Places of Transition
Curated by Gülsen Bal and Walter Seidl.
Opening: Thu, Jan 23, 19:00
Venue: freiraum quartier21 INTERNATIONAL
Download Exhibition Brochure
Photos of the Opening night
In search of “possible futures”, the exhibition Places of Transition brings together a variety of art works that engage in an evolving process of producing pluralistic approaches which, in their multiplicity, provoke an encounter on both a visual and discursive level. The changing parameters of transnational questions about common models of interaction necessitate a view on global shifts of power. While the East-West divide in Europe is drawing to a close, the power struggles in the Middle East have pushed back the hopes of the Arab spring and foster the debate on political periods of transition on a global scale.
In this respect, the exhibition looks at the notion of space as a devise for re-linking and reclaiming “commons” as an effort to engage in a critique of dominant narratives and assumptions. These reflect different stages in and of lived experiences by “looking inside him/her-self; he/she looks into the eyes of another or with the eyes of another.” Each of the invited artists tackles the question of transition with regard to their own country and thus, the exhibition offers multiple voices, which come from different political and religious backgrounds. In this respect, the question of transition questions the attitude with which artists reflect certain traditions in their countries. Being mostly associated with a laical approach towards living, artists nevertheless look at certain traditions in order to formulate a radical break in their work. As a result, critical voices about the past, present and future evolve in order to create new territories of thought.
The set-up of the exhibition underlines the curatorial approach that provides the utmost importance to the visibility and the communication of the works, which provide a look at the intersection of social, political and economic codes.
The video installation by Oliver Ressler is a good example. The film “Socialism Failed, Capitalism is Bankrupt: What Comes Next?” was shot in summer 2010 in the largest bazaar of Yerevan, called “Bangladesh.” In the “Bangladesh” bazaar, more than 1,000 people a day try to survive as merchants, but the average seller earns no more than 100 to 250 euros a month. In the film, merchants at the market tell about their battle for survival in the crisis of a post-socialist state in which the majority of all of the factories from the Soviet era have been shut down and the social security network was dissolved.
The video and photographic piece by Milica Tomić also refers to a very personal situation. “Portrait of My Mother (1999)” was produced in the days after the Nato bombardments of Belgrade. Tomić examines the complex relationship between the trauma of the lost Yugoslavian modernity and the new identity policies of the Milosević years. She politicizes the biography of her mother, Marija Milutinović, as an exemplary moment. The narrative leads to the apartment of her mother in a modernist satellite town from the Tito era on the edge of the city – past Muslim settlements from the turn of the century and an apartment building bombed by Nato.
The exhibition also poses the question how artists deal with certain traditions in their home countries. Despite a personal tendency toward laicist models, many artists examine country-specific models and radically deconstruct them in their works. This results in critical statements about the past, present, and future that have the potential to create new territories of thought.
Libia Castro (ESP)* & Ólafur Ólafsson (ISL)*, Köken Ergun (TUR)*, Vikenti Komitski (BUL)*, Aslı Çavuşoğlu (TUR), Marco Poloni (SUI), Oliver Ressler (AUT), Milica Tomić (SRB), Santiago Sierra (ESP), Akram Zaatari (LIB)
Display: Nicole Six and Paul Petritsch
“Places of Transition” is organized in cooperation with the Federal Ministry for European and International Affairs.
Picture: from the series Demolitions and Excavations (2002) Libia Castro & Ólafur ÓlafssonJan 24 to Mar 21, Tue-Sun 13-19:00
SUBOTRON arcademy: Expand Your Territory: Games beyond Merchandise
Event series on the theory of digital games
Venue: Raum D / Q21
artist and curator
Game developers care about releasing games: they strongly focus on the creation of interactive experiences happening on screens. Consequently, their content rarely leaves the screen: if so, it’s mostly for merchandise purposes, and within the rules of merchandise. This way, potentially complex game identities get trivialized, becoming thinned-down versions of themselves. Since this is the industry’s status quo, we don’t tend to question it.
This presentation shows why it makes sense to expand your creative vision beyond the ingame experience, and how to expand existing merchandise dynamics. By showing how pop culture and fine arts appropriate games (and get appropriated in games), it also shows how specific game developers already made their game inhabit physical spaces – and how an in-depth knowledge of your work helps to maintain creative control over the outcome.
After working as programmer at Rockstar Vienna (2000-2006), Christian Bazant-Hegemark changed industries and studied painting at the Academy of Fine Arts Vienna (Gunter Damisch, Daniel Richter, Harun Farocki, 2006-2011), after which he wrote a PhD thesis on painting and digital technologies (Elisabeth von Samsonow, Elisabeth Thun-Hohenstein, 2011-2015). Since 2011 he curated over thirty exhibitions, using painting as medium of exploration. He currently researches creative processes independent of their media, and tries to get game developers to understand fine arts as experimental playground.
http://subotron.com/veranstaltung/merchandiseFri, Nov 17, 19:00
Gender Woodstock: Feminist Art Practices
Symposium as part of the exhibition "Stopover - Ways of Temporary Exchange"
Venue: frei_raum Q21 exhibition space
After the US presidential election, the Women’s March on Washington in the winter of 2017 brought thousands out onto the streets to protest against racism and misogyny. Solidarity marches in numerous other cities and countries followed. Pink pussyhats became the global symbol of the protesters, whose position is anchored in the feminist women’s movement and in queer activism. These handmade hats recalled the colourful balaclavas worn by the members of Pussy Riot, the punk band critical of the Russian government. Their ‘punk prayer’ action in Moscow’s Christ the Saviour Cathedral was a protest against the Russian Orthodox Church’s demand for a ban on abortion, among other things. It gained the group world-wide attention as three members were arrested. The arrests triggered a global wave of solidarity. Femen, the activist group founded in Kiev, also uses its attention-grabbing topless actions to mark its feminist position and sees itself as a new global women’s movement.
These three examples show that feminist rotest actions are topical, globally networked and carried out as or influenced by artistic practices. The symposium is intended as an opportunity to examine the state of feminist art practices and how artists and curators engage with feminism. The focus is on our interest in the collective, or rather, the classical feminist topic of collective work.
Essential impulses for this event are the Manifesto For The Gynecene by Raluca Voinea and Alexandra Pirici; the Feminist (Art) Institution, a series of lectures and seminars initiated by Tereza Stejskalová; Adela Jušić‘s artistic research into the role of the women partisans; the collective practice of artist duo Anetta Mona Chişa and Lucia Tkácová, and the Series of artist talks on shared necessities organised by Katrin Hornek and Johanna Tinzl in the Austrian Association of Women Artists (VBKÖ) in Vienna.
Zbyněk Baladrán, artist, Prague
Katrin Hornek, artist, Vienna
Adela Jušić, artist, Sarajevo
Tereza Stejskalová, curator, Prague
Johanna Tinzl, artist, Vienna
Raluca Voinea, curator, Bucharest
Christiane Erharter, curator, ERSTE Foundation, Vienna (host)
Image: Adela Jušić: Here come the Women, 2015. Photo: Almin Zrno
www.q21.at/en/frei-raumFri, Nov 17, 15-20:00
frei_raum Q21 exhibition space more
Curated Media for #Q21vienna
Opening: Thu, May 11, 18:00
Venue: Electric Avenue, Q21
A cultural institution thrives on lively exchange. As a result, visitors and employees share social media content every day. A cooperation with Downtown Vienna presents a selection of these impressions on screen, making them easily accessible. Q21 creates a new, distinctive image consisting of many individual perspectives. The project invites people to participate in the creative process in an uncomplicated way.
Tag your content with #q21vienna!
Image: Say Say Say, Inc.ongoing, daily 10-22:00
TONSPUR 75_lost: ROBERT ADRIAN (1935-2015). Roberto Paci Dalò (ITA): LONG NIGHT TALKS. FOR ROBERT ADRIAN
8-channel sound installation and 7-part poster series in the TONSPUR_passage
Opening: Sun, Jul 30, 17:00
LONG NIGHT TALKS. FOR ROBERT ADRIAN is the new work by Italian artist Roberto Paci Dalò created during his residency at TONSPUR - Q21/ MQ in July 2017.
The piece is composed of an 8-channel sound work and 7 images. In addition to it, the ORF commissioned a radiowork to be broadcasted on Ö1 Radiokunst Kunstradio on the opening night.
The piece is dedicated to Robert Adrian X (1935-2015), a pioneer in art and telecommunications. The Canadian artist lived in Vienna since 1972 and his contribution to the art world has been also witnessed by a large retrospective at Kunsthalle Wien back in 2001. Adrian received the Prize of The City of Vienna in 1993, and the Austrian Art Prize in 2011. He was awarded the Nam June Paik Art Center Prize in 2009.
Through more than two decades Adrian and Paci Dalò shared a close friendship also working together on several projects including a film Paci Dalò especially created for Adrian's major retrospective. The two used to sit in Adrian's studio in the Wiedner Hauptstraße and share long night talks dicussing passionately art, radio, transmission, technologies, web, surveillance, sound, warfare, and conflicts.
In LONG NIGHT TALKS. FOR ROBERT ADRIAN, Roberto Paci Dalò worked on Adrian's voice using it as a main material for the installation. The visitors will have the opportunity to immerse themselves in the grain of the voice together with field recordings, instrumental and electronics sounds. A journey into fascinating times and experiences where visitors are surrounded by sounds in the unique TONSPUR multi-channel audio environment.
Parallel to the sound work, the artist created a series of 7 drawings conceived as a constellation: A nocturnal sky which is also a graphic score for the piece. The seven drawings reflect the 7 days of an imaginary week together with Robert Adrian in his studio in Vienna's Wiedner Hauptstraße.
A daily journal of Paci Dalò's residency at Q21 (images, texts, sounds) is online at: robertopacidalo.com
Books and records of the artist are available at Buchhandlung Walther König at MuseumsQuartier.
Image: © Roberto Paci DalòJul 31 to Dec 2, daily 10-20:00