lothringer13/halle                                                  2003

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EVENT HORIZON                      Dec 02 - Jan 2003
The Chrono-Files                      Feb - Mar 2003
Anke Völk                               Feb - Mar 2003
WIR, HIER!                             May - Jun 2003
Apfelböck oder
Über das Töten                        May - Jun 2003

Anke Völk
Dem Auge der Eule entgeht keine Bewegung

 
12.02. - 2.03.2003

Mit der Ausstellung "Dem Auge der Eule entgeht keine Bewegung" präsentiert die lothringer13/halle im Werkstattstudio die Debütantin 2002 der GEDOK München: Anke Völk. Die GEDOK, der Verband der Gemeinschaften der Künstlerinnen und Kunstförderer e.V., ist die größte und traditionsreichste interdisziplinäre Künstlerinnenorganisation in Deutschland. Sie wurde 1926 von Ida Dehmel gegründet. Der Verband vertritt und unterstützt Künstlerinnen aller Sparten.

Mit Anke Völk wurde eine Künstlerin ausgezeichnet, welche die Grenzen der Malerei zur Rauminstallation erweitert, in die sie unterschiedliche Medien wie Video- und Diaprojektionen integriert. Ihre originäre künstlerische Sprache verbindet die strukturelle Komplexität der abstrakten Gestaltung mit figurativen Elementen, die sich zu faszinierenden Erzählungen zusammensetzen. Die malerische und konzeptionelle Qualität der Raumarbeiten zeigen Anke Völk als Künstlerin von höchstem Anspruch und großer Innovationskraft. Anke Völk, geboren 1965 in Idar-Oberstein, studierte an der Schule für Gestaltung in Basel, der Staatlichen Akademie der Bildenden Künste Karlsruhe, der Akademie der Bildenden Künste Wien und der Hochschule für Gestaltung Karlsruhe. Sie erhielt Stipendien und Preise des Evangelischen Studienwerks, den Ökologie-Förderpreis von AEG, den Preis der Stadt Karlsruhe sowie ein Auslandsstipendium des Landes Baden-Württemberg. Anke Völk lebt und arbeitet in München. Zur Ausstellung ist ein Katalog erschienen. Anke Völk. Dem Auge der Eule entgeht keine Bewegung, Frankfurt: Revolver 2002

Eine Ausstellung der GEDOK München in Zusammenarbeit mit dem Kulturreferat der Landeshauptstadt München und unterstützt von der Bayerischen Staatsregierung

WIR, HIER!

Benjamin Bergmann - Maya Bringolf - Heike Döscher - Jürgen Heinert - Michael Sailstorfer - Wolfgang Stehle - Stefan Wischnewski - Martin Wöhrl

concept_ progrmm_

10.5. - 29.6.2003

WIR, HIER! (Us, Here!) - eight Munich artists declare their positions with site specific works produced for lothringer13/halle. The artists link their processes of creating spatial installations with a specific understanding of materials: found objects are modificated, restructured, redefined or reinterpreted. WIR, HIER! is a statement on contemporary art, where creative innovation is drawn indistinctly from parallel worlds: inspired by art objects present in museums and exhibitions spaces, the imagery of media as well as the individual everyday life environment. The exhibition celebrates talent for precise observation that is necessary to develop subtle stories, to prepare the confrontation with the artwork in space and to render visible the fine differences in materiality.

WIR, HIER! foregrounds all three floors of lothringer13/halle and once more emphasises the uniqueness of this industrial architecture in the center of town, that has been enriching Munich's art scene for the last 20 years.

Benjamin Bergmann enlarges the territory of the halle with two works: in the basement the piece Stabling is installed. A power mower is mounted behind a white wooden fence in such a way that the bottom side is turned to the observer. If he enters the enclosure, the power mower comes alive and the blades rotate menacing in front of the face of the invader. In the big hall the observer encounters the stump of a flagpole, that penetrates the floors above. Though it is windless, the steel cable hits the metal rhythmically

   Bergmann

Maya Bringolf in Being Bosch creates a meshwork made out of coloured silicone. For the first time working figuratively she refers in her subjects to the fantastic world of Hieronymus Bosch and charges the room mystically with suggestive imagery.

Döscher          

The room installed by Heike Döscher is covered with imitation wood. The waffle slab above the dark floor is lowered. In the corner the artist projects a video: A man walks steadfastly on his hands in a circle, thereby creating another space.

The work Dance by Jürgen Heinert is dedicated to the spectacle of perishing flies. Spread on the parquet floor 40 flies agonize. Apparently close to death, lying on their backs without moving, they suddenly start to struggle and buzz again and turn around themselves. A symphony of circling bodies emerges.

  Heinert

Michael Sailstorfer stages the Dean and Marylou via a monumemtal sculpture, made out of a deconstructed motor-coach.

   Sailstorfer

In his work Autorepeat Wolfgang Stehle designs an architectural structure, that mirrors the systems of order and filing in our society.

Gesellschaft widerspiegelt.        Stehle
Die Installation "Parzelle" (13) von Stefan Wischnewski markiert mit Lamellenzaun und Abdeckplane ein Grenzgebiet, das den Blick frei gibt auf eine große Luftaufnahme eines modernen Flüchtlingscamps in Europa. Die Perspektive ist voyeuristisch. Wie eine provisorische Schrebergartenhütte verbirgt die Installation ihr Inneres.
Martin Wöhrls Installation "copacabana" changiert zwischen Funktionalität und skulpturalem Artefakt: Eine ins Dreidimensionale umgesetzte Landschaft mit uminterpretierten Höhenlinien wird zum Möbelstück.
Wischnewski                                  

The installation Allotment (13) by Stefan Wischnewski marks with its fence and canvas cover a frontier area that opens a vista of an aireal photograph of a modern refugee camp in Europe. The perspective is voyeuristic.
Martin Wöhrl's Installation copacabana floats between functionality and absurd artefact: A 3D Landscape turns into a piece of furniture.

        Wöhrl     

With this last major exhibition the curatorial team, Margit Rosen and Dr. Christian Schoen say good-bye.

Catalogue: WIR, HIER! Revolver-Verlag, Frankfurt (ca. 70 pages, ca. 40 colour plates) Authors: Anne Erfle, Petra Giloy-Hirtz, Johan Frederik Hartle, Elisabeth Hartung, Tanja Pol, Silke Rindermann, Margit Rosen and Christian Schoen Price: € 15

Apfelböck
or
About Killing

24.5. - 29.6.2003

In August 1919 the Nachbargebäude of lothringer13/halle is the site of a murder, the details of which shocked the city: J o s e f A p f e l b ö c k killed his mother and father and lived with the corpses in their small apartment for 3 weeks before he was arrested. The exhibition in lothringer13/werkstattstudio relates the memory of this historical event with the video Witness: AnAesthetic by the british artist
H e a t h e r B u r n e t t. The show displays the phenomenology of killing: Killing as real and fictional event, killing as historical deed, as cinematographic stylistic device and documented cruelty. The role of the observer, of the witness, of the voyeur moves as well as the meaning of media, which communicate the horror. Both the clinical, historical view of the murder in Lothringer Strasse and the brutal images in Burnett's work individualize the act of killing, in the sense of an identification of the observer with the victim, with the culprit and the witness. The video Defile of the artist group A E S + F from Moscow continues to develop the issue on another level. With a contemporary form of the danse macabre it confronts the observer with the ambivalence in the perception of the corpse between fascination and rejection as well es with the ambiguity of iconic representation.
The murder of committed by Josef Apfelböck in 1919 inspired Berthold Brecht for his poem Apfelböck oder Die Lilie auf dem Felde, published in the same year. It was the evident lack of emotion and motives for this double murder that provoked the interest of the public and of Brecht. By displaying documented testimonies together with legal and forensic reports, the exhibit produces with its strong spatial reference to the deed authenticity, that will arrests the observer, but also a historical and therefore calming distance.
Heather Burnett, Witness: AnAesthetic, 2001 The installation juxtaposes death scenes taken from Hollywood movies with real war shots. In the manner of a scientific experiment a camera films the observer and confronts her/him on a second monitor with her/his own reaction towards the brutal images. The material used in the installation was shot by the war correspondent Sorious Samur in Sierra Leone, but was never released for TV documentary. Heather Burnett transcends the borders, that restricts the observer from a direct confrontation with war and cruelty and reflects in an impressive way reality and the objectivity of media. Working as a journalist between 1987 to 2000 Heather Burnett (*1965) contributed to productions by ZDF and ARTE. In addition to performance and music projects since 1990, she studied fine arts at St. Martin's College in London between and 2001.
AES+F, Defile With its video Defile the russian artists group (Tatiana Arzamasova, Lev Evzovitch, Evgeny Svyatsky u. Vladimir Frrdikes) addresses the aesthetization of death and the ambivalent reactions towards the corps. They confront temporary, earthly beauty with the ultimate end. Defile appears as a contemporary form of traditional representations of the danse macabre.

A book on this subject will be published in 2004 at belleville, Munich.

   Burnett

Publication: Christian Schoen: Apfelböck oder über das Töten, Munich (Belleville) 2005