Patrick Fabian Panetta

LISTE, Basel

Posted on by Regina Regina

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.

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May the bridges I burn light the way

Posted on by Regina Regina

EXILE is happy to invite you to our ten-year anniversary exhibition entitled May the bridges I burn light the way.

Is a gallery anniversary dedicated to commemorate a space, a brand or artists the gallery has worked with? In the case of EXILE, founded on Oct 18, 2008 in a small courtyard in Berlin-Kreuzberg, the commemoration is to the way EXILE has been aiming to build communities. Over the last 10 years, EXILE has initiated various formats to expand and democratize access to the exhibition space. A yearly exhibition entitled Summer Camp (2009-2011) was based on an open-call for creative proposals, while Irregular Readings (2013 & 2016) focused on immaterial creative actions. Both formats have the same core principle: to initiate a collective experience, ignite dialogue and create community.

Departing from this May the bridges I burn light the way takes the definition of community into a polyphonic level. The exhibition starts as an extension of EXILE’s participation in the Manifesta 12 collateral program called 5x5x5, and runs parallel to the launch of the second issue of the street newspaper Arts the Working Class; all of them carrying the same title: May the bridges I burn light the way.

EXILE X Summer camp May the bridges I burn light the way: As a title, it implies a certain pessimism; anticipating the worst outcomes from a given situation. However, it reveals also the unfortunate desire to (always) be right. Thus the final exhibition in the gallery’s Berlin space looks at both ends of the revolutionary act: the will to conquer utopia and the urge to provoke dystopia. May the bridges I burn light the way has been conceived with the purpose to create a dialogue between social activism, art practices and Berlin’s socio-cultural reality, responding to different examples of anarchistic behaviour.

The conceptual and aesthetic choices of the artists EXILE invited to join in this exhibition are examples of subtle gestures fostering a change for the definition of the artwork as an artifact to which the world can relate itself to:  A hanging mandala by Lauryn Youden, a painting of a dystopian private garden by Louise Thomas, an old neon lamp brought to expire in the gallery by Iris Touliatou, the embodiment of an invisible community by Raffaela Naldi Rossano, or an audio conversation piece about the end of the world placed in a car outside the gallery space by Ayami Awazuhara & Christopher Burman.

The main room of the gallery, whose windows look out to Kurfürstenstrasse, presents a composition of works that may take you through the doors of perception. Artworks confront themselves; cognition, concentration, hallucination and remembrance. The artworks engage as catapults to past events, obsessive memories and to lost and found images, useful to the questions of functionality, reproductivity and appropriation of the visual. Stream of consciousness is not only something you could put in words, like James Joyce once enacted as a creative act for the very first time with Ulysses, but in scrabbles and drawings, just like Heiner Franzen. Franzen’s motif of a human/animal floats in a state of constant mutation. Flashing details from movies or Franzen’s cartoonesque figures emerge in new forms and materiality. Thus, Franzen examines the removal of boundaries of his materials by constantly updating them. Every image is the reflection of another. 

Sarah Lehnerer, whose work navigates through methodological rigor and associative openness elaborates on social and historical connections through a drone video loop, a polaroid depicting herself on her knees, and a  plaster cast for which she squeezed the material with her legs. Her texts, images and objects defy the oppositions of reality and fiction, of objectivity and subjectivity. 

Playful, defiant, cautious, Kazuko Miyamoto portraits herself in the studio of the artist she worked for, Sol Lewitt. Naked, wearing a mask, the female body performs an experimental take, choreographing humorously what could be an innocent way of turning upside down the hierarchies, not only within LeWitt’s studio between the master and the apprentice, but as a formal separation from her interests from structuralism. So to speak, the self-portrait shows a goofy yet violent situation.

But it is the bold work of Maria Thereza Alves, which encircles the exhibition’s orbit, showing a moment of staged transcendentalism with the head of a hawk held by a masculine, strong hand covered in indigo color, ready to bury the death bird, ceremonially. Her ongoing body of work entitled Urban Rituals consists of a series of photographs taken throughout the years and in various countries of dead birds that Alves has encountered in the city or in the countryside. As an urban dweller with no communal rituals that would mark the death of these beings, Alves decided to create her own possibilities of remembering and honoring them.

EXILE X Summer camp May the bridges I burn light the way is, last but not least, a cordial invitation to join us once more and for us to say thanks to the community, for the support the gallery received in the last decade. As a next step, EXILE will reopen in September in a new space in Vienna.

Artists: Ayami Awazuhara & Christopher Burman, Carsten Höller, Club Fortuna, Heiner Franzen, Iris Touliatou, Kazuko Miyamoto, Lauryn Youden, Louise Thomas, Madison Bycroft, Maria Thereza Alves, Nschotschi Haslinger, Paulina Nolte, Patrick Fabian Panetta, Raffaela Naldi Rossano, Sarah Lehnerer, Zoë Claire Miller.

Text by María Inés Plaza Lazo. May the bridges I burn light the way is curated by María Inés Plaza Lazo and Christian Siekmeier.

Dead End Galaxies

Posted on by Regina Regina

For the lack of better knowledge galaxies are infinite, endless spaces, which will always offer an ever so imaginary escapist niche, somewhere. Such magical spheres where Siri or Alexa are just poetically named starlets, where a ‘Hello Alexa’ remains unanswered, where there is silence beyond entrenching reason.

The longing to escape to such a non-defined, free space is as ancient as contemporary relevant. In times of seemingly endless reason, it remains the ultimate desire, yet ultimately results in a dead end. No form of contemporary escapism can any longer provide an idealized, naïve notion of a lost paradise. Escapism is at its end as it is en vouge. Parallelism or Internalism can provide relief yet, in the very end, it is the here and now.

Anyone who has thought about parallel universes will know that it is hard to figure out which one of them is ‘real’. The denominators of what we call ‘reality’ have become blurred, a new flexibility of ‘truth’ rules even over the galaxy we currently reside in. The ‘fake-news’ of the day is poking holes in the sensitive skin of our very own filter-bubbles and within the blink of an eye your day can vault you into the ‘upside-down’.

Maybe it is time to travel. Where could we go from here?

‘Introspection’ is the new long distance journey, as we slide through the endless feed of information and images that busy algorithms have chosen for our fingers to scroll through: A gentle touch, a ‘reaction’ of sorts – like staring into the abyss of binary code.

The afterimage of a world seen from outer space, the alienation of the self and ‘the other’ in a dense habitat we share with the digital creatures of our own making. Looking at the remainders of the world we produce and consume, light years filled with the human trace of artificial goods, it is time to enter the void.

The inscription of a seminal painting by the French artist Paul Gauguin reads “Where Do We Come From? What Are We? Where Are We Going?” (P. Gauguin / 1897), a question still unaccounted for as of today. A promise has been made, and for the longest time it remains unfulfilled.

Dead End Galaxies is a single exhibition running parallel across two different cities connected via a time tunnel.

Opening: Sat, Mar 10
Dead End Galaxies at EXILE, Berlin
Artists: Angelika Loderer, Bitsy Knox, Christophe de Rohan Chabot, Core.Pan, Hanny Oldendorf, Nicholas Riis, Phillip Mueller, Real Madrid, and Studio Furthermore.

Opening: Sat, Mar 17
Dead End Galaxies at POLANSKY, Prague
Artists: Bitsy Knox, Christophe de Rohan Chabot, Erik Niedling, Jura Shust, Pakui Hardware, Patrick Panetta, Pauł Sochacki, Sarah Pichlkostner, and Sarah Schönfeld.

Dead End Galaxies is curated by Marlies Wirth, Curator for Digital Culture and Design at MAK Vienna, and Christian Siekmeier, EXILE.

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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

ARS ELECTRONICA, Linz, AT

Posted on by Regina Regina

Continue reading →

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

DAATA, Miami

Posted on by Regina Regina

EXILE is pleased to participate in the Miami edition of Daata Fair with a solo presentation of 20 years of video by Patrick Panetta.

→Patrick Panetta interviewed by Chiara Moioli in Mousse Magazine

→To access Daata Fair please click to register

→Review by Colin Lang for Spike Magazine

Selected works:

CAFE DURBAN, 2020.
Dense layers of sci-fi fantasy graphics, collected by the artist over the years, scramble the screen with the sound of Death-Core band The Overmind. The simple layering of a song and images result in something which feels like an algorithm created by a juvenile eruption based on pre-existing data. An evolving preliminary step analyzing the complex sensory concepts of imagery and music. ‘Language is a Virus’ and ‘Words beget image and image is virus’.
The question is, what happens if the host becomes immune to its illness? What if creativity is just a synonym for “well-employed-strategic-decisions”? It should become clear that the terms of creativity, innovation, ingenuity or originality have been successfully assimilated into commercial and managerial practices, effectively nullifying their role in Art. Panetta’s work addresses artistic practice itself, questioning the act of the creative process, not surrendering to refusal, but to strive for what material could still contain usable potential.

WATCHED AND RECORDED, 2010-2020.
The actual intended idea behind a work of art becomes less and less the subject as the information device places itself in the forefront. Scrolling through the “latest” in the world of art, the websites’ design become almost cinematic, information on artists’ works, gallery, and more – becomes a blown up spectacle. The content of these websites surfaces as a mechanism to focus the viewer’s perception on a hyper-visuality. The experience becomes a flattened dimension suited and limited by the screen, becoming its own artwork. These videos are less produced rather extracted; a denial of the idea of artistic production – even a resignation that there is nothing new that can be produced. What feels like an appropriation of art at the beginning, is nothing more than a homage to the impossibility of a constant reinvention of art itself.

REBLOGGED FROM GOD’S ABACUS, 2007-2012.
In 2001 Patrick Panetta started capturing more or less random and banal material with an amateur digital camera. In the beginning he did so obsessively from mostly analog media sources such as, TV, magazines, photos, videotapes. From 2005 he extended the capturing to the emerging digital platforms. Over the years the practice of collecting hundreds of raw clips without intent, especially without improvement in terms of quality—or even content—became a effective working method for the artist, which can be understood as an adaptive mechanism, constantly filtering its surroundings for every bit of context, image and information, like an programmed Algorithm. From today’s point of view, it was a kind of premonition of what was to come—the over-abundance of recorded banality, the image bank as currency.

FORMAL STRUCTURES, 2004-2015.
Panetta’s retro-constructivist photoshop files are organized in layers and animated by pressing the arrow buttons on the keyboard. A blue triangle moves down, a black square moves towards another black square, a red triangle approaches a black rectangle. Each film’s soundtrack represents what the artist was listening to on the radio while filming. Each film’s outdated programming refers back to a time when Photoshop was at the height of digital manipulation; they seem like ancient digital mantras foreboding current uncertainties such as FaceApp or Deepfakes. The films also raise questions about progress—and lack of progress—within art and technology, while emulating a kind of modern crisis. Formal structures as whole series, somehow reenact the phases of abstract art, from its very beginnings to its never-ending repetition in the digital age.

 

Patrick Fabian Panetta (*1977) lives and works in Berlin. His work focuses on the consumption of imagery and their relation to power structures and socio-cultural hierarchies. Like a future anthropologist, Panetta analyses visual data as coded artefacts and metaphors in and of themselves. With precise analogy and often biting irony Panetta dissects the opulent abundance of imagery prevalent anywhere in contemporary visual culture but specifically within the art industrial complex. He analyses less than he performs a synthesis, rather than questioning it, he uses it as his material.

 

House of Cards

Posted on by Regina Regina

An artist says to a critic says to the gallerist says to Contemporary Art Daily says to the art fair selection commitee which replies to the artist via the gallerist per email: I’ve done what I have to do. Now you do what you have to do. Seduce them, give them your heart. Cut it out and put it in their fucking hands!

 

 

 

Irregular Readings II

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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)

A Journey Through Vibrant Space

Posted on by Regina Regina

Whenever a searching eye encounters barren land, it seeks for shelters that can provide potential sites for hiding and creation. Arid tree trunks become essential elements of orientation – relics of a life cycle on deserted soil. The Land of Nod is such a place in the Book of Genesis, located on the ‘east of Eden’, where Cain chose to flee after murdering his brother Abel. There, as vagabond, he was condemned to wander the land forever.

The location east of Eden is explicit and so named on biblical maps, such as Ortelius’ and Mercator’s. Historical representations of the Land of Nod usually show vast and vacant landscapes, where several paths lead in all directions, entry points could be anywhere.

The Land of Nod is also an English idiom for the imaginary realm of sleep and dreams, followed, one assumes, by waking up. Only emerging from sleep makes a sleep what it is: a restless subconsciousness surrounded by a state of external quiescence, providing the mind with a protection for regeneration.

Both conceptions suggest that the potentiality of absence denotes the state of being away. Here, existence (being) becomes an implicit expectation, because it comes prior to presence (being there) as the necessary premise for the recognition of absence. A Journey Through Vibrant Space.

Excerpt from Sandra Meireis: East of Eden, 2012

Click here to watch excerpt of A Journey Through Vibrant Space

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)

 

Coloring Quarantine

Posted on by Regina Regina

Coloring Quarantine was an open call and open access project initiated in response to the closure of EXILE’s physical gallery space on March 13 due to COVID-19. Contributions could be made until Apr 22, the day EXILE was able to reopen with regular opening hours.

Coloring Quarantine has the simple aim to collect and share drawings from a wide range of contributors. All collected 175 contributed drawings remain accessible via an open-access dropbox folder from where they can be downloaded and printed out on any standard printer to color in for anyone experiencing lockdown.

 

Click on link to access dropbox folder→Coloring Quarantine

 

Coloring Quarantine Contributors: Aaron Schraeter, Adam Shecter, Adéla Součková, Adnan Balcinovic, Aggtelek, Ahu Dural, Alan Stefanato, Albrecht Pischel, Albrecht Wilke, Alexander Jackson Wyatt, Ali Fitzgerald, Almut Reichenbach, Alyssa De Luccia, Andrew Read, Andrew Rutherdale, Anna Bochkova, Anna Kautenburger, Anna Schachinger, Anne De Boer, Anne Meerpohl, Anneke Kleimann, Antanas Luciunas, Antonio Della Corte, Arnold Berger, Arthur Golyakov, Aykan Safoğlu, Belen Garcia, Bernd Löschner, Bianca Pedrina, Billy Miller, Bora Akinciturk, Bruno Hoffmann, Carl Lützen, Caro Eibl, Charlotte Heninger, Chiara No, Christophe de Rohan Chabot, Christopher Prendergast, Ciresu Tudor, Clémentine Coupau, Constantin Hartenstein, Cristian Tusinean, D L Alvarez, Dana Engfer, Daniel Ferstl, Darja Shatalova, Dennis Loesch, Edin Zenun, Ellen Schafer, Eloise Bonneviot, Eric Giraudet de Boudemange, Erica Baum, Ethan Assouline, Federico del Vecchio, Felix Oehmann, Fette Sans, Filip Dvořák, Francesco Della Corte, Francis Ruyter, Francisco Berna, Gabriela Tethalova, Gaspar Kunsic, Götz Schramm, Gribaudi Plytas, Guillermo Ros, Hanny Oldendorf, Hugo Gomesand, Isabela Ghislandi, Isabella Fürnkäs, Iumi Kataoka, Jakob Kolb, Janine Muckermann, Jeronim Horvat, João Marques, Johannes Daniel, Jonas Esteban, Jonathan Baldock, Joseph Manyou, Judit Kis, Julia Fischer, Julia Magdalene Romas, Julia Rublow, Julian Fickler, Jura Shust, Jurgen Ostarhild, Karen Dolev, Katharina Hoeglinger, Kea Bolenz, Kinga Kiełczyńska, Kinke Kooi, Laura Franzmann, Liliana Lewicka, Lisa Kuglitsch, Lisa Wölfel, Lorenzo Sandoval, Lucia Leuci, Lukasz Horbow, Lux Cervantes, M Reme Silvestre, Magdalena Kreinecker, Magdalena Mitterhofer, Marcus Knupp, Marianne Vlaschits, Martin Chramosta, Martin Hotter, Maurizio Vicerè, Max Freund, Michael Eppler, Michal Michailov, Michele Bazzoli, Moritz Frei, Nana Wolke, Nataly Gurova, Nazim Ünal Yilmaz, Nicolas Pelzer, Nikolay Georgiev, Nora Köhler, Norbert Witzgall, Nschotschi Haslinger, Patrick Alt, Patrick Panetta, Paul Barsch, Paul Otis Wiesner, Paul Riedmueller, Paul Robas, Pauł Sochacki, Paula Linke, Pedro Wirz, Philip Hinge, Rafał Zajko, Real Madrid, Remi Calmont, Ricardo Martins, Robert Culicover, Robin Waart, Sakari Tervo, Sarah & Charles, Sarah Bechter, Sarah Księska, Sarah Lehnerer, Scott Rogers, Sebastian Jung, Siggi Hofer, Siggi Sekira, Sofia Nogueira Negwer, Sophia Domagala, Sophie Aigner, Sophie Esslinger, Sophie Yerly, Spencer Chalk Levy, Stefan Reiterer, Stefanie Leinhos, Stefano Calligaro, Stelios Karamanolis, Sybren Renema, Taiana Defraine, Tess Jaray, Thomas Baldischwyler, Thomas Geiger, Thomas Grogan, Thomas Laubenberger, Tilman Hornig, Timea Mitroi, Tom Holmes, Travis Jeppesen, Ulrike Johannsen, Vanya Venmer, Veronika Neukirch, Viktor Timofeev, Virginia Russolo, Vlad Nancă, Wieland Schönfelder, Witalij Frese, Xenia Lesniewski, Yannik Soland, Yein Lee, Zuzanna Czebatul

 

Patrick Fabian Panetta

Posted on by Regina Regina

Born 1977 in Germany, lives and works in Berlin.

→patrick-fabian-panetta.de