Super Echo folgt einem Konzept des kreativen Dialogs, welcher den Effekt einer fließenden Kollaboration innehat – und dadurch Raum für Neues schafft.
„Raum“ an sich wird in die Betrachtung der Werke miteinbezogen. Zwei Räume in unterschiedlicher Größe und Konzeption werden bespielt, welche wiederum auf die Ausgestaltung der explizit für diese Ausstellung konzipierten Arbeiten wirken können.
Initialer Impuls der Ausstellung ist der Prozess des Austausches. Jede Künstlerin/jeder Künstler stellt ein eigenes, beliebig gewähltes Ausgangswerk zur Verfügung. Das Losprinzip entscheidet darauffolgend, welche Künstlerin/welcher Künstler mit welcher Arbeit interaktiv aufeinander trifft. Diese Interaktion umfasst die Entstehung und das Ausgestalten eines neuen Werks – dem Echo. Der Ursprung steht für sich – und ist gleichzeitig impulsgebend fürs Nachfolgende.
Angelehnt an die Ausgangsarbeit wird mit dem Resonanzwerk somit eine Art kreativer Kreislauf in Gang gesetzt, – das Super Echo – welcher für die Betrachter*innen aus unterschiedlichen Blickwinkeln interpretiert werden kann. Anfang und Ende lösen und verschieben sich. Die Werke sind fluide und können sowohl in der Fülle als auch im Einzelnen betrachtet werden.
Die Ausstellung FOKUS EUROPA II+III präsentiert die Arbeiten von 18 Künstlerinnen und Künstlern, die im Jahr 2020 und 2021 am Künstleraustausch im Rahmen des Europäischen Kunststipendiums des Bezirks Oberbayern teilgenommen hatten.
Die Ausstellung Fokus Europa II+III stellt die teilnehmenden Künstlerinnen und Künstler der Residenzprogramme 2020 und 2021 vor. Als kulturelle Botschafterinnen und Botschafter schaffen die Künstlerinnen und Künstler durch ihre Sensibilität und ihre Werke Verbindungen zu und zwischen den Menschen unterschiedlicher Regionen und Kulturen.
We use terms like „nature“ and „natural“ in demar- cationto any form of artificialityand producedness. But the very existence of the word „natural product“ reveals the paradoxical tension that exists between these two poles – the often- denied intersection in the midst of this al- leged dichotomy. It is supposed to underline the naturalness of a product, but at the same time re- veals the producedness of nature: we turn nature into a product, subject it to the rules of a market
Cultivate and optimize it. Imitate and stage it. We package and distribute it. We appropriate „nature“ by „managing“ it. But also by consuming „natural products“ and making them part of our homes and even our bodies. We outsmart and manipulate nature and yet we are dependent on it. But nature outlasts us and does not ask for us. It is without us.
are two storylines that have run through human history since its beginning – two seemingly parallel plotlines of the same narrative, which nevertheless repeatedly cross, overlap and counteract each other: Sometimes as adversaries, sometimes as sisters, sometimes as allies. Sometimes they negate each other, sometimes they potentiate each other. Sometimes one slips into the role of the other. For frenzy can have a purifying effect, hygiene can lead to ecstasy, but one can never do without the other. They merge into one another and yet must always remain in balance.
The history of hygiene is a history of progress: our life expectancy has increased many times over. Diseases have declined or disappeared. „Getting clean“ as a narrative of modernity and postmodernity encompasses not only our bodies, but also the world we surround ourselves with. From Baroque to Bauhaus, from opulent to minimalist, from velvet curtains to exposed concrete, from oil paintings to fat corners – analogous to the ever-improving hygiene conditions in hospitals and homes, everything in art, architecture and design seems to have become ever cleaner, ever tidier.
From ritual-religious cultural practice to individual, self-referential borderline experience. We get intoxicated from being intoxicated, celebrate the celebration, control the loss of control. We have optimized and organized the rapture, allot it places and times. In artistic and theoretical discussions, the club is mostly interpreted as transit spaces, as a fragile and permeable condensate of a Western hedonistic cultural escapism.
Ravers function as a figuration of the utopia or dystopia of a late capitalist longing for denial, dissolution of boundaries, and ecstasy. The privileges that makes such an apparent outburst possible in the first place are often forgotten, as are the power structures that actually underlie those spaces though imagined as open and free. At the same time, the constraints and conditions that prevail in clubs are often just as demanding as those to which they are subjected as an institution.
Like a theater performance, a party can simply be cancelled. And this is exactly what just happened across the board. But unlike a party, theater can address its own failure, and this is the core of the Access to Excess project. The basic idea is simple and effective: what becomes of a club event, what becomes of sweaty bodies driven by booming basses and hard beats, if one reallyfulfills all the hygiene requirements?The DJ becomes the supervisor and the atmosphere of ecstatic celebration overlaps with the safety thinking of public indoor swimming pools. We are particularly interested in which bodily control mechanisms and body/value concepts are reflected in thesepractices and to what extent the idea of
constant progress in terms of hygienic possibilities can be deconstructed. Transferred to a contemporary club setting, we investigate with young people choreographically as well as visually how we want to ask and answer the new and oldquestions about hygiene and ecstasy.
Performers: Gustaf Kobus, Rocco Dumont, Sara Diosa, Thaila Schoeller, Emma Mann, Selina Schröttle, Helena Eichinger, Nil Neumann | DJ Maria Margolina, Kiawash Sallehsari | Concept: Marie Jaksch, Charlotte Oeken, Joscha Faralisch | Sound: Jakob Braito | Choreography: Nicola Kötterl | Costume design: Sarah Buortesch | Lighting design: Yoav Schutzer | Make-up: Alica Müller | Graphics: Lisa Schumann | Logo: Julia Wagner || With the kind support of the Cultural Department of the City of Munich
2020 film (dcp 30 min) written and directed by dominik bais vincent hannwacker, marie jaksch, mara pollak julian rabus
MUSARION adapts the eponymous work by german writer christoph martin wieland and transfers the love story into the present day. phanias withdrew from the city of athens to the countryside to leave his old life behind. but one day he encounters his former girlfriend musarion who tries to bring him back to reason. the art film follows their struggle to find an enlightened form of love that can overcome philosophical and political fanaticism. musarion was directed by a collective of five young artists and mixes elements of the original text, opera, theatre, video art and narrative film.
Datum: Sa | 17.07.2021 So | 25.07.2021 Öffnungszeiten: täglich | 10:00 – 20:00 Uhr, letzter Einlass 18:00 Uhr; wenn die maximale Besucherzahl erreicht ist, kann es zu Wartezeiten kommen
Ort: Akademie der Bildenden Künste | Altbau | Akademiestr. 2
Vestibül, first floor
Die Arbeit Hit me baby one more time von Marie Jaksch untersucht das Gesicht als privilegierten Ort der Ausdrucksfähigkeit des Menschen und zeitgleich als Symbol seiner Krisenhaftigkeit.Drei Gesichts- Soundskulpturen aus ephemeren Material, in welche je Lautsprecher eingegossen ist, stehen auf Stativen im Raum. Der basslastige Sound bringt die Gesichter zum Wabbern bis hin zur völligen Dekonstruktion des Gesichtes. Die Installation bewegt sich dabei im paradoxen Spannungsfeld von Berührendem und Berührten, in dem sie den Fetischcharakter von Berührungen mitreflektiert und den Fokus auf das Prozesshafte legt: Wann bleiben Berührungen flüchtig und „unsichtbar“ wann hinterlassen sie (sichtbare) Spuren, bilden Narben?
