ARCHIVE EVENT 60.
29.02.2024
LOCATION: OHM, Köpenicker Str. 70, 10179 Berlin,BERLIN
FORMAT: Exhibition, performance, live-set
CURATOR: MOLT TEAM
ARTISTS:
Lisa GoetzeSerge SanchesDeividas VytautasEli Cortiñas Jun OrtegaYoung Boy Dancing Group Ma Yongfeng Saara Ekström Stéphanie LagardeSelin DavasseHannah EndrulatUxileMaayAriesfallenangel
LISA GOETZE
It Seems As If Lisa Goetze's Hyperrealistic Drawings Of Body Parts Develop A Life Of Their Own. Although It Appears That The Muscle Shapes Are Merely Scratched Into The Paper By Clear Hard Lines, This Process Allows The Formations To Grow In An Almost Tumor-Like Fashion. The Outcome Is An Organic Aesthetic Whose Precise Classification Remains Almost Impossible. Yet, Inherent In This Prayer-Mill-Like Repetition Of Lines Is A Humanistic Interest: The Devotion To And Constant Fixation On The Human Form In An Effort To Attain A Sense Of Meaning And Control Through Rendering It Up Close.
The Neurotic Ceremonial Of Drawing Functions As A Means And Strategy Of Anchoring And Locating Herself And Those Around Her In A Shared Physical Reality. Only Through The Titles Of The Works And The Juxtaposition Of Other Media In The Exhibition Space Does This Assertion Of Availability Resist. Symbolic Stained Glass Meets Photo Collages Of Sports Cars Driven To Scrap And Playfully Poses The Question Of Shifting Valence, Its Disappearance, And Emerging Symbolism. They Reveal A Constant Effort To Make Sense Of The World And Our Existence Through The Things That Surround Us And The Way They Relate To Each Other.
Serge's Work Is A Constant Attempt To Collect Fragments From His Diverse Spaces, Combining Artistic Disciplines To Create A Bond Between The Individual And His Surroundings. His Works Resemble A Clash And A Melting Of Worlds And Elements, A Painful Merging Of Pieces That Were Perhaps Not Meant To Exist In The Same Place. The Final Piece Is Never Final, Often Containing Elements Of Other Works, Merged Into The New. Through This Process, He Gives Value To Things That Have Been Discarded Or Even Considered Deceased.
FILLED UP, TORN OPEN 2022 Digital Video 8’56’’The Expansive Film-Based Project Is Based Around A Documented Live-Action Performance. The Algorithmic Narrative, Resembling An Oversaturated Tiktok Feed Unfolds In Fragments, Capturing Anonymous Characters Engaged In A Range Of Ritualistic, Intimate, And Violent Acts. Throughout The Piece, An Unyielding Tension And An Ever-Present Sense Of Threat Persist, Deliberately Unresolved Within Its Looped Format—A Perpetually Rising Climax That Never Finds Culmination. The Characters’ Actions Are Charged With Feelings Of Desire, Rage, And Hope, But Ultimately Evolve Into Seemingly Aimless And Condemned Acts, Echoing The Futile Struggles Of Sisyphus. Layered Over The Non-Verbal Performance Are Various Additional Media Elements, Including 3D Renders, Ai Animations, Found Footage, Poetry, Pop Songs, And Fragments Of Text From Novels, The Internet, And Everyday Conversations Alongside A Musical Composition. These Elements Collide And Blur The Boundaries Between Notions Of The Internal And External, Self And Other, Online And Offline.
CONFESSIONS THROUGH AN OPEN CURTAIN 2011, Single Channel Video, 5’30’ The Curtain Has Long Been Regarded As Being At The Beginning, An Item Which Veils And Conceals. In The Baroque And Bourgeois Theatre Of The 18Th Century It Is Accorded A Particular Power, Which Gives It An Active Role. Not Only Does It Announce The Play, It Becomes A Figure Itself, With Its Folds, Movements And Shades Of Colour, Ranging From Opaque To Transparent. - In Cortiñas’ Work The Curtain Turns Into The Central Figure With Its Individual Sounds, Sweeping Size And Physical Characteristics. In Front Of It And Behind It Are Blonde Women, Allowing The Viewer Only To Look Over Their Shoulders. Cortiñas Utilizes This Motif From Romanticism Which Allows The Female Figures To Be Made Anonymous As Well As Be Typified, Seeming To Merge Into One. Alongside The Women We Gaze Out Of The Window Into The Distance, Into The Past, Into The Future, Celebrate The Nostalgic Image Of The Romantic Idea Of Inner Freedom And Are Halted By The Rasping Voice Of A Mature Woman: Every Woman Has A Career – The Career Of Being A Woman.
JUN ORTEGA
MAKE OF ME IV 2023 HD VIDEO, 4’39’’In The Distant Future Al Will Regenerate Human Memories From Fragmented Bits Of Information Found In Rubble. It's A Process Of Creating Shadows By Way Of Film.Here, The Al Depicts A Memory Of The Prestige And A Memory Of The Film Bambi Through Algorithmic Assemblage And Restructuring Of Broken Texts…
YBDG X IKU 2020 HD VIDEO, 16:9 5’14’’WITH/ MARIA METSALU, NICA ROSES, MANU ANIMA MUSIC: IKU
THE SWIRL 2002, SINGLE CHANNEL VIDEO INSTALLATION 15’6’’ The Swirl Is A Work That Is As Innocuous As It Is Brutal. In Spite Of Its Compositional Simplicity And Optical Beauty, It Is Difficult To Look At. The Gaze Is Directed Into The Open Drum Of A Washing Machine That Is Loadable From Above. In An Uncut Shot, We Observe A 15-Minute Wash Cycle. However, In The Drum There Are Not Brightly Colored Pieces Of Clothing, But Six Goldfish. The Pointlessness Of The Torment And The Helplessness Of The Tormented Can Be Read As A Metaphor For Torture. But It May Also Be Understood As Social Criticism And A Cynical Commentary Upon The Artist's Existence, If One Takes Into Consideration That The Fish Functions As A Symbol For Prosperity Within Chinese Culture. During The Rapid Transition From Authoritarian Communism To Untrammeled Capitalism, Independence And Distance From The Mechanisms Of The System Continue To Be Difficult. Artists Tell Us Of This Experience, Not Least Of All Fostered By The Recent Boom Of Contemporary Chinese Art In West.Everything That Rises Must Converge 2018 Video Documentation Of Site-Specific Performance - 20 Metal Drawers, Each 38X30X10 Cm, Alcohol. «During One Of My Personal Projects At Organhaus, A Project Space In Chongqing, China, I Arranged 20 Specially Customized Metal Drawers In A 4X5 Configuration On The Floor, Poured Each Drawer Full Of Locally Produced High Degree Liquor, And Then Lit The Contents Of Each Drawer In A Space That Quickly Rose To Over 50 Degrees Celsius In A Matter Of Minutes.»
AMPLIFIER 2017 SINGLE CHANNEL 17'05'', 2017TIME INEVITABLY MOVES FROM PAST TO FUTURE, PASSING THE Present Moment. Mankind Encloses To Time Its Marks, Stains And Ruins. On The Verge Of Vast Changes Time Acts Abnormally. It Leaks, Folds And Fractures, Allowing Things Belonging Elsewhere, To The Otherworldly, To Permeate Itself. The Experimental Film Amplifier Documents The Presence And Significance Of History In Our Everyday Surroundings. The Work Focuses On Helsinki Olympic Stadium, Regarded As One Of The Most Beautiful Sports Buildings In The World. Completed In 1938 For Olympic Games That Never Took Place, The Building Outlines Pure Functionalist Architecture And Stands As A Landmark For Optimistic Utopia And Its Collapse. Distant Voices Resonate Inside The Decayed, Desolate Monument, Where Dance, Magic And Architecture Meet In A Symbolic Encounter. The Contrast Between Body And Stone, The Passing Of Time And The Relationship Between Present And Past Get Convoluted In An Immersive, Sensory, Nearly Physical Experience.
DÉPLOIEMENTS 2018 HD VIDEO, 16:9, COLOR, STEREO 16’17"Déploiements Highlights The State’s Practice Of Control And The Effect It Has On The Human Body And Its Ability To Move. In A Contemporary Era In Which The Present Is Dictated By A Potential Future, The Video Draws A Parallel Between Two Types Of Simulations: On The One Side, The Patrouille De France—The Aerobatic Demonstration Team Of The French Air Force—Rehearsing The Choreography Of An Air Show Through A Series Of Hand Gestures And A Precise Scripted Language, On The Other Side, A Protest Scenario Simulated By Crowd Control Software Created For Police Training Purposes In Fictional Urban Environments.
MALICIOUS MISCHIEFInside This Performance There Are Two Pets. - One Is Domesticated&Discarded&Reviled—A Pigeon: She’s Dirty. She’s Grimy. She‘S The Nature Of The City. Ignored And Unloved, She’s Always Hungry. She’s Feral. She‘S Thriving. Humans Hate Her For Not Dying. - The Other Is Disciplined&Prized&Worked-To-Death —A Horse: She’s Strong. She’s Fast. She’s Tired. She Competes, She (Sometimes) Wins, But She’s Defined By Her Losses. She’s Spooked, She’s Saddled, She’s Stabled. Her Caretakers Know She’s Too Gentle To Be A Runaway Horse, And Good Horses Get Ridden.
ARIESFALLENANGELCLOSING SET
ALL PHOTOS BY GIL CORUJEIRA
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