Kategorien Archives: Bethanien Residents

BETHANIEN RESIDENTS

Salon Populaire partners with the Künstlerhaus Bethanien to showcase time-based works and special productions by the center’s artists in residence. Künstlerhaus Bethanien promotes contemporary art and is a center for 25 artists in residence. At the salon, they are invited to leave their studio practice and engage with an audience in an event open to their own interpretation.

#2 – Assaf Gruber 16.11.2011

Even better than the real thing: About Studies in Sculpture

Rosalind Krauss mentions in her standard work on the meaning of sculpture that ”Lessing asserts that sculpture is an art concerned with the deployment of bodies in space. And he continues, saying that this defining spatial character must be separated off from the essence of those art forms, like poetry, whose medium is time.”* Israeli artist Assaf Gruber, currently a resident at Künstlerhaus Bethanien, relates to this point of view, trying to understand how sculpture can structure film from within the frame.

Educated as a sculptor and video artist at Académie des Beaux-Arts in Paris, and at The HISK, (Higher Institute of Fine Arts, Ghent) in Belgium Gruber is working on the series “Studies in Sculpture” since 2004 exploring Krauss’s note that all bodies exist not only in space, but also in time. His screening at Salon Populaire takes the title from the U2 song from 1992 as a trigger for questions, desires and thoughts about our realities as constructed through cinema. What are we looking for? Satisfaction? Pleasure? And who actually cares about reality?

* Rosalind Krauss, Passages in modern Sculpture, New York 1977.

#1 – Alicia Frankovich 18.05.2011

Undisciplined bodies – an evening dissolving social and spatial conventions.

Alicia Frankovich presents an evening with two live performance acts, two video pieces and a sculptural activation. Interested in a multiplicity of movements and the bodies that they belong to, subjects are tested and presented at Salon Populaire in a live art experience. Here the operations, limits and intimacies of our own behaviors and the histories that embody them are explored, as well as gazed at, with a light-hearted touch.

There will be a ballerina, musicians, a jumping shin pad, a red drink, as well as videos: in one a male subject is explicitly directed by the artist in a quasi-reenactment of a scene from Jean Genet’s Un Chant d’Amour, and in the other a post-Duchampian art object is set in motion by the artist in tandem with a gallerist.