Montag, 3. April 2017, 18:30 Uhr
Walky Talky
Künstlergespräch mit Annika Unterburg und Maria Fisahn
Dienstag, 18. April 2017, 18:30 Uhr
Cloudpicture. Japan Performance
Künstlergespräch mit Christine Gast und Ute Klapschuweit
Dienstag, 2. Mai 2017, 18:30 Uhr
Erinnern und Bewahren
Künstlergespräch mit Klara Reckmann und Mareile Stancke
Montag, 8. Mai 2017, 18:30 Uhr
Desaster mit Tombola
Künstlergespräch mit Eva Zulauf und Stilla Seis
Mittwoch, 24. Mai 2017, 18:30 Uhr
Throw Up / Metaposen
Künstlergespräch mit Simone Fezer und Katja Windau
In Form von Performances, Installationen, Gesprächen und auch Präsentationen von Filmen, Objekten und Bildern wird sich dialogisch mit aktuellen Positionen bildender Kunst auseinandergesetzt. Im Anschluss an die Aktionen gibt es die Möglichkeit zur offenen Diskussion.
Konzept und Organisation: Alfred Stephan Mattes, Monika Schröder und Iris Albrecht (Vorstand des Berufsverbands Bildender Künstlerinnen und Künstler Hamburg)
Mit freundlicher Unterstützung der Stiftung Kulturwerk der VG Bild-Kunst
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Detail of: Ida Ekblad, Let me not forget to record, do not to disturb if death should happen in the night. Not to let me know it until I arise at my usual time, 2017, c-print on paper, airbrush and 3d puff paint on linen, ca. 2 x 18 m, courtesy of the artist and Galerie Max Hetzler, Berlin | Paris, photo: Hayo Heye, © VG Bild-Kunst, Bonn 2017
Walk Through the Exhibition With Katja Schroeder
Thursday, 23. March 2017, 6 pm
in German language
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Address
Kunsthaus Hamburg
Klosterwall 15
20095 Hamburg
Tel.: 040/ 33 58 03
www.kunsthaushamburg.de
info@kunsthaushamburg.de
Opening Hours
Tuesday – Sunday: 11 am – 6 pm
Admission
Regular: € 5
students, seniors: € 3
pupils: € 1.50
groups of 10 or more: € 2 per person
Admission to the OFF THE RAILS events is free
How to Get Here
Buses 3, 34, 112, 120, 124, 640 to bus stop Steinstraße (directly opposite the entrance of the Kunsthaus)
Trains U1 (underground station Steinstraße) and all trains serving Hamburg central station (5-minute walking distance to the Kunsthaus)
Parking: parking lot directly behind the building, accessible via Amsinckstraße (Kunstverein in Hamburg)
Office Hours
Monday – Friday: 10 am – 5:00 pm
Photo: MAK – Österreichisches Museum für angewandte Kunst / Gegenwartskunst, Vienna
Georges Adéagbo
receives the 2017 Finkenwerder Art Prize
Award presentation
Thursday, 31 August 2017
Airbus Operations, Hamburg-Finkenwerder
Opening
Monday, 4 September 2017, 7 p.m.
Georges Adéagbo has been awarded this year’s Finkenwerder Art Prize, which comes with €20,000. Since 1999, the award, which is issued by the Kulturkreis Finkenwerder and comes with a prize donated by the company Airbus Operations, has gone out to artists who have made an outstanding artistic contribution to contemporary art in Germany. Recent prize winners include the artists Almut Heise, George Rickey, Candida Höfer, Neo Rauch, Daniel Richter, Thorsten Brinkmann, Ulla von Brandenburg, and Christian Jankowski. With Georges Adéagbo (born 1942, lives in Cotonou, Benin, and Hamburg, Germany), the jury of five experts appointed by the Kulturkreis’s board of trustees is honouring an artist who is able to overcome cultural differences in a unique way and who manages to make the complexity of cultural identity comprehensible through his art.
Georges Adéagbo’s often site-specific, room-filling assemblages can be described as associative art historical puzzles. The individual fragments of his often large, multi-media collages consist of written documents, photographs, books, paintings, and objects, which Adéagbo collects on his travels, at flea markets, in his everyday surroundings, or in antiquarian bookshops. He organizes these items according to themes before assembling them into discursive but subjective narratives. His installations portray a broad range of different personalities, like Edith Piaf, Abraham Lincoln, or famous European philosophers. Or he uses abstract concepts such as foreignness, globalization, and colonialism as the starting point for his works.
In these arrangements, he juxtaposes the culture – along with its history and reception – of his West African home country of Benin with the European history of art and culture and a reflective approach to his own artistic practice. Academic discourses and everyday culture, the mainstream and minorities – all meet at eye level in his works. Through the way the artist arranges his disparate references and artefacts and comments on them in his own texts, narratives emerge that run counter to a one-sided reading of history. In the last 25 years, he has not only made an essential contribution to the engagement with Europe’s postcolonial legacy; he has also challenged the way we see “African” art in the Western art context. By reversing the role of the colonial “explorer”, Adéagbo deconstructs the mutually determining clichés and projections of the Other.
Georges Adéagbo, who did not receive a classic art education, was noticed fairly late by the international art world. Although he did not see himself as an artist, he independently put his ideas into practice every day in Cotonou, using found objects, images, and texts. Since the mid-1990s, he has become a regular fixture in prominent exhibitions, and he became the first African artist to receive an award for his participation in the 48th Venice Biennale in 1999. He took part in the documenta 11 in 2002 with a site-specific installation. He has also had solo exhibitions at the Museum Ludwig in Cologne (2004), the MAK in Vienna (2009), the MUSAC Leon (2011), and the Moderna Museet in Stockholm (2014). He is now one of the most famous West African artists and is internationally renowned. His most recent project in Hamburg was the public art installation in 2015 called Inverted Space, which he created in collaboration with the Kulturforum Süd-Nord (Stephan Köhler) and the project Stadtkuratorin.
On the occasion of the Finkenwerder Art Prize, the Kunsthaus Hamburg will present a solo exhibition from 5 September to 3 October 2017 that will offer extensive insight into the prize winner’s work. This will be the first time his works will be shown at an art institution in the City of Hamburg, which is his second home. Georges Adéagbo will also present a work on site for the award presentation on 31 August in the Airbus Factory in Finkenwerder, Hamburg.
Ute Kühn, Just a game, 2017, © VG Bild-Kunst, Bonn 2017
We are afraid there is no English version of this text.
schön
falsch
leben
Eröffnung: Montag, 10. April 2017, 19 Uhr
Begrüßung: Iris Albrecht (BBK)
Einführung: Roger Behrens (Kulturtheoretiker und Autor)
Performance: KO-OP, Autodidaktische Bauern, 21 Uhr
Führungen
Samstag, 22. April, ab 20 Uhr (Lange Nacht der Museen)
Sonntag, 7. Mai, 15 Uhr
Das Motto der Jahresausstellung 2017 ist entstanden aus einer freien Reflexion über Adornos Satz „Es gibt kein richtiges Leben im falschen“. Dieser Satz umkreist philosophisch eine gesellschaftliche Kritik und die unter Umständen hoffnungslose Hoffnung auf ein befreites Leben. Damit erhält er eine Aktualität, auf die Kunst sich beziehen kann. Es geht dabei auch um die Frage nach den Möglichkeiten von gesellschaftlichen Utopien. Das Motto „schön falsch leben“ soll Assoziationsräume eröffnen. Seine drei Begriffe und ihre Kombinationsmöglichkeiten spielen mit kritisch-ironischer Distanz.
Über 100 Künstlerinnen und Künstler beteiligten sich an dem Wettbewerb. Die Jury des Berufsverbands hat aus den vielen spannenden Einreichungen 25 Ausstellungsbeiträge ausgewählt, die vom 11. April bis 21. Mai 2017 im Kunsthaus gezeigt werden. In der Ausstellung sind verschiedenste künstlerische Medien und Techniken vertreten: Collage, Holzschnitt, Installation, Malerei, Objekt, Performance, Photographie und Video. Die Arbeiten stellen das „beschädigte Leben“ (Adorno) aus verschiedenen Blickwinkeln auf das Öffentliche oder Private dar: als beklemmend groteskes Spiel-Objekt, als subtil gesellschaftskritisches Gemälde, als surrealistisch-dadaistische Skulptur oder auch als reflexive audio-visuelle Installation.
Christian M. Beier, Coltamolta, Petra Gabriele Dannehl, Barbara Dévény, Thorsten Dittrich, Arielle Drouard, Felix Eckardt, Simone Fezer, Stefanie Harjes, Gitte Jabs, Burglind Jonas, Jutta Konjer, Ute Kühn, Arne Lösekann, Lupus, Rolf Naedler, Christine Preuß, Michael Pröpper, Meinhard Raschke, Pavel Richtr, Stefanie Ritter, Ulrike Schüchler, Ursula Steuler, Studio KO-OP, Angela Zander-Reinert
Eine Ausstellung des Berufsverbands Bildender Künstlerinnen und Künstler Hamburg
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Rosh Zeeba – I cried for you
We are afraid there is no English version of this text.
Donnerstag, 23. Februar 2017, 19:30 Uhr
STOFF BAND NACHT
Performance, Video und mehr
Einlass: 19:30 Uhr
Beginn: 20:00 Uhr
ab 22:30 Uhr Party mit DJ Jane D
Eintritt: 0,85€
Yorgos Sapountzis* ist in diesem Jahr Gastprofessor für zeitbezogenen Medien an der HFBK in Hamburg. Gemeinsam mit seinen Studenten hat er ein Performanceprogramm entwickelt, in welchem die einzelnen Beiträge einer Gesamtchoreographie folgen. Der Körper als künstlerisches Medium spielt dabei eine zentrale Rolle. Hercules Hände spielen Schlagzeug, Zorba tanzt, es werden Geschichten erzählt und Mode präsentiert, Videos gezeigt, Armbänder verteilt, Tarot-Karten gespielt… Schaum… kleine Explosionen… Klaviermusik… danach eine Party mit DJ Jane D.
mit Brishty Alam, Fabio Cirillo, Janis Fisch, Dörte Habighorst, Signe Raunkjær Holm, Till Hargina, Mara Ittel, Aydan Jakfar, Melina Kamou, Jaewon Kim, Line Lyhne, Dania Michel, Kateryna Nigbur, Anne Pflug, Camillo Ritter, Maximilian Schuch, Rosh Zeeba und mehr
Ein Projekt der Klasse Yorgos Sapountzis, HBFK Hamburg
* Yorgos Sapountzis (*1976, Athen) arbeitete selbst vorwiegend mit einfachen Alltagsmaterialien wie Stoff, Papier, Blech und Plastikstangen. Seine Videos, Performances und Installationen sind häufig ortsbezogen und thematisieren u. a. den öffentlichen Raum, seine kulturellen Markierungen und die Rolle des Körpers im sozialen Gefüge. Er war an zahlreichen internationalen Ausstellungen beteiligt und wird auf der diesjährigen Biennale in Venedig vertreten sein.
]]>Artist Talk with Etcétera
In English language.
For Stadtkuratorin Hamburg, Etcétera is developing the theatrical installation Neo Extraktivismus (2015) as part of the project Espejos (2010 ongoing). In collaborative research, the project explores the role of the culture industry in the politics of memory. Chilehaus in Hamburg commemorates its builder, who traded in Chilean saltpeter, with numerous ornamental elements. The history of the building is the starting point of a critical-fictional study on the mining of calcium nitrate around the world. This material, which was used in arms production during the First World War, is still used today as fertilizer in agriculture. In an installation of graphics, drawings, and collages, historical value chains are linked to current developments in the use of land. Loreto Garín Guzmán and Federico Zukerfeld present Etcétera’s concept and way of working in a conversation.
Etcétera (founded in 1997 in Buenos Aires) works as an interdisciplinary collective of artists, writers, actors, and performs with interventions in urban space. Loreto Garín Guzmán and Federico Zukerfeld are founding members of Etcétera. Exhibitions (selection): 4th Athens Biennale, Athens (2013); Castello di Rivoli, Turin (2013); Steirischer Herbst, Graz (2012); BildMuseet, Umea (2012); Kunsthalle Exnergasse, Vienna (2011); Raven Row, London (2010); Istanbul Biennale (2009); Gwangju Biennale (2006); Fridericianum, Kassel (2005). Awards: International Award of Participatory Art (Bologna, 2013); Fellowship of Akademie der Künste der Welt (Cologne, 2014).
]]>Less Empty Maybe
Artist Talk with Cevdet Erek
In English language.
Cevdet Erek works with sound, space, and rhythm. In his installations he combines sound, constructions, graphics and performance. He workes purposely with emptiness and gaps, and a certain indetermination. Although there are hints about the artistic footage the concrete subject remains unexplained. With this working method he emphasizes the continuity of ambiguity and contingency. At Kunsthaus Hamburg Cevdet Erek will present his latest book Less Empty Maybe, published by Revolver in April 2015, as well as other realized projects on ocassion of his contribution to the summer program of Stadtkuratorin Hamburg.
Cevdet Erek (b. 1974) studied architecture and sound design. He lives and works in Istanbul. His works are exhibited internationally among others: MAXXI, Rome (2014); Stedelijk Museum, Amsterdam (2014); Istanbul Modern (2014); Sharjah Biennial (2013); Documenta 13 (2012); MAK, Wien (2012); Kunsthalle Basel (2012); Istanbul Biennial (2011). In 2012 Cevdet Erek was awarded the Nam June Paik Award of Kunststiftung NRW.
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