:
    Conceived by Eva Birkenstock, Nikola Dietrich, and Viktor Neumann
    Core Collective: Alex Baczynski-Jenkins, Gürsoy Doğtaş, Klara Lidén, Ewa Majewska, Rory Pilgrim, Cally Spooner, and Mariana Valencia
    Graphic design by Sean Yendrys

    http://reboot-responsiveness.com/


    Next date of the Coronaseminars – reboot: edition 
    Coronaseminar #5. Reboot solidarity together.
    October 20, 2021


    reboot: responsiveness is a cooperation of:


    reboot: responsiveness is supported by:

  • Guest Event: Literaturhaus – Ayelet Gundar-Goshen: Wo der Wolf lauert, 22.9.2021
    Ayelet Gundar-Goshen, Foto: Tal Shahar.
    Wed Sep 22, 2021, 7.30 pm – 9 pm
    Ayelet Gundar-Goshens Lügnerin war 2019 das »Buch für die Stadt«, nun ist die israelische Autorin mit ihrem neuen Buch Wo der Wolf lauert (beide Kein & Aber) im Literaturhaus zu Gast. Psychologisch raffiniert erzählt der Roman von den Ängsten und Befürchtungen einer Mutter, ihr Sohn Adam könne am Tod eines Mitschülers schuldig geworden sein. Über die zerstörerischen Mechanismen von Rassismus und Schuld spricht die Autorin mit Moderatorin Antje Deistler. Aus der Übersetzung von Ruth Achlama liest Milena Karas. Es könnte perfekt sein: Lilach Schuster hat ein Haus mit Pool im Herzen des Silicon Valley, einen erfolgreichen Ehemann und das Gefühl, angekommen zu sein – fern von der Gefahr in ihrer Heimat Israel. Aber plötzlich stirbt ein Mitschüler ihres Sohnes Adam unter ungeklärten Umständen. Je mehr Lilach über den Tod des Jungen erfährt, desto mehr fragt sie sich, ob sie ihren Sohn überhaupt kennt. »Ein subtiles Eltern-Kind-Drama« (DLF), politisch aktueller denn je: Ayelet Gundar-Goshens neuer Roman nimmt den Leser mit in die Finsternis einer von Rassismus und Ausgrenzung geprägten Seele. Veranstalter: Literaturhaus Köln Veranstaltungspartner: Kein & Aber Corona-Hinweis Die Veranstaltung richtet sich nach den aktuellen Corona-Maßnahmen der Stadt Köln, Informationen finden Sie unter www.stadt-koeln.de Für Ihren Besuch denken Sie bitte an Folgendes:
    • Es gelten die Pflicht zum Tragen einer medizinischen Maske sowie das Abstandsgebot.
    • Der Einlass erfolgt gegen Vorlage eines tagesaktuellen Negativtestergebnisses oder eines entsprechenden Nachweises über eine vollständige Impfung oder Genesung in Verbindung mit einem amtlichen Ausweisdokument. Ein Test vor Ort ist nicht möglich.
    Ort: Kölnischer Kunstverein, Hahnenstraße 6 | Literaturhaus Köln virtuell Eintritt: 11,- / 9,- € | Mitglieder: 7,- € als Online-Veranstaltung: 5,- € Tickets ausschließlich erhältlich über Offticket.
  • Vermittlung, Guided Tour: Guided Tour through the exhibition Guilty Curtain, 22.9.2021
    Guilty Curtain, 2021, Installation view Kölnischer Kunstverein, 2021. Courtesy: the artists. Photo: Mareike Tocha.
    Wed Sep 22, 2021, 5 pm – 6 pm
    with Miriam Bettin, Assistant Curator Kölnischer Kunstverein
  • Guest Event: Tag des offenen Denkmals – Guided Tour Exhibition, 12.9.2021
    Guilty Curtain, 2021, Installation view Kölnischer Kunstverein, 2021. Courtesy: the artists. Photo: Mareike Tocha.
    Sun Sep 12, 2021, 3 pm – 3.45 pm
    After World War II, Die Brücke (The Bridge) was planned as a place of encounter and dialogue and built in 1949/1950 according to designs by Wilhelm Riphahn. The angular building, completely created in the sense of a synthesis of the arts, is characterized by its gracefulness. Each structure is shaped differently according to its function and characterized by the choice of different materials. When the British Information Center vacated the building in 2000, the Kölnischer Kunstverein moved in after the heritage-listed building had been adapted to its new use under the direction of architect Adolf Krischanitz. Guided tour of the exhibition Guilty Curtain by the team of the Kölnischer Kunstverein. Guilty Curtain is a site-specific installation conceived for the historic space of the Kölnischer Kunstverein and shown as part of the commemorative year 1,700 Years of Jewish Life in Germany. Duration: approx. 45 minutes Max. number of participants: 10 Registration deadline: Thursday, 09.09.2021 Admission free
  • Exhibition: Guilty Curtain, 21.8. – 24.10.2021
    Ursula Burghardt: Ohne Titel (Reitstiefel), 1968, Photo: Stiftung Kunstfonds, (c) Nachlass Ursula Burghardt.

    Artists: Etti Abergel, Naama Arad and Tchelet Ram, Julie Becker, Ursula Burghardt, Noa Glazer, Omer Halperin, Gizela Mickiewicz, Oren Pinhassi, Michal Samama, Nora Schultz, Noa Schwartz, Lior Shachar

    Opening: Friday, 20.8.2021, 3 pm – 9 pm

    Guilty Curtain is a site-specific installation made for the historical space of the Kölnischer Kunstverein. Inside the long transparent exhibition hall, a group show will take the form of a glass house. The artworks on display all rely on surrealistic notions like covering and/or replacing. These gestures, performed by artists on various objects and materials, do not end at a cul de sac. The wrapping of a toaster oven in sheep’s wool uncovers an entangled relationship – instead of the sheep being placed in the oven, the oven is devoured by the sheep. This mixture of material, words and categories alludes to a symbiotic relationship between the body and the object. While the modernist attempt to dissolve separations between inside and outside only ended up emphasizing the divide, what is disclosed through the collection of all these bodily objects undermines the architectural structure of the Kunstverein itself; as one will experience space, in this particular glass house nature is no longer an exterior.

    The extensive group exhibition and event series brings together artists mainly from Israel with others from Poland, Germany, and the USA. In close cooperation with the Israeli artist and curator Naama Arad, a local and active art scene, which has formed mainly in Tel Aviv, will be presented at the Kölnischer Kunstverein in Cologne.

    Curated by Naama Arad and Nikola Dietrich


    Please note the information regarding your visit to the exhibition according to the Corona Protection Ordinance.


    The exhibition is sponsored by:


    With further support from:

  • Seminar: Coronaseminar #3. Care labour in the Pandemic. Bring your kids! by Dr. Ewa Majewska, 30.6.2021
    Wed Jun 30, 2021, 6 pm – 8 pm
    Ewa Majewska Coronaseminar #3. Care labour in the Pandemic. Bring your kids! June 30, 2021 Online-Zoom, 6 – 8 pm CET (in English) with Nikola Dietrich, Director Kölnischer Kunstverein, Cologne Participation link: https://us02web.zoom.us/j/87498627975?pwd=eGNxQjFHcHY2cU81R1FkUG5HZCtjQT09 Meeting ID: 874 9862 7975 ID Code: 275976 What can we become together? How and why do we care in the pandemic conditions? We will experiment with the children-on-zoom situation, as well as feminist views on the pandemic and precarization. The perspectives on care, affect and mothering have changed, over the years and with the pandemic, too. The gender divisions have also changed, as today more and more people declare they are non-binary, transgender or otherwise realize much more diverse gender identities than “man/woman”. This means it is necessary to discuss the gender division of labour in a broader sense of these identity transitions. Care is also racialized, class-wise divided and gendered, a flexible, intersectional approach would very much be needed. For some of us – the quarantine was an exposure to pain and loss, for some – to a more convenient, fulfilling life not scattered by travels and rush, for some other again – a painful reminder of the patriarchal and racialized distribution of obligations and inequalities. We all – while rebooting – want to take a break from what was problematic, at the same time – we might want to reflect on what the embodied, affective experience is today. Texts: Catherine Malabou, “To Quarantine from Quarantine, Rousseau, Robinson Crusoe and „I“”, 2020. https://critinq.wordpress.com/2020/03/23/to-quarantine-from-quarantine-rousseau-robinson-crusoe-and-i/  Silvia Federici, Precarious Labor: A Feminist Viewpoint, 2008 https://inthemiddleofthewhirlwind.wordpress.com/precarious-labor-a-feminist-viewpoint/  reboot: responsiveness Kölnischer Kunstverein, Cologne and Kunstverein für die Rheinlande und Westfalen, Düsseldorf jointly announce the launch of reboot: – a collaborative, multi-cycle, anti-racist, and queer-feminist dialogue encompassing performance and research based practices. The first cycle, reboot: responsiveness, departs from desires, anxieties and hopes amplified by the current pandemic. Hosted in two different yet aligned sites that mutually interact with one another as much as they support, complement and challenge each other, reboot: responsiveness provides infrastructures for provisional stagings, rehearsals, processual choreographies, and encounters around notions of presence, intimacy, care, and responsibility. reboot: responsiveness develops activities together with a core collective comprised of Alex Baczynski-Jenkins, Gürsoy Doğtaş, Klara Lidén, Ewa Majewska, Rory Pilgrim, Cally Spooner, and Mariana Valencia. Embracing diverse formats, and working together with further invited guests and audiences in Cologne and Düsseldorf, these artists and thinkers will explore ways to dedicate time to one another and to perform in time, to develop alternative vocabularies, archives, gestures, movements, and translations, to share and transmit resources and ideas, and to find modes of resistance and togetherness in response to the current situation we are living in. reboot: Conceived by Eva Birkenstock, Nikola Dietrich, and Viktor Neumann Core Collective: Alex Baczynski-Jenkins, Gürsoy Doğtaş, Klara Lidén, Ewa Majewska, Rory Pilgrim, Cally Spooner, and Mariana Valencia Graphic design by Sean Yendrys http://reboot-responsiveness.com/ Further dates of the Coronaseminars – reboot: edition  Coronaseminar #4. How do we stay with the trouble? September 29, 2021 Coronaseminar #5. Reboot solidarity together. October 20, 2021   reboot: responsiveness is a cooperation of: reboot: responsiveness is supported by:
  • Artist Talk: Show & Tell - Genoveva Filipovic in conversation with Josef Strau, 24.6.2021
    Thu Jun 24, 2021, 6 pm – 8 pm
    Genoveva Filipovic in conversation with Josef Strau on site at the Kölnischer Kunstverein on the occasion of the current exhibition Bridge of Sigh. This is a return invitation after the joint conversation at the Kunstverein für die Rheinlande und Westfalen in Düsseldorf on the exhibition Spirits and Objects by Josef Strau last fall. Genoveva Filipovic (*1986 in Frankfurt am Main) lives in New York and currently in Cologne. She studied at the HfG in Offenbach am Main and at the Hochschule für Bildende Künste – Städelschule in Frankfurt am Main (until 2013). Her works have recently been shown at Galleria Federico Vavassori in Milan (2019), Kunsthalle Zurich (2019), Goton in Paris (2018), Dead Ends in New York (2016), Vilma Gold in London (2016), and Neue Alte Brücke in Frankfurt am Main (2014). Under the title The Mephisto HoursJosef Strau (*1957 in Vienna, lives in New York and currently in Cologne) presented an exhibition at Galerie Buchholz in Berlin in 2021. In 2020, he had a solo exhibition at the Kunstverein für die Rheinlande und Westfalen, Düsseldorf, and was included in the Busan Biennale 2020, curated by Jacob Fabricius. In recent years, Josef Strau’s work has been shown in a number of institutional solo exhibitions, including A Turtle Dreaming (… Echoes from an Encapsulated Space Exiled Sounds of Letters Requiring Symphonic Treatment) at Secession, Vienna (2015), The New World, Application for Turtle Island, The Renaissance Society, Chicago (2014), and A Dissidence Coincidence But WHCTLJS at the Malmö Konsthall (2008). The talk will be held in German. Admission: € 5,- / € 2,50 (reduced). Admission is free for members. Since the number of participants for the event is limited due to the corona restrictions, please register under the link below. Please note the current regulations and minimum distance. Presentation of a negative rapid test is not required. The exhibition of Genoveva Filipovic is supported by:
    The public program Show & Tell is sponsored by:
  • Seminar: Coronaseminar #2. Pandemic intimacies. by Ewa Majewska / Guest: Alex Baczynski-Jenkins, 9.6.2021
    reboot, 2021.
    Wed Jun 9, 2021, 6 pm – 8 pm

    Ewa Majewska
    Coronaseminar #2. Pandemic intimacies.
    June 9, 2021

    Online-Zoom, 6 – 8 pm CET (in English)
    Guest: Alex Baczynski-Jenkins, artist and choreographer

    Participation link: https://us02web.zoom.us/j/89666026766?pwd=cnJXVDNib2FGaVlQOWtpeTJ1L0lEQT09
    Meeting ID: 896 6602 6766
    ID Code: 462096

    In this Coronaseminar we will discuss the basics of the pandemic being together – universality, breathing, intimacy, sex and the means of production and representation. Our Guest’s contribution, by the artist and choreographer Alex Baczynski-Jenkins, will focus on mediating intimacies, suspended time and foregrounding infrastructures. We will also discuss the following texts:

    Achille Mbembe, “The Universal Right to Breathe”, in: Critical Inquiry, 2020. 
    https://critinq.wordpress.com/2020/04/13/the-universal-right-to-breathe/

    Lauren Berlant and Michael Warner, “Sex in Public”, Critical Inquiry, Vol. 24, No. 2. https://queerartpractices.files.wordpress.com/2014/07/warner_berlant.pdf

    Eng-Beng Lim, “Queer Coronasutra, or, How to have promiscuity in a Pandemic”, 2020, 
    https://bullybloggers.wordpress.com/2020/03/24/queer-coronasutras/



    reboot: responsiveness
    Kölnischer Kunstverein, Cologne and Kunstverein für die Rheinlande und Westfalen, Düsseldorf jointly announce the launch of reboot: – a collaborative, multi-cycle, anti-racist, and queer-feminist dialogue encompassing performance and research based practices.


    The first cycle, reboot: responsiveness, departs from desires, anxieties and hopes amplified by the current pandemic. Hosted in two different yet aligned sites that mutually interact with one another as much as they support, complement and challenge each other, reboot: responsiveness provides infrastructures for provisional stagings, rehearsals, processual choreographies, and encounters around notions of presence, intimacy, care, and responsibility. reboot: responsiveness develops activities together with a core collective comprised of Alex Baczynski-Jenkins, Gürsoy Doğtaş, Klara Lidén, Ewa Majewska, Rory Pilgrim, Cally Spooner, and Mariana Valencia. Embracing diverse formats, and working together with further invited guests and audiences in Cologne and Düsseldorf, these artists and thinkers will explore ways to dedicate time to one another and to perform in time, to develop alternative vocabularies, archives, gestures, movements, and translations, to share and transmit resources and ideas, and to find modes of resistance and togetherness in response to the current situation we are living in.

    reboot:
    Conceived by Eva Birkenstock, Nikola Dietrich, and Viktor Neumann
    Core Collective: Alex Baczynski-Jenkins, Gürsoy Doğtaş, Klara Lidén, Ewa Majewska, Rory Pilgrim, Cally Spooner, and Mariana Valencia
    Graphic design by Sean Yendrys


    http://reboot-responsiveness.com/


    Further dates of the Coronaseminars – reboot: edition 

    Coronaseminar #3. On Motherhood. Bring your kids!
    June 30, 2021

    Coronaseminar #4. How do we stay with the trouble?
    September 29, 2021

    Coronaseminar #5. Reboot solidarity together.
    October 20, 2021

     

    reboot: responsiveness is a cooperation of:

     

    reboot: responsiveness is supported by:

  • Seminar: Coronaseminar #2. Pandemic intimacies. von Ewa Majewska / Gast: Alex Baczynski-Jenkins, 9.6.2021
    reboot, 2021.
    Wed Jun 9, 2021, 6 pm – 8 pm

    Ewa Majewska
    Coronaseminar #2. Pandemic intimacies.

    Online-Zoom (in englischer Sprache)
    Gast: Alex Baczynski-Jenkins, Künstler und Choreograph

    Teilnahme-Link: https://us02web.zoom.us/j/89666026766?pwd=cnJXVDNib2FGaVlQOWtpeTJ1L0lEQT09
    Meeting-ID: 896 6602 6766
    Kenncode: 462096

    In diesem Coronaseminar werden wir die Grundlagen des pandemischen Zusammenseins diskutieren – Universalität, Atmung, Intimität, Sex sowie die Mittel der Produktion und Methoden der Repräsentation. Der Beitrag unseres Gastes, des Künstlers und Choreographen Alex Baczynski-Jenkins, wird sich auf die Vermittlung von Intimitäten, die Aufhebung der Zeit und die Betonung von Infrastrukturen konzentrieren. Außerdem werden wir die folgenden Texte diskutieren:

    Achille Mbembe, “The Universal Right to Breathe”, in: Critical Inquiry, 2020. 
    https://critinq.wordpress.com/2020/04/13/the-universal-right-to-breathe/

    Lauren Berlant und Michael Warner, “Sex in Public”, Critical Inquiry, Vol. 24, No. 2. https://queerartpractices.files.wordpress.com/2014/07/warner_berlant.pdf

    Eng-Beng Lim, “Queer Coronasutra, or, How to have promiscuity in a Pandemic”, 2020, 
    https://bullybloggers.wordpress.com/2020/03/24/queer-coronasutras/


    reboot: responsiveness
    Der Kölnische Kunstverein und der Kunstverein für die Rheinlande und Westfalen, Düsseldorf präsentieren gemeinsam reboot: – ein kollaborativer, zyklischer, antirassistischer und queer-feministischer Dialog zwischen performativen und forschungsbasierten Praktiken.

    Der erste Zyklus, reboot: responsiveness, geht von den Sehnsüchten, Ängsten und Hoffnungen aus, die durch die aktuelle Pandemie verstärkt werden. An zwei unterschiedlichen, jedoch miteinander verbundenen Orten, die sich gegenseitig unterstützen, ergänzen und herausfordern, bietet reboot: responsiveness Infrastrukturen für provisorische Inszenierungen, Proben, prozesshafte Choreografien und Begegnungen rund um Themen wie Präsenz, Intimität, Fürsorge und Verantwortung. reboot: responsiveness entwickelt Aktivitäten gemeinsam mit einem Kernkollektiv bestehend aus Alex Baczynski-Jenkins, Gürsoy Doğtaş, Klara Lidén, Ewa Majewska, Rory Pilgrim, Cally Spooner und Mariana Valencia. Mittels verschiedener Formate und gemeinsam mit weiteren eingeladenen Gästen und dem Publikum in Köln und Düsseldorf werden diese Künstler*innen und Denker*innen Wege ergründen, einander Zeit zu widmen und zeitgemäß mit Zeit zu performen, alternative Vokabulare, Archive, Gesten, Bewegungen und Übersetzungen zu entwickeln, Ressourcen und Ideen zu teilen und weiterzugeben, und Modi des Widerstands und des Miteinanders als Antwort auf die aktuelle Situation, in der wir leben, zu finden.

    reboot:
    Konzipiert von Eva Birkenstock, Nikola Dietrich und Viktor Neumann
    Kernkollektiv: Alex Baczynski-Jenkins, Gürsoy Doğtaş, Klara Lidén, Ewa Majewska, Rory Pilgrim, Cally Spooner und Mariana Valencia
    Graphikdesign von Sean Yendrys

    http://reboot-responsiveness.com/de/


    Weitere Termine der Coronaseminare – reboot: edition

    Coronaseminar #3. On Motherhood. Bring your kids!
    30. Juni 2021

    Coronaseminar #4. How do we stay with the trouble?
    29. September 2021

    Coronaseminar #5. Reboot solidarity together.
    20. Oktober 2021


    reboot: responsiveness
    ist eine Kooperation von:


    reboot: responsiveness
    wird unterstützt von:

  • Seminar: reboot: responsiveness – Coronaseminar #1. How do we reboot? by Dr. Ewa Majewska, 12.5.2021
    reboot:, 2021.
    Wed May 12, 2021, 6 pm – 8 pm

    Kölnischer Kunstverein, Cologne and Kunstverein für die Rheinlande und Westfalen, Düsseldorf jointly announce the launch of reboot: – a collaborative, multi-cycle, anti-racist, and queer-feminist dialogue encompassing performance and research based practices.

    The first cycle, reboot: responsiveness, departs from desires, anxieties and hopes amplified by the current pandemic. Hosted in two different yet aligned sites that mutually interact with one another as much as they support, complement and challenge each other, reboot: responsiveness provides infrastructures for provisional stagings, rehearsals, processual choreographies, and encounters around notions of presence, intimacy, care, and responsibility. reboot: responsiveness develops activities together with a core collective comprised of Alex Baczynski-Jenkins, Gürsoy Doğtaş, Klara Lidén, Ewa Majewska, Rory Pilgrim, Cally Spooner, and Mariana Valencia. Embracing diverse formats, and working together with further invited guests and audiences in Cologne and Düsseldorf, these artists and thinkers will explore ways to dedicate time to one another and to perform in time, to develop alternative vocabularies, archives, gestures, movements, and translations, to share and transmit resources and ideas, and to find modes of resistance and togetherness in response to the current situation we are living in.

    http://reboot-responsiveness.com

    reboot:
    Conceived by Eva Birkenstock, Nikola Dietrich, and Viktor Neumann
    Core Collective: Alex Baczynski-Jenkins, Gürsoy Doğtaş, Klara Lidén, Ewa Majewska, Rory Pilgrim, Cally Spooner, and Mariana Valencia
    Graphic design by Sean Yendrys

    Coronaseminar – reboot: edition
    First session on May 12, 2021, 6
    8 pm CET

    The Coronaseminar by Dr. Ewa Majewska marks the first public meeting of reboot: responsiveness and will unfold over five sessions of reflexive being together in the second year of the pandemic:

    For many of us, the last months have been those of fear, pandemic, danger, precarity and insecurity. The oppressive presence of the life-threatening virus changed our lives in every possible way, by means of fear most of us experienced, changes in the everyday routines, work, kinship and intimacy. Everything is different now, and yet – many things stayed intact. Solidarity networks still form, there is some hope for better addressing the ecological dangers, online formats have successfully replaced the in-situ presence in so many contexts that it might reshape our habits of traveling and consumption. However – distinctions, marginalization and exclusions not only stay with us throughout the pandemic, but also sharpen, at least in some important contexts.

    In the early days of the COVID-19 pandemic many theorists immediately jumped to their computers, ready to offer what Donna Haraway rightly qualified as “easy techno-fixes”, on the level of thinking. In Warsaw, we decided to open an online-space for thinking the pandemic together, and thus the first edition of the Coronaseminars opened in April 2020 already, conducted with the generous support of the MoMA Warsaw and the curator Natalia Sielewicz. In this online-space, we could be together in what proved to be one of the most stressful times, we were reading theory together, discussing it, sharing our strategies to survive the health risks, precarization and panic. It felt both comforting and strange to find such loads of intimacy and closeness in this highly-mediatized format (Zoom + Fb stream). Yet – for many of us this was not just a seminar, but also a safe space.

    Now – opening the new series of the Coronaseminar – reboot: edition, we would like to open our space, support and need to connect with those who want to be together in the moment of the (hopefully) ending time of the pandemic. With this year’s main reboot: theme of responsiveness, we want to discuss the post-pandemic future, as in: a life we will be living, work-related changes, shifts and transitions of intimacy and kinship, new formats and distributions of care, and the questions of equality and redistribution. We would like to see to what extent the art institutions and culture producers can involve in such problems and whether we can bring some solidarity and change.

    We invite everyone interested in such online-discussion format, with some prospects of meeting offline, if the situation allows. We will be reading some texts, usually available online, sharing our solidarity practices and solutions from the time of pandemic, challenging our assumptions, as well as practicing being together – despite the alienating modes of contemporary culture. Staying with the trouble – Haraway’s book title – is a motto of these sessions. Ewa Majewska’s concept of the weak resistance will be our welcoming context, then we will move further in the post-pandemic thinking and practice. We invite anyone who can join us.

    —Dr. Ewa Majewska


    Dates of the Coronaseminars – reboot: edition #1-5

    Coronaseminar #1. How do we reboot?
    May 12, 2021

    Online-Zoom, 6 8 pm CET (in English)
    Co-hosts: Ewa Majewska, Eva Birkenstock, Nikola Dietrich, Viktor Neumann
    Guest: Natalia Sielewicz, MoMA Warsaw.
    Texts: Tithi Bhattacharia, “Social Reproduction Theory And Why We Need it to Make Sense of the Corona Virus Crisis” [Link]
    Participation via the following link:
    https://us02web.zoom.us/j/88698404962?pwd=aVpPYmZHaC9NeUUxZGg0bUZiRFBOdz09
    RSVP to register, before May 10: info@koelnischerkunstverein.de

    Coronaseminar #2. Pandemic intimacies.
    June 9, 2021

    Coronaseminar #3. On Motherhood. Bring your kids!
    June 30, 2021

    Coronaseminar #4. How do we stay with the trouble?
    September 29, 2021

    Coronaseminar #5. Reboot solidarity together.
    October 20, 2021

    reboot: responsiveness is a cooperation of:

    reboot: responsiveness is supported by:

  • Exhibition: reboot: responsiveness, 12.5.2021 – 8.6.2022
    reboot:, 2021.

    reboot: responsiveness is the first cycle of reboot: – a collaborative, multi-cycle, anti-racist and queer-feminist dialogue encompassing performance and research based practices, jointly presented by Kölnischer Kunstverein, Cologne and Ludwig Forum für internationale Kunst, Aachen.

    reboot:
    Conceived by Eva Birkenstock, Nikola Dietrich, and Viktor Neumann
    Core Collective: Alex Baczynski-Jenkins, Gürsoy Doğtaş, Klara Lidén, Ewa Majewska, Rory Pilgrim, Cally Spooner, and Mariana Valencia
    Graphic design by Sean Yendrys


    Further information under the following link. All previous events can be viewed in the archive. Upcoming dates will be announced via our calendar.


    reboot: responsiveness is a cooperation of:



    reboot: responsiveness is supported by:

  • Solo Exhibition: Genoveva Filipovic – Seufzer, 27.3. – 4.7.2021

    We are pleased to welcome you back. The exhibition is prolonged until July 4, 2021. Please note to the current applicable corona protection measures.

    At the time of writing this text, it cannot be assumed that visitors will be able to enter the Kölnischer Kunstverein, Die Brücke, in the near future and that the exhibition Bridge of Sigh will find any audience at all. Genoveva Filipovic’s exhibition will possibly be seen only from outside.

    “…If some ill luck forced him to speak, he managed to say only the most ridiculous things. Worse yet, he saw how absurdly he was behaving, and then exaggerated it still further; but what he did not see was the expression in his eyes; they were so beautiful and revealed such a fervent soul that, just as a good actor does, they gave charming significance to words that had none… he never said anything worth saying except when, distracted by some unforeseen event, he wasn’t trying to turn a well-phrased compliment.”
    Stendhal, The Red and the Black

    Concept
    I made cactuses and placed them in a row. 
    After this work was completed, I changed the facial expression of each cactus so that, I thought, it might elicit a sigh.
    When that proved too difficult, I did this: I claimed that I was changing the facial expression of each cactus so that, I thought, it might elicit a sigh. But I inserted smiles instead.

    Then I try to imagine how it would be to ‘act out’ this scene.

    Very Ralph 
    The Artist wants no Erklärungsbrücken

    Genoveva Filipovic (*1986 in Frankfurt am Main) lives in New York and currently in Cologne. She studied at the HfG in Offenbach am Main and at the Hochschule für Bildende Künste – Städelschule in Frankfurt am Main (until 2013). Her works have recently been shown at Galleria Federico Vavassori in Milan (2019), Kunsthalle Zurich (2019), Goton in Paris (2018), Dead Ends in New York (2016), Vilma Gold in London (2016), and Neue Alte Brücke in Frankfurt am Main (2014).

    The exhibition is supported by:

  • Filmvorführung: Show & Tell - Modern Lovers by Dorothy Iannone & Juliette Blightman, 14.2.2021
    Juliette Blightman, Diseaseeds and Pollutionation, 2020, Film Still, Courtesy: the artist and Arcadia Missa
    Sun Feb 14, 2021, 7 pm – 8.30 pm

    Modern Lovers 
    A screening on Valentine’s Day in the context of the exhibition THE KÖLN CONCERT
    by Dorothy Iannone & Juliette Blightman with video works of both artists

    Program: 

    Juliette Blightman
    Girlfriend, 2009

    Dorothy Iannone
    The Story of Bern (Or) Showing Colors, 1970

    Dorothy Iannone
    Follow Me, 1977

    Dorothy Iannone
    The Berlin Beauties Or You Have No Idea How Beautiful You Are, 1978

    Juliette Blightman
    I Will Always Love You, 2019

    Juliette Blightman
    Diseaseeds and Pollutionation, 2020

    Total running time: 80 min

    The screening takes place via the internet platform Zoom. With the following link you can join the meeting via your browser: https://zoom.us/j/97358733748

    For access via a zoom account:
    Meeting-ID: 973 5873 3748

2020
  • Artist Talk, Lecture, Performance: Hounds of Love – Juliette Blightman & Lily McMenamy, 10.12.2020
    Juliette Blightman: Diseaseeds and Pollutionation, 2020. Video still. Courtesy: the artist and Arcadia Missa, London.
    Thu Dec 10, 2020, 7 pm – 7.45 pm

    Hounds of Love 
    An evening zoom of music, performance and readings, with friends and heroes of Juliette Blightman and Lily McMenamy. The artists come together for the first time, both drawing inspiration from the world around them; as women, as friends and as cosmic dancers.

    Tune in from 7 pm Köln time.

    The conversation takes place via the internet platform Zoom. With the following link you can join the meeting via your browser:

    https://zoom.us/j/91574222270

    For access via a zoom account:
    Meeting-ID: 915 7422 2270

    The event is part of the exhibition  THE KÖLN CONCERT  by Dorothy Iannone & Juliette Blightman and can be viewed here afterwards: 

  • Exhibition: Jahresgaben 2020, 17.11.2020 – 31.1.2021
    Lena Anouk Philipp: Ums Mark kreisen 2017.

    We are pleased to present the Jahresgaben 2020 (annual editions) online for now starting Tuesday, November 17. Works by both young and established artists exclusively produced or donated for the Kunstverein are available: 

    John Baldessari, Kenneth Bergfeld, Tom Burr, Hanne Darboven, Dunja Herzog, Dorothy Iannone, Emma LaMorte, Marcel Odenbach, Lena Anouk Philipp, Luc Tuymans, Jeff Wall 

    By purchasing a Jahresgabe, you are making an important contribution to the support of contemporary art and artists and to the work of the Kölnischer Kunstverein. Thank you very much!

    Orders for the 2020 Jahresgaben can be placed in writing from November 17, 2020 up to and including January 6, 2021. If more orders are received than copies are available, the decision will be made by lot. The lottery will take place on January 7, 2021.
    Please note that the Jahresgaben can only be purchased by members of the Kölnischer Kunstverein. The complete ordering procedure can be found here.

    Currently and until January 31, 2021, the Kölnischer Kunstverein will remain closed according to the Corona Protection Regulation of the State of North Rhine-Westphalia. As soon as we can open our doors again for visitors, the Jahresgaben will be on display in an exhibition on the 2nd floor. 

    We will keep you updated with news about the reopening and our program via our website and newsletter.

    We look forward to seeing you soon again!

    Lena Anouk Philipp: Ums Mark kreisen 2017.
    Jahresgaben 2020, Kölnischer Kunstverein.

  • : All events are cancelled until further notice, 3.11.2020 – 31.1.2021
    Kölnischer Kunstverein, Riphahnsaal. Foto: Simon Vogel.
    Tue Nov 3, 2020 – Sun Jan 31, 2021
      In accordance with the Corona Protection Regulation of the State of North Rhine-Westphalia, the Kölnischer Kunstverein will be closed from 03.11.2020 until at least 31.01.2021. During this time, no events will take place on site. Online events will be announced via our newsletter at short notice.  
  • Exhibition: Ausstellung vorübergehend geschlossen, 3.11. – 20.12.2020
    Dorothy Iannone & Juliette Blightman: The Köln Concert, 2020. Installation view Kölnischer Kunstverein, 2020. Photo: Mareike Tocha.

    Leider muss die Ausstellung THE KÖLN CONCERT von Dorothy Iannone & Juliette Blightman im Kölnischen Kunstverein ab dem 3. November bis zum 30. November 2020 gemäß der Coronaschutzverordnung des Landes NRW schließen.
    Trotz geschlossener Türen wird ein Großteil der Ausstellung weiterhin von der Hahnenstrasse aus durch die Fensterfront einsehbar sein. Schauen Sie gern einmal rein!

    Eine Abholung der Vereinsgaben ist in diesem Zeitraum nicht möglich.
    Mitglieder, die ihre Vereinsgabe 2019 noch nicht abholen konnten, erhalten diese nach der Wiedereröffnung noch bis zum 31.01.2021.

    Über Neuigkeiten zur Wiederöffnung und zu unserem Programm halten wir Sie hier und über den Newsletter auf dem Laufenden.

    Wir freuen uns auf ein baldiges Wiedersehen!

    Ihr Team des Kölnischen Kunstvereins

  • Exhibition: THE KÖLN CONCERT – Dorothy Iannone & Juliette Blightman, 31.10.2020 – 7.3.2021
    Dorothy Iannone: (Ta)Rot Pack, 2016, Double-sided laser copies mounted on cardboard, from 54 original drawings from 1968/69. 27 × (26,5 × 20 cm). Courtesy Air de Paris, Romainville. // Juliette Blightman: Stages of Seed Development, 2020, pencil on paper, photographic print, gouache, 28 × (27,4 × 20,8 cm). Courtesy Juliette Blightman and Arcadia Missa, London.

    Opening on Friday, 30.10.2020, 3 pm – 9 pm

    ‘Image higher than angels: The Köln Concert’
    A text by Amelia Stein


    Life has no outside, say the psyche-celestial Ladies of Liberty with their microphones, say the fulgent cacti fountains, says the blooming pussy flower with an unmistakable wink. 
     
    This is the pact The Köln Concert stages with its audience, among its works, between its artists, Juliette Blightman (*1980) and Dorothy Iannone (*1933), who draw down time into all-encompassing symbologies of love, sex, care, work, autonomy, joy and other selfhoods. When I say symbol, I mean images that speak broadly and concentrate personally, that are partly mnemonic and partly divinatory, in which breakfast lives alongside Art Nouveau and narrative takes the place of noses. In The Köln Concert, forms, figures, messages layer in counterpoint, a leitmotif of sorts, the coexistence of harmony and clash played by Blightman and Iannone so that they too may listen. 
     
    Not that everything is practice but that practice reticulates: Blightman made the fountains in her stepfather’s garage, perhaps with her young daughter’s help. It is possible to imagine their visit to the hardware store to select the paint, a lurid yet somehow utilitarian green. Here in the world of handy things, also misappropriation, high jinks, making do, the phalluses’ gentle eruptions rely on whatever energy they can gather via solar panels; when stilled, they earnestly hold court as choruses performing in the rounds of paddling pools. Something’s always growing, which is to say requiring tending, in Blightman’s work. Children and plants, but also limitations, perspective, desire, sense of self: care is a matter of patterning, of understanding subject and process as one and the same. ‘Daughter’ is a process; so is ‘body’, so is ‘home’. The pencil and guache works in Stages of Seed Development (2020) appear at first as windows until their serialized arrangement suggests something more vociferous, perhaps phrases, at once contingent and complete.  
     
    These works in particular speak, sing, move to their muse, (Ta)Rot Pack (2016/1968-69), Iannone’s ecstatic allegory of her life with Dieter Roth, which offers some phrases of its own: ‘This Card Brings a Brief Respite Maybe’, says a nude Roth wandering a trippy Swiss path; ‘This Card Brings What Everyone Wants’, say the adorned lovers in tantric embrace. Iannone has said that this ability—to bring things—is the only way her cards reflect the (other) tarot. I would venture another: that the (Ta)Rot Pack, like Blightman’s Stages, celebrates a sense of everyday consequence that is not without a cosmic sense of humor. 

    Which may have something to do with itinerancy, an underlying cadence here. These works spring from places both loved and abided, and from the need amid frequent departures to sometimes return—to the United States, for instance, where Iannone and her Ladies of Liberty were born, to Germany, where Blightman first raised, and first painted, her daughter, and to the Rhineland specifically, where Iannone lived with Roth and began the (Ta)Rot Pack in the late 1960s. Image is how to get there: The Story Of Bern (Or) Showing Colors (1970), originally an artist book, shown in The Köln Concert as a diaporama, tells that highly generative periods are often live with contention and struggle. And that at the end of it all, when we finally surface, we can know only through reflection that the triumphal arc stands somewhere in the distance. 


    In the course of the exhibition, a joint publication will be produced.  

    The presentation at the Kölnischer Kunstverein is a continuation of the exhibition Prologue at Arcadia Missa Gallery this year. A second version of the exhibition will open at Vleeshal in Middelburg, The Netherlands, in April 2021.

    Thanks to: Air de Paris, Romainville; Arcadia Missa, London; Peres Projects, Berlin; Galerie Isabella Bortolozzi, Berlin; Galerie Fons Welters, Amsterdam; Collection  Alexander Schröder, Berlin; Roger Hobbs; Kentaurus, Cologne

    The exhibition is supported by:

  • Guest Event: Kammerkonzerte im Kunstverein – 4. Concert, Aleksey Semenenko (violin) & Inna Firsova (piano), 31.10.2020
    Kammerkonzerte im Kunstverein, 2020. Ankündigung. Copyright: Kölner Klassik Ensemble e.V.
    Sat Oct 31, 2020, 6 pm – 8 pm
    Aleksey Semenenko, the star violinist, will be performing together with the pianist Inna Firsova. Program: Ludwig van Beethoven: Sonata No. 6 in A major, op. 30 No. 1 Igor Stravinsky: Divertimento “Le Baiser de la fée – The kiss of the fairy Olivier Messiaen: Thème et Variations for violin and piano (1932) Gabriel Fauré: “Au bord de l’eau” op. 8; “Aprês un rêve” op. 7 Eugène Ysaÿe: Poème élégiaque, op. 12 Alexander Rosenblatt: Carmen Fantasy on themes from the opera by Georges Bizet After his Kennedy Center debut, the Washington Post wrote: “Semenenko (…) explored every corner of the composer’s imagination (…) a true triumph”. Since winning the prestigious Young Concert Artists Auditions in New York in 2012 and the Boris Goldstein Violin Competition in 2015, Aleksey Semenenko has become one of the world’s violinists’ elite and has performed extensively as a soloist and chamber musician in Europe and the USA. Aleksey Semenenko plays a Stradivarius violin from 1699, which was donated to him by the German Foundation Musikleben. Aleksey Semenenko forms a permanent duo with the pianist Inna Firsova. They have given concerts in the Berlin Philharmonic Hall, at Schloss Elmau, at the Mecklenburg-Vorpommern Festival, among others. At the 67th Dubrovnik Summer Festival 2016 they won the Jury and Television Prize Orlando as “Best Concert” of the festival. Fees: 19,50 Euro incl. advance booking fee, reduced (pupils, students, KölnPass holders) 12,- Euro incl. advance booking fee Children up to 14 years have free admission. Ticket sales exclusively in advance via KölnTicket! Tickets are available at KölnTicket: www.koelnticket.de Information & link to the VVK under: www.kammerkonzerte.koeln About the concert series: The music metropolis on the Rhine is home to numerous internationally renowned musicians. With its diversity and quality, Cologne’s independent chamber music scene has earned itself the highest reputation worldwide. The chamber concerts at the Kunstverein now give these top ensembles from Cologne and NRW a permanent showcase in their home city. Starting in 2020, six concerts will take place annually, on Saturdays at 6 pm, in the Riphahnsaal of the Kölnischer Kunstverein. Centrally located on Neumarkt, the Riphahnsaal with its open, beautiful architecture offers excellent acoustics for chamber music of the international top class. The combination of contemporary, visual arts and chamber music spanning all epochs is a symbol for the unity of art, its diversity and topicality and promises a unique ambience. This concert series is supported by: Kulturamt der Stadt Köln, Ministerium für Kultur und Wissenschaft NRW and RheinEnergie Stiftung Kultur.
  • Vermittlung, Guided Tour: Dunja Herzog – Meanwhile & ­Emma LaMorte – Aussicht, 18.10.2020
    Sun Oct 18, 2020, 3 pm – 4 pm
    Guided Tour through the exhibitions Dunja Herzog – Meanwhile and Emma LaMorte – Aussicht  with Miriam Bettin, Curator of the exhibition by Emma LaMorte
  • Lecture: Show & Tell – Tarot Conversation: The Tower by Jessa Crispin, 14.10.2020
    Jen May & Jessa Crispin, The Tower, Spolia Deck, 2018, Courtesy of the artists
    Wed Oct 14, 2020, 7 pm – 8 pm

    Instagram Live: Tarot Conversation: The Tower by Jessa Crispin, independent writer and editor (USA) 
    Online Event, no registration required, access via our Instagram-Account

    A tower, hit by lightning or perhaps simply on fire, is nearing collapse. In many versions of the card, two figures fall from the top of the tower to the ground below. Rather than the self-destruction of the Devil, the Tower is destruction that comes from the outside. It is a shaking, a tumult, a calamity. What you have built up, the Tower takes down. It is perhaps the most dreaded card in the deck. It falls at number sixteen.” – Jessa Crispin, “The Tower”, in: The Creative Tarot: A Modern Guide to an Inspired Life, New York 2016.

    Feminist and astrology-affin writer and publisher Jessa Crispin takes us on a journey to the secrets and opportunities of tarot. In the context of Emma LaMorte‘s exhibition Aussicht, she talks about the destructive but also recovering qualities of the tarot card “The Tower”.

    Jessa Crispin is an independent writer and editor based in Baltimore, MD. From 2003 to 2016 she was responsible for Bookslut, a monthly magazine and blog and has been hosting the podcast Public Intellectual since 2017. She frequently writes for The New York Times and The Washington Post covering politics, art, literature, film, pop culture, food, feminism, religion, and housing and is a columnist for The Guardian since 2019. Most recently she has published Why I am Not a Feminist: A Feminist Manifesto (2017), The Creative Tarot (2016) and The Dead Ladies Project (2015) and is currently working on her book-in-progress My Three Dads (planned for 2021). In collaboration with the artist Jen May she printed and distributed the Spolia Tarot Deck in 2018 and is giving tarot readings, lectures, and workshops on a regular basis.

    Show & Tell is an ongoing series of events in various formats, accompanying the exhibition or independent of it. Changing guests are invited, including artists, authors and musicians. The series is supported by:

  • Filmvorführung: Show & Tell – Stan Brakhage, Anticipation of the Night, 1958, 13.10.2020
    Stan Brakhage: Anticipation of the Night, 1958. Film still. Courtesy of LUX, London.
    Tue Oct 13, 2020, 7 pm – 8 pm

    Stan Brakhage: Anticipation of the Night, USA, 1958, 43 min, colour, mute, 16 mm
    With an accompanying text by Emma LaMorte.

    “The daylight shadows of a man in its movement evokes lights in the night. A rose bowl held in hand reflects both the sun and moon like illumination. The opening of a doorway onto trees anticipates the twilight into the night. A child is born on the lawn, born of water with its promissory rainbow, and the wild rose. It becomes the moon and the source of all light. Lights of the night become young children playing a circular game. The moon moves over a pillared temple to which all lights return. There is seen the sleep of innocents in their animal dreams becoming the amusement, their circular game, becoming the morning. The trees change colour and lose their leaves for the morn, they become the complexity of branches in which the shadow man hangs himself.” – Stan Brakhage

    Show & Tell is an ongoing series of events in various formats, accompanying the exhibition or independent of it. Changing guests are invited, including artists, authors and musicians. The series is supported by:

  • Guest Event: Kammerkonzerte im Kunstverein – 3. Concert, Linos Piano Trio, 10.10.2020
    Kammerkonzert
    Sat Oct 10, 2020, 6 pm – 9 pm
    Konrad Elias-Trostmann, violin Prach Boondiskulchok, piano Vladimir Waltham, cello Program: Kaija Saariaho: Light & Matter Edvard Grieg: Peer Gynt Suite No. 1 (Arr. Linos Piano Trio) Carl Philipp Emanuel Bach: Trio in F Major Wq. 01 No. 3 Johannes Brahms: Trio in C minor Op. 101 In 2015 Linos Piano Trio won the 1st prize as well as the audience award at the Melbourne International Chamber Music Competition and is since then considered one of the most dynamic and creative piano trios in Europe. “Slow-burning and gripping” commented The Strad Magazine and the Hannoversche Allgemeine Zeitung wrote: “the trio fascinated right away”. The Linos Piano Trio performs worldwide in concert halls such as Wigmore Hall London, Melbourne Recital Centre, Holzhausenschlösschen Frankfurt and Muziekgebouw Eindhoven. CAvi-music released the first recording of the complete works for piano trio by Carl Philipp Emanuel Bach in early 2020. Since 2016, the project “Stolen Music”, which is very popular with listeners, has also been produced. Here the musicians arrange great orchestral works for their instrumentation in order to expand the repertoire for piano trio. Fees: 19,50 Euro incl. advance booking fee, reduced (pupils, students, KölnPass holders) 12,- Euro incl. advance booking fee Children up to 14 years have free admission. Ticket sales exclusively in advance via KölnTicket! Tickets are available at KölnTicket: www.koelnticket.de Information & link to the VVK under: www.kammerkonzerte.koeln About the concert series: The music metropolis on the Rhine is home to numerous internationally renowned musicians. With its diversity and quality, Cologne’s independent chamber music scene has earned itself the highest reputation worldwide. The chamber concerts at the Kunstverein now give these top ensembles from Cologne and NRW a permanent showcase in their home city. Starting in 2020, six concerts will take place annually, on Saturdays at 6 pm, in the Riphahnsaal of the Kölnischer Kunstverein. Centrally located on Neumarkt, the Riphahnsaal with its open, beautiful architecture offers excellent acoustics for chamber music of the international top class. The combination of contemporary, visual arts and chamber music spanning all epochs is a symbol for the unity of art, its diversity and topicality and promises a unique ambience.
    Chamber concerts at the Kunstverein, 2020. Announcement. Copyright: Kölner Klassik Ensemble e.V.
  • Performance: Show & Tell – Broadcast: Something Like #21: The Continuous Present, with Bitsy Knox, Rosa Aiello, and Emma LaMorte, 8.10.2020
    Benjamin Marvin, Untitled, 2020, Courtesy: the artist
    Thu Oct 8, 2020, 10 am – 1 pm

    Broadcast: Something Like #21: The Continuous Present, with Bitsy Knox, Rosa Aiello, and Emma LaMorte, in-situ at the Kölnischer Kunstverein
    Online Event, no registration required

    ≈≈ The show will air live on Cashmere Radio on October 8, 10 am – 1 pm. It will then be available on Something Like’s Cashmere page and on Mixcloud ≈≈

    “. . . It’s at this moment that I decide to make a change, set up some rules, do something, because when the life of the living moves slow, it speeds the overall sense of time. It gives the impression that life goes by “In a flash,” “In a breath,”  “Before you know it.” I decide: First, I will forbid the use of any such phrase, including, “Where has the day gone?” including “Already?”. Second, I will do all I can to avoid tradition, which speeds time. Like ritual speeds time. Like routine, which I cannot possibly avoid, speeds time. Third, and most important, because it is something I can control, I will adopt an exercise for slowing time: to place details in time, so to prevent the seamless fold from taking hold. . .”  (an excerpt from Calypso Goes out of Favour by Rosa Aiello)

    In this very special 21st episode of Something Like, Bitsy speaks with artists Emma LaMorte and Rosa Aiello about Emma’s exhibition, Aussicht, in-situ at the Kölnischer Kunstverein, late into the night. As they go on an ekphrastic exploration through Emma’s exhibition, they ask: what is the continuous present, and how do we move through it? What does the passage of time feel like for an artist—for a new mother—and how does this relate to care, to duty, to patience, to pleasure, to injustice?

    Taking a page from Aussicht, this is an episode in four parts, and features an original score by LNS (Laura Sparrow), as well as excerpts from Rosa Aiello’s text for the exhibition, Calypso Goes out of Favour, an excerpt from her novel-in-progress, Calypso’s Way.

    Bitsy Knox (*1984 in Vancouver) is a poet, performer, and radio host based in Berlin. Bitsy has read poetry and performed across Europe, most recently at Haus am Lutzowplatz, Hopscotch, Horse & Pony, KW Institute for Contemporary Art, OHM, and Project Space Festival, Berlin; W139, Amsterdam; Une, Une, Une, Marseille; Feeelings, Brussels; and PEACH, Rotterdam. Her bi-monthly radio show on Cashmere Radio and CHFR Hornby Island, Something Like, traverses folk traditions and new age, experimental, and minimal composition through lenses of poetry and amateur musicology. Bitsy has collaborated with Brussels-based musician Roger 3000 since 2016. Their first LP as Bitsy Knox & Roger 3000, OM COLD BLOOD was released by Tanuki Records in 2018, and a forthcoming EP, The Heat Within, will be released by Tundra Records in Autumn 2020. Bitsy’s poems have been published by Tabloid, General Fine Arts, Arts of the Working Class, and Pure Fiction, among others. Her first chapbook, Meaningless Secrets, was published in 2020. She holds a MFA from Piet Zwart Institute, Rotterdam.

    Show & Tell is an ongoing series of events in various formats, accompanying the exhibition or independent of it. Changing guests are invited, including artists, authors and musicians. The series is supported by:

     

  • Vermittlung, Guided Tour: Dunja Herzog – Meanwhile & ­Emma LaMorte – Aussicht, 7.10.2020
    Wed Oct 7, 2020, 5 pm – 6 pm
    Guided Tour through the exhibitions Dunja Herzog – Meanwhile and Emma LaMorte – Aussicht  with Miriam Bettin, Curator of the exhibition by Emma LaMorte.
  • Guided Tour: Show & Tell – Guided City Tour through Cologne, 4.10.2020
    Seidenspulerin, Seekreis Verlag, 14. Jahrhundert.
    Sun Oct 4, 2020, 12 pm – 2 pm
    Guided Tour through Cologne: Blaufärber*innen, Goldspinnerinnen, Zauberei. A guided tour by and with Irene Franken, historian and Alternative Honorary Citizen of Cologne. Accompanying the exhibition Meanwhile by Dunja Herzog, Cologne locations will be visited that touch on aspects of colour, craftsmanship, magic and gold. The theme will then be Dunja Herzog’s initiator, Prof. Maria Mies, who left many metres of her writings to the Women’s History Society – comparably productive as councilman Hermann von Weinsberg, who in early modern times wrote about 7,000 pages of diary and lived on the Blaubach. Finally, the fight for the self-determination of women over their bodies will also be dealt with. Start: Waidmarkt, Hermann-Josef-Fountain Duration: approx. 1 1/2 to 2 hours Max. 15 participants, mouth and nose protection or visor are a condition of participation (in German) The registration deadline is 02.10.2020 at 2:30 pm.
  • Performance: Show & Tell – Live Narration by Rosa Aiello, Emma LaMorte & Benjamin Marvin with music by LNS, 2.10.2020
    Emma LaMorte & Benjamin Marvin, Live Narration, 2020, Courtesy of the artists
    Fri Oct 2, 2020, 6 pm – 7 pm

    Live Narration by Rosa Aiello, Emma LaMorte & Benjamin Marvin with music by LNS
    With a book presentation of the publication accompanying the exhibition

    Live Narration is a collaborative project with text by Rosa Aiello, visuals by Emma LaMorte and Benjamin Marvin and music by LNS. Using an overhead projector, images from light, shadow, and colour are created and projected on site, illustrating and commenting on the live mixed soundscape of music and language. The performance at the Kölnischer Kunstverein includes work details from Emma LaMorte’s exhibition Aussicht and a reading by Rosa Aiello from her text Calypso Goes out of Favour that is also part of the accompanying publication.

     

    Rosa Aiello, born 1987 in Canada, is a writer and artist working with video, text, photography, sound, and installation. She often deals with the way language, narrative devices, domestic architecture, and other structural parameters are involved in socialisation. Her works have been shown at various institutions and galleries, most recently, Cell Project Space in London, Lodos Gallery in Mexico City, The Southern Alberta Art Gallery in Lethbdrige, Bureau des Réalités in Brussels, Schirn Kunsthalle in Frankfurt am Main, and Kunsthalle Zürich in Zurich. Her writing has been published in Triple Canopy, Starship, CanadianArt, Art Papers, and F. R. David. Calypso Goes out of Favour is excerpted from her long-form fiction project Calypso’s Way, currently in progress.

    LNS, originally from Calgary, CA, has since years been an integral part of buillding Vancouver’s underground music community, creating and DJing on point and under the radar events. Her DJing reflects a myriad of electronic influences, including the pioneering years of Detroit and UK Techno, IDM, and Electro. This style is mirrored in her musical production which has been featured on labels such as 1080p, Freakout Cult, Wania, and her own label LNS, of which there are two EP’s currently released.

    Benjamin Marvin, born 1987 in Canada, is an artist living in Berlin. He received his BFA from Emily Carr University in Vancouver and studied in the class of Christopher Williams at the Kunstakademie Düsseldorf. Recent exhibitions include Exhibiting Paintings at Jack’s Flat Berlin, Development (Scarlet goes to the doctor) at Gärtnergasse in Vienna (together with Emma LaMorte), Close Your Eyes It’s all pretend at Sikås Art Center and How am I at Junge Museum in Bottrop.

    *Please note that the time of the event has changed to 6 pm.

    Show & Tell is an ongoing series of events in various formats, accompanying the exhibition or independent of it. Changing guests are invited, including artists, authors and musicians. The series is supported by:

     

  • Special Event: Open Studios at the Kölnischer Kunstverein, 27.9.2020
    Open Studios Cologne 2020.
    Sun Sep 27, 2020, 2 pm – 6 pm
    With the studio fellows Sascha Kregel, Morgaine Schäfer, Stella von Rohden and Ellen Yeon Kim. No registration is required for this event, but there may be waiting times. Please respect the rules of distance and hygiene and the obligation to wear a mouth and nose mask. Further information under: Offene Ateliers Köln 2020
  • Guided Tour: Show & Tell – Guided City Tour through Cologne, 23.9.2020
    Seidenspulerin, Seekreis Verlag, 14. Jahrhundert.
    Wed Sep 23, 2020, 6 pm – 8 pm
    Guided Tour through Cologne: Blaufärber*innen, Goldspinnerinnen, Zauberei. A guided tour by and with Irene Franken, historian and Alternative Honorary Citizen of Cologne. Accompanying the exhibition Meanwhile by Dunja Herzog, Cologne locations will be visited that touch on aspects of colour, craftsmanship, magic and gold. The theme will then be Dunja Herzog’s initiator, Prof. Maria Mies, who left many metres of her writings to the Women’s History Society – comparably productive as councilman Hermann von Weinsberg, who in early modern times wrote about 7,000 pages of diary and lived on the Blaubach. Finally, the fight for the self-determination of women over their bodies will also be dealt with. Start: Waidmarkt, Hermann-Josef-Fountain Duration: approx. 1 1/2 to 2 hours Max. 15 participants, mouth and nose protection or visor are a condition of participation (in German) The registration deadline is 23.09.2020 at 3:30 pm.
  • Artist Talk: Artist Talk: Dunja Herzog, Fatima Khan, Cate Lartey & Maryline Ogboko, 19.9.2020
    Copyright: Fatima Khan.

    Sat, Sep 19, 2020, 7 pm – 9 pm
    Show & Tell Closely interwoven: fabrics and cloths in capitalism, colonialism.
    Discussion based on the artistic works by Dunja Herzog, Fatima Khan, Cate Lartey & Maryline Ogboko (in German).

    Fabrics and cloths, the former luxury goods, have become commonplace. Nevertheless, as a craft practice they are still closely interwoven with social ideas. Fabrics are one of the few handicraft materials whose use by women is tolerated and even supported by society. However, the conditions of production and history of textiles are largely ignored. In a conversation about the theory, practice, and stories of various fabrics, the artists Dunja Herzog, Fatima Khan, Cate Lartey, and Maryline Ogboko make the connection between fabrics, capitalism, and colonialism.

    Fatima Khan, born in Bhola in 1987, grew up in Cologne, is an artist, curator and presenter. She studied ancient languages and cultures – classical literature and German studies at the University of Cologne. She was the initiator and co-founder of q[lit]*clgn, the first feminist literature festival in Germany. Her artistic works capture banal everyday situations in a visual diary in which photos and videos merge to form documentary and art films. She produces and publishes through Instagram under @fatum.khan.

    Cate Lartey is a design researcher from Düsseldorf. In her work she deals with notions of power relations and intersectional entanglements from a postcolonial feminist perspective. She explores these issues through film and photography.

    Maryline Ogboko is a dancer from Düsseldorf and studies Textile and Clothing Management at the HS Niederrhein in Mönchengladbach. As part of her studies, she wrote a student research project that examines the Nigerian fashion industry from a traditional and contemporary perspective. Since 2019 she is one of the co-founders of the start-up initiative Ohemaa Green Housing, a concept that will build Tiny Houses in Ghana from recycled plastic.


    The event is part of the exhibition Dunja Herzog MEANWHILE at Kölnischer Kunstverein.The series Show & Tell is supported by:

  • Filmvorführung: Show & Tell – I Am Not a Witch, 2017, 18.9.2020
    I Am Not
    Fri Sep 18, 2020, 7 pm – 9 pm

    Film screening: I Am Not a Witch, 2017, Director: Rungano Nyoni, 94 min, OmU
    In the presence of the artist Dunja Herzog

    In her feature debut film I Am Not a Witch, Rungano Nyoni deals with modern percecution of witches in Zambia. The nine-year-old orphan Shula is accused of being a witch by a villager and sent to a witch camp in the desert. Under strict rules she lives there and has to undergo a ritual to internalize the rules of the witch’s life. I Am Not a Witch is both social satire, feminist criticism and surrealistic portrait of rural Zambia.

    Show & Tell is an ongoing series of events in various formats, accompanying the exhibition or independent of it. Changing guests are invited, including artists, authors and musicians. The series is supported by:

  • Education, Guided Tour: Dunja Herzog – Meanwhile & ­Emma LaMorte – Aussicht, 16.9.2020
    Wed Sep 16, 2020, 5 pm – 6 pm
    Guided Tour through the exhibitions Dunja Herzog – Meanwhile and Emma LaMorte – Aussicht with our Director Nikola Dietrich.
  • Education, Guided Tour: Dunja Herzog – Meanwhile & ­Emma LaMorte – Aussicht, 16.9.2020
    Wed Sep 16, 2020, 5 pm – 6 pm
    Führung durch die Ausstellungen Dunja Herzog – Meanwhile und Emma LaMorte – Aussicht  mit unserer Direktorin Nikola Dietrich.
  • Solo Exhibition: Dunja Herzog – Meanwhile, 5.9. – 18.10.2020
    Dunja Herzog, 2020, Foto: André Fuchs.

    With the solo exhibition Meanwhile by Dunja Herzog, the Kölnischer Kunstverein is realizing a comprehensive exhibition of the artist’s work, accompanied by a program of film screenings, artist talks, performance, children’s workshop and a guided tour of the Cologne-based Women’s History Society. Various elements and themes of different temporalities and backgrounds are brought together in a site-specific installation in which they coexist and relate to one another.

    The exhibition is a continuation of the examination of the history of the copper trade, as it is dealt with by the artist in particular in the project Red Gold and its focus on the omnipresent systematic exploitation of the global capitalist project, furthering the investigation with new work produced for the exhibition. In doing so, she looks back to the more distant past: to the Middle Ages and the Early Modern Age, to the history of witch-hunting and copper production in Europe (e.g. by reproducing a 16th century woodcut by Georg Agricola depicting mines for copper mining, as well as a witches’ dance on the Blocksberg in the Harz Mountains). Alongside these are references to mechanisms of commercial profit in order to visualize today’s globally operating economic systems, and considerations of the role of women and reproduction in the transition to capitalism. Her personal background as a Swiss woman is essential in this context. Women’s voting rights in Switzerland, one of the last European countries to institute such rights, only became effective in 1971 (in the canton of Appenzell even only from 1990); another aspect is Switzerland’s role in the system of imperial exploitation.

    Not least of all, the material copper is one of the most important global economic indicators with its main trading center in Switzerland since 2011; the five largest Swiss companies are active in raw materials trading. In a new video work by the artist, a geographic and temporal arc is drawn from the Copperbelt in Zambia (a region with the most important copper mining area in Africa, where the Swiss company Glencore also operates mines) to a copper mine in the Harz Mountains, where the largest copper deposit in Germany once existed. At a depth of 165 meters, a film has been produced in Harz, showing the ceiling of a tunnel illuminated by light whilst driving out of the mine—a retreat from the mine and the overexploitation of both nature and labor that was once practiced there. For the artist, questions of resources, mining, exploitation and trade are central: How did it come about that cultural history in Europe transitioned from a reverence for nature, to its exploitation, and then, in the “logic of exploitation”, was exported from Europe to the whole world?

    A world where violence, foreign domination and profit prevail and our relationship to the earth, or how it is used and abused, is seen by the artist as synonymous with how bodies and their emotional “landscapes” are dealt with. The more resources, including copper—without which our contemporary digital world is inconceivable—are mined, the more the search for or connection to inner resources seems relevant.

    These various themes and their associated stories, which almost always speak of violence, are not necessarily addressed directly in the exhibition or reproduced. Rather, they are kept present through the materials enlisted, by relating to their origin, their use, their historical relevance, their development and the trade routes that have shaped our society very physically over time. Thus, for the exhibition, baskets made of copper wire from electronic scrap have been created in collaboration with basket makers from the Republic of Benin in Lagos, a city that belongs to one of the largest electronic dumping sites in West Africa; not only to detach the material from one value chain and transpose it into another, but to simultaneously pay homage to the women of Nigeria and Zambia, who made significant contributions to the independence of both countries. These colonial legacies seem particularly relevant to the building of the Kölnischer Kunstverein itself, since it was the seat of the British Council – the so called “Die Brücke” (The Bridge)—in the enduring colonial period of the British, and its proposition of a “bridge” to the world after the Second World War.

    The artist creates a space, in a certain sense a “third space”, in which a larger spectrum of stories and their complex interrelations with matter, material and their transformation and relationship to people can be experienced, and other perspectives made possible. From the materials and plants that are addressed, she extracts, in a way, the essence of their inherent energies and logics, makes them physically perceptible and thus ultimately also calls upon their nourishing properties.

    The two editions Sea field and Death of Nature will be published on the occasion of this exhibition.

    Dunja Herzog (*1976 in Basel, Switzerland) lived last year in Lagos, Nigeria, where she created some of the work presented at the Kölnischer Kunstverein. Her works were shown at the Kunstverein Göttingen; Swiss Art Awards, Basel (both 2018); Lagos Biennale, Lagos, Nigeria (2017); BLOK art space, Istanbul; 1646, Den Haag (all 2016); New Bretagne / Belle Air, Essen and at MAXXI Museum, Rome (both 2015), among others.

    Curator: Nikola Dietrich

    With kindly support of:


  • Solo Exhibition: Emma LaMorte – Aussicht, 5.9. – 18.10.2020
    Emma LaMorte, 2020.

    In her first institutional solo exhibition, Emma LaMorte takes on the architecture of the Kölnischer Kunstverein: With her textile works, performances, texts and installations, she reacts to given spaces and architectural structures in order to supplement, alienate or conceal them. In the Studio, a project room with an atrium on the second floor of the building, the artist produces an expansive quilted and sewn textile work. In reference to the location, she recreates elements of the real exterior space, integrates them into a fictional landscape backdrop and creates an inversion of inside and outside.

    The four-part work series consisting of a total of eleven panels shows a rocky sea coast and a pastoral scene at four different times of day, varying in lighting mood and colour. Her motifs are based on a fascination for gothic, fantasy, kitsch, fetish, and nature romanticism. The series of works Aussicht (2020) dispenses with the figurative in favour of an allegorical landscape depiction in which the position of the viewer is that of a 360 degree perspective on an observation tower. The preoccupation with the view—the yearning look outside into the distance or the future—is a recurring subject in fine art and literature, especially at the time of German Romanticism, and immediately evokes the visual world of Caspar David Friedrichs.

    The collages on stretcher frames borrowed from patchwork elude a simple classification as “textile art”: due to the rough and improvised processing, the variety of form language, haptics, and motifs as well as the nostalgic aesthetics appear exceptionally space- and timeless and are located in a dichotomy between absolute present and historicity. At the same time, the textile material is part of a craft traditionally associated with women. In her examination of economic issues, Emma LaMorte examines historically shaped gender-specific divisions of labor (emotional labor, caretaking, domesticity, household, motherhood on the one hand, monetary labor, career, profiling and prestige on the other) as well as the discrepancy between their respective values and recognition in society. Both in her medial and content-related work on traditional, reactionary gender roles, the artist looks at the mechanisms of public and private space that consolidate and maintain them: patriarchal infrastructures, discriminating labor economies, structural sexism and violence.

    An artist book has been published in the context of the exhibition at the Kölnischer Kunstverein with texts by the artist Rosa Aiello and images of the exhibited works (graphic: Thomas Spallek). The text medium is an integral part of Emma LaMorte’s practice and expands the scenographic backdrop of improvised quilting techniques with narratives. The repetition of the wall panels can be found as a stylistic device in the texts of Aiello. The daily rhythm and sequence describe a domestic routine in which temporality is variably extended or shortened. Emma LaMorte questions how civilization and social structures are formed and shaped—and how they are destroyed again—and creates a vision of the future that can be promising or hopeless.

    The exhibition is accompanied by a public program consisting of a reading, a lecture performance, a children‘s workshop, a tarot workshop, and a radio show by various guests, among them the artists Rosa Aiello, Bitsy Knox, Benjamin Marvin, the author Jessa Crispin and the musician Laura Sparrow.

    Emma LaMorte (*1984 in Victoria B.C., Canada) lives and works in Berlin. She received a Master of Fine Arts at the Royal Institute of Art in Stockholm, Sweden. Recent solo presentations of her work have been shown at Galleri Thomassen in Gothenburg (2020, together with Anders Johansson), Gärtnergasse in Vienna (2019, together with Benjamin Marvin), Stadium (2018) and Ashley (2017), both in Berlin, as well as in group exhibitions at Polansky in Prague (2019), Braunsfelder in Cologne (2018), Sm in Marseille (2018), Hotdock in Bratislava (2018), INDUSTRA in Brno (2018) and Decad in Berlin (2018).

    Curator: Miriam Bettin

    The exhibition is part of Canada’s cultural programme as Guest of Honour at the Frankfurt Book Fair 2020. It is supported by the Canada Council for the Arts and the Government of Canada.

    With kindly support of:

  • Opening: Dunja Herzog – Meanwhile & ­Emma LaMorte – Aussicht, 4.9.2020
    Fri Sep 4, 2020
    Dear visitors and members, We are very pleased to welcome you to the opening of our two solo exhibitions Dunja Herzog – Meanwhile  and Emma LaMorte – Aussicht  on September 4, 2020 from 1:00 pm till 10:00 pm. The protection of our staff and visitors is very important to us. To ensure that the opening is in accordance with the current corona protection regulations, we will refrain from opening speeches and drinks. We will also regulate access to the building and the several exhibition rooms by security personnel. The number of visitors is limited and we would like to ask you to follow the instructions of the staff. Markings and the guidance system on the wall will also help you to find your way. Furthermore, we kindly ask you to stick to the following rules:
    • It is obligatory to wear a mask throughout the entire building.
    • Please keep a minimum distance of 1.5 metres to other visitors and staff.
    • Please wash your hands frequently and thoroughly or disinfect them with our hand disinfectant, which is available at reception.
    For further information and if you have any questions, please contact us. We thank you for your assistance and look forward to seeing you! Your team of the Kölnischer Kunstverein
  • Lecture: Show & Tell #10 – Tony Conrad, 29.5.2020
    Tony Conrad, Berlin 2011, Copyright: Tabea Lurk
    Fri May 29, 2020, 7 pm – 9 pm

    Tony Conrad: Again and Again 
    Online lecture by Tabea Lurk, Art historian, Basel (in German language)
    with a welcome by Nikola Dietrich, Director Kölnischer Kunstverein

    Inspired by the parcours of the TONY CONRAD exhibition at the Kölnischer Kunstverein, the lecture will show monographic connections. References inherent in the exhibited works are explained. In addition, the US-American artist, who died in 2016, will once again have his say on the basis of his video works, statements and interviews.

    Tony Conrad’s relatively late fame as a gallery or museum artist, which shaped his last years, does not seem to be waning even four years after his death. New ways of reading can still be found, the vitality of the late works still has a convincing effect, and the films of the late 1960s, the videographic works of the 1970s and 1980s, and the musical settings that permeate all phases of life still evoke an era that is partly past, partly continued by others. The artist’s video work forms the starting point for these reflections.

    The lecture can be accessed via the following link and on our website.

    Tabea Lurk studied art history and media theory and wrote her doctorate on Tony Cornad’s video work. After her traineeship at the Zentrum für Kunst und Medientechnologie Karlsruhe (2004-2006), she worked at the Hochschule der Künste Bern from 2006-2015. Since August 2015 she has been head of the media library at the Hochschule für Gestaltung und Kunst FHNW Basel.

    The public program and art education is supported by:


    The exhibition TONY CONRAD is a collaboration between Kölnischer Kunstverein, Cologne, and MAMCO, Geneva, and is based on the touring retrospective organized by the Albright-Knox Art Gallery, Buffalo, New York (2018/19).


    With the kind support of:

  • Screening: Show and Tell #9 – Tony Conrad, Jack Smith, Marc Siegel, 06.03.2020
    Jack Smith, Flaming Creatures, 1962-63, Film Still, Copyright Jack Smith Archive, Courtesy Gladstone Gallery, New York and Brussels
    Tony Conrad, The Flicker, 1966, 16 mm, b/w, 30 min
    Jack Smith, Flaming Creatures, 1963, 16 mm, 45 min
    Flickering, Flaming - Introduction by Marc Siegel, Professor for Film Studies at Johannes Gutenberg-Universität Mainz (in English)

    6 – 8 pm

    With the double presentation of The Flicker and Flaming Creatures, the Kölnischer Kunstverein is showing two films in the framework of the current exhibition, both of which were made as collaborations between Tony Conrad and Jack Smith in the early 1960s in New York and caused scandals. Under the title Flickering, Flaming, film theorist Marc Siegel will outline the unexpected production of the flicker film from Tony Conrad’s experience with Jack Smith.

    In 1962, Conrad graduated from Harvard University and moved to New York City, where he associated primarily with experimental musicians and underground filmmakers. He even became roommates with the notorious filmmaker Jack Smith, who prompted Conrad to apply his musical experiments to making movie soundtracks. Conrad’s own career as a filmmaker began on March 5, 1963, when he, Smith, and Mario Montez, Smith’s muse, became entranced by the flickering light of an old projector. Conrad had learned in college about the effects of this phenomenon on brain waves, and so he attempted to make a mind-altering film of nothing more than black and white frames, based on “harmonies” between the frequencies of the flickering light—a procedure similar to his work with sound frequencies. Praised by critics for its structural qualities, audience reactions at the premiere of The Flicker at the Lincoln Center for the Performing Arts on September 15, 1966, ranged from nausea to hallucinations.

    Tony Conrad produced the soundtrack for Jack Smith’s legendary film Flaming Creatures. Smith’s films are characterized by an unusual low-budget aesthetic and innovations that immediately attracted the praise of the critics. But the open approach to sexuality led to censorship: in 1964 the film triggered one of the biggest scandals in film history and was banned. Soon after, Smith began to use the medium of film not as an independent work, but as a component of performances. Flaming Creatures, probably his most famous film, celebrates a tumultuous harem party with boundless erotic excesses in glamorous black-and-white images.

    Marc Siegel is Professor of Film Studies at the Johannes Gutenberg University in Mainz. His book A Gossip of Images is forthcoming from Duke University Press. In 2014, he edited a special issue of the journal Criticism dedicated to Jack Smith. He is a founding member of the Berlin-based art collective CHEAP. In 2009 he co-curated a massive festival at the Arsenal-Institut für Videokunst and HAU in Berlin, called LIVE FILM! JACK SMITH! Five Flaming Days in a Rented World, which had a spinoff version in Frankfurt/Main at Mousonturm and the MMK Museum of Modern Art in 2012. In this context, he worked with Tony Conrad.


    The program is part of the exhibition TONY CONRAD at the Kölnischer Kunstverein.

    The events in the framework of Show and Tell are sponsored by:

    Rheinenergie

    With the kind support of:

    Logozeile_Standard
  • Event: Show and Tell #8 – Arjan Stockhausen, 18.02.2020
    Arjan Stockhausen, announcement: Ja (Null Piece), Kölnischer Kunstverein 2020
    Arjan Stockhausen, Ja (Null Piece), 2020

    6 – 10 pm
    4-channel audio file, 240 min

    NO! This sound piece is no sound piece. To listen to this sound piece, do not listen to it. Do not lie down on the floor to listen. Do not lie down on the floor, not to listen. Listen to the silence during the sound, do not listen to the sound during the silence. Do not think of an object while listening, the sound is the object. To lie down on this piece, become this piece, at least. YES!

    The program is part of the exhibition TONY CONRAD at the Kölnischer Kunstverein.

    The events in the framework of Show and Tell are sponsored by:

    Rheinenergie

    Mit freundlicher Unterstützung von:

    Logozeile_Standard
  • Solo Exhibition: Tony Conrad, 15.2. – 12.7.2020
    Tony Conrad: Yellow TV, February 3, 1973, Courtesy: Tony Conrad Estate und Greene Naftali, New York

    Opening: Friday, February 14, 7 pm
    9 pm Film screening Tony Conrad “The Flicker”, 1966, 16mm film, b/w, 30 min

    Tony Conrad (1940-2016) is an experimental artist and a key figure for media artists such as Tony Oursler or Mike Kelley. As a violinist, he was one of the co-founders of Minimal Music and a pioneer of drone music, together with La Monte Young and John Cale. As a central figure of the avant-garde and with a career lasting over six decades, his work radiates beyond America. With this exhibition it will be presented to the European audience, in all its complexity, after his participation at documenta 5. With his first movie “The Flicker” (1966) he created an icon of structural film. His musical work—in composition, performances, and self-made musical instruments—is inevitably associated with his work as a visual artist.

    The Kölnischer Kunstverein is realizing the first large-scale exhibition, performance and music series in Germany honoring Tony Conrad’s artistic work. It succeeds a retrospective at the Albright-Knox Gallery, Buffalo, and the MIT List Visual Arts Center and Institute of Contemporary Art at the University of Pennsylvania (2018/19). As a central figure of the avant-garde, Conrad didn‘t only gain recognition for his contribution to minimalist music and structural film in the 1960s, due to his pioneering role as violinist. Instead he also set the tone for various cultural fields, including rock music and public television. Conrad’s first film, “The Flicker” (1966), a stroboscopic experiment well-known for his assault on the cinematic medium and the senses of his audience, soon led to the projects in which he treated film as sculptural and performative material. In “Sukiyaki Film” (1973) for example Conrad brought shortly fried film on the screen and in in his “Yellow Movies” from 1972/73 he painted paper surfaces with cheap paint and presented them as slowly changing films. He paved the way for drone music and influenced the founding of Velvet Underground. At the same time, Conrad was a combative critic of the media and their monitoring tools. In the eighties, his ambitious films about power relations in the army and in prisons critisized what he would call emerging culture of surveillance, control and containment. His collaborative programs, created for public television in the 1990s, made him an influential voice within society (as can be seen in the installation “Panopticon” from 1988 or “WiP”, with films by Tony Oursler and Mike Kelley, 2013). Conrad was a master of “crossover”, the bridging and connection of various disciplines, making it seem impossible to think about the interdependence between art, film, music, and performance in contemporary art without including him. He also was a passionate pedagogue—his 40 years as professor at the Media Department at the University of Buffalo provoked and inspired generations of students until today.

    The exhibition is a collaboration between Kölnischer Kunstverein, Cologne, and MAMCO, Geneva, and is based on the touring retrospective organized by the Albright-Knox Art Gallery, Buffalo, New York (2018/19).

    The exhibition architecture at the Kölnischer Kunstverein was developed in cooperation with Milica Lopicic.

    The reusable wall system has been made possible by the Imhoff Stiftung.

    Weiterer Dank an Galerie Further thanks to Galerie Buchholz, Berlin/Cologne/New York and Greene Naftali, New York

2019
  • Exhibition: Jahresgaben 2019, 7. – 15.12.2019
    Jahresgaben 2019 at the Kölnischer Kunstverein

    Artists: Martin Assig, Olga Balema, Gerry Bibby, Juliette Blightman, Enrico David, Bradley Davies, Simon Denny, Ayşe Erkmen, Michael Krebber, Mischa Kuball, Puppies Puppies (Jade Kuriki Olivo), Morgaine Schäfer, Julia Scher, Gregor Schneider, Evelyn Taocheng Wang, Rachel Whiteread

    Please note that the annual editions are exclusively reserved for our members. Find your membership application form here:

    Become a member



    Exhibition of the Jahresgaben: December 7 – 15, 2019
    Opening: Friday, December 6 2019, 7 pm

    We are pleased to present newly produced works for the Kunstverein together with earlier Jahresgaben, including unique pieces and limited editions. Many of the artist represented were recently participating in the group exhibition Maskulinitäten. A cooperation between Bonner Kunstverein, Kölnischer Kunstverein and Kunstverein für die Rheinlande und Westfalen, Düsseldorf. Also part of this year’s Jahresgaben: Editions of the Salon Verlag to be acquired through the Kunstverein.

    Changed opening times during the Jahresgaben exhibition: open throughout Mon – Sun, 11 am – 6 pm, free of charge

  • Guest Event: As a guest at the Kölnischer Kunstverein: reiheM, 6. – 13.12.2019
    reihe M, Michaela Melian, MfaFT ©, Michael Pfitzner, Paul Valentin
    Concert Series for Contemporary Music, Electronics and New Media

    Friday, December 6, 2019, 7 – 11 pm and Saturday, December 7, 2019, 11 am – 7 pm
    MICHAELA MELIÁN
    Music from a Frontier Town
    Sound and video installation

    Friday, December 6, 7.30 – 8 pm
    Michaela Melián in conversation with Prof. Anke Ortlepp

    Re-education. 1,630 vinyl records from the remainder of the public library of the Munich Amerikahaus (1945–1997) are at the centre of Michaela Melián’s sound and video installation Music from a Frontier Town. Visitors are invited to personally select this find from the basement—a selection of jazz, spoken word, classical and new music LPs from the 1950s and 1960s, with which the USA presented itself as a pluralistic cultural nation—and to play it on a DJ console. The Munich artist, musician and radio playwright Michaela Melián, who has received many awards, is known for her often expansive multimedia exhibitions and concerts.

    In collaboration with the Department of North American History of the Historical Institute of the University of Cologne.

    Admission is free.

    Friday, December 13, 2019, 6 – 10 pm
    (Admission possible at any time)
    REUNION AFTER CAGE
    For modified chessboard and live-electronics (German premiere)

    Chess players: Holger Lieff, Endre Tot, N.N.
    Musicians: Peter Behrendsen, hans w. koch, Tobias Grewenig, Dirk Specht

    Highlight at the end of the reiheM–Anniversary year 2019—With 4 hours of Reunion after Cage. This 114th event completes the circle of the very first reiheM event in January 2009: Variations on Variations after John Cage (also by and with Peter Behrendsen and hans w. koch).

    John Cage’s REUNION for prepared chessboard and live electronics was first performed in Toronto in 1968: with Marcel Duchamp, John Cage and Teeny Duchamp as chess players as well as the musicians David Behrman, Lowell Cross, Gordon Mumma and David Tudor. The distribution of sounds in space and their volume are determined by the positions of the chess pieces, not by the musical and taste preferences of the musicians. Even the chess players are not able to influence the music by certain moves or positions.
    In the sense of Cage’s idea of an egoless, non-intentional music, winning or losing becomes secondary—”a purposeful purposelessness or a purposeless play”.
    The chessboard used in this performance follows the original Lowell Cross constructed in assigning the fields to the inputs and outputs, but was equipped with modern technology (computer programming and MIDI).
    The chess game is flanked by thematically relevant projections of works by the artists Takako Saito and Shigeko Kubota.

    A project by Peter Behrendsen and hans w. koch.

    Admission fee: 10,- / 8,-

    Further information: www.reihe-M.de

    Reihe M – Concert Series for Contemporary Music, Electronics and New Media – Cologne is organized by Mark e.V. and supported by the Cultural Office of the City of Cologne and the Ministry of Culture and Science of North Rhine-Westphalia.

  • Performance: Show and Tell #6 – Juliette Blightman, 13.11.2019
    Show and Tell #6 – Juliette Blightman, Kölnischer Kunstverein 2019, photo: Mareike Tocha, Courtesy of the artist and gallery Isabella Bortolozzi, Berlin
    The Year of the Pig

    An event as part of the exhibition Maskulinitäten.

    Performance Lecture by Juliette Blightman featuring films from Maria Lassnig and Chantal Akerman amongst others. Followed by No Opening SS 2020 Collection with music by Anthony Silvester (Technology + Teamwork). Lecture starts 7.15 pm, Runway Show 7.45 pm.

    The main theme of the artist´s work is the relationship between art and life. She creates her works like continuous diary entries which are articulated in various media. She films, paints and writes in a radical subjective way and makes the personal public.

    Watch the video documentation of the performance here.

    The events in the framework of Show and Tell are sponsored by:

    With the kind support of:

  • Special Event: Night of Museums at the Kölnischer Kunstverein, 02.11.2019

    Guided Tours and Screening by Jonathas de Andrade O Peixe (the Fish)

    Exhibition: Maskulinitäten. Eine Kooperation von Bonner Kunstverein, Kölnischem Kunstverein und Kunstverein für die Rheinlande und Westfalen, Düsseldorf

  • Screening: Show and Tell #5 – Arwen Curry and Helke Sander, 11.10.2019

    Double Feature: The Worlds of Ursula K. Le Guin by Arwen Curry and Die Deutschen und ihre Männer by Helke Sander

  • Event: Show and Tell #4 – Julia Scher, 19.09.2019
    Julia Scher, Discipline Masters (filmstill), 1988, Courtesy the artist and Esther Schipper, Berlin
    Discipline Masters

    An event as part of the exhibition Maskulinitäten.

    A long night with night with Julia Scher (Professor, Academy of Media Arts Cologne) and guests including a screening of her 4-hour film Discipline Masters (1988) – a cathartic retelling of her youth, which informs Scher‘s interest in themes of surveillance and the notion of a sexualized and controlling gaze.

    The events in the framework of Show and Tell are sponsored by:

    With kind support of:

    Logozeile_Standard
  • Event: Maskulinitäten. A Conversation., 16.09.2019
    Maskulinitäten. A Conversation, 2019, Photo: Mereike Tocha

    An event as part of the exhibition Maskulinitäten.

    Eva Birkenstock, Michelle Cotton and Nikola Dietrich in conversation with Nelly Gawellek, Jürgen Klauke, Bea Schlingelhoff, Evelyn Taocheng Wang and other participating artists. (in English)

  • Event: Show and Tell #3 – Gerry Bibby, 01.09.2019
    Show and Tell #3 – Gerry Bibby, Kölnischer Kunstverein 2019, Photo: Mareike Tocha
    Tectonic Mnemonic

    An event as part of the exhibition Maskulinitäten.

    The installation devised by Gerry Bibby for the exhibition takes the form of a flexible platform for readings with invited guests. This work offers visitors an insight into the artist‘s collection of notes and source materials that inform the artist‘s work and writing, and which form part of the performance.

    The events in the framework of Show and Tell are sponsored by:

    Rheinenergie

    With the kind support of:

    Logozeile_Standard
  • Exhibition: Maskulinitäten. Eine Kooperation von Bonner Kunstverein, Kölnischem Kunstverein und Kunstverein für die Rheinlande und Westfalen, Düsseldorf, 1.9. – 24.11.2019
    Maskulinitäten. Eine Kooperation von Bonner Kunstverein, Kölnischem Kunstverein und Kunstverein für die Rheinlande und Westfalen, Düsseldorf, 2019

    Organised in collaboration by Bonner Kunstverein, Kölnischer Kunstverein and Kunstverein für die Rheinlande und Westfalen, Düsseldorf, Maskulinitäten is an international exhibition with a series of events and accompanying publication project that explores the subject of masculinity via contemporary art. The tripartite presentation is premised by an interest in questioning how a feminist exhibition on masculinity could look.

    Conceived within the context of prominent and reactionary manifestations of masculinity and with an irreverent, uncompromising critique of its hegemonic forms, the collaboration aims to destabilise patriarchal and heteronormative notions of gender. Including public artworks, performances, plays, readings, lectures, screenings, and workshops, the exhibition seeks to open up alternative spaces of agency and bring performative and transgressive conceptions of identity, sexuality, gender and the body to the fore.

    The three institutions share a history in variously presenting radical, feminist and queer exhibitions. Whilst many of these focused on reclaiming femininity and female experience from a history of male authorship, this project turns its attention instead to the male subject. The exhibition and the accompanying programme explores shifting perspectives on the representation of the body, the associated politics of power and visibility, and how these are negotiated and deconstructed in art from the 1960s to the present. Encompassing artistic and art-theoretical perspectives from different contexts and periods, masculinity is encountered as a complex, evolving, social construct that remains in continual flux.

    Curated by Eva Birkenstock, Michelle Cotton and Nikola Dietrich


    Artists in the exhibition
    Vito Acconci, The Agency, Georgia Anderson & David Doherty & Morag Keil & Henry Stringer, Lutz Bacher, Louis Backhouse, Olga Balema, Lynda Benglis, Judith Bernstein, Gerry Bibby, Alexandra Bircken, Juliette Blightman, Patricia L. Boyd, Anders Clausen, Keren Cytter, Enrico David, Vaginal Davis, Jonathas de Andrade, Jimmy DeSana, Nicole Eisenman, Hedi El Kholti, Jana Euler, Hal Fischer, Andrea Fraser, keyon gaskin with Samiya Bashir, sidony o‘neal and Adee Roberson, Eunice Golden, Philipp Gufler, Richard Hawkins, Jenny Holzer, Hudinilson Jr., Allison Katz, Annette Kennerley, Sister Corita Kent, Mahmoud Khaled, Jürgen Klauke, Jutta Koether, Tetsumi Kudo, Klara Lidén, Hilary Lloyd, Sarah Lucas, Robert Morris, Shahryar Nashat, D’Ette Nogle, Henrik Olesen, D.A. Pennebaker & Chris Hegedus, Josephine Pryde, Puppies Puppies (Jade Kuriki Olivo), Carol Rama, Lorenzo Sandoval, Julia Scher, Agnes Scherer, Bea Schlingelhoff, Heji Shin, Katharina Sieverding, Nancy Spero, Anita Steckel, Evelyn Taocheng Wang, Carrie Mae Weems, Marianne Wex, Martin Wong, Katharina Wulff


    Bonner Kunstverein
    Lynda Benglis, Judith Bernstein, Alexandra Bircken, Patrica L. Boyd, Jana Euler, Hal Fischer, Eunice Golden, Richard Hawkins, Jenny Holzer, Hudinilson Jr., Allison Katz, Mahmoud Khaled, Hilary Lloyd, Sarah Lucas, Robert Morris, D’Ette Nogle, Puppies Puppies (Jade Kuriki Olivo), Bea Schlingelhoff, Anita Steckel

    curated by Michelle Cotton


    Kölnischer Kunstverei
    Georgia Anderson & David Doherty & Morag Keil & Henry Stringer, Louis Backhouse, Olga Balema, Gerry Bibby, Juliette Blightman, Anders Clausen, Enrico David, Jonathas de Andrade, Jimmy DeSana, Jenny Holzer, Hedi El Kholti, Hilary Lloyd, Sarah Lucas, Shahryar Nashat, Puppies Puppies (Jade Kuriki Olivo), Carol Rama, Bea Schlingelhoff, Heji Shin, Evelyn Taocheng Wang, Carrie Mae Weems, Marianne Wex, Martin Wong, Katharina Wulff

    curated by Nikola Dietrich


    Kunstverein für die Rheinlande und Westfalen, Düsseldorf
    Vito Acconci, The Agency, Keren Cytter, Vaginal Davis, Nicole Eisenman, Andrea Fraser, keyon gaskin mit Samiya Bashir, sidony o´neal und Adee Roberson, Philipp Gufler, Jenny Holzer, Annette Kennerley, Sister Corita Kent, Jürgen Klauke, Jutta Koether, Tetsumi Kudo, Klara Lidén, Henrik Olesen, D.A. Pennebaker & Chris Hegedus, Josephine Pryde, Puppies Puppies (Jade Kuriki Olivio), Lorenzo Sandoval, Julia Scher, Agnes Scherer, Bea Schlingelhoff, Katharina Sieverding, Nancy Spero, Evelyn Taocheng Wang

    curated by Eva Birkenstock


    Program during the opening weekend:

    Opening on Saturday, August 31, 2019

    2.30 pm Bonner Kunstverein
    5 pm Kölnischen Kunstverein
    7.30 pm Kunstverein für die Rheinlande und Westfalen, Düsseldorf

    Saturday, 31 August
    Legal Gender, Performance conceived by Anita Steckel
    from 2.30 pm, Bonner Kunstverein

    Parallel Lines, Performance by Gerry Bibby with Ellen Yeon Kim
    from 5 pm, Kölnischer Kunstverein

    Naked Self (Transitioning) (21 Months On Hormone Replacement Therapy), Nude Performance by Puppies Puppies (Jade Kuriki Olivo)
    5.30 – 6.30 pm, Kölnischer Kunstverein
    8 – 9 pm, Kunstverein für die Rheinlande und Westfalen, Düsseldorf

    Sunday, 1 September
    Tectonic Mnemonic, a platform with readings with guests, invited by Gerry Bibby
    3 pm, Kölnischer Kunstverein

    With kind support of: