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

The exhibition is supported by:

Film-Screening with an introduction by Naeem Mohaiemen
Thursday, 15.06.2023, 4–6 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 film screening is part of the exhibition Langer Tag by Naeem Mohaiemen, curated by Nina Möntmann, June 14-18, 2023, Temporary Gallery.

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

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.

Genoveva Filipovic: Bridge of Sigh, 2022
Pop-up book made of eloxated aluminium sheets, paper and staples, in two drawers
27 cm x 7 cm x 3.3 cm
Edition: 20 + 5 AP
Certificate
€ 250,00

The aluminum blanks designed and manufactured by Interzone in Berlin were milled flat from a single piece. The three main elements were subsequently drilled so that connecting hinges could be installed. The spine’s central hinges are glued and a total of 12 precision components were assembled by hand. The surfaces have been honed and anodized.

Genoveva Filipovic (b. 1986, Frankfurt am Main) lives in New York. Her works have recently been shown at Galleria Federico Vavassori in Milan (2019), Kunsthalle Zürich (2019), Goton in Paris (2018), Greene Naftali (2018), Svetlana (2018) and Dead Ends (2016) in New York, Vilma Gold in London (2016), and Neue Alte Brücke in Frankfurt am Main (2014).

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