Upcoming Exhibitions
Christian Jankowski: I Was Told To Go With The Flow, Kunsthalle Tübingen
July 2nd – October 30th, 2022
Christian Jankowski is one of the most influential action and concept artists of his generation. To this very day, he has been repeatedly surprising the international art world, particularly with his subversive performances and actions. Jankowski was born in Göttingen in 1968. He developed his distinctive artistic approach, which involves a systematic socially-relevant praxis, in response to the context art of the 1990s, among other things.
Having studied in Hamburg in the early 1990s, his work was marked both by Franz Erhard Walther’s participatory activation of artworks and by the “image refuser” Stanley Brouwn, who, like Franz Erhard Walther, expanded the concept of art to include the viewers. Jankowski has also been influenced by Martin Kippenberger and Werner Büttner, who undertook to deconstruct socio-political topics in both images and words, and in a subversively ironic way.
Even as a student, Jankowski caused a furore with actions such as Die Jagd (The Hunt 1992), during which he slayed foodstuff in a supermarket using an archaic bow and arrow. His hunting activities between the supermarket shelves made the 23-year-old famous overnight, as it were. He frequently appeared as the protagonist in his early performances and videos, the aim being to provoke rational consciousness and to enchant, in the truest sense of the term, audiences again with works such as Mein Leben als Taube (My Life as a Dove, 1996).
Around the turn of the century, Jankowski expanded his art to include social systems such as that of religion, politics and the entertainment industry. Here he himself increasingly remained in the background, as the image designer. Instead he availed himself of existing media formats and their production processes so as to clearly illustrate routine behaviour in the respective profession. He embroiled TV priests, politicians or fortune-tellers in collaborations so that they voluntarily became team mates, sometimes even unwittingly. This appropriation strategy culminated in 2011 in Casting Jesus (2011), for which he got representatives of the Vatican to choose the best Jesus using the format of the Casting Show.
The large-scale monographic show at the Kunsthalle Tübingen entitled I WAS TOLD TO GO WITH THE FLOW presents a survey of Jankowski’s extensive oeuvre, encompassing not only films but also photographs, sculptures and paintings. Here the metaphor of the travelling artist leads to the heart of Christian Jankowski’s artistic praxis. Not only is travel a constant components of his life, it has also become encoded in his DNA as an artist. Adopting the distant stance of a researcher, Jankowski also engages with his own culture. The exhibition invites viewers to see our life world, history, the media and art from a whole new perspective.
To accompany the survey show at the Kunsthalle Tübingen an extensive catalogue will be published with essays by Karen van den Berg and Oobah Butler and with illustrations of all the artist’s works from between 2014 to 2022.
Curated by: Dr. Nicole Fritz
Curatorial assistance: Lisa Maria Maier
(Press Release: Kunstmuseum Tübingen)
Current Exhibitions
VIA DETOUR – UEBER UMWEGE, Robin’s Nest
June 24th – June 25th 2022
Ein Kunstprojekt parallel zur documenta 15 im Werra-Meißner-Kreis18 internationale Künstlerinnen setzen das Thema Nachhaltigkeit in künstlerische Aktivität um. Das Baumhaus-Hotel Robins Nest, nur eine kurze Zugfahrt von Kassel entfernt, ist der Ort für ein Kunstprojekt, das für die Laufzeit von drei Monaten parallel zur documenta 15 konzipiert wurde. Das Projekt repräsentiert die Verbindung von Installation, Skulptur, Sound, Performance und Malerei, atemberaubender Natur und archaischer Architektur als einen immersiven künstlerischen Raum im Wald. Die teilnehmenden Künstlerinnen sind: Christoph Weber, Christian Jankowski, Gregor Hildebrandt, Tue Greenfort, Christian Egger, Nick Kuepfer, A Common Collective, Louis-Alexandre Beauregard, Maria Hinze & Hans Leser, Sadie Laska & Kevin Doria, Karl Lemieux, Gambletron & Johnny Forever Nawracaj, Jason Gillingham, Peter Becker, Ben GavinNachhaltigkeit und Materialbeschaffung im lokalen Umfeld stehen im Mittelpunkt des Projekts. Viele der neu entwickelten Kunstwerke werden aus recycelten Materialien von Becker Recycling entstehen und spannungsreich in die Hotel- und Naturlandschaften von Robins Nest eingebunden. Folglich wirken die Kunstwerke nicht nur im Dialog mit der einzigartigen Natur, die der Ort bietet, sondern sind auch ein Kommentar zur zeitgenössischen Kunstproduktion und Kunstrezeption: Sie bieten eine Möglichkeit zu Reflexionen über Kunst, die mit einer lokalen, nachhaltigen und umweltbewussten Perspektive Hand in Hand gehen.Die beiden Kurator*innen, Maria Hinze und Peter Becker, möchten mit diesem Kunstprojekt auf an-schauliche Weise zeigen, wie sich Natur, Nachhaltigkeit und Kunst verbinden lassen. „Es ist ein künstlerisches Experiment, das uns bereits heute dazu motiviert, in den kommenden Jahren auch hier weiterzumachen“, sagt Peter Becker. Die eingeladenen Künstler:innen werden für den Zeitraum der Residency eine Woche lang vom 12. bis 17. Juni im Robins Nest zusammenarbeiten und -leben. Ortsspezifische Kunstwerke wie Installationen, Außenaufnahmen und Performances entstehen, die organisch und in Symbiose mit der vorhandenen Landschaft wachsen werden.
(Press Release: Baumhaus-Hotel Robins Nest)
Chapter 5IVE: Samir Bantal & Rem Koolhaas, Het HEM
May 7th – September 25th, 2022
“Can you be urban and rural at the same time?
Was the countryside ever romantic?
Was mankind once better?
Why did we embrace the Market Economy at the exact moment that science knew Climate change was upon us?
Does A.I. offer help?
When did we cease to meander?
Is it too late?
Where did the cows go?”
Samir Bantal & Rem Koolhaas
The extensive study ‘Countryside’ by our Guests Samir Bantal & Rem Koolhaas is the starting point of Chapter 5IVE. This study, started in 2012, delves into contemporary rural developments all across the globe. According to Samir and Rem, cities have long ceased to be the locus of major transformations in our lifestyles, instead, these changes are happening in the areas outside of cities. Following a number of brainstorm sessions with Guests Bantal and Koolhaas, curator Rieke Vos has developed an extensive exhibition featuring works that make us aware of the paradoxes between rural life and living in the cities. The works in this exhibition make us aware of these paradoxes and give space for a critical reflection on our relation with rural life and nature, now and in the future.
Participating artists Ian Cheng, Jasper Coppes, De Onkruidenier, Agnes Denes, Cathy van Eck, Future Farmers, Christian Jankowski, Suzanne Husky, Gerard Ortín, Diogo Passarinho Studio, Musasa & Maarten Vanden Eynde, Rembrandt van Rijn, Xinlin Vivian Song, Agnes Waruguru (and others)
Chapter 5IVE is curated by: Rieke Vos
(Press Release: Het HEM)
SpielART, Schloss Achberg
April 9th – October 23rd, 2022
Stadt und Landkreis Ravensburg sind weltbekannt für Spiele und Kinderbücher. Schloss Achberg und Kuratorin Dr. Ilonka Czerny nehmen das zum Anlass, zu erkunden, was Spiel und Kunst miteinander zu tun haben. 15 Künstlerinnen und Künstler, ein Künstlerduo und ein Spielentwickler-Team sind dabei.
Ausstellungen zu diesem Thema haben sich in den letzten Jahren vor allem für Videospiele interessiert. Die Schau in Achberg lässt durchaus spüren, wie stark das „Gaming“ das Spielen verändert. Unter dem deutsch-englischen doppeldeutigen Titel „SpielART“ entfaltet sie zeitgenössische künstlerische Positionen, die Digitalisierung und Gamification voraussetzen und sich zum Teil daran abarbeiten. Dabei spielt die Ausstellung konsequent Vorzüge des Analogen aus: Räumlichkeit und Sinnlichkeit. Zugleich erforscht sie das Spielen als zutiefst menschlichen, seit der Steinzeit immer neu geübten Umgang mit der Welt. Die Ausstellung durchzieht ein doppelter Grundgedanke: „Kunst kann ein Spiel sein“ und „Spiel kann Kunst sein“. Einige Arbeiten wurden eigens für die Präsentation in den Räumen von Schloss Achberg entworfen oder dafür angepasst. Die ersten sind schon im Schlosshof und in der Eingangshalle zu bestaunen und locken Neugierige in die barocken Ausstellungsräume im Inneren.
Die Ausstellung ist ein Ort der Begegnung, in der Anfassen und Mitspielen erwünscht sind. Die Kunstwerke sind überwiegend interaktiv und laden alle Generationen zum Entdecken und Kreativ werden ein.
Künstlerisch-spielerische Impulse geben Bettina Bürkle, Joachim Fleischer, Gerhard Friebe, Kristof Georgen, Eva Gieselberg, Christian Jankowski, Ingeborg Lüscher, Anja Luithle, Andreas Pytlik, rosalie, Albrecht Schäfer, Eva Schmeckenbecher, Hanns-Martin Wagner, Erwin Wurm, das Künstlerduo Volker Morawe und Tilman Reiff sowie das Spielentwickler-Team Tan Grumser, Marcel Mulorz, Lukas Zimmermann, Dennis Loran, Richard Krutisch und Finn Baygan.
Während der Ausstellungslaufzeit werden Kuratorinnenführungen und thematische Ausstellungsführungen sowie Kreativ-Workshops für Groß und Klein angeboten.
Nicht nur die Kunstwerke sind interaktiv: Die Begleitpublikation in Form von Spielkarten lädt zum Mitdenken und Mitspielen ein. Hier können Besucher/innen selbst kreativ werden: Für ein Trumpfspiel werden die Kunstwerke beispielsweise reflektiert und bewertet.
Die Sparkassengalerie wird mit Herbert Mosers Installation temporär zur Dependance von Schloss Achberg. Eine interaktive Installation von Herbert Moser mit dem Titel “Panama oder Gott würfelt nicht” widmet sich dort vom 23. Mai bis 08. Juli 2022 dem Zusammenhang von Geld und Glück sowie von Geld und Macht.
(Press release: Schloss Achberg)
Form Follows Energy, OMR with joségarcía ,mx
February 9th – August 16, 2022
Form follows energy is a maxim that conveys a reconnection with the logic of creation and consequently, through a chain reaction, traces the history of what we conceive as time, from the Big Bang (energy) to current life on Earth (form).
This implies that the shape of any reality is the result of the energy that has been set in motion. In architecture, for example, form follows energy applies to the relationship between energy and form in our built environment. The ceiling in the form of a hyperbolic paraboloid of this modernist building ––the central work of this exhibition–– is a perfect example of the optimization of energy flows in its structure. Just as the distribution of energy on its roof is what gives shape to the building, the energy we invested in this project is testament to the form it takes today.
In that same logic, the energy that we manifest towards the Earth is the one that transforms it. This becomes more evident if we reflect on our past as a species and our current destiny, in which the imbalance shows its first truly serious consequences.
If we shorten the history of the planet to 24 hours, the modern human being appears at the last moment of the day, just before midnight. However, in that tiny period, it has fragmented what vital energy, in its balance, took 4.6 billion years to form.
Reality is the result of a program that has governed our operating system to date: form follows function. If we are aware beyond the utilitarian function of this syllogism (that is, as a tool in functionalist design), it describes the path that we were unconsciously taking as the dominant species on Earth.
Form follows function is, to date, the premise of an individualistic species, which makes use of the planet as a controllable and extractable resource. Form follows energy, on the other hand, implies aligning oneself with the logic of creation and actively helping the next link in the chain of reactions to be in tune with vital energy.
This exhibition follows the logic of both syllogisms. Through the work of 27 artists, the show presents a sequence of symbolic moments that illustrate the point in which we find ourselves now, where we came from, and hints at opportunities to update our operating system.
The layout of the exhibition is cumulative from one thematic hub to the next, until completing a narrative where the traveler returns to the origin, transformed.
The first of these paths explores what we already know ––what has already happened, and invites us to delve into our memory.
Welcome.
Past Exhibitions
The Real Show, CAC Brétigny
The Real Show, pilot episode
A copyleft concept explored across several opuses, “The Real Show” will be rolled out in different locations around the world. The first manifestation, taking place at CAC Brétigny, is the pilot episode of a succession of events that will echo a television or film series model, complete with spin-off, prequel, reboot and sidequel. At once inclusive and introspective, ricocheting around the art centre, online and in the public space through videos, podcasts, programmes, performances and publications, “The Real Show” excavates and exposes the bottom-up and top-down mechanisms of popularity and its representations.
Representations of the so-called popular are used by the media, from large corporations to YouTubers or TikTokers, to establish a level of authority capable of influencing our feelings as well as our socio-political behaviour. Likewise, the permanent spectacle of contemporary politics with its narratives that mirror those of a TV series (comfort characters, suspense, relentless rhythm, climax, clash, etc.), seems to verify Roland Barthes’ thoughts on the limits of cultural entertainment aimed at what he described as the easily influenced “popular spectator” Karl Kraus, and later Pierre Bourdieu, highlighted the influence of ‘pop’ culture on the media, and the resulting homogenisation. Some populist theories, such as those of Chantal Mouffe, set up the dichotomy differently: since the mass media and its tools legitimise the culture of the ruling classes, it is important to let people speak for themselves. Sharing certain movements, songs or any other cultural acts on social media or elsewhere allows for the construction of communities outside of the norm. As shown by cultural studies, a popular medium can be a vehicle for change or non-conformist ideas. This trend, which runs contrary to a classist vision of knowledge, is confirmed by the development of both mass and alternative cultures through streaming platforms and channels. In this ecosystem of representations, anonymity is either something to be feared or, on the contrary, sought out as refuge.
At CAC Brétigny, the artists invited for “The Real Show” stage forms of media (talk-shows, tutorials, political meetings…) to reveal both ideological pitfalls and principles of emancipation (Zeyno Pekünlü, Martha Rosler, Hannah Black, Yao Qingmei). The social choreography of Erick Meyenberg, Christian Jankowski and Santiago Mostyn accentuates the permeability between the world of images and that of bodies – the influence of one on the other. Older pieces by Luis Pazos and Martha Rosler offer a reminder that behaviour was being normalised through images long before the invention of social media. It is a question of appeal, and the idea of attractiveness also affects cultural institutions (Sean Raspet, Thomas Geiger / Kunsthalle3000) and the artist (Gwendal Coulon). Which processes of circulation encourage the emergence of the “popular”? Ghita Skali and Aslı Çavuşoğlu present newspapers containing rumours, urban legends and other political prophecies. They emphasise the importance of the mechanisms behind the construction of opinion, as does Virgile Fraisse with his new film about the whistleblower Christopher Wylie. After BCC Channel, The Big Conversation Space (Clémence de Montgolfier & Niki Korth) will continue its production of online television shows with The Talking Cure, at once a device for visitors of the exhibition to use and a tool for community management. Ask Addoley + Anna (Addoley Dzegede & Anna Ihle), for their part, will use Spotify to produce new episodes of their advice-podcast. Finally, anonymity – as much a tool for liberation as a means of avoiding responsibility – is given a voice by Hanne Lippard and Nora Turato.
“The Real Show” provides an international stage for the transnational issues raised by the pieces. The 49 Nord 6 Est–FRAC Lorraine in Metz, the Cité internationale des arts in Paris, sandwich in Bucharest, The Latvian Centre for Contemporary Art in Riga, and PLATO in Ostrava will also propose their own “Real Shows”, in which we will find some of the same protagonists from the pilot. These venues are also invited to participate in this first episode through artists’ proposals in order to explore these questions in different contexts.
An exhibition with multiple voices launched on the eve of the French presidential elections, “The Real Show” creates a space between private and public, between what is entertaining and what is political, a space where the stage and the intimate can make a common spectacle.
Text: Agnès Violeau and Céline Poulin
Translation from French: Annie-Rose Harrison-Dunn
Bread and Digestifs, callirrhoë
January 27th – March 19th, 2022
In addition to fat and protein, humans primarily need carbohydrates for their metabolism. The WHO recommends a 55-75% calorie content of carbohydrates in the diet. Bread can deliver that. It is compact energy and a staple food due to its ease of manufacture, storage and transport. You need bread to function. You earn bread by working. You work so that you have something to drink, something to eat, something to wear and something to sleep in. Those who earned themselves a place to sleep can seclude. But isn’t isolation the downside of privacy? Bread also becomes hard if it lies around for too long. But if you have a stone in your stomach, you still have to digest it.
(Text: callirrhoe.info)
Passierschein in die Zukunft. Joseph Beuys, Katinka Bock, Christian Jankowski, Jon Rafman, Kunstmuseum Bonn
October 07, 2021 – January 09, 2022
»if you have all of my multiples, then you have me completely.« Joseph Beuys, 1986c
beuys was a magnificent draughtsman and sculptor and an artist whose ultimate aim was to shape society as a whole. his multiples, which were intended to bring homeopathic doses of his thinking into every household, served him to this end. between 1965 and 1986 he created 556 multiples, of which more than 400 are part of the collection of kunstmuseum bonn. ranging from bags of dried hare’s blood to political manifestos, these works reflect his thinking and his art. the multiples lead to the centre of his oeuvre as a whole.
the social, ecological and existential questions, raised in beuys’s works underpin the great topicality of his art. his works are signposts for a society in need of reform, which requires lateral thinkers like beuys. there is growing interest in his art, especially among the younger generation of artists and researchers: beuys is contemporary! the exhibition draws on the kunstmuseum’s multiples and presents them alongside current artistic positions. thus, the historical view of beuys’s work is also a preview of what is to come.
curated by stefanie kreuzer and christoph schreier
opening 6 oct 2021
(Press release: Kunstmuseum Bonn)
tinyBE • living in a sculpture, Metzlerpark, Frankfurt
Embark, 129 Gallery, Western Comfort Hostelboat
June 18 – 25 July, 2021
Embark grew out of a desperate need for undulation in a time of artistic and social stagnation. At each stage of this pandemic we are reminded of the transient nature of our lives. This infamous respiratory disease has unearthed uncertainty and fear in its wake and yet it has offered many a much-needed pause for thought and opened a door for robust introspection, reflection and conversation.
Empty cabin doors will open and fifteen international Berlin based artists will exhibit works conceived for this unique occasion.
Single occupancy viewings will provide a safe environment for the public to view and experience these works in isolation and therefore offers an opportunity for a rare, personal experience with each one of these works.
(Text: 129gallery.com)
Beste kunstwereld, … [Dear art world, …], Lichtekooi Artspace, Antwerp
May 08 – June 26, 2021
Lichtekooi presents its first exhibition: Beste kunstwereld, … [Dear art world, …], a group exhibition devoted to the context of the art world. The invited artists reflect on the various factors and stakeholders, ranging from the commercial circuit to the art world’s institutional framework and crowd. With this exhibition, Lichtekooi aims to examine the art world and its inner workings – of which it will itself become a part – from an artist’s perspective.
With works by Christian Jankowski, Marcel Broodthaers, Evelin Brosi & Elvis Bonier, Jacques Charlier, Vaast Colson, Zoé Couppé, Ian De Weerdt, Olivia Hernaïz, Hannah Kalaora, Lee Lozano, Yemo Park, Jasper Rigole, Stijn ter Braak and Various Artists. Curated by Nadia Bijl, Pepa De Maesschalck and Vedran Kopljar.
(Text: Lichtekooi.be)
Auszeit. Von Pausen und Momenten des Aufbruchs, Kunstmuseum Ravensburg
Photo credit: Wynrich Zlomke
April 04 – July 11, 2021
Based on the Selinka Collection of the Kunstmuseum Ravensburg, this group exhibition is dedicated to the multi-layered meaning of the term ‘time-out’. In a dialogue between works of the 20th and 21st century, the tension field of time-out is thematized with moments of pleasure and idleness up to forms of protest and resistance. Already the expressionist works of the artist group “Brücke” (1905-1913) symbolize time-outs of pleasure and refusal. In the depictions of excursions into nature at the beginning of the 20th century – as in the case of nude bathing at the Moritzburg ponds – both the restful break and a counter-design to the prudery of Wilhelmine society are recognizable. Contemporary positions also focus on time-out as part of a social critique, questioning the classical clocking of the economy or emphasizing the importance of time-out in artistic productivity. At the latest through the works that encourage contemplation or even humorous deceleration, the genuinely modern notion of time-out as an interruption of the clocked everyday life becomes at the same time physically tangible for the visitor. With the temporary freezing of public life during the global Corona pandemic, the term ‘time-out’ has in turn acquired new connotations, which Romanian artist Dan Perjovschi (*1961) pointedly comments on in his graphic interventions.
With works by Marina Abramović, Bas Jan Ader, Cosima von Bonin, Natalie Czech, Alejandro Cesarco, Die Tödliche Doris, Otto Dix, William Engelen, FORT, Valeska Gert, Rodney Graham, Axel Heil, Sophia & Franziska Hoffmann, Christian Jankowski, Ernst Ludwig Kirchner, Barbara Klemm, Friedrich Kunath, Mark Leckey, Otto Mueller, Ernesto Neto, Yoko Ono / John Lennon, Max Pechstein, Dan Perjovschi, Karl Schmidt-Rottluff, Situationist International, Mladen Stilinović, Grace Weaver, Erwin Wurm and Andrea Zittel
(Text: Kunstmuseum Ravensburg)
Defense Mechanism, Christian Jankowski for Quote-Unquote, Geothe Institut Bucharest
May 05 – May 13, 2021
“The encounter between the military apparatus and the psychotherapeutic room generates the discursive correspondent of a tensioned elastic band that seeks to find resolution. If one reduces these two domains to two divergent theoretical positions, the first suppresses individuality against a collective identity defined by the same purpose, while the latter celebrates individuality and its possible inherent contradictions. Both of them have their own defense mechanisms when facing those that would question their practices. And yet, the two realms are profoundly cross-contaminated: the everyday rituals represent a day to day standardization inspired by the military instrument. The social values “closely associated with the military identity, such as loyalty, honour, conformism and subjugation, are privileged and framed as being desirable for citizens and as panacea for certain social issues”, claims anthropologist Catherine Lutz. Outside the therapy room, the emotion submits itself to the disciplinary rhetoric with the attempt of integrating itself in the public sphere.
Jankowski suggests a format through which the defense mechanisms of the two fields intertwine, a video work resulting from the dialogue between the clinical psychologist Alexandru Bătinaș and five Romanian soldiers. Through language, networks of associations and symbolic interaction, they analyze the context in which they find themselves, the implications of their professions and personal considerations regarding contemporary art in the social landscape. In parallel, a series of photographs of dioramas from the Military Museum in Bucharest are paired with texts that highlight different types of defense mechanisms, as assembled by popular health websites.
Through collaboration and dialogue as artistic practices, Defense Mechanism assesses our inner and outer worlds, aiming at extending new perspectives and images.”
(Quote-Unquote Press Release)
SUPERmARKT – Frische Lieferung, Akademie der Bildenden Künste München
April 08 – April 15, 2021
Der Supermarkt – ein Ort abseits der Kunst? Oder finden wir dort sogar die Ursprünge? Denn wo
entspringt Kunst eigentlich? Marcel Duchamp sagte 1913: „Kunst liegt auf der Straße und sie steht in den Regalen der Kaufhäuser.“ Demnach sind Kunstwerke nicht nur in Museen und Kunstinstitutionen gut
aufgehoben. Zahlreiche namhafte Künstler:innen und Kunststundent:innen wagen deshalb den Versuch
und geben ihren Werken im Münchner REWE Premium Markt in den Fünf Höfen eine Bühne. Unter
ihnen auch bekannte Größen, wie Christian Jankowski, Alicja Kwade und Gregor Hildebrandt, die ihre
Werke bereits in großen Museen, wie „The Metropolitan Museum of Art“, in anerkannten Galerien und
auf internationalen Ausstellungen, wie der „Biennale Venedig“, zeigten. Werden sich die Kunstwerke
zwischen all den kantigen, feurigen, knalligen, süßen, glitzernden und hübsch sortierten Warenartikeln
behaupten können?
„Einen Markt kennt die Kunst ja bereits, schließlich gibt es für sie auch einen und zudem auch jährlich
große Kaufhallen“, weiß Nata Toglatti. Die Kunststudentin der Akademie der Bildenden Künste München
ist Kuratorin dieses einzigartigen Projekts, in dem Kunstausstellung und Supermarkt eine Woche lang in
einer Location verschmelzen werden. Mit der Ausstellung möchten die teilnehmenden Künstler unter
anderem darauf hinweisen, dass Kunst ebenfalls ein systemrelevanter Sektor ist. Marktmanager Husein
Dugonjic freut sich auf die Aktion in seinem Markt: „So ein einzigartiges Projekt gab es noch nie. Kunst
und Lebensmittel passen gut zusammen. Davon können sich Kunstinteressierte und Supermarktkunden
bei dieser Ausstellung überzeugen.“
Die Besucher erwarten Malereien, Skulpturen, Video- und Soundarbeiten sowie Rauminstallationen.
Zusätzlich sind besondere Aktionen geplant, die auf einen größeren Kontext und die Kunstgeschichte verweisen: exklusive Kunstpublikationen, „Campbell’s Soups“ und „Brillo Hocker“ im Andy-Warhol-
Design sowie „Toast Hawaii“ im to-go-Bereich.
(Press Release: Nata Togliatti)
Ticker Tape, BOTANICC Antwerp & NICC Vitrine Brussels
February 21 – March 22, 2021
The exhibition ‘Ticker Tape’ invites artists to provide an immaterial and text-based work of art via wireless communication. We chose artists for whom a textual work is relevant in their oeuvre and for whom this invitation could be an artistic pleasure or a challenge. Light, color, rhythm, frequencies, language, and symbols are used to convey these artistic interventions. They are also intertwined between two devices and two spaces. This project aimed to explore other networks, methods, channels, and visual strategies to connect art and artists with the public.
(Text: NICC.be)
Healing Games, Christian Jankowski for Quote-Unquote x Suprainfinit, Bucharest
October 30 – November 19, 2020
Talk therapy informs and infuses more and more discourses outside therapists’ offices. From personal development coaching to social media and entertainment or political analysis, therapeutic speech enters the scene as a linguistic agent and decodes choices, habits or individual biases, online and offline. It makes unconscious choices familiar and explainable through patterns of talk, action and thought. It dismantles automatisms by highlighting the shadows in which shame, joy, guilt or desire hide for every individual.
Healing Games is the solo exhibition of artist Christian Jankowski, whose practice touches on dialogue at both a personal and a collective level, through a newly commissioned work, Family Constellation, and through previous works that echo concerns from related fields.
Sender and Receiver, Fluentum, Berlin
September 9 – December 12, 2020
For the exhibition Sender and Receiver, Christian Jankowski takes what is probably the most famous duo in classical communication theory to reflect on forms of transmission processes: the sender and receiver. Developed in the late 1940s as a simple mathematical model for optimizing signaling in the telecommunications sector, it quickly became an absolute allegory for the exchange of information between two channels. This abstract model, in which meanings and contents are ignored without comment, immediately draws attention to a previously unnoticed component: the transmission channel through which the message to be transmitted is routed. It is precisely this fragile threshold moment during a transfer that decides whether communication is successful or not.
Christian Jankowski for Bangkok Art Biennale 2020
October 29 – January 31, 2021
Christian Jankowski 