Category Archives: documentation

Review: Wrestling with Impermanence

One Greek myth tells the tale of the giant Antaeus, who had been granted a special power by his mother, the Earth. When anyone passed Antaeus’ land, he would challenge them to a wrestling match. If he began to lose strength, he had only to touch the earth and his  energy would be renewed. One day he was drawn into combat with the great hero Hercules. They fought and fought but Antaeus became no weaker. Finally Hercules discovering his vulnerability, grasped Antaeus, holding him high in the air, depriving him of his immortal gift, crushing him to death. Just as the Earth had once birthed Antaeus, she became the place in which he would finally decay.  

There is an intrinsic paradox evident at the heart of myth-making: the reality is forgotten so that the message can be remembered. The original story is always subsumed by the lessons that the teller wishes to convey. We learn the lessons of history but we forget history itself. Do we ever want reality or just a version of it that confirms our pre-held convictions? A myth is not a memory, and a memory is not the truth. Life is a series of events condemned to be mythologised or forgotten. Remember and re-imagine or forget and become extinct. 

‘Wrestling with Impermanence’ is an exhibition that marks the passing of time, records a present moment that will inevitably ascend into a memory, or perhaps a myth. The 14 artists of the 39th round of Pilotenkueche International Art Programme have spent the past three months engaging, exchanging and experimenting in the city. As the residency comes to an end the states of the permanent and fleeting are wrestled with.

The multifaceted notion of a cycle holds a strong voice amongst the artworks produced during the 39th round. Recycled materials are reverberant throughout the works, repurposing and reimagining  them to form new lives. Nature’s fruit acts as one of these recycled goods, whilst others use the sensations that the cycle of nature offers to draw inspiration. Time and history are also cycles reckoned with, some works only looking forward whilst others turn back. However, all artworks do hold one prominent commonality, their presence in the present. These works invite you to enter another cycle, one of remembering, or perhaps one of forgetting. 


all photos by PILOTENKUECHE International Art Program

Natural cycles dominate our existence; the harvest moon becomes the waning gibbous, the tide kisses the high water line morning and night, the hawthorn blossoms of early May become seed-laden berries poised to be pecked, digested and excreted: spread amongst the barren land, destined for germination when the warmth returns.

Like Antaeus, we ask the natural world for strength when we lose our power. We are living in a climate crisis. This is our reality and our future. The ice caps are melting, the great forests are being cut and burnt. Plastic is replacing sea life; monoculture is replacing diversity. The world is on its knees. This is our reality and not a myth. 

We must respond to the reality that surrounds us, and reflect the times that we live in. We must experience the present, in order to create the myths we may leave behind. We must embrace the natural cycle of impermanence, protect it and celebrate it.

So ask yourself. Mythologise, or forget? 

curatorial text by Clementine Butler-Gallie


Wrestling with Impermance

Vernissage Fri 21 June 7PM
Open Sat 22 June-Wed 26 June 1PM-5PM

Artists

International residents

Anabel Najera-Lopez (US)
sculpture
Coffee Kang (CH/US
installation
Cristina Prudente (IT/UK)
performance/installation
Daniel Long (KH)
projection mapping
Eliana Jacobs (CA)
video/installation
Izdehar Afyouni (PL)
painting
Jana Moser (AU)
painting
Kate Jones (US)
painting
Karine Fréchette (CA)
painting
Louis Bouvier (CA)
sculpture
Dominga Vergara (CL)
painting
Marijn Roos Lindgreen (NL)
installation/sculpture
Sabrina Jolicoeur (CA)
installation

Local Participants
Elisabeth Kraus (DE)
painting
Jos Diegel (DE)
painting

Curator
Clementine Butler-Galle (UK)

Assistants
Adrian Klaus Rotzscher (US)
book binding and creation
Ellisha Walkden-Williams (UK)
art history
Kristina Nizamova (CZ)
cultural event managment

Artist Spotlight: Kate Jones

Chains suspend a mattress from the ceiling. Paintings of pinks, purples and deep reds surround me. I am sitting in Kate’s studio. But don’t be fooled. They depict dystopian nightmares of sacrifice, torture and dark fairy kingdoms. Taxidermy, or ‘re-purposed dead matter’ as she calls it, is strewn amongst the chaos of paint and paint brushes. Kate’s atelier is an enclosed space of rampant creative exploration.

She begins to tell me about her interests in esotericism and occult mythologies. This often forms the basis of the subject matter of her work as well as influencing her methods of production. Kate tells me that her technique is indicative of automatism – a Surrealist term which denotes subconscious expression. Her paintings are often completed in a trans-like state in which she uncovers information from a more celestial source.

The South-Carolinian born artist spent most of her life back and forth from California, with the exception of completing her undergrad at the School of Visual Arts in New York. Describing her aesthetic as very ‘Californian Macabre’, she tells me how her work is influenced by her surroundings. She uses the term ‘Genuis Loci’- a shamanic term of Latin origins, literally translating to ‘the spirit of the land’.

Often undertaking research in the form of ‘field work’, so to speak, this then informs her practice, and at times, becomes part of the work itself. She tells me of some video work she created at the Isis Oasis Lodge in Northern California using an analogue camera. The old-cult is now a non-profit and an animal sanctuary which carries out Egyptian rituals and religious ceremonies devoted to the Egyptian goddess Isis.

She continues to tell me of another trip to the former home of Alistair Crowley at Abbey of Thelema, Cefalu, Italy. Crowley was a mystic and occultist, infamous for his school of ‘magick’ and semi-satanic rituals. The space was used as a commune by him and 5 other artists, who painted many disturbing images on the walls. In 1923 Mussolini expelled Crowley from Italy and the murals were to be painted over. But in the 1980’s an avant-garde occult filmmaker named Kenneth Anger stripped the walls to reveal the paintings once again. Kate painted her own work on the walls; describing the result as a kind of ‘astro- collaboration’ between Crowley, Mussolini, Anger and herself. ‘It was like a forgotten piece of art history which I asserted myself into’, she comments.

photos by PILOTENKUECHE International Art Program

Most recently, Kate visited the town of Quendlinburg, which resides about an hour away from Leipzig, on the foothills of the Harz Mountains. The festival of Walpurgisnacht takes place every year during Beltane, or the Spring equinox. Folk magic and early modern witchcraft remains prominent in the cultural landscape of the region. Although she describes the festival as a kind of elaborate Halloween carnival, her work is highly indicative of the iconography of witchcraft, and it place within post-modern society.

Witchcraft is historically conflated with social deviance, promiscuity and anti-establishment. Today the complexities of gender politics are rifer than ever. With constant battles against social and institutional inequality, the notion of the witch has struck a chord with the modern woman. Kate is interested in exploring ways in which the archetype of the witch can be used to empower notions of femininity.

As the first group exhibition at Kunskraftwerk is rapidly approaching, what can we expect from Kate? Her work continues to explore the numinous realms of ritual and occultism through both painting and video work.  She’s also interested in exploring the ontological premise of her work. Stylistically, her painterly technique is quick, loose and expressive. She likens this with impermanence, forging a link between the temporal faculties of the art object with the decay of matter.

Now we know where the taxidermies come in.

Written by: Ellisha Walkden

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You can see Kate’s work in the following Pilotenkueche International Art Program shows:

Elsewhere a Blue Line and the Absurdity of a Ghost on a Stone 

Vernissage: Sat 18 May 2019, 7PM
Open: Sun 19 – Sun 2 June 2019, 10AM – 6PM (closed Mondays)
Location: Kunstkraftwerk, Saalfelder Str. 8, 04179 Leipzig

Wrestling with Impermanence 

Vernissage: Fri 21 June 2019, 7PM
Open: Sat 22 – Wed 26 June 2019 1PM-5PM
Location: PILOTENKUECHE, 2nd Floor, Franz-Flemming-Str. 9, 04179 Leipzig, Germany
Performance: To be announced

Artist Spotlight: Marijn Roos Lindgreen

Is the space rigid or rather plastic? Where is the border between inside and outside? What would happen if outside became inside and inside became outside? Those and many other questions are addressed by Marijn Roos Lindgreen, Netherlands based artist, in her sophisticated installations.

My work is focused on the immediate space, space that is directly around us. It’s something that happens all the time. It’s impossible not to be in the space. I am curious how you can influence this feeling of being in the space. When I come somewhere, I try to understand how I feel there. Then I try recreate this experience of a space in my art work”.  

Marijn comes from the field of architecture. After she finished high school, she was determined to do something creative, but at the same time technically orientated. Thus, Marijn obtained her Bachelor’s degree in architecture at Technical University of Delft. Later on, during her Master’s she specialized in Interior Architecture, which she studied at Sandberg Institute in Amsterdam. “Architecture definitely had a big impact on my art work. It not only made me think of how people relate to space in general but also it made me more conscious about how I experience space myself”.

Although she really enjoyed studying architecture, Marijn felt that what she wanted to do was a little bit too crazy for this field. She was always more into constructing utopic and futuristic buildings rather than practical ones. Today in her art practice she combines theoretical concepts of architecture and philosophy as well as real life examples. Marijn likes working with figures and forms that we are all familiar with and using them in unusual, sometimes unexpected ways, but she also wants people to interact with her art within the space. For instance, in one of Marijn’s installations visitors were invited to go through doorways that had to evoke in them the feeling of entering the space without actually entering it.

Marijn also likes to play with different materials, starting from plexiglass, pigment, to sand and wood. The choice of materials depends on what fits best each project. In the upcoming exhibition she will be dealing with the topic of transparency and wax is going to be her main material. She chose wax for its flexibility but also for its temporality. “In my art practice I often work with the opposites. Therefore, I like materials that are both solid and breakable. I like to see how it can change over time”. During her residency at Pilotenkueche Marjin will be deliberating on how she can make something that can exist as a single object in a space.

It’s quite difficult to predict what the outcome will look like. Marijn belongs to those young artists who are still in process of discovering and experimenting with styles and techniques. “I would say I am still searching for my personal style. However, my work becomes more and more consistent with every project. Now I am more satisfied with the final result as it reflexes the initial idea I had in mind. Besides, I get a lot of positive comments on my art work from public lately”. Being an emerging artist, Marijn doesn’t yet know how your career will develop in the future. But one thing is for sure – she doesn’t want to be placed in the gallery or museum permanently. She prefers people encounter her work in more natural setting.

written by Kristina Nizamova

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You can see Marijn’s work in the following Pilotenkueche International Art Program shows:

Elsewhere a Blue Line and the Absurdity of a Ghost on a Stone 

Vernissage: Sat 18 May 2019, 7PM
Open: Sun 19 – Sun 2 June 2019, 10AM – 6PM (closed Mondays)
Location: Kunstkraftwerk, Saalfelder Str. 8, 04179 Leipzig

Wrestling with Impermanence 

Vernissage: Fri 21 June 2019, 7PM
Open: Sat 22 – Wed 26 June 2019 1PM-5PM
Location: PILOTENKUECHE, 2nd Floor, Franz-Flemming-Str. 9, 04179 Leipzig, Germany
Performance: To be announced

Artist Spotlight: Christina Prudente

I like jumping from one place to another. There are not boundaries for me. This might be applied both to my lifestyle and art practice.” After 25 years in Sicily, Christina Prudente decided to start a new chapter in her life and find a new place she could call home.  She spent some time in San Francisco and then relocated to London, UK. London’s dynamic and blooming culture scene is probably what led Christina to arts. Everything began with a short drawing course Christina was attending while working as a lawyer.

Suddenly Christina quit her job and started attending Kingston University, where she first got her Bachelor and, then, Master’s degree in fine arts. However, for a long time her art work didn’t have any link. When she was creating something, Christina just tried to explore the possibilities of “creation” in a time’s vacuum without notion of past and/or future. People were telling her to focus on one technique and find her personal style, but she didn’t feel this way. Instead, Christina adopted the mindset of the Arte Povera, a contemporary art movement from Italy. Artists that refer to Arte Povera believe that the link is the artist themselves.

“I enjoy working with every type of media and different kinds of concepts. I appreciate the art of freedom, because my previous occupation didn’t give that freedom. The whole day I was sitting in the office, doing boring paper work and couldn’t express myself. Now my art work fully responds to who I am.”

In Christina’s opinion, the country, where an artist lives/lived/came from naturally influences his or her work. “Human experience is what inspires me. In my art work I like to reflect social issues that modern society is currently facing. I worked with such topics as war in Afghanistan and Iraq, society control, equality, human rights and so on. I think it was some kind of a transition from a lawyer in to the artist”.

Christina also draws her inspiration from other artists’ work. Michelangelo Pistoletto, Bill Viola and Gerhard Richter are some of her favorites. Currently she is working with selected poems of Edgar Allan Poe and trying to respond to them in her new art piece she is going to present at Kunstkraftwerk. In the upcoming exhibition, she will be using different media such as mirrors, photos, video or music. So we definitely have something to look forward to.

And what are Christina’s plans for the future after her residency at Pilotenkueche is finished? She is always on the move and she is not going to stop. Since she successfully exhibited in Tokyo last year, now Christina is trying to organize a new exhibition in Korea. We will see where wanderlust will bring her. Maybe it will be a birthday party at the North pole or an art residency in Namibia. Time will tell.

written by Kristina Nizamova

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See Christina’s work in the following Pilotenkueche International Art Program shows: 

Elsewhere a Blue Line and the Absurdity of a Ghost on a Stone 

Vernissage: Sat 18 May 2019, 7PM
Open: Sun 19 – Sun 2 June 2019, 10AM – 6PM (closed Mondays)
Location: Kunstkraftwerk, Saalfelder Str. 8, 04179 Leipzig

Wrestling with Impermanence 

Vernissage: Fri 21 June 2019, 7PM
Open: Sat 22 – Wed 26 June 2019 1PM-5PM
Location: PILOTENKUECHE, 2nd Floor, Franz-Flemming-Str. 9, 04179 Leipzig, Germany
Performance: To be announced

Artist Spotlight: Coffee Kang

Coffee Kang is an artist encompassing many different worlds, all moving and shifting seemingly under her feet but she takes it in stride. It’s all impermanent, all part of the process. Having moved from China to Los Angeles to complete a Masters in photo media from the California Institute of the Arts she is now based in Southern California where she focuses her body of work on varying situations – how do we change spaces, how do spaces change us and how does culture affect these changes? As she creates meaning through her work we are invited to ask our own questions: how does process inform meaning? What is the importance of performance in relation to achieving a specific goal? These themes come up in Coffee’s time-based works, and so much more.

As she navigates her personal narrative using photo media, video and primarily performance centered pieces, the temporality of the medium helps to inform her personal and cultural historicity while trying to connect to a grander whole. This fluctuation, or state of flowing, relates back to how we move in certain spaces and how our culture affects perception as well as physical space. In this connection comes an exploration of inherited culture, identity and the power of the individual within a system.

While Coffee’s work changes in form it is comfortably placed within a tradition of performance and process, ultimately landing somewhere in the conceptualization and activities of Fluxus. In this established mode of creating ‘process matters more than the result’. This is the crux of the meaning making. It is not about a product, or even some intangible end result. More important, here, is the journey in the making. The performance or action is not to achieve something but to do something.

photos by PILOTENKUECHE or courtesy of artist

These ideas are brought to life in her past works and performances, most notably in her temporal work The Funeral, wherein she performed a funeral for a previous piece. This work, titled Days in the Matchbox, was sentenced to death by a necessary move from her studio. In this way the artist created meaning out of a daily life stressor. She used the end result of moving out of her studio as a catalyst for meaning making through performance while reanimating an older piece for one final action.

In her seemingly permanent state of impermanence, or ‘current of changing’, Coffee Kang finds herself in Leipzig amidst a group of international artists all creating their own meaning within the context of the host city and more specifically within the Pilotenkueche artist residency. In this light the themes she works with can shine – they can flourish not by providing answers but by leading viewers and participants through the construction of purpose that happens within a group, within a new city, within the very process of critical thinking in both art making and art viewing.

In an attempt to explore her subconscious self, she will be looking to the stars that hang above Leipzig and the White Elster river that cuts through it. By connecting with the water flowing through the city she connects with all of the different bodies of water she has resided near, by connecting with the stars she connects not only to her inner self but to all of us that reside beneath them.

written by Adrian Klaus Rotzscher

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See Coffee’s work in the following Pilotenkueche International Art Program shows: 

Elsewhere a Blue Line and the Absurdity of a Ghost on a Stone 

Vernissage: Sat 18 May 2019, 7PM
Open: Sun 19 – Sun 2 June 2019, 10AM – 6PM (closed Mondays)
Location: Kunstkraftwerk, Saalfelder Str. 8, 04179 Leipzig

Wrestling with Impermanence 

Vernissage: Fri 21 June 2019, 7PM
Open: Sat 22 – Wed 26 June 2019 1PM-5PM
Location: PILOTENKUECHE, 2nd Floor, Franz-Flemming-Str. 9, 04179 Leipzig, Germany
Performance: To be announced

Upcoming shows: Round 39

We are halfway through our first month of the 39th round and the artists are busy in the studios and on location. We are excited to invite you to see how their work is developing. 

Our first show this round “Elsewhere a Blue Line and the Absurdity of a Ghost on a Stone” will be held at Kunstkraftwerk. This is our first time there and the artists are very inspired by the space and its conservation of original fixtures. This is a chance for them to do site-specific and custom works as a reaction. ‘In the face of facts we have to draw a line where none exists’ – Karl Jaspers, 1913.

Elsewhere a Blue Line and the Absurdity of a Ghost on a Stone 

Vernissage: Sat 18 May 2019, 7PM
Open: Sun 19 – Sun 2 June 2019, 10AM – 6PM (closed Mondays)
Location: Kunstkraftwerk, Saalfelder Str. 8, 04179 Leipzig

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Round 39’s final exhibition “Wrestling with Impermanence”opens Saturday 23 March at Pilotenkueche International Art Program. The artists are again drawn to the architectural anomalies of our art space and hope to take advantage of the weather and create an indoor/outdoor vernissage. The outdoor portion will cease to exist after that night. As the artists of the 39th round of Pilotenkueche come to the end of their residency, the states of the permanent and fleeting are wrestled with. In celebration of the time passed, we hope to see you for the final exhibition 


Wrestling with Impermanence 

Vernissage: Fri 21 June 2019, 7PM
Open: Sat 22 – Wed 26 June 2019 1PM-5PM
Location: PILOTENKUECHE, 2nd Floor, Franz-Flemming-Str. 9, 04179 Leipzig, Germany
Performance: To be announced

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PILOTENKUECHE INTERNATIONAL ART PROGRAM ROUND 39

International residents
Anabel Najera-Lopez (ceramics, painting: El Paso,Texas, USA)
Coffee Kang (visual art, mixed media installation: Altadena, CA, USA)
Cristina Prudente (multidisciplinary: IT/UK)
Daniel Long (painting, projection mapping: Saigon, Vietnam)
Eliana Jacobs (etching, objects, collage, conceptual: Vancouver, BC, Canada)
Izdehar Afyouni (painting, scultpture: Palestine)
Jana Moser (drawing: Melbourne, VIC, Australia)
Karine Frechette (painting: Montreal, Canada)
Kate Jones (Montreal, Canada
Louis Bouvier (drawing sculpture, installation: Montreal, Canada)
Maria Dominga Vergara (painting: Santiago, Chile)
Marjin Roos Lindgreen (architecture, installation: Amsterdam, Netherlands)
Sabrina Jolicoeur (photography, fibre art, installation, video, performance: Montreal, Canada)

Local Participants
Elisabeth Kraus(interdisciplinary; Leipzig, Germany)
Jos Diegel(painting, film, performance: Leipzig, Germany)

Curator
Clementine Butler-Galle( London, UK)

Assistants
Adrian Klaus Rotzscher (drawing, illustration, book making: San Francisco, CA, USA)
Ellisha Walkden-Williams (art history: London, UK)
Kristina Nizamova (arts management: Hostivica, Czech Republic)

Graphic Design
Adrian Klaus Rotzscher
Kristina Nizamova

Meet the curator: Clementine Butler-Gallie

Upon her arrival to Berlin, Clementine visited the ancient sculpture of Nefertiti. At once fascinated by the former Egyptian Queen, she would return to see it time and time again. Unearthed by a German archaeological company in 1924, the bust currently resides in Berlin’s Neues Museum. Up to this day, Egypt has demanded its repatriation – and to no avail. Now the statue stands as a symbol of colonialism, German cultural heritage and a commercial icon through its subsequent reproduction. From an art history perspective, this led her to contemplate enduring controversies surrounding issues of ownership and the westernisation of an image.  

She started to compile a personal archive of images and data, culminating in an overwhelming urge to showcase her findings. In 2016, she co-founded East of Elsewhere; a curatorial venture which began hosting independent exhibitions in the living room of her east Berlin apartment. After successfully curating their first salon, the collective would advertise their spare room for international artist residencies in exchange for a final exhibition at the end of their stay. They began hosting projects on behalf of artist-friends, including an emergency exhibition in retaliation to the growing momentum of the far-right AFD political party pre-German election. She said that it was all about ‘having that space’to exhibit and ‘using what we had in order to react to what was happening around us’.


photos by PILOTENKUECHE

Clementine studied history of art at Glasgow University and Christies Education, before working as a Gallery Assistant in London for two years. However, seduced by Berlin’s thriving contemporary art scene and experimental ethos, she decided to book a twenty pound flight with the intent to work more intimately with artists on a collaborative basis. ‘The gallery in London were a real family to me’, she says, but resolves that the art world in Britain’s cultural capital is naturally very commercially driven and somewhat elitist. She unapologetically admits that this posed a conflict with her romanticised notion of the artist, deriving from adolescent obsessions with the likes of the pre-Raphaelite brotherhood, the Bloomsbury Set, and their bohemian ways. Berlin’s cheap rent, along with its wealth of unused buildings left more room for creative output and artistic exchange. It was a scene of raw potential… an avant-garde wonderland.

Clementine continues to host exhibitions, talks and workshops ‘elsewhere’; including most recently a collaborative series in an old bank on London’s Brompton Road. She’s now based in Saxony’s boomtown, Leipzig. She’s eager to indulge herself in the city’s growing art scene with its recent influx of artists and emerging wealth of undiscovered spaces. Taking on Pilotenkueche as the next curator of the program, she’s particularly excited for the first group exhibition, which will be held in the basement of an old power-plant at Kunstkraftwerk.

Curatorially, she is looking forward to embracing the challenges that come with presenting multiple artworks beyond white walls. She’s particularly interested in exploring ideas of interior and exterior space and challenging traditional conceptualisations of the exhibition form. She doesn’t view narrative as singular or linear and hates to see an exhibition as the final product, but rather a laboratory where dialogues unfold… a testing ground for development and experimentation.

written by Ellisha Walkden

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Clementine will be curating the following shows for Pilotenkueche International Art Program

Elsewhere a Blue Line and the Absurdity of a Ghost on a Stone

Vernissage: Sat 18 May 2019, 7PM
Open: Sun 19 – Fri 31 May 2019, 10AM – 6PM (closed Mondays)
Location: Kunstkraftwerk, Saalfelder Str. 8, 04179 Leipzig


Wrestling with Impermanence

Vernissage: Fri 21 June 2019, 7PM
Open: Sat 22 – Wed 26 June 2019 1PM-5PM
Location: PILOTENKUECHE, 2nd Floor, Franz-Flemming-Str. 9, 04179 Leipzig, Germany
Performance: To be announced

Julianne Csapo is PK’s new Administrative Director

PK is happy to announce that from round 40, Julianne Csapo will replace Martin Holz as Administrative Director. When she talks about Pilotenkueche, Julianne’s eyes light up. “I”ve known about PK for almost 10 years now. I’ve always followed it with curiosity because it´s a special place. It´s so necessary for artists to find such a active and activating surrounding.“ 

Julianne is referring to an “active surrounding” in the way that Hannah Arendt talks about in her book, The Human Condition. In the 1958 publication, Arendt distinguishes three sorts of human activities: labor, work and action. Action is the means by which we distinguish ourselves from others as unique and unexchangeable beings. “I always thought she was speaking about artists!“ Julianne laughs. ” A surrounding that provides action in this sense is rare. And it is so essential for artists because of all the suffering and fears they usually have to face. I’ve always tried to realize a place where art happens, not only where pieces are produced.“ 


photos by PILOTENKUECHE or courtesy of artist

Currently Julianne runs a fantastic group atelier that hosts events, like performances, exhibitions or talks by outside artists. During her studies in the class of  prof. Ulrike Grossarth, she participated in organizing several events that had a large impact in the city.

Julianne was born in Bucuresti, Romania and grew up in Hamburg, Germany. A true European, her family heritage includes four nationalities and her upbringing, a mix of Judaism, Catholicism, Communism, Atheism and science. This clash of belief systems and cultures made her see very early how inspiring it could be to bring different people with diverse backgrounds together.

We look forward to seeing the direction Pilotenkueche will take under Julianne’s leadership. PK says welcome!


 

Tschüssi RD 38, Hallo RD 39

It’s never the easiest thing to do, saying goodbye. Unfortunately, that’s the nature of a residency program and it happens every three months. At that point, there’s no way of knowing who will stay in contact and who will just become part of a wonderful memory. We want to wish round 38 the very best and we bet we’ll see them again. So much love and energy, it seems like that’s a safe bet.

Meanwhile, here are a few memories to cherish til then.

And as the rhythm of the cycle continues, we start the third week of Round 39. Time goes so quickly, especially during the first two weeks. We have already started getting to know them and they are proving to be diverse and cohesive group.

Exhibition venue KKW: check. Welcome BBQ: check. Stasi Museum: check. MdBK: check, Artist presentations: check. Exhibition titles: check.

Here’s a peak at the newbies in action.

ReView: Fast Kotzen

Binge. Purge. Project. Scatter. Gather. Reorder. Repeat.

Round 38’s final show, Fast Kotzen, was not just another version of their Unfinished Hase work. You possibly recognized the signatures. Given space to expand, you definitely could see the growth. Best of all, if you left without a physical experience, it was your own fault.

There were people lined up at Valentine’s photo booth most of the evening. Instead of a camera, there were various artists inside. People were going back to create a collection of portraits in different styles. Atsuko’s floating room had people searching for stability from within. That’s the only thing they really had control of, as the floor and all the objects in the room were independent and had no connection to the ground.

People lounged behind the purple strings on Izzy’s cushion as they watched an alternate reality. Others crowded into the dark to have their stomach churn as Tomas’ TVs took them to channels they didn’t necessarily want to see. Ludmila’s mattress was never empty, nor were the people using it.

The experiences were not a carnival. They had messages attached to them, as did the works of the other artists. In her curatorial text, Tena Bakšaj drew parallels to  German philosophers Theodor Adorno and Max Horkheimer.  In our  current world situation, she sees little change from their post WW2 observations on social domination.

The 38th round of Pilotenkueche International Art Program brings together 16 emerging artists that share a similar sensibility directed towards multi-layered social and cultural structures. Engaged in various topics, their approach can primarily be described as analytical, as most of them reflect on the social character of contemporary art in their practice and thus in a way deal with the question whether or not art can contribute to the transformation of this world.

If art can transform the world, surely the artists of Fast Kotzen are up for the challenge. It may be a long time before their work can affect actual change, but for sure it affected people’s experiences in the short term.


Fast Kotzen

Vernissage:  23.03.19, 19h
Performance: Twin Effect

Open:  24 – 27.03.19 17h-20h
Location: PILOTENKUECHE, 2nd Floor, Franz-Flemming-Str. 9, 04179 Leipzig, Germany

International residents

A L Kleiner
(Painting, installation; Sydney, Australia)

Amanda Struver
(Interdisciplinary: Syracuse, NY, United States)

Ana Castillo
(Illustration, painting, animation: Paris, France)

Atsuko Mochida
(Installation, site-specific installation, public art: Tokyo, Japan)

Ece Canguden
(Painting, sculpture: Istanbul, Turkey)

Eliana Jacobs
(Etching, objects, collage, conceptual: Vancouver, BC, Canada)

Isabelle Kuzio
(Video, sculpture, painting, installation: Sherwood Park, Alberta, Canada)

Jose Sarmiento
(Painting, drawing, etching: Bucaramanga, Colombia)

Charles Park
(Photography: New York, NY, US)

Marloes Staal
(Sculpture, photography, drawing: Enschede, Netherlands)

Ludmila Hrachovinova
(Painting: Bratislava, Slovakia)

Roman Bicek
(Painting, collage: Bratislava, Slovakia)

Tomas Orrego Gianella
(Video, installation, collage: Lima, Peru)

Valentine Emilia Bossert
(Drawing, printmaking, sculpture, video, installation: Geneva, Switzerland)

Local Participants

Henrike Pilz
(mixed media: Leipzig, Germany)

Paul Altmann
(Conceptual art, photography, video, installation: Leipzig, Germany)

Curator

Tena Bakšaj
(Zagreb, Croatia)

Interns

Ciara Brown
(Fine art, multimedia: Birnley, UK)

Maria Maceira
(Art history: A Estrada, Pontevedra, Spain)

Samra Sabanovic
(Photography: Helsinki, Finland)

Mihyun Maria Kim
(Painting, drawing: Edmonton, Canada)