Is it going well?

Veranstaltungsreihe “Is it going well?”

In der Veranstaltungsreihe ?Is it going well?? untersuchen wir an drei Terminen was ein artist-run-space leisten kann.

1. Veranstaltung am 18. April 2015: “Is it going well?” - The Exhibition; im wellwellwell

perlimpinpin
»r3«
Performance/Skulptur

zuerst dachten wir,
da ist asbest im boden. ist sowas giftig? schon. die stimme vom umweltbundesamt sagt: nein, kein asbest. das finden wir sexy (irgendwie) – ein bisschen zumindest. weg damit.

das mit dem
neuen boden ist so eine sache wir entscheiden uns für kieselgrau, mit grau können alle. ein bisschen feig ist es schon, rostbraun ist es nicht geworden, grün auch nicht. grau ist neutral und indifferent. ob das gut ist wissen wir nicht. neutral eben.

wir haben schon
etwas zeit investiert: von befundeinholung, über planung bis hin zu unterschiedlichen versuchshandlungen um diese fläche für uns und andere zu optimieren.

dann wollten wir
weg von der fläche, sie geschmeidig kauen und aufblasen. die königin der räume, die kugel: da muss der boden hin. (der alte)
wenn eine fläche zur kugel wird, bewegt sie sich auf einer anderen ebene. das ist so im r3. eine mobilitätsregel (vorschrift) quasi.

perlimpinpin ist ein siebenköpfiges Kollektiv. Aktuell mit der Eröffnung eines Raumes in der Argentinierstraße beschäftigt, übertragen sie die damit verbundenen Erfahrungen an einen anderen Ort – das wellwellwell.

Save the dates:

2. Veranstaltung am 20. April 2015: “Is it going well?” - The Discussion; in der Kunsthalle Wien am Karlsplatz

3. Veranstaltung am 24. April 2015: “Is it going well?” - The Dance; im wellwellwell

Im Rahmen von Destination Wien EXTENDED.

Finissage: #1 ABSTRACTION RHAPSODY

Modernist Abstraction in the time of a globalized, post-material and digitized condition generates modes of eclectic appropriation, thus it generates allegories of ?modern times?. Abstraction is a tool and a metaphor in the work of Anna-Sophie Berger and Kay Walkowiak to question Abstraction as an all encompassing form to rule both the aesthetic realm, but also the social world, or, the world of housing, dwelling – our bodies.
It takes on impure, proliferating forms – so it is a rhapsody. How then does this paradoxical method of using pure paradigms of Abstraction and impure, disruptive forms or representation (in order to counteract exactly these paradigms) manifest itself? How do these ?citations? assume a posture of critique?
Confronting the works of both artists with one another in each room produces a productive resonance. Making Sense out of Abstraction shows us, how an abstract work of art or an item using its paradigms assumes a completely different meaning once the context of reception is shifted from a Western one to a, say, Indian. New, different sense or no(n)sense is generated, thus the lesson of cultural relativism is conveyed in simple images. The gesture of offering comes into play as a matter of giving (sending) and getting (receiving) with the intermittent space in between filled with misunderstandings, surprise, stupor – constructing new meaning, denoting-connecting. The scarfs (Could be a scarf. For Aline) play with blurred parameters of Abstraction (the colour, the frame, material) – all of those are becoming ?soft?, sloppy, impure and literally double-sided. The Scarfs hang on the wall as acquirable art works, but their ?womb?, their centre serves to another end – to become a gift, a thing, that is transferrable but not vendible, fabric creatively transformed into clothing, used to invest somebody. This act is solemn, unique and at the same time made disposable for everybody via instagram. The chain of commodities, the economy of values is ?perverted? and thus transformed in the works of both artists.
Ritual Union celebrates early Modernism in a late modernist building. The monumental rite has the solemnity of ethereal High Modernism, but the agonistic, uniformed procedure of assembling a gigantic abstract painting on the floor assumes the ironic quality of slapstick. ?Who is afraid of red, yellow and blue?? (Barnett Newman) seems to be the question posed also by Ana, out of a series of prints of actually donned clothes. Their surface is not colour and paint on canvas, instead a glossy photography – or skin, i.e. body pressed onto the cold quality of aluminium.
The City Beautiful represents the high modernist social housing project by Le Corbusier, Candigarh, through the precise gaze of an architectural photographer, as it is implied, emphasizing the paradoxical twist of the beauty of a monument in which to dwell. How? Taking into account a culture living a completely different concept of dwelling? By adopting, taking possession, and again, by transforming the building through the undercurrent of subtle and subversive forms of use. – More resonating the impure concept of bricolage, which on the other hand is suggested by the DIY-goods like Albert, now conserved and covered with a brittle and caressing fabric making the inhospitable less alienating and the nomadic cosier. Finally the blue areal/oceanic Scarfs on the floor resonate again a playful mirroring in the opaque game of representation.

Curated by Sabine Folie