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Fabian Herkenhoener, Bygone, 2020, dust, graphite, acrylic binder, acrylics, pencil, spray paint on canvas, 200 x 150 cm ©Gert Jan van Rooij, courtesy PRISKA PASQUER, Cologne

Sie sind herzlich eingeladen zur Vernissage der Ausstellung

FABIAN HERKENHOENER
Notes on a post-order of things

Eröffnung
Donnerstag, 28. Mai 2020 & Freitag, 29. Mai 2020, von 11 bis 18 Uhr

28. Mai 2020 – 27. Juni 2020

FABIAN HERKENHOENER  

Notes on a post-order of things

‘Was also ist der Organismus in der Welt, wenn nicht der unbedachte Flug eines Möglichen in das Herz des Unmöglichen, das ihn umgibt’ 

(George Bataille, Der Übervölkerte Planet, aus: Das Unfertige System des Nichtwissens)

‘Ich nähere mich diesen Leinwänden wie Notizen, halte sie in einem skizzenhaften und unvollständigem Zustand. Sie geben einer rudimentären Erscheinung der Dinge Form, und eine Struktur, die Gedankenprozesse markiert oder aufzeichnet. 

Ich  habe mit dieser Reihe von Bildern letztes Jahr begonnen, damals als eine Untersuchung des von der Norm Abweichenden, von Grenzerfahrungen und -Überschreitungen, ein anthropologischer Ansatz zu einer aus den Fugen geratenen Welt. Ein imaginatives Zu-Ende-Denken der Dinge als fiktive Repräsentation einer Anders-, Nach- oder Vorzeitlichkeit.

Mittlerweile ist die affirmative Handlung der poetischen Imagination ein Mittel zum Erlangen von Resilienz im Angesicht der realen Umstände geworden.  Ich suche nach einer Möglichkeit bestimmte Ideen und Denkweisen zu überwinden, das Ersticken des Denkens in der alltäglichen Semantik einer konventionalistischen Klassifizierung. Ich denke solange Poesie möglich ist – als das Sehnen nach dem Unmöglichen – kann eine Art von Hoffnung möglich sein. Ich sehe Kunst als ein Mittel der Realität, in dem sie über sich selbst bewusst wird.’

Fabian Herkenhoener, Mai 2020

You are cordially invited to the opening of the exhibition

FABIAN HERKENHOENER
Notes on a post-order of things

Opening
Thursday, May 28, 2020 & Friday, May 29, 2020, from 11 am to 6 pm

May 28, 2020 – June 27, 2020

FABIAN HERKENHOENER  

Notes on a post-order of things

‘What therefore is the organism in the world, if not the unconsidered flight of a possible into the heart of the impossible that surrounds it?‘ 

(George Bataille, The Congested Planet, from: The Unfinished System of Nonknowledge)

‘I approach these canvases as notes, keeping them sketch-like and incomplete. They give form to a state of the rudimentary appearances of things and a structure that marks thought processes.

I started this line of paintings last year, back then as a survey on what deviates from the norm, of border experiences and border transgressions, an anthropological approach to a world gone off rail. An imaginative thinking of things to its end; as a fictional representation of an alternative, post- or pre-temporaneity.

Now, the affirmative action of the poetic imagination has become a means of achieving resilience towards real circumstances. I am looking for a way to overcome certain ideas and ways of thinking that tend to suffocate in a type of everyday semantics of conventionalist classification. I think that as long as poetry is possible – as the longing for the impossible – a kind of hope can be possible. I see art as a means of reality to gain consciousness about itself.’

Fabian Herkenhoener, May 2020

PRISKA PASQUER, Albertusstr. 18, 50667 Cologne, Germany

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FUTURE TALK
THE NEW FACE OF SURVEILLANCE IN OUR POST TRUTH SOCIETY 
with Julia Scher, Freddy Paul Grunert and Warren Neidich
Thursday, March 12, 2020 at 5 pm (MET)

We will be live streaming the talk on the channels listed below. 
Questions and comments are welcome. Please join us!

twitch: https://www.twitch.tv/priskapasquer
YouTube: https://bit.ly/39uWKoU
Facebook: https://www.facebook.com/priskapasquercologne

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The premier of Pizzagate – From Rumor to Delusion will be held on Sunday, March 1, 2020, at 6 pm
Louvre Auditorium Rue de Rivoli – 75001 Paris

Click here for more infomation

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David Zink Yi, Rechts, Links, Vorne, Hinten, 2018 

Sie sind herzlich eingeladen zur Vernissage der Ausstellung

ON EQUAL TERMS II

Charlotte Triebus, Astrid Klein und Rudolf Bonvie,
Albrecht Schäfer, Warren Neidich, David Zink Yi, 
Johanna Reich, Radenko Milak, Mirjam Baker

Freitag, 7. Februar, 2020, 18 – 21 Uhr

You are cordially invited to the Vernissage of the exhibition

ON EQUAL TERMS II

Charlotte Triebus, Astrid Klein und Rudolf Bonvie,        
Albrecht Schäfer, Warren Neidich, David Zink Yi, 
Johanna Reich, Radenko Milak, Mirjam Baker

Friday, February 7, 2020, 6 pm – 9 pm

PRISKA PASQUER, Albertusstr. 18, 50667 Cologne, Germany

‘I’m Finished When I Start Looking at the World in a Different Way’

The photographer Pieter Hugo, who has captured scenes from Nigeria to Mexico, takes T inside his studio.

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The artist Pieter Hugo, photographed in his studio in Cape Town, South Africa, alongside a human anatomy model. Credit Stephanie Veldman

By Osman Can Yerebakan

Jan. 9, 2020

In 2018, the curator Francisco Berzunza invited the South African artist Pieter Hugo to Mexico to create a body of work that would engage with themes of sexuality and death for an exhibition at the Centro Fotográfico Manuel Álvarez Bravo. During his monthlong stay, Hugo searched for a response to this prompt, and inspiration came when he chanced upon a platter of desiccated fruits in Oaxaca. “Making Pigments. San Agustin Etla” (2018), which shows a spread of dying crops in bold hues, was the first image Hugo captured in Mexico. But “something shifted” during that first visit, Hugo says. “I don’t know why, but I’m not done here,” he remembers thinking; he has since visited Mexico four more times, traveling between the bustling border city of Tijuana in the north, the colonial town of San Cristóbal de las Casas in the Central Highlands and the indigenous Zapotec town of Juchitán in the southern state of Oaxaca. “From the Day of the Dead to narco-politics, death is strongly felt there,” he says of the country, but it was its people’s day-to-day understanding of life’s fragility that inspired his new photography series, “La Cucaracha,” which will go on display at Yossi Milo Gallery in New York this month. Hugo named the series after the popular folk song about an injured cockroach whose lyrics are often rewritten in Mexico as political satire.

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