Monthly Archives: August 2019

Curator Spotlight: Colette Patterson

Colette is interested in exploring spaces and ecologies of care as curatorial methodologies. Halfway through her Master’s degree in Curating at Goldsmiths University, she has worked in the Arts and has been working in galleries, art spaces and artist-led initiatives.

Colette’s main interest lies in the exploration of radical space and ecology of care as curatorial methodologies. Her practice works as a social and political actor for reimagining and cultural questioning, political and social dichotomies. As an emerging curator, she is gravitating towards art in London that allows her to understand the artistic environment. 

Colette is co-founder of DICE festival, an artist- led festival of chance opportunities in London, where with her team she curates 3 nights of performances with 7 artists per night. She crosses a range of mediums, body based work, live art, comedy, sketches, “adembra”. With all that background and experiences, she believes that adding more substance to her practice work, which was missing before. 

Colette’s previous project was about exploring the universe of tenderness, exploring intimacies and edges of collapse, dialogues about process, stages of unconscious/ conscious action, how and what inhabits these places of exchange. The project was about exploring the perceptions, asking what is urgent in a strategy of tenderness. 

“I would like to see artists interact with space more and more, and it is one of the things that I am focusing on. My approach of curating is also to foster more dialogue. For this reason, I’m happy to see that today’s art gallery’s programmes are more a mix of established artists, new artists and spaces as well. I think universities should take more time to consider that kind of approach and topic because it is relevant”. 

With this Pilotenkueche, Colette is working in very close connection to the artists. She listens to their ideas and looks at their concepts, and then tries to join all their work into a curatorial concept

I am trying to expand the notion of curating regarding my methodology. Whether with the way of apprehending the artistic approaches but also with the kind of argumentation and the reflection on the works of artists. In this same logic of dialogue, consultation with them, I would like to make a good contribution not only to the artists but to art in general.

“I think there’s a deep truth in all human life that when we share our stories with others, we learn about ourselves in the act of sharing with others,”

Spaces, art, artists, communities, it’s time to evoke not only emotions but strong relationships.


Hungry Dungeon Friends

Saturday 24 August
Curatorial Tour by Colette Patterson
performance by 
Tom Alexander Austin

open 
Sunday 18 August – Sunday 1 September 
10AM-6PM (closed Mondays)
location:
Kunstkraftwerk
Saalfelder Str. 8
04179 Leipzig


Hungry Dungeon Friends Curatorial Tour

First and foremost, we’d like to thank everyone who packed the house for our Hungry Dungeon Friends vernissage at Kunstkraftwerk. The evening was one that still has people thinking nearly a week after. For those who missed it, the show is on until Sunday 1 September.

This Saturday at 3PM, our curator in residence, Colette Patterson will be giving a tour. Come find out what is behind the high quality works created by our International artists. We will also be gifted with a performance by Tom Austin.

Meanwhile, here are some images from the install and the vernissage shot by Stanley Louis, one of this round’s interns.

Hungry exchanges are often communicated through the affective fields of our bodies. The body-organism is linked to the world through a network of primal signifiers. An underworld of currents, there are some conversations that can only take place on the borders, on the edge of ourselves, of our contact with the other. The exhibition tries to circulate these borders, these textures, these interiorities, that are viscous, unformed, multiple and many times. We morph between states of consciousness, mapping unknown desires. This exhibition is the interim show of the Pilotenkeuche residents, and explores the possibility to traverse these spaces, inviting a tactile sensibility, and begs to ask what happens in a dungeon with friends? 

text by curator Colette Patterson


Hungry Dungeon Friends

Saturday 24 August
Curatorial Tour by Colette Patterson
performance by 
Tom Alexander Austin

open 
Sunday 18 August – Sunday 1 September 
10AM-6PM (closed Mondays)
location:
Kunstkraftwerk
Saalfelder Str. 8
04179 Leipzig


PK RD40 

International residents

Adam Tuch (sound, digital art, installation/US)
Agathe Barre (film/FR) 
Antonia Wetzel (performance, painting/DE)
Ariel Taylor (painting/US)
Clément Bedel (painting/FR) 
Christopher Sperandio (comics/US) 
Darien Crossley (performance, painting/US)
Helene Planquelle (painting, drawing/FR)
Isaac Magner (sound design, video/UK) 
Michella Perera (sculpture/UK)
Tom Alexander Austin (performance/UK)
Vernon O´Meally (painting/US)
Zara June Williams (painting/AU)
Zheng Wenxin (painting/CH)

Local Participants
Matthias Geisler (painting, printmaking/DE) 
Simon Schäfer (sculpture, film, sound, installation, digital/DE)

Curator
Colette Patterson (UK)

Assistants
Fiona Irene Graf (DE/UK) 
Huai-ya Lin (TW) 
Silvia Zandomeneghi (IT)
milkafterfish (instagram)
Stanley Louis (HA/FR) 
iam_stanlouis (instagram)– 

Artist Spotlight: Zara June Williams

Life is like a game. The Australian artist Zara June Williams explores the unexpected and the intuitive of the creative process. Approaches such as combining different individual paintings and interacting with remain marks and droplets of the paint allow her to view the familiarity with a new lens. She invents rules for her art-making and stays playful with the colours and forms. Her art practice seemingly parallels to the nature of life as a game, where we developed regulations and strategies, and laboriously invest ourselves into it.

“Sometimes I think there’s so many aspects that are very complicated, but then it also is nothing. That’s how I feel about being alive in general. It’s everything, but it’s meaningless.”

Zara’s paintings come across as a game of vertigo and chance. Roger Caillois introduced the four elements of game in his 1958 Man, Play and Games (Les Jeux et Les Hommes): Agon, Alea, Mimicry and Ilinx, which means competition, chance, simulation and vertigo respectively. Intrigued by the remains of the process, she lies down papers beneath her paintings to catch the drops. “I guess I speak a lot about chance.” Often she wonders whether it is the unintended trace or her paintings are the actual work. “I think the interest came from feeling too egotistical or too controlled. A lot of it came out of not being satisfied about the outcome, because I can anticipate about it too much.”

To add the unpredictable quality into her work, she sets up certain parameters and games. For example, she took a cluster of wooden frames found on street which resonance Jose Dávila’s “Homage to the Square,” and lands it randomly on the surface. She then paints between the edges of the frames and repeats the process of interacting with the unintended composition of structures. “It’s almost like someone else in the room doing something when I’m not looking and I have to respond to it.” Zara is meanwhile interested in working with found materials which already come with a character she can react to.

Her captivation of inviting chance to interfere with the work rises from the desire for the sense of an instant novelty. Ilinx,the Greek word for “whirlpool,” means the alteration of recognition, which Caillois defined as “an attempt to momentarily destroy the stability of perception.” “Assemblages is another way I can surprise myself from the outcome.” She cuts her paintings into half and plays around by putting different pieces together. “Just by the act of joining two sides together, I instantly see a complete image that is complicated, which I haven’t seen it gradually worked up. There’s a freshness of it that I enjoy.”

During the residency, Zara has started to experiment with integrating photography and painting. She takes pictures of her works, collages them in photoshop, and then transfers the resulting image on another painting. “I don’t think of it as photography, but more of a way to create enough information – information I have that is too much, it needs to be collapsed upon each other and find its ways to happen in an organically and aesthetic pleasing way.”

Written by Huai-ya Lin


See Zara’s work in the upcoming exhibitions

HUNGRY DUNGEON FRIENDS

vernissage: 
Saturday 17 August 
7PM-10PM

open: 
Sunday 18 August – Sunday 1 September 
10AM-6PM (closed Mondays)
location:
Kunstkraftwerk
Saalfelder Str. 8
04179 Leipzig

GRATEFUL PARK

vernissage: 
Friday 20 September
7PM-11PM
open: 
Saturday 21 September – Monday 23 September
1PM-5PM 
location:
PILOTENKUECHE International Art Program
Franz-Flemming-Straße 9


Artist Spotlight: Antonia Wetzel

Antonia Wetzel is a storyteller. The floor of her Pilotenkueche studio is covered with huge sheets of paper, and each of them bears a narrative. Some of them are written statements with bold, black letters covering a whole page, while the others are mainly large scale comics. Although they are all separate and conclusive in themselves, as a whole they build a cohesive braiding of sentiments and stories. 

‘Comics are a way for me to bring the most important information of a whole storyline into just one painting’, Antonia says. Constantly adding new paintings to the paper stacks, she has created an ever expanding sketchbook on concrete floor. The existing parts being perpetually and haphazardly juxtaposed with more recent material, and thus constantly gain new meaning.

‘Sexuality plays a huge role in each of my works –  and obviously shame’, Antonia explains. This involvement with sexuality and shame is almost abidingly present throughout her practice: Often based on Antonia’s own experience, her works exhibit situations associated with the emergence of shame and the feeling of being exposed in a sexual context. The chosen role as the exhibitionist is a liberating one, offering the protagonists the opportunity to escape vulnerability and to retrieve their dignity through regaining a position of power. 

There is an aggression in the act of the unmasking, a brutality in the bluntness of her words, yet there is wit. One of the paintings on the floor depicts the artist as an old woman in a chair, holding a young man in her lap. Both of them are naked. It is Antonia’s cynical answer to the sexist lifestyle promoted in many of Charles Bukowski’s pieces. The artist’s humorous approach makes the said appear even more incisive, simultaneously it acts as a medicine soothing the wounds of both beholder and originator.


For the Pilotenkueche exhibition at Kunstkraftwerk, Antonia embraces a new medium: performance. Her interactive piece, ‘Fuck an Artist’. urges the spectator to actively engage with the theme through writing their fantasies on postcards inscribed with the question ‘What do you want to do to me?’. These will then be put in a glass box, exposed to everyone. The content of the notes will eventually be reflected upon in a performance by the artist herself, who will be present during the entire process. Deliberately objectivising herself whilst maintaining ascendancy through the exposure of her subject, she generates an ambiguous mechanism, a power dynamic run by mutual dependence. 

As part of the exhibition, Antonia will also hand out ‘Hurenpaesse’ to visitors. ‘Whore passports’ are issued to sex workers by the German government. They are a crass example of the stigmatisation sex workers have to face in a hypocritical system that protects the industry’s customers, but leaves the providers exposed. The passports will feature a real phone number which can be used to make an appointment with the artist. 

‘I can get away with calling it art, but a real sex worker does not have the same freedom. In this space of it being a performance and me being an artist I can sell sex if I want to, but a real sex worker will face a lot more difficulties and that is the point I want to make. Certain people get a lot of freedom because of the circles they are living in and in what context they are doing things, and then others live other stigmas and labels and don’t have the same freedom.’

There are many myths evolving around sex work, though the narratives have largely been woven by men. With contemporary society stagnating on a platform of ‘acceptable disparity’ whilst cherishing the illusion of gender equality, Antonia’s work is now as relevant as ever.

written by Fiona Irene Graf


See Antonia’s work in the upcoming exhibitions

HUNGRY DUNGEON FRIENDS

vernissage: 
Saturday 17 August 
7PM-10PM

Performances: 
Isaac Magner and Agathe Barre
Antonia Wetzel
Tom Austin 
Simon Schäfer

Saturday 24 August
Performances: 
Isaac Magner and Agathe Barre
Antonia Wetzel
Tom Austin 

open: 
Sunday 18 August – Sunday 1 September 
10AM-6PM (closed Mondays)
location:
Kunstkraftwerk
Saalfelder Str. 8
04179 Leipzig

GRATEFUL PARK

vernissage: 
Friday 20 September
7PM-11PM
open: 
Saturday 21 September – Monday 23 September
1PM-5PM 
location:
PILOTENKUECHE International Art Program
Franz-Flemming-Straße 9