https://priskapasquer.art/wp-content/themes/priskapasquer/img/logo.svg00Maria Gomeshttps://priskapasquer.art/wp-content/themes/priskapasquer/img/logo.svgMaria Gomes2020-06-26 12:17:172020-06-26 12:51:51OUR DUTY IS TO EXPERIMENT 20 years Galerie PRISKA PASQUER
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.’
https://priskapasquer.art/wp-content/themes/priskapasquer/img/logo.svg00Maria Gomeshttps://priskapasquer.art/wp-content/themes/priskapasquer/img/logo.svgMaria Gomes2020-05-20 17:55:342020-06-26 12:52:36FABIAN HERKENHOENER Notes on a post-order of things Vernissage
On Equal Terms II, Warren Neidich, #Pizzagate-from Rumor To Delusion, 2019, video, exhibition view, courtesy PRISKA PASQUER, Cologne
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!
https://priskapasquer.art/wp-content/themes/priskapasquer/img/logo.svg00Maria Gomeshttps://priskapasquer.art/wp-content/themes/priskapasquer/img/logo.svgMaria Gomes2020-03-06 16:30:352020-03-06 16:34:19FUTURE TALK | THE NEW FACE OF SURVEILLANCE IN OUR POST TRUTH SOCIETY
Warren Neidich, Poetic Hauntologies of the Acephalous, 2020, neon glass sculpture, courtesy PRISKA PASQUER, Cologne
March 6 – May 31, 2020 Opening on Thursday, March 5, 2020, at 7 pm Curators: Ludwig Seyfarth, Harriet Zilch KAI 10 | Arthena Foundation, Kaistraße 10, 40221 Düsseldorf, Germany The exhibition will travel to Kunsthalle Nürnberg (June 19 – September 13, 2020)
https://priskapasquer.art/wp-content/themes/priskapasquer/img/logo.svg00Maria Gomeshttps://priskapasquer.art/wp-content/themes/priskapasquer/img/logo.svgMaria Gomes2020-03-04 17:48:362020-06-26 12:53:14Warren Neidich in SOMETHING BETWEEN US at KAI 10
The extraordinary and the everyday jostle for attention in the South African photographer’s examination of Mexican
The Wedding Gift, Juchitán de Zaragoza, 2018 by Pieter Hugo. Photograph: Pieter Hugo
By Sean O´Hagan
Sun 2 Feb 2020
Pieter Hugo’s new series, La Cucaracha (The Cockroach), named after a traditional song made popular during the Mexican revolution, grew out of a visit to the country in 2018. He was invited there by a curator whose stipulation was that he make work on the theme of sex and mortality.
“Mexico’s anarchic, visceral energy got under my skin and sucked me in,” he recalls. “There is an acceptance that life has no glorious victory, no happy ending. Humour, ritual, a strong sense of community and an embrace of the inevitable make it possible to live with tragic and often unacceptable situations.”
Hugo’s approach shifted accordingly to reflect the flamboyance and gritty ordinariness of life there, his images filled with vibrant colours and often mysterious symbolism. This portrait is a case in point. Entitled The Wedding Gift, it shows a young bride in Juchitán de Zaragoza cradling an iguana, a creature considered a symbol of patience, understanding and kindness in Mexico. Conversely, the elaborately competitive mating rituals performed by the male of the species – head-bobbing, nudging, biting and even changing colour – have been mimicked in local song and dance, including a famous traditional ballet, La Iguana de Guerrero.
https://priskapasquer.art/wp-content/themes/priskapasquer/img/logo.svg00Maria Gomeshttps://priskapasquer.art/wp-content/themes/priskapasquer/img/logo.svgMaria Gomes2020-02-04 13:41:262020-02-04 13:58:54The Guardian | The big picture: Pieter Hugo turns his camera on Mexico
https://priskapasquer.art/wp-content/themes/priskapasquer/img/logo.svg00Maria Gomeshttps://priskapasquer.art/wp-content/themes/priskapasquer/img/logo.svgMaria Gomes2020-01-28 11:55:042020-01-30 12:25:27Vernissage On Equal Terms II
Eröffnung: Donnerstag, 23. Januar 2020 um 19.30 Uhr
Begrüßung Vera Pues, Stiftung Kunst, Kultur und Soziales der Sparda-Bank West Ingrid Müller-Ost, Vorsitzende Kunstverein Leverkusen Susanne Wedewer-Pampus, Kuratorin Einführung: Susanne Wedewer-Pampus
https://priskapasquer.art/wp-content/themes/priskapasquer/img/logo.svg00Maria Gomeshttps://priskapasquer.art/wp-content/themes/priskapasquer/img/logo.svgMaria Gomes2020-01-22 17:57:112020-01-22 19:19:17Johanna Reich - ALL THE WORLD´S A FRAME at Kunstverein Leverkusen Schloss Morsbroich e.V.
‘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.
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 moretimes, 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 ofthe 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.
https://priskapasquer.art/wp-content/themes/priskapasquer/img/logo.svg00Maria Gomeshttps://priskapasquer.art/wp-content/themes/priskapasquer/img/logo.svgMaria Gomes2020-01-17 10:02:482020-01-17 10:20:56Pieter Hugo in New York Times
