Archive (selection)

Archive (selection)

2024
  • Special Event: Learning to Listen Special with Chris Korda, 13.6.2024
    Thu Jun 13, 2024, 7.30 pm – 9.30 pm
    Learning to Listen Special With Chris Korda Hosted by Hanna Bächer Artist’s Con(tra)ception (25.5.–14.7.24) is Chris Korda’s first exhibition in Germany. The show at the Kölnischer Kunstverein ranges from older works to works shown for the first time, in which the intertwining of Korda’s extraordinary activist, musical and artistic movements becomes visible. Korda gained an international reputation with the environmental activist organisation founded in 1992 and her music in the field of electronic music. Records have been released by Gigolo Records, Perlon, Mental Groove, Yoyaku and on her own label Kevorkian Records. A new record will soon be released on Slacker 85. The Kölnischer Kunstverein, together with the Akademie der Künste der Welt (ADKDW) and Kompakt, is pleased to invite Chris Korda to a Special within the Learning to Listen series. No gathering would be more fitting in Cologne than with the well-known record shop Kompakt and in an event series like this to learn more about Chris Korda’s musical thinking; her understanding of music that led to her complex musical inventions. Chris Korda is an internationally renowned multimedia artist, whose work spans thirty years and includes electronic music, digital and video art, performance and conceptual art, and culture jamming. Chris pioneered the use of complex polymeter in electronic dance music, and invented a unique MIDI sequencer in order to explore polymeter composition techniques. Chris composes and performs music in a variety of genres, and has released many albums on labels such as Yoyaku, Perlon, Mental Groove, and Gigolo Records. Learning to Listen Series In radio broadcasts, podcasts and live events, Learning to Listen deals with forms of listening and non-listening – and the knowledge that can be drawn from them. The main aim of Learning to Listen is to initiate didactic processes intended to help us understand why certain sounds, songs, and narratives are heard and others are not. Together we will reflect on our internalized ways of thinking, of learning to listen and to un-learn. An event by Kölnischer Kunstverein, Akademie der Künste der Welt (ADKDW) and Kompakt. Location: Kompakt Record Store, Werderstraße 15–19, 50672 Cologne. Free entry, no registration required.  
  • Vermittlung: Exhibition tour with Chris Korda and Valérie Knoll, 12.6.2024
    Wed Jun 12, 2024, 6.30 pm – 7.30 pm
    Exhibition tour with Chris Korda and Valérie Knoll, Director. In English Admission is free, no registration required.
  • Concert: Chris Korda live im Salon des Amateurs, 7.6.2024
    Fri Jun 7, 2024, 10 pm
    Chris Korda live in Salon des Amateurs Entry from 10 pm, concert ca. midnight. Tickets only at the door, admission 10€. A cooperation between Kölnischer Kunstverein and Salon des Amateurs. Location: Salon des Amateurs, Grabbeplatz 4, 40213 Düsseldorf
  • Opening: Exhibition Opening: Chris Korda – Artist's Con(tra)ception, 24.5.2024
    Fri May 24, 2024, 6 pm – 9 pm
    Exhibition Opening: Chris Korda – Artist’s Con(tra)ception
  • Solo Exhibition: Amanda van Hesteren, 13.4. – 5.5.2024
    Image: Amanda van Hesteren
    If All This Was Fiction: Films 2016–2023


    Amanda van Hesteren
    If All This Was Fiction: Films 2016–2023

    Film program in the cinema of the Kölnischer Kunstverein, curated by Nicholas Tammens

    Opening: Friday, 12.4., 6 pm
    6:30 pm Screening of films
    7:30 pm Talk between Amanda van Hesteren and Nicholas Tammens
    8:30 pm Repeated screening of films

    Amanda van Hesteren – If All This Was Fiction: Films 2016–2023 at the Kölnischer Kunstverein is the first public presentation of films by Dutch film-maker Amanda van Hesteren (b. 1991, Amsterdam) in Germany. The program shows the development of van Hesteren’s methodology as a filmmaker over the past eight years through four film portraits focused on lovers, family, and friends.

    Amanda van Hesteren began to make films at the age of 23, when she took a camera with her on holiday. “I took my camera because I wanted to find stories,” she says. “I knew that I would be able to go onto the street and find them”. In the eight years since, van Hesteren’s camera has come to substitute multiple perspectives: her own gaze, that of her subjects, and the gaze of a stand-in and outside witness.

    Read more.

    The film program is supported by:

  • Filmvorführung, Opening: Eröffnung Amanda van Hesteren – If All This Was Fiction: Films 2016–2023, 12.4.2024
    Image: Amanda van Hesteren
    Fri Apr 12, 2024, 6 pm – 9 pm
    Film programme in the cinema of the Kölnischer Kunstverein, curated by Nicholas Tammens Opening: Friday, 12.4., 6 pm 6:30 pm Screening of films 7:30 pm Talk between Amanda van Hesteren and Nicholas Tammens 8:30 pm Repeated screening of films
  • Exhibition: Kölner Architekturpreis, 9. – 14.4.2024



    Kölner Architekturpreis 2024
    Tue., 9.4. – Sat., 14.4., 11 am – 6 pm
    Sun., 14.4., 11 am – 4 pm
    free entry
    More Information

  • Vermittlung, Guided Tour: Guided tour through the exhibition Hoi Köln, Part 3: Nightmare of Painting, 24.3.2024
    Bild: Paul Coker Jr.
    Sun Mar 24, 2024, 3 pm – 4 pm
    Guided tour through the exhibition Hoi Köln Part 3 with Valérie Knoll, Director. Admission to the exhibitions, events and guided tours is free, registration is not required.
  • Vermittlung, Guided Tour: Guided tour through the exhibition Hoi Köln, Part 3: Nightmare of Painting, 6.3.2024
    Bild: Paul Coker Jr.
    Wed Mar 6, 2024, 5 pm – 6 pm
    Guided tour through the exhibition Hoi Köln Part 3 with Anna Heldmann, curatorial assistant. Admission to the exhibitions, events and guided tours is free, registration is not required.
  • Vermittlung, Guided Tour: Guided tour through the exhibition Hoi Köln, Part 3: Nightmare of Painting, 21.2.2024
    Bild: Paul Coker Jr.
    Wed Feb 21, 2024, 5 pm – 6 pm
    Guided tour through the exhibition Hoi Köln Part 3 with Anna Heldmann, curatorial assistant. Admission to the exhibitions, events and guided tours is free, registration is not required.
  • Other: Closed for carnival, 8. – 12.2.2024
    Bild: Basel Tourismus/Peter Ziegler
    Bild: Basel Tourismus/Peter Ziegler

    Kölnischer Kunstverein will be closed over carnival, including Rosenmontag. We look forward to welcoming you again from Tuesday 13 February during our regular opening hours.

  • Other: Karneval geschlossen, 8. – 12.2.2024
    Bild: Basel Tourismus/Peter Ziegler
    Bild: Basel Tourismus/Peter Ziegler

    Der Kölnische Kunstverein bleibt über die Karnevalstage, bis einschließlich Rosenmontag, geschlossen. Wir freuen uns, Sie ab Dienstag, den 13. Februar zu den regulären Öffnungszeiten wieder bei uns zu begrüßen.

  • Exhibition: Hoi Köln, 3.2. – 24.3.2024
    Bild: Paul Coker Jr.
    Part 3: Nightmare of Painting

    Opening: Friday, 2. February, 6 pm

    Marie Angeletti, Monika Baer, BLESS, Vittorio Brodmann, Jakob Buchner, Milena Büsch, Merlin Carpenter, Matthias Groebel, Fischli Weiss, Hansi Fuchs, Sophie Gogl, Hamishi Farah, Jacqueline Humphries, Dozie Kanu, Nora Kapfer, Morag Keil, Emil Michael Klein, Maggie Lee, Lorenza Longhi, Alan Michael, Kaspar Müller, Vera Palme, Gunter Reski, Jean-Frédéric Schnyder, Dennis Scholl, Nolan Simon, Dominik Sittig, Lucie Stahl, Megan Francis Sullivan, Alfred d’Ursel, Amelie von Wulffen, Jie Xu, Barbara Zenner, Damon Zucconi

    Faced with this rectangular void, anything could happen. The horizon of possibilities seems open. At any moment, an idea could flicker into my consciousness, and I’d be able to get it all on the canvas. Still better, perhaps, the brush could just start moving and the painting, sleepwalker-like, paint itself without me. The void gleams auspiciously; but never for long. Whatever image I may have had in my mind’s eye, it is wrecked by the first brushstroke. Its utter fatuousness is exposed. And every additional brushstroke just makes it worse. If one seems weak, the next, which was supposed to strengthen it, has come straight out of the repertoire of cheap effects. This merry-go-round of recycled gimmicks revolves with a deadening regularity. What’s left for you to do when the dice were all cast in the last century? Hum and ha, paint small paintings, paint huge paintings, dive into abstraction and the morass of ambition, revive formalism, figuration, raise tornados of pigment, embrace minimalism, flirt with technology. Subjects and points of reference change, but their form stays stuck to the ground, as if it were covered with some repulsive, viscous liquid. Trembling, the emoji in oil tries to pull itself out of the morass, drawing long strands behind itself like chewing gum. Brushstrokes as identity crises, with filaments trailing from their lips like burst bubbles of gum.

    Read more

    Curated by Valérie Knoll.

    The exhibition is generously supported by:


    Image: Paul Coker Jr.

  • Opening: Exhibition Opening Hoi Köln, Part 3: Nightmare of Painting, 2.2.2024
    Fri Feb 2, 2024, 6 pm – 9 pm
    Exhibition Opening Hoi Köln Part 3: Nightmare of Painting
  • Vermittlung, Guided Tour: Guided tour through the exhibition Hoi Köln, Part 2: In the Belly of the Machine, 21.1.2024
    Sun Jan 21, 2024, 3 pm – 4 pm
    Guided tour through the exhibition Hoi Köln Part 2 with Ani Schulze. Admission to the exhibitions, events and guided tours is free, registration is not required. (In German)
  • Vermittlung, Guided Tour: Guided tour through the exhibition Hoi Köln, Part 2: In the Belly of the Machine, 21.1.2024
    Sun Jan 21, 2024, 3 pm – 4 pm
    Guided tour through the exhibition Hoi Köln Part 2 with Ani Schulze. Admission to the exhibitions, events and guided tours is free, registration is not required. (In German)
  • Vermittlung, Guided Tour: Guided tour through the exhibition Hoi Köln, Part 2: In the Belly of the Machine, 10.1.2024
    Wed Jan 10, 2024, 5 pm – 6 pm
    Guided tour through the exhibition Hoi Köln Part 2 with Anna Heldmann, curatorial assistant. Admission to the exhibitions, events and guided tours is free, registration is not required. (In German)
2023
  • Other: Winterpause, 24.12.2023 – 1.1.2024

    Der Kölnische Kunstverein bleibt vom 24. Dezember 2023 bis einschließlich zum 1. Januar 2024 geschlossen. Wir wünschen Ihnen schöne Feiertage und freuen uns darauf, Sie im neuen Jahr wieder bei uns zu begrüßen.

  • Vermittlung, Guided Tour: Guided tour through the exhibition Hoi Köln, Part 2: In the Belly of the Machine, 21.12.2023
    Thu Dec 21, 2023, 5 pm – 6 pm
    Guided tour through the exhibition Hoi Köln Part 2 with Valérie Knoll, Director. Admission to the exhibitions, events and guided tours is free, registration is not required. (In German)
  • Special Event: The Christmas Show, 13.12.2023
    Wed Dec 13, 2023, 7 pm – 9 pm
    The Christmas Show – A Christmas evening with stories, music, puppets and theatre, by and with Claus Richter. Admission is free, registration is not required
  • Vermittlung, Guided Tour: Guided tour through the exhibition Hoi Köln, Part 2: In the Belly of the Machine, 10.12.2023
    Sun Dec 10, 2023, 3 pm – 4 pm
    Guided tour through the exhibition Hoi Köln Part 2 with Ani Schulze. Admission to the exhibitions, events and guided tours is free, registration is not required. (In German)
  • Exhibition: Hoi Köln, 2.12.2023 – 21.1.2024
    Part 2: In the Belly of the Machine

    Marie Angeletti, Monika Baer, BLESS, Vittorio Brodmann, Jakob Buchner, Milena Büsch, Merlin Carpenter, Matthias Groebel, Fischli Weiss, Hansi Fuchs, Sophie Gogl, Hamishi Farah, Jacqueline Humphries, Dozie Kanu, Nora Kapfer, Morag Keil, Emil Michael Klein, Maggie Lee, Lorenza Longhi, Alan Michael, Kaspar Müller, Vera Palme, Gunter Reski, Jean-Frédéric Schnyder, Dennis Scholl, Nolan Simon, Lucie Stahl, Megan Francis Sullivan, Alfred d’Ursel, Amelie von Wulffen, Jie Xu, Barbara Zenner, Damon Zucconi

    Artificial intelligence is making great strides, generative systems are reaching new heights of image and text production. But what does it mean for painting if it can be produced by computing robots?

    In the past, technological advances often marked the beginning of long periods in which art shed its skin in revolutionary transformation. Before these advances, human beings could still flatter themselves that the privilege of creating things was theirs alone. After them, when they suddenly found themselves overtaken by technology, they had to confront their own limitations. Impressionism emerged form art’s dialogue with the new invention of photography, while a great deal of postmodern painting was inspired by the experience of computers. Right now we stand at the dawn of another period of this kind, in which human-made art must struggle against its own reflection in technology. What are these machines capable of, and what are the limits of their capabilities? By posing the question of how they differ from machines, and by finding their own niche, human beings can engage with technology to achieve a better understanding of themselves.

    Read more

    Curated by Valérie Knoll

    The exhibition in genereously supported by:

    Photo: Mareike Tocha

  • Other: Hoi Köln, 2.12.2023 – 21.1.2024
    Teil 2: Im Bauch der Maschine

    Eröffnung: Freitag, 1. Dezember, 18 Uhr

    Marie Angeletti, Monika Baer, BLESS, Vittorio Brodmann, Jakob Buchner, Milena Büsch, Merlin Carpenter, Matthias Groebel, Fischli Weiss, Hansi Fuchs, Sophie Gogl, Hamishi Farah, Jacqueline Humphries, Dozie Kanu, Nora Kapfer, Morag Keil, Emil Michael Klein, Maggie Lee, Lorenza Longhi, Alan Michael, Kaspar Müller, Vera Palme, Gunter Reski, Jean-Frédéric Schnyder, Dennis Scholl, Nolan Simon, Lucie Stahl, Megan Francis Sullivan, Alfred d’Ursel, Amelie von Wulffen, Jie Xu, Barbara Zenner, Damon Zucconi

    Die Künstliche Intelligenz macht große Schritte, generative Systeme erreichen neue Ebenen der Bild- und Textproduktion. Was bedeutet es für die Malerei, wenn sie von rechnenden Robotern hergestellt werden kann?

    In der Vergangenheit bildeten technologische Sprünge oft der Beginn langer Phasen revolutionärer Häutungen der Kunst. Vor den Sprüngen konnte sich der Mensch noch einbilden, er besitze das Privileg, etwas zu können. Danach, plötzlich überholt von der Technologie, musste er sich nach der Decke strecken. Der Impressionismus verdankte sich den Wechselwirkungen mit der Erfindung der Fotografie und vieles in der postmodernen Malerei wurde angeregt durch die Erfahrung mit dem Computer. Gerade scheint wieder der Beginn einer solchen Phase auf, in der sich die menschengemachte Kunst an ihrem technologischen Spiegel abarbeiten muss. Was können diese Maschinen und wo kommen sie an ihre Grenzen? Mit der Frage, wie er sich von ihr unterscheidet, und der Suche nach seiner Nische schaut der Mensch durch die Maschine auf sich selbst.

    Weiter lesen

    Kuratiert von Valérie Knoll

    Die Ausstellung wird großzügig gefördert von:

    Bild: Mareike Tocha

  • Exhibition: Member's Edition 2023, 2. – 17.12.2023

    Opening: Friday, December 1, 6 pm

    Marie Angeletti, BLESS, Milena Büsch, Peter Fischli, Sylvie Fleury, Ryan Gander, Lorenza Longhi, Kaspar Müller, Vera Palme, Gunter Reski, Franz Erhard Walther, Nicole Wermers, Amelie von Wulffen, Barbara Zenner

    For the 2023 Jahresgaben, orders can be made in writing from December 1, 2023 until December 17, 2023 inclusive. Should there be more orders than copies available, the decision will be made by lot. The lottery will be held on December 18, 2023. After the draw of the buyer(s), all interested parties will be informed in writing via email of the result of the lottery. All remaining Jahresgaben are still for sale after the lottery and can be purchased at any time.

    The Jahresgaben and editions are an exclusive offer exclusively for members of the Kölnischer Kunstverein. Other interested parties are entitled to purchase by joining the Kölnischer Kunstverein in the current calendar year.

    Please note our ordering procedures and the general terms & conditions.

    Photo: Lorenza Longhi

  • Exhibition: Hoi Köln, 2.12.2023 – 21.1.2024
    Part 2: In the Belly of the Machine
    Opening: Friday, December 1, 6 pm

    Marie Angeletti, Monika Baer, BLESS, Vittorio Brodmann, Jakob Buchner, Milena Büsch, Merlin Carpenter, Matthias Groebel, Fischli Weiss, Hansi Fuchs, Sophie Gogl, Hamishi Farah, Jacqueline Humphries, Dozie Kanu, Nora Kapfer, Morag Keil, Emil Michael Klein, Maggie Lee, Lorenza Longhi, Alan Michael, Kaspar Müller, Vera Palme, Gunter Reski, Jean-Frédéric Schnyder, Dennis Scholl, Nolan Simon, Lucie Stahl, Megan Francis Sullivan, Alfred d’Ursel, Amelie von Wulffen, Jie Xu, Barbara Zenner, Damon Zucconi

    Artificial intelligence is making great strides, generative systems are reaching new heights of image and text production. But what does it mean for painting if it can be produced by computing robots?

    In the past, technological advances often marked the beginning of long periods in which art shed its skin in revolutionary transformation. Before these advances, human beings could still flatter themselves that the privilege of creating things was theirs alone. After them, when they suddenly found themselves overtaken by technology, they had to confront their own limitations. Impressionism emerged form art’s dialogue with the new invention of photography, while a great deal of postmodern painting was inspired by the experience of computers. Right now we stand at the dawn of another period of this kind, in which human-made art must struggle against its own reflection in technology. What are these machines capable of, and what are the limits of their capabilities? By posing the question of how they differ from machines, and by finding their own niche, human beings can engage with technology to achieve a better understanding of themselves.

    Read more

    Curated by Valérie Knoll

    The exhibition in genereously supported by:

    Photo: Mareike Tocha

  • Opening: Exhibition Opening Hoi Köln, Part 2: In the Belly of the Machine, 1.12.2023
    Fri Dec 1, 2023, 6 pm – 9 pm
    Exhibition Opening Hoi Köln Part 2: In the Belly of the Machine
  • Vermittlung, Guided Tour: Guided tour of the exhibition Hoi Köln, Part 1: Welcoming the Space, 19.11.2023
    Bild: Basel Tourismus/Peter Ziegler
    Sun Nov 19, 2023, 3 pm – 4 pm
    Guided tour of the exhibition Hoi Köln with Valérie Knoll, director. Admission to the exhibitions, events and guided tours is free, registration is not required.
  • Vermittlung, Guided Tour: Guided tour of the exhibition Hoi Köln, Part 1: Welcoming the Space, 8.11.2023
    Bild: Basel Tourismus/Peter Ziegler
    Wed Nov 8, 2023, 5 pm – 6 pm
    Guided tour of the exhibition Hoi Köln with Ani Schulze. Admission to the exhibitions, events and guided tours is free, registration is not required.
  • Vermittlung, Guided Tour: Guided tour of the exhibition Hoi Köln, Part 1: Welcoming the Space, 8.11.2023
    Bild: Basel Tourismus/Peter Ziegler
    Wed Nov 8, 2023, 5 pm – 6 pm
    Guided tour of the exhibition Hoi Köln with Ani Schulze. Admission to the exhibitions, events and guided tours is free, registration is not required.
  • Vermittlung, Guided Tour: Guided tour of the exhibition Hoi Köln, Part 1: Welcoming the Space, 25.10.2023
    Bild: Basel Tourismus/Peter Ziegler
    Wed Oct 25, 2023, 5 pm – 6 pm
    Guided tour of the exhibition Hoi Köln with Anna Heldmann, curatorial assistant. Admission to the exhibitions, events and guided tours is free, registration is not required.
  • Artist Talk: Talk between Valérie Knoll and Peter Fischli, 20.10.2023
    Fri Oct 20, 2023, 7 pm – 8 pm
    Talk between Valérie Knoll (director Kölnischer Kunstverein) and Peter Fischli (artist, Zurich) about his curated show Stop Painting at the Fondazione Prada, Venice (2021).
  • Vermittlung, Guided Tour: Guided tour of the exhibition Hoi Köln, Part 1: Welcoming the Space, 15.10.2023
    Bild: Basel Tourismus/Peter Ziegler
    Sun Oct 15, 2023, 3 pm – 4 pm
    Guided tour of the exhibition Hoi Köln with Ani Schulze. Admission to the exhibitions, events and guided tours is free, registration is not required.
  • Exhibition: Hoi Köln, 29.9. – 19.11.2023
    Bild: Basel Tourismus/Peter Ziegler
    Part 1: Welcoming the Space

    With Marie Angeletti, Monika Baer, BLESS, Vittorio Brodmann, Jakob Buchner, Milena Büsch, Merlin Carpenter, Hamishi Farah, Fischli Weiss, Hansi Fuchs, Sophie Gogl, Matthias Groebel, Jacqueline Humphries, Dozie Kanu, Nora Kapfer, Morag Keil, Emil Michael Klein, Maggie Lee, Lorenza Longhi, Alan Michael, Kaspar Müller, Vera Palme, Gunter Reski, Jean-Frédéric Schnyder, Dennis Scholl, Nolan Simon, Lucie Stahl, Megan Francis Sullivan, Alfred d’Ursel, Amelie von Wulffen, Jie Xu, Barbara Zenner, Damon Zucconi

    Where I come from, “hoi” is what people say when they greet each other in the street. I’ve come to Cologne because I love painting, and can think of no better place to engage seriously with this medium. That’s why I’m welcoming my first exhibition here with an overview of the current state of one of visual art’s oldest genres. Painting is especially exciting right now, and this has nothing to do with my own passion for it; it is rather that a lot of people are painting again and that art’s questions are again up for negotation. This doesn’t mean that it’s going to be easy for painting to find its way forward. Its own history casts a long shadow over its current flowering like an implacable judgement. However, its difficulties lie not so much behind as ahead of it. Since painting develops slowly, it needs to be able to imagine an enduring future, one where it can eventually hope to arrive by creeping along at its own modest pace.

    Right now, it is not just that the future is clouded over – it has become hard to imagine at all. Are people painting in the hope that the future, currently hidden behind a fog of dystopias and disaster scenarios, will eventually reappear? To keep on painting while everything familiar seems to be crumbling around you could be seen as an expression of the “principle of hope,” a way of resisting a world that has embraced darkness through the determination to see a light at the end of the tunnel. In this case, painting would be a way of going against the grain, of rising above social conventions with a wan smile.

    Read more

    Curated by Valérie Knoll

    The exhibition is generously supported by:

    Image: Basel Tourismus/Peter Ziegler

  • Opening: Exhibition Opening Hoi Köln, 28.9.2023
    Bild: Basel Tourismus/Peter Ziegler
    Thu Sep 28, 2023, 6 pm – 9 pm
    Exhibition Opening Hoi Köln Part 1: Welcoming the Space Opening on 28. September 2023, 6 pm Speeches from 7 pm, by Thomas Waldschmidt (Chairman), Valérie Knoll (Director), and by Susanne Imhoff (Chairwoman Imhoff Stiftung). With Marie AngelettiMonika BaerBLESS, Vittorio Brodmann, Jakob BuchnerMilena BüschMerlin Carpenter, Hamishi Farah, Fischli WeissHansi Fuchs, Sophie Gogl, Matthias Groebel, Jacqueline Humphries, Dozie KanuNora Kapfer, Morag Keil, Emil Michael KleinMaggie Lee, Lorenza LonghiAlan MichaelKaspar MüllerVera Palme, Gunter Reski, Jean-Frédéric SchnyderDennis Scholl, Nolan Simon, Lucie Stahl, Megan Francis Sullivan, Alfred d’Ursel, Amelie von WulffenJie XuBarbara Zenner, Damon Zucconi  
  • Solo Exhibition: summer break, 3.7. – 28.9.2023
    John Russell: Cavapool, 2022 (detail). Installation view Kölnischer Kunstverein, 2022. Courtesy: the artist, Bridget Donahue, New York and High Art, Paris. Photo: Mareike Tocha.
    John Russell: Cavapool, 2022 (detail). Installationsansicht Kölnischer Kunstverein, 2022. Courtesy: der Künstler, Bridget Donahue, New York und High Art, Paris. Foto: Mareike Tocha.
  • Education: Guided tour of the exhibition ram spin cram, 28.6.2023
    Wed Jun 28, 2023, 5 pm – 6 pm
    Guided tour of Marie Angeletti’s exhibition “ram spin cram” with Anna Heldmann, curatorial assistant. Admission to the exhibitions, events and guided tours is free. (in German)
  • Education, Guided Tour: Führung durch die Ausstellung ram spin cram, 28.6.2023
    Wed Jun 28, 2023, 5 pm – 6 pm
    Führung durch Marie Angelettis Ausstellung „ram spin cram“ mit Anna Heldmann, kuratorische Assistenz. Der Eintritt zu den Ausstellungen, Veranstaltungen und Führungen ist frei.
  • Solo Exhibition: Clips with Marie Angeletti and Line Ebert, 19.6.2023

    clips with Marie Angeletti and Line Ebert

    Monday, 19.06.2023, 7 pm

    The event is part of Marie Angeletti’s exhibition “ram spin cram” with the artist and Line Ebert. It will be in English. The admission is free and registration is not required.

  • Event: Clips with Marie Angeletti and Line Ebert, 19.6.2023
    Mon Jun 19, 2023, 7 pm – 8 pm
    The event is part of Marie Angeletti’s exhibition “ram spin cram” with the artist and Line Ebert. It will be in English. The admission is free and registration is not required.
  • Vermittlung: Guided tour of the exhibition ram spin cram, 18.6.2023
    Sun Jun 18, 2023, 3 pm – 4 pm
    Guided tour of Marie Angeletti’s exhibition “ram spin cram” with Ani Schulze. Admission to the exhibitions, events and guided tours is free. (in German)
  • Event: Naeem Mohaiemen, Two Meetings and a Funeral – Screening with an introduction by Naeem Mohaiemen, 15.6.2023
    Naeem Mohaiemen, Two Meetings and a Funeral, 2017, 3-Kanal Videoinstallation
    Thu Jun 15, 2023, 4 pm – 6 pm
    Two Meetings and a Funeral (2017): “The Third World was not a place, but a project.” (Vijay Prashad, The Darker Nations, 2007). This was to be a utopian alliance where the Global South would reconfigure planetary leadership, ending Euro-American dominance. The Non-Aligned Movement (NAM) attempted to navigate a “third way,” but parallel participation in the Petrodollar-driven “Islamic bloc” by some member countries shredded fragile coalitions behind the scenes. Two Meetings and a Funeral explores a “pivot” moment between the 1973 Non-Aligned Movement (NAM) meeting in Algeria and the 1974 Organization of Islamic Cooperation (OIC) meeting in Pakistan. The unraveling of old alliances began from a barely discernible venn diagram overlap between these two groups, one that would taken on world significance after the OPEC oil crisis, the Iranian revolution, and the invasion of Afghanistan. Traveling through the residues of transnational architecture (Niemeyer, Moretti, Le Corbusier) in New York, Algiers, and Dhaka, the film considers the erosion of the idea of the Third World as a potential space for decolonisation, and an always imperfect understanding of Socialism. Conversations between Vijay Prashad, Samia Zennadi, Atef Berredjem, Amirul Islam, and Zonayed Saki look at the contradictions of decolonization movements that never remembered to liberate their own leadership. The film is a midpoint for Mohaiemen’s loosely affiliated projects around the Non-Aligned Movement.

    The screening is part of Naeem Mohaiemen’s exhibition Langer Tag, curated by Nina Möntmann, 14.-18.6. 2023 at Temporary Gallery.

    Funded by Deutsche Forschungsgemeinschaft: curatorial project of the DFG-Research Training Group „connecting – excluding. Cultural Dynamics Beyond Globalized Networks“

  • Vermittlung: Guided tour of the exhibition ram spin cram, 24.5.2023
    Wed May 24, 2023, 5 pm – 6 pm
    Guided tour of the exhibition “ram spin cram” by Marie Angeletti with Nikola Dietrich, director and curator of the exhibition. Admission to the exhibitions, events and guided tours is free. (in German)
  • Vermittlung: Guided tour of the exhibition ram spin cram, 30.4.2023
    Sun Apr 30, 2023, 3 pm – 4 pm
    Guided tour of the exhibition “ram spin cram” by Marie Angeletti with Ani Schulze. Admission to the exhibitions, events and guided tours is free. (in German)
  • Guest Event: Kammerkonzerte im Kunstverein – 2. Kammerkonzert 2023: Duo Nerses, 29.4.2023
    Sat Apr 29, 2023, 6 pm
    Bolling, Woolf, Ohanyan & Nisic Beatboxing ist die Kunst, mit der Nerses Ohanyan seine Zuhörer verblüfft. Der Hip-Hop hat diese uralte Perkussionstechnik neu erfunden. Nerses macht das eigentlich unmöglich wahr: eine Rhythmusmaschine mit Mund, Nase, Lippen und Kehle zu imitieren und so selbstbestimmt zu trommeln, während er dabei hochvirtuos Flöte spielt. Im Duo Nerses hat er sich mit dem Akkordeonisten Miroslav Nisić zusammengefunden, einem der beeindruckendsten Virtuosen seines Instruments. Miroslav ist auch Mitglied im Quartett Uwaga und hat damit 2021 die Zuhörer bei den Kammerkonzerten im Kunstverein in seinen Bann gezogen und zu Standing Ovations hingerissen. Die Zuhörer erwartet ein atemberaubend virtuoses Konzert, das absolut keine Grenzen der Genres kennt und meisterhaft seine ganz eigene Ausdrucksform findet. Neben großartigen Jazz-Werken wie Claude Bollings Suite und dem Concerto von Randall Woolf werden auch berühmte klassische Melodien und sogar ein AC/DC-Klassiker wie Thunderstruck höchst anspruchsvoll und unterhaltsam in Szene gesetzt. Karten sind auf KölnTicket erhältlich: www.koelnticket.de Aktuelle Infos & Link zum VVK unter: www.koelner-klassik-ensemble.de
  • Solo Exhibition: Marie Angeletti – ram spin cram, 1.4. – 2.7.2023

    For her first institutional show in Germany, ram spin cram, Marie Angeletti (*1984) is presenting newly commissioned works across the entire building of the Kölnischer Kunstverein.

    Decisively articulated, each element — sculpture, photography, and video — receives equal attention. ram spin cram does not begin in the main gallery nor ends in the last room upstairs, it is all there at once. Each room can be read as a series of actions accumulated over time. The main gallery shows work made within the last two months. In the cinema, in the upstairs and basement gallery spaces, Angeletti has rearranged works from an unspecified period of time.

    Thanks to Nikola, Stefan, Line, Gianna, Henrik, Gérard, Anne, Anna, Olga, John, Michele, Dora, Matt, Tonio, Jakob, Lucas, Richard, Annie, Daniel, Jordan, Seb, Medhi, Toni, Pippa, Tim, Marco, Varun, Sol.

    Thanks Istal, Marseille, to have financed the production of the metal beams, and Quadrissimo, Marseille, for the prints on silver and Daniela Taschen for having hosted me in Cologne.

    Marie Angeletti (*1984 in Marseille, lives in New York) has exhibited at museums such as the Centre d’edition contemporain in Geneva; Künstlerhaus Bremen; Musée de la ville de Paris; Le Consortium, Dijon; Kunsthaus Glarus; Kunsthalle Zürich; Treize, Paris; Castillo/Corrales, Paris; and in galleries including the Galerie Lars Friedrich, Berlin; Edouard Montassut, Paris; Reena Spaulings Fine Art, New York; Greene Naftali, New York.

    Curated by Nikola Dietrich

    ram spin cram Text

    Marie Angeletti, Men at Work, 2023, slideshow, 12:45 min, Courtesy: Édouard Montassut, Paris / Galerie Lars Friedrich, Berlin

    The exhibition is supported by:

  • Opening: Exhibition opening Marie Angeletti – ram spin cram, 31.3.2023
    Fri Mar 31, 2023, 7 pm – 10 pm
    We cordially invite you to the exhibition opening of Marie Angeletti – ram spin cram on Friday, March 31, 2023 at 7 pm.
  • Other: Ausstellungseröffnung Marie Angeletti – ram spin cram, 31.3.2023
    Fri Mar 31, 2023, 7 pm – 10 pm
    Wir laden Sie herzlich zur Ausstellungseröffnung von Marie Angeletti – ram spin cram am Freitag, den 31.03.2023 um 19 Uhr ein.
  • Allgemein: Carnival: We are closed due to carnival, 16. – 20.2.2023
    Game of No Games. Instructions for Walking in High Spirits, 2022. Installationview Kölnischer Kunstverein, 2022. Photo: Mareike Tocha.
    Thu Feb 16, 2023 – Mon Feb 20, 2023
    Due to carnival the Kölnischer Kunstverein will be closed from Thursday, 16.02. to Monday, 20.02. inclusive. We ask for your understanding and look forward to welcoming you again on 21.02. at the usual opening hours.
  • Exhibition: Carnival, 16. – 20.2.2023
    Game of No Games. Instructions for Walking in High Spirits, 2022. Installationview Kölnischer Kunstverein, 2022. Photo: Mareike Tocha.
    We are closed due to carnival
    Game of No Games. Anleitung zu beschwingtem Gehen, 2022. Installationsansicht Kölnischer Kunstverein, 2022. Foto: Mareike Tocha.

    Due to carnival the Kölnischer Kunstverein will be closed from Thursday, 16.02. to Monday, 20.02. inclusive. We ask for your understanding and look forward to welcoming you again on 21.02. at the usual opening hours.

  • Other: Game of No Games – Symposium, 11.2.2023
    Lee Godie in Game of No Games. Instructions for Walking in High Spirits, 2022. Installationview Kölnischer Kunstverein, 2022. Courtesy: The Museum of Everything. Photo: Mareike Tocha.
    Lee Godie in Game of No Games. Anleitung zu beschwingtem Gehen, 2022. Installationsansicht Kölnischer Kunstverein, 2022. Courtesy: The Museum of Everything. Foto: Mareike Tocha.

    Game of No Games – Symposium
    Samstag, 11.2.2023, 10–16 Uhr

    mit Lisa Arndt, Nikola Dietrich, Andreas Fischer, Amelie Gappa, Charlotte Laubard, Kito Nedo, Susanne Pfeffer, Nadine Oberste-Hetbleck, Falk Wolf, Susanne Zander

    Weitere Informationen folgen!

  • Education, Guided Tour: Führung durch die Ausstellung "Game of No Games" mit Ani Schulze, 5.2.2023
    Lee Godie in Game of No Games. Instructions for Walking in High Spirits, 2022. Installationview Kölnischer Kunstverein, 2022. Courtesy: The Museum of Everything. Photo: Mareike Tocha.
    Sun Feb 5, 2023, 3 pm – 4 pm
    Führung durch die Ausstellung “Game of No Games. Anleitung zu beschwingtem Gehen” mit Ani Schulze. Der Eintritt zu den Ausstellungen, Veranstaltungen und Führungen ist frei.
  • Book presentation: Book presentation and talk - Ewa Majewska: Coronafuga. Fragments of Online Dating Discourse from Pandemic Times, at the Ludwig Forum, Aachen, 26.1.2023
    Thu Jan 26, 2023, 6 pm – 8 pm

    Ewa Majewska Coronafuga. Fragments of online dating discourse from pandemic times Welcome and Introduction by Eva Birkenstock and Nikola Dietrich Book presentation and reading with Ewa Majewska and the performance artist Wojciech Kosma at the Ludwig Forum, Aachen

    The event will be held in English.

    At the conclusion of reboot: responsiveness, a presentation and reading of the latest publication by Polish cultural theorist and activist Ewa Majewska will take place at the Ludwig Forum Aachen in the presence of the author and performance artist Wojciech Kosma.

    Coronafuga. Fragments of online dating discourse from pandemic times is an auto-theoretical negotiation of online dating discourse during the Covid-19 pandemic. The book combines theory and digital dating conversations into a literary account of discourses of intimacy during pandemic times. Media and other tools like dating sites, conversations in, around, and about digital flirting, and immediate entertainment are key elements of this book.

    Ewa Majewska (lives in Warsaw) is a feminist cultural theorist, activist, and author. She has taught at the University of the Arts in Berlin, the University of Warsaw, and Jagiellonian University in Kraków. She has also been a visiting scholar at the University of California, Berkeley, the ICI Berlin, and the IWM in Vienna. She currently works at the University of Social Sciences and Humanities in Warsaw. She has released six books, most recently Feminist Antifascism: Counterpublics of the Common (2021), and publishes in journals and platforms such as e-flux, Signs, Third Text, Journal of Utopian Studies, and Jacobin, among others. Her current research focuses on archival studies, dialectics of the weak, feminist critical theory, and antifascism.

    The publication is part of reboot:—a collaborative, cyclical, anti-racist, and queer-feminist dialogue between performative and research-based practices, co-hosted by the Kölnischer Kunstverein and Ludwig Forum Aachen. The first cycle reboot: responsiveness provided infrastructures for provisional stagings, rehearsals, processual choreographies, and encounters around themes of presence, intimacy, care, and responsibility. Conceived by Eva Birkenstock, Nikola Dietrich, and Viktor Neumann.

    Ewa Majewska Coronafuga. Fragments of online dating discourse from pandemic times Edited by Eva Birkenstock, Nikola Dietrich, Viktor Neumann English Cu-published by Ludwig Forum Aachen and Kölnischer Kunstverein with DISTANZ Verlag ISBN 97-3-95476-523-2

    The book can be purchased at the Ludwig Forum Aachen as well as online at DISTANZ Verlag.

    16,-

2022
  • Guest Event: Kammerkonzerte im Kunstverein – 6. Konzert: Fukio Quartett & Inna Firsova, 10.12.2022
    Fukio Quartett & Inna Firsova
    Sat Dec 10, 2022, 6 pm
    Fukio Saxophon-Quartett & Inna Firsova Seit seinen Anfängen im Jahr 2008 hat sich Fukio auf die Interpretation von Musik für Saxophon-Quartett und der Erarbeitung eines neuen Repertoires konzentriert. Das in Köln beheimatete Quartett hat sich an der HfMT Köln auf Neue Musik sowie am CNSMD in Paris auf Kammermusik spezialisiert und hat mit renommierten Komponisten wie Georges Aperghis, Fabien Lévy und Georg Friedrich Haas zusammengearbeitet. Bei den Kammerkonzerten werden sie zum ersten Mal ihr neues Programm als Quintett mit der Pianistin Inna Firsova präsentieren. Besetzung: Sopransaxophon: Joaquín Sáez Belmonte Altsaxophon: Xavier Larsson Páez Tenorsaxophon: José Manuel Bañuls Marcos Baritonsaxophon: Xabier Casal Ares Klavier: Inna Firsova Programm: Maurice Ravel: La valse, poème chorégraphique pour orchestre (Arr.: Alejandro Lidón) Leonard Bernstein: „Candide“ (Arr.: Alejandro Lidón) William Albright (1944-1998): Fantasy Etudes Ausführliche Informationen zum Ensemble: https://fukioquartet.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. Veranstalter / Aktuelle Infos: Kölner Klassik Ensemble Tickets kaufen 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.
  • Allgemein: Führung durch die Ausstellung "Game of No Games" mit Ani Schulze, 4.12.2022
    Lee Godie in Game of No Games. Instructions for Walking in High Spirits, 2022. Installationview Kölnischer Kunstverein, 2022. Courtesy: The Museum of Everything. Photo: Mareike Tocha.
    Sun Dec 4, 2022, 3 pm – 4 pm
    Führung durch die Ausstellung “Game of No Games. Anleitung zu beschwingtem Gehen” mit Ani Schulze. Der Eintritt zu den Ausstellungen, Veranstaltungen und Führungen ist frei.
  • Exhibition: Game of No Games, 13.11.2022 – 5.3.2023
    William Scott, Untitled, 2013.
    Instructions for Walking in High Spirits
    William Scott in Game of No Games. Instructions for Walking in High Spirits, 2022. Installationview Kölnischer Kunstverein, 2022. Courtesy: The Museum of Everything. Photo: Mareike Tocha.

    This exhibition presents historical and contemporary works by artists who have received little attention throughout art history. Their participation in society and the art world has been limited—as a result of conservatorships, disenfranchisement, or discrimination, to name a few. This is closely associated with the lack of stable institutional footholds or larger (art) networks and support systems. Conventional categorizations, such as Outsider Art or Art Brut, along with the concurrent emphasis on their alleged distinguishing characteristics—which have so far often been read as narratives on the spontaneous vs. planned, innate vs. learned, naïve vs. sophisticated, or even primitive vs. modern—are currently considered outdated and must be critically challenged. Accordingly, this exhibition intends to encourage a different understanding concerning established ways of thinking in the art world, as well as consolidate an approach to exhibiting and representing different artistic practices that is more readily assimilated.

    Through their works, the artists on view at the Kölnischer Kunstverein immerse themselves in self-alienating role-playing games. They can thus take on different identities and undergo a kind of metamorphosis—to the point of becoming animals. “I’m a frigging hunter, but I know that it causes trouble… I have to mask it [what is troublesome] so that I can continue to exist in society at all,” the artist Rabe perplexum declared (in Experimente, Der unbekannte Künstler, 1987). In both her works and life, she adopted a raven persona.

    Our aim is not to place the exhibited artists and their artistic practices in the margins of society, nor to portray them as artists that unveil repressed realities or develop suppressed longings behind their apparent detachment from the world. Rather, this exhibition explores how they deliberately work with their dependencies. Adelhyd van Bender, for instance, designed a large and complex body of work that breaks the world into mathematical formulas. Intertwining these with biographical details in associative chains, his practice builds a new order. As a model for his drawings, which were copied and revised several times, he often used letters addressed to him from official authorities, which testified to his constant struggle against the prolongation of his conservatorship.

    These artists have often positioned themselves within society, precisely in the non-places of art and interstitial spaces where a larger public could be found, so as to relate to this community and criticize it with a matter-of-factness that is peculiar to each of them. By leaving behind social conventions, norms, and dominant traditions, as well as undermining social or gender performances, these artists have frequently been met with a lack of understanding. This was certainly the case for Helga Goetze, who broke away from a conventional way of life in the 1970s and later advocated free love, sex, and female pleasure almost daily in front of the Memorial Church in Berlin.

    The radical potential of the works gathered here resides in the fact that they insist on unfulfilled socio-political promises and, as Dietrich Orth hints at in one of his works that gives the exhibition its title, provide instructions and suggestions for a better, fairer way of treating one another. They manifest a profound longing directed toward the future—something that can also be understood as a critique of the present.

    This exhibition was curated by Nikola Dietrich and Susanne Zander.

    With works by Adelhyd van Bender, Klaus Beyer, Lee Godie, Helga Sophia Goetze, Margarethe Held, Dietrich Orth, Albert Leo Peil, Rabe perplexum, William Scott, Wendy Vainity, and August Walla.


    Image: William Scott, Untitled, 2013, Courtesy of The Museum of Everything



    The exhibition is supported by:

    Further support: Jan Fischer, Entrepreneur and supporter of the Kölnischer Kunstverein and the NRW Kunstvereins landscape

  • Exhibition: Member's Edition 2022, 13.11. – 4.12.2022

    with Rosa Aiello, Genoveva Filipovic, Calla Henkel and Max Pitegoff, Manfred Holtfrerich, Erika Landström, Luzie Meyer, José Montealegre, Dala Nasser, Daniela Ortiz, Thomas Ruff, John Russell, Jasmin Werner

    Opening of the exhibition: Saturday, 12.11.2022, 7 pm

    Orders for the Jahresgaben 2022 can be submitted in writing from November 12 up to and including December 04, 2022. If more orders are received than there are copies available, the decision will be made by drawing lots. The draw will take place on December 05, 2022. After the draw, all interested parties will be notified of the result by e-mail. All remaining Jahresgaben will remain for sale after the draw and can be purchased at any time.

    The Jahresgaben and editions are an exclusive offer exclusively for members of the Kölnischer Kunstverein. Other interested parties are entitled to purchase by joining the Kölnischer Kunstverein in the current calendar year.

    Please note our ordering procedures and the general terms & conditions.

    The exhibition is supported by:

  • Guest Event: Literaturhaus – Juri Andruchowytsch: Radio Nacht, 24.10.2022
    © Ekko von Schwichow, Suhrkamp Verlag
    Mon Oct 24, 2022, 7.30 pm

    Juri Andruchowytschs Radio Nacht (Suhrkamp, übersetzt ), in der Ukraine 2020 erschienen, ist nicht nur ein sprachliches Feuerwerk, sondern ein Gegenwartsroman von eminenter Aktualität.

    Der Pianist Josip Rotsky muss in der Emigration in der Schweiz für den Diktator seines Landes spielen – und wird zum Attentäter. Juri Andruchowytsch liest aus der Übersetzung von Sabine Stöhr und spricht mit Uli Hufen über eine Zeit, in der die Hoffnungen auf radikale Veränderungen begraben werden. Wie auch über wichtige Erinnerungen im Rahmen der Reihe »Souvenir«. Mariana Sadovska begleitet den Abend musikalisch. »Ich habe immer davon geträumt, einen Roman zu schreiben, der klingt«, so Juri Andruchowytsch, Sänger und Vollblutmusiker, über seinen Roman Radio Nacht. Sein Protagonist, der Rockmusiker Josip Rotsky, unterstützt als »Barrikadenpianist« die Revolution in seinem Heimatland. Ins Exil gezwungen, verdient er seinen Lebensunterhalt als Salonmusiker und tritt in einem Schweizer Hotel vor dem Diktator seines Landes auf. Er wirft ein Ei nach ihm und tötet ihn versehentlich. Nach seiner Entlassung aus dem Gefängnis zieht sich Rotsky in die Karpaten zurück, wo er bald von Geheimdienstagenten verfolgt wird. Seine Flucht führt ihn bis nach Griechenland, treue Begleiter sind ihm dabei sein Rabe Edgar und seine Geliebte Animé. Schließlich landet er auf einer Gefängnisinsel auf dem Nullmeridian, wo er seine eigene Radiosendung moderiert: »Radio Night« – sein eigenes Label, mit dem er Musik, Poesie und gute Geschichten in eine sich verdunkelnde Welt sendet. Nach fast zwanzig Jahren legt Juri Andruchowytsch mit Radio Nacht seinen fünften Roman vor. Revolutionssaga, biografische Burleske und Agententhriller, das alles vor dem Hintergrund von Klimakrise, Pandemie und der unmittelbaren Bedrohung durch Russland. Der von der Musik inspirierte Autor zieht in seinem »akustischen Roman« alle künstlerischen Register, um den Ängsten und der realen Bedrohung die Souveränität der Fantasie entgegenzusetzen. Veranstalter: Literaturhaus Köln Veranstaltungspartner: Bundeszentrale für politische Bildung, literaturhaus.net, Suhrkamp Verlag

    Ort: Kölnischer Kunstverein, Hahnenstraße 6 Eintritt: 12,- / 10, – € Mitglieder: 8, – €

    Tickets kaufen
  • Lecture, Performance: Slide talk and performance by John Russell: Death Race, 2022, 16.10.2022
    John Russell: Cavapoo, 2022. Installation view Kölnischer Kunstverein, 2022. Courtesy: the artist, Bridget Donahue, New York and High Art, Paris. Photo: Mareike Tocha.
    Sun Oct 16, 2022, 6 pm – 7 pm
    Slide talk and performance by John Russell Death Race, 2022 (Lecture hall) A review of the exhibition and recent holidays to spectacular seaside locations, in the style of Andrea Fraser. In English. Free admission to the exhibitions, events, and guided tours. The public program is supported by:
  • Workshop for Kids, Vermittlung: Children's workshop with John Russell and Yoni Hong, 16.10.2022
    John Russell: Cavapool, 2022 (detail). Installation view Kölnischer Kunstverein, 2022. Courtesy: the artist, Bridget Donahue, New York and High Art, Paris. Photo: Mareike Tocha.
    Sun Oct 16, 2022, 3 pm – 5 pm
    Children’s workshop with John Russell and Yoni Hong (Exhibition hall) For children from 6 to 14 years, registration required. Come to the kunstverein and paint on the floor of the main exhibition space – over the top of a floor print by John Russell. Paint sharks, fish, waves, dolphins, bubbles and photograph yourselves in the scene. Materials provided, no participation fee. In German and English. The public program is supported by:
  • Guided Tour: Guided tour through the exhibition with Nikola Dietrich and John Russell , 16.10.2022
    John Russell: Cavapool, 2022. Installation view Kölnischer Kunstverein, 2022. Courtesy: the artist, Bridget Donahue, New York and High Art, Paris. Photo: Mareike Tocha.
    Sun Oct 16, 2022, 2 pm – 3 pm
    Guided tour through the exhibition with Nikola Dietrich and John Russell In German and English.
  • Guided Tour: Guided tour through the exhibitions of John Russell and José Montealegre with Ani Schulze, 9.10.2022
    José Montealegre: Tainting the well, 2022. Installation view Kölnischer Kunstverein, 2022. Courtesy: the artist and Mountains, Berlin. Photo: Mareike Tocha.
    Sun Oct 9, 2022, 3 pm – 4 pm
    Guided tour through the exhibitions of John Russell and José Montealegre with Ani Schulze Free admission to the exhibitions, events, and guided tours.
  • Guided Tour: Guided tour through the exhibitions pf John Russell and José Montealegre with Miriam Bettin, 28.9.2022
    José Montealegre: Página 352, 2022. Installation view Kölnischer Kunstverein, 2022. Courtesy: the artist and Mountains, Berlin. Photo: Mareike Tocha.
    Wed Sep 28, 2022, 5 pm – 6 pm
    Guided tour through the exhibitions pf John Russell and José Montealegre with Miriam Bettin Free admission to the exhibitions, events, and guided tours.
  • Guided Tour: Guided tour through the exhibitions of John Russell and José Montealegre with Ani Schulze, 18.9.2022
    John Russell: Cavapool, 2022. Installation view Kölnischer Kunstverein, 2022. Courtesy: the artist, Bridget Donahue, New York and High Art, Paris. Photo: Mareike Tocha.
    Sun Sep 18, 2022, 3 pm – 4 pm
    Guided tour through the exhibitions of John Russell and José Montealegre with Ani Schulze Free admission to the exhibitions, events, and guided tours.
  • Guided Tour: Führung durch die Ausstellungen von John Russell und José Montealegre mit Ani Schulze, 18.9.2022
    John Russell: Cavapool, 2022. Installation view Kölnischer Kunstverein, 2022. Courtesy: the artist, Bridget Donahue, New York and High Art, Paris. Photo: Mareike Tocha.
    Sun Sep 18, 2022, 3 pm – 4 pm
    Führung durch die Ausstellungen von John Russell und José Montealegre mit Ani Schulze Der Eintritt zu den Ausstellungen, Veranstaltungen und Führungen ist frei.
  • Vermittlung, Special Event: Open Monument Day in Cologne , 10. – 11.9.2022
    (34), Hahnenstraße 6, Die Brücke © Stadt Köln – Stadtkonservator, Amt für Denkmalschutz und Denkmalpflege. Foto: Dorothea Heiermann
    Sat Sep 10, 2022 – Sun Sep 11, 2022
    Open Monument Day in Cologne “Die Brücke”, formerly the British Information Center, was built in 1949/50 according to plans by Wilhelm Riphahn and served as a meeting place. The angular building is designed like a Gesamtkunstwerk. After the Kölnischer Kunstverein moved into the listed building in 2002, it was able to adapt it as a model building of modernism in the spirit of Riphahn. Opening hours Sat, 10.09., 11 am until 6 pm Sun, 11.09., 11 am until 6 pm Free entry. Program Architecture tour 10.9.2022, 3 pm Dagmar Lutz M.A. (artist, art historian), duration 60 mins Meeting point: Foyer Kölnischer Kunstverein Unfortunately, the tour is already fully booked.
    On both days in the Riphahnsaal from 11 am to 6 pm: exhibition and short lectures by ERCO, specialist for architectural lighting www.erco.com
     
     
  • Reading: A Nervous Reading by José Montealegre with Nat Marcus and Mikhail Wassmer , 4.9.2022
    José Montealegre: Nervous System, 2022. Installation view Kölnischer Kunstverein, 2022. Courtesy: the artist and Mountains, Berlin. Photo: Mareike Tocha.
    Sat Sep 3, 2022, 5 pm – 6 pm

    A reading on the occasion of the exhibition by José Montealegre Nervous System in the context of DC Open

    With texts by José Montealegre, Nat Marcus and Mikhail Wassmer, Narrator: Mark von Schlegell 


    There once was a young man, not aged even fifteen, who roamed the countryside in search of stories. His name was Hilario Martinez, and when he came across older folk, with creased eyes and leather skin that could point him in the way of some good old-fashioned stories, they batted him off like a summer fly. “Why you’re not even fifteen” they would say “run-off, go-along, back to your mother you go.” This made Hilario very disappointed, but still, he found the will to continue walking. 

    One day, as Hilario walked along a wooded path eating gooseberries from a gooseberry tree not far down the road he came across a tiny witch that had gotten stuck inside a plastic bottle. She clawed and clawed at the sides trying to pinch the plastic in order to bite it off and tear a hole so she could escape, but the plastic would not budge. He said to the witch picking up the bottle “Witch, you have gotten yourself stuck in a bottle”. The witch sighed and plopped herself on her ass in the bottom. “Well…” the witch said looking at the big eyes of Hilario as he held her encasement like a fireflies’ “are you gonna let me out or what?”
    Hilario was not ready for that question, and wondered thinking of something witty to say.
    “How can I let you out witch,” said he “for I know not, who put you there, perhaps you’re a deranged witch and as soon as I open the bottle you smite me a fool”.
    “You already seem like a fool” sighed the witch as she flew up to the bottle’s neck.
    “Or perhaps you’re the slave witch of a giant who will flick me a smudge on the ground when he finds out I liberated his fairy.”
    “Well that’s a good story” said the witch as she hovered inside the suffocating throat of the teardrop shaped bottle, “but…..” she continued yet was interrupted by the deranged face that stared at her from the outside. Hilario’s eyes were fixed on her, like two crescent moons rising over the horizon. “Stoooooooriesss” Hilaro drooled “give me the stooooooriessss” he repeated transfixed by the witch’s hands that had by now understood the weakness of the foraging idiot.

    Text: José Montealegre


    Nat Marcus is a poet, vocalist and designer. Along with Zoe Darsee, she is co-editor of TABLOID Press, an imprint for poetry and art-books founded in Berlin in 2014. The publishing house maintains a focus on the public space of a poem and the poetics of a social body. Marcus’ poetry, art criticism and lyric journalism have also appeared in Arts of the Working Class, The Ransom Note, Edit, and Berlin Art Link.

    Mikhail Wassmer (*1986 in South Surrey, B.C., Canada) studied photography at the Zurich University of the Arts and the Academy of Visual Arts in Leipzig, and fine arts at the Städelschule in Frankfurt am Main. He has recently exhibited works in solo shows at RESPONSIBILITY (2020) and Harmony 100 (2022) in Basel. He self-published his poetry in Agitated Dairy (2020) and the end… (2021). He recited from the two pamphlets at RESPONSIBILITY in Basel, KOBO in Zurich, Harmony 100 in Basel, and Hopscotch in Berlin.

     

  • Guided Tour: Guided tour through the exhibitions with Miriam Bettin, 3.9.2022
    John Russell: Cavapool, 2022. Installation view Kölnischer Kunstverein, 2022. Courtesy: the artist, Bridget Donahue, New York and High Art, Paris. Photo: Mareike Tocha.
    Sat Sep 3, 2022, 4 pm – 5 pm
    Guided tour through the exhibitions by John Russell and José Montealegre with Miriam Bettin in the context of DC Open
  • Special Event: DC Open, 2. – 4.9.2022
    John Russell: Cavapool, 2022. Installation view Kölnischer Kunstverein, 2022. Courtesy: the artist, Bridget Donahue, New York and High Art, Paris. Photo: Mareike Tocha.
    Fri Sep 2, 2022 – Sun Sep 4, 2022
    Opening hours Fri., 02.09., 11 am until 6 pm Sat., 03.09., 11 am until 6 pm Sun., 04.09.,11 am until 6 pm Free admission Further information here. Programm John Russell: Cavapool curated by Nikola Dietrich José Montealegre: Nervous System curated by Miriam Bettin Saturday, 3.9.2022, 4 pm Guided tour through the exhibitions by John Russell and José Montealegre with Miriam Bettin Sunday, 4.9.2022, 5 pm (Cinema) A Nervous Reading by José Montealegre with Nat Marcus and Mikhail Wassmer There once was a young man, not aged even fifteen, who roamed the countryside in search of stories. His name was Hilario Martinez, and when he came across older folk, with creased eyes and leather skin that could point him in the way of some good old-fashioned stories, they batted him off like a summer fly. “Why you’re not even fifteen” they would say “run-off, go-along, back to your mother you go.” This made Hilario very disappointed, but still, he found the will to continue walking.  One day, as Hilario walked along a wooded path eating gooseberries from a gooseberry tree not far down the road he came across a tiny witch that had gotten stuck inside a plastic bottle. She clawed and clawed at the sides trying to pinch the plastic in order to bite it off and tear a hole so she could escape, but the plastic would not budge. He said to the witch picking up the bottle “Witch, you have gotten yourself stuck in a bottle”. The witch sighed and plopped herself on her ass in the bottom. “Well…” the witch said looking at the big eyes of Hilario as he held her encasement like a fireflies’ “are you gonna let me out or what?” Hilario was not ready for that question, and wondered thinking of something witty to say. “How can I let you out witch,” said he “for I know not, who put you there, perhaps you’re a deranged witch and as soon as I open the bottle you smite me a fool”. “You already seem like a fool” sighed the witch as she flew up to the bottle’s neck. “Or perhaps you’re the slave witch of a giant who will flick me a smudge on the ground when he finds out I liberated his fairy.” “Well that’s a good story” said the witch as she hovered inside the suffocating throat of the teardrop shaped bottle, “but…..” she continued yet was interrupted by the deranged face that stared at her from the outside. Hilario’s eyes were fixed on her, like two crescent moons rising over the horizon. “Stoooooooriesss” Hilaro drooled “give me the stooooooriessss” he repeated transfixed by the witch’s hands that had by now understood the weakness of the foraging idiot. Text: José Montealegre Friday, 2.9. until Sunday, 4.9.2022, every hour on the hour from 11 am to 6 pm, on Sunday until 3 pm (Cinema) Film screening EARLEY, 2021/2022 by John Russell (Video, Sound, 58 min) In the searing heat of rural France, in the summer of 2021, a group of artist and film-makers set about shooting ‘an updated version of Beckett’s absurdist post war vision, choreographed across the platforms of a train station’. As a play on Beckett’s experiments with translation, the narrative is set in the small town of Earley, in the UK, but actually filmed in Arles, South of France. To amplify this conceit all signage on the platforms and trains was swapped from French to English. During the course of their research for the film the filmmakers were warned about the myth of ‘Egghead’, or ‘Tête d’Oeuf’. The filmmakers chose to ignore these warnings and even incorporated reference to Egghead in the script. Sweltering in the melting pollen, mosquitoes, coagulating ideology and dripping sweat, with the continuous background rhythm of cicada, an intense dialogue unfolds between the two protagonist-commuters, one taking the form of a Giacometti sculpture. Text: John Russell
  • Reading, Special Event: DC Open, 2. – 4.9.2022
    José Montealegre: Art History, 2018. Installation view Kölnischer Kunstverein, 2022. Courtesy: the artist and Mountains, Berlin. Photo: Mareike Tocha.
    Sat Sep 3, 2022, 5 pm – 6 pm


    Opening hours
    Fri., Sept. 02, 11 am to 6 pm
    Sat., Sept. 03, 11 am to 6 pm
    Sun., Sept. 04, 11 am to 6 pm

    free entrance

    For more information, click here.

    Program
    John Russell: Cavapool
    cureated by Nikola Dietrich

    José Montealegre: Nervous System
    curated by Miriam Bettin


    Saturday, 3.9.2022, 4 pm

    Guided tour through the exhibitions of John Russell and José Montealegre with Miriam Bettin 

    Sunday, 4.9.2022, 5 pm (Cinema)
    A Nervous Reading by José Montealegre with Nat Marcus and Mikhail Wassmer 

    There once was a young man, not aged even fifteen, who roamed the countryside in search of stories. His name was Hilario Martinez, and when he came across older folk, with creased eyes and leather skin that could point him in the way of some good old-fashioned stories, they batted him off like a summer fly. “Why you’re not even fifteen” they would say “run-off, go-along, back to your mother you go.” This made Hilario very disappointed, but still, he found the will to continue walking. 
    One day, as Hilario walked along a wooded path eating gooseberries from a gooseberry tree not far down the road he came across a tiny witch that had gotten stuck inside a plastic bottle. She clawed and clawed at the sides trying to pinch the plastic in order to bite it off and tear a hole so she could escape, but the plastic would not budge. He said to the witch picking up the bottle “Witch, you have gotten yourself stuck in a bottle”. The witch sighed and plopped herself on her ass in the bottom. “Well…” the witch said looking at the big eyes of Hilario as he held her encasement like a fireflies’ “are you gonna let me out or what?”
    Hilario was not ready for that question, and wondered thinking of something witty to say.
    “How can I let you out witch,” said he “for I know not, who put you there, perhaps you’re a deranged witch and as soon as I open the bottle you smite me a fool”.
    “You already seem like a fool” sighed the witch as she flew up to the bottle’s neck.
    “Or perhaps you’re the slave witch of a giant who will flick me a smudge on the ground when he finds out I liberated his fairy.”
    “Well that’s a good story” said the witch as she hovered inside the suffocating throat of the teardrop shaped bottle, “but…..” she continued yet was interrupted by the deranged face that stared at her from the outside. Hilario’s eyes were fixed on her, like two crescent moons rising over the horizon. “Stoooooooriesss” Hilaro drooled “give me the stooooooriessss” he repeated transfixed by the witch’s hands that had by now understood the weakness of the foraging idiot.

    Text: José Montealegre

    Nat Marcus is a poet, vocalist and designer. Along with Zoe Darsee, she is co-editor of TABLOID Press, an imprint for poetry and art-books founded in Berlin in 2014. The publishing house maintains a focus on the public space of a poem and the poetics of a social body. Marcus’ poetry, art criticism and lyric journalism have also appeared in Arts of the Working Class, The Ransom Note, Edit, and Berlin Art Link.

    Mikhail Wassmer (*1986 in South Surrey, B.C., Canada) studied photography at the Zurich University of the Arts and the Academy of Visual Arts in Leipzig, and fine arts at the Städelschule in Frankfurt am Main. He has recently exhibited work in solo shows at RESPONSIBILITY (2020) and Harmony 100 (2022) in Basel.
    He self-published his poetry in Agitated Dairy (2020) and the end… (2021). He recited from the two pamphlets at RESPONSIBILITY in Basel, KOBO in Zurich, Harmony 100 in Basel and Hopscotch in Berlin.

    Friday, 2.9. until Sunday, 4.9.2022, every hour on the hour from 11 am to 6 pm, on Sunday until 3 pm (Cinema)
    Film screening EARLEY, 2021/2022 by John Russell (Video, Sound, 58 min)

    In the searing heat of rural France, in the summer of 2021, a group of artist and film-makers set about shooting ‘an updated version of Beckett’s absurdist post war vision, choreographed across the platforms of a train station’.
    As a play on Beckett’s experiments with translation, the narrative is set in the small town of Earley, in the UK, but actually filmed in Arles, South of France. To amplify this conceit all signage on the platforms and trains was swapped from French to English.
    During the course of their research for the film the filmmakers were warned about the myth of ‘Egghead’, or ‘Tête d’Oeuf’. The filmmakers chose to ignore these warnings and even incorporated reference to Egghead in the script.
    Sweltering in the melting pollen, mosquitoes, coagulating ideology and dripping sweat, with the continuous background rhythm of cicada, an intense dialogue unfolds between the two protagonist-commuters, one taking the form of a Giacometti sculpture.

    Text: John Russell

  • Solo Exhibition: José Montealegre Nervous System, 20.8. – 16.10.2022
    José Montealegre: Nervous System, 2022.

    Opening: Friday, 19.8.2022, 7 pm

    In his first institutional solo exhibition Nervous System at the Kölnischer Kunstverein, José Montealegre continues his ongoing series of works from 2020 titled Páginas. The starting point for these sculptures is an extensive botanical archive of plant illustrations created in the course of the Spanish colonization of Mexico and published as Nova Plantarum Animalium et Mineralium Mexicanorum (1628). The archive saw the catalogization and re-systematization of hundreds of indigenous plants by the colonizers. In rich detail, Montealegre translates these botanical illustrations into copper sculptures and presents them on the second floor of the Kunstverein. In his artistic practice, which also includes writing, the artist tells stories that blur the line between origin and (mis)translation. Contrary to knowledge shaped by colonial powers, Montealegre allows marginalized perspectives to emerge thus challenging canonical history(ies).

    The exhibition will be followed by the first publication of José Montealegre.


    Methodologies I

    One. Like a protagonist in a cartoon drawing entering the revolving snout of a concrete goosebump city like, for example, New York, my brass-buckled leather briefcase snaps unshut and all my papers fly away. Now I’m late. Now I’m poor. Now I have dreams. Now they fly away. 

    Two. It is awfully obvious that any conversation about the methodologies of art begins and surely ends with life. Begins because it is the spring which taps the well. Ends because bloated goldfish are prey for hawks. 

    Three. Document whirlwind. Papercut city. The nerve, the nerves, nervous nerve of steel. The page tornado scatters order and logic, thus rendering the business pitch to be delivered into an unintelligible levitation where bureaucracy has no grasp and the tendril tether fails to anchor root. A misfiring neuron is perhaps what you have. 

    Four. Upon which I realize that what is sought cannot be accidental. The person who fails to hem the hole in their pocket is called a benefactor. 

    Five. It is the spinning paper cyclone that so destroyed my life, the site of the worlds autolysis. Where the invisible is not only seen but transforms. The papers levitated are crumpled into orbs. They hold, hide, and corrupt information. It is to look down into the well and see the golden meniscus that refracts the light, it is the cast and wilting blossom that falls gently on the surface of the water and is blown about by the wind, it is the goldfish that swims clumsily if not in grace and the talon that breaks its peace and plunges into the water and takes that goldfish into another ecstatic world. 

    Six. In May 2020 I downloaded a digital copy of the Nova Plantarum Animalium et Mineralium Mexicanorum (1628) from Biodiversitylibrary.org to a thumb drive. Then I took that thumb drive to a student printer. There I printed it in black and white on recycled paper. Leather bound front cover and all. The 1,104-page stack of documents has hundreds of drawings of plants and animals found in present day Mexico and Central America. Each drawing is accompanied by a Nahuatl name that has been scattered by the empires and a Latin name that has been reinterpreted by modern botany. Since printing this version of the ‘Nova Plantarum’ I have been going through the book almost every day. I look at the plants and sometimes, recognize them instantly. Other times it takes me months to realize that I have seen them in the past, but most remain unknown to me. When I google their name, nothing comes up. Familiar only through these drawings, I see faint possibilities in the landscape. When I feel like it and when I start to realize that I know them sculpturally, I make a sculpture of the drawing. So far, I have made around eighty plant sculptures. There are hundreds remaining. Every time I leaf through the black and white printer copy of this book I create a new order within it. The leather cover is now in the middle of the book with tons of scribbles and notations. Its order has become irrational and irrelevant. The page numbers jump by the hundreds. I have lost pages. I have crumpled them. I have stained them.


    Text: José Montealegre


    Methodologies II

    One. Looking at
    First look at the white walls, second look at the tiled floor. Looking around. Looking down. Get on your knees. Get closer. Discover. Repeat.

    Two. Claiming
    In 1517, during the Spanish colonization of the Americas, naturalist and physician Francisco Hernández de Toledo was sent to the first scientific and botanical expedition. The result of a seven-year expedition was an extensive botanical archive in the form of an illustrated manuscript with schematic drawings commissioned from Nahua painters. It was then stored in the Escorial Monastery, re-structured by the Italian medic Nardo Recchi, partly lost in a fire, and eventually published 100 years later under the title Nova Plantarum, Animalium, et Mineralium Mexicanorum historia in 1628.

    Three. Knowing
    Seeing, naming, knowing. The names of the plants in the book are both in Nahuatl and in Latin. Yet, since the references have been partially lost through appropriation, acquisition, and translation, attempts to find an equivalent in today’s botany are not always successful. As we walk through the city of Cologne, I see a strikingly dominant plant that has broken through the curb. “Didn’t you notice that paving stones in German cities are always in arches?”, he asked. Thinking through craft.

    Four. Narrating
    In 2013, I visited José Montealegre in his studio for the first time. He had just moved from Managua to Frankfurt am Main to start his studies at the Städelschule in the class of Willem de Rooij. I remember looking at, or rather observing, platforms of tiles on low pedestals on the floor displaying miniature jungle worlds in clay, at reliefs of tiny skeletons on the wall next to framed, seemingly historical book pages. It was with surprise when I found that those documents were fictional: digital prints on blank pages torn out of used books. Overwriting histories. Rewriting history. Reclaiming the narrative.

    Five. Expanding
    Montealegre’s works have the potential to extend beyond their edges. Like four rectangular cutouts of a larger environment, they seem to grow, to evolve, to reproduce. Outside, the mirroring surfaces of the plastic containers, used in Honduras to collect rainwater and hand wash clothes, reflect their surroundings. Stained-glass squares echo the influence of Catholic iconography and craft and the all-consuming European narrative. The Renaissance in Europe brought on not only the concept of perspective in art but also colonial expansion.

    Six. Collapsing
    What copper and nerves have in common is that they are both electrical transmitters. “Don’t trust me, I’m not telling you the truth”, he says. Trembling and shaking. Restructuring knowledge and power. Returning agency.


    Text: Miriam Bettin

    Curator: Miriam Bettin


    José Montealegre (*1992 in Tegucigalpa, Honduras) lives and works in Berlin. He studied philosophy and literature at the Universidad Centroamericana de Managua, Nicaragua, and with Willem de Rooij at the Städelschule in Frankfurt am Main. His work has been shown in solo exhibitions at the Klosterruine in Berlin, Mountains in Berlin (both 2021), Convent Art Space in Ghent (2019), and in group exhibitions including Lantz’scher Skulpturenpark Lohausen in Düsseldorf (2021), Städelmuseum in Frankfurt am Main, Natalia Hug in Cologne (both 2019), Futura Gallery in Prague, Gillmeier Rech in Berlin (both 2018), and Kunsthalle Darmstadt (2017, 2014). Parallel to the solo exhibition at the Kölnischer Kunstverein, a group show curated by José Montealegre and Rebekka Seubert is on view at the Dortmunder Kunstverein (until 30.10.2022).


    Supported by:

  • Solo Exhibition: John Russell CAVAPOOL, 20.8. – 16.10.2022
    John Russell, Cavapool, 2022.

    Opening: Friday, 19.8.2022, 7 pm


    Hello … hello … woof woof woof!

    My eyes are like watery ‘pools of love’, welling up, imminent to your arrival, as I stand here above you, waiting … woof woof! Looking down the stairs at you. … a coquettish mut.

    Heeeeello,” you say as you walk up the stairs, “Ooo you are a sweetie … what do you want us to do?”

    And there is something in my gesture, implied in the half-turn of my body, in the appealing angle of my head, in the slight skewing of my stance, in the skilfully painted wetness of my nose, in the hand-tooled seduction of my curls and fur, even in the suggestion of a flirtatious smile playing at the corner of my jaw …

    Woof woof!
    Oh sly coercion!
    Oh finely crafted insinuation!

    And then, as I trot along beside you, your spirit animal, as we enter the main exhibition space, breathing in the perfume of pine and maybe the hint of sandlewood – cleaning fluid or maybe air-freshener. Woof woof woof! And the succulent shine underfoot of glassy concrete.

    O this is amazing!” you exclaim, as the light bursts in on you.

    The ruptured gash, down through broken rock, a view of aquatic spectacle, a chasm into entangled swirls of waves, clouds, cliffs, skies, submerged architecture; baroque loops of liquid seduction, watery death and sunlit ripples. The horror of the ‘depictive’, coy perspectival fakery, the crude invitation of base representation for the sake of representation with its tricks and returns and re-animations, moving across the surface, the shine and glamour mixing desire and phantoms, as deluge or flood; ‘crafted with time-honoured technique and skill’ … woof woof! A proposal for glimmering surfaces and depths, doubled down and crowded with abstractions so clearly always only ever one millimetre thick; impishly critiquing the murderous ideology of ‘seductive surfaces and hidden depths’.

    And all the while the gloss feels so strange on my paws. I yelp slightly and you all laugh, “O you adorable pup!”

    And as we tip-tap across the floor of the of the former British Council building, where previously they used to present and promote Cold-War British high-art culture. O my doggy heart! On one level, this is a similarly trivial representational spectacle … but on another level … no … always this! Always only this!

    “Ha ha ha ha,” you laugh as we make our way across the ravine. And on the far side, horizontally and vertically aligned, a row of fly sculptures spaced across the span – a row of punctuation marks, of black dots. One of them is perhaps, frozen mid-flight in front of a flower, as an ‘anti-bee’ … not the happy, furry, orange, ecological pollinator whose buzz delights but more like the symbols of death and decay from Dutch still life, or just the vermin that cluster in the dirt. Woof woof woof! Or on closer inspection … on closer inspection … Rorschach ink blots … maybe you can see the head of Max Wall, English music hall star, famous for his character Professor Wallofski, comedy piano routines and acting in Beckett plays.

    Or maybe you can see me in the fly, can you pick out my adorable form mixed in … a Cavafloo? Or perhaps a charming Cavaflooloolooolooo to mimic the sound of a song bird perhaps. But anyway….

    Cavafloolooloo…” we cry out as we make our way out again.

    As I am trotting by your feet. Eager. With a look of love when you look down. Now leaping down the stairs and at one point I stumble, a bundle of fur tumbling down. Then back on my feet. Too full of juice! Too full of life!

    “Woof woof … follow me … down here” I cry. Such a cute docent. And downwards.

    “O this is wonderful!” you cry.

    And we walk down to the basement space, only partly accessible, roped off. A goat. Viewed from the raised foyer space. And another fly, sitting on the eyelid of the goat (an historical ecstatic fly! The same fly as sat on the eyelid of Margaret Thatcher as she died.)

    The goat – most damned of creatures, not least in its repeated use in art. O cursed spawn how many more times must its carcass be reanimated in artistic context. Dragged out to metaphorical affect! And here we are again, observing its satirical form with initially sad expression, clambering across a rock outcrop, in the style of German medieval realism. Folds of fleece highlighted, rendered in oil and gloss varnish, possibly mocking the echo of William Holman Hunt’s famous ‘Scapegoat’ painting of 1892, or the mascot of Cologne FC who was, on one occasion, punched by the fans of an opposing team. Doubling down its religious schtick in its gaze out to the viewer (as implicated). Bloated with sin; as a scapegoat or indexing other formats of art-goats, or cultural goats, erotic, mythological, occult etc. As well as being just a goat. This is a specific goat indicative of its own specific potentialities. And the maggots (baby flies) on the goat’s legs and in the folds of its fleece.

    Woof woof woof! “OK OK ! And where are we going now? Ha ha ha” We want to move on and there is a brief worry “Are we ghosts?” we all shriek. “Are we phantoms? Ha ha ha!”

    Such fun! And ascending back up, spiralling back up. Upstairs past the posters; amalgamations of sales pitch, supermarket pitch and politics, where sits, on the wall, on the first floor, the painted portrait of the goat, rendered in bas relief and oil, in the style, or spirit, of ‘A picture of Dorian Gray’, where the subject remains youthful and beautiful and the painting deteriorates. That old goat is smiling happily at us in its whiskery decay.

    And close by the goat painting, the painting of a crow, standing on a stump picking off ants on the ground below. The ants labour collectively but are snatched away by a force above them, greater than them.

    “Woof woof … that old crow … if I get my teeth into his feathers! Ha! Then he would feel my force … if only for a few seconds as I shake him dead! Ha ha! Woof woof!”

    “O darling so violent! Leave him … leave him … he isn’t worth it!”

    “Woof woof … give me just one minute and I will stop him plucking at our collective labour! Ha ha! Woof woof!”

    Woof woof! And finally, one more visit, one more leg on the trip, one more refrain, one last date, one last chapter, verse, prayer, homily, rapture, dream… Yes, to the cinema! The theatre of dreams! A sojourn in the darkness. In the shadows. Amongst the images projected on the screen. The crow features briefly and the ants … and the fly makes a fleeting appearance, drenched in the searing heat of rural France, the melting pollen, mosquitoes and coagulating history. Yes, you can sit back in the cushioned seats. I shall maybe trot up and down in the aisle. As we watch an ‘intense dialogue between two commuters, one taking the form of a Giacometti sculpture, choreographed across the platforms of a suburban train station’. As they search for the allusive Egghead.

    Egghead wants his eggs back!

    Egghead wants … woof woof!


    Sweltering intensity, warm to the bones, into your flesh, into your skull and teeth. Woof woof woof woof!

    And now in waves moving down. We flow outwards. And then lapping, flowing down the stairs and leaking out under the main doors, out into the street … joyous new cavapools in the street, across the pavement, in visions down through the concrete, under the paving stone. Gently lapping waters.

    O joy!

    Woof woof!


    Text: John Russell

    Curator: Nikola Dietrich


    John Russell (*1963 in London) studied History of Art at Goldsmiths College of Art and Fine Art at Slade School of Art and Saint Martin’s School of Art. He was a co-founder of the artists’ group BANK, of which he was a member for ten years. Since leaving BANK in January 2000, Russell has worked both independently and collaboratively in producing exhibitions, curatorial projects, and artist books. His work has been shown in solo exhibitions including Bridget Donahue in New York (2021 and 2018), High Art in Paris (2017), Kunsthalle Zürich (2017) and in group exhibitions at Viborg Kunsthal, DK (2018), Gallery of Modern Art in Glasgow (2018), Galerie Crèvecoeur in Paris (2018), Irish Museum of Modern Art in Dublin (2017), Artists Space in New York (2014), The New Art Gallery Walsall, UK (2013), ICA in London (2011), Focal Point Gallery in Southend, UK (2011), The Grey Area in Brighton (2011), Kunsthalle Exnergasse in Vienna(2011), Tate Britain in London (2010), and Tate St Ives in Cornwall, UK (2009).


    Supported by:

  • 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

    The exhibition was curated by Nikola Dietrich.

    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

    This exhibition was curated by Nikola Dietrich.

    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.

    The exhibition was curated by Nikola Dietrich.



    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: 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.

    The exhibition was curated by Nikola Dietrich.

    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.

    The exhibition was curated by Nikola Dietrich.

    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: