Martins Kohout

dilithium, chapter 2: doppelgängers

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EXILE is happy to participate in this year’s edition of curated by with an exhibition curated by Jen Kratochvil. Participating artists: Hynek Alt, Nikola Balberčáková, Květoslava Fulierová & Petra Feriancová, Laura Gozlan, Martins Kohout, Astrid Proll, Jelisaveta Rapaić, Anna Rusínová, Sráč Sam, Miriam Stoney

i wrote jen this summer from paris, while overlooking the seine. i have no idea where jen is. somewhere in the us, i guess. but she (she?) could be anywhere. jen and i are google-doppelgängers. jen has my email. she (let’s settle with she for simplicity’s sake) beat me to it, getting my address earlier than i did. she has one “k”. i’m using two, like a crazy person, just because of her. but it’s not her fault. she didn’t know about me. i opened my account in 2011. three or four lifetimes ago. jen receives a lot of my mail. i got a single one from her, by accident. did you know when you were setting up your gmail that it would stay with you forever? i’m afraid jen is a terf. or even worse, a trump voter. why does one always need to fear the worst? that obviously says more about me than about her. jen might be my friend. even though my over-cluttered brain and overflowing heart can’t physically encompass more human beings. even though i still try. i love them. human beings. i love you. all of you. mostly. if you’re not terfs, or trump voters and such, that is. and this show was supposed to be about doppelgängers. about shadow images whose stories we don’t want to, can’t, or are not willing to tell. doppelgängers of who? not important. of us. all of us. the rest of us or the last of us mushrooms. we keep fighting binaries. binaries are winning though. just look around. winner/loser. harris or trump. poor and proud or a hypocrite. east and west, still, can you believe it. a delicious sweet energizing beverage or boycott. morality, or not. no left, no right anymore, yet still searching for luke skywalker at every step. it’s her or him and don’t you dare to think otherwise, hide in your little corner and pls just shut up. punch. punch. crying. boxers, i mean, shouldn’t sport be just? why, oh why. i really hope jen is not my mirror image and we don’t live in a multiversal simulation because this one life is too much already. overwhelmed. that’s what i am. and tired. and that’s ok, they keep telling me, memes. do i need jen? nope. i don’t. simple as that. does she need me? probably the same. but how would i know? i’m not her and have no idea what she’s dreaming of, what flowers she likes, how much the concept of the so-called traditional family means to her, or what’s her favorite conspiracy. do i fear jen? tbh, i don’t know. fairytales say doppelgängers are scary and ominous. but does that apply to email addresses too? one can’t even ask these stupid llm things anymore, because. i want to hide, i want to hide in anna’s armor; transform myself with nikola, one way or the other; levitate with hynek, oblivious; love deeply with petra and květoslava; pierce walls by threads with jelisaveta, live through times made mythology with astrid; age endlessly with laura; and simply curl up and dive in those nostalgia fetishes with martins. a warm embrace. calming. reassuring. i was afraid of being too loose. so i did my best doppelgänging be-a-western-gurl act to make this proper. and now i’m trying to smash the whole thing to pieces. but it is a gallery show at the end of the day. too proper actually. i’m disappointed with myself, but also, who cares. i just hope jen would come.

jen

→curatedby.at

→dilithium, chapter 2: doppelgängers, exhibition text

10×1000

Posted on by Regina Regina

EXILE and the participating artist have taken the ongoing global crises as a starting point to offer selected artworks at a reduced price to directly support various charitable causes. The ten selected artworks were offered at a fixed price of 1.000 EUR to be donated directly by the buyer to the cause selected by the respective artist donating the work.

We would like to thank everyone for taking initiative, acquiring an artwork and donating to the causes selected by each artist. Thank you!

The offered artworks of 10×1000 were:

Kinga Kiełczyńska: Hidden interface (beaver and Andrii), 2022. Garden waste of hand-carved hazelnut shoots, beaver-worked driftwood, reclaimed cables, 90 x 60 x 60 cm
Exhibited as part of the artist’s →solo exhibition at EXILE in 2022
1.000 EUR to be donated directly to →Polish Humanitarian Action

Erik Niedling: Future 01/19/17, 2017. Tin, Lead, 8 x 53 x 18.5 cm
Exhibited as part of the artist’s →solo exhibition at EXILE in 2017
1.000 EUR to be donated directly to →Doctors without Borders

Nschotschi Haslinger: Untitled, 2019. Color pencil on paper, 30 x 42 cm
Features on the cover of →Index Nr 86, Jan 2019
1.000 EUR to be donated directly to →Doctors without Borders

Kerstin von Gabain: Pear I & II, 2022. Wax, 13 x 6 x 6 cm each
500 EUR each to be donated directly to →Caritas Ukraine Funds

Gwenn Thomas: Standard Candles, 2017. Wood and black acrylic paint, 52 x 46 x 26,5 cm
Exhibited as part of the artist’s →solo exhibition at EXILE in 2017
1.000 EUR were donated directly to →Fight for Right Ukraine

Martin Kohout: Coll., Mongolia-Cambodia, 2016. Wood, stamps, plastic grid, 52 x 34 x 7 cm
1.000 EUR were donated directly to →Fight for Right Ukraine

Sine Hansen: Bohrer mit Birne, 1970. Screen print, 61 x 42 cm.
Exhibited as part of the artist’s →solo exhibition at EXILE in 2021.
1.000 EUR were donated directly to →Medeor Fund for Ukrainian hospitals

Pauł Sochacki: Waiting for the rainbow, 2022. Oil on canvas, 27 x 27 cm
1.000 EUR were donated directly to →United Nations Refugee Agency

Nazim Ünal Yilmaz: Tare, 2010. Oil on canvas, 50 x 40 cm
Exhibited as part of the artist’s →solo exhibition at EXILE in 2020
1.000 EUR were donated directly to →Palestine Children’s Relief Fund

Tess Jaray: Untitled (Navy Blue), 2010. Unique inkjet on archival paper, 20.2 x 24.2 cm
Exhibited as part of the artist’s →solo exhibition at EXILE in 2019
1.000 EUR were donated directly to →Red Cross Ukraine Funds

Wall Drawing 731 and five inserts by Martins Kohout

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In July, 1993, GALLERY ONETWENTYEIGHT presented Sol LeWitt’s Wall Drawing 731 as part of the gallery’s exhibition program. Now, twenty one years after its first and only installation, EXILE and GALLERY ONETWENTYEIGHT collaborate to once again install this particular Wall Drawing in its original space.

Wall Drawing 731 consists of three individual parts: A, B, and C. 731 A (two black diamond shapes with white bands on blue and red ink-washed split wall) and B (one blue and one red ink-washed diamond shape with white band on black wall) are installed on opposing walls in the front room of the gallery and, through their symmetry and color scheme, form a visual dialogue with each other. Part C (red ink wash diamond shape with white band on yellow wall) ruptures this symmetry with its singular location on an irregularly shaped wall adjacent to Part B and it’s newly introduced yellow color.

The re-installation of LeWitt’s Wall Drawing 731 in its original and architecturally almost unchanged location presents an exceptional opportunity to re-evaluate the piece within an otherwise completely different cultural, architectural, social, as well as art-historical sphere. The two versions of the drawings, both in 1993 and now in 2014, if to be understood in their material sense as two thin layers of paint, can be seen as a beginning and an end in which twenty one years of history are encapsulated. But the exhibition’s cyclical reappearance is in fact a lure. While the conceptual source of the work remains unchanged, its re-execution is always unique due to a constantly shifting set of variables.

When imagining the two drawings of Wall Drawing 731, as if they are transparently one on top of the other, for example, in form of their photographic reproductions, their subtle differences would become evident. These differences represent the identity of the drafts people who execute the work, as well as the subtlety of LeWitt’s thought and artistic process. Each viewer is invited to approach the exhibition on a cultural, personal, as well as social level reflecting upon myriads of changes that have occurred since the first drawing of the original work in 1993. Repetition becomes a strategy for reflection upon continuity and change.

The five insertions by Martin Kohout create complexity beyond simple historical reconstruction. While referencing the work of LeWitt, Kohout’s insertions provide a kind of quiet irritation – the artist’s personal response and contemporary interpretation to the work on display and the process of Lewitt.

Works on display:

Sol LeWitt
Wall Drawing 731: A diamond with color ink washes superimposed, within a 1″ (2.5 cm) white band.
Color ink wash
First Drawn: Kazuko Miyamoto and others
Installation: GALLERY ONETWENTYEIGHT, New York, NY, July 1993
Second Drawn: Hidemi Nomura and Michael Benjamin Vedder
Installation: GALLERY ONETWENTYEIGHT in collaboration with EXILE, New York, NY, August 2014

Martin Kohout
Insertion #1
Untitled, hot-glue on paper, 46 x 34 cm (framed), 2014

Insertion #2
Untitled, hot-glue on paper, 46 x 34 cm (framed), 2014

Insertion #3
Untitled, hot-glue on paper, 46 x 34 cm (framed), 2014

Insertion# 4
1B. untitled, hand-made railing of elastomer and metal,
5 x 59 x 14 cm, 2011

Insertion #5
1C untitled, hand-made railing of elastomer, metal and wood,
5 x 107 x 8 cm, 2012

Batears

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We are happy to announce the fourth solo exhibition by Martin Kohout entitled BATEARS in collaboration with Adrienne Herr.

 

I had a dream where I was behind glass, flying and flying along with the rest of the warnings. Monk, Anthropomorph, Dog, Harpy, Devil, and Plant monster were all there. Many gates, all protecting one another in spiteful rows. It felt like a place very near here, and somewhere I never go. All of a sudden there was a pen attached to my wing, that started a tricky move like one I remember before the joining of seasons…

If no sickness is, O God, what fele I so?
And if sickness is, what thing and which is she?
If sick be good, from whennes goeth my baleful thought?
But if that I consente that it be?
And if that I consente, I dutyfully
Allas! what is this wondre maladie?

→Click here for all chapters of Adrienne Herr’s text flight log

 

BAT EARS

BAT NEARS

BAT FEARS

BAT REARS

BAT TEARS

BAT GEARS

BAT YEARS

BAT HEARS

BAT WEARS

BAT NEARS

BAT EARS

Das stille Leben des Sammlers Kempinski

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You are cordially invited to the inaugural Private Viewing of the imaginary collection of Mr Kempinski. This exhibition brings together works by over 60 artists, now presented for the very first time for collective viewing.

New York-based curator Mr Miller and Berlin-based Mr Siekmeier were asked by Mr. Kempinski to create a collage of artworks that reflects upon the relationship between art and collecting.

The Kempinski collection is by definition fluctuant and can move freely from one context to the next.

Exhibition events:

Sat, May 31, 7pm
Kinga Kielczynska: Power point lecture introducing
ARP- Art Related Progress. A business proposal for an art residency program to be set up in Colombia on a self-sustainable property

Sat, June 7, 7pm
Film screening with curator Billy Miller

Fri, June 13, 7pm
Martin Kohout: One-year anniversary of Kohout’s Gotthard Tunnel Run in Switzerland during LISTE Basel in 2013 and artist booklaunch

Participating Artists: Nadja Abt, Aggtelek, Joseph Akel, Peggy Ahwesh, Anonymous, Francisco Berna, Douglas Boatwright, Matt Borruso, Matthew Burcaw, Elijah Burgher, Luke Butler, Anders Clausen, TM Davy, Mark Dilks, Discoteca Flaming Star, Paul Gabrielli, Robin Graubard, Markus Guschelbauer, Frank Hauschildt &Valentin Hertweck, Adrian Hermanides, Dan Herschlein, Benjamin Alexander Huseby, Monika Paulina Jagoda, Stephan Jung, Vytautas Jurevicius, Renata Kaminska, Saman Kamyab, Kinga Kiełczyńska, Lisa Kirk, Martin Kohout, Marcus Knupp, Ulrich Lamsfuss, Cary Leibowitz, Hanne Lippard, Mahony, Katharina Marszewski, Darrin Martin, Rachel Mason, Howard McCalebb, Kazuko Miyamoto, Bob Mizer, Erik Niedling, Hugh O’Rourke, Joel Otterson, Rob Pruitt, Johannes Paul Raether, Annika Rixen, Matteusz Sadowski, Salvor, Dean Sameshima, Pietro Sanguineti, Fette Sans, Wilken Schade, Jason Seder, Barbara Sullivan, Gwenn Thomas, Goran Tomcic , Rein Vollenga, Jan Wandrag, Fresh White, Tara White, Norbert Witzgall, Carrie Yamaoka

 

LISTE, Basel

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EXILE’S group presentation at LISTE art fair re-envisions the exhibition Homo Decorans from 1985.

Homo Decorans – det dekorerende menneske was an exhibition at The Louisiana Museum of Modern Art in Humlebæk, Denmark in 1985 featuring works by architects, designers, folk and craft artists as well as fine artists. Among the participants were Mario Botta, George Sowden, Aldo Rossi, Michele de Lucchi, Keith Haring, and Nathalie Du Pasquier. The exhibition’s title and concept referenced the book Homo Ludens by Johan Huizinga from 1938. In line with Homo Ludens, the exhibition Homo Decorans focused on the post-modern use of material, aesthetic and referential sampling with a certain playful expression at its core.

The grandiose, more than eight meters long painting Viva Pertini by Nathalie Du Pasquier from this particular exhibition forms the visual back-drop and historical link. Viva Pertini, which is one of du Pasquier’s earliest and certainly largest paintings, has not been seen in public since exhibited in a room alongside a mural by Keith Haring as part of Homo Decorans. Now, reconfigured through the works of a younger generation of artists, all works collectively emerge as a re-sampled collage of art works that reflects upon the painting’s expressive contend as well as the cross-disciplinary approach of Homo Decorans: at the core of all works on display stands a playful and personal creative expression without discursive limitation and boundary.

Nathalie Du Pasquier, born 1957 in Bordeaux, lives and works in Milan. She was a founding member of Memphis Design in 1981. Until 1986 du Pasquier designed numerous textiles, carpets, plastic laminates as well as furniture. In 1987 painting became her main focus. Recently, a monograph entitled Don’t take these drawings seriously 1981-1987 was published by Powerhouse. Concurrently to LISTE du Pasquier holds her first solo exhibition at the gallery entitled The Big Game.

Aggtelek is a collaboration of Gema Perales, born 1982, and Xandro Vallès, born 1978. The artists live and work in Barcelona. In their videos, sculptures, paintings, drawings and performances the artists investigate theoretical and practical developments of art production and its repercussions on creative practice. Issues of Globalism, Commodification of meaning, mass production paired with the current economic crisis (especially in Spain) and a current trend of hyper-individuality and artist fetish are transcribed to at times tense, at times surreal but always quite ironically dark projects. Aggtelek currently holds two solo exhibitions in Spain: at the Capella de Sant Roc, Museu de Valls in Valls and at the Museo de la Universidad de Alicante in Alicante.

Erik Niedling, born 1973, would like to be buried in Pyramid Mountain, the largest tomb of all time: A pyramid at least 200 meters high carved from a natural mountain that will be reburied under the excavated material after his internment, restoring it to its original mountain shape. To make this goal a reality, he lived one year as though it were his last. He has recently shown works for the burial chamber in an institutional solo exhibition at Haus am Luetzowplatz in Berlin. The exhibition entitled Eine Pyramide fur mich brought together the current state of production for the pyramid and included the tip of the pyramid, paintings and panels, leather curtains as well as documenting material.

Katharina Marszewski, born 1980 in Warsaw, lives and works in Berlin. Her artistic practice begins with screen-print, collage, photography and objects and extends to temporal assemblage, immersive collaboration as well as scripted performance. She has recently participated in the exhibition Duties and Pleasures with Marc Camille Chaimowicz and Błażej Pindor at The National Museum in Warsaw and the Muzeum Wnetrz, Otwock Wielki, Poland, 2014.

Martin Kohout, born 1984 in Prague, lives and works in Berlin. in 2013, his participation at LISTE included a run through the Gotthard tunnel. His work is often based in video but also includes objects, photographs as well as sound performance. He performs under the name TOLE and opened the publishing house TLTRpress. In 2014, Kohout was nominated for the Jindřich Chalupecký Award and exhibited at The Veletržní Palace of the National Gallery, Prague.

Patrick Panetta, born 1977, lives and works in Berlin. His practice critically dissects and reflects upon modes of representation and contexualization of contemporary art. Recently, Panetta offered his solo booth at abc artfair for sale via an advert he placed in Frankfurter Allgemeine Zeitung. The booth was consequentially sold to another artist which turned the usual cycle of creation and commodification of an artwork on its head. Panetta recently had his first solo exhibition at the gallery entitled House of Cards in which he documented the on-going shift of perception and consumption of artworks: Videos of artworks viewed online became the artworks themselves, empty shelves point to the loss of actual engagement with an artwork’s physical presence.

Booth: 0/8/3 (ground floor)

Halfway House

Posted on by Regina Regina

plain tables shabby furniture and dizzy swans sipping red winez
let’s have a crash course for car crashs and train wrecks gold tooth pick a boo

I have so much respect for social workers but capitalism bores me
I don’t even realize advertisements around me anymore and my boyfriend bought pistachio rice pudding What a disgrace. Unfollowed.

I love refrigerated food
I swear it’s just like a pill
can make you feel better can make you feel ill
My kitchen usually smells of burnt onions and weed
but today one of my room mates cooked fish and the smell makes me sick

I want a pair of designer shoes I also wanted to stop smoking
Maybe I’m going to snitch

My face is the front of shop
My face is the real shopfront
reminds me of the last time someone called me a copycat
honestly I don’t give a fuck

RIP Karl

I <3 YOU MOM

I <3 YOU HALFWAY HOUSE

$$$

 

I

In criminology, the purpose of a HALFWAY HOUSE is generally considered to be that of allowing people to begin the process of reintegration with society.

Between the recreation of capitalist concepts and treating economic and social necessities, this scenery positions itself as an experiment, shaped by duality.

Spatially separated with slight and divine intersections it looks closer into the overlapping of two aspects in nowadays art world: commerce & community

Multilaterally, the history as well as the coined function and capacity of EXILE, of independent art spaces in general, within their prevailing surroundings, are being addressed.

It should be clear that artworks hold a different responsibility than designed mass products.

Yet, sometimes we find undeniable similarities. The selling of originality and individualistic forms of expression can only be argued when we invade the integrity of the shown works and their authors. We are confronted with a spectrum of commercial co-existence here. Within such an environment each piece starts to blend in while still poetically claiming a title for its own. We’re facing products which through their purchasability can be resocialized. They want to exceed the display that was pushed upon them and create narratives on and for their own. These works are ultimately given a new place in society. But are there also seeds of thought planted with them? Is there space for further ideas to grow?

Without approval, visitors are turned into a performative element enjoying the voyeuristic gaze of outside passengers. Located in a ground level shop front, on the edge of the fancy first district, one finds an exhibited social situation. A similar setup awaits the spectators upstairs, where works are impatiently waiting similarly staged and performative but ready to be looked at.

Besides the more subtle artistic interventions on the ground floor such as the posters that were exclusively commissioned and which can be bought by visitors of every class, the room should further function as a place of exchange and communication. Somehow reminiscent of a youth center or a teenager’s coming of age home, it creates a pseudo-institutional and -intellectual setting for socializing without actually touching what is considered an exhibition space. Especially within commercial spaces, we need to reintroduce discourse and a sense of being there for each other. A lack of moral & financial sustainability within a hypercapitalist system is to be witnessed.

Emphasizing on the mixture of realities and expectations when entering a contemporary art context and the mixture of approaches within EXILE itself, HALFWAY HOUSE is an aim in blurring borders. It offers itself as a seceding act towards the frequently imagined purpose of a gallery space in times of turbo acceleration. Mixed up realms and professions demand a move of repurposing.

Despite solely viewing art as a product we were animated to reflect on how these objects continue to lead people inside a haziness amid the lucid areas of commerce & community. (Julius Pristauz)

 

II

Recently I was transported to a scene somewhere in the near future, shortly after the end of the first global nanoware and the partition of the world in ghettos controlled by postfacist microenhancement monopolists and retrofacist prepper paramilitaries. Society’s erosion had left only wasteland, sweeping away institutionalized cultural practices and their preceding markets. What was called “contemporary art” beforehand had collapsed to a form of trickster survival practice. This space I found myself in seemed to be a refuge, a non-site of precarious community without any fixed qualities besides shared desperation and some collective comfort found in pharmacological self-defense. ⠀

Confusion overwhelmed me, I felt strangely old and at the same time thrown into a hallucinatory teenage heterotopia. Did I reach the next level? Or was it all just a cynical joke? The futility of the question made me laugh. I decided that it wasn’t about the red or the blue pill but about the orange one that I found in a cupboard upstairs. The interregnum had fallen, “the old” had decomposed, the descendants of monsters had established their neofeudal reign. Now it was all about the right equipment. Deal with it, I told myself, and better get dressed accordingly. (Nada Schoer)

 

Works by Amanda Ross-Ho, Core Pan, Diana Barbosa Gil, Fette Sans, Johannes Büttner & Raphaela Vogel, Kamilla Bischof, Malte Zander, Martin Kohout, Nschotschi Haslinger, Patrick Fabian Panetta, Rafal Zajko, Tatiana Defraine, Tenant of Culture, Tilman Hornig & Paul Barsch, Vlad Nancă, Wieland Schönfelder.

Curated by Julius Pristauz.

FEATURES
→Artmirror
→Mousse Magazine

 

Slides

Posted on by Regina Regina

EXILE is very happy to present Martin Kohout’s third solo exhibition at the gallery. The exhibition entitled Slides features Kohout’s film by the same name, shown in combination with newly created works which were sourced from within the film itself:

Hey, how are you? Did you sleep ok?

A final, daily browse through excessive information: Before falling asleep, I need to let go off my phone. My device followed me into bed and I have an incessant urge to get a final hit of information that would otherwise get outdated, or even worse, lost. I find out how a new species was found underneath the melting Arctic ice, while I navigate through what my thousands of friends on Instagram have liked or posted.

Following this nightly routine, I do a final refresh of my inbox, looking for emails that clearly can’t wait until morning’s dawn. Only now, my knowledge feels temporarily satisfied. Oh, no, wait, I should use that →twilight.app that Martin recommended to me. This extra hit of information won’t hurt my sleep-cycle anyways, as the screen of my device has long turned into a muggy yellow color.

Yet again, I browse into his website, →martinkohout.com, but am greeted by a disclaimer on his homepage telling me that access is restricted during the night. I totally forgot about the real-time opening hours on his website. My lack of access turns into frustration, and frustration turns eventually into relief, as I am reminded to let go of my device. I’m able to get off the hook, plug my phone into the charger and turn to sleep, while dreams bind together with fragments of endlessly absorbed information.

CLOSED
This web is closed now.
Opening hours:
Mon-Fri 7-23
Sat-Sun 8-24

Since 2008, Kohout’s website remains inactivated during the night. A simple script regulates the access to his website, simulating a rest of eight-hours, which humans need to recover from daily exhaustion. This simple interjection between a biological necessity (sleep) and a technological command (on/off) has given an enigmatic life to his work until today.

Following previous solo exhibitions entitled →Glare Inland, Quiet Attachment (2011) and →5006 years of daylight and silent adaptation (2014), EXILE is pleased to present Kohout’s third individual appearance entitled after his recently completed short film Slides. The film is part of an ongoing research project around issues determining nocturnal labour, sleeping patterns, algorithms, daily use of technology and our sensual and mental response trying to cope with it. Under the name of a larger project called Night Shifts*, Kohout invites artists, academics, nocturnal workers and union representatives to come together, to engage and exchange their experiences and knowledge.

The show Slides is set in an archaic-looking, diy-esque courtyard movie projection setting, which seems to exist without much influence nor contact to the outside world. Once inside the gallery, one seems sheltered from the regulating dictatorship of the 24-hour-clock. The gallery has been barricaded into a rejective almost squat-like space. Additional wall-mounted metal and fabric works stand in direct dialogue with the film.

The shops around here, look at them. Nothing is what it looks like, it’s all changing. […] The owners don’t even bother updating the shop sign or decoration. They just post a message to the network and their shop window.

We see that the two main characters of Kohout’s film are never awaken at the same time. One works at night, the other one during the day. They sleep next to another, have opposing use of digital tools to adjust their surrounding color temperature to their professional work schedule. Their communication relies on apps which overlaps with bodily communication, lingering in the ambivalent nature between the new channels that enable humans to stay in touch and live together without having eye contact. The voice messages they leave at times for the other, sometimes intimate, sometimes random, are finally a wrapping whistle for contemplation.

See you soon! End of message.

 

*The Night Shifts project has been developed through collaborations with a wide range of contributors across its multiple outputs including: Bora Akıncıtürk, Phanuel Antwi, Josie Berr, Jean Bridger (and partner), Anna Coates, Defensa, Warren Digance, Jamie Gull, Ayesha Hameed, Arjun Harris, Leela Harris, Caroline Heron (AQNB Productions), Yoshitaka Hikawa, Jan Horčík, Monika Janulevičiūtė, William Kherbek, Sophie Lapalu, Barney Lewer, Dafydd Lloyd, Kareem Lotfy, Steffen Martin, Sue Merrell, Dan Meththananda, Aslı Özdemir, Jeff Perkins, Jason Pine, SERTUC (Laurie Heselden, Megan Dobney and Hugh Robertson), Ruben Sewkumar, Vasi Shaikh, Sukh Sidhu, Sleep and Circadian Neuroscience Institute, Nuffield Department of Clinical Neurosciences, University of Oxford (Russell Foster with Christopher- James Harvey, Kate Porcheret and Vladyslav Vyazovskiy), Sung Tieu, Bubbly Virdee, Georgina Voss.

The artist and EXILE would like to thank Ana Alenso, Cornell Collins, Piotr Drewko, Jordan Jacobs and Jahsiya Oliver for their support on this show.

 

Further information:
→http://www.aqnb.com/2018/01/08/martin-kohout-explores-the-night-shift-labour-model-in-daylight-management-at-auto-italia-jan-13-mar-18/

→http://blokmagazine.com/looking-for-an-invisible-layers-martin-kohout-in-conversation/

Slides Trailer:
→https://vimeo.com/238542532

Martin Kohout’s film Slides is concurrently screened as part of his solo exhibition entitled Daylight Management at Autoitalia South East in London until Mar 18, 2018:
→http://autoitaliasoutheast.org/project/daylight-management/

From Apr 19-22, Martin Kohout will be presented with his film Slides as well as other works at Art Brussels in a collaborative presentation with Polansky Gallery, Prague:
→https://exilegallery.org/exhibitions/art-brussels-martin-kohout-christophe-de-rohan-chabot/

Features
→Art Viewer

Ausstellung 61

Posted on by Regina Regina

↑At
Aggtelek
↑Night
Christophe De Rohan Chabot
↑Creatures
Erik Niedling
↑Come
Gwenn Thomas
↑Up
Jordan Nassar
↑From
Kazuko Miyamoto
↑The
Martin Kohout
↑Bottom
Nathalie Du Pasquier
↑Of
Patrick Fabian Panetta
↑Our
TM Davy
↑Oceans

→Click here to watch exhibition trailer by Patrick Panetta

Features
→Art Viewer

Glare Inland, Quiet Attachment

Posted on by Regina Regina

EXILE is please to present the first solo exhibition by Czech-born, Berlin-based, artist Martin Kohout:

You are dead now. It is not the first time, but it feels like it. It always has. And now… again. You are even bound to think this state becomes ever newer with each repeated case of unsolicited death. You find yourself in a prison of sorts: cold, dry, boring. Colorless time grips your gray matter, though you feel, feel rather than see, some tints coming back from a subdued horizon. They smell and sound. Strangely enough, you find yourself not welcoming them, still clutching to the lifeless reins.

Palo Fabuš

 

Summer Camp II

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This July and August EXILE presents its second annual Summer Camp curated by New York based artist, writer, editor and independent publisher Billy Miller. For this year’s SummerCamp Miller curated two simultaneous exhibitions entitled Head Shop and Lost Horizon:

Head Shop is both a nod to legendary ‘60s bohemian boutiques like Granny Takes A Trip, and an evocation of the idea of the mind as a storehouse of images and potentialities.

Artists: Dan Acton, The Agitators, Assume Vivid Astro Focus, Brian Belott, Nina Bovasso, Matt Borruso, Larry Carlson, Ryan Cummings, TM Davy, Michael Economy, Krista Figacz, Janie Geiser, Fritz Haeg, Christian Holstad, Brian Kenny, Paul Kopkau, Steve LaFreniere, Justin Lowe, Noah Lyon, Michael Magnan, Rachel Mason, Glynnis McDaris, Ashleigh Nankivell, Mary Nicholson, Darinka Novitovic, Genesis Breyer P-Orridge, Jason Peters, Kevin Regan, Alex Rose, Desi Santiago, Barbara Sullivan, Jan Wandrag, David West, Justin Yockel

Lost Horizon takes its title from the book and film of the same name, and suggests aspects of American Western mythology and “lost” possibilities – ecological, cultural, personal and otherwise.

Artists: D-L Alvarez, Rachel Beach, Michael Bilsborough, Colby Bird, Matthew Burcaw, Kathe Burkhart, Luke Butler, Brendan Carroll, Walt Cassidy, Wayne Coe, Reuben Cox, Pia Dehne, Peter Eide, Carl Ferrero, Jonah Freeman, Janine Gordon, Jonah Groeneboer, Marcus Gruendel, Tina Hejtmanek, Scott Hug, Stephen Irwin, Item Idem + Paul Mpagi Sepuya, Pat Keesey, Lisa Kirk, Lewis Klahr, Martin Kohout, Kristian Kozul, Paul Lee, Peter Maloney, Glynnis McDaris, Dean Sameshima, Florent Tillon, Frank Webster, Ken Warneke

 

Additional Events

July 18, 9pm: Screening at Wowsville, Ohlauer Str 33, Berlin

July 20, 9pm: Screening at Basso, Köpenicker Straße 187/188, Berlin

July 31, 7-10pm: STH #67 Launch, Exile

 

Reviews

→ Diane Pernet (PDF, 2MB)

→ Frieze (PDF, 250 kb)

→ art21.org (PDF, 600 kb)

ART GWANGJU, Gwangju, South Korea

Posted on by Regina Regina

In response to Art Gwangju’s kind invitation EXILE presents the Artists Aggtelek, Martin Kohout and Monica Paulina Jagoda.The works by the selected artists reflect upon the Art Gwangju’s curatorial concept of Double Democracy.

Monica Paulina Jagoda’s floor-mounted photographs show WWII soldiers on their parachutes approaching unknown territory. Hidden underneath the frame’s matts are text by the artist in reference to the photographs unknown history and loss of context. When viewed from above the viewer re-lives this state of in-between as felt by the soliders between the safety of the aircraft and the landing on hostile soil.
In her video a knitted piece of wool is slowly de-assembled. The thread of connection, of history and context is slowly retracted and with it is historical context annihilated.

Aggtelek, an artist duo from Barcelona, present the film 2o Ensayo Escultorico (2nd Sculptural Essay). In this film the artists’ create their own fictional, often surreal parallel world. The artists’ work is a constant construction of previous mis-en-scenes, always for a more imaginary and absurd world. Reality become their fiction to create what they cant have.

In Martin Kohout’s small photograph 2A. “the constellation of white objects suddenly appeared in the presence of an albino cat” a person clad all in white is holding an equally while cat.  The viewer, when peaking into the small work, at first sees nothing but his/her own reflection. Upon refocussing his/her vision the intricate details of the photograph and its simple, yet kind gestural offer, become visible. The communication with the viewer is based on its subtlety. In his work 4A. It’s Already Now Again the viewer is invited to wear a ring by the artist and therefore entering a quite intimate physical dialogue with the artist himself.

Document Performance

Posted on by Regina Regina

The exhibition Document Performance presents objects by artists Awst & Walther, Claudia Kapp and Benjamin Blanke, FORT, Gwenn Thomas / Joan Jonas, Hermann Nitsch, Johannes Paul Raether, Kazuko Miyamoto, Martin Kohout and Stuart Brisley.

A performance is an action in time. A document of said performance is a physical manifestation of a previous action encapsulated in various material forms.

However, such objects are never merely just documenting their source performance, but are rather autonomous in and of themselves. While they refer back to the source they are neither the past performance itself nor its direct representation. Their temporal source is embedded in the permanent. This doubled relationship to time results in a contextual shift: From questions of What-has-been? and What-has-happened-since? to What-is-now? and, in some cases, to What-will-be?.

Document Performance investigates the autonomous life of the documents as they exist in the here and now. Their fragmented, though transitional relationship with the past, present and future fuels the viewer’s imagination: What does each document mean? How is the source performance embedded in the object? How did the document come into existence? Who is the author? How has the object’s context shifted? How has time transformed the document itself? What does the object mean to the viewer?

The objects featured in the exhibition follow no historical or contextual narrative. Each of them has been produced as a result, a consequence or a mindset of a performative action. Some documents on display are:

– The photograph by Gwenn Thomas of Joan Jonas during her performance Twilight in 1975. This photograph is identified by both artists as a collaborative work and asks about their individual identities, the nature of their collaboration and the photograph’s authorship and existence in relation to the performance.

– The film Being and Doing by Stuart Brisley (with Ken McMullen) features Brisley’s performances in the context of a 50-minute documentation that investigates the origins of performance art, connecting it not to modernism but to ancient folk rituals in England and Europe.

– The object from Johannes Paul Raether’s performance Nationalfahnen zu Schwefelrosen shows a small, burnt German flag. When burning such flags, Raether transformed each into a rose with a thorn. He combines one of the highest visually charged expressions of protest with the creation of a vernacular kitsch object.

– The first vinyl recording of Hermann Nitsch from his 1972 performance Akustisches Abreaktionsspiel is displayed on a record player, although it is so rare and precious that it can no longer be played. The viewer is forced to imagine the performance solely by looking at the vinyl record and employing his/her knowledge of Nitsch’s body of work.

– The printout of a diary of an anonymous participant in Claudia Kapp’s and Benjamin Blanke’s drug-withdrawal project Cold Turkey, presented at Kunstwerke in 2010, undermines almost all expectations of artistic practice, performance and document with one single piece of text.

– The fur umbrella by Kazuko Miyamoto has not been used as part of a performance yet. It has been produced by Miyamoto for an upcoming performance as part of her exhibition at EXILE in the late spring of 2012.

→Read Review: Artinfo

Fake

Posted on by Regina Regina

Fake is of unknown origin. It was first attested in criminal slang in London as an adjective in 1775, as a verb in 1812, as a noun in 1851 and as a person in 1888, though its origins are probably older. A likely source is feague from German fegen in colloquial use. Another source may be from Latin facere.

Fake is probably from feak, feague (“to give a better appearance through artificial means”); akin to Dutch veeg (“a slap”), vegen (“to sweep, wipe”); German fegen (“to sweep, to polish”). Compare Old English fācn, fācen (“deceit, fraud”). Perhaps related to Old Norse fjuka (“fade, vanquish, disappear”), feikn (“strange, scary, unnatural”) and Albanian fik (“put out, vanquish, disappear”).

Fake is a new browser for Mac OS X. Fake allows you to drag discrete browser Actions into a graphical Workflow that can be run again and again without human interaction.

Fake is a song written and recorded by British soft rock group Simply Red. It was released in July 2003 as the second single from the album, Home. It was the next single after their international smash hit “Sunrise.” It reached number-one on the U.S. Billboard Hot Dance Club Play for the week of February 14, 2004.

Fake was a Swedish synthpop band during the 1980s.

Fake is an uncharted territory off the coast of Ko-Realia.

Fake was an exhibition at EXILE in Berlin.

 

Aggtelek
Benjamin Alexander Huseby
Billy Miller
Christophe De Rohan Chabot
Fox Irving and Kenneth Goldsmith
Fresh White
Hanne Lippard
Heji Shin
Jo-ey Tang
Julian Fickler
Jurgen Ostarhild
Kathe Burkhardt
Kazuko Miyamoto
Kinga Kielczynska
Mark Dilks
Martin Kohout
Nadja Abt
Nancy Davenport
Norbert Witzgall
Paul Sochacki
Patrick Fabian Panetta
Pietro Sanguineti
Rachel Mason
Rapture Inc.
Rein Vollenga
TOLE & Tolan
Ulrich Lamsfuss
Ulrich Wulff
Ursus Haussmann
Vytautas Jurevicius

MIART, Milan

Posted on by Regina Regina

EXILE is pleased to present a group presentation with works by Martin Kohout, Nathalie Du Pasquier and Pauł Sochacki at MIART in Milan.

Concurrently to MIART Nathalie Du Pasquier will open a solo exhibition of new paintings entitled very flat constructions at Assab One in Milan. EXILE and ASSAB ONE cordially invite you to the opening on Apr 5, 6:30pm. The new works by Du Pasquier are displayed within and set in context with the vast post-industrial architecture of this former printing factory.

→Review by Hili Perlson for artnet

→Assab One

ART BRUSSELS

Posted on by Regina Regina

EXILE and Polansky Gallery, Prague are pleased to invite you to a collaborative presentation of new works by Martin Kohout with Christophe de Rohan Chabot for ART BRUSSELS, section DISCOVERY, Booth D06.

ART BRUSSELS
Tour & Taxis
Avenue du Port 86c
1000 Brussels, Belgium

http://www.artbrussels.com

 

 

5006 years of daylight and silent adaptation

Posted on by Regina Regina

Hibernation
is
the
default
metabolic
state
for
some
animals
that
exist
in
this
state
for
the
greater
part
of
the
year
at
times
of
a
metabolic
energy
crisis.

Conversely, up-regulation of metabolism and alertness is a widespread and common survival strategy in response to the availability of energy.

 

The artist would like to thank Palo Fabuš, Hans-Henning Korb, Hannah Levy, Raphaela Vogel and Wolfgang Winter for helping with the exhibition.

Irregular Readings II

Posted on by Regina Regina

Irregular Readings II is an end of (gallery) season and early evening of short readings and vocal actions by artists and writers Alex Turgeon, Anna Jandt, Elijah Burgher, Hanne Lippard, Kinga Kielczynska, Martin Kohout, Patrick Fabian Panetta, Sabina Maria van der Linden, Steven Warwick, Susanne M. Winterling, and Trevor Lee Larson.
The evening is hosted by artist Nancy Davenport whose exhibition Polaroids will have closed just one hour prior to the first reading.

Alex Turgeon is an artist who’s work operates at the intersection between poetry and sculpture. Through his work nouns evolve into objects while objects become the stuff of nouns. Currently his work explores nihilism as creation theory, gay fascism, masculine drag, greek tragedy, and interstellar space. For his contribution to the evening, he will read from his ongoing work: (love poem) for Ceres.

Anna Jandt I think someone’s in the Egypt room whom I wanted to see bare, if I could take my eyes off that dressed up broom, I should start walking there. The waiting fair across from what looks like a landslide down there. I don’t think I have been.

Elijah Burgher is an artist and occasional writer, recently relocated to Berlin from Chicago. His work examines sexuality, subcultural formation, and the occult. He will present an excerpt from Sperm Cult, a collaborative publication with Richard Hawkins to be published by Bad Dimension Press later this year.

Hanne Lippard A clear, high-pitched sound made by forcing ones breath through a small hole between partly closed lips, or between one’s teeth is used to express indignation, derision, or incredulity, but might also be the result of obstruction in the air passages by which it should not be met with aggression, but rather assistance in removing the obstructive item so that the individual can breathe at its normal pace.

Kinga Kielczynska due to the inevitable time continuum and limited capabilities of writing by hand she was not able to fully follow-transcribe the mind in its original form. she decided not to use capital letters in the text (except for in proper nouns), as lots of sentences in the text are not actual sentences, but phrase note like. hope you will still enjoy some sketched ideas in a form of inspirational, briefly noted thought like signs. the reading will be done in silence.

Martin Kohout will once again meet with Mr. Step and Mr. Weller.

Patrick Fabian Panetta uses structures and mechanisms of the given conditions and action patterns of the exhibition world, the art market, and art production directly as working material. On the occasion of EXILE’S move to New York in late 2014, the artist thieved the closing event’s guest list, compiled during the event by a hired doorkeeper. The list offers, occasionally, a detailed insight into who is invited or present and who is not. A few days later the 10 sheets of paper went back to the gallerist and are now in a glass framed version.

Sabina Maria van der Linden Showing a video and two dresses, reminiscent of Liz Taylor in Boom! (Joseph Losey 1968), made by Birgit Neppl, and remnants of Warm Assessment, 2013, a performance that was initiated by Marie Caroline Hominal, choreographer/performer, as a collaboration with Sabina Maria van der Linden – moving and moaning to the scattered biographical soundtracks Touch and Down, produced in critical times and conducted in the windows of Histoire d’Amour, a bridal wear store in Normandy, France.

Steven Warwick is an artist, writer, and musician based in Berlin. His recent work has mused on Californian desert ideology, the fear economy of the X Files, and unexplained seemingly natural desert phenomena. Here he will present a new short piece of fiction Amber in Racetrack Playa, a conspiratorial Science Fiction text set in the outdoor culture of Southern California and Death Valley, where he spent last year making work during his residency at Villa Aurora in Los Angeles, which informs forthcoming installments of work.

Susanne M. Winterling‘s reading will feature pandoras box as a polyphony and threads systemic violence and structures of hope. Re imagining what social justice could be along the path to ecocide, which might be the immersive dream in a multispecies salon?

Trevor Lee Larson shows you where to relax. A prime example of the non pressured and unfettered way in which this city’s young individualists live. Adventure and Romance. “There’s so much time you can get monumentally depressed.” “We’re starved for something new.” “The only legitimate purchase I’ve made this year.” Larson prefers a simple vodka and soda. “You can hear the wind from the forest when you’re out in the pool.”

→Irregular Readings I (2013)

NEW YORK ART BOOK FAIR

Posted on by Regina Regina

EXILE is happy to participate in this year’s New York Art Book Fair organized by Printed Matter at New York’s MoMA PS1 featuring a curated selection of artist publications and works on paper by artists Nathalie Du Pasquier, Christophe Rohan de Chabot, Katharina Marszewski, Paul Sockacki, Gwenn Thomas, Martin Kohout, Travis Jeppesen, Marcus Knupp and Kazuko Miyamoto.

PUBLICATIONS
→Nathalie Du Pasquier: Constructions (2016)
→Christophe De Rohan Chabot: EXILE. Christophe de Rohan Chabot. August 1 – 31, 2016 (2016)
→Katharina Marszewski: Decisions jus-d-orange (2016)
→Pauł Sochacki: Epistemic Heartbreak (2016)
→Travis Jeppesen: New Writing (2016)
→Nathalie Du Pasquier: The Big Game (2015)
→Martin Kohout: Sleep Cures Sleepiness (2014)
→Kazuko Miyamoto: Kazuko Miyamoto (2014)
→Gwenn Thomas: Artist Monograph (2013)
→Martin Kohout: Linear Manual (2013)
→Kazuko Miyamoto: Artist’s Portfolio (2012)

WORKS ON PAPER
→Nathalie Du Pasquier
→Kazuko Miyamoto
→Katharina Marszewski
→Christophe De Rohan Chabot
→Gwenn Thomas
→Travis Jeppesen

 

http://nyartbookfair.com/

 

MANIFESTA, Palermo

Posted on by Regina Regina

We are happy to invite you to EXILE X Summer Camp: May the bridges I burn light the way selected by Manifesta as part of this year’s 5x5x5 collateral program for Manifesta in Palermo.

The initial part of May the bridges I burn light the way is a temporary exhibition that creates face-to-face conversations between social activism, art practices and Palermo’s socio-cultural realities. Departing point is the exploitation of the self for marketing purposes or as alibi for personal intentions, as sometimes in the #metoo debate or the current rise of populism.

May the bridges I burn light the way evolves through conversations, screenings and performative interventions at Cre.Zi Plus, a daily changing group exhibition at Ballaró Market, and the distribution of the street newspaper ‘Arts of the Working Class‘, a tool of integration between the citizens of Palermo and art professionals arriving to reflect on arts and society during the opening days of Manifesta 12.

Participants: Albrecht Pischel, Angels Miralda Tena, Aris Komporozos-Athanasiou, Ayami Awazuhara & Christopher Burman, Bob Hausmann, Club Fortuna, Heiner Franzen, Dietrich Meyer, Elmar Mellert, Kazuko Miyamoto, Erik Niedling, Federico del Vecchio, Iris Touliatou, Jaakko Pallasvuo, Kinga Kielczynska, Lauryn Youden, Lorenzo Marsili, Narine Arakelyan, Nschotschi Haslinger, Martin Kohout, Patrick Fabian Panetta, Paul Sochacki, Raffaela Naldi Rossano, Sarah Lehnerer, Sara Løve Daðadóttir, Sebastian Acker, Utopian Union, Zoë Claire Miller.

May the bridges I burn light the way is curated by María Inés Plaza Lazo, in collaboration with Alina Kolar, Dalia Maini and Christian Siekmeier.

EXILE X Summer Camp was organized with the support of the Austrian Cultural Forum, Laboratory ABC Moscow, Goethe Institut Palermo, Podere Veneri Vecchio, Studio Botanic and Reflektor M.

 

FURTHER INFORMATION

MANIFESTA 5x5x5
→May the bridges I burn light the way

DETAILED DAILY PROGRAM (June 13-17)
→Daily program (PDF, A3, 2 pages, 3MB, English)
→Programma giornaliero (PDF, A3, 2 pagine, 3MB, Italiano)

LOCATIONS (June 13-17)
→Cre.Zi Plus is a community kitchen and co-working space in the areal of Cantieri Culturali alla Zisa, where the conversations and screenings will take place.
→Ballarò is the oldest food market in Palermo held in Albergheria neighborhood, where EXILE will present a daily changing group exhibition during the opening dates of Manifesta 12.

DETAILED GOOGLE MAPS
→Cre.Zi Plus
→Ballarò

REVIEWS
→Marie Civikov in Jegens & Tevens (NL)
→Hulda Rós Guðnadóttir in art.zine.is (IS)
→Kathrin Schöner & Stephan Becker in Baunetz (PDF download, DE)

 

Linear Manual

Posted on by admin

Featuring Ms Bonneviot, Ms Cooper, Mr Droitcour, Mr Fabuš, Mr Haworth, Ms Laube, Ms Marszewski, Mr Mečl, Mr Pieroni, Mr Quack, Mr Roelstraete, Ms Spjut, Mr Tang, Mr Thumfart, Mr Weijde and more.

Designed by Mr Svensson, hosted by Mr Kohout.

Published by TLTRPreß. Co-published with PAF.  2013.

Order for ☛ 7€!

Sleep Cures Sleepiness

Posted on by admin

For a major part of mankind’s history, time was not tracked and kept, but searched for and observed. It was understood by the pace of cyclic events and rhythms of bodies, crops, stars and solstices. When still measured by sundials, the length of hours changed throughout the year with the different inclination of Earth’s orbit around the Sun.

But with the increasing miniaturisation and mobilisation of time-keeping devices, time entered our bodies with the calculated precision of a laser cutter, letting in valorisation of heartbeats. Metabolism got worked around and natural cycles were either ignored or ‘genetically modified’. Time got flattened in a fashion pioneered by machines operating seamlessly around the clock and with speeds beyond human comprehension.

For this publication, contributors were invited to share notes on the gap that resists the unification of body rhythms, dreams and spontaneity with the tempo of machines, communication networks and calculable profit. Here is a song for the flesh under the attack of constant availability and no place to hide, information overload, omnipresent context advertising and fear of missing out.

 

Presenting texts and thoughts by Ms Van Brabandt, Mr Fabuš, Mr. Haworth, Mr Kohout, Ms Kubolkaite, Mr Palm, Ms Mitropoulos, Ms Salinas, Mr Bergman and Mr Stevenson.

Put together and designed by Mr Kohout.
Co-published with 1822-Forum.
ISBN: 978-3-945243-03-9

Read Review on aqnb.com

Order for 9 EUR

LISTE, Basel

Posted on by admin

Once identities become #hashtags and bodies have merged with pixels, manifold new strategies were (and still are) needed in relation to artistic production beyond the interface of the monitor. As a result, and once rematerialized to physical form, artworks can hardly continue their art-historical trajectory as objects of aesthetic distinction based on a suggested ingenuity of its producer. The five artists showing in EXILE’s presentation at LISTE 18 aim in various ways to find such a path.

Aggtelek (Gema Perales and Xandro Valles) manifest their multi-dimensional works in one of the most loaded traditional mediums; oil on canvas paintings. Created as digital collages from internet source files in Photoshop, the finished hires TIFF file is sent to Shenzhen, China, to be painted in oil, executed by anonymous individuals in a factory of 5000.
The returned painting (Aggtelek calls these “photocopies”) is then analyzed by the artists and the original Photoshop collage is adjusted accordingly. The newly adjusted TIFF file is again sent back to China and the process of “dragging and dropping” on an international scale continues until a final painting is achieved to the required standard. All previous renditions are destroyed, resulting in what appears to be, and what in fact is, a single, unique painting.
The artists expand their modes of production by exploiting available resources in a kind of digital darkroom, or, more appropriately, digital inkjet sweatshop. Such acceleration of reproduction depletes the artists’ individual gesture and anonymizes the painter’s individual authorship and ingenuity.

Artie Vierkant diminishes the material importance of his artworks and an emphasis is instead made on the visual representations of materials and the processes used to achieve this. Primarily using Photoshop as the regular manipulator of his images, Vierkant spurs an uneasiness in the viewer; making doubtful the trust that is placed in images of documentation.
At LISTE 18, Vierkant’s Color Rendition Charts are accompanied by a pair of custom print-on-canvas Converse sneakers. Here, the circle seems to close in on itself; the return to the medium of canvas brings the digitally created work back to a history of its material. Simultaneously to the pristine presentation of this unique pair of sneakers, the artist proof of the work is worn as the utilitarian object by Vierkant on the streets of New York.

Martin Kohout takes various indexical sources out of which he creates his own agendas for the creation of projects and artworks. His extensive project Watching Martin Kohout consists of a YouTube channel of 800 videos, made over the course of 10 months, in which the artist filmed himself watching other YouTube videos (youtube.com/user/martin0kohout). The sheer multiplicity and scale of the project perpetuates, to some degree, an immortality, with the advent of the piece constantly changing through online comments or YouTube interventions on a daily basis. At LISTE 18, an edition of three static hard drives will store and present the entire archive of videos; Kohout’s YouTube channel returns to an apparent physical finality.

Parallel to the fair, on June 13, Kohout will instigate the event Gotthard. Here, the artist will run through the Swiss Gotthard Road Tunnel, which, at a length of 16.9 km, is the third-longest road tunnel in the world and is deeply embedded in Swiss and European history.
The event takes place in a monumental yet hypnotically monotonous space otherwise devoted solely to traffic. If such a tunnel is a masterpiece in an age of architectural engineering, then it can also be seen as a simple parallel from point A to point B. In all its monumentality, the tunnel becomes a metaphor for the disappearance of the individual within a mountain of matter. For up to date information and limited edition bus tickets please email the gallery.

Katharina Marszewski approaches artistic production from an otherwise fragmented angle. Her questioning relates not so much to a dilution of the body but to a critical commentary on the forces of artistic production in a late capitalist, western society in crises – one in which the occupation of “being an artist” has become convention. Her self-reflexive works on display at LISTE and her concurrent solo exhibition at the gallery in Berlin, entitled CV CE LA VIE, confront the viewer with her identity as an artist in its exposed, and at times, exploitative vulnerability. Starting with traditional silk screen, Marszewski pours lacquer over its surface and hand-writes the work’s title Drinking Ink onto it; a threat perhaps, of a physical reaction against the medium itself. Her works in Berlin seem to want to take on the appearance of artworks, but can in fact be better described as décor for the purpose of a gallery exhibition.