Anlässlich der Ausstellung An Old Painting in Spirit von Albert Oehlen blicken wir auf die erste, von Wilfried Dickhoff kuratierten Ausstellung des Künstlers in der Kunsthalle Zürich 1987 zurück.
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Excerpt from the script to episode 2 of Bottom Feeders - The Battle of the Cataplasm by Flavio Merlo and Ben Rosenthal
- Take a look at these hands! the hand speaks. The hand of a government man. born under punches.
- What a splendid member…
- You must be joking.
- I got these small hands. I got a little girl's hands.
- Small enough to pick your nose thoroughly.
- Yes, I can go all the way. Just look, look, this booger is endless.
- It just doesnt’ stop. I usually just use my little finger, because I don’t want my nostrils to...
Blog 3 of 3 by curator Franziska Glozer
The situation of the voices, and the interruption and overlay, is quite clear if you hear the tapenade by New Wilderness Audiographics wherein Sharon Mattlin is a wonderful CAPITALS and bosses me around endlessly. (…) Peggy (De Coursey) and Regina (Beck) both sound as if they were scolding me. We worked it so that the voices came fast after each other, occasionally speaking unison and overlapping, and occasionally one of us would ad-lib comment. (from Mostly about the...
Neben den Animationsfilmen von Noureddin Zarrinkelk integrierten Ramin Haerizadeh, Rokni Haerizadeh und Hesam Rahmanian auch Sequenzen aus iranischen Spielfilmen in die Ausstellung. Im Eingangsbereich oberhalb der Kasse ist in der Ecke ein kleiner Fernseher angebracht, auf dem die Anfangssequenz von Masoud Kimiais Qeysar, Ali Hatamis Hassan Kachal und Ausschnitte des Theaterstücks ...
Post 2 of 3 by curator Franziska Glozer
«I SEE WORDS» – In 1970 Hannah Weiner started to envision auras and fields of energy. In 1972 she also started to perceive words, floating in the air, or perched on her forehead (as seen from the inside), in her surroundings, on walls, on paper, on a dog’s fur coat. In these years she reinvented herself and the meaning of her poetry: I am a clairvoyant. Repeatedly Weiner declared: I SEE WORDS and I am a clairvoyant, celebrating the achievement and artistic method of her self-...
Ein wichtiger Bestandteil der künstlerischen Praxis von Ramin Haerizadeh, Rokni Haerizadeh und Hesam Rahmanian ist der Einbezug von Werken Dritter, denen sie hohen Respekt zollen und/oder die sie schamlos aneignen und adaptierten. Nichts und niemand wird verschont, auch nicht die eigene, iranische Kultur. Befasst man sich jedoch eingehend mit ihren Arbeiten, ihrem Denken und ihren Interessen lernt man viel darüber, wie Filmemacher/innen, Cartoonist/innen und Künstler/innen wie Ardeshir Mohasses, Bahman Mohasses, Ali Hatami, Mahmoud Khan Saba oder Noureddin Zarrinkelk die persische Kultur...
Michael Zimmermann on Theater der Überforderung
Around 1967 when Terayama’s underground theater troupe “Tenjô Sajiki” was formed, economic high-growth-era Japan saw the resurgence of a nationwide protest movement. Groups protesting Japan’s complicit role in the Vietnam War linked up with workers, environmentalists, and radical students. The following years saw a mass of demonstrations – peaceful and violent –, occupations of public squares, train stations and universities (at one point approx. 80% of universities were completely or partly barricaded) and bloody...
Post 1 of 3 by curator Franziska Glozer
In the 1960s many artists felt the call to appropriate the world, draft new visions for the future and engage directly with a society that was saddled by crises. Existing structures were antiquated and the art scene sought renewal through such movements as Minimal Art, Concept Art, Land Art and Performance Art. These new genres were largely related between two poles: Imagination (the abstract idea) and experience (the interaction with a public foreign to art). Still in their conceptual beginnings, p...
Tenzing Barshee on the exhibition Slice A Slanted Arc Into Dry Paper Sky by Ramin Haerizadeh, Rokni Haerizadeh and Hesam Rahmanian
This exhibition isn’t fit for the Internet. It's too bulky, tightly staged, inviting you to discover something in every corner. Generosity as a program. Generosity as a currency. Maybe as a signifier of a human element. Who knows. These very familiar halls that have seen many shows before and now suddenly seem to have cast a spirit of otherness. Something is definitely different. It feels like this institution has been stripped of its...
