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KUB 2018 Program Kunsthaus Bregenz Kunsthaus Bregenz KUB 2018 Program English Source: Instagram @kunsthausbregenz Thanks to: mathiasjohansen- cellist, anasbarros, visitaustria, drcuerda, gerlinde- kusstatscher, roemervii, juldama A Foreword by Director Thomas D. Trummer The 2018 program is the third one I have been responsible for as Director of Kunsthaus Bregenz. During my first year the KUB program went under the motto of political pertinency. The second concerned itself with current thinking around so-called »specu­­- lative realism.« It addressed contemporary approaches to the object-orientated, motivating artists and intellectuals to ask new questions of nature. 2018 will be addressing current discussions focusing on the distribution and circulation of commodities and values, in which visual imagery is the driving force and vehicle, made to seduce, but also a conveyor and trigger, both evidential and deceptive. 5 Tacita Dean Cúmulo, 2016 Detail from the exhibition view of Tacita Dean, Museo Tamayo, Mexico City Chalk on blackboard 244 x 732 cm Photo: Agustin Garza Courtesy of Tacita Dean, Frith Street Gallery, London, and Marian Goodman Gallery, New York | Paris | The British artist Simon Fujiwara’s idea of recreating the Anne Frank London House in Amsterdam at 1:1 scale at Kunsthaus Bregenz is daring and absurd. And yet it typifies the program at Kunsthaus Bregenz, whose ceaseless staging of outstanding projects has enabled it to develope a unique profile within the international art scene. The most distinctive exhibitions at KUB have been those which utilized all four floors as the platform for singular artistic statements. This was especially the case in 2017, the so-called super art year, when exhibitions such as those by Adrián Villar Rojas and Peter Zumthor were remarkable un - dertakings which were able to achieve broad public and media acclaim. The current practice, under my directorship, of dedicating the entire institution exclusively to one artist will be continued in 2018. The year’s program revolves around questions of legitimacy. It is precisely in a building known for its aura and authenticity that the credibility of visual imagery becomes an issue. The 2018 program attempts a contemporary update regarding the manipulation and accelerated trafficking of images. Film, digital media, and reprodu - cibility are being foregrounded. It is moving, fluid, and uncontrolled visual imagery that characterizes our everyday lives. Images, espe - cially in the era of their distribution via social media, possess the power of delivering one-sided, deceptive, and misleading informa - tion. Technological sophistication plays a significant role in their falsification, copying, manipulation, and instrumentalization. And yet it would be wrong to speak of »fake views« — art does not de - ceive without revealing its deception. Rather than the fake, it offers fiction, instead of seduction the deepening of consciousness. The Kunsthaus does not remain oblivious to such developments. It will only be able to preserve and further confirm its internationally acclaimed role if it consciously engages with the signs of the times and encourages artists to take the initiative and actively address issues facing the present. Preview 2018 06 07 KUB 2018 Program KUB 2018.01 Simon Fujiwara Hope House 27 | 01 — 08 | 04 | 2018 KUB 2018.02 Mika Rottenberg 21 | 04 — 01 | 07 | 2018 KUB 2018.03 David Claerbout 14 | 07 — 07 | 10 | 2018 David Claerbout The Quiet Shore, 2011 One-channel video projection, b&w, approx. 32 min., KUB 2018.04 Video still Courtesy of David Tacita Dean Claerbout, Sean Kelly Gallery, New York, and Galerie Esther 20 | 10 | 2018 — 06 | 01 | 2019 Exhibitions 2018 Schipper, Berlin 8 9 KUB 2018 Program Mika Rottenberg NoNoseKnows, 2015 One-channel video, approx. 22 min., Video still Courtesy of Mika Rottenberg and Andrea Rosen Gallery, New York 10 11 KUB 2018 Program KUB 2018.01 Anne Frank House model Simon Fujiwara construction kit, cardboard Hope House © Anne Frank Museum, Amsterdam 27 | 01 — 08 | 04 | 2018 What is real? It seems not only products are being sold that pro mise an emotional, authentic involvement, but also experiences them- selves. The French philosopher Tristan Garcia speaks of an »intense life« which may be enhanced even in relation to leisure and recrea- tion. Absolute commercialization eschews nothing, not even histori- cal taboos. For the first KUB exhibition in 2018, Simon Fujiwara, who has already been responsible for choreographing Kunsthaus Bre- genz’s Billboards during 2017, is now approaching an awkward sub- ject for marketing, the history of the Anne Frank House in Amsterdam. The building, which is largely a reconstruction containing only a few remains of the original family artifacts, is a magnet for visitors. Fujiwara is responding to the restoration of the spaces by reproduc- ing the building to 1:1 scale at Kunsthaus Bregenz. His source is the kit model available at the Anne Frank House museum shop. From the replica, from the set of copies, a large-scale copy will result, which will be made partially accessible to visitors. This is a continuation of Kunsthaus Bregenz’s distinctive interventions, this time addressing inevitable issues of authenticity, originality, value, history, and replicability. Simon Fujiwara: »The project isn’t a parody of capital- ism, it shows capitalism.« 12 13 KUB 2018 Program Simon Fujiwara, 2017 Photo: Miro Kuzmanovic © Simon Fujiwara and Kunsthaus Bregenz Simon Fujiwara, born in London in 1982, spent his childhood moving between Japan, Europe, and Africa. He studied at Cambridge Univer- sity and Städelschule in Frankfurt/Main. Working often in collaboration with others in the telling of supposedly personal stories, Fujiwara’s work explores the concept of the contemporary individual — self-determined, self-narrativised, unique — and presents a highly contingent notion of the self that can only be defined through the participation of others. Fujiwara has had solo exhibitions at Power Plant Contemporary Art Gallery, Toronto (2011), Tate St Ives (2012), Tokyo Opera City Gallery (2015), Kunsthalle Düsseldorf (2016), Irish Museum of Modern Art, Dublin (2016), and Dvir Gallery, Tel Aviv (2017), amongst others. His work has been presented in various group exhibitions, including Storylines, Guggenheim New York (2015), and Un Nouveau Festival, Centre Pompidou, Paris (2014). He was represented at the 53th Venice Biennale (2009), São Paulo Biennial (2010), Shanghai Biennial (2012), Sharjah Biennial (2013), and Berlin Biennale (2016). 14 15 KUB 2018 Program KUB 2018.02 Mika Rottenberg 21 | 04 — 01 | 07 | 2018 The artist Mika Rottenberg, who was born in Argentina and grew up in Israel, is concerned with cycles of production and the manner in which commodities are transported. Her work is neither disinter- ested critique nor precise political documentation, rather under- takes an analysis of the present in a distorted, caricaturial exaggera- tion. In confining claustrophobic spaces, frequently fabricated from Mika Rottenberg Cosmic generator, cardboard and found objects, the core of Rottenberg’s installations 2017 is usually a video showing specific production processes, such as the One-channel video, extracting of pearls from mussel shells. Rottenberg highlights the approx. 22 min., Videostill premises of labor, whilst simultaneously forcing the viewer into the Courtesy of Mika role of a voyeur who is coerced into narrow corridors in order to Rottenberg and Andrea Rosen view the processes of work. In her small spaces, objects tower in sur - Gallery, New York real scenographies, revealing the absurd accumulations and sense- lessness of some global enterprises. The majority of the protagonists in her films are women who, according to Rottenberg, »loan« the artist their body parts. In the film Dough (2006), there are four women, two of them, the corpulent Raqui and the slender Kat, fashion lumps of dough in a factory-like environment. For her highly acclaimed work Cosmic Generator for Skulptur Projekte 2017 in Münster, Rottenberg again worked with provisional architecture. She employed a disused Asian store as a readymade set-up. In the video filmed in a small border town between the USA and Mexico, she depicts the lives of Asian immigrants who main- tain — literally between frontiers –a continual production process. Capitalism does not acknowledge borders. Many of her installations are comical or incorporate erotic ele ments. For her exhibition at Kunsthaus Bregenz, she is planning, among other things, to set up the multi-layered processes of cheese production. 16 17 KUB 2018 Program Mika Rottenberg was born in Buenos Aires in 1976. She lives and works in New York. Mika Rottenberg’s film installations explore the seduction, magic, and desperation of our hyper-capitalistic, globally connected reality. The artist weaves documentary elements with fiction to Mika Rottenberg Ponytails, 2014 create complex allegories for the living conditions experienced Hair, wood, within our global systems. acrylic adhesive, Several solo shows have been dedicated to the artist’s work in nylon fibers, acrylic paint recent years: Magasin III, Stockholm (2013), Israel Museum, Jerusa- Courtesy of Mika lem (2014), Palais de Tokyo, Paris (2016). She will be presenting a new Rottenberg, Andrea Rosen solo exhibition at the Bass Museum, Miami (Dec 2017–April 2018). Gallery, New York, Rottenberg’s work was also showcased at the Whitney Biennial 2008. and Galerie Lau- She collaborated in 2011 with artist Jon Kessler on Seven, a cycle of rent Godin,
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