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Art and Trans-/Interhuman Communication (focal theme 16/17)

ROAD*REGISTERS.
Records of mobile lifeworlds

Opening: Thur, September 29, 2016, 7:00 p.m.
Exhibition dates: September 30–November 6, 2016
Long Night of Museums 2016: Sat, October 1, 2016
Curators: Michael Hieslmair and Michael Zinganel
With contributions by Gerd Arntz, Boris Despodov, Thomas Grabka, Martin Grabner, Michael Hieslmair, Kurt Hörbst, Helmut Kandl, Johanna Kandl, Emiliya Karaboeva, Mindaugas Kavaliauskas, Matthias Klos, Las Vegas Studio, Sonia Leimer, Vesselina Nikolaeva, Katarzyna Osiecka, Zara Pfeifer, Tarmo Pikner, Lisl Ponger and Tim Sharp, Maximilian Pramatarov, Ed Ruscha, SOMAT-Archiv, Allan Sekula and Noël Burch, Gabriele Sturm, Tanja Vukosavljevic, Ina Weber, Želimir Žilnik, Michael Zinganel
An exhibition realized in the context of the WWTF research project STOP AND GO. Nodes of Transformation and Transition.
http://stopandgo-transition.net/roadregisters

Road traffic corridors are not merely monuments to the modernization of states and federations but also arsenals of imagination to which a large number of dreams (and nightmares) may be attached. They work like magnets attracting both things and individuals that move along them, are taken up by them and whose experiences manifest themselves in the statistics of controlling bodies, mass media news clips, the everyday stories of the people using these corridors and their neighbors, in research reports, and artworks.
Especially nodes where the flow of traffic is brought to a halt—such as bus terminals, logistics centers, highway rest stops, markets, and frontier stations—offer an opportunity to identify the control strategies of (supra-)national institutions and big companies as well as the passing subjects’ motives and biographies. This makes for a more dynamic model of urbanity comprised of connected archipelagos which sometimes turn from non-places into intimate anchors in the everyday sphere of their multilocal existence.

Road Registers Mindaugas Kavaliauskas, Kaunas second-hand car market, 2008. Courtesy of the artist.


Living On | In Other Words on Living?
Opening: Thur, November 17, 2016, 7:00 p.m. (as part of the Vienna Art Week)
Exhibition: November 18, 2016–January 8, 2017
Curators: Delal Isci and Thiago de Paula Souza
Artists: Thomas Ender, Em’kal Eyongakpa, Lorenz Helfer, Clara Ianni & Clara Ianni in collaboration with Débora Maria da Silva, Monira Al Qadiri, Juliana dos Santos, a.o.

Following Jacques Derrida’s essay Living On: Borderlines, the exhibition and research project tests an intertextual translation of, as it seems, geographically disparately framed narratives into events after the end of local historiography/contemporary history. Views of landscapes in Brazil, Upper Mesopotamia, Kuwait, and the African diaspora visualize the strategies and ecologic movements of their local populations in both the semiotic and the architectural space—populations that live onu beyond the liminal abolition of life. An apocalypse announced long ago that cannot come about. The term Anthropocene was coined for a new geochronological era in which man has become the most important factor of influence on Earth’s biological, geological and atmospheric processes.

Unfolding in three chapters, the exhibition explores this thematic field from the point of view of critical (native, horizontal, anarchist) anthropology, activating Afrofuturist, feminist, literary and media-archaeological images and highlighting the economic, social and historical aspects of narratives on the end of the world. How do experiences, images, and humans live on at the end of a history felt to be the end of time? Are there possibilities of expression beyond controlled historiography which allow one to live on outside and beyond such historical events? The artistic positions presented in the exhibition deal with memories of genocide, massacres, and dislocation as well as the economization and experience of landscape/nature going hand in hand with it. Based on Thomas Ender’s watercolors from Brazil, indigenous material culture as aesthetic production, and the artists’ work brought into dialogue with them, the exhibition explores historical continuities between colonialism as a project of the modern age and its continuation as part of the politics of global warming and environmental policy in the Global South in the sense of Bruno Latour’s concept of diplomacy.

Weiter leben Design and © Martin Embacher


Thesis Exhibition 16–17
as part of the Open Days 2017
Exhibition: January 19–22, 2017


Posthuman Complicities. Pro(s)thesis and Criticism from Within
Opening: Thur, March 9, 2017, 7:00 p.m.
Exhibition: March 10–May 14, 2017
Curators: Berenice Pahl, Felicitas Thun-Hohenstein and Amelie Buchinger, Andrea Popelka, Lisa Stuckey

Our present is characterized by a promise of technology that strives to pervade body and nature for the purpose of commissioning them for capitalism. Relying on media technological devices, we exponentiate our appropriation of the world, becoming accomplices of a globalized techno-present. The exhibition Posthuman Complicities confronts its visitors with artistic strategies that critically question and constructively interpret our participation in structures of power and their order.
Titled Pro(s)thesis, the first part of the exhibition focuses on prostheses as metaphors of the body in the enhancement society between the poles of the technologicalization of the human and the humanization of technology. Special emphasis is placed on feminist artworks which, with irony and humor, subvert the demands for standardization the discourse of power imposes. As an individual artefact, the highly stylized prosthesis turns into an effective symbol of self-conception and self-empowerment.
The second part, Criticism from Within, explores the possibilities of a critical engagement with the issue under today’s technological circumstances. Involved criticism is always caught up, related to something: to others, to social reality, to history. Thus, posthumanism ceases to be a mere subject and becomes a modus operandi from within. The show is a call for making oneself sensitive to the attachment of one’s self to others and to one’s own position within complex structures of power.


Thesis Exhibition 16–17
Exhibition: middle to end of June 2017

as of 22 August 2016


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