Featured alongside the artists whose work will be installed or somehow displayed in the relatively new Berlin space for the exhibition’s duration, such as Peter König, Cathy Wilkes, Richard Wright, as well as Fearon and Vogel themselves, the curators have put together a series of events too featuring a whole host of artists and writers.
Tizzi will present ‘The Rose Garden Bar’ during the opening event on July 8, the first in a line of occasional and different bar-scenarios running throughout the month. Although it is not clear what form the other presentations or readings will take, on July 22 there will be work by Elise Lammer, on July 29 by Joel Mu and Barbara Spiller and Angela Steigler. On August 5 there are several book launches, including a contribution from Jonathan Monk, followed by a presentation by Swedish poet Karl Holmqvist.
Three exhibitions will open at SALTS in Birsfelden, opening June 16 and running to August 28.
The first space, organised by SALTS curators Samuel Leuenberger and Elise Lammer will see a duo exhibition by Owen Piper and Lili Reynaud-Dewar called on how to talk dirty and influence people. It promises the offer of a rich show, glittered in the biographical, and hinting at a retrospective conversation between the two artists, who have known each other for decades.
The artists, whose work will be installed in SALTS’ ‘Printed Room’, have practices that span what the short text describes as ‘multimodality’ in relation to the word: Fragments of text exist as images in circulation as much as they exist as conjunctions of syntax, metre, person.
Taking science fiction as a parallel model, In Space No One Can Hear You Laugh deals with “things not yet to come, with images charged with a state of future potential or spaces infused with a radical temporality”, and puts us “in touch with the ability to imagine, and with the imaginary’s capacity to build new worlds.”
Originally built in 1969, the Schinkel’s floor-to-ceiling windows were covered with origami-like paper cutouts, by artists, in the octagon-shaped hall obscuring the panoramic view of the historic centre. The building’s unique characteristics, ideal for interventional performance and installation, accentuated the event, making the large rock-like interactive sculptural landscape occupying the centre more dynamic.
The performances were continuous experiments, the subjects of the experiments were the audience. Ranging from music to storytelling, the nature of the performances blurred the lines between theater and life, inviting audience members to participate while creating an undetectable spectacle. At ALPINA HUUS the guest is never really quite sure what is and isn’t part of the program.**
An 18th-century bourgeois salon-hang for the 21st-century privilege of art production. The material parallels between the seemingly long-outdated practice of showing off a painting collection to friends and business associates in the semi-private surounds of a French living room and the nature of art display via a desktop are uncannily similar. That’s something curators Samuel Leuenberger and Elise Lammer picked up on with “cluster hung painting show” Associations New at Birsfelden’s SALTS, running from October 4 to December 8.
Featuring the work of 25 artists from their personal networks, Leuenberger and Lammer sought contributions of one to three paintings – from gouache on paper, egg-tempera, acrylic and oil on canvas – under 50 x 50 cm, to be hung in the kind of clusters that reduce the relevance of an individual work to being only an element of a greater display of an Enlightened household’s cultural (and economic) wealth. Now compare that with the appropriated images of a private blog or Tumblr scroll, where a personal aesthetic is publicly presented via online networks that are restricted to an audience educated in a particular cultural language, with access to and an understanding of the internet.
In the photos from Associations New, only a handful of them feature the credited work of individual arists, including Charlotte Herzig‘s ‘Landscape, the sun is actually red’ (2014) and Henning Strassburger‘s ‘o.T’ (2014), that yells “LOOK WHAT I PAINT” in black scrawl through the lurid pink and black noise of oil and acrylic. The rest are reduced to an ‘installation view’ of wall-hung paintings by the likes of Max Brand, Claudia Comte, Thomas Jeppe, Jan Kiefer and more, while a link to Pauline Beaudemont‘s concurrent L’Age D’or exhibition next door comes in two square concrete ‘chairs’, designed for the almost empty garage cubicles outside.
Each block seat features a quote from a film and a fiction work: one from Jacques Tati epic Play Time (1967) on a future vision of Parisian modernity and the other from objectivist Ayn Rand’s famous novel The Fountainhead. It’s taken from the part of the book where vulgar publisher and passionate private art collector Gail Wynand offers indvidualistic modernist architect a contract while announcing, “You will take your spectacular talent and make it subservient to the taste of the masses.”
As per the press release, the ‘salon’ concept also refers to the official art exhibition of the Académie des Beaux-Arts, Salon de Paris, initiated by Louis XIV in 1667. This idea of ceiling-to-floor presentations of paintings was developed in response to lack of space and became not only an exhibition of wealth but an instrument of political power. These days that display comes in the manner of privately-funded public institutions, branded art fairs and corporatised content-sharing platforms. **